Sir Alexander Cunningham, the Bharhut Sculptures and the Law: Can India get back the Bharhut Sculptures

A look at the world of politics, statecraft, diplomacy and books

Sir Alexander Cunningham, the son of the Scottish poet Alan Cunningham now all but forgotten, was an incredible archaeologist. As the first Director General of the Archaeological Survey of India, he excavated several important Buddhist sites in Northern India in the decades following the mutiny of 1857 and his Reports are still the most authentic Excavation Report/ Documentation.

The S S Indus

The visit of Sir Alexander Cunningham to the dusty plains of Nagod in today's Madhya Pradesh in November 1873 was a fateful one. For some years past, Sir Alexander Cunningham was reaing the travels of the Chinese traveller Xuan Zang in India, He probably read Beal's translation of the famous monk's account of his visits to various Buddhist Monatries in quest of the Pitakas, the Texts of Buddha's teachings. The purpose was to use the description of places in order to locate stupas constructed by the great king Ashoka after he converted to Buddhism. In Nagod Cunningham discovered the ruins of the Bharhut Stupa which he dated to the period from 250 to 200 BC. The unique feature of this Stupa was the detailed sculptures all along the Vedika or Pilgrim's Path illustrating the birth stories of Gautama the Buddha. Known as the Jatakas, the Barhut Stupa offers an almost complete corpus of Jataka tales,  Below I have illustrated two panels taken from the railings of the Stupa, now held in the Freer Art Gallery, Washington DC. The panel is a unique example of narrative art and these narrative panels Cunningham determined were the most unique feature of the Stupa. The newly invented art of photography was deployed with full vigour to make a visual record of the Stupa and the Military Photographer Captain Waterhouse was deputed for the purpose. Unfortunately the Archaeological Survey of India has neither confirmed nor published this unique set of records and the ASI must take the visual evidence seriously of it hopes to make a case for the repatriation of the Bahrut Sculptures. After the task of photographing the antiquities which included statues, railings, figurines, pillars, votive objects, terrocotta fifures and sandstone sculptures of Yakshas, Nagas and Devatas Cunningham decided to shift the antiquities to the Indian Museum at Calcatta now Kolkotta. His assistant Belgar protested saying that the "scheme carries with it a certain aroma of vandalism" and likened Cunningham's decision to carting away the Stonehenge. Over the protests of his field Assistant, the Director General had the entire lot shifted to the Museum built by the East India Company at Calcutta. He decided against the Asiatic Society of Bengal as the Society had not cared to display an earlier gift of a sculpture of Sravasti in an appropriate manner. The Raja of Nagod, of course was  gracious enough to present the entire lot to "Government" meaning the Imperial Government at 

Calcutta. A question that arises is: Was Sir Alexander Cunningham acting on his own or did he have the conset of the Secretary of State for India to relocate the sculptures. THe Museum in Calcutta still houses a large number of the Barhut Sculptures and Majumdhar has published a detailed monograph. Apart from Calcutta, Allahabad, Lucknow and the National Museum at New Delhi have a fe pieces taken from the "collection" of Cunningham. It must be stated that some of the pieces selected by Cunningham are extraordinarily valuable in that they carry in Kharoshti script the marks of the artisans who worked at the site. 

Sir Alexander Cunnigham reponding to Belgar's criticism about the "aroma of vandalism" justified his actions saying that he had "saved all the important sculptures'. He may have been right as the site of the Stupa was being raided for bricks and nearly 200 houses in and around Bahrut including the residence of the local raka yeilded traces of bricks, or spolia extracted from the Buddhist Stupa. But Cunningham was not done with the Sculptures yet. In 1886 he decided to send the best pieces to London and had them packed on SS Indus, an Ocean going Steamer registered with Lyods Shipping and Insurance. This copany had its headquarters in London. Wether the consignment of Sculpture was insured or taken as ballast weight is not known.

On November 9, 1885 S S Indus sank off the coast of Sri Lanka taking with it a rich treasure of Indian Cultural Property in the form of Buddhist Sculptures of unique cultural importance. Shri S M Nandadasa a Sri Lankan marine archaeologist has located the wreck and has published his priliminary findings. My point is: Does ndia have a claim on these Antiquities.

To be Continued in Part II

Sir Alexander Cunningham 1814-1893