There is a modest Greek artistic presence that has appeared over the centuries in various parts of the vast Arabian Peninsula. The site of Ad-Dur occupies a prominent place in the series of archaeological sites that have been revealed by ongoing excavations in the United Arab Emirates; it is part of the emirate of Umm Al Quwain, and is adjacent to the modern road that connects Ras Al Khaimah and Sharjah. Large groups of finds of various shapes and techniques have been found at this site, including a group that bears a classical Greek character that is evident in its themes and in its style.

                  Three artifacts from the site of Ad-Dur in Umm Al Quwain


The site of Al-Dur came out of obscurity in the early 1970s, and its ruins appeared when four European excavation missions began working there during the period from 1987 to 1995. It turned out that these ruins date back to a settlement containing a fort, a temple, and buildings, dating back to the period extending from the third century BC to the first century AD. This settlement is located on a shallow creek known as Khor Al-Baida, and occupies an area of ​​about 5 square kilometers, and forms an extension of one of the most prominent sites in the Emirates, the site of Mleiha, which today belongs to the Emirate of Sharjah. These two sites are distinguished by their multiple cultural links, and this diversity is evidenced by the different groups of finds that came out of them, including those that reflect a clear Greek influence.

The site of Dur contains a semi-square temple, characterized by two entrances facing each other on the east and west sides. Surveys of this temple revealed a group of finds, including two metal pieces made of bronze, each of which originally formed the base of a statue whose trace has been lost. One of these bases appears circular in shape and is devoid of any decoration. The other appears cubic, is 9.5 centimeters wide, and is distinguished by the presence of a human bust in the middle of its facade. This statue follows the technique of relief carving, and depicts a beardless young man in a confrontational position, wearing what is known as the toga, which is the clothing of the ancient Roman Empire’s citizens, excluding slaves, and consists of a white robe of varying lengths, wrapped around the body in the form of a cloak.

This trend flows over the shoulders, revealing the upper edge of the chest. The face rests on a broad, short neck that rises in the middle of these shoulders. The features are classical, and follow the realistic embodiment with its sensual anatomical proportions, and are represented by a round face, with full cheeks, a short nose, and small eyes that look forward. This face is topped with thick hair that wraps around the cheeks and hides the ears. This hair consists of circular, spiral, and interconnected strands that give this Greek face an oriental touch. It is difficult to determine the identity of this hairless young man, and it is most likely that he represents only an abstract young man, as we see in the Greek artistic heritage and its Roman extension with its many tributaries.

This Roman influence is present in a group of miniature ceramic pieces that originally formed part of decorative jewelry, including pieces in the shape of bunches of grapes, and pieces in the shape of a fist, in which the thumb appears between the index finger and the middle finger. In this field, a piece stands out representing a woman standing upright, raising her arm upwards towards her slightly bowed head. This miniature model arrived completely, with only the tip of the left arm missing, and it undoubtedly represents Aphrodite, the goddess of love, beauty and seduction in the Greek world.

According to the legend, Aphrodite emerged from the sea and with her incomparable beauty aroused all who saw her. She entered Mount Olympus, the seat of the masters of the universe, arousing the jealousy of her female rivals while the males sought to seduce her. She loved many, including the masters of the heavens and humans, and she was behind many immortal love stories. In the Roman era, she descended from Olympus to the Capitoline Hill, where she was called Venus, and here she lost none of her extraordinary charm. Her name remained synonymous with feminine beauty with its sensual depth. The Latins told new chapters about her in love and charm, and dedicated to her the month of April, when nature always witnesses the renewal of life.

This Roman influence is also present in pieces of red agate, including an oval piece measuring 1.4 cm in length, bearing a carving of a woman standing in profile, with a snake extending horizontally from behind her feet. The woman is wearing a long dress with a belt wrapped around her waist, a large military helmet, a broad oval shield in her right hand, and a long spear in her left hand, which she throws over her shoulder. This warrior clearly represents another of the Olympian ladies, Athena, the goddess of wisdom and power, and the protector of the city that bears her name.

There are many stories about the birth of this lady. The oldest story says that the far-sighted Zeus, the lord of the lords of Olympus and the ruler of those who do not die, took a first wife who belonged to the race before the time of the lords of Olympus, namely Metis, the mother of thought, insight and foresight. She became pregnant by him, and when she was about to give birth, he swallowed her in his stomach, fearing that she would give birth to a son who would destroy him, as he had previously destroyed his father. As soon as he did that, he was struck with a severe headache, so the master blacksmith Hephaestus came to him carrying his axe and struck him on the head with it. Athena emerged from it in full dress and weapons, screaming cries of war. In the literary field as in the artistic field, Athena was known for her military dress, as well as for a number of pictorial symbols, at the head of which was the protective serpent. The lady of wisdom and strength appears in this dress accompanied by this serpent on the red carnelian stone at the site of the Dora.

These small pieces bear witness to the presence of Greek art in this part of the northeastern Arabian Peninsula, an influence that also appears in several sites in Bahrain, such as Failaka Island in Kuwait, and the sites of Qaryat Al-Faw and Thaj in the Kingdom of Saudi Arabia. These evidences form a diverse artistic group, which is contrasted with another group larger in size from ancient Yemen in the south of the Arabian Peninsula. These two groups bear witness to a modest Greek artistic presence that appeared over the centuries in various parts of the vast Arabian Peninsula.