Repatriation (cultural property)

Repatriation is the return of the cultural property, often referring to ancient or looted art, to their country of origin or former owners (or their heirs).

The disputed cultural property items are physical artifacts of a group or society taken by another group, usually in the act of looting, whether in the context of imperialism, colonialism, or war. The contested objects vary widely and include sculptures, paintings, monuments, objects such as tools or weapons for purposes of anthropological study, and human remains.

The looting of defeated peoples' cultural heritage by war has been common practice since ancient times. In the modern era, the Napoleonic looting of art was confiscations of artworks and precious objects by the French army or officials. After Napoleon's defeat, some looted artworks were returned to their country of origin, according the Treaty of Paris, among them the Horses of Saint Mark, repatriated to Venice.

In the early 21st century, debates about the colonial context of acquisitions by Western collections have centered both around arguments against and in favor of repatriations. Since the publication of the French report on the restitution of African cultural heritage in 2018, these debates have gained new international attention and have led to changes regarding the public role of museums and to restitutions on moral rather than merely legal grounds.

War and the subsequent looting of defeated peoples have been common practice since ancient times. The stele of King Naram-Sin of Akkad, which is now displayed in the Louvre Museum in Paris, is one of the earliest works of art known to have been looted in war. The stele commemorating Naram-Sin's victory in a battle against the Lullubi people in 2250 BCE was taken as war plunder about a thousand years later by the Elamites who relocated it to their capital in Susa, Iran. There, it was uncovered in 1898 by French archaeologists.

The Palladion was the earliest and perhaps most important stolen statue in western literature. The small carved wooden statue of an armed Athena served as Troy's protective talisman, which is said to have been stolen by two Greeks who secretly smuggled the statue out of the Temple of Athena. It was widely believed in antiquity that the conquest of Troy was only possible because the city had lost its protective talisman. This myth illustrates the sacramental significance of statuary in Ancient Greece as divine manifestations of the gods that symbolized power and were often believed to possess supernatural abilities. The sacred nature of the statues is further illustrated in the supposed suffering of the victorious Greeks afterward, including Odysseus, who was the mastermind behind the robbery.

According to Roman myth, Rome was founded by Romulus, the first victor to dedicate spoils taken from an enemy ruler to the Temple of Jupiter Feretrius. In Rome's many subsequent wars, blood-stained armor and weaponry were gathered and placed in temples as a symbol of respect toward the enemies' deities and as a way to win their patronage. As Roman power spread throughout Italy where Greek cities once reigned, Greek art was looted and ostentatiously displayed in Rome as a triumphal symbol of foreign territories brought under Roman rule. However, the triumphal procession of Marcus Claudius Marcellus after the fall of Syracuse in 211 is believed to have set a standard of reverence to conquered sanctuaries as it engendered disapproval by critics and a negative social reaction.

According to Pliny the Elder, the Emperor Augustus was sufficiently embarrassed by the history of Roman plunder of Greek art to return some pieces to their original homes.