In the Syrian conscience, April is not limited to World Heritage Day, celebrated on 18 April. Rather, the month unfolds as an entire season of cultural rebirth, spanning from the ancient roots of Akitu to the solemnity of Easter and the feast of St. George, as well as the commemoration of the 1915 massacre and Syria’s Independence Day.<\/p>\n
In a time full of memories, the restoration of Syrian symbols emerges as an act of protecting identity. It repairs the cracks of time and restores the spark of deep history in sacred figures, declaring that protecting this heritage is not a cultural luxury, but a struggle for survival carried out quietly by Syrian hands.<\/p>\n
In this context, visual artist and restorer Lia Snyaz shared with EWTN News’ Arabic-language sister service, ACI MENA, the path that led her to this fragile region. He said that while attending an exhibition it was a shocking experience to see icons burnt, damaged by bullets or covered with layers of black residue. That moment inspired her to learn more deeply about restoration, before she later specialized in the field academically through a master’s degree in Russia.<\/p>\n
Sneyz said the restoration brings together history, chemistry and art, and said protecting an icon is, at its core, protecting history.<\/p>\n
Visual artist and restorer Lia Snyaz. | Credit: Lia Snyaz<\/p>\n<\/div>\n
Regarding the restoration process, he emphasized that documentation is the most important step and accompanies every stage of the work. Each detail is recorded in a special file that resides with the icon, almost like its “personal identity card”.<\/p>\n
He explained that the work begins with studying the history of the piece and its artistic background before devising an accurate restoration plan. That said, not every icon needs restoration; Some require only conservation and measures to prevent further degradation. Each icon has its own condition, making restoration similar to medical treatment, with each case requiring a different diagnosis.<\/p>\n
Sneyz said the main steps of restoration include stabilizing the paint layer using special materials such as “Japanese paper”, followed by cleaning and sterilization. He described this as a very delicate step, as one mistake could spoil the color. The process then continues with improvements and adding a new protective layer.<\/p>\n
Assessing the current state of icons, Sneyz said that the biggest threat is the lack of attention they receive. Many historic icons, he said, are sold at very low prices outside Syria, while original icons are rarely found in homes, where printed reproductions are more common.<\/p>\n
He also criticized the negligence of some churches when it comes to restoring their icons. She recalled an incident in Lebanon, where she found two historical icons kept in poor condition inside a damp warehouse, before she restored them.<\/p>\n
Sneij also warned against daily practices that damage icons, such as placing candles directly beneath them or cleaning them with materials not meant for that purpose.<\/p>\n
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<\/p>\nIcon of Christ Pantocrator restored by artist Lia Snyaz. | Credit: Lia Snyaz<\/p>\n<\/div>\n
Despite the challenges \u2013 including the difficulty of obtaining restoration materials and their high cost \u2013 Sneyz said he is committed to this path. He said his passion sometimes leads him to work for free to preserve endangered works of art.<\/p>\n
Last month, he participated in an exhibition organized by the Greek Orthodox Church in Damascus, where he displayed two historical icons he had restored. One was a Russian icon of St. Nicholas, while the other had four parts depicting the Virgin Mary, with a crucified Jesus in the center.<\/p>\n
Sneyz said what surprised him most about the event was not the exhibit itself, but the level of interest shown by visitors and the number of questions asked about the history of the symbols and restoration techniques. For him, it reflects a wonderful and genuine desire among the people to rediscover this heritage.<\/p>\n
He concluded by saying that Icon has taught him to respect artistic work and serious research, and it has transformed his expertise into a personal commitment that goes beyond the boundaries of a profession.<\/p>\n