Rajastapathi Goundar – The Master Sculptor Preserving India’s Bronze Heritage

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Rajastapathi Goundar, a master sculptor from Salem in Tamil Nadu, India, has been conferred the Padma Shri, one of the nation’s highest civilian honours, for his lifelong contributions to the art of traditional sculpture. His recognition in the Padma Awards list of 2026 celebrates more than 50 years of unwavering dedication to sculpture-making, preserving the rich legacy of Indian bronze and metal art.

Early Life and Formative Training

Born and raised in an environment steeped in crafts and tradition, Kaliappa’s journey as a sculptor was both intuitive and structured. His formal training took place at Poompuhar, a government-run art and metal training centre in Salem, where he apprenticed between 1975 and 1977 under the guidance of Vaidyanatha Stapathi, a nationally acclaimed master craftsman. This period laid the foundation for Kaliappa’s deep engagement with traditional bronze and metal sculpture techniques that echo the classical practices of South Indian artisans.

The rigour of this training shaped his understanding of proportion, form and the spiritual ethos behind sculpture. For Kaliappa, sculpting was not merely a profession but a profound expression of devotion, reflecting his philosophy that “work itself is divine” and that creating the divine should be an artist’s central purpose. He consistently emphasised that art should be felt as alive — a principle that became a guiding beacon throughout his career.

Artistic Philosophy and Craft

Kaliappa’s artistic philosophy revolves around bringing sculptures to life. Unlike decorative or superficial representations, he believes that the true essence of a sculpture is revealed in its ability to evoke emotion, spirituality and presence. This belief has anchored his work across materials, styles and cultural contexts.

A significant aspect of his practice involves the traditional lost-wax method (cire-perdue) — an ancient technique perfected during the Chola era that remains central to classical South Indian metal art. Through this method, molten metal replaces wax models, enabling fine detail and a life-like finish that characterises Kaliappa’s sculptures. His commitment to maintaining this tradition has played a vital role in sustaining age-old artisanal practices that might otherwise have faded in the wake of modern industrial processes.

Signature Works and Contributions

Among Kaliappa’s most celebrated works is the bronze “Nagabharanam” created for the Brihadeeswarar Temple in Thanjavur — a UNESCO World Heritage site famed for its architectural splendour dating from the medieval Chola dynasty. This contribution underscores his deep engagement with sacred art forms and his ability to integrate centuries-old traditions into contemporary religious spaces.

Another noteworthy masterpiece is the 3.5-ton “Ananda Narthana Ganapathi”, a sculpture blending ancient aesthetic principles with contemporary artistic sensibilities. Originally commissioned for a museum in London, the piece now adorns Chennai Poompuhar, a leading showcase of traditional arts in India, where visitors from around the world engage with his work.

Kaliappa’s contributions are not limited to India alone. His artistry has found expression in temples and cultural centres worldwide, catering to the spiritual and cultural needs of Indian communities abroad. His international projects include:

• A bronze statue of Lord Murugan at the Batu Caves temple in Malaysia
• The design and creation of Sri Rajarajeshwari Temple in Ampang, Kuala Lumpur
• A bronze Varahi Amman statue for a temple in Singapore

These works reflect not just artistic skill but also the global resonance of Indian cultural traditions, reinforcing the ways in which art preserves and transmits cultural identity across borders.

Sustaining Art and Tradition

Over the decades, Kaliappa has been a pivotal figure in both the creation and preservation of traditional sculpture. Beyond his own artistic output, he has influenced generations of artisans through mentorship, collaboration and his role in sustaining workshops and training spaces dedicated to bronze metal art. His career stands as a testament to how traditional crafts can thrive when practitioners remain rooted in their heritage while embracing contemporary opportunities.

Kaliappa’s recognition with the Padma Shri is not only a personal milestone but also an honour that shines a spotlight on the entire community of artisans who work with little public acclaim yet uphold India’s millennia-old artistic traditions. It acknowledges the countless craftsmen whose dedication keeps classical art forms alive in an era dominated by fast-paced technological change.

Legacy and Cultural Impact

The impact of Rajastapathi Kaliappa Goundar’s work transcends physical sculpture. At its core lies a spiritual engagement with form, material and meaning — and a philosophy that elevates craft into cultural heritage. His sculptures, whether displayed in temple precincts, cultural institutions or international venues, act as vessels of tradition and carriers of timeless narratives. Through them, the legacy of Indian bronze art continues to be appreciated by diverse audiences around the world.

In a rapidly globalising cultural landscape, artists like Kaliappa remind us of the enduring value of indigenous art forms, and how they can be preserved not just as relics of the past but as living traditions that inform contemporary identity. His Padma Shri honour carries with it the hopes and aspirations of many craftspeople working quietly in studios, workshops and ateliers across India and beyond.

Conclusion

Rajastapathi Kaliappa Goundar’s story is one of resilience, mastery and cultural stewardship. Spanning over fifty years, his journey from a dedicated apprentice to a nationally honoured master sculptor exemplifies the potential of traditional arts to shape identities, inspire communities and bridge cultures. As India honours him with the Padma Shri, it also reaffirms the importance of preserving artistic heritage and celebrating the hands that mould it — one sculpture at a time.