Army Chief Defends Replacing 1971 War Painting

“Aakhir Tak – In Shorts”

1. Army Chief General Dwivedi explains the decision to replace the iconic 1971 war painting.
2. The “Surrender Painting” was moved to the Manekshaw Convention Centre.
3. “Karam Kshetra” symbolizes the evolving role of the Indian Army and its modern capabilities.
4. The new artwork incorporates elements of India’s past, present, and future, including Chanakya and Lord Krishna.
5. Critics were upset by the removal, but General Dwivedi insists it reflects strategic changes.

“Aakhir Tak – In Depth”

Army Chief’s Justification General Upendra Dwivedi of the Indian Army recently addressed the removal of the iconic 1971 war painting depicting Pakistan’s surrender in his office. The artwork, which symbolized the end of a key chapter in India’s military history, was moved to the Manekshaw Convention Centre in December. While this decision was met with criticism, especially from veterans, General Dwivedi explained that it was made to represent the evolution of India’s military perspective.

In his defense, General Dwivedi cited India’s historical chapters—Mughal, British, and pre-British eras. He emphasized that to align the Army’s vision with these historical periods, it’s important to use symbolism effectively, which the new artwork encapsulates. The decision to relocate the artwork was rooted in the need to reflect on the broader context of military developments, focusing on contemporary challenges and a more forward-looking approach.

“Karam Kshetra”: The Symbolism of Change The new painting, titled “Karam Kshetra,” translates to “Field of Deeds.” It was created by Lieutenant Colonel Thomas Jacob of the 28 Madras Regiment. This painting shifts the focus from historical wars to India’s contemporary strategic needs. Featuring snow-capped mountains around Pangong Tso in Ladakh and symbolic elements like Krishna’s chariot and Chanakya’s statue, it draws on India’s spiritual and strategic heritage.

General Dwivedi pointed out that the army’s technological and strategic prowess is highlighted through this artwork, symbolizing the protective role of the Army in safeguarding “Dharma,” the nation’s core values. The figure in the painting, a semi-clad Brahmin standing by the Pangong Tso lake, evokes deep connections to India’s civilizational past and reflects the Army’s mission.

Balancing Tradition and Modernity The central theme behind the artwork and the transition from the previous painting is to combine India’s rich cultural heritage with modern military realities. By including figures like Chanakya, the painting echoes India’s enduring strategic wisdom, while the depiction of Ladakh highlights ongoing security challenges, particularly in the northern region.

General Dwivedi highlighted that the new artwork symbolizes the past, present, and future of the Indian Army. It’s not merely an artistic choice but a calculated effort to present a vision that resonates with current national security priorities. The change in artwork comes as the Army adapts to modern challenges, underscoring India’s defensive capabilities.

“Aakhir Tak – Key Takeaways to Remember”

• The iconic 1971 war painting was relocated to the Manekshaw Centre to align with modern strategic needs.
• “Karam Kshetra” symbolizes India’s military evolution, from its ancient wisdom to present-day advancements.
• The artwork includes elements like Chanakya’s wisdom and depicts strategic sites like Pangong Tso.
• General Dwivedi explains that the painting integrates India’s military history, current forces, and future vision.
• Critics may argue against the change, but the painting reflects India’s readiness for future challenges.

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