DOI：10.3969/j.issn.1674-9391.2024.07.008

Abstract：

Digital repatriation can be described as a process of returning cultural heritage assets， including digital photographs， collections， 3D scans， and audio recordings， to their original communities. It also encompasses the restitution of" intangible cultural heritage， such as traditional skills and knowledge， through digital means. In recent years， the perspectives of the European and American museum communities regarding cultural heritage acquired through illegal means have been changing. They now regard the return of cultural heritage as an opportunity to enhance the knowledge and research surrounding these collections. Meanwhile， it may facilitate setting up a rapport with the original community， create dialogue about contested heritages， and have in-depth discussions on related cultural issues. Ergo， this article tries to explore" methodologies for returning cultural heritage and aims to identify effective practices" for this “return” in the digital era.

The article reviewed the historical development" and evolution of the concept of cultural heritage return， including the perspectives presented in" international treatises， inadequacies in addressing" the looting and illegal trade of cultural artifacts， and three typical perspectives regarding this question： Cultural nationalism， cultural internationalism， and object-contextualism. Additionally， this article proposes an understanding of cultural heritage return that emphasizes" restoring， repairing， and revitalizing cultural heritage which can be conceptualized as a shaping of shared space， namely a “virtual return.” The goal of" this" “return” is to reintegrate dispersed heritage into its source community and create a shared space among heritage-holding institutions， source communities， interested scholars， and the general public. Early examples of digital repatriation initiatives in the museum sector at the beginning of the 21st century are also examined.

The unique properties of non-fungible tokens （NFTs） can link digital and physical assets together to establish ownership， providing a unique “digital identity” for cultural heritage. Such developments may offer promising solutions for" the traditional problem of cultural heritage return. This article has reasons to believe that to address the challenges adequately" of digital returns， a dual ownership model should" be established. In addition， this discussion appears to involve several critical issues， including the understanding of cultural heritage digital returns by the possessor countries and the source countries or communities， the sharing of rights in digital collections， the management of these" collections， and legal implications.

Lastly，this article proposes a" plan for the digital return of cultural heritage from a Chinese perspective， which is believed to contribute to the establishment of a new type of international convention and international relations. First， the concept of a community with a shared future for humanity should incorporate" new elements， such as the concept of common interests and sustainable development， advocating for a cooperative consultation mechanism between source" and possessor countries based on mutual respect for history and objective reality， alongside an ethos" of seeking common ground while acknowledging differences. Second， based on a new dual ownership mechanism， a framework of rights and obligations for all parties involved in the digital repatriation of cultural heritage should be established. Third， cooperation between source and possessing countries in the" exhibition， research， and utilization of cultural heritage should be strengthened through digital return efforts. Finally， it is concluded there is a pressing need to" promote the resolution of cultural heritage return issues through digital platforms and establish relevant international conventions.

Key Words：

cultural heritage; digital return; international conventions; Chinese plan