13.11.2024
6 Dakika
In the tapestry of human existence, the concept of “home” is a thread woven into the very fabric of our being. It’s a place where we feel safe, connected, and at peace. It’s the place where we belong. This notion extends beyond our personal dwellings, and even our homeland, to encompass cultural heritage, the collective memory that has been passed down through generations.
Artifacts, as the tangible expressions of this heritage, are more than just objects. They are the witnesses to history, keepers of stories, symbols of identity, and anchors to a shared past. Thus, their meaning and significance are inextricably linked to their place of origin. The context in which they were created, the people who crafted them, and the landscapes they inhabited all contribute to their unique identity. So, when removed from their original context, artifacts lose a part of their essence. They become detached from the stories, the people, and the landscapes that shaped them. In short, they are displaced from their “home.”
In this light, the repatriation of cultural properties as part of cultural heritage, that is in practice, an artifact being returned to its country of origin, is not merely a legal matter, it’s also a profound act of homecoming. When artifacts return to their countries of origin, they are reunited with their history and their cultural identity which can offer a sense of closure, healing, and reconciliation.
The illicit trafficking of cultural heritage is a global crisis that threatens the preservation of our shared history. UNESCO’s International Day against Illicit Trafficking in Cultural Property is an important opportunity to raise awareness about this issue and to advocate for the return of stolen or misplaced artifacts. By understanding the significance of cultural heritage and supporting efforts to protect it, we can help ensure that future generations have the opportunity to connect with their past and build a stronger sense of belonging.
The repatriation of cultural properties, an important step in protecting cultural heritage, is a testament to the enduring power of history and the unwavering spirit of lands to reclaim their past. In recent years, Türkiye has witnessed a significant resurgence of its cultural heritage, as countless artifacts have been returned to their rightful home, as can be seen from the select few we will introduce below. These ancient works of art, once scattered across the globe, now stand as symbols of resilience, unity, and the enduring legacy of Anatolian civilizations. Their return not only strengthens Anatolia’s cultural heritage but also serves as a powerful symbol of hope in the face of illicit trafficking.
Dating back to the Middle Chalcolitic Period (4500-4200 BC), the Kilia-type idols are named after the first one discovered near Kilia Bay, south of the Gallipoli Peninsula. Notably, they were produced exclusively in the prehistoric settlement at the site of modern-day Kulaksızlar Village in Manisa.
This monumental life-sized bronze statue of the Roman Emperor Lucius Verus, who ruled between 161-169 AD, was discovered at the ancient city of Boubon, located on Dikmen Hill at Gölhisar, Burdur. Studies indicate that it was found in the city’s Sebasteion—the Roman structures built to honor deified emperors. What makes this statue even of more significant is that it is a rare life-sized bronze artifact that has survived to this day, since many of the ancient bronze sculptures did not survive, as they were melted down and reused as raw material.
This intriguing bust, measuring 54 cm in height and dating to the 2nd century AD, was also discovered at the ancient city of Boubon. It depicts a woman, likely in her thirties, with her arms and hands elegantly wrapped inside her tunic. Her face is softly rounded, her eyes large and gentle, her nose is distinctly shaped. Her hair is combed in soft waves and loosely braided into a bun at the back of her head.
This fine example of portrait-like emperor heads, recently returned to Türkiye, was discovered at the theater of the Perge Archaeological Site. It is believed to be the missing piece of one of the headless Roman emperor statues found in Perge, currently on display at the Antalya Museum. Analysis reports suggest that the bodies of the emperor statues were carved in earlier periods and that the heads were reworked in the 3rd century AD, during the Roman Tetrarchy.
If these artifacts, successfully returned to their home have piqued your interest, you might also be interested in visiting the “No Way Out!” exhibition that has been travelling museums all around Türkiye, such as the Anatolian Civilizations Museum, Antalya Museum, Troy Museum, Zeugma Mosaic Museum, and Van Museum, since 2013 to showcase these and many other repatriated artifacts, together with the stories of their journey and of the endeavors of Turkish authorities.
