Is Sculpture a Lifelong Journey of Learning?

New Delhi, June 30 (NationPress) Whether it's the creation of the tallest statue of Lord Shiva in Rajasthan, the intricate 'Samudra Manthan' sculpture inside the new Parliament building, or the multi-layered statue of B.R. Ambedkar, Naresh Kumar Kumawat has crafted over 3,000 sculptures across 80 countries. For him, innovation and the desire to blend heritage with modernity remain paramount.

He has become a pioneer in integrating advanced technology into his art, employing methods like 3D scanning, robotic arm sculpting, and digital modeling.

“While I cherish the traditional sculpting techniques instilled in me by my father and mentor, Matu Ram, I realized that embracing innovation was essential. As an artist from the 1990s, my goal has always been to harmonize the old with the new. I am grateful to Madan Paliwal of Miraj Group for enabling me to acquire cutting-edge sculpting technologies from countries like Calgary and the Netherlands. This has allowed me to enhance the scale, precision, and speed of my projects globally. It’s not about replacing traditions but about empowering them. Technology provides my hands with a new language while preserving the soul of sculpture,” he shared with IANS.

Kumawat's artistic journey began in his childhood, observing his father transform raw materials into sacred forms.

“I grew to appreciate the deep connection between creation and devotion. My father was not just a parent, but a guiding force in my life,” he emphasized.

In today's binary world, he asserts that cultural and religious sculptures transcend mere artistry — they serve as timeless storytellers, illuminating our past and illustrating the values that have shaped our civilizations, from the Ajanta and Ellora caves to the Vatican's grandeur.

“These masterpieces, crafted by our ancestors using rudimentary tools, symbolize dedication and faith. They connect us to our roots, educating generations about their cultural identity and traditions. They are silent yet powerful teachers, reminding us of the sanctity of time and the greatness of our predecessors,” noted Kumawat, who has created monumental works like the Char Dham sculptures in Vrindavan, recognized by the Guinness World Records, and the Lord Hanuman statue in Solan, featured in the Limca Book of Records.

He believes that monumental sculptures significantly influence public consciousness and have the potential to shift societal views. The visual representation of deities was popularized by Raja Ravi Varma, who gave Indian gods distinct features.

“Artists like Inder Sharma further refined these visual forms, leaving a lasting impact on devotional art,” he stated.

“I have had the privilege of leading monumental sculptural projects, such as the 369-feet Statue of Belief (Lord Shiva) and the 125-feet Statue of Social Justice of B.R. Ambedkar in Vijayawada. These statues are much more than mere sculptures; they are movements in bronze and stone that provoke thought, inspire pride, and reclaim narratives. The presence of Ambedkar and Sardar Patel's murals in the new Parliament building has sparked a cultural awakening, positioning them not just as historical figures but as powerful symbols of justice in public spaces,” he added.

When discussing the necessity for more public art in India, Kumawat points to how Europeans have preserved their heritage and expressed national identity through art.

From the opulence of the French Senate to landmarks like the Louvre Museum, Big Ben in London, and Anish Kapoor's Cloud Gate in Chicago, he argues that these artworks transcend mere monuments — they are cultural touchstones shaping national identity.

“India is beginning to experience a renaissance in public art and sculpture. Opportunities are expanding, and we are starting to create world-class works that integrate tradition with innovation. Yet, much remains to be accomplished. Public art has the capability to beautify our cities, educate society, and leave lasting impressions on future generations. We must view art not merely as decoration but as a narrative tool for our story to the world. It’s time for our nation to emerge as a global inspiration through the language of sculpture and public art,” he asserted.

Kumawat emphasizes that his artistic process is driven by emotion, not replication.

“I don’t just recreate what I see; I sculpt what I feel. Art should embody intention and depth. Before working on 'Samudra Manthan', I delved into extensive research, exploring interpretations across cultures — from Angkor Wat in Cambodia to sacred sites in Bihar linked to the myth. These investigations were not merely academic; they deepened my understanding of the spiritual and cultural context, enabling me to interpret the narrative authentically and emotionally. Each sculpture, whether mythical or contemporary, begins with research, evolves through emotion, and takes form through my hands. It’s not just about creating an object; it’s about forging a presence that resonates across time,” he remarked.

While the mural depicting 'Samudra Manthan' — measuring 80 by 9 feet and considered one of the largest globally — holds a special place in his heart, Kumawat is eager for upcoming projects.

“These include the grand Ram Statue in Ayodhya and monumental tributes to leaders like Atal Bihari Vajpayee and Syama Prasad Mookerjee in Lucknow. These sculptures are transforming how people engage with history — shifting from passive reverence to active cultural pride,” he concluded.

(Sukant Deepak can be reached at sukant.d@ians.in)