The Piprahwa Gems and the Question of Who Really Owns History
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This week, a set of sacred jewels believed to be linked to the Buddha’s remains came home to India, after more than 127 years. The Piprahwa Gems, unearthed in 1898 from a stupa in northern India, had been kept in a private British collection until Sotheby’s attempted to auction them in Hong Kong. That sale was halted after diplomatic pressure and global ethical outcry.
Eventually, the Mumbai-based Godrej Group stepped in to acquire and return the jewels. Prime Minister Modi called it a “proud and joyous moment” - a victory for our cultural heritage.
As someone who creates fine jewellery, this story moved me deeply because while we speak often of craftsmanship, luxury, and value, some jewels transcend even the finest techniques. They are not considered commodities or style statements, rather they are the spiritual memory of a community or a nation and inspire a sense of are belonging.
This is not the first time India has witnessed its treasures taken, displayed, or sold abroad.
We know of many such instances in the past such as:
- The Koh-i-Noor, once one of the largest cut diamonds in the world, now sits in the British Crown Jewels.
- The Nizam of Hyderabad’s jewellery collection, auctioned and dispersed across international museums and private hands.
- Sacred artefacts, temple idols, and reliquaries - many with deep religious or ceremonial meaning have found their way into Western institutions and auction blocks.
What many don’t realise is that India has a law to protect against this very loss. The Antiquities and Art Treasures Act, 1972 prohibits the export of antiquities and cultural artefacts without government permission. Any item over 100 years old with historical, artistic, or spiritual significance cannot be removed from the country or sold as a mere collectible. This law, along with growing global awareness, gave India the legal and moral ground to bring the Piprahwa Gems home.
At Archana Aggarwal Timeless Jewellery, we speak often of heirlooms - of jewellery that tells a story and lives beyond the wearer. But this story is a powerful reminder that some heirlooms are not ours to wear. They are meant to be venerated, not auctioned. Protected, not possessed.
Jewellery is one of the most emotionally charged art forms. It sits on the body. It absorbs memory. It survives time.
We celebrate the return of these sacred pieces not just as a nation, but as an industry. Because this moment reminds us: Jewellery isn’t always about ownership. Sometimes, it’s about identity. When a piece holds the memory of a people, a belief, or a civilisation, its value goes far beyond beauty. Its rightful place isn’t in private hands—but in the care of those to whom it truly belongs.
What do you think? Should sacred jewels ever be up for sale? Or do some pieces belong only to their people collectively? Who should be the custodian of such jewels?
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