Murals of memory: Parliament’s walls tell story of India’s civilisational journey

In the quiet corridors of Samvidhan Sadan, history does not merely sit in archives, it unfolds across walls in sweeping strokes of colour and form.The release of “Tides of Time: Bharat’s History Through Murals in Parliament” by Sudha Murty has brought renewed attention to one of the most evocative yet often overlooked elements of India’s parliamentary heritage — the murals that line its walls.Unveiled by Vice-President (VP) CP Radhakrishnan and Lok Sabha Speaker Om Birla, the book is as much about art as it is about identity. It reopens a visual archive that traces India’s journey from ancient civilisations to the freedom struggle, captured across decades by some of the country’s most distinguished artists.

For Birla, the murals are far more than aesthetic additions to Parliament’s walls. “The murals in Samvidhan Sadan serve as a vivid visual narrative of India’s extraordinary journey,” he said, pointing out that they capture not only ancient traditions and cultural evolution but also the country’s long and arduous struggle for independence. He added that by presenting these stories in an engaging format, the book “acts as a bridge between the past and the present, inspiring future generations to embrace the values of service, dedication and nation-building”.

The story of these murals dates back to the early years after Independence, when India was in the process of redefining itself. As colonial symbols were dismantled, including portraits of British viceroys in Parliament, there emerged a conscious effort to reclaim national space through indigenous expression. It was in this moment that GV Mavalankar , the then Speaker of Lok Sabha, envisioned art as a powerful medium to revive national consciousness.

He believed Parliament should not merely function as a legislative space, but also inspire those within it. Paintings, murals and sculptures, he argued, could create an ambience where lawmakers are constantly reminded of the nation’s “traditions and greatness”.

That vision took shape over the following decades.

Between the 1950s and 1990s, a remarkable suite of 58 murals came to adorn the corridors of Parliament. Created using the tempera technique, chosen for its durability in Delhi’s climate, these works were crafted by leading figures of Indian art, including KC S Paniker, Sarada Ukil and NS Bendre.

Despite their diverse artistic styles and regional influences, the murals come together as a cohesive narrative, depicting India’s land, its people, spiritual traditions, intellectual achievements and defining historical moments. From the Indus Valley Civilisation to the Bhakti movement, from ancient republics to the freedom struggle, theSE offer a sweeping visual chronicle of the nation.

Echoing this sentiment, VP CP Radhakrishnan described the murals as “not merely works of art but visual narratives reflecting India’s civilisational journey”. Highlighting the country’s deep democratic roots, he said Bharat has long been the “mother of democracy”, with traditions that are continuous, inclusive and deeply embedded in society.

He also emphasised the enduring relevance of Parliament as a space of dialogue and deliberation. “Parliament represents dialogue, debate, dissent and discussion, but all must ultimately contribute to decision-making in the national interest,” he said, adding that the book brings alive the “timeless beauty and profound symbolism” of these murals.

For Sudha Murty, the project stems from a concern that younger generations are increasingly disconnected from history. “History is not merely a collection of dates or isolated events, but a living continuum that shapes our identity, values and worldview,” she said, stressing the need to present the past in ways that are engaging and relatable.

She added that “the sacrifices, struggles and achievements of our ancestors must be communicated” in a manner that fosters pride and belonging, particularly among the youth.