There are hundreds of various touristic attractions that introduce local culture to foreign or native visitors. However, some of the most important ones are museums as they contain some of the most highly valued cultural objects. With the development of technology, one can become familiar with the greatest worlds of arts, artifacts, and the exposition of the world’s most famous museums online. Hence, one is able to notice upon visiting museums such as the British Museum or Berlin’s Neues Museum that most of the objects presented there do not belong to the British or German culture. One of the famous examples of such a phenomenon is the Bust of Nefertiti, which was discovered in 1912 and placed in Berlin’s Neues Museum in 1913 (Hanna 87). The essay unveils the complex background behind this particular case and the tendency to relocate antique artifacts from their homeland to countries whose expeditions found them.
The Nefertiti bust was found by German archaeologist Ludwig Borchardt and his crew on December 6, 1912, in what had been sculptor Thutmose’s workshop in Amarna, Minya governorate (Hanna 87). In violation of the then-existing regulations on the distribution of architectural findings, Borchardt removed the statue from Egypt in 1913. The German government is resisting requests to restore the Pharaoh statue to Cairo, while the Egyptian government is attempting to reclaim the Queen Nefertiti bust from it. Egypt has highlighted that it is taking all necessary steps to return Egyptian artifacts that have been unlawfully trafficked outside of the nation, including the Bust of Nefertiti.
On December 6, 1912, the Nefertiti bust was found by German archaeologist Ludwig Borchardt and his crew in what had once been sculptor Thutmose’s workshop in Amarna, Miny.
The dividing regulations at the time specified that Egypt would receive the extraordinary treasures unearthed by international excavation teams, while the parties responsible for their discovery and the Egyptian Museum in Cairo would split the remaining artifacts. Egypt will continue to press for the return of the object, according to Supreme Council of Antiquities director Zahi Hawass in an interview with Deutsche Welle. Hawass cited records that the director of Berlin’s Neues Museum, where the Bust is on exhibit, had provided. He said that the documents proved that the German archaeologist Ludwig Borchardt, who discovered the Bust, attempted to downplay its significance in order to get it for Berlin. In addition, at the time of the discovery, other countries such as the Ottoman Empire, the British Empire, and French Empire were interested in gaining financial benefits from Egypt (Bearden 43). Hence, the case represents how complex and sophisticated the disputes over the right to own antiques can become.
During the course of the 20th and 21st centuries, the Egyptian government made numerous attempts to return the Bust of Nefertiti but was refused every time. For Germany, the antique has both prestigious and cultural value. According to their position, the fact that they are able to keep one of the fascinating cultural artifacts safe is a representation of their stability and might. Therefore, the Bust of Nefertiti is a significant antique piece of art, which became symbolic for Germany as they had a mission of keeping it safe not for themselves but for humanity.
There are several arguments against the tendency to store antique artifacts in the countries that discovered them. First, it is a direct continuation of the colonialist politics that had led to the discovery initially. During the 19th and 20th centuries, Western empires took advantage of the colonized countries and relocated all of the most precious antiques that they were able to find (Hanna 87). Back then, it was a sign of superiority and is associated with many colonialist theories that are based on the supremacy of the West over the rest. By keeping the order that was settled during colonial rule, abusive practice and white supremacy continue to be present in the modern world.
The relocation of the Bust of Nefertiti to its homeland was rejected numerous times. Some of the main justifications for that include the social and political instability of the country, which puts the precious ancient artifact in danger. However, Germany is also not the safest country possible for storing cultural objects. Since the Bust of Nefertiti was placed in Berlin’s Neues Museum, Germany was the central country in two World Wars and then was divided by the Soviet Union and the Allies. During World War II, the Bust was found in the salt mine by Americans, while Berlin’s Neues Museum was a part of Eastern Germany (Bearden 48). As a result, the fact that the Bust of Nefertiti has remained safe does not mean that it was secured through the time it was relocated.
Yet, the proponents of the relocation can also be understood. Despite the fact that the ancient cultural object was relocated in times when international legal and political systems were different, the artifacts were treated well and highly valued. Western countries such as France, Great Britain, and Germany, in particular, have a long tradition of museums and galleries that have developed techniques for maintaining antiques and preventing their distortion (Oruç n. p.). In addition, despite the political instability that had happened in Germany, museums remained to be well financed, and cultural heritage remained protected.
The case of the Bust of Nefertiti is not unique, as it represents a wide variety of antiques that were relocated during the age of colonialism. Therefore, the resolution of one artifact can become a landmark example that would be applied to others. Considering the pros and cons of each side of the argument, it is safe to come to the conclusion that the solution needs to be a compromise. The Bust of Nefertiti should be returned to Egypt, but only in case there is an international commission that supervises its condition, maintenance, transfer, etc. This solution would bring justice as Egypt will be able to represent its cultural heritage, while at the same time, such a tendency marks the end of colonialism’s influence and creates a new globalized cultural environment that respects each individual culture. The international supervision would ensure the preservation of the object.
In conclusion, the question “Who own the Antique?” needs a thorough analysis of the background that has led to historical artifacts being relocated. In general, it is clear that such practice represents colonialism and promotes the idea of the supremacy of the West over other cultures. Hence, to truly respect foreign and ancient cultures, cultural objects such as the Bust of Nefertiti should be returned to their homeland, while their protection and maintenance should be guaranteed by international organizations.
Works Cited
Bearden, Lauren. “Repatriating the Bust of Nefertiti: A Critical Perspective on Cultural Ownership,” The Kennesaw Journal of Undergraduate Research: vol. 2. no, 1 , Article 2, 2012.
Hanna, Monica. “Repatriating Cultural Identity.” Museums, Transculturality, and the Nation-State: Case Studies from a Global Context vol. 52, 2022, 87.
Oruç, Pinar. “Rethinking Who ‘Keeps’ Heritage: 3D Technology, Repatriation and Copyright.” GRUR International, 2022.