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COVER STORY:
Illicit Antiquities
February 17, 2006    Episode no. 925
Read This Week's November 7, 2008
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KIM LAWTON, guest host: For years, those who trade in illicit antiquities have, little by little, been stealing art from Cambodia’s ancient religious monument, Angkor Wat. Two years ago, the UN World Heritage Committee took Angkor Wat off its danger list and had words of praise for the Cambodian government’s efforts to stop the theft. But the desecration and the stealing are still going on, as Lucky Severson learned on a trip to the temple city.

LUCKY SEVERSON: There is a stillness about this place that overwhelms everything else, as if the slightest sound will disturb the spirits of those who resided here. These are the temples of Angkor, of the Khmer civilization that flourished in Cambodia from the 9th to the 15th century and then disappeared.

Terressa Davis is with Heritage Watch, a nonprofit group working to protect Cambodia's ancient cultural riches.

TERRESSA DAVIS (Program Coordinator, Heritage Watch): Angkor Wat today is still the world's largest religious monument. I mean, it's huge just in scale alone. The city had estimates of a million people at a time when London was just a small town.

SEVERSON: The people of Angkor were a deeply religious, highly advanced civilization. They built temples like this in only four years. Compare that to the Notre Dame Cathedral in Paris, which took almost a hundred. Dougald O'Reilly is the founder of Heritage Watch.

Photo of DOUGALD O'REILLY Dr. DOUGALD O'REILLY (Founder and Director, Heritage Watch): Anybody's first reaction is being awestruck. Coming in here today, for example, you can't suppress a smile on your face as you look at the grandeur of the temple, even though it's in ruins now, but you can imagine it in its glory.

SEVERSON: For hundreds of years, the temples of Angkor lay cradled by the roots of the mighty banyan trees, forgotten by the civilized world. Today it's designated as a World Heritage Site, and it has become an international tourism mecca. But now it's disappearing again, this time the victim of greed.

William Balken is curator at the Utah Museum of Fine Arts.

Photo of WILLIAM BALKEN WILLIAM BALKEN (Curator of Decorative Arts, Utah Museum of Fine Arts): There is a great competition for the best things. There always has been. And the question becomes, what length will a museum go, or a curator or director or collection builder of any kind will go, to obtain that object which will complete their collection?

Dr. O'REILLY: What we have here in place is a carving that's still in existence. But beside it, over here, you can see this great, gaping hole where looters had the temerity to come with a truck and remove an 18-meter stretch of wall.

SEVERSON: Those looters were caught. Most aren't. Some simply remove the whole statue. Others take what they can get away with fast. The robbers, it seems, don't understand that these are still sacred temples. As they steal, they also desecrate. Prasanna Weerawardane is with the World Monument Fund.

PRASANNA WEERAWARDANE (Assistant Field Director, World Monument Fund): These are figures of the apsara or celestial dancers, and you can see the heads are gone. So this is a classic example of desecration.

SEVERSON: Dealing in stolen artifacts is no small enterprise. It's a $7 billion-a-year industry.

Photo of Angkor Wat art Ms. DAVIS: The illicit antiquities trade is surpassed only by the illicit arms trade, the illicit drugs trade, and money laundering in scale. So this is a huge international crime.

SEVERSON: Behind this fortified fence there are warehouses filled with hundreds of Khmer sculptures sent here for safekeeping. But that hasn't stopped gunmen from shooting their way inside on several occasions. One time they smashed a truck through the fence and drove off with a load of irreplaceable artifacts. That's how brazen the looting has been.

While in Cambodia, we heard the looters were at work several hours' drive west of Angkor Wat. What we found were holes in the ground, recently excavated by villagers who then sold their ancient booty for a pittance.

Dr. O'REILLY: This would date to the Iron Age, about 100 A.D. Five hundred baht to buy this. That's a little over $12.

SEVERSON: The Iron Age bowls they take from the pits are used as flower pots. The villagers will trade a 2,000-year-old piece for a bit of candy.

Dr. O'REILLY: This kind of thing, when you find it in a burial, you're going to have all sorts of information -- what was inside the pot, what were the people buried with. That kind of information we're losing here.

Photo of looted art statue - Buddha missing head SEVERSON: Most of the prehistoric antiquities looted by villagers end up in local tourist shops, where the price takes a giant leap. This one is a bargain at $5,000.

Dr. O'REILLY: These are bells that probably date to the Dom Sum period. There's only eight of these known to archaeological science, so they're very rare.

SEVERSON: But most of the looting in Cambodia is not done by villagers; it's committed by organized crime, many believe, with the help of the Cambodian military. It's not a topic that is discussed openly.

(To Dr. O'Reilly): Is there reason to be afraid?

Dr. O'REILLY: There's very serious reason to be afraid.

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SEVERSON: Following the trail of stolen Khmer art to the world's finest museums and auction houses is no easy task, because these places don't purchase or receive stolen antiquities from the looters themselves. There are many middlemen involved. Heritage Watch's Terressa Davis went to the auction house Sotheby's looking for some answers.

Ms. DAVIS: A Khmer sandstone figure going for $50,000; a Khmer sandstone figure going for $90,000. It just goes on and on -- another bronze, another sandstone head.

SEVERSON: She found that between 1988 and 2004, Sotheby's auctioned 333 Khmer artifacts for as much as $200,000 apiece.

Photo of TERRESSA DAVIS Ms. DAVIS: Out of these artifacts, these Khmer artifacts sold by Sotheby's over this period, approximately 80 percent had no provenance whatsoever. Now, in the art history world, "provenance" refers to a piece's ownership history. And if an auction house or a dealer can provide that, the price generally goes up, so if it's not listed it's usually because a) it's not known or b) it's known and somehow incriminating.

SEVERSON: There are treaties that make the selling of stolen art illegal. But without a provenance, or a paper trail, it's almost impossible to prove whether the antiquity is stolen or not. Sotheby's declined to be interviewed for our story.

(To Mr. Balken): Would you buy an artifact from an auction house?

Mr. BALKEN: Only with the provenance attached.

Photo of Sotheby's SEVERSON: Willam Balken, the curator of the Utah Museum of Fine Arts, says reputable museums are far more careful these days. But stolen objects are still finding their way into auction houses and museums.

Ms. DAVIS: They generally say that most of these objects are coming out of old collections, but that's highly unlikely with Khmer art. If the are coming out of old collections there should be a dwindling number, because there weren't that many to begin with. But instead, the sales of Khmer art seem to be going up and up and up.

SEVERSON: This is River City, a very popular tourist mall on the Chao Prayia River in Bangkok. It has been implicated on several occasions as a major outlet for stolen antiquities.

Cameras are not allowed in River City, but we did manage to take in a hidden recorder, and we did find Khmer sculptures, some of them expensive.

(To Art Dealer): And this is $34,000, and this is $39,000?

Voice of Unidentified Art Dealer: Yes.

SEVERSON: You're quite sure that it's 12th century?

Voice of Unidentified Art Dealer: No, 10th century.

SEVERSON: The only thing I'm curious about is that I can get it back into the United States -- that customs won't stop me.

Voice of Unidentified Art Dealer: Yes, yes. I can put it down as an imitation one.

SEVERSON: You can put that on the receipt?

Voice of Unidentified Art Dealer: Yes, on the receipt. I can instruct the shipping company to do that.

SEVERSON: They say that it was made recently?

Voice of Unidentified Art Dealer: They say that it's an imitation. I don't think customs can differentiate between the real thing and the copy thing.

SEVERSON: Okay, but I mean if I would use American Express?

Voice of Unidentified Art Dealer: Oh, yes, yes, yes, yes.

SEVERSON: It's this kind of dealer and the rich collectors buying illicit art that drives Dougald O'Reilly around the bend.

Photo of defaced art Dr. O'REILLY: I'm disturbed whenever I see the destruction of beauty -- past creations that human beings have made. It's a tragedy to see them smashed and stolen only for the enrichment of a small, select group of people.

SEVERSON: Many Cambodians have little knowledge of their history and don't realize that it's disappearing. Those who do, like Hab Touch, deputy director of the National Museum, grieve at what the country is losing.

HAB TOUCH (Deputy Director, National Museum of Cambodia): It represents Cambodian glory, civilization. Stealing Khmer art does mean stealing the pride of Cambodia.

SEVERSON: And if you want to make Hab Touch very angry, ask him why anyone outside of Cambodia should care that one of the world's greatest religious monuments is disappearing --piece by piece.

For RELIGION & ETHICS NEWSWEEKLY, I'm Lucky Severson in Cambodia.

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