Nestled in a quiet street of Bhaktapur, Nepal, lies the intriguing Museum of Stolen Art. This unassuming building houses numerous replicas of sacred statues representing Nepal’s rich spiritual heritage. Among these is the Saraswati sculpture, depicting the Hindu goddess of wisdom, who is portrayed sitting on a lotus and holding a book, prayer beads, and a veena in her four hands.
However, this statue, like all others in the museum, is a replica. The real Saraswati statue is one of 45 replicas created as part of an effort to reclaim numerous stolen artefacts. An official site for the museum is set to open in 2026 in Panauti.
The museum is the brainchild of Rabindra Puri, a dedicated conservationist leading the charge to recover dozens of stolen artefacts from various international collections. These items have often ended up in museums and auction houses across countries such as the United States, United Kingdom, and France.
Over the past five years, Puri has employed several craftsmen to recreate these important statues, with each replica taking between three months and a year to complete. Remarkably, this initiative has not received any government funding. Puri aims to negotiate the return of original artefacts by offering these replicas in exchange.
“An old lady told me she used to worship Saraswati daily,” Puri shared. “When she found out the idol was stolen, she felt more depressed than when her husband passed away.”
In Nepal, these statues are integral to daily worship and community life, with many locals offering food and flowers as part of their rituals.
Nepal has identified over 400 missing artefacts, although experts believe this figure may be an underestimate. Many were looted during the country’s opening to the outside world from the 1960s to 1980s, often with complicity from influential figures at that time.
Recent activism has drawn attention to these lost treasures since the formation of the National Heritage Recovery Campaign in 2021. This movement collaborates with foreign governments and institutions to facilitate repatriation.
A notable case involves the Taleju Necklace, a giant gold-plated necklace that disappeared from its temple in 1970 and was recently discovered on display at the Art Institute of Chicago. Dr. Sweta Gyanu Baniya expressed her emotional response upon seeing it:
“It’s not just a necklace; it’s a part of our goddess who we worship.”
While some progress has been made—with around 200 artefacts returned since 1986—the journey remains fraught with challenges. Activists like Kanak Mani Dixit note that institutions often place undue burdens on them regarding provenance.
Rabindra Puri hopes that his museum will eventually have its shelves emptied as stolen artefacts are returned home:
“Just return our gods! You can have your art.”
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