India’s Ongoing Efforts to Repatriate Cultural Artefacts Gain Momentum
In recent years, India has been actively pursuing the repatriation of its cultural and historical artefacts, garnering significant success in its mission. While the spotlight has often been on the famed Koh-i-Noor diamond, the country’s broader endeavors have yielded noteworthy outcomes. Indian Prime Minister Narendra Modi has spearheaded these efforts since 2014, making it a personal mission to reclaim priceless treasures, including numerous manuscripts that were taken during or after the colonial era. By securing the return of less controversial artefacts from various nations, India has strategically strengthened its moral argument for the restitution of the renowned diamond.
Modi’s diplomatic initiatives have proven fruitful, resulting in the retrieval of cultural artefacts during his visits to countries such as Canada, Australia, and the United States. Emphasizing the importance of collaboration within the framework of existing international arrangements, India has sought cooperation in the repatriation of manuscripts. This approach has yielded significant dividends, as exemplified by Modi’s return from the United States in 2021 with 157 repatriated artefacts. Among the collection were figurines associated with Hinduism and Buddhism, comprising half of the retrieved items. Additionally, Australia returned 29 Indian-origin artefacts, including sculptures, paintings, photographs, and a ninth-century scroll, which were illegally taken from India. Last year, Glasgow Museums made a significant decision by returning seven stolen artefacts, including 14th-century carvings and 11th-century stone door jams, to India—marking the first repatriation from a UK museum.
The Ashmolean Museum in Oxford has reportedly been approached regarding the restitution of a bronze idol taken from a temple in southern India. Claims for repatriation have also been directed towards institutions such as the British Museum, the V&A, and the National Trust. While certain larger museums face legal constraints on repatriation, charities like the National Trust are not bound by such restrictions.
Often at the heart of India’s disputes are statues and paintings of Hindu and Buddhist deities, which carry immense religious significance. These objects are considered sacred, cherished by generations before being taken away, and are of immense importance to the nation’s history, culture, and identity. Such arguments align closely with Modi’s domestic political objective of portraying himself as the sole protector and custodian of India’s rich cultural heritage.
Simultaneously, India’s campaign to reclaim its stolen heritage resonates with evolving attitudes in several European countries. In 2020, the Netherlands returned 1,500 looted treasures to Indonesia, its former colony, while Germany repatriated 21 Benin bronzes to Nigeria, thereby increasing pressure on the British Museum to follow suit. French President Emmanuel Macron has also initiated discussions on returning colonial objects to African nations, with France already having returned 26 historical items to Benin in 2021.
The sentiment that stolen artefacts must be returned carries an undeniably powerful resonance. India has astutely exploited this sentiment in its pursuit of the ultimate prize: the repatriation of the Koh-i-Noor diamond. However, this battle proves to be considerably more challenging due to fiercely disputed claims of ownership involving the governments of Pakistan, Afghanistan, and Iran. Britain maintains that it acquired the diamond legally through a treaty in 1846, and it currently forms part of the crown jewels. The Historic Royal Palaces’ press release, preceding a forthcoming display of the crown jewels at the Tower of London, concedes some ground by describing the diamond as “a symbol of conquest.” India finds encouragement in such acknowledgments.
While critics may argue that India’s present-day rulers exploit colonial-era injustices for their political gain, the core argument for the restitution of cultural treasures remains compelling. It
