Palace of Sultan Mas'ud III

Many of the archeological remains were unearthed in an Italian archeological mission in the 1960s.^[7] There is a dado with a poem in Persian and Kufic script^[8] and one in Arabic.^[9][10][11] There is a marble arch bearing the name of the sultan.^[12] The site has a small cemetery that includes the domed ziyarat of Ibrahim of Ghazna in the west side of the palace.^[9] II (northeast of Ghazni)]]

Italian archaeologists from IsMEO, Istituto Italiano per il Medio ed Estremo Oriente, excavated the palace ruins.^[13] There were two excavations that occurred, one throughout the summer and fall of 1957, and the other a year later in the summer to fall of 1958.^[14] The Italians had many excavation teams in the mid-20th century, both in Western Asian and countries in Africa; these excavation teams operated under the Italian Ministry of Foreign Affairs.^[15] Alessio Bombaci, a professor in Naples, was the leader of the first excavation.^[16] Umberto Scerrato (b.1928- d.2004), an Italian archaeologist who specialized in the Iranian and Islamic world, led the second excavation campaign due to Bombaci's absence. Scerrato was one of the foremost Italian archeologists in the Islamic and Iranian world, beginning the Islamic works portion of the University of Naples Museum in the early 1970s .^[17] Accompanying Scerrato were many students, Mr. Sadiq Khan from the Museum of Kabul, and architect, Alberto Davico. Davico possessed the architectural plans for the palace.^[16]

The site for the excavation itself was determined in 1956, and was approximately four kilometers long, stretching across the Rauza suburb. The Italians were interested in this particular location, for they knew it had once been a noble site, inhabited by rulers.^[18] The palace was said to have a central courtyard, with rooms surrounding such as a throne room, government offices, royal apartments, etc.^[19] The Italians were excavating the palace and another location known as the House of the Lustre Painted-Wares on the same campaign.^[16] The House of Lustre Painted-Wares was located on the hilly Rauza Mounts, to the east of the Minaret of Mas'ud III of Ghazni. They were two separate excavation sites, but were closely intertwined due to their proximity.

During the excavation itself, many fragments of ceramics were found, along with elements of architectural design in brick, stucco, and marble. Some fragmented items of ceramic, brick, stucco, and marble work were legally transferred from the Afghan authorities to the Italian Archeological Mission. They are now kept in a museum warehouse to be studied by archaeological students in Italy.^[20] Many fragmented pieces were said to have been preserved in the National Museum of Afghanistan, located in Kabul. The Taliban have destroyed several works that were once contained here; it in unknown if works from the palace site were part of the pieces destroyed.^[21]

Other excavated items include a door-frame, and fragments of the courtyard marble dado.^[13] There were 44 panels of the dado found in place and around 400 other fragments of the dado frieze found throughout the excavation site. Marble was a popular medium throughout this Ghaznavid city, while brick and stucco were commonly used as the main building materials of the time. The Abbasids in Baghdad were believed to inspire this interest in marble.^[22] Part of this dado panel is now housed in the Brooklyn Museum in New York.^[23] Additionally, there were many terracotta basins excavated in Hall II.^[24]

Ghaznavid Sultan and his court, on a brass salver plate. Dated circa 1100, Ghaznavid period, Afghanistan, probably Herat or Ghazni. Cleveland Museum of Art.^[25][26] The sultan is seated in the traditional cross-legged Turkish posture, and "the round faces and almond eyes of the figures reflect the Turkish facial type of that period".^[27]

Only a portion of the palace rooms were fully excavated, many were only partially excavated. The courtyard, numerous hallways, and the ruins of an iwan are all understood to be partially excavated. Overtime, much of the ruins have been broken down to repurpose its building materials. Harsh weather conditions, particularly heavy snowfall in the winter and rainfall in the spring, have contributed to the deterioration of the palace.^[16] Mongols were known to have looted and invaded the palace in the latter half of the 13th century, destroying much of the location.^[20] The site suffered further extensive damage and looting in both the Afghan Civil War and the Soviet Invasion. In 2005, the palace was determined completely destroyed by the SPACH (Society for the Preservation of Afghanistan's Cultural Heritage).^[13]

The excavations led to many decorative panels of the palace being spread around Europe and North America. Some of these places include the Brooklyn Museum in New York, Asian Art Museum in San Francisco, California, and the Museum of Art and History or MK&G in Hamburg, Germany. Many of the pieces made it to auction houses where they were sold to these countries. Then in 1998, a conference called the Washington Conference on Holocaust-Era Assets was held to discuss the future of stolen works from specifically Nazi's In World War II. There, they concluded to return pieces to homelands and heirs.^[28]

Germany was one of the countries in the conference, and on October 8, 2021, they returned the panel held in the MK&G in Hamburg. The piece was originally part of a frieze from the inner courtyard.^[29] Soon after, The Asian Art Museum has agreed to return the panel they possess. The Museum in San Francisco had originally been gifted the marble panel under the assumption it was obtained legally, but these circumstances are now under question. However, the museum only agreed to physically give back the panel when Afghanistans' consulates are working in conjunction with the United States.^[30]

The Brooklyn Museum shared a similar sentiment. The museum does not want to give the panel they display back until Afghanistans' government is recognized. However, unlike the Asian Art Museum, they have also not given an indication of return. The Museum of Asian art recognizes Afghanistan as having ownership, but the Brooklyn museum holds their piece both physically and in name. This does not mean they are not open to discussion in the future of changing ownership, but with the governments' current situation, they will not return the panel.^[31]