The war in Ukraine started long before the 24th of February 2022. From 2014 there was the annexation of the Crimean Peninsula and continuing armed conflict in the Donbas region continues. But the southern part of Ukraine is rich for archaeological sites with the ruins of ancient cities in these territories. That is why, The Archeological Association of Ukraine and archaeologists – in late 2020, based on similar publications in other countries – prepared a manual for servicemen about the protection of cultural heritage Archaeological sites and the war. Today the need for this handbook is even more actual and important.
Wherever there was fighting, ancient walls used to build fortifications and ancient mounds became part of the defensive trenches. Of particular concerns are the ‘kurgans’ (tumulus) in the Kherson region, located along highways, which are being actively destroyed by the occupiers, as they set up firing positions on them. One of the most discussed situations was the mining of the approach to Kamyana Mohyla (‘stone grave’) in Zaporizhzhia region, an archaeological site that is currently a candidate to World Heritage List because of its uniqueness.
On the other hand, after the destruction of the cultural layer due to shelling and bombing, archaeological monuments became more vulnerable and exposed to illegal removal. Ukrainian archaeologists are increasingly alarmed at the unprecedented intensification of archaeological looting. The robbery of the Scythian mound in Mykolaiv region is already under the successful investigation of the police. And a hoard of medieval metalwork illegally mailed to the UK, will be exhibited at the British Museum and then returned to Kyiv, when it is safe to do so.
I need also to remind readers that there is increasingly documented evidence of Russian forces illegally removing precious artifacts from Ukrainian museums after occupation. The most discussed example of this was in the Melitopol Museum of Local Lore. At the end of April over 198 pieces of gold jewelry from the Scythian mound (the 4th century B. C.) and 76 gold objects from the Hun and Sarmatian period of the 3-5th century A. D. were illegally removed from the museum by Russian forces.
But the most dangerous threat for Ukrainian archaeological sites is from increasing levels of bombing and shooting. Twice Russian missiles hit Khortytsia. It is not only the largest island of the Dnipro river and the center of the Cossack Zaporizhian Sich, but also the space filled with archaeological sites, ancient mounds and sanctuaries. Thank God, all of them are in safety until this moment. Several times the Archaeological Preserve ‘Pontic Olbia’, an ancient Greek city from the 7th century in the south part of Ukraine, was attacked by missiles but the ruins were not severely damaged.
There has been some unexpected ‘positive’ archaeological news during the war. At the beginning of March, a stucco pot from the Bronze Age was found in the Dnipropetrovsk region by servicemen of the Territorial Defense of the Armed Forces of Ukraine while setting up positions. The find was transferred to the Yavornytskiy Dnipropetrovsk National Historical Museum. Two months later territorial defense fighters in Odessa found ancient amphorae, dating from about 4-5 centuries B.C. These ancient artifacts were handed over to staff at the Odessa Archaeological Museum. We hope these small signs of hope signal the safety of Ukrainian aarchaeological sites during the war but the situation is increasingly serious and all efforts are being made to monitor and evidence the activities of the Russian forces.
This report was written by Viktor Sobiianskyi, a Ukrainian culture manager and theatre curator. He is a graduate of the Karpenko-Kary Kyiv National University of Theater, Cinema and Television and project manager of the Polish Institute in Kyiv. His work includes The Workshops of Polish Choreographs, Directors and Playwrights, The Festival of Young Ukrainian Directors and international workshops, supported by British Council, Czech Center and Austrian Forum.
ICOM UK has commissioned Viktor Sobiianskyi, a Ukrainian cultural manager, to write a series of reports on how the current armed conflict has impacted Ukrainian museums, theatres and creative life.
The views and opinions expressed in this report are those of the author.
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