In a time when digital photos appear and disappear in a blink of an eye, Naresh Kumar Kumawat’s sculptures make you pause and continue to gaze in awe. Genius Master Sculptor and proprietor of Matu Ram Art Centres Pvt. Ltd., Naresh Kumar Kumawat dedicated his life to transforming reluctant metal and stone into forever remembered memorials that bear India’s religious and cultural weight.
From Nathdwara’s 369-foot Statue of Belief, the tallest Lord Shiva statue in the world, to the Samudra Manthan mural in the new Indian Parliament, these are not mere sculptures, but living history, religion, and identity. With more than 600 international installations in 80 nations, Kumawat has become a cultural ambassador of India to the world.
A Legacy Carved in Stone
Naresh Kumar Kumawat was born into a family of three generations of a Rajasthan sculptor, and hammers, chisels, and the rhythm of creation grew in him. His father, Matu Ram, was a visionary sculptor whose mythic Shiv Murti in South Delhi (1989-1993) redefined the concept of public sculpture in modern-day India.
“I was born a sculptor by blood, by passion, and by the calling of life,” Kumawat recalls. “Sculpture was never a profession for us. It was and continues to be a calling of God.”
Carrying on in that legacy, Kumawat’s works now encompass mythological, historical, and cultural myths such as sculptures of Dr. B.R. Ambedkar at the Supreme Court and Mahatma Gandhi installations in over 30 countries ranging from Geneva and South Africa to Japan, utilized as universal symbols of peace and conversation.
Traditional Art Meets New Technology
Even as he is rooted in traditional practice, Kumawat has introduced cutting-edge technology to expand the scale and precision of his work. He now uses 3D scanning, robotic arm sculpture, and computer modeling in his handmade works.
“Technology has instructed my hands in a new language but has not changed the nature of sculpture,” he claims. And this coming together of the old and the technology has enabled him to dream up some of the largest and most complex public art installations globally, from Guinness-recorded Char Dham sculptures at Vrindavan to Limca-recorded Lord Hanuman at Solan.
Public Art as a Cultural Conscience
Kumawat views monumental sculpture as art, but even better, it’s cultural storytelling.
“Public art determines how people think about their society. Our forefathers dug out Ajanta and Ellora not for museums, but for generations. Through sculpture, we know what we were and what we hold important,” he says.
He references universal works from Napoleon’s French commissions to Anish Kapoor’s Cloud Gate in Chicago, and even calls for a public art renaissance for India. His paintings, such as the Samudra Manthan mural, seize timeless tales of harmony and virtue, with universal appeal.
Carving Emotions, Rather than Characters
For Kumawat, sculpture starts with purpose and feeling, rather than imitation.
“Even prior to placing hands on clay to color the mural of Samudra Manthan, Angkor Wat in Cambodia taught me about holy sites in India. A statue must be about presence, not form.”
This emotional intensity is the reason why productions ranging from B.R. Ambedkar’s magisterial obituaries to Nishad Raj, at the side of Lord Ram, in Shringverpur make us feel proud and amazed, and transform public space into spaces of cultural memory.
Passing the Torch and Building the Future
Although he is a world-famous artist, Naresh Kumar Kumawat never forgets his mentorship and heritage. To young artists, he humbly provides the following:
“Treat art as a responsibility, not a trend. Learn the tradition, know where you came from, and discover your voice.” He holds that his true legacy is not in quantity, but in ethics, devotion to craft, cultural integrity, and intent to innovate.
“If my paintings might encourage hope in just a few to have faith that art is capable of healing, bringing together, and inspiring,” he reflects, “then that would be my legacy.”
