Pays où se croisent influences occidentale et arabe, le Liban est un laboratoire heuristique pour analyser la question patrimoniale. Son système politique confessionnel, sa société communautaire et sa situation stratégique au Moyen Orient en font un enjeu géopolitique. La construction nationale a approprié le regard orientaliste pour postuler une identité libanaise assise sur des mythes fondateurs ; elle a mobilisé les Libanais autour des valeurs communes de la nation afin de diluer les identités communautaires. La guerre civile a réactualisé ces identités et les communautés se sont emparées de leurs particularismes religieux au profit des acteurs divers qui s’affrontent au Moyen Orient et qui instrumentalisent la carte communautaire libanaise dans leurs confrontations. Le Liban a traversé deux périodes de construction identitaire : nationale et communautaire ; chacune de ces périodes a sécrété un patrimoine particulier. À Baalbek, ville connue par l’Occident à travers les récits des voyageurs, la construction nationale désigne le site archéologique comme patrimoine national. Or, ce site se caractérise par une sédimentation de couches culturelles qui sollicite une lecture patrimoniale différente selon des échelles : alors que le regard occidental y voit des temples romains, la population locale y voit une Qalaa (citadelle) arabe. Entre la romanité et l’arabité du site, l’État libanais a opté pour sa dimension phénicienne qui affirme que les Libanais sont les descendants des Phéniciens. Avec la remontée du pouvoir communautaire chiite dans la ville, un nouvel objet patrimonial émerge : le mausolée de Sit Khawla répond par son référentiel identitaire et la dynamique économique qu’il induit dans la ville, aux aspirations de la population locale recomposée communautairement. Il s’ensuit deux pôles patrimoniaux qui coexistent dans l’espace de Baalbek. Cette bipolarité patrimoniale renvoie à des enjeux, des logiques d’acteurs et des acceptions du patrimoine que cette thèse s’attache à analyser. / A country influenced by both the Western and Arab world, Lebanon is a heuristic laboratory to analyze heritage questions. Its confessional political system, community social structures and strategic location in the Middle East contribute to make it an important geopolitical stake. The Lebanese nation-building process appropriated the Orientalist gaze to force a national identity based on several founding myths. It sought to gather the Lebanese around national common values, and so weaken the community identities by promoting the image of a socio-cultural mosaic. The civil war refreshed these identities, and the communities seized their specific religious particularisms, which the regional powers in the Middle East manipulated for their power game. Lebanon witnessed two periods of identity-building: national and community, each of them inventing a particular heritage object. In Baalbek, a city that was familiar to the West thanks to travellers, nation-building process appointed the archaeological site as a national heritage. However, the site is characterized by sedimentation of several cultural layers, each participating in different scales of heritage interpretation: while the Western gaze sees Roman temples, the local gaze sees an Arab Qalaa (citadel). In addition to the Roman and Arab identity of the site, the Lebanese state stressed its Phoenician dimension favourable to its national discourse which affirms that the Lebanese are the descendants of Phoenicians. With the rise of Shiite community power in the city, a new heritage object attracts the local level: the mausoleum of Sit Khawla responds to the aspirations of local population, by its referential identity and its economic dynamics which it has induced in the city, now recomposed on a community basis. As a result, two heritage centres coexist in Baalbek’s space. This bipolarity underlines heritage issues, the actors’ logics and the different significance of the conception of heritage, which this thesis attempts to analyze.

Der Bauschmuck des Jupitertempels in Baalbek ist durch sechs noch stehende Säulen mitsamt Gebälk sowie durch zahlreiche im Gelände verstreute Fragmente bezeugt. Durch die hier vorliegenden Untersuchungen konnten nun erstmals auch Fragmente nachgewiesen werden, die zum Aufbau der ansonsten verlorenen Tempelcella gehörten. Über eine möglichst umfassende Katalogisierung konnte der Materialbestand weit über das bisher bekannte Maße gesichert werden, so daß zum Beispiel mit 23 statt der in der Forschung bisher üblichen 2 Kapitelle gearbeitet werden konnte. Der Fokus der Arbeit liegt zunächst auf der Darstellung und Beschreibung des Tempels sowie seiner kulturellen und bauhistorischen Verortung in Baalbek selbst. Als feste Referenzpunkte außerhalb der Stadt wurden der Mars-Ultor- Tempel in Rom sowie der Bel-Tempel von Palmyra gewählt. Durch diese Vergleiche und durch einen erstmals in der Forschungsgeschichte vorgenommenen Vergleich der einzelnen Ornamentzonen untereinander konnte eine neue Datierung vorgenommen werden, wodurch der Aufbau und die Fertigstellung des Baus in die 2. Hälfte des 1. Jhs. n. Chr. zu rücken sind. Die Interpretation der Architekturornamentik führte zu mehreren, zum Teil völlig neuen Ergebnisse. Der große und schon vielfach bemerkte Reichtum in der Ausarbeitung des Bauschmucks zeigt das große Können, ein umfangreiches Repertoire und vor allem eine große Freiheit der ausführenden Steinmetzen, die wohl eher lokaler Abstammung waren. Darüber hinaus ist der extra für den Tempel entworfene Fries eine politische Aussage der Colonia Beirut/Heliopolis, mit dem die neu erworbene Stellung im Machtgefüge der levantinischen Städte demonstriert werden soll. Die immer wieder auftretende Unfertigkeit bei der Fertigstellung der Ornamentik ist systematisch und läßt sich mit den umfassenden finanziellen Problemen im römischen Steuerwesen beim Übergang zwischen der neronischen und der flavischen Epoche begründen. / The architectural decoration of the temple of Jupiter in Baalbek is testified by six still standing columns with their entablature and numerous fragments in the area around. This study presents for the first time also fragments from the construction of the otherwise lost cella of the temple. By building a nearly complete catalog of the fragments it was possible to secure the material stock far beyond it was known by now, so for example it was possible to work with 23 instead of the 2 capitals that had been used in former research. The mainly focus of the work is on the representation and description of the temple and its cultural and architectural location in the city of Baalbek. The temple of Mars-Ultor in Rome and the temple of Bel in Palmyra were chosen as fixed reference points. Through these comparisons and through a comparison of the individual ornamental zones with each other for the first time in the history of research, a new dating could be established, which places the construction and completion of the building in the 2nd half of the 1st century AD. The interpretation of architectural ornamentation led to several completely new results. The great and already noticed wealth in the elaboration of architectural ornamentation shows the great skill, an extensive repertoire and above all a great freedom of the executing stonemasons, who were probably of more local origin. Furthermore the frieze was specially designed for the temple and is a political statement of the Colonia Beirut/Heliopolis, which is intended to demonstrate the newly acquired position in the administratic structure of the Levantine cities. The recurrent incompleteness in the ornamentation is systematic and can be explained by the financial problems in the roman state finances during the transition between the Neronic and Flavian eras.The architectural decoration of the temple of Jupiter in Baalbek is testified by six still standing columns with their entablature and numerous fragments in the area around. This study presents for the first time also fragments from the construction of the otherwise lost cella of the temple. By building a nearly complete catalog of the fragments it was possible to secure the material stock far beyond it was known by now, so for example it was possible to work with 23 instead of the 2 capitals that had been used in former research. The mainly focus of the work is on the representation and description of the temple and its cultural and architectural location in the city of Baalbek. The temple of Mars-Ultor in Rome and the temple of Bel in Palmyra were chosen as fixed reference points. Through these comparisons and through a comparison of the individual ornamental zones with each other for the first time in the history of research, a new dating could be established, which places the construction and completion of the building in the 2nd half of the 1st century AD. The interpretation of architectural ornamentation led to several completely new results. The great and already noticed wealth in the elaboration of architectural ornamentation shows the great skill, an extensive repertoire and above all a great freedom of the executing stonemasons, who were probably of more local origin. Furthermore the frieze was specially designed for the temple and is a political statement of the Colonia Beirut/Heliopolis, which is intended to demonstrate the newly acquired position in the administratic structure of the Levantine cities. The recurrent incompleteness in the ornamentation is systematic and can be explained by the financial problems in the roman state finances during the transition between the Neronic and Flavian eras.