Najiba Choudhury

Abstract:

Methods and Challenges of Conducting Provenance Research on South Asian Art

In the context of the United States, the country does not legally recognize the antiquities laws of foreign nations; bilateral agreements and MoU’s are exceptions to the rule. The ratification of the 1970 UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export, Transfer of Ownership of Cultural Property was a critical step towards US museums recognizing the rights of source countries to prevent their cultural heritage from leaving, and the UNESCO Convention put in some measures to curb the movement of objects. Nevertheless, the Convention has had its limitations; the 1970 cutoff year is both arbitrary and does not do much in terms of objects that have left their source countries before that year including colonial-era objects. The recent Sarr-Savoy report from 2018 on colonial context objects has lent fresh voice to concerns about colonial-era objects and those objects which were acquired after but still fall under the sphere of remnants of colonial, imbalanced power dynamics.

Recently, museums have come under intense scrutiny from journalists, concerned members of society, academics and researchers, and stakeholders from source countries, as well as activist groups both in source and market countries. The spread and swiftness of modern technology has also enabled these concerns to be raised in print, online and social media platforms at an accelerating rate. How can museums address these growing concerns from multiple stakeholders? In my presentation, I will address how I conduct provenance research on South Asian objects through using at least two case studies which will be from different time periods, regions/countries, materials, and consider objects of worship. I will also consider the special challenges of tracking small, portable objects and the lack of similar type of culture of keeping documentation as in western art tradition. Some of the questions I aim to raise through my presentation are: What are some challenges and concerns of provenance research in non-Western art? What are some tools – both traditional and unconventional – that researchers can utilize? How can museums use technology to their advantage?