Among the artifacts recognized as National Treasures in 2025, the Vietnam National Museum of History (VNMH) nominated two outstanding objects. One of them is the Statue of the goddess Durga, an exceptional bronze sculpture repatriated to Vietnam under the provisions of the 1970 UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property.
1. The Repatriation of the Durga Statue
On June 22, 2022, the U.S. Department of Justice announced on its official website the seizure of US$12 million in assests and a 7th-century bronze statue originating from Vietnam. This represented the largest seizure of cultural property ever undertaken by U.S. authorities. Specifically, in 2019, investigators from the Homeland Security Investigations (HSI) office in New York charged Douglas Latchford, a British collector and antiquities dealer, with smuggling numerous Khmer cultural artifacts onto the international market by using forged documents to conceal their provenance. In September 2020, the indictment was dismissed following Latchford’s death. Before his death, however, investigators dertermined that he had received more than US$12 million from illicit sale of cultural artifacts through bank accounts in Bailiwick of Jersey, United Kingdom.
Between 2008 and 2009, Latchford travelled to Vietnam and used the proceeds from his trafficking operation to acquire a four-armed bronze statue of the goddess Durga, dating to the 7th century CE. Following legal proceedings and a settlement reached with Latchford’s daughter, the U.S. Attorney’s Office for the Southern District of New York ordered the forfeiture of both the US$12 million in illicit proceeds and the bronze Durga statue.
Earlier, on June 21, 2022, Ambassador Nguyen Quoc Dung met with Mark Vlasic, a lawyer, lecturer at Georgetown University, and adviser to the Director-General of UNESCO on cultural heritage protection. During the meeting, Mr. Vlasic informed the Ambassador in advance of the impending announcement and explained that the bronze Durga statue was then being kept in London. He further noted that the statue had been appraised by experts at approximately US$18 million and was expected to be transferred to the Embassy of Vietnam in the United Kingdom by the end of August 2023.
After receiving this information from the Embassy of Vietnam in the United States, the Embassy of Vietnam in the United Kingdom worked closely with the UK Foreign, Commonwealth & Development Office and other relevant British authorities to coordinate the repatriation process. The Embassy subsequently sent official diplomatic communications to the Ministry of Culture, Sports and Tourism of Vietnam requesting guidance on the procedures for accepting the statue. At the same time, it proposed plans for packing, transporting, and returning the bronze statue of the goddess Durga to Vietnam.
Following the instructions from the Ministry of Culture, Sports and Tourism, the VNMH began preparing detailed plans in mid-August 2023 to receive and transport the statue. Demonstrating a strong sense of responsibility, the Museum also sought financial support from institutional partners and private collectors to cover the cost associated with its repatriation.
In early 2024, a delegation from the Ministry of Culture, Sports and Tourism, together with representatives of the VNMH and sponsors, travelled to the United Kingdom to examine the statue, assess its condition and value, and supervise its packing and transportation to Vietnam. On February 21, 2024, the Durga statue arrived at Noi Bai International Airport in Hanoi. It was subsequently transferred to the VNMH for conservation and long-term preservation, making its return to Vietnam after 15 years overseas, following its illicit removal from the country.
Experts packing of the bronze statue of the Goddess Durga in accordance with international conservation standards before its repatriation to Vietnam.
Ceremony announcing the successful repatriation of the bronze statue
2. The Statue of the goddess Durga
2.1. In Hinduism, Durga is one of the supreme goddesses and is revered as a manifestation of Devi, the Great Goddess, and of Shakti, the divine feminine power that sustains and animates the universe. Although the sacred feminine is understood as a single, universal divine force embodied by Mahadevi, it is also expressed through numerous individual goddesses, among whom Durga occupies one of the most important positions.
Durga is worshipped throughout India, particularly in the eastern states, and is also revered in Nepal. In addition, she appears in the religious traditions of Buddhism, Jainism, and Sikhism. The annual festivals of Durga Puja and Navratri, celebrated in her honour, are among the most important religious festivals on the Indian subcontinent.
References to Durga appear in some of the earliest Sanskrit scriptures. She is mentioned in the hymns of the Rigveda and the Atharvaveda (1500 - 1200 BCE). Two major Hindu texts are devoted entirely to the goddess: the Devi Mahatmya, a section of the Markandeya Purana dating to the fifth or sixth century CE, and the Devi Bhagavata Purana, compiled between the sixth and fourteenth centuries CE. Durga is also prominently featured in the two great Sanskrit epics, the Ramayana and the Mahabharata.
According to Hindu mythology, Durga was created by the male gods to defeat the demon Mahishasura. Mahishasura was granted a blessing by Brahma that made him invincible to male opponents. With his army, he attacked the gods and drove them out of the heavenly realm of Svarga. Unable to defeat their enemy, the gods, led by the three great deities Brahma, Vishnu, and Shiva, combined their powers to create a goddess with extraordinary fighting abilities. They also gave her their own divine weapons, including: the Trishula (trident) from Shiva; the Sudarshana Chakra from Vishnu; the lotus from Brahma; the Vajra (thunderbolt) from Indra, the god of thunder; the spear from Agni, the god of fire; the sword from Ganesha; the Bow and arrows from Vayu, the god of wind; the Shankha (conch shell), a symbol of Varuna, the god of water; the axe from Vishvakarma, the divine craftsman; and the serpent given by Shiva.
Carrying their combined energy (Shakti), Durga is both the embodiment of the male gods and the true source of their inner power. She is also considered greater than each of them individually. Therefore, the goddess Durga is also known as the Goddess of Fierce Power. The goddess Durga is known by at least 108 names, and her list of names (namavali) is recited during religious rituals. This list includes the nine forms of the Goddess worshipped during the festival of Navratri, which represent the life journey of the Goddess from childhood to her role as the destroyer of demons and ultimate spiritual enlightenment. They include: 1. Shailaputri (Daughter of the Mountain God): the childhood form of Parvati; 2. Brahmacharini (Female Ascetic): the stage of austerity and penance; 3. Chandraghanta (Crescent-Moon Bell): the warrior form; 4. Kushmanda (Cosmic Egg): the embodiment of Shakti; 5. Skandamata (Mother of Skanda): the maternal form; 6. Katyayani (The Slayer of Demons): the distinctive form of Mahishasuramardini, the slayer of Mahishasura; 7. Kalaratri (Goddess of the Night): the destructive form; 8. Mahagauri (Great Radiance): the stage of restoration and renewal; 9. Siddhidhatri (Bestower of Supernatural Powers): the highest and most evolved form.
The Goddess Durga and her various forms have different appearances, which are reflected in art, sculpture, and religious statues created for festivals. The images worshipped during the Durga Puja festival often depict her defeating the demon Mahishasura. The final five forms of Durga (Skandamata, Katyayani, Kalaratri, Mahagauri, and Siddhidhatri) are all depicted with four arms. Shailaputri and Brahmacharini have two arms, while Chandraghanta and Kushmanda are shown with ten and eight arms respectively. Their mounts (vahanas) are all different. Brahmacharini has no mount, while the others ride a tiger or lion, Nandi the bull (Shiva's usual mount), a donkey, an ox, or a lotus. Among the nine forms, Mahagauri is known for her beauty, while Kalaratri is described as fierce and fearsome in appearance. Kali, a fierce form often identified with Kalaratri, represents the most terrifying aspect of the Goddess. She is depicted with wild hair, an extended tongue, and a garland made of skulls. Durga Puja is the principle festival dedicated to the worship of goddess Durga and is a traditional celebration in the eastern states of India. The festival is celebrated over five days with great importance in West Bengal, Assam, Tripura, Odisha, Bihar, Jharkhand, and eastern Uttar Pradesh. Over time, Durga Puja has become a popular festival in urban centers across northern and western India, such as Delhi and Mumbai as well as among Indian communities overseas. The related festival Navratri is celebrated throughout northern, western, and central India. Both Durga Puja and Navratri conclude with Vijayadashami and Dussehra, respectively symbolizing the victory of good over evil on the 10th day. Durga Puja is celebrated for four days in Bangladesh, a country with a Muslim majority population. In Nepal, it is one of the most important festivals, known as Dashain.
Durga also appears in other religions of the Indian subcontinent, although she is not actively worshipped in the same way. Vajrayana Buddhism adopted several Hindu deities, including Durga, into its religious tradition. Images of the Goddess under the name Mahishasuramardini have been found at Buddhist sites in India and other countries, including Indonesia. The Buddhist goddess Tara is often associated with Durga. Buddhist goddesses in Nepal, Japan, and Tibet also share several characteristics with Durga and her different forms. Depictions of Durga have been found in several ancient Jain temples, including the Ellora Cave temples. The Goddess is also mentioned and praised in the Sikh scripture Dasam Granth, which is often associated with Guru Gobind Singh, the 10th spiritual leader of Sikhism.
In Vietnam, the best-known representation of the goddess Durga is an outstanding sculpture of the Oc Eo culture, dating from the 7th - 8th centuries CE. The statue is made of sandstone and was discovered in Trà Vinh in 1902. It is currently preserved at the Ho Chi Minh City Museum of History.
In Champa culture, which was also heavily influenced by Indian Hinduism, Goddess Durga is mentioned in many inscriptions and depicted in various forms, incarnations, and names, such as Devi, Parvati, Saraswati, Kali, or Mahishasuramardini. However, as a freestanding metal sculpture, the statue repatriated on this occasion is the first and only known image of the goddess Durga.
2.2. The statue of the goddess Durga is cast in bronze alloy. It is a large freestanding sculpture with a total height of 191 cm (the figure of the goddess alone measures 157 cm, approximately life-size). The goddess is depicted standing with one hip slightly raised, her upper body bare and wearing a long sarong. The head is rendered with great care and refinement. Her hair is braided into multiple plaits and gathered into a high, three-tiered bun on top of the head. Two locks of hair are tied around the middle, with their ends hanging down on both sides. The face is oval, with half-closed eyes, arched eyebrows, a high nose, a gentle smile, a rounded chin, and three neck folds. The body is tall, slender, and well-proportioned. The upper body is bare, with full rounded breasts and a slim waist showing clear skin folds. A flower-shaped belt is tied around her waist. The lower body is covered by a two-layered sarong reaching the ankles.
The statue of Goddess Durga
The statue has four arms. The upper pair is raised to shoulder level, while the lower pair extends forward at right angles to the torso. The objects originally held in its hands are missing. The feet are bare, broad, and have well-defined toes. Beneath both feet are triangular pins each with a round hole at the end. The entire statue features signs of corrosion, oxidation, rust with numerous small cracks and chips. A small chip is present at the top of the head and pieces are missing from both ears. The little and ring fingers of the lower right hand were broken and cracked but have been repaired. The right foot was cracked and has been reinforced and repaired.
Based on expert evaluation supported by scientific analysis of its alloy composition, the Durga statue has been identified as an authentic artifact. During legal proceedings, Arts Council England appraised the work, dating it to the 7th century CE with an estimated value of GBP 14,184,397 (approximately VND 480 billion).
Facial details of the Goddess Durga statue
After being transferred to the VNMH for storage and preservation, the museum established an expert council in history, archaeology, culture, art, and antiquities to assess the statue's condition and determine its characteristics, date, origin, and value. The council concluded that: “The Durga statue is cast in a bronze alloy and is of large scale. It remains relatively well preserved. Dating to approximately the 7th century and associated with the Champa culture of Vietnam. This is a rare and valuable artifact with significant historical, cultural, and artistic importance.”
The VNMH conucted sampling and analyzed the alloy composition of the statue. The results indicate that the Goddess Durga statue was cast in a copper-tin-lead alloy, which is consistent with traditional materials used during the period in which it was created. The metal proportions and alloy characteristics are comparable to 7th-century Cham bronze artifacts excavated in Quang Khe (Central Vietnam) in February 1929 and currently preserved in the storage of the VNMH. These findings help confirm the statue’s authenticity, age, and local origin.
3. The Unique Value of the Goddess Durga Statue
The repatriated bronze statue of the goddess Durga is an artifact of exceptional value and uniqueness. It is the only artifact of its kind currently known in studies of Champa culture.
The image of the Goddess Durga appears in numerous inscriptions and is depicted in various forms in Champa art. For instance, the goddess appears in relief on the tympanums of the My Son C1 and A1 towers, as well as on large reliefs in Uu Diem and Ha Nong Trung (now Dien Ban Tay commune, Da Nang). She is also portrayed as Mahishasuramardini, the warrior form of Durga slaying the buffalo demon on stone lintels at temple complexes of My Son E4, Chien Dan (now Tay Ho commune, Da Nang), Po Nagar (Nha Trang), and Thap Mam (now An Nhon Bac commune, Gia Lai Province), etc. However, freestanding statues of Durga are extremely rare in Champa art.
One of these rare Champa statues of Durga is a stone figure discovered in Bich La village, Bich La canton, Trieu Phong district, Quang Tri province (now Trieu Phong district, Quang Tri province). It is currently preserved and displayed at the Guimet Museum in France. Sculpted from stone and standing 107 cm tall, the statue depicts the standing Goddess Durga with a high chignon (jata) made of bound hair coils, secured by two horizontal braided bands. Her forehead bears a diamond-shaped third eye with a dot in the center. Her upper body is bare, with full, close-set breasts that taper gently towards the waist. Her lower body is dressed in a two-layered sarong
Another stone statue of the goddess Durga was discovered in Tra Vinh in 1902. However, it belongs to the Oc Eo culture and is currently displayed at the Ho Chi Minh City Museum of History. The statue dates to the 7th - 8th century. The statue depicts the goddess Durga standing on a pedestal with a supporting arch behind her. Standing 75 cm tall, she has four arms: her two rear hands hold a conch shell (right) and a wheel (left), while her two front hands rest on two supporting pillars. She wears a conical headdress, and her full face features open eyes and a gentle smile. Her upper body is bare, and her lower body wears a sarong with wavy pleats, secured by a belt that emphasizes her slender figure. The statue was recognized as a National Treasure in 2013.
Comparative research shows that this repatriated statue is one of the very few known Durga statues in Champa art. It is the only bronze piece and also the largest and finest preserved statue of this famous art tradtion discovered to date.
When compared with the stone statue of Durga, one of the rare examples discovered in the early 20th century at Bich La village, Bich La district, Quang Tri province (now preserved at the Guimet Museum in France), the distinctive features of the newly repatriated bronze statue of the Goddess Durga can be clearly seen. The statue has a more graceful, tall, slender, and well-proportioned body, with a life-sized height (157 cm). She features an oval face, almond-shaped eyes that are softly closed, a high nose, a rounded chin, and a gentle smile a rounded chin, and a gentle smile. The fingers and toes are long and slender, with lively and soft lines, expressing the divine vitality and peaceful beauty of a female figure while still appearing close and familiar. The statue displays the typical features of sculpture in the Oc Eo culture in the early stage of Champa sculpture. These characteristics also provide important evidence for researchers in dating the statue to the 7th century (My Son E.1). Furthermore, based on its characteristics and artistic expression, the statue can be identified as Kushmanda (the Cosmic Egg) - an incarnation of Shakti and the source of all existence. As an avatar of Durga, Kushmanda represents the Creator who brought light to a dark universe with her radiant smile. She is the creative energy residing at the core of the Sun, bestowing health and strength upon the world.
In contrast, the Bich La statue is depicted with a head that is disproportionately large for its body. The upper body is relatively short, full chest and a slightly protruding abdomen, a broad face. The face is broad, with a short chin, a narrow and flat forehead, a prominent nose, and long eyes under high, intersecting eyebrows. The wide mouth with thick lips convey a strong and powerful expression typical of the Dong Duong style of the 9th - 10th centuries.
Compared with other known bronze statues of Champa culture, the newly repatriated bronze statue of the Goddess Durga is currently the largest known bronze statue. Other examples include the Dai Huu bronze statue of Avalokiteshvara, dating from the 7th century, with a height of 52 cm, now preserved at the Ho Chi Minh City Museum of History; the bronze statue of Bodhisattva Tara, dating from 875 CE, with a height of 114 cm, now preserved at the Museum of Cham Sculpture in Da Nang and the Dong Duong Buddha bronze statue, with a height of 119 cm (including the pedestal), now preserved at the Ho Chi Minh City Museum of History. All of these statues have been recognized by the Vietnamese Government as National Treasures.
Therefore, the repatriated statue of the Goddess Durga is distinguished by its unique form, special artistic features, and superior aesthetic value and scale compared with later statues.
In addition, the bronze statue possesses exceptional historical, cultural, and artistic significance.
The existence of a large-scale statue as the goddess Durga indicates that Champa had achieved a high level of social organization by the 7th century CE, with major religious structures being built. Only royal or major religious centers had enough resources to cast such a large bronze statue. Furthermore, a large and valuable statue like Durga would almost certainly have been installed in a religious structure of a corresponding scale. During this period, Tra Kieu served as the political center of Champa, while My Son was its principal religious and ceremony center.
The 7th-century Champa state of the goddes Durga shows influences from the later phase of Oc Eo art, as well as similarities with the Koh Krieng statue, a famous 7th century sculpture currently displayed at the National Museum of Cambodia These similarities indicate that Champa had cultural exchanges with other Southeast Asian countries that were deeply influenced by Indian culture during this period. The repatriated bronze statue of the goddess Durga, together with similar artifacts discovered at ancient Champa temple, provides evidence of cultural and religious life as well as the development of Hinduism (Shaivism) in the ancient Kingdom of Champa. The existence of this statue also demonstrates that the worship of Shiva (Shaivism) remained the principle religious tradition of the Champa Kingdom throughout its history. The statue had both sacred religious significance and served as a symbol of royal authority and divine protection for the community and the royal dynasty throughout the formation and development of Champa.
The goddess is depicted in a stabletribhanga (three-bend) standing posture with a slender, well-proportioned body. Her physical features, attire, and jewelry are - rendered with meticulous harmony and carry profound symbolic meaning. Her gentle and elegant face exudes a sense of supreme authority reflecting the spirit of “Durga the Victorious”. This is a defining characteristic of Hindu art that was successfully adapt into the distinctive Champa artistic tradition. The overall composition perfectly balances realism with convention, skillfully blending religious art and symbols of power. As a result, the statue stands as a masterpiece of cultural exchange and local adaptation- a key feature of this work in particular and Champa Hindu art in general. This is the typical style of the My Son E1 period, which researchers regard as the peak of early Champa art.
In studies of Champa sculpture, stone carving is generally regarded as the tradition’s greatest artistic achivement. However, the bronze statue of the goddess Durga, together with the bronze statue of Bodhisattva Tara and several other bronze statues of Hindu and Buddhist deities, clearly demonstrates that the Cham people also achieved a very high level of bronze-casting technology, even though it was not their principal artistic tradition. The statue was cast as a single piece without visible seams or welding marks, proving an excellent command of temperature and alloy fluidity. Fine details such as the hair, jewelry, and decorative patterns were cast directly in the mold. This demontrates the makers made exact calculations during the mold-making stage. Technical traces left on the surface, such as grinding, polishing, and post-cast adjustments show that Cham craftsmen used sophisticated tools to finish the surface. They achieved a smooth, polished, and detailed finish while preserving the soft, lively shapes of the form. They mastered casting technology to a level rivaling their goldsmithing and stone carving, even though few bronze casting masterpieces from the ancient Cham have survived to the present day.
Thus far, the bronze statue of the goddess Durga remains the largest known metal sculpture and one of the finest masterpiece of Champa art. As a rare and precious artifact, it holds unique historical, cultural, and artistic values for Vietnam, following its extraordinary journey back to the Vietnam National Museum of History. The statue was officially recognized as a National Treasure by the Prime Minister in 2025. Following the completion of conservation treatment, the Vietnam National Museum of History plans to display the statue together with other recently repatriated cultural objects, helping to promote the value of these important treasures to the public.
Tuong Long
Eng: Thu Hien