Lists of Cultural Property also exist for lost objects. For example, the Lost Art Database is run by the German Lost Art Foundation and documents cultural property expropriated as a result of Nazi persecution, especially from Jewish owners, between 1933 and 1945 (“Nazi-looted art”), or for which such a loss cannot be ruled out. With the help of the publication of so-called Search Requests and Found-Object Reports, former owners or their heirs are to be brought together with current owners and thus support all stakeholders in finding a just and fair solution [2]. 

The lists of Cultural Objects at Risk are also particularly important and play a decisive role in the protection of cultural heritage. For instance, the ICOM Red Lists of Cultural Objects at Risk are practical tools to curb the illegal traffic of cultural objects. Red Lists present the categories of cultural objects that can be subjected to theft and traffic. They help individuals, organizations and authorities, such as police or customs officials, identify objects at risk and prevent them from being illegally sold or exported. It is important to highlight that a Red List is not a list of actual stolen objects. The cultural goods depicted on the lists are inventoried objects within the collections of recognized institutions. They serve to illustrate the categories of cultural goods most vulnerable to illicit traffic. ICOM has been publishing Red Lists since the year 2000, with the scientific collaboration of national and international experts and the unwavering support of dedicated sponsors, to cover the most vulnerable areas of the world in terms of illicit trafficking of cultural objects [3]. 

Object Identification (Object ID), an internationally recognized documentation standard conceived to identify and record cultural goods, also plays a key role in the protection, safeguarding and promotion of Cultural Heritage. It sets a standardized procedure to document and describe collections of archaeological, cultural, and artistic objects. By facilitating the identification of these objects, a standardized description can aid in their recovery in case of loss or theft. Object ID was developed in collaboration with the museum community, police and customs agencies, the art trade, the insurance industry, and valuers of art and antiques. It helps to combat the illicit trade of cultural heritage by encouraging the use of the standard and by bringing together organizations around the world that can encourage its implementation [4]. 

In case of theft, the information gathered and recorded using the Object ID norm can be checked against other databases of stolen artefacts, for example, the INTERPOL database of stolen works of art. Object ID was created as a practical tool for facilitating the recovery of stolen cultural goods and is now internationally recognized as a necessary and effective tool when inventorying a collection. The Object ID standard defines nine categories of information as well as four steps to fulfil the procedure. The categories are Type of object, Materials and techniques, Measurement, Inscriptions and markings, distinguishing features, Title, Subject, Date or period, and Maker. The four steps are divided as follows: (I) Taking photographs of the object, (II) Identifying the above-mentioned categories, (III) Writing a short description, including additional information, and (IV) Keeping the constituted documentation in a secure place [4]. 

[1] https://www.kulturgutschutz-deutschland.de/EN/databaseofculturalpropertyofnationalsignificance/databaseofculturalpropertyofnationalsignificance_node.html

[2] https://kulturgutverluste.de/en/databases/lost-art

[3] https://icom.museum/en/red-lists/

[4] https://icom.museum/en/resources/standards-guidelines/objectid/

International initiatives to protect cultural heritage in Ukraine are numerous, and many actors are involved with overlapping mandates. These initiatives focus on monitoring damages, emergency relief measures, training of heritage professionals, digitization of inventories and archives, support of the cultural sector and awareness raising [2]. UNESCO published a statement calling for the protection of cultural heritage, with specific emphasis on World Heritage Sites, and condemning any attacks against cultural property. The statement by ICOMOS reiterated the fragility of cultural heritage and the responsibility of care concerning the relevant international conventions. The Red List of Cultural Objects at Risk in Ukraine was issued by the International Council of Museums (ICOM) in 2022 summer to present those types of objects such as manuscripts, icons, religious artefacts, and jewellery, in total more than 50 object types, that are the most likely to be looted and sold on the international art market [3]. 

The UNESCO World Heritage Committee inscribed the Historic Centre of Odesa (Ukraine) on the World Heritage List in January 2023 as the 8th World Heritage Site of Ukraine, despite the opposition of Russia. Part of the site was immediately added to the List of World Heritage in Danger. The listing is not just a symbolic act though. UNESCO implemented emergency measures such as repairing damage to the museum buildings to protect the collections and digitization of artworks and archival materials. This is just a part of UNESCO activities in Ukraine: in partnership with local authorities and non-governmental organizations, they monitor damage and loss in terms of heritage assets, the impact of war on the cultural sector, support artists, and so on [3].  

Within this context, various solutions were proposed by the international community: 

(1) States should have measures in place before a conflict breaks out. 

(2) Cultural heritage protection should be integrated into the international system for humanitarian aid and peacekeeping. 

(3) Independent monitoring of the impact of armed conflicts on cultural heritage would enhance accountability for war crimes, as well as post-conflict peacebuilding efforts [2]. 

The debate unfortunately remains relevant. When national and cultural infrastructure is attacked, people become afraid and risk losing their sense of existing as a group or nation. Social resources are part of the cultural heritage that is threatened in war: the structures of society, contact with neighbours and the things that give people context. Moreover, protecting cultural heritage is important for the possibility of peace-building and reconciliation after a violent conflict. Evidence of the pre-war period is needed to learn from the past and to reflect on what has happened. If everything is torn down, there are no references any more. This is why cultural heritage also plays a major role in reconstruction processes [1]. 

[1] https://www.gu.se/en/research/the-power-of-cultural-heritage-in-war-and-peace 

[2] https://research4committees.blog/2023/03/21/publication-protecting-cultural-heritage-from-armed-conflicts-in-ukraine-and-beyond/ 

[3] https://revdem.ceu.edu/2023/03/28/heritage-in-war-a-key-to-define-the-future-of-ukraine/