Who Draws Culture’s Border?

2010-05-19 (수) 12:00:00

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LONDON - It was gridlock in the British Museum the other morning as South African teenagers, Japanese businessmen toting Harrods bags, and a busload of German tourists formed scrums before the Rosetta Stone, which Egyptian authorities just lately have again demanded that Britain return to Egypt. From the Egyptian rooms the crowds shuffled past the Assyrian gates from Balawat (Iraq is another country pleading for lost antiquities) and past the Roman statue of the crouching Aphrodite (ditto Italy), then headed toward the galleries containing what are known in Britain as the Elgin marbles (but in Greece as the Parthenon marbles, or simply booty), where passers-by plucked pamphlets from a rack.

The British Museum is Europe’s Western front in the global war over cultural patrimony, on account of the marbles. The pamphlets give the museum’s version for why they should stay in Britain, as they have for two centuries - ever since Lord Elgin, the British ambassador to the Sublime Porte at Constantinople, and with the consent of the ruling Ottomans (not to mention a blithe disregard for whatever may have been the wishes of the Greek populace), spirited them from the Acropolis in Athens. The pamphlet stresses that the British Museum attracts millions of visitors every year from around the world, making the sculptures available to, and putting them in the context of, a wide swath of human civilization.

For their part the Greeks, before their economy collapsed, finally opened the long-delayed New Acropolis Museum last year to much fanfare: it is a home-in-waiting for the marbles, whose absence is advertised by bone-white plaster casts of what Elgin took, alongside yellowed originals that he left behind. The view through a broad picture window, eloquent but baleful under the circumstances, looks onto the ruined Parthenon, playing on visitors’ heartstrings. Greeks deem the museum an irrefutable argument for the marbles’ return.

It’s definitely compelling.

But the British still make the better case.

Siding with the imperialists drives good people crazy, I know. That said, patrimony claims too often serve merely nationalist ends these days .

Mostly, though, the issue comes down to the fact that culture, while it can have deeply rooted, special meanings to specific people, doesn’t belong to anyone in the grand scheme of things. It doesn’t stand still.

Today’s Acropolis is itself a kind of fiction. Over the centuries and through succeeding empires and regimes, it became Christian and Turkish, and briefly Venetian, after it had been Roman. The Parthenon was a pagan temple, a church, a mosque, an arms depot (disastrously, under the Turks) and even a place from which the Nazis hung a big swastika flag whose removal by Greek patriots helped spur a resistance movement. Modernity has mostly stripped the site of all those layers of history to recover a Periclean-era past that represents, because it has come to mean the most to us, its supposed true self .

It isn’t to belittle a deep-seated connection to such works to point out that claimants to far-flung patrimony may have various motives. When Zahi Hawass, Egypt’s chief archeologist, who made the recent fuss about the Rosetta Stone, also demanded that Germany hand over Nefertiti, the 3,500-year-old bust of Akhenaten’s wife, he chose the moment when the Neues Museum in Berlin opened with the bust as its main attraction.

This was just after Farouk Hosny, Egypt’s candidate to run Unesco, the United Nations cultural agency, was defeated in a vote that Egyptian leaders considered a diplomatic slap. Mr. Hawass used Egypt’s cultural patrimony to lash out by proxy at the perceived enemies of Mr. Hosny’s candidacy .

Egypt had to know there was no immediate shot at getting Nefertiti back. The sculpture served in a form of political theater common these days, with Egypt playing plucky David to the West’s Goliath.

But why should any objects necessarily reside in the modern nation-state controlling the plot of land where, at one time, perhaps thousands of years earlier, they came from?

Art is something made in a particular place by particular people, and may serve a particular function at one time but obtain different meanings at other times. It summons distinct feelings to those for whom it is local, but ultimately belongs to everyone and to no one.

We’re all custodians of global culture for posterity.

MICHAEL KIMMELMAN