Unearthing Ancient Glories: The Astonishing Rediscovery of Untold Treasures by an 11th-century Monastery

Hidden away in dusty storage rooms for years, a monastery in Kathmandu, the capital of Nepal, has unearthed a trove of invaluable religious artifacts. Among the treasures are golden crowns once worn by Buddhist priests, halos that adorned statues of deities, and miniature stupas gifted by the local community. These long-lost antiques are now proudly showcased at Itumbaha, one of the oldest "viharas" - an early form of a Buddhist monastery - in the city.

The significance of the discovery extends far beyond the monastery's ancient shrines, elaborate courtyards, and beautifully embellished columns that have graced the site for centuries. Remarkably, until earlier this year, three of the sculptures were housed more than 7,500 miles away in New York's Rubin Museum of Art, renowned for its collection of Himalayan art, and the Metropolitan Museum of Art.

Itumbaha, like many other religious sites in Nepal, has frequently fallen victim to theft and looting, resulting in the loss of its valuable relics and architectural treasures. Nepalese authorities have determined that a staggering 80% of the country's religious artifacts have been stolen and traded on the black market over the past few decades. As museums progressively digitize their collections and make them accessible to the public online, the global demand for the repatriation of plundered objects is growing.

A 14th-century carving religious carving (top) that was returned to Itumbaha by New York's Rubin Museum of Art.

Pranab Joshi/Courtesy Itumbaha

In response to the growing demand for Western museums to return stolen cultural heritage, the Met announced in 2022 that it would be returning a 13th-century wooden temple carving of a "salabhinka," a semi-divine spirit, to Itumbaha. The Rubin Museum also followed suit this year and relinquished two wooden carvings that their researchers believe were looted.

However, the process of recovering these objects meant more to the leaders of Itumbahas than just addressing historical injustices. It sparked a dialogue that led to the realization of a long-held dream: the establishment of a new museum on the monastery grounds dedicated to researching and cataloging their extensive collection of over 500 artifacts. The museum opened in late July and currently showcases around 150 works spanning six centuries, while also educating visitors about the history of antiquities looting in Nepal. The remaining objects are still kept in storage.

The carving returned to in its original location at the monastery.

Pranab Joshi/Courtesy Itumbaha

Paper trails and photographs

The existence of valuable artifacts in Itumbaha has been well-known for a long time. However, due to limited financial resources, the monastery never prioritized the task of locating and cataloging them. Approximately 20 years ago, during the reconstruction work sponsored by the World Monument Fund, various items were discovered by the vihara members beneath layers of dust, dirt, mud, and sand. Swosti Rajbhandari Kayastha, a museologist and lecturer at Lumbini Buddhist University, was assigned the responsibility of curating these findings to establish a museum.

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Some of the items showcased were already familiar, such as a gold crown worn by the vihara's founder, Keshchandra, and a ceremonial golden door. It is believed that a goddess passed a sacred sword through this door to the Nepali kings during their coronations, granting them the power to rule. However, others, like the crowns, halos, and stupas mentioned earlier, came as a delightful surprise. The majority of these objects were hidden away in storerooms, covered in layers of dust, almost entirely forgotten.

A silvery crown is one of five rediscovered at Itumbaha.

Pranab Joshi/Courtesy Itumbaha

Records play a crucial role in safeguarding and preserving cultural heritage. Had it not been for proper documentation and on-site photographs, the stolen artifacts discovered in American museums may have never been returned to Itumbaha. Therefore, upon conducting its research, the Rubin has decided to provide both financial support and expertise, as requested by the monastic leaders, to aid the vihara in establishing its very own museum.

Pragya Ji, the president of the Ithum Conservation Society, which is responsible for the vihara's upkeep, stated in a press release announcing the partnership with the Rubin, "Our objective is to raise awareness about the cultural significance of historical collections housed within religious institutions like ours, and to emphasize the importance of documenting and safeguarding them."

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Thievery in the Himalayas

According to Roshan Mishra, a founding member of the non-profit organization Nepal Heritage Recovery Campaign (NHRC), numerous artifacts were stolen and taken away from Nepal as the country started welcoming international tourists (Nepal was a closed-off kingdom until the fall of the Rana dynasty in 1951) and the global art market began appreciating its intricate sculptures and statues.

Intricate carvings and bronzes on display outside one of the monastery buildings.

Mishra remarked that during the 1960s and 1970s, Nepal was a place with complete openness. Nobody could have possibly imagined that the cherished depictions of gods and goddesses would be subject to theft at any point. These sacred figures were deeply ingrained in the culture and the local community; they were akin to natural elements such as trees, bushes, animals, and human beings.

Heritage protection was neglected due to political turmoil and a lengthy civil war in the following decades. However, with the restoration of stability after the end of the war in 2006, Nepalis are now examining the missing items more closely.

Leading the efforts to locate objects that were taken from religious sites throughout the country are organizations like the NHRC. Through the assistance of this non-profit, numerous objects believed to be of national significance have been identified, often through photos and tips shared on a anonymously managed Facebook page called "Lost Arts of Nepal." Many of these objects have since been successfully recovered.

Returning objects is not only about rebuilding Nepal's collections for the NHRC; it is also about giving the gods back to the people and reviving the rituals that were once integral to their daily lives. Mishra emphasized that the theft of certain relics brought an end to long-standing traditions, ceremonies, and festivals.

An aerial view of one of Itumbaha's courtyards where ceremonies take place.

Pranab Joshi/Courtesy Itumbaha

Theres a sense of urgency for the group at present due to the fact that numerous missing objects were pilfered several decades ago. Mishra stated, "It is highly probable that the succeeding generation would readily overlook the rituals."

By the people, for the people

Itumbahas new museum aims to showcase the incorporation of religious artifacts into everyday life, highlighting the concept of living heritage. Unlike traditional museums, this community space actively allows members of the vihara to use historical objects in religious rites and rituals. For instance, bells are rung during ceremonies and relics were brought out for locals to touch and examine at a recent festival in August. This departure from conventional museum practices, which typically involve displaying valuable objects in secure glass cases with controlled environmental conditions, emphasizes the museum's openness and interactive approach.

While this may result in the deterioration or eventual destruction of valuable items, the museums' philosophy embodies the belief that artifacts are integral to life and can even have their own life stories. Mishra stated, "We must permit these objects to live and fade away with grace. Within the confines of a monastery or temple, they are constantly handled. Prayers and rituals are performed around them... There is no need to consider conservation and preservation when they serve as living traditions."

"It is entirely the community's decision on how they choose to handle these objects, and most often, they are returned to the temple and shrines to be revered," he added.

The artifact returned by the Met and the Rubin have now been restored to their original spots and are once again part of Itumbahas architecture.

Itumbaha's community take part in an inauguration ceremony.

Pranab Joshi/Courtesy Itumbaha

The project united individuals from different generations in order to interpret the purpose of certain rediscovered artifacts, as stated by Kayastha. It evoked memories and reignited curiosity regarding the history and customs of Itumbaha and its Newar Buddhist devotees, which had previously presented a difficulty, she further stated.

"For numerous items, even the community no longer possesses knowledge about their functionalities," Kayastha remarked. "They had to reach out to numerous individuals, making multiple inquiries to determine: What is this object called? What was its intended purpose?"

The museum, she stated, will forever be a work in progress—a living research hub aimed at disseminating knowledge and reviving forgotten wisdom. "Nothing is definitive, nothing is an absolute truth, there will always be new additions in due course," she emphasized.

Give back our gods

The Rubin's involvement in financing the project met with discontent from some individuals. In July, Nepali heritage activists expressed their dissatisfaction by protesting the opening of the Itumbaha museum. They accused the Rubin of using this collaboration as a means to improve its public image, while diverting attention away from the need to investigate the origins of other items in its collection. The protesters held placards that read: "Reject Cultural Intrusion," "Rubin, Cease Your Attempt to Conceal," and "Return Our Deities, Rubin."

In their open letter to the director of Rubins, Riddhi Baba Pradhan, chairperson of NHRC, expressed their appreciation for the collaboration. However, they also cautioned that the exhibition should not be used as a means to generate misplaced goodwill or divert attention from the responsibility of foreign collectors and museums regarding stolen heritage items from Kathmandu Valley and Nepal as a whole.

Bronze bells dangle from the ceiling, as two women look on during the inauguration of Itumbaha's new museum.

Pranab Joshi/Courtesy Itumbaha

Pradhan urged Rubin to assist in eradicating the trade of stolen cultural artifacts, emphasizing the need for dedicated curators to investigate, report, and return such objects to their rightful places.

Mishra, another member of NHRC, proposed that Western museums engage local artisans in Nepal and other regions to craft genuine replicas that could be exhibited instead of looted items. This approach, he stated, would not only "clean" their collections but also endorse the growth of living artists and cultures. Additionally, he advocated for more museums to establish protocols for identifying and returning objects to their countries of origin.

Mishra suggested that instead of publicly exposing institutions on social media, we should engage in a dialogue to find solutions for potential stolen items in their collections. "Let's have a conversation and determine the best course of action," she proposed.