Between two walls

The Great Wall of China could well be included in the realm of contemporary, conceptual, environmental sculpture.

It was only completed 1,500 years after building commenced in the second century before Christ. It was built to serve as a barrier and to prevent ancient tribes on horseback from penetrating China and harming its citizens. It wasn't built with the aim of making it difficult for farmers to work their land, to expropriate land or to make it difficult for children to reach their schools.

After design and construction rules were set, after measurements for its width and height were concluded, and after the Wall's location on the peaks of a mountain range were determined, the Wall began to ascend and descend the mountain slopes, while topography determined its form, its integration into the landscape, its twists and turns and ultimately its final shape.

As the years went by and the wall lost its original purpose, it became a work of art equal to that of the Egyptian pyramids and the Inca, and some even include it in the Seven Wonders of the World.

A comparison between the Wall we are currently building cannot be avoided. Clearly, the concept of our wall is different and the principles guiding its construction are difficult to explain.

Therefore, it is hardly surprising that the Supreme Court often rejects the arguments, asks for amendments and even rules in favor of dismantling parts of it. It is perceived by world opinion as inhumane, as not serving a security purpose, and as justification for expropriating Palestinian land and abusing the occupants.

Our wall not an artistic wonder

Our wall will never be mentioned in the same breath as the Seven Wonders of the World, and will certainly never be acclaimed for its artistic elements. It is downright ugly and offensive and ruins the landscape - which is a cultural asset and part of our historic heritage.

Ironically, the great wall built by the Chinese for more than a thousand years didn't prevent the Anglo-French invasion of China in 1869, whose destructive remnants are still visible. It appears that the Chinese hosts did not suggest showing the prime minister of Israel what cultured persons can do to those they deem culturally inferior. How after the royal art was looted, they razed Yuanming to the ground, China's then biggest imperial palace, which was the pinnacle of cultural art.

The Chinese loot was shamelessly and proudly displayed in London and later in Paris. The exhibition curator contacted author Victor Hugo and asked him to write an introduction for the exhibition catalog. Hugo complied with the request, but after realizing what was in question, he proceeded to write a shocking indictment that ought to be studied throughout military and diplomatic academies and universities.

"All the treasures of all our cathedrals put together could not equal this formidable and splendid museum (summer Palace) of the Orient… We Europeans are the civilized ones, and for us the Chinese are the barbarians. This is what civilization has done to barbarism… I hope that a day will come when France, delivered and cleansed, will return this booty to despoiled China."

In hindsight, his accusing finger is also pointing at us; we who have often ruined a culture of an occupied people we deemed inferior to us.