「把我們的神還給我們」：尼泊爾被盜藝術品博物館內部

In the heart of Bhaktapur city, Nepal, there exists a remarkable establishment known as the Museum of Stolen Art. This museum is not just an ordinary place; it is filled with numerous replicas of sacred statues that represent the gods and goddesses revered by the people of Nepal. Among these replicas is the statue of Saraswati, the Hindu goddess of wisdom, depicted gracefully seated on a lotus flower. She holds a book, prayer beads, and a veena, a traditional musical instrument, in her four hands. However, it is important to note that this statue, like the others in the museum, is not the original; it is a replica. The museum currently houses a total of 45 replicas, and plans are underway to establish a new site in Panauti, which is set to open to the public in 2026. The visionary behind this museum is Rabindra Puri, a dedicated Nepalese conservationist who is on a mission to recover numerous stolen artefacts that have been taken from Nepal and are now scattered across various museums, auction houses, and private collections in countries such as the United States, the United Kingdom, and France. Over the past five years, Mr. Puri has employed a team of skilled craftsmen to create these replicas, with each piece taking anywhere from three months to a year to complete. Notably, the museum does not receive any financial support from the government. Instead, Mr. Puri aims to negotiate the return of the original stolen artefacts in exchange for the replicas he has painstakingly created. In Nepal, these statues are not merely decorative items; they are integral to the country's living culture. Sanjay Adhikari, the secretary of the Nepal Heritage Recovery Campaign, emphasizes that these statues are deeply significant to the people. Many locals visit temples daily to worship these deities, offering food and flowers as acts of devotion. Mr. Puri recounts a poignant story of an elderly woman who used to pray to the Saraswati statue every day. When she discovered that the original statue had been stolen, she felt an overwhelming sense of sadness, even more profound than when she lost her husband. It is common for worshippers to touch these statues for blessings, which unfortunately leaves them vulnerable to theft, as they are often not well-guarded. The Nepalese government has identified over 400 artefacts that are missing from temples and monasteries across the country, but experts believe this number is likely an underestimate. Saubhagya Pradhananga, who leads the Department of Archaeology, asserts that many more pieces are likely unaccounted for. The period from the 1960s to the 1980s saw a significant number of artefacts being looted from Nepal as the country began to open up to the outside world. During this time, it is believed that some of the most powerful officials were involved in these thefts, facilitating the smuggling of artefacts abroad to art collectors while pocketing the profits. For decades, many Nepalis were largely unaware of the extent of their missing art and where it had gone. However, this situation has been changing, particularly since the establishment of the National Heritage Recovery Campaign in 2021. This movement, led by passionate citizen activists, aims to reclaim the lost treasures of Nepal. Activists have discovered that many of the stolen idols are now housed in museums, auction houses, or private collections in Western countries. They are also collaborating with foreign governments to apply pressure on overseas institutions to return these valuable pieces. One notable case is that of the Taleju Necklace, a stunning gold-plated necklace adorned with precious stones that went missing from the Temple of Taleju in 1970. This temple is particularly significant as it is only open to the public once a year during the Dashain Festival. The circumstances surrounding the necklace's disappearance remain unclear, and for many years, the people of Nepal had no idea where it had gone. However, three years ago, it was spotted in an unexpected location—the Art Institute of Chicago. Dr. Sweta Gyanu Baniya, a Nepali academic based in the United States, was overwhelmed with emotion when she saw the necklace. She described her reaction, saying, 'It's not just a necklace; it's a part of our goddess who we worship. I felt like it shouldn't be here. It's sacred. ' Uddhav Karmacharya, the chief priest of the Temple of Taleju, expressed his shock upon learning that the necklace was on display in an American museum. He has submitted documentation to Nepali authorities to prove the necklace's provenance, stating, 'The day it is repatriated will be the most important day in my life. ' The Art Institute of Chicago claims that the necklace was a gift from the Alsdorf Foundation, a private US foundation. The museum has communicated with the Nepali government and is currently awaiting additional information. However, Pradhananga asserts that Nepal's Department of Archaeology has provided sufficient evidence, including archival records, to support their claim. Furthermore, an inscription on the necklace indicates that it was specifically crafted for the Goddess of Taleju by King Pratap Malla. Activists often encounter numerous obstacles in their efforts to reclaim stolen artefacts. They argue that museums frequently employ tactics that delay the process, making it increasingly challenging for them to recover their cultural heritage. Despite these hurdles, some progress has been made. Since 1986, approximately 200 artefacts have been returned to Nepal, with the majority of these transfers occurring in the past decade. A sacred idol of the Hindu deities Laxmi Narayan was brought back to Nepal from the Dallas Museum of Art nearly 40 years after it was first taken from a temple. Currently, 80 repatriated artefacts are housed in a special gallery at the National Museum of Nepal, awaiting restoration before being returned to their rightful places. Since 2022, six idols have been returned to their respective communities. In response to the threat of theft, some communities have taken precautions by placing these idols in iron cages for added security. Mr. Puri, however, remains hopeful that his museum will one day be devoid of replicas, as all the stolen artefacts will be returned to their rightful homes. He passionately declares, 'I want to tell the museums and whoever is holding the stolen artefacts: Just return our gods! You can have your art.