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By:

Minal Sancheti

2 May 2026 at 12:26:53 pm

Freedom of expression over says artist Jain Kamal

Mumbai: Veteran artist Jain Kamal believes that his fraternity lacks freedom of speech in today’s time. While speaking to ‘The Perfect Voice’, he said, “Freedom for the artists no longer exists. Now, we are living in the times of dictatorship. If we don’t have freedom of expression, then it will be very difficult for the artists to survive. There should be purity in the expression of the artists, saints, scientists, and thinkers so that there is more positivity in society.” Jain is going to...

Freedom of expression over says artist Jain Kamal

Mumbai: Veteran artist Jain Kamal believes that his fraternity lacks freedom of speech in today’s time. While speaking to ‘The Perfect Voice’, he said, “Freedom for the artists no longer exists. Now, we are living in the times of dictatorship. If we don’t have freedom of expression, then it will be very difficult for the artists to survive. There should be purity in the expression of the artists, saints, scientists, and thinkers so that there is more positivity in society.” Jain is going to exhibit his 50 years of work at the Jehangir Art Gallery from May 26 to June 1. The exhibition, ‘Retrospective’, will be inaugurated by Dattatreya Hosabale, General Secretary of the Rashtriya Swayamsevak Sangh. The paintings are a translation of the Jain religious chanting of the Navkar Mantra. Jain said, “I have been working on these paintings for the past 50 years and have put in a great effort to convey to the world the message of peace and harmony using the Jainism chanting. Like a mother makes delicious food for her child, I have used words to create beautiful art for the people.” When asked what inspired him, he said, “I wanted to do something with words. So I thought why not use Gayatri mantra or Hanuman Chalisa but then I chose Navkar mantra which is a Jain mantra. I used the five lines of the mantras in my paintings. In the exhibition, you will get to see a ‘Picchi’ (a broom used as a symbol of non-violence and which the Jain monks use to brush away any small insect that comes in their way.)” Jain added, “Half of the threads attached to the Picchi are in Brahmi, and half of the Picchi are in Devanagari. I have combined the time of Jain God Rishabdev with today’s generation by using both languages. I have also painted ants dancing to show nonviolence preached by the religion.” The words are formed like a chain in concentric circles in one of the key paintings. Some paintings consist of lakhs of words depicting the Jain mantras. “In these paintings, you can find the entire world through the written mantras. They convey that everything is made by God and there lies nothing in the material world. We should not be proud of our possessions, as everything in the world belongs to Khuda. So be peaceful and spread peace.” He added, “I did not talk about religion, but the philosophy of peace that I want to spread to everyone. I planted the seed of a mantra and thoughts into my artwork, which is why it is unique and different.”

Selective Outrage

India’s left-liberal media has long prided itself on being the torchbearer of secularism, dissent and moral rectitude. In the aftermath of ‘Operation Sindoor,’ the precision military strike launched by the Modi government against Pakistan-based terror camps, it has revealed its not a principled commitment to peace or truth, but a disturbing penchant for ideological prejudice, performative sanctimony and selective outrage.


The operation itself was a textbook display of calibrated force and geopolitical prudence. Prime Minister Narendra Modi, often caricatured as ‘authoritarian’ by the ‘liberal’ English-language commentariat, chose patience over provocation. He consulted opposition leaders, held detailed discussions with defence chiefs and took key international stakeholders, notably the United States and Russia, into confidence before authorising limited military action. The symbolism of ‘Operation Sindoor’ was also carefully crafted: a pointed reminder that the attack’s real victims were Hindu women widowed by Pakistan-sponsored militants in Kashmir. The government’s briefings were also strategic and symbolic as two ranking female officers, one of them Muslim, were made the public face of the mission, underlining a new Indian confidence that blends military muscle with democratic pluralism.


But this was unacceptable for India’s entrenched ‘left-liberal’ press, steeped in academic jargon, Western validation and a knee-jerk hostility to anything remotely ‘Hindutva.’ That a Muslim officer briefed the nation on ‘Operation Sindoor’ was branded ‘tokenism’ by such commentators. Others crudely alleged that the April 22 Pahalgam massacre was the logical culmination of reported atrocities against Muslims since Modi came to power in 2014.


The semantic nitpicking over ‘Operation Sindoor’ was maddening. An editor of a prominent magazine dubbed the operation’s name as ‘patriarchal’ and coded in Hindutva tropes. In a bizarre case of moral inversion, sindoor was likened to symbols of ‘honour killings’ and gender oppression, ignoring both its cultural resonance and the cruel reality that these women had lost their husbands in cold blood. For years, India’s ‘secular’ commentariat nurtured a preordained binary: the Congress may be flawed but was at least ‘secular’ while the BJP was an inveterate ‘fascist.’ Thus, the 2002 Gujarat riots are always focused upon but the Congress-backed pogrom of the Sikhs in 1984 is either downplayed or rationalised. Terrorism in Kashmir is tragic, but state retaliation is ‘jingoism.’ A strong Muslim voice in government is ‘tokenism’ but its absence is ‘exclusion.’ Even journalistic rigour is selectively applied. When Pakistan claimed to have downed Indian jets, some Indian outlets rushed to amplify the story before verification, inadvertently echoing enemy propaganda.


Dissent is vital in any democracy. But when its becomes indistinguishable from disdain, when editorial choices are dictated by ideological conformity, then the press becomes a caricature of itself. Ironically, many of these journalists enjoy robust free speech and loudly lament India’s supposed slide into ‘fascism’ from the safety of their X handles. Yet they turn a blind eye to Putin’s repression, Erdogan’s purges or Xi Jinping’s camps. In their eyes, Modi remains the greatest threat to democracy even as they broadcast their outrage freely, without fear of censorship or reprisal. ‘Operation Sindoor’ was a statement of cultural self-confidence. That confidence has rattled those who have spent their careers gatekeeping Indian discourse. Today, their monopoly is over. The people are watching and they no longer believe that the emperor has clothes.

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