NEW DELHI: In what marks a significant milestone in India’s efforts to bring back stolen cultural treasures, two historic Indian Bronzes originally from Tamil Nadu temples – 12th century Somaskanda (Shiva and Uma) from the Chola period and 16th century sculpture of Saint Sundarar and Paravai – were repatriated to India on Tuesday night from Smithsonian’s – National Museum of Asian Art in the United States. The third – an idol of Lord Nataraja—will be repatriated after being displayed at an exhibition under a three-year loan agreement.Besides highlighting the return of these temple artefacts, Culture minister Gajendra Singh Shekhawat also noted that recently under the Cultural Property Agreement Framework with America, the US law enforcement agencies have already handed over 657 additional art objects of Indian origin to the Indian embassy in the US. He said that arrangements are being made for their transportation and verification by ASI experts for their antiquarian status.“These will be evaluated, packed, and brought back to India, after which they will undergo detailed examination and authentication,” Shekhawat said. The Minister also informed that of the 668 antiquities repatriated from various countries since 1972, 655 have returned after the Modi govt took charge in 2014. Meanwhile, in case of the Chola period (circa 990 CE) ‘Shiva Nataraja’ sculpture that originally belonged to the Sri Bhava Aushadesvara Temple in Thanjavur district, the govt of India at the request of Smithsonian has agreed to a three – year loan agreement with the Museum (2025-28). The idol will be repatriated after being displayed at an exhibition where audiences will get a peek into its complete historical journey from origin to repatriation.The govt has justified the decision on the loan arrangement with regards to the Shiva Nataraja as a “goodwill gesture” and in support of “responsible museum engagement.” The minister said that the sentiment behind this agreement was to enable public presentation of its complete historical journey—from origin to repatriation—while reinforcing ethical museum practices and provenance research standards.“The return of these antiquities has been possible due to coordinated efforts between the ministry of culture, the ASI, Indian embassies abroad, and various enforcement agencies, guided by the Prime Minister’s personal interest and direction,” the minister said.These sacred temple bronzes, originally from Tamil Nadu, had been illicitly removed from India in the mid-20th century and subsequently housed abroad.The two bronzes brought back from the US have been displayed at the National Museum along with 11 antiquities repatriated from Australia that include Shunga – period terracotta objects, a Pala period sculpture of Varaha, 11th Century Bodhisattva sculpture and a wooden sculpture of Brahma.In the case of the three bronzes from the US the Archaeological Survey of India (ASI), through extensive provenance research using archival records, field documentation and historical temple photographs from the 1950s and 1960s, successfully traced the artefacts to their original temple sites in Tamil Nadu. The findings formed the basis for coordinated negotiations involving the Ministry of Culture, the Smithsonian Institution and the Embassy of India in the United States. The Shiva Nataraja that belonged to the Sri Bhava Aushadesvara Temple was photographed there in 1957 and the Saint Sundarar with Paravai sculpture was photographed in 1956 at the Shiva Temple in Veerasolapuram village. Somaskanda was photographed in 1959 at the Visvanatha Temple in Alathur village.In January 2026, the Smithsonian announced the return of the three significant Indian bronzes that hold deep spiritual significance and historically were used in temple processions.On where these temple bronzes will be placed eventually, according to the ministry of culture, it is the norm that repatriated antiquities are sent back to the place to which they originally belonged. In case of antiquities whose original place cannot be identified are retained by ASI.
