Thousands of Cultural Artifacts Stolen and Destroyed in Ukraine: How to Preserve What Remains
The destruction of cultural heritage in Ukraine extends beyond physical damage, encompassing the erasure of ancient memory. this includes the devastation caused by Bolshevik shelling and World War II.
The Sviatohirsk Lavra of the Holy Dormition, a cultural heritage site that has attracted early Christians as before the Christianization of Kyiv Rus, has been leveled. Archaeological research indicates early christian settlements along the riverbanks.
Similarly, the St. Petro Mohyla Cathedral in Mariupol, the only church in the world decorated entirely in the Petrykivka style of ukrainian decorative painting, a UNESCO-recognized form of intangible cultural heritage, has been destroyed. The Leopold Koenig estate, a neoclassical manor owned by one of the Russian Empire’s wealthiest businessmen, was shelled and burned by Russian soldiers, joining numerous other Ukrainian sites now reduced to memories.
Thousands of Cultural Sites and Institutions Erased in Ukraine
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The destruction extends beyond physical structures to the obliteration of historical memory. “There are immense losses, huge losses. Of course,we are talking about Eastern Ukraine mostly,about the radical destruction of the Crimean Tatar heritage,about Kherson,Melitopol,Donetsk,other places. Eastern Ukrainian cities have lost the most heritage, destroyed museums, I think, 67 – that’s the statistical number. Either destroyed, fully ruined, or plundered,” it has been noted.
UNESCO data indicates that the donetsk (132 cultural heritage sites damaged), Kharkiv (76), Odesa (57), and luhansk (47) regions have suffered the most damage. Nearly fifty cultural heritage sites have been destroyed in Kyiv. These are verified and documented losses,but according to the Ukrainian Ministry of Culture,the actual cultural losses may be several times higher.
As of early Febuary, approximately 1333 cultural heritage sites and 2185 cultural institutions have been damaged or destroyed. of these,almost 20% were completely destroyed,primarily cultural centers in towns and rural areas (1056),libraries (784),art education institutions (166),and museums and galleries (120).
What Isn’t destroyed Is Stolen
Museum collections and cultural institution staff are also affected. In august, the 19th-century Huliaipole Museum of Local Lore, along with its collection of 18,000 exhibits, was destroyed in a rocket attack. it has been observed that “what isn’t destroyed, the Russians simply steal.”
For example, before the liberation of Kherson in November 2022, Russian forces emptied the Kherson Art Museum, the Kherson Regional Museum, and the regional national archive. It is believed that the stolen exhibits are currently stored in the Tavrida Central Museum in Simferopol, whose director, Andrej Vitalijevič Maglin, was sanctioned by the EU and Switzerland last year. Cultural institutions and museum specialists associated with Russia are accused of playing a key role in the looting operations in Ukraine.
The conflict in Ukraine has led to significant cultural losses, with reports indicating the removal of 15,000 exhibits from the Kherson Art Museum to Russia. According to reports, museum staff and directors who refused to disclose secret locations faced torture and death. While these cultural losses may not always be at the forefront of daily news, the destruction is immense. UNESCO is closely monitoring the situation, but the full extent of the damage remains unknown. Reports and images reveal the devastation, including collapsed theater roofs, destroyed churches, and stolen art collections.
This destruction of cultural heritage is an attempt to erase memory, drawing parallels with Lithuania’s history under the Russian Empire. Many Lithuanian estates, once thriving centers of art, are now empty or neglected.Reconstructions often lack authentic art and interiors. Only a few cases, like the Palace of the Grand dukes of Lithuania, have seen triumphant, albeit improvised, restorations. Instead of recreating the original XVIII and XVII century art,similar pieces were acquired from antique shops and collections to create an impression of what once was. “When you are destroyed, you then try to recreate through some analogies, through some approximate examples,” notes A. Gelūnas.
Anastasija Čerednyčenko, head of the International Council of Museums (Icom) in Ukraine, highlighted the large-scale looting as an attempt to seize ukrainian history. In an interview with “Museums Journal,” she stated, “in fact, we recognize this as genocide, because it is one of the elements of genocide – first people, then culture.Russians want these collections because they want to prove that this is their history. They are not only stealing museum objects, but also appropriating Ukrainian history. Russia is erasing the history and memory of Ukrainians and national majorities, as well as the indigenous peoples of Ukraine. They want to prove that this is Russian territory and that it was never Ukraine.”
resisting the Kremlin’s Dehumanization Policy
The Ukrainian cultural and tourism industry has suffered losses estimated at 18.5 billion euros since the start of the conflict. Some cultural objects are irreplaceable and unachievable to value monetarily. Despite these challenges, Ukrainians are actively resisting attempts to usurp and bury their cultural memory and identity. A. Gelūnas recalls a striking example from his visit to Ukraine:
“I remember the most radical example I can think of, when Taras Vozniaku, the director of the Lviv National Boryso Voznyckio Gallery, and I were filming a Lithuanian documentary during the war, about how Ukrainian museums and Lithuanian museums are friends, support each other, and cooperate. One of the locations for the documentary was near their newly renovated Orthodox church. A small wooden church, a UNESCO heritage site, by the way.we are standing next to that church and I say, Taras, during the war you are renovating churches? He says, this is exactly what Putin doesn’t want us to do. Putin wants us to stop living, stop caring about more noble things – only a piece of bread, only a roof over our heads, warmth, only basic [things], like an animal. You move to the level of a beast, only survival.”
“but culture, other things, and religion are also important to a person. His identity, memory, faith. And, he said, we are renovating that church and our castles related to the history of the Grand Duchy of Lithuania during the war, so as not to stop being human. Exactly what the Russians want us to stop doing – stop being human. That example is so vivid to me, how important it is to remain human during the war, how they have covered their monuments, protected them with camouflage nets and metal protections, just to preserve memory, just to preserve cultural identity and after the war for those who will come after them.”
Efforts to Preserve Cultural Heritage: From Digitization to Printing on Silk
Ukrainians are employing various methods to preserve their endangered heritage, at least in the memory of Ukrainians and the world. The Ukrainian Institute initiated a digitization effort at the start of the conflict.
Safeguarding Ukraine’s Cultural Legacy: A Race Against Destruction
The ongoing conflict in Ukraine poses a grave threat not only to its people and infrastructure but also to its rich and ancient cultural heritage. Efforts are underway to document, preserve, and share Ukraine’s cultural treasures, ensuring that they endure for future generations.
Targeted destruction of Cultural Sites
Reports detail a disturbing pattern of deliberate attacks on cultural landmarks. As stated on a website documenting the damage, Russia “ciniškai ir negailestingai apšaudo muziejus, memorialus, universitetų pastatus, kino teatrus, mėto raketas ant bažnyčių, šventyklų, katedrų, televizijos bokštų ir paminklų.Rusija ne tik naikina Ukrainos miestus ir kaimus,bet ir sistemingai naikina tūkstančius metų skaičiuojantį Ukrainos kultūros paveldą.” The website features “atvirukai” (postcards) showcasing 80 destroyed or severely damaged sites. These postcards present before-and-after images, highlighting the devastating impact of the conflict. Clicking on each image reveals information about the site’s historical and cultural meaning to Ukraine.
The Role of Digitization in Cultural Preservation
Digitization offers a crucial method for preserving endangered cultural heritage. While not a perfect solution, it provides a valuable alternative. As noted, “Tu bent turėsi skaitmeninį archyvą. Kaip senais laikais analoginė fotografija, galbūt, galėjo išlaikyti tam tikrą atminties archyvą. Aišku, tai yra ne tas pats. Fotografuotas skaitmeninis Čiurlionis nėra tikras Čiurlionis, kur jauti genijaus prisilietimą prie popieriaus tempera ar pastele, ar akvarele – visai ne tas pats. Bet tai – tam tikras kompromisas, kad visai neprarastum atminties apie tai, kas kažkada buvai.”
the Ukrainian Heritage Digitization and Dissemination Initiative (UHDDI) has been active for two years,dedicated to safeguarding Ukrainian heritage. This international project involves the Ukrainian civil society group “Arhaїс” and the company “CyArk,” a pioneer in applying 3D recording technologies for cultural heritage preservation. Currently,the initiative provides training,3D equipment,and methodological resources to three Ukrainian institutions: the Odesa Archaeological Museum,the Institute of Archaeology of the National Academy of Sciences of Ukraine,and the Kyiv National taras Shevchenko University.
The Kyiv National Taras Shevchenko University houses one of Ukraine’s largest university archaeological museums, holding over 30,000 artifacts. These include unique finds from the Mezhirich paleolithic site, Trypillian anthropomorphic figurines, ancient artifacts, early Slavic items, and materials recovered from shipwrecks by the university’s Underwater Archaeology Center.
Digitizing these collections ensures that knowledge of these artifacts survives for future generations, both during and after the conflict. Digital copies also facilitate ongoing research. The digitization process employs photogrammetry technology to create three-dimensional models of heritage objects. These models are then stored in digital archives and used for restoration, virtual museums, and educational purposes.
Creative Initiatives for Cultural Preservation
Ukrainians are finding innovative ways to preserve their culture in people’s memories and raise awareness about stolen artifacts. Such as, the fashion brand “Oliz” has created a “pavogto meno šilkinių skarų ir drabužių kolekciją” (stolen art silk scarves and clothing collection), with proceeds from sales going towards the country’s reconstruction. each item features accurate reproductions of destroyed or stolen artworks and cultural treasures.
The collection features silk reproductions of paintings stolen from the Kherson Museum,as well as works by the renowned Ukrainian 20th-century folk artist Polina rayko. The museum dedicated to her was destroyed in 2023, along with much of her work. Some silk scarves “atsispindi sprogimų suniokotų pastatų istorija” (reflect the history of buildings devastated by explosions), such as the ancient Greek settlement dating back to the 5th century BC, which was turned into an amusement park and destroyed after Russia annexed Crimea in 2014.
Safeguarding Ukraine’s Cultural Heritage Amidst Conflict
The ongoing conflict in Ukraine poses a significant threat to its rich cultural heritage. Efforts are underway to protect and preserve invaluable artifacts and architectural landmarks from destruction and looting.
International Support and Challenges
International support has been crucial in aiding ukraine’s efforts to safeguard its cultural treasures. However, recent developments, such as the potential reduction in U.S. aid, present new challenges. According to “The Art Newspaper,” American funds have supported the restoration of damaged architecture in Kharkiv, focusing on salvaging unique architectural elements from destroyed buildings.
A survey by the Ukrainian non-governmental organization “Coalition of Culture Figures” reveals that the suspension of U.S.aid could leave a funding gap of approximately 2.8 million euros for the country’s cultural sector.
Legal Mechanisms for Protection
Recognizing the potential difficulties in recovering Ukrainian museum collections seized by Russia after the war, Ukraine is implementing legal mechanisms to address the protection and theft of cultural property. On February 25th,the Ukrainian Parliament ratified the Council of Europe’s Nicosia Convention on Offences relating to Cultural Property,which the country signed in 2017.
The Nicosia Convention establishes a legal framework for criminalizing offenses related to cultural property, including theft, illegal excavation and export, and intentional destruction. It also provides a legal basis for extradition and international legal assistance to facilitate the return of stolen items. Ukraine became the eighth country to ratify the convention and the first to do so during an ongoing war.
Lithuania’s important role
Lithuania is actively assisting Ukraine in preserving its cultural heritage. According to A. Gelūnas, director of the Lithuanian National Museum of Art, Lithuania’s support began immediately: “From the very first moments, there were no doubts. The only question was how we could help our Ukrainian colleagues, and it was very difficult at the beginning. We simply collected money privately and bought packaging materials and fire extinguishers.”
This support evolved to include the evacuation of artworks: “But after that, almost half a year or longer, the opportunity arose to evacuate works from their collections, simply to protect them in our storage facilities, and we did that at the beginning of 2023. About 800 works were brought from the Kyiv, Odesa, and Lviv collections, and they are still with us today. Thank God, they are not being looted, and no aerial bombs are falling on them.”
Museums within the National Museum of Art system have also responded to Ukrainian requests to refrain from publicly displaying works by Russian authors during the war, expressing solidarity with the country experiencing Russian aggression.A. Gelūnas notes that his museums had limited contact with Russian institutions or authors even before the war, “Perhaps because of a certain fear, because of having the Soviet experience of that soft power manipulation.”
Visitors to the National Art Gallery sometimes notice a piece of Stalinist art on display – Alexander Laktionov’s painting “Letter from the Front.” A. Gelūnas explains the decision to exhibit such a work: “it was done simply for educational or propaganda prevention purposes, demonstrating the mechanisms of Stalinism or Russian soft power in general, and this work has never been taken down since 2019. So here you have a work by a Russian author, from the Stalinist period, which has been hanging in the exhibition throughout the period of Russian aggression in Ukraine and serves to deconstruct Stalinist art or the most radical form of socialist realism.”
According to A. Gelūnas, this artwork effectively demonstrates how Soviet propaganda operated, with the primary goal of disabling critical thinking: “You give in to emotion. To the sunshine in this painting, those people are so likeable, the boy who is probably reading a letter from the front from his brother or, I don’t no, father, perhaps. Your emotions are being manipulated, critical thinking is turned off, historical memory, a broader understanding of the context.”
The collection of Vladimir Tarasov, a famous jazz musician born in Arkhangelsk but who moved to Vilnius in 1967 and acquired Lithuanian citizenship, serves a similar purpose – to educate people and develop critical thinking by demonstrating that there were once sprouts of protest against the regime in Russia. The Lithuanian National Museum of Art received it as a gift in 2020.
“There is a lot of Russian, Ukrainian, Lithuanian, Latvian, Estonian Soviet-era dissident art there, and many people, after the start of the war, that most aggressive invasion, said – take down those Russians. Because there is also some Russian language there…”
Cultural Appropriation and Resistance: Ukraine and Lithuania
the intersection of culture, identity, and geopolitical conflict is complex, particularly when examining the appropriation of cultural heritage. This article explores instances of cultural appropriation and resistance, drawing parallels between Ukraine and Lithuania’s historical experiences.
Discussions around cultural identity often involve navigating sensitive issues, especially when artistic expressions contain elements that might be perceived as supportive of opposing ideologies.For example, the inclusion of Russian words in the albums of artists like Ilya Kabakov or in Bulatov’s paintings raises questions.
One perspective suggests that these elements can demonstrate instances of resistance within Russian society against the system and Kremlin ideology. This resistance is sometimes expressed through Aesopian language or metaphors,while other times,it directly challenges the Kremlin.
However, the appropriation of artists by other cultures remains a contentious issue.Consider Ilya Kabakov, often labeled as the most famous 20th-century russian artist, despite being Jewish, born in Ukraine, and having lived in Moscow for a significant period. As one expert notes:
Turėjome diskusijų, ką daryti su Ilja Kabakovu, kuris tarsi vadinamas garsiausiu XX amžiaus rusų dailininku, nors yra žydas, gimęs Ukrainoje, gyvenęs Maskvoje, taip, tas tiesa, pakankamai ilgai, ir tiesiog nusavintas.
This highlights the complex dynamics of cultural ownership and the challenges in assigning national identities to artists.
The issue of Cultural Ownership
the appropriation of ukrainian and other nationalities by Russian culture is a well-documented phenomenon. Labeling someone a “Grate Russian artist or writer” effectively claims them as part of Russian cultural heritage. The case of Kabakov sparked considerable debate, especially considering his expressed desire to be identified as Ukrainian.
Kabakov even participated in a competition to represent Ukraine at the Venice Biennale before his death a couple of years prior. These strong civic statements as an individual and creator legitimize his inclusion in exhibitions such as the one at the Radvila Palace.
Tai žinome, kad rusų kultūra yra nusavinusi ne vieną ukrainietį ar kitų tautybių atstovą tiesiog kaip savo. Uždeda tą etiketę „Didysis rusų dailininkas ar rašytojas“ ir viskas gerai. Tai dėl Kabakovo buvo diskusija, bet, galiausiai, pats Kabakovas yra išreiškęs, pavyzdžiui, norą būti vadinamas ukrainiečiu ir jis net dalyvavo konkurse prieš mirtį (dabar jau pora metų kai jo nėra) atstovauti Ukrainai Venecijos bienalėje su savo kūryba.Tai jo labai stiprūs kaip asmenybės, kaip kūrėjo tokie pilietiniai pareiškimai, mano manymu, visiškai legitimuoja tą faktą, kad jis rodomas yra Radvilų rūmų ekspozicijoje.
Historical Parallels: Ukraine and Lithuania
The processes unfolding in Ukraine—the appropriation of history, artists, and their works, the theft of heritage, and the destruction of cultural identity—mirror similar experiences in Lithuania during the Russian occupation. Lithuanian culture and cultural memory are likened to a shattered mosaic.
Experts and museums are working to piece together this mosaic from the surviving fragments, updating collections, and repatriating the works of diaspora artists. This effort aims to restore a sense of cultural wholeness and identity.
Significant acquisitions and donations are contributing to this restoration. These include:
- acquisition of numerous works by Pranas Gailius.
- A large collection of paintings donated by the family of Jurgis Mikševičius.
- the anticipated arrival of a substantial collection of works by Nijolė Šivickas from Colombia.
- The majority of works by Aleksandra Kašubienė.
The rediscovery and recognition of figures like Aleksandra Fledžinskaitė Kašubienė, also known as Kasuba, are particularly significant. Kasuba’s contributions are now seen as comparable to those of jonas Mekas, with some even playfully referring to her as “our female Čiurlionis.”
Prano Gailiaus pirkom daug kūrybos; dabar Jurgio Mikševičiaus šeima padovanojo didžiulę tapybos kolekciją; Nijolė Šivickas iš Kolumbijos šiais metais galimai atkeliaus – irgi didžiulė kūrybos kolekcija; dauguma Aleksandros Kašubienės [darbų]… Aleksandros Fledžinskaitės Kašubienės – Kasubos vardas man ilgą laiką buvo nežinomas. Aš dabar galvoju, kad tai – viena didžiųjų asmenybių, tikrai prilygstanti Jonui Mekui ir net kartais juokauju, kad čia – mūsų moteriškas Čiurlionis. tai yra mozaikos gabaliukai, kurie sugrįžta ir aš, pavyzdžiui, labai didžiuojuosi, kad priklausau tai pačiai tautai, kaip ir aleksandra Kašuba, nes šitokio masto kūrėja, šitokia įdomi mąstytoja ir pedagogė.
The recovery of cultural memory also involves acknowledging the contributions of figures like Greimas and Vytautas Kavolis, whose significance was obscured during the Soviet era. Personal experiences of living in Soviet Lithuania highlight the limited exposure to the true history and culture of the nation.
The comprehensive understanding and vision of cultural heritage serve as a powerful motivator, akin to a second bloodstream that shapes one’s identity.
Man labai smagu, kad iš Lietuvos yra kilęs ir Greimas, ir Vytautas Kavolis, ir daugybė kitų garsių vardų, apie kuriuos iki tam tikro taško ten sovietinėj Lietuvoj [nežinojau]. Aš galiu sakyti, kad Sovietinėj Lietuvoj prabėgo mano 22 metai – tai pakankamai daug, tai per tuos metus tiktai kažkokios užuominos ir mažyčiai faktų tokie rinkinėliai buvo apie tą tikrąją ankstesnę Lietuvą. Tai tikrai viso kultūros statinio įsivaizdavimas, matymas veikia kaip motyvacinis… Tai toks kaip ir tavo kraujas antrasis, kuris cirkuliuoja tavo gyslomis ir sudaro tai, kas tu esi.
the issues of cultural appropriation and the struggle to maintain cultural identity resonate deeply in both Ukraine and Lithuania. The efforts to reclaim and celebrate their unique heritages are vital steps in preserving their national identities.
Preserving Ukraine’s Cultural Identity: A Q&A on Destruction adn Resilience
the ongoing conflict in Ukraine has resulted in devastating losses, not just in lives and infrastructure, but also in its rich cultural heritage. This Q&A explores the extent of the damage, the motivations behind it, and the efforts underway to preserve Ukrainian cultural memory in the face of destruction.
Q: What kind of cultural heritage is being destroyed in Ukraine?
A: The destruction spans a wide range of sites and artifacts, including religious institutions, historical landmarks, museums, libraries, and cultural centers.Examples include the leveled Sviatohirsk Lavra of the Holy Dormition (a site of early Christian significance), the St.petro Mohyla Cathedral in Mariupol (unique for its Petrykivka-style painting), and the Leopold Koenig estate, a neoclassical manor. The destruction leads to the erasure of ancient memory and the disruption of historical narratives.
Q: How widespread is the destruction of cultural heritage in Ukraine?
A: The destruction is widespread, especially in eastern regions. According to UNESCO data,the Donetsk,Kharkiv,Odesa,and Luhansk regions have suffered the most damage. As of early February, it’s estimated that over 1,300 cultural heritage sites and over 2,100 cultural institutions have been damaged or destroyed, a notable portion of wich have been completely ruined. Some sources claim that damage is several times higher.
Q: Is it just destruction, or is cultural heritage being stolen as well?
A: Tragically, both destruction and theft are occurring. Museum collections and other cultural artifacts are being looted by Russian forces. For instance, before the liberation of Kherson, artifacts from the Kherson Art Museum and other regional institutions were stolen and are believed to be stored in the Tavrida Central Museum in Simferopol. Museum staff and directors who refused to cooperate by revealing secret artifact cache locations faced torture and death.
Q: Why is Ukrainian cultural heritage being targeted?
A: according to Anastasija Čerednyčenko, head of ICOM Ukraine, the destruction and theft are attempts to sieze Ukrainian history and represent a form of cultural genocide. The logic is that by erasing Ukrainian cultural identity, Russia seeks to delegitimize Ukraine’s existence, falsely asserting that it is indeed historically Russian territory.
Q: What efforts are underway to preserve Ukrainian cultural heritage?
A: Despite the immense challenges, Ukrainians are actively fighting to preserve their cultural memory. Efforts include:
Digitization: Initiatives like the Ukrainian Heritage Digitization and Dissemination Initiative (UHDDI) are focused on creating digital archives of endangered sites and artifacts.
Physical Protection: Monuments are being covered wiht camouflage nets and metal protections to minimize damage from shelling.
Rebuilding and Renovation: Even during the war, Ukrainians are renovating damaged sites as a symbol of resistance against the attempts to dehumanize them.
Documentation: Websites and projects like “Atvirukai iš Ukrainos” are documenting the damage and highlighting the cultural significance of the destroyed sites, raising awareness internally and internationally.
* Preserving Art Practices: Ukranian decorative painting has been seen on military equipment, with the goal of raising money for the military.
Q: Why is it so significant to preserve Ukrainian culture?
A: Preserving cultural heritage is an act of resistance against attempts to erase Ukrainian identity. It is indeed a statement that culture, identity, memory, and faith are essential aspects of being human, and that these cannot be destroyed, even during war. Furthermore, these efforts help to preserve memory and cultural identity for future generations.
Q: What can people do to help support the preservation of Ukrainian culture?
A: Supporting organizations involved in cultural preservation, raising awareness about the destruction, and advocating for international protection of Ukrainian cultural sites are all effective ways to contribute.