Colin Riegels
Same reason that most museums in most countries don’t: it is an absolute logistical nightmare of tangled property rights.

与大多数国家的大多数博物馆不这样做的原因相同:这绝对是一场产权纠缠不清的后勤噩梦。

In some cases museums hold classic “looted artefacts”, but those black and white case are relatively rare. In many more cases they have artefacts which they purchased or otherwise acquired in good faith which might have doubtful provenance. In other cases the provenance is actually fine, but changes of governments in foreign countries have meant changes in the demands that those countries make about things done by previous governments (Iran’s theocracy is famous for demanding the return of artefacts which the Shah previously licensed for export prior to the revolution).

在某些情况下,博物馆持有的是被掠夺的经典艺术品,但这类明显的案例相对较少。在更多的情况下,博物馆购买或以善意方式获得的文物可能具有可疑的来源。此外,有些文物的来源其实是合法的,但是外国政府的更迭导致了对前任政府行为的不同要求(伊朗的神权政体因要求归还在伊朗伊斯兰革命之前由国王许可出口的文物而闻名)。

The other great complication is that museums often do not even own the artefacts that they exhibit - they belong to third parties who have let the museum have them on long term loan for public exhibition. And the dividing line between ‘cultural artefacts’ and ‘valuable things we’d like’ gets blurry quickly. In other cases more than one country may claim an artefact - or two competing groups within the same country may claim it. There are also issues with some countries not having a credible recognised authority who can receive and store returned artefacts. In short: it’s all a bit of a nightmare.

另一个巨大的复杂因素是,博物馆通常甚至并不拥有其展览的文物,它们属于第三方,博物馆以长期借款的方式向公众展示。而且,"文化艺术品"和"我们希望拥有的有价值的东西"之间的界限很容易变得模糊。在其他情况下,可能有多个国家声称拥有某个文物,或者同一个国家内的两个竞争群体可能声称拥有它。还存在一些问题,例如某些国家没有一个可靠的、得到公认的机构可以接收和储存归还的文物。简而言之,这一切都非常复杂,是一个困扰人的问题。

In 1970 an international convention was signed relating to the restoration of historical and cultural artefacts from other countries. But since then, despite lots of people signing it, virtually nothing has happened. Because it is extremely complex and the boundaries are pretty grey. So people prefer to simply pretend the issue does not exist rather than face the enormous challenges associated with trying to do the right thing.

在1970年签署了一项有关归还其他国家的历史和文化艺术品的国际公约。但自那时以来,尽管很多人签署了这个公约,几乎没有任何实际行动。因为这个问题非常复杂,边界非常模糊。因此,人们更倾向于假装这个问题不存在,而不是面对与尝试正确做事相关的巨大挑战。

It isn’t just the British Museum - or Britain - that struggles with this. Everybody does. Personally I’d like to see more effort made to restore foreign artefacts to their countries of origin - it is not like most museums don’t have warehouses of other stuff they could exhibit - the public doesn’t really care that much. But museums tend to be very short on cash, and very short on qualified staff, and so - perhaps understandably - this is never treated as a top priority. Especially given the complexity and expense of shipping cultural pieces back to someone who is authorised to receive them in the country of origin.

这并不仅仅是大英博物馆或英国本土的问题,所有人都面临相同的困境。就我个人而言,我希望看到更多努力将外国文物归还给其来源国家,毕竟大多数博物馆都有可以展示的其他藏品,公众对此并不太关心。但博物馆往往资金短缺,专业人员也很少,因此可以理解为什么这从未被视为当务之急。特别是考虑到将文化艺术品运回原产国并交给有权接收的机构的复杂性和费用。

It is another one of those things that everyone says shrilly: “something should be done!” But actually getting off your arse and doing it is an awful lot harder than moaning about it on social media.

这是一个人人都在高声呼喊“应该采取行动”的问题。但实际上,真正起身行动比在社交媒体上抱怨要困难得多。