It's time for looted art to come home

This episode of Roundtable China explores France's groundbreaking new law that simplifies the return of looted cultural artifacts acquired during colonial rule, particularly focusing on its implications for China. The discussion highlights France's unanimous passage of legislation to return items taken between 1815 and 1972, citing historical injustices like the 1860 looting of the Old Summer Palace (Yuanmingyuan) by British and French forces. The episode emphasizes the symbolic and cultural significance of artifacts such as the 12 bronze zodiac heads and Dunhuang manuscripts, many still held in French institutions. It also examines the broader global movement toward repatriation, with examples from Germany, the Netherlands, and Italy, and discusses the challenges posed by outdated legal frameworks and the difficulty of defining 'illegally acquired' artifacts. The conversation underscores how France’s new administrative process could set a precedent for other former colonial powers like the UK and Belgium. The episode concludes with Yushan’s film recommendation: the rare 3D recut of *The Grand Master*, a visually poetic 1930s martial arts drama directed by Wong Kar-wai, shot in Foshan and Kaiping, Guangdong, celebrating the enduring legacy of Wing Chun and Chinese architectural heritage. Key takeaways include: 1) France’s new law marks a major shift toward ethical restitution of colonial-era artifacts; 2) The return of cultural treasures like the Yuanmingyuan bronzes and Dunhuang manuscripts is not just legal but deeply symbolic for national healing; 3) The new administrative process in France could become a global model for repatriation; 4) Cultural artifacts are not just historical objects but living symbols of identity and resilience; 5) Artistic works like *The Grand Master* serve as both cultural preservation and emotional connection to history; 6) The integration of Western and Eastern architectural styles in southern China reflects a legacy of diaspora and cultural fusion; 7) Public opinion and global pressure are increasingly driving governments to confront colonial legacies; 8) Museums must now prove they can preserve artifacts responsibly to justify retention.