The MET's Repatriation of Stolen Artefacts: A Step Towards Indian Cultural Justice

 

In a historic move, the Metropolitan Museum of Art (MET) in New York City recently made headlines by returning 15 ancient Indian artefacts, valued at Rs 9.87 crore, to their rightful home: India. This decision sheds light on the long-standing issue of stolen relics from India, which were plundered during the colonial era and found their way into Western museums. While international museums are obligated to trace the lineage and provenance of their acquisitions, the presence of legal loopholes has allowed museum authorities to exploit these gaps for personal gain. 

The Metropolitan Museum of Art
Source: The MET

Valued at over $1 million, the repatriated artefacts included West Bengal's Yakshi Terracotta and Madhya Pradesh's sandstone Celestial Dancer (Apsara). Additionally, a ceramic pot from Chandraketugarh dating back to the 1st century B.C.E. and a stone bust of Kamadeva, the God of Love, from the second half of the 8th century C.E., were also among the items on the list of repatriated artefacts. 

An investigation by The Indian Express, in collaboration with the International Consortium of Investigative Journalists (ICIJ) and Finance Uncovered, revealed shocking details about the MET's collection. A total of 77 antiquities in their possession were found to have connections to Subhash Kapoor, including 59 paintings without proper documentation or provenance. In response, the New York Supreme Court issued a search warrant against the MET, placing the museum in a precarious position. The MET's involvement in a high-profile scandal involving art smuggling and illegal acquisitions has brought to the forefront the murky world of the global art trade.

Subhash Kapoor, an Indian American art dealer, was at the centre of this illicit operation, using his Manhattan Art of the Past gallery as a front for smuggling South Asian artefacts. His criminal activities came to the forefront when idols were illegally exported from the Varadharaja Perumal temple in Kanchipuram, Tamil Nadu. In a significant breakthrough, Kapoor was arrested by Interpol in Germany in 2011, heralding a turning point in the global battle against art smuggling.

A headshot of Kapoor
Source: India Times

In a bid to rectify their role in this illicit trade, the MET made the commendable decision to return 16 artefacts, including the exquisite 11th-century sandstone sculpture known as the Celestial Dancer, to India.  The repatriated artefacts are now under the custodianship of the Archaeological Survey of India (ASI), which will verify their origins and document their history. This follows a positive trend of repatriation efforts, with the Yale Museum having previously returned 13 Indian artefacts linked to Subhash Kapoor. 

A 10th-century statue of Kubera, a god of wealth, returned to India by a Yale Museum
Source: New York Times

With the return of these 15 precious Indian artefacts, the MET's chapter of redemption reaches a climactic crescendo. As we grapple with questions surrounding colonial history and cultural identity, the return of these treasures rekindles a sense of justice long overdue. Its actions signify an acknowledgement of their involvement in acquiring these treasures through illicit means and a commitment to correcting past mistakes while advocating for the rightful return of stolen art. This marks a significant step towards cultural justice. 

However, in a world where art is bought, sold, and hidden away, how can we protect the essence of indigenous cultures? How can we strike a delicate balance between the pursuit of knowledge and the ethical imperative to right historical wrongs? Can the simple act of returning stolen artefacts mend the shattered bonds of history and restore justice to nations robbed of their cultural treasures?

The burdens that lie upon museums to unearth truth's buried treasures, confront the haunting spectres of history, and mend the fractures caused by the sins of their acquisitions are immense. But will they rise to the occasion, embracing their role as custodians of cultural heritage with unwavering resolve? Will they dismantle the structures of exploitation and ensure that the rightful place of artistic treasures within human history is secured? 

As these questions linger, we, as a community, must engage in a profound exploration of our interconnected histories, driven by a deep appreciation for the transformative power of art, thereby building a future that values and respects the diverse cultural heritage that defines us all.

By Anjali Batra