Turkey's Cultural Diplomacy: A Push for Repatriation of Antiquities

Turkey has intensified its campaign against illicit antiquities trading, achieving significant milestones in 2025, including the repatriation of 180 cultural artefacts. A notable highlight was the return of a life-size bronze statue of Roman Emperor Marcus Aurelius, which had been taken from the ancient city of Bubon in the 1960s. After a lengthy investigation involving scientific testing and witness statements, the statue was returned from an Ohio museum with the assistance of the U.S. Department of Homeland Security and the Manhattan District Attorney’s Office. Turkish Culture Minister Mehmet Nuri Ersoy described the return as a victory, emphasizing the determination and patience exhibited throughout the process.

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Turkey's Ministry of Culture has developed an AI-powered tool named "TraceART," which became operational in 2025. This system scans images on various platforms to identify cultural assets of Turkish origin that may have been trafficked. Since its implementation, TraceART has flagged hundreds of objects for expert assessment, contributing to Turkey's recovery efforts. For instance, in January 2025, an Anatolian-style marble head was returned from the Denver Art Museum after the museum reached out to Turkish authorities regarding its provenance.

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Turkey's repatriation efforts extend beyond its borders, involving the return of artefacts to countries such as Iran, China, and Egypt. Among these returns were two artefacts stolen from Chinese temples and a key of the Kaaba, which was inadvertently brought to Turkey. These actions reflect Turkey's commitment to addressing historical injustices related to cultural heritage.

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Despite these successes, Turkey faces challenges in reclaiming artefacts taken during the Ottoman era. The country is currently pursuing the return of an ancient marble torso known as the "Old Fisherman" from Berlin and numerous Iznik tiles held at the Louvre Museum in France. Turkish officials argue that many artefacts acquired in the 18th and 19th centuries were not obtained legally, a stance that contrasts with the prevailing assumption of legality surrounding such acquisitions. The Louvre has been unresponsive to Turkey's repeated requests for dialogue regarding these artefacts.

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Critics of Turkey's repatriation efforts argue that the historical context of artefacts taken during the Ottoman period complicates claims of illegality. Some experts suggest that the complexities of provenance and historical acquisition practices require a nuanced approach to repatriation discussions.

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Zeynep Boz, director of Turkey’s department for combating illicit trafficking of cultural property, highlighted the significance of the AI tool in identifying trafficked objects, stating, “It was an exciting moment” when they successfully matched data to recover artefacts. Meanwhile, Turkish officials continue to advocate for the return of artefacts, emphasizing the importance of cultural heritage to national identity.

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• “It was a long struggle. We were determined and patient and we won,” — Mehmet Nuri Ersoy, Turkish Culture Minister

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• “We have repeatedly shared evidence with France and talked with the Louvre but no resolution has been reached,” — Zeynep Boz, Director of Antiquities Trafficking Unit

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Turkey's ongoing efforts in cultural diplomacy and the repatriation of antiquities underscore its commitment to reclaiming its historical heritage while navigating the complexities of international cultural property laws.

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