New Delhi, June 30 (IANS) Be it creating the world’s tallest statue of Lord Shiva in Rajasthan, sculpting the intricate ‘Samudra Manthan’ inside the new Parliament building, the Namo Ghat in Varanasi, the multi-layered statue of B.R. Ambedkar, and the only statue of Nishad Raj alongside Lord Ram (Shringverpur in Uttar Pradesh); for artist Naresh Kumar Kumawat, who has created more than 3,000 sculptures, with hundreds across 80 countries, innovation and an aspiration to merge heritage with modernity has always been a priority.

No wonder, he is looked up for bringing cutting-edge technology to sculptures, including 3D scanning, robotic arm sculpting, and digital modeling.

“While I have always remained deeply rooted in the traditional and realistic sculpting style passed down to me by my guru and father, Matu Ram, I knew that was not enough. As an artist born in the 1990s, I was always intrigued by innovation and have aspired to merge heritage with modernity. In fact, I am thankful to Madan Paliwal of Miraj Group whose support allowed me to procure advanced sculpting technologies from places like Calgary and the Netherlands. With these tools, I could expand the scale, precision, and speed of my work — successfully executing multiple international projects across the globe. It is not about replacing tradition — it’s about empowering it. Technology has given my hands a new language while keeping the soul of sculpture intact,” he tells IANS.

For Kumawat, the journey towards this art form started during childhood itself, watching his father metamorphose raw material into sacred forms.

“I began to understand the profound connection between creation and devotion. Like every father, he played a foundational role in my upbringing — but as my mentor, he went far beyond,” he stresses.

Considering we live in the times of binaries, the artist maintains that cultural and religious sculptures are not just artistic expressions — they are timeless storytellers, helping us understand who we were, and what values shaped our civilisations — be it the Ajanta and Ellora caves, the remnants of Mohenjo-daro, the Buddha statues of Southeast Asia, or the grandeur of the Vatican — they all carry the essence of their era.

“These creations, sculpted by our ancestors without the tools we have today, reflect profound dedication, skill, and faith. They offer us a living connection to our roots. Through these idols, generations have learned about their traditions, belief systems, and cultural identity. They’re silent yet powerful educators, reminding us of the sanctity of time and the greatness of those who came before us,” says the artist, who sculpted the towering Char Dham sculptures in Vrindavan, listed in the Guinness World Records, to the Lord Hanuman statue in Solan that finds a mention in the Limca Book of Records.

Adding that monumental sculptures have always played a pivotal role in shaping public consciousness — and also have the power to shift societal perspectives, he adds that the visual identity of our deities was first popularised in two-dimensional form by Raja Ravi Varma, who gave Indian gods and goddesses distinct features and aesthetics.

“These visual forms were further refined by artists like Inder Sharma, whose book ‘Gods and Goddesses’ left a lasting imprint on devotional art,” he says.

He adds, “I have had the honour of leading and executing some of the world’s most significant sculptural works — including the 369-feet Statue of Belief (Lord Shiva), and the 125-feet Statue of Social Justice of B.R. Ambedkar in Vijayawada. These aren’t just statues — they are movements in bronze and stone that challenge perceptions, invoke pride, and restore narratives. The towering presence of Ambedkar’s and Sardar Patel’s mural in the new Parliament building of India has especially stirred a new cultural awakening. It presents them not merely as a reformer in books but as a towering symbol of justice and empowerment in public space — commanding respect.”

Talk to him about the need to have more public art in India, and he cites the examples of Europeans who have meticulously preserved heritage and expressed their national identity through public art.

From the grandeur of the French Senate in Paris — where Napoleon himself commissioned magnificent works — to iconic landmarks like the Louvre Museum, London’s Big Ben, and the Cloud Gate (commonly known as the Bean) in Chicago by Anish Kapoor, he says these artworks are not just monuments — but cultural touchstones that shape the identity of a nation.

“In India, we are now beginning to witness a renaissance in public art and sculpture. Opportunities are increasing, and we’ve started creating world-class works that blend tradition with innovation. But there is still much more to be done. Public art has the power to beautify our cities, educate society, and leave a lasting impression on future generations. We must invest in it — not just as decoration, but as a way of telling our story to the world. It is time that our country takes its place as a global inspiration through the language of sculpture and public art.”

Kumawat says that his creative process is rooted in emotion, not imitation.

That he does not simply recreate what he sees — but sculpts what he feels.

“For me, art must carry the weight of intent and the depth of experience. Before touching the clay for ‘Samudra Manthan’, I immersed myself in deep research. I studied representations of ‘Samudra Manthan’ across cultures — from the carvings at Angkor Wat in Cambodia to sacred references from sites in Bihar, believed to be linked to the mythological churning. These explorations were not just academic; they shaped my understanding of the spiritual and cultural context, allowing me to interpret the story with authenticity and emotion. Every sculpture, whether mythological or contemporary, begins with study, then evolves through emotion, and finally takes form through my hands. It’s not just about creating an object — it’s about creating a presence that speaks across time,” he said.

While the mural, based on ‘Samudra Manthan’, that spans 80 by 9 feet and is one of the largest of its kind in the world may be very close to the heart, the artist is looking forward to some exciting projects.

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

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

–IANS

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