Midyat, Turkey — Through a basement door in southeastern Turkey lies a sprawling underground city — perhaps the country’s largest — which one historian believes dates back to the ninth century before Jesus Christ.

Archaeologists stumbled upon the city-under-a-city “almost by chance” after an excavation of house cellars in Midyat, near the Syrian border, led to the discovery of a vast labyrinth of caves in 2020.

Workers have already cleared more than 50 subterranean rooms, all connected by 120 meters of tunnel carved out of the rock.

But that is only a fraction of the site’s estimated 900,000-square-metre area, which would make it the largest underground city in Turkey’s southern Anatolia region.

“Maybe even in the world,” said Midyat conservation director Mervan Yavuz who oversaw the excavation.

“To protect themselves from the climate, enemies, predators and diseases, people took refuge in these caves which they turned into an actual city,” Yavuz added.

The art historian traces the city’s ancient beginnings to the reign of King Ashurnasirpal II, who ruled the Neo-Assyrian Empire from 883 to 859 BC.

At its height in the seventh century BC, the empire stretched from The Gulf in the east to Egypt in the west.

Referred to as Matiate in that period, the city’s original entrance required people to bend in half and squeeze themselves into a circular opening.

It was this entrance that first gave the Midyat municipality an inkling of its subterranean counterpart’s existence.

“We actually suspected that it existed,” Yavuz recounted as he walked through the cave’s gloom.

“In the 1970s, the ground collapsed and a construction machine fell down. But at the time we didn’t try to find out more, we just strengthened and closed up the hole.”

A hiding place underground

The region where the cave city is located was once known as Mesopotamia, recognized as the cradle of some of the earliest civilizations in the world.

Many major empires conquered or passed through these lands, which may have given those living around Matiate a reason to take refuge underground.

“Before the arrival of the Arabs, these lands were fiercely disputed by the Assyrians, the Persians, the Romans and then the Byzantines,” said Ekrem Akman, a historian at the nearby University of Mardin.

Yavuz noted that “Christians from the Hatay region, fleeing from the persecution of the Roman Empire… built monasteries in the mountains to avoid their attacks”.

He suspects that Jews and Christians may have used Matiate as a hiding place to practice their then-banned religions underground.

He pointed to the inscrutable stylized carvings — a horse, an eight-point star, a hand, trees — which adorn the walls, as well as a stone slab on the floor of one room that may have been used for celebrations or for sacrifices.

As a result of the city’s long continuous occupation, he said it was “difficult to pinpoint” exactly what at the site can be attributed to which period or group.

But “pagans, Jews, Christians, Muslims, all these believers contributed to the underground city of Matiate,” Yavuz said.

Centuries of invasions

Even after the threat of centuries of invasions had passed, the caves stayed in use, said curator Gani Tarkan.

He used to work as a director at the Mardin Museum, where household items, bronzes and potteries recovered from the caves are on display.

“People continued to use this place as a living space,” Tarkan said.

“Some rooms were used as catacombs, others as storage space,” he added.

Excavation leader Yavuz pointed to a series of round holes dug to hold wine-filled amphorae vessels in the gloomy cool, out of the glaring sunlight above.

To this day, the Mardin region’s Orthodox Christian community maintains that old tradition of wine production.

Turkey is also famous for its ancient cave villages in Cappadocia in the center of the country.

But while Cappadocia’s underground cities are built with rooms vertically stacked on top of each other, Matiate spreads out horizontally, Tarkan explained.

The municipality of Midyat, which funds the works, plans to continue the excavation until the site can be opened to the public.

It hopes the site will prove a popular tourist attraction and attract visitors to the city of 120,000.
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NEW YORK — Edna O’Brien, Ireland’s literary pride and outlaw who scandalized her native land with her debut novel “The Country Girls” before gaining international acclaim as a storyteller and iconoclast that found her welcomed everywhere from Dublin to the White House, has died. She was 93.

O’Brien died Saturday after a long illness, according to a statement by her publisher Faber and the literary agency PFD.

“A defiant and courageous spirit, Edna constantly strove to break new artistic ground, to write truthfully, from a place of deep feeling,” Faber said in a statement. “The vitality of her prose was a mirror of her zest for life: she was the very best company, kind, generous, mischievous, brave.”

O’Brien published more than 20 books, most of them novels and story collections, and would know fully what she called the “extremities of joy and sorrow, love, crossed love and unrequited love, success and failure, fame and slaughter.” Few so concretely and poetically challenged Ireland’s taboos on religion, sex and gender. Few wrote so fiercely, so sensually about loneliness, rebellion, desire and persecution. A world traveler in mind and body, O’Brien was as likely to imagine the longings of an Irish nun as to take in a man’s “boyish smile” in the midst of a “ponderous London club.”

O’Brien was an unknown about to turn 30, living with her husband and two small children outside of London, when “The Country Girls” became one of Ireland’s most polarizing works of fiction in memory. Written in just three weeks and published in 1960, for an advance of roughly $75, “The Country Girls” follows the lives of two young women — Caithleen (Kate) Brady and Bridget (Baba) Brennan journey from a rural convent to the risks and adventures of Dublin. Admirers were as caught up in their defiance and awakening as would-be censors were enraged by such passages as “He opened his braces and let his trousers slip down around the ankles” and “He patted my knees with his other hand. I was excited and warm and violent.”

Fame, wanted or otherwise, was O’Brien’s ever after. Her novel was praised and purchased in London and New York while back in Ireland it was labeled “filth” by Minister of Justice Charles Haughey and burned publicly in O’Brien’s home town of Tuamgraney, County Clare. Detractors also included O’Brien’s parents and her husband, the author Ernest Gebler, from whom O’Brien was already becoming estranged.

O’Brien would be recognized well beyond the world of books. The 1980s British band Dexy’s Midnight Runners” named her alongside Eugene O’Neill, Samuel Beckett and Oscar Wilde among others in the literary tribute “Burn It Down.” She dined at the White House with then-first lady Hillary Rodham Clinton and Jack Nicholson and befriended Jacqueline Kennedy, whom she remembered as a “creature of paradoxes. While being private and immured she also had a hunger for intimacy — it was as if the barriers she had put up needed at times to be battered down.”

O’Brien’s other books included the novels “August Is a Wicked Month,” the story of a woman’s sexual liberation that was banned in parts of Ireland; “Down By The River,” based on a true story about a teenage Irish girl who becomes pregnant after being raped by her father, and autobiographical “The Light of Evening,” in which a famous author returns to Ireland to see her ailing mother. Her most recent work, “Girl,” a novel about victims of Boko Harem, came out in 2019.

Josephine Edna O’Brien was one of four children raised on a farm where “the relics of riches remained. It was a life full of contradictions. We had an avenue, but it was full of potholes; there was a gatehouse, but another couple lived there.” Her father was a violent alcoholic, her mother a talented letter writer who disapproved of her daughter’s profession, quite likely out of jealousy. Lena O’Brien’s hold on the author’s imagination, the force of her regrets made her a lifelong muse and a near stand-in Ireland itself, “the cupboard with all things in it, the tabernacle with God in it, the lake with the legends in it.”

By her early 20s, she was working in a pharmacy in Dublin and reading Tolstoy, Thackeray and O’Connor among others in her spare time. She had dreams of writing since sneaking out to the nearby fields as a child to work on stories, but doubted the relevance of her life until she read a biography of James Joyce and learned that “Portrait Of An Artist As a Young Man” was autobiographical. She began writing fiction that ran in the literary magazine The Bell and found work reviewing manuscripts for the publishing house Hutchinson, where editors were impressed enough by her summaries to commission what became “The Country Girls.”

“I cried a lot writing ‘The Country Girls,’ but scarcely noticed the tears. Anyhow, they were good tears. They touched on feelings that I did not know I had. Before my eyes, infinitely clear, came that former world in which I believed our fields and hollows had some old music slumbering in them, centuries old,” she wrote in her memoir.

“The words poured out of me, and the pen above the paper was not moving fast enough, so that I sometimes feared they would be lost forever.”
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CHADDS FORD, Pa. — At first glance, it looks like an aerial photo of a cemetery destroyed by war, with charred coffins ripped from broken concrete vaults and arched marble tombstones flattened by a bomb blast.

Then, the viewer begin to discern details: the coffins and vaults are actually parts of a keyboard. Instead of names and dates, the apparent tombstones are inscribed with words like “vibrato” and “third harmonic.”

“It looks like a graveyard,” photographer Frank Stewart said.

Stewart’s ghostly photograph of a New Orleans church organ ravaged by the floodwaters of Hurricane Katrina is part of a career retrospective of his decades documenting Black life in America and exploring African and Caribbean cultures.

“Frank Stewart’s Nexus: An American Photographer’s Journey, 1960s to the Present,” is on display at the Brandywine Museum of Art through Sept. 22. Brandywine is the fourth and final stop for the exhibition, which was organized by The Phillips Collection in Washington, D.C., and the Telfair Museums in Savannah, Georgia.

“I wanted to talk about the Black church and what influence they had on the culture,” Stewart said of his post-Katrina work in New Orleans. “This organ, the music and everything corresponds. It all comes together. I just wanted to show the devastation of churches and the music and the culture.”

Music is elemental to Stewart’s practice. He was the long-time photographer for the Savannah Music Festival, and for 30 years he was the senior staff photographer for Jazz at Lincoln Center Orchestra, which paired him with artistic director and Grammy-winning musician Wynton Marsalis.

“He’s like my brother,” said Stewart, whose exhibition includes “Stomping the Blues,” a 1997 photograph of Marsalis leading his orchestra off the stage during a world tour of his Pulitzer Prize-winning jazz oratorio “Blood on the Fields.”

Stewart, who was born in Nashville, Tennessee, and grew up in Memphis, Tennessee, and Chicago, has his own ties to jazz and blues. His stepfather, Phineas Newborn Jr., was a pianist who worked with the likes of musicians Lionel Hampton, Charles Mingus and B.B. King.

Describing himself as a child of the “apartheid South,” Stewart has drawn inspiration from photographers such as Ernest Cole and Roy DeCarava, who was among Stewart’s instructors at New York’s Cooper Union, where Stewart received a bachelor of fine arts degree. DeCarava’s photographs of 1950s Harlem led to a collaboration with Langston Hughes on the 1955 book, “The Sweet Flypaper of Life.”

Cole, a South African photographer, achieved acclaim in 1967 with “House of Bondage,” the first book to inspire Stewart. It chronicled apartheid using photographs he smuggled out of the country. Cole was never able to replicate his early success and fell on hard times before dying at age 49 in New York City. A documentary about him, “Ernest Cole: Lost and Found,” premiered at this year’s Cannes Film Festival.

“He came to New York and he was homeless in New York, so I would see him on the street and we would talk,” said Stewart, who is quick to draw a distinction between his work and Cole’s.

“I consider myself an artist more than a documentarian,” explained Stewart, who attended the School of the Art Institute of Chicago before enrolling at Cooper Union and was a longtime friend and collaborator of artist Romare Bearden.

That’s not to say Stewart doesn’t have journalistic instincts in his blood. He recounts a work history that includes the Chicago Defender, the largest Black-owned daily in the country at the time, and stringing for Ebony, Essence and Black Enterprise magazines. He looks back less fondly on a short stint of large-format work photographing fine art for brochures and catalogs, an undertaking he described as “tedious.”

Through it all though, Stewart has maintained an artistic approach to his work, looking to combine pattern, color, tone and space in a visually appealing manner while not leaving the viewer searching for the message.

“It has to still be ‘X marks the spot,'” he explained. “It still has to be photographic. It can’t be just abstract.”

Or maybe it can. How else to explain the color and texture seen in “Blue Car, Havana” from 2002?

“It’s all about abstract painting,” Stewart said in wall text accompanying the photo.

The retrospective shines a light on how Stewart’s work has evolved over time, from early black-and-white photographs to his more recent prints, which feature more color.

“It’s two different languages,” he said. “English would be the black and white. French would be the color.”

“I worked in color the whole time, I just didn’t have the money to print them,” he added.

While photography can inform people about the world around them, Stewart has noted there is a gulf between the real world and a photograph.

“Reality is a fact, and a photograph is another fact,” he explained. “The map is not the territory. It’s just a map of the territory.”
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HOUSTON — The gold bikini-style costume that Carrie Fisher wore as Princess Leia while making “Return of the Jedi” in the “Star Wars” franchise has sold for $175,000, according to the auction house that handled the sale.

The costume was made famous when Fisher wore it at the start of the 1983 film when Leia was captured by Jabba the Hutt at his palace on Tatooine and forced to be a slave.

The costume, one of the most memorable in the ” Star Wars ” movies, was sold on Friday by Dallas-based Heritage Auctions.

Joe Maddalena, Heritage’s executive vice president, said the costume that was sold was one that was screen tested and worn by Fisher on the movie’s set but ultimately did not make it onto the final version of the film as it was switched out for one that was more comfortable.

The auction house said the costume sparked a bidding war among collectors.

Maddalena said he wasn’t surprised by the attention bidders gave to the costume as well as to a model of a Y-wing fighter that took on the Death Star in the original “Star Wars” film that sold for $1.55 million. He said “Star Wars” and “Star Trek” have very avid fan bases.

“The power of ‘Star Wars’ proves itself again. These movies are just so impactful,” Maddalena said.

In a November 2016 interview with NPR’s “Fresh Air,” Fisher said wearing the costume was not her choice.

“When (director George Lucas) showed me the outfit, I thought he was kidding and it made me very nervous. I had to sit very straight because I couldn’t have lines on my sides, like little creases. No creases were allowed, so I had to sit very, very rigid straight,” said Fisher, who died about a month after the interview.

Richard Miller, who created the costume, said in an interview that’s included in a “Star Wars” box set that he used soft material to build the costume so that Fisher could move around more freely.

“However, she still didn’t like it. I don’t blame her,” said Miller, who was the chief sculptor for Industrial Light & Magic, the visual effects company founded by “Star Wars” creator George Lucas. “I did put leather on the back of it to help it feel better.”

The costume had its share of critics, who thought it sexualized Fisher for the franchise’s male fan base.

In “Interview” magazine in 2015, Fisher told actor Daisy Ridley, who starred in “Star Wars: The Force Awakens,” “You’re going to have people have fantasies about you. That will make you uncomfortable, I’m guessing.” She pushed back against the idea of being a sex symbol and told Ridley to “fight for your outfit.”
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HONG KONG — Three of the world’s top auction houses are racing to expand in Hong Kong, eager to woo young Asian buyers even as the global art market retreats from pandemic-era highs.

In the span of two months, Sotheby’s, Christie’s and Bonhams will each see the culmination of yearslong efforts to upgrade their regional headquarters in the southern Chinese city.

Sotheby’s on Thursday unveiled showrooms at an upscale mall in Hong Kong’s finance district, a two-story space previously occupied by fashion label Giorgio Armani.

“We envision for this state-of-the-art space in Hong Kong to be the epicenter of culture for global visitors,” managing director of Asia Nathan Drahi said at the opening.

“We are very confident in the prospect of Hong Kong because it possesses some strong fundamentals for our industry,” he told AFP, pointing to the favorable tax framework.

Nearby, Christie’s is gearing up for a September opening at a new skyscraper designed by Zaha Hadid Architects, with its total floor space doubling to 4,600 square meters.

“Asia has been the pillar of the company,” said Francis Belin, president of Christie’s Asia Pacific.

“But we didn’t have the physical tool, the infrastructure … to actually be at the level of our ambitions.”

The firms are “putting their bets down and saying Hong Kong is the center for Asia,” according to art adviser Patti Wong — but she said the expansions come with risk.

‘An ideal base’

Hong Kong’s biggest auctions of the year are held every spring and autumn at the city’s convention and exhibition center — an intense four months that build hype and draw visitors.

With new in-house venues, events will be more spread out.

“This is a big test for Hong Kong and whether we can develop into a more mature auction market [with] visitors throughout the year,” Wong said.

Global art sales have slowed since Christie’s and Sotheby’s first announced their Hong Kong expansion plans in the heady days of 2021 and 2022.

This year, Christie’s reported $2.1 billion in sales in the first six months — the second consecutive year of decline — down from its 2022 peak of $4.1 billion.

Wendy Goldsmith, a London-based art adviser and former Christie’s auctioneer, cited China’s real estate crisis as a major factor.

“[Asian collectors] are currently taking a bit of a breath buyingwise but the interest and appetite to collect is still there,” Goldsmith told AFP.

“Auction houses know that they’ll be back … and probably stronger than ever.”

Bonhams, which will move to a 1,765-square-meter location at a new office building in September, said it found success targeting transactions under 10 million Hong Kong dollars ($1.3 million).

“This segment has proven resilient despite broader economic uncertainties and represents a huge opportunity in Asia,” said Julia Hu, Bonhams’ managing director for Asia.

Hong Kong remained “an ideal base for tapping into other major Asian cities,” Hu added, citing its strategic location, efficient logistics, collector base, and tax and legal frameworks.

Young buyers

New York-based Phillips, another auction house, opened its regional headquarters next to Hong Kong’s museum of visual culture in 2023.

The companies are unfazed by Hong Kong’s political environment, even as critics say a crackdown by Beijing has chilled artistic freedoms, said cultural policy scholar Patrick Mok.

“The companies that operate in Hong Kong’s art market are rather apolitical … they know those [political] works can’t fetch good prices here,” Mok said.

Auction houses are now competing for younger buyers and embracing online bidding — a shift accelerated by the pandemic.

Christie’s said 29% of buyers in the first half of 2024 were millennials or Gen Z.

“Auction houses turned on a dime during COVID … [They] are marketing machines now,” said Goldsmith, adding that auctions have been spiced up to resemble Hollywood productions.

“[They] are more than willing to provide these events, lectures, dinners, viewings … all to conjure up the next bid.”

The opportunity — and challenge — of the Hong Kong venues will be to bring internet-native buyers into the real world.

But Hu from Bonhams was confident, saying that showroom auctions are irreplaceable.

“Our clients still crave the sheer thrill and excitement of being physically present,” she said. 
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NEW DELHI — The Charaideo Moidam royal burial complex and shrines, built by northeast India’s Ahom dynasty, has been inscribed as a new World Heritage Site, the United Nations’ cultural agency said on Friday. 

UNESCO experts, who are deliberating on a list of sites nominated for the World Heritage Site tag, announced the decision in Indian capital New Delhi, where they are holding their 46th session. 

The Charaideo Moidams, located in Assam state, are a mound burial system that served as a resting place for Ahom kings and queens. They were constructed by providing an earth cover over a hollow vault made of bricks, stone or earth. 

The designated site contains 90 modiams of different sizes, which were created over a period of 600 years, and include other cultural features like ceremonial pathways and bodies of water, said a spokesperson from ICOMOS, the advisory body of the World Heritage Committee. 

“The moidams are an exceptional example of an Ahom necropolis that represents funeral traditions and associated beliefs in a tangible way,” they said. 

The Ahom clan established their capital in different parts of the Brahmaputra River Valley between the 12th to 18th century, after migrating from China, according to the U.N. cultural agency’s website. They established the first capital at the Patkai hills in eastern India and named it Charaideo, which means “a dazzling city above the mountain” in their language. Even though the clan moved across cities, the burial site they built was seen as the most sacred place for the departed souls of the royals. 

Experts say the shrines showcase the architecture and expertise of Assam’s masons, comparing them to the royal tombs of China and the pyramids of the Egyptian Pharaohs. 

The site has the largest concentration of these vaulted mound burials, according to UNESCO, and reflects the sculpted landscape of the surrounding hills. 

India is now home to 43 World Heritage Sites. 

Other sites inscribed on Friday included the Colonies of the Moravian Church in Germany, the U.S. and U.K.; the Umm Al-Jimal in Jordan and the Badain Jaran Desert in China. 

The committee also inscribed the Monastery of Saint Hilarion, in the archeological site of Tell Umm Amer in the Gaza Strip, on both the World Heritage List and on the List of World Heritage in Danger. It said the decision recognized the site’s value and the need to protect it given threats posed by the conflict in the Gaza Strip. 
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SAN JUAN, Puerto Rico — Puerto Rico’s governor on Wednesday signed a law that prohibits discrimination against people wearing Afros, curls, locs, twists, braids and other hairstyles in the racially diverse U.S. territory.

The move was celebrated by those who had long demanded explicit protection related to work, housing, education and public services.

“It’s a victory for generations to come,” Welmo Romero Joseph, a community facilitator with the nonprofit Taller Salud, said in an interview.

The organization is one of several that had been pushing for the law, with Romero noting it sends a strong message that “you can reach positions of power without having to change your identity.”

While Puerto Rico’s laws and constitution protect against discrimination, along with Title VII of the Civil Rights Act, a precedent was set in 2016 when a U.S. Court of Appeals dismissed a discrimination lawsuit and ruled that an employer’s no-dreadlock policy in Alabama did not violate Title VII.

Earlier this year, legislators in the U.S. territory held a public hearing on the issue, with several Puerto Ricans sharing examples of how they were discriminated against, including job offers conditional on haircuts.

It’s a familiar story to Romero, who recalled how a high school principal ordered him to cut his flat top.

“It was a source of pride,” he said of that hairstyle. “I was a 4.0 student. What did that have to do with my hair?”

With a population of 3.2 million, Puerto Rico has more than 1.6 million people who identify as being of two or more races, with nearly 230,000 identifying solely as Black, according to the U.S. Census.

“Unfortunately, people identified as black or Afro descendant in Puerto Rico still face derogatory treatment, deprivation of opportunities, marginalization, exclusion and all kinds of discrimination,” the law signed Wednesday states.

While Romero praised the law, he warned that measures are needed to ensure it’s followed.

On the U.S. mainland, at least two dozen states have approved versions of the CROWN Act, which aims to ban race-based hair discrimination and stands for “Creating a Respectful and Open World for Natural Hair.”

Among those states is Texas, where a Black high school student was suspended after school officials said his dreadlocks fell below his eyebrows and ear lobes, violating the dress code.

A March report from the Economic Policy Institute found that not all states have amended their education codes to protect public and private high school students, and that some states have allowed certain exceptions to the CROWN Act.

A federal version was passed by the U.S. House of Representatives in 2022, but it failed in the Senate. In May, Democratic lawmakers reintroduced the legislation.
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