Nitin Bhayana: A history of neglect

BUSINESS CLASS/ Ancient Indian art is better preserved outside India

What happened at Shantiniketan a few weeks back is, indeed, extremely unfortunate. Not only has the country lost some of its most valuable objects of recent history, it has, once again, shown us how much we really care for our own treasures.

The issue is not of security, but that of priority. As our museums across the country continue to decline, with virtually no exhibitions, acquisitions or even accountability, the apathy makes collectors and inheritors extremely weary of donating to these institutions.

On a recent trip to Paris, I came across the Musee Guimet, a museum that houses some of the finest art from India, south-east Asia, China and Japan. The stunning objects showcase India's history in a light that ought to be emulated.

The museum recently made room for a magnificent collection donated by Jean and Krishna Riboud. The collection comprised unparalleled Indian art from the Mughal era.

The Riboud donation to the Guimet highlights a unique relationship which collectors and the museums share the world over, and one that needs serious re-examination in India.

Incidentally, Krishna Riboud was born in the Tagore family and was married to Jean Riboud, who belonged to one of France's leading business families. Her relationship with Guimet dates back to 1962 when she collaborated with the museum to study textiles brought back from Central Asia to France.

Her deep interest in the subject and work, both independently as well as with the help of the museum's infrastructure, soon made her a world authority on the subject. Over time, she was able to collect one of the most important groups of Asian Textiles numbering no less than 4,000.

The Ribouds expanded their interest to include decorative objects from the 16th to the 19th centuries. These are now proudly displayed along with the textiles in the Riboud wing of the Guimet museum. These works shed light on the fascinating Mughal era.

For the museum, these work supplement its collection of ancient Indian sculpture and shed light on yet another chapter in Indian art.

This relationship of the museum and the collector shows how gifted individuals and museums work hand in hand to enrich the public at large. These relationships are not uncommon in the west.

In the Indian context, several Indian art collectorshave systematically built collections and bequeathed them to museums. Alice and Nusli Heeramaneck at the Los Angles' County Museum and, more recently, the Herwitz's at the Essex Peabody Museum come to mind.

However, Indian museums seem to have no desire to work with collectors. The Herwitz's first choice was a space in India but bureaucratic delays and lack of interest pushed this great collection out of India forever. The late Jehangir Nicholson was yet another victim of this neglect.

It is ironic that we, in India, could not even take care of Rabindranath Tagore's Nobel medal, while a museum in France opens a new wing to house an Indian collection belonging to a member of his family.

Indian museum officials who complain about the lack of funds ought to work alongside collectors who can help them build their collections and take care of them forever in the interest of the country.

Most of our finest ancient sculptures are the pride of the museums the world over. History is repeating itself with contemporary works making their way to the museums abroad as well.

It is only a matter of time when we will need to travel around the globe to see our own history. There will be one saving grace though, our heritage will be well-preserved and, importantly, respected.