
The Bodhisattva and the Shrine: Cultural Repatriation and Diplomacy in Japan-South Korea Relations
A 2023 court decision, which overturned a previous ruling in favor of Buseok Temple, stated that Kannon Temple had gained legal ownership of the statue through adverse possession. The judgment sparked backlash among Koreans who viewed it as rewarding historical theft.
The international movement in favor of returning stolen cultural heritage is gaining momentum. While the pace of restitution remains uneven, governments, museums, and even private actors are increasingly responding. However, the return of looted artifacts is not just about righting historical wrongs; it is also a measure of cultural diplomacy and soft power. In this emerging landscape, the choices made by states and nonstate actors reveal what kind of long-term global values they seek to project.
While many of the most widely known cases of stolen art persist in Europe, unresolved colonial histories and collective traumas continue to shape relations in East Asia through significant historical objects, such as the contested Bodhisattva statue, which is now housed at the Tsushima Museum.
But not all repatriations have followed this uncertain path. South Korea recently welcomed back Gwanwoldang, a Joseon-era royal shrine building, which had stood in Japan for the last century. Choi Eung-chon, head of the Korean Heritage Service, praised the development as 'an exemplary case that actualizes the values of mutual respect and empathy through cultural heritage.'
He added, 'We hope it will become a symbol of cultural solidarity and future-oriented cooperation between Korea and Japan.'
The shrine was transported to Japan in 1924, during Japan's colonial rule over the Korean Peninsula. Though bilateral talks to give the shrine back to South Korea began in 2010, the handover gathered momentum once Japanese archaeologist and ethnologist Sato Takao stepped in with his full support after becoming chief priest of Kotoku-in Temple, where the shrine had been moved in the 1930s. Despite facing pressure from right-wing Japanese nationalists, Sato advocated for the return of Gwanwoldang throughout negotiations, citing both the shrine's historical origins and preservation benefits. He also personally financed the meticulous dismantling and transport of the structure. According to Sato, 'It is a global trend to return cultural heritage taken out during the imperialist era. What matters is the mindset.'
Such examples of progressive leadership remain rare in the realm of repatriation, even while countries and communities increasingly demand accountability that goes beyond symbolic gestures. Museums and governments often refuse the repatriation of artifacts, for reasons ranging from conservation to 'universal' platforming, and legal ownership. By contrast, Sato's proactive repatriation demonstrates how nonstate actors can swiftly facilitate relationships and soft power through ethical choices that lay the groundwork for lasting diplomatic bridges and regional trust.
Recovering such objects – whether seized, purchased, or gifted – typically relies on political will and legal channels, often straining diplomatic efforts during years of stalled negotiations. This can discourage diplomatic relations on other fronts, as potential allies become locked into avoidable ethical stalemates. With East Asia already heavy with colonial histories and implications, repatriation is a relatively accessible – if largely neglected – tool for geopolitical strategy.
The case of the Bodhisattva statue exemplifies a fractured moment in Japan-South Korea relations, marked by theft on both sides as well as international norms that sidestep deeper issues of colonialism and imperialism. While ongoing battles for artifacts continue under comparable constraints throughout the world, Japan and South Korea also share heritage diplomacy successes that can serve as a model for such disputes. The Gwanwoldang shrine – currently in storage in Paju, South Korea and awaiting restoration – is an example of how artifacts of significance can not only be given back with mutual dignity and even admiration between actors, but how they can fuel further exchanges that would have been unlikely beforehand.
During the official ceremony at the National Palace Museum in Seoul, Sato announced to the audience, 'We will discuss ways to raise a 100-million yen fund to support academic exchanges on Korean and Japanese cultural heritage and donate it to the Overseas Material Cultural Heritage Foundation. It took 24 years to completely return the Gwanwoldang to Korea. I'm proud to finish something important.'
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