The Story of the Statue that Returned After 65 Years

Marcus Aurelius asks us: “Is helping others less valuable to you? Is it not worth your effort?”

When plague and famine struck the empire, when bodies began to pile up, and when the wealthiest people in the empire fled, Marcus Aurelius chose to remain in Rome. He stood bravely and did everything in his power—he summoned priests of every sect and doctors of every specialty and traveled to purify the empire from the plague using every known purification technique of the time. He attended funerals. He gave speeches. He showed up for his people and assured them that he did not value his safety more than his responsibility. He kept himself strong for others. He was not delusional; he did not give people any false hope or misleading figures. In fact, he was so deeply moved by the suffering of the people that he wept publicly after hearing someone say, “How blessed are they who have died in the plague.”

A good leader is strong, yet feels the pain of others deeply.

“Man’s life is a moment, its substance is flowing, its perception is dim...” says Marcus Aurelius. His words, much like the fate of his statue, remind us of a truth that was lost in the waves of time but has washed ashore once again. Torn from Boubon and scattered to foreign lands, the bronze statue, by returning to its homeland after sixty-five years, carried not just stone and bronze, but the continuity of a civilization. The bronze statue of the Roman Emperor Marcus Aurelius was reunited with its homeland in 2025 after more than half a century abroad. This artifact, smuggled from the Ancient City of Boubon in Burdur to the USA, was not just an archaeological object but also a relic of memory. With its return to Türkiye from the Cleveland Museum of Art, one of the most arduous struggles in our cultural history was won.

A Reunion at the Nation’s House

At a ceremony held on July 29, the statue, having returned to Türkiye after 65 years, was exhibited at the Presidential Complex. This moment was interpreted not just as the return of a work of art, but as the nation’s reunion with its own roots. From the highest levels of state to the cultural world, the statue’s return was considered a symbolic event for “cultural independence” and “heritage preservation.”

When the doors opened on August 6, the statue was before the eyes of the public, not just experts. The Presidential Library, by displaying this work like a museum piece, brought the splendor of the past to the people of today. Here, the statue silently but powerfully served as a historical bridge: a reminder extending from Rome to the Ottoman Empire, to the layered cultural heritage of Anatolia.

A Tribute to Jale İnan

An interesting development occurred on August 8. The Cleveland Museum of Art requested that the statue remain in the U.S. for three more months before its return. Türkiye accepted this request on the condition that photographs and the life story of Prof. Dr. Jale İnan be exhibited at the museum. İnan, one of Türkiye’s first female archaeologists, had pursued the Boubon artifacts for years, but the artifacts outlasted her lifetime. Thus, the return of the statue became not only a cultural victory but also the payment of a debt of loyalty to a scientist.

Towards the UNESCO

World Heritage List

The Marcus Aurelius statue became one of the most important pieces of the grand exhibition titled “The Golden Age of Archeology.” At the exhibition opened in the Presidential Library, 485 new artifacts were presented to the public. This exhibition was interpreted not merely as a display, but as Türkiye’s will to remind the world of its cultural assets. Within the scope of the “Heritage for the Future Project,” Anatolia’s historical richness was not only preserved but also passed on to future generations.

At a symposium, American archaeologist Prof. Dr. Charles Brian Rose stated that Türkiye’s emphasis on protecting archaeological artifacts is unparalleled in the world; he expressed that the preservation and exhibition of findings from excavations have enabled “the addition of numerous sites to the UNESCO World Heritage List.”The statue of Marcus Aurelius has now transcended being a work of art symbolizing a Roman emperor. Its return recalled the power of cultural diplomacy, the place of art in the memory of nations, and the fruit of a struggle to which an archaeologist dedicated her life. The statue now looks at us in silence, but with deep meaning, in the land to which it returned after 65 years.

Contribution to Ankara’s Tourism

The return of the Marcus Aurelius statue is part of Türkiye’s increasing cultural diplomacy activities in recent years. Minister of Culture and Tourism Mehmet Ersoy stated that every returned artifact strengthens Türkiye’s cultural sovereignty and enhances the country’s international reputation. The exhibition and symposium have the potential to increase tourism revenues through the academics and tourists visiting Ankara.

The statue holds a special place in ancient art history as it depicts the Roman Emperor Marcus Aurelius as a philosopher. The symposium will address the statue’s historical and artistic value, the process of its discovery, and its importance within Anatolian archaeology.

Within the exhibition, the “No Escape” section aims to develop public awareness against the smuggling of cultural property by telling the stories of illicit artifacts seized by law enforcement. The exhibition’s debut of 485 artifacts aims to increase society’s interest in its own history and to direct young people towards archaeology.

The repatriation and exhibition of archaeological artifacts create economic value for museums and the tourism sector. The spending of visitors to the exhibition contributes to the tourism revenues of Ankara and Türkiye in general.

The internationally attended symposium also revitalizes the hotel and accommodation sector. Furthermore, returned artifacts are cultural assets that could fetch high prices in the auction market; by reclaiming these artifacts, Türkiye protects its cultural capital.

Distinguished Cultural Artifacts Returned to Türkiye

The Marcus Aurelius statue is not a singular, exceptional case. Other significant historical and ancient artifacts brought to Türkiye have also returned to their rightful places. Each artifact is more than just an object of archaeological value; they are silent narratives about our minds, our identity, and our history. Between 2002 and 2025, 13,282 cultural assets were returned to Türkiye. This figure is not just a quantitative success; it has become a symbol of the long-term struggle against the destruction of cultural assets through smuggling. Each artifact is a piece added to the memory of the state.

2024: 1149 Artifacts in Their Homeland

In 2024, 1149 archaeological artifacts were brought back to the country. Among these artifacts are 1055 coins from the Lydian civilization, Roman-era statues returned from America, terracotta figures, and idol heads. These artifacts provide direct evidence of Anatolia’s commercial and economic past. The coins carry unique information about the cities, gods, and administrative understanding of that period.

Gypsy Girl (Kore Torso) This early 6th century BC head sculpture, which was put up for sale at an auction house in London and identified as being of Anatolian origin, was returned to Türkiye on January 26, 2024. The work showcases the finesse of Archaic period Anatolian art. While its identity was concealed for many years, it returned to its homeland thanks to Türkiye’s follow-up, turning into a story of art detection.

Zeugma Mosaics These mosaic fragments, which were exhibited at Bowling Green University in the USA and have become a symbol of Gaziantep, were returned to Türkiye in 2018 and began to be displayed at the Zeugma Mosaic Museum.

The Zeugma mosaics reflect the daily life, beliefs, and aesthetic understanding of ancient cities. The coming together of the pieces, just like a puzzle, began to retell the entire story of the city.

Golden Crown This crown, dating to the 4th century AD and secured from Scotland, was returned to Türkiye in 2018, becoming a symbol of cultural identity.

The golden crown is not just a piece of jewelry but one of Anatolia’s royal symbols. Its brilliance carries the splendor and show of power of the elites of that era to the present day.

Lydian Inscription This inscription, taken from the Temple of Apollo Aksyros, was returned from Italy in 2020 and began to be exhibited at the Museum of Anatolian Civilizations.

The inscription contains concrete information about the religious life of the Temple of Apollo Aksyros. It illuminates the religious rituals of the period and the relationship of the people with the temple.

Kybele Votive Statue This statue of the goddess of fertility from the Roman period was brought to Türkiye from the USA in 2020; it is a symbol that sheds light on the religious rituals of that era.

Kybele is the symbol of the most deep-rooted goddess cult in Anatolia. Her return signifies not just the recovery of an object, but the restoration of Anatolia’s cultural spirit.

Beak-spouted Jug This approximately 4,250-year-old golden jug from the Hattian period was brought to the country from England in 2022; it is displayed in the Anthropology Museum as one of the finest examples of metalwork.

This artifact showcases the elegance of early metalwork. It carries subtle clues about the daily life of prehistoric communities.

Satornila Stele Inscription This stele, which is like a “farewell letter to a spouse,” dates to the 2nd century AD and was returned from Italy in 2023 to meet visitors at the Zeugma Mosaic Museum.

This stele, in the nature of a farewell message written from one spouse to another, is a story of love and separation carved on cold stone. It connects archaeology with human emotions.

Those That Came Back in 2025

◊ Bronze Marcus Aurelius Statue: The Aurelius statue has gone down in history as a victory for archaeology and diplomacy.

◊ Iznik Tiles (3 pieces): Additionally, numerous artifacts such as pottery, oil lamps, and jugs from Canada. The Iznik tiles represent the artistic spirit and technical mastery of the Ottoman Empire.

The return of these artifacts is not merely the recovery of art objects. Their return is a lost story reaching the public again, a timeless bond established with ancestors. Each object expresses the cultural continuity of Anatolia, the collective memory, and the respect a nation has for its past.

As Aurelius said: “No gift that any man can give you is more valuable than the tranquility of your own soul.” The return of the statue is, in fact, a gift of tranquility given to Türkiye’s cultural soul. It now represents not only the emperor of Rome but also the deep memory of Anatolia and the unfinished struggle of Jale İnan.