THE withdrawal of two chairs from an auction scheduled in Paris, following timely intervention by the Indian diplomats in France, sets a precedent for a more proactive strategy to preserve Chandigarh’s modernist heritage. The teak-and-cane armchairs designed by Pierre Jeanneret bear inventory markings indicating association with Panjab University’s Chemistry Department and PGIMER. The simple yet elegant chairs are celebrated globally as a classic design, fetching huge prices at auctions in Europe and the US. The suspected theft, illegal export, sale and trafficking have continued unchecked over the years. The swift action this time round by the UT administration hopefully marks the beginning of a more robust approach on recovery efforts and for fixing accountability.
There have been recurring concerns about how such heritage items leave the country and whether their export complies with law. A more disturbing aspect is the overall lack of appreciation of cultural and architectural heritage, and the laxity in taking care of the legacy. Public institutions in Chandigarh are answerable on both counts. The public at large, too, has shown scant regard. That same disinterest in fixing shortcomings is reflected in the city’s landmark spaces meant to celebrate the arts. Chandigarh must seize the moment and redouble efforts to reclaim a largely ignored but invaluable heritage.
For a city known for Nek Chand’s unique magical creation, it does come as a surprise that conservation and preservation efforts do not get enough attention. The Paris reprieve provides a lifeline. Inadequate funding is a lame excuse in the absence of passion and a desire to hold on to a treasure trove of seemingly ordinary but truly extraordinary inheritance. If public-private initiatives are the way forward, explore the possibilities and go for it. The visionaries who sculpted Chandigarh deserve a more spirited collective indulgence.
