“At a time when our Prime Minister talks of ushering in the digital era, I have tried to bring the latest technology to the ancient art of sculpting,” says an effusive Naresh Kumawat, the third-generation sculptor who is basking in the glory of his latest work of art – the stone statue of Subhas Chandra Bose at the newly christened Kartavya Path in Delhi. Kumawat modelled the 28-feet statue and his team of craftsmen carved the black granite structure in quick time.
Hailing from Pilani in Rajasthan, Kumawat’s grandfather worked in stone. His father Matu Ram Verma, known for the iconic Shiv Murti on the Delhi-Gurgaon border, used cement and concrete; young Kumawat learnt under their tutelage. “But I wanted to move with times and was keen on bringing 3D scanning and sculpting machines to India,” says Kumawat, who works from his sprawling studio in Manesar.
After graduating from the Baroda College of Art, he sharpened his skills at the Slade School of Fine Arts, London, and learnt 3D art sculpting in Calgary, Canada. “The CNC (computer numerical control) machines and robotic arms with multiple axes have enhanced the quality of sculpting,” he says, adding that technology can increase productivity but aesthetics can only be learnt after spending years under a master craftsman.
Sculptor Naresh Kumawat works on Sardar Patel's statue in his studio at Manesar | Photo Credit: Special Arrangement
A general body member of the Indian Council of Cultural Relations, Kumawat’s creations are present in around 65 countries. These include a statue of Buddha in Seoul and busts of Rabindra Nath Tagore in Belgrade. The latest is a life-size bronze statue of Mahatma Gandhi at the Indian Embassy in Oman, which was unveiled last month. Like his father, Kumawat also excels in creating tall mythical figures and is curious to know the response to his upcoming towering statue of Lord Ram in Pryagaraj, set to be unveiled soon.
Edited excerpts from an interview:
Tell us about the Subhas Chandra Bose statue on Kartavya Path.
I was approached by the National Gallery of Modern Arts (NGMA). They wanted me to make several postures of Netaji so that they could choose one that could be carved in stone. We did multiple exercises over six months which included meeting the family members of Netaji. Finally, I designed three postures out of which one, where he is saluting the nation, was picked. The black granite was sourced from Khammam (Telangana); and 50 competent craftspersons from the team carved it.
Why have you opted for black granite?
It has a mythical significance as traditionally it is used for carving sculptures of gods and goddesses. Netaji was a true hero and should be remembered and revered for centuries.
Why are bronze statues now preferred over stone?
Stone has a limit to achieving size and height. Bronze has no such limit. With bronze, we know how it is going to behave. Stone can give surprises at the last stage and there is no going back. Stone is also more difficult than bronze when it comes to carving the right facial expressions.
But in the case of the Bose statue, the NGMA wanted it to be made in stone so that it looks unique.
How do you see this fascination for tall bronze statues?
It’s about bada aadmi bada sandesh dega (men who are tall in stature and size, will give big messages). They will be remembered for generations. It is also about job creation. I created a 351-feet tall bronze statue of Lord Shiva in Nathdwara (Rajasthan) that has four lifts inside it. The whole campus spread over four acres is built around the tallest statue of Lord Shiva in the world. The economy of the area is based on it. In Ajanta and Ellora caves too we have tall sculptures. We are lucky that we are getting an opportunity to sculpt them.
Does productivity affect the quality of art?
Art cannot be a commercial subject. We could listen to a song that we enjoy on a loop for the whole night. I enjoy my work. One work goes into modelling and the other goes into production. My idea is productivity along with technology can take our traditional arts forward.
Are you affected by the pressure of socio-political ideologies of the day while sculpting?
I don’t accede to political interference. I feel people like to see divine beauty on the faces of their gods and goddesses and national heroes. Only if there is a divine grace people will like to come back to see the sculpture. To achieve that, the artist should also be a little spiritual.
It was Raja Ravi Varma who gave a face to our gods and goddess That’s what we follow. I don’t go by changing notions of masculinity and anger. As for those who are doing it, God will take care of them.
Do you see the logic in sourcing bronze from China?
It is just to save a few bucks, otherwise, we are atmanirbhar (self-sufficient) in bronze. Jamnagar in Gujarat is an important centre
What’s next for you?
We have been assigned the longest bronze mural in India that will be placed in the new Parliament building. The theme is unity where people from different walks of life will be shown together. I am also working on a 125-feet bronze statue of Bhimrao Ambedkar, commissioned by the Andhra Pradesh government which will be installed in Vijayawada. We have used his iconic posture of holding the constitution in one hand and raising the other hand but have worked extensively on drapery to give life to the blazer, trousers, and belt and how the constitution is held in hand. Then I will start work on the statue of Lord Ram that will be installed in Ayodhya.
Naresh Kumawat works on Ravi Shankar's statue at his studio in Manesar | Photo Credit: Special Arrangement
Sculptor Naresh Kumawat works on the statue of Gen.Rawat at his studio in Manesar | Photo Credit: Special Arrangement
Sculptor Naresh Kumawat | Photo Credit: Special Arrangement
