“When cameras came, people thought the value of portrait artists would cease. However, I feel they increased the appreciation for an artist’s efforts. It’s a matter of mindset,” remarks Murtikar Naresh Kumar Kumawat, Director of the Matu Ram Art Center.
His journey with monumental sculpture began in childhood, watching his father, Matu Ram ji—whose Shiv Murti in South Delhi was not only a milestone in modern public sculpture but also the foundation of Kumawat’s own path. “Growing up in that environment, I came to see sculpture as a calling, not just a craft—something passed down through our family for generations,” he reflected in a candid interview with The Statesman.
“While I remain rooted in traditional techniques, over time I’ve also embraced new tools like 3D scanning and digital modeling. They help me scale up large projects with precision, but the soul of the work still comes from the same place—faith, feeling, and the hands that shape it,” he explained when asked about the evolution of his artistic practices. Speaking about materials, he shared, “My work mostly involves stone and bronze, but I am always curious to try new materials as technology keeps opening up new possibilities.”
As someone who often handles multiple projects across different regions, each with distinctive artistic and cultural contexts, he added “The process always begins with study and research, where I try to understand the subject deeply. Then I connect with the theme emotionally, because I believe a sculpture must carry feeling, not just form. Finally, I move to shaping the work, combining traditional techniques with modern tools to bring the idea to life.” From the carvings of Ajanta and Ellora to the grandeur of Vatican sculptures, Kumawat draws from various inspirations, also citing Indian pioneers like Raja Ravi Varma and Inder Sharma.
For him, “Monumentality is a timeless inscription that can never be destroyed or forgotten.”
On technology’s role in contemporary sculpture, Kumawat observed: “Technology can be your competition or friend, depending on your faith in yourself. For me, technology has given my hands a tool for enabling my massive creations like the Guinness-recorded Char Dham sculptures at Vrindavan and taking them to a global stage.”
Discussing his celebrated Samudra Manthan mural, he recalled, “For the Samudra Manthan mural, I first immersed myself in the story itself, studying how it has been depicted at Angkor Wat, in Bihar, and other places; therefore, the scale could do justice to the theme in Parliament’s grand setting. The idea was not just to recreate the myth but to bring out its symbolism: the struggle, the balance of forces, and the spirit of collective effort.”
On whether he sees monumental sculpture as a tool of soft power, he added “Definitely, monumental sculptures are adding to India’s global influence and efforts towards sustainable development. Artistic imports to foreign lands are proof of the growing respect and appreciation for Indian culture and heritage, as they further reinforce the glory and importance of the Indian value system. Cultural tourism is not just a money-making business, but a strategic plan of the government to popularise the civilisational wealth of India and enhance India’s image and relations with other nations through programs like PRASHAD (Pilgrimage Rejuvenation and Spiritual Augmentation Drive).”
Looking ahead, Kumawat noted, “I am fortunate to be working on some very meaningful projects right now. The Ram Statue in Ayodhya is especially close to my heart, and there are also upcoming works honouring leaders like Atal Bihari Vajpayee and Syama Prasad Mookerjee. Each project is a new challenge and a new learning. My vision is to keep creating sculptures that carry forward our traditions, but also speak to people today—works that combine scale with soul, and leave behind something lasting for future generations.”