The story of "Kwer'ata Re'esu" is a fascinating account that intertwines continents, centuries and historical dramas. This Ethiopian icon, which depicts Christ blessing with a crown of thorns and flowing blood, has a tumultuous history dating back to 16th century Europe.
Painted around 1520, possibly in the Iberian Peninsula or Flanders, the work reached Ethiopia, where it acquired a significant addition: a religious inscription in Ge'ez, the country's ancient liturgical language. It became a sacred symbol, revered by successive Ethiopian emperors and present at crucial historical moments, accompanying Christian armies in battles against Muslim forces.
Its story takes a dramatic turn in the battle of Maqdala in 1868. In that landmark event, British Museum agent Richard Holmes looted the work, diverting it from the path to the museum. Holmes, instead of handing over the painting, kept it secret. Years later, in 1917, the painting was sold at Christie's by Holmes' heir, marking a turning point in his journey.
The enigma of the painting's arrival in Ethiopia remains intriguing. It may have been brought by Jesuit missionaries or delivered during an Ethiopian diplomatic visit to Portugal. This mystery adds a layer of complexity to its rich history.
The discovery of the "Kwer'ata Re'esu" in 1998, kept in a bank safe in Portugal, belonging to Isabel Reis Santos, heiress of Portuguese art historian Luiz Reis Santos, rekindled interest in the work. The fact that it is wrapped in a 1950 copy of the London Evening News adds a touch of intrigue to its preservation.
Details on the back of the painting, including an inscription made by Holmes during the battle of Maqdala, prove its looting. The painting's remarkable preservation, despite its tumultuous history of storage and movement, is a testament to its cultural and historical importance.
Efforts to return the "Kwer'ata Re'esu" to Ethiopia have faced challenges. The export ban imposed by the Portuguese government in 2002, mentioning possible Portuguese-Flemish origins and without direct reference to Ethiopia or the painting's name, complicated the search for its return. While international movements advocate for the restitution of looted cultural artifacts such as "Kwer'ata Re'esu," achieving this goal involves complex collaboration among multiple stakeholders and requires legal and political approval.
Currently, the discussion about the restitution of stolen cultural artifacts has gained prominence, highlighting the need to preserve and return cultural heritage to its nations of origin, respecting the history and cultural significance of these artifacts.