‘I am the glorious Past. Leave me alone,’ says the Pyramid Sphinx

A view of the sculpture ‘Together’ by Italian sculptor Lorenzo Quinn, son of late actor Anthony Quinn, in front of the Great Pyramids of Giza, on the outskirts of Cairo, Egypt, on Saturday.

Yesterday’s Deccan Herald had carried a pictorial item under the column ‘World at a glance’ which interested me. It was about the Great Pyramids of Giza, near Cairo, Egypt. Since I had visited these Pyramids, I was naturally interested. The picture with caption which is self-explanatory is produced above.

I thought it is going to be a permanent sculpture to remain there. If so I was not impressed. The sculpture rather rhetorically called ‘Together’ (whatever its meaning, hidden or not) is by Italian sculptor Lorenzo Quinn, the son of my most favourite and loved actor of my college days Anthony Quinn (remember the film ‘Zorba The Greek’ and many classics?).

The sculpture could be a masterpiece and the moral or value it represents may be known only to God and its creator! Two open palms coming together. Must be huge, gigantic, installed at that Giza desert and the three Pyramids are seen through that sculpture in the picture.

Since I have visited these Pyramids and also the famous Sphinx close to it, including the Sound and Light Show, I have a canny feeling that this sculpture should not have been there. It is a foreign, external and modern construction of a sculpture in an area where for centuries stood these Pyramids facing and challenging the vagaries of nature. Imagine, we have seen mountains moving and destroyed or destabilised by havoc caused by the nature’s fury of rain, wind, volcano, earthquake and such. But these Pyramids have remained there, with some wear and tear so to say, over 4,591 years till now. Therefore, it is to be seen without any interference from other modern structures around, as if mocking at these most ancient surviving monuments.

Some modern men with power and creative genius behave like monkeys and interfere with their surroundings of great civilisational importance visited by millions of people every year. This is an unwanted interference and earlier undone good for these ancient monuments and iconic institutions.

Picture shows Louvre Museum in Paris with the Glass Pyramid (file photo).

Fortunately, it is a saving grace that it is there temporarily in an international art exhibition that began on Oct. 21, 2021 at the Great Pyramids of Giza and their surrounding plateau.

This reminds me of another cultural atrocity, nay vandalism in Paris. I am talking about the world famous museum of art and sculpture the Louvre Palace in Paris.

Here you have an ugly structure called Louvre Pyramid right in the main courtyard surrounded by three smaller Pyramids. It was made by glass and steel and stands out like a sore thumb refusing to blend with that grand imposing massive heritage Palace.

Of course, man needs a justification for every crime he commits. Here the justification was that this Pyramid and its underground lobby beneath were created as imperative due to inadequate space at the entrance with the management unable to handle the tourist traffic — the visitors. Now the throngs of visitors are smoothly regulated before they are allowed to ascend into the main Louvre building. I personally felt, after looking at it, that instead of this monstrosity the authorities could have had a structure over the same space that would blend harmoniously and aesthetically with the main Palace building without disturbing the basic heritage character of the Louvre Palace.

It is said war is a very serious matter to be left entirely in the hands of Generals. Similarly, the issues (or problems) relating to managing these ancient monuments or iconic institutions like Louvre Palace should not be left entirely in the hands of the Government and the architect. Having said this let me recall a minor episode of this kind that happened in our city many years ago.

Charles Correa was a reputed architect of our country decorated with Padma Vibhushan. This speaks about his name, fame and recognition, as ‘India’s Greatest Architect.’ The influence of his work on modern urban Indian architecture was immense.

The entrance arch of Dasara Exhibition Grounds now.

He was asked to design an annexe to the iconic heritage building on Lalitha Mahal Palace road where ATI is housed. The buildings here are all with tiled roof and of only ground floor. Here he ensured that his new design blended with the existing heritage buildings and everybody admired his genius.