History isn’t written with only pen on paper; it can also be painted on walls through the medium of art. A pictorial representation of history, with its visual appeal and aesthetic sensibility, not only captivates viewers but also instils in them a sense of responsibility towards their heritage. However, portraying history on walls is by no means an easy task.
This ambitious vision was conceived by Ramashankar Singh, chancellor of ITM University, Gwalior. Renowned painter Vinay Ambar has transformed this dream into reality in the corridors of ITM. Today, these corridors stand as a remarkable confluence of history and art, where the walls themselves seem to narrate the glorious saga of the past.
This monumental mural — measuring 80’x8’ — is titled ‘The Epic Saga of the Indian Freedom Struggle: 1857–1961’. It is perhaps the first mural in the country to depict, in a single continuous visual narrative, the historical period spanning from 1857 to 1961.
Covering an area of 640 square feet and crafted in fibreglass, the mural is divided into 10 panels. It commences with the Revolt of 1857 and chronicles the long and arduous journey of India’s struggle for freedom. Among its compelling portrayals are Rani Lakshmibai’s participation in the uprising, the role of the Scindia dynasty, the arrest of the last Mughal emperor, Bahadur Shah Zafar, and the execution of his three sons. It also pays tribute to the heroic resistance of India’s tribal communities, featuring legendary figures such as Birsa Munda and Tilka Manjhi.
The mural further depicts the British-imposed indigo cultivation and the brutal exploitation of farmers, Mahatma Gandhi’s Champaran Satyagraha, and the historic Dandi March. It vividly recreates the bombing of the Central Legislative Assembly by Bhagat Singh and Batukeshwar Dutt, and portrays Bhagat Singh in prison, alongside fellow revolutionaries Rajguru, Ram Prasad Bismil, and Chandrashekhar Azad. Vinayak Damodar Savarkar finds a place too.
One of the panels depicts the traumatic experience of the Partition of India. In the same composition, Jawaharlal Nehru is shown saluting the national flag. Alongside, Ustad Bismillah Khan plays the shehnai. Each of these figures is rendered in distinct expressions and postures, lending the mural a rich symbolic and emotional dimension.
The artist has portrayed Mahatma Gandhi’s assassination in an exceptionally original and evocative manner. Gandhi is depicted reclining on a bed of arrows, reminiscent of Bhishma Pitamah from the Mahabharata. Lotus blossoms are strewn around him, with a single flower resting upon his chest. His associates sit nearby in deep mourning and sorrow. Elsewhere, Nehru and Subhas Chandra Bose are portrayed in a grave and contemplative dialogue, while another section depicts Netaji leading the soldiers of the Indian National Army.
The mural also incorporates the original Preamble to the Constitution of India, and portrays several distinguished members of the Constituent Assembly. Care has also been taken to acknowledge and represent the participation and contribution of women in the making of modern India.
The tenth and final panel centres on two defining events of post-Independence India. The first is Jayaprakash Narayan’s movement for ‘Total Revolution’, and the second is the liberation of Goa following the Goa Freedom Struggle.
Artist Vinay Ambar.
This monumental mural is the result of three years of relentless dedication by Ambar and his team, including sculptors Yogesh Prajapati, Vishnu, Aanchal, and 16 assistants, who worked tirelessly to bring this vision to life. The process involved extensive research, preliminary sketches, detailed drawings, and the painstaking task of transforming historical ideas into a monumental artistic form.
Set against a deep-toned background, the mural glows with rich copper and golden hues. Executed in high relief, with projections ranging from approximately four to six inches, it possesses a remarkable sense of depth and dimensionality. The entire composition is enveloped in a distinctive texture that enhances its visual richness and lends it a sculptural character.
Ambar had earlier created a remarkable 72-foot-long and 6-foot-high oil on canvas mural on Rani Durgavati. After a series of discussions and deliberations with the artist, the idea of depicting the history of India’s freedom movement on the walls of the institution took shape nearly three years ago.
The new mural is a testament to the fecundity of Ambar’s imagination. Its intricate detailing and delicate visual fabric, particularly the nuanced expressions of its characters, possess an almost hypnotic power over the viewer. Equally striking are the rare and unconventional motifs of flying fish, birds in flight, and the moon, all of which eloquently evoke the spirit and sensibility of the historical periods they represent.
At one point in the mural, the artist even inserts himself symbolically into the narrative as a fish carrying an ektara and soaring through the sky, assuming the role of a sutradhar, or storyteller, guiding the viewer through the unfolding epic of history.
— The writer is a freelance contributor