Symbolic Reset
- Correspondent
- Feb 24
- 2 min read
By removing the bust of imperial architect Edwin Lutyens from Rashtrapati Bhavan with that of C. Rajagopalachari, the Modi government has made plain that independent India need no longer genuflect to the prejudices of those who once ruled it.
The decision to replace the bust of Lutyens, the chief architect of imperial New Delhi, by a bust of C. Rajagopalachari, independent India’s first Governor-General, was part of a broader effort to shed the vestiges of a colonial mindset, said the government secretariat. While critics scoffed at the move and supporters applauded, both perhaps missed the point.
The name ‘Lutyens’ Delhi’ began life as a cartographic convenience. It describes a roughly 26-square-kilometre precinct of ceremonial buildings, manicured vistas and low-density bungalows designed between the 1920s and the 1940s. For a time, preservationists worried it might disappear altogether: as late as 2002, the area featured on the World Monuments Fund’s list of endangered sites. Yet, ‘Lutyens’ soon became a political shorthand to derisively denote an English-speaking, Oxbridge-educated, Congress-aligned elite, who are insulated from the rough textures of Indian life.
For the Bharatiya Janata Party, long excluded from this ecosystem, the term evolved into an insult. When Modi came to power in 2014, railing against entitlement and inherited privilege, ‘Lutyens’ became a convenient metonym for all he opposed.
The removal of Lutyens’ bust should be read in this context. The ‘new’ India is not bulldozing its colonial architecture but is certainly changing the hierarchy of honour. Statues are not neutral artefacts but choices. Who stands at the centre of power says something about whom a nation chooses to remember and why.
Lutyens, for all his architectural gifts, was no admirer of India or its civilisation. His private correspondence brims with disdain about Indians. He arrogantly claimed that Hindu architecture had no sense of form or proportion. As the historian Robert Grant Irving recounts in Indian Summer: Lutyens, Baker and Imperial Delhi, Lutyens derided Indo-Saracenic styles as “mongrel” and resisted domes, chhatris and indigenous motifs, convinced that classical European architecture was inherently superior. If Rashtrapati Bhavan possesses an Indian soul, it does so despite these prejudices, not because of them.
Replacing Lutyens with Rajagopalachari is therefore more than a mere act of subtraction. Rajaji was a liberal conservative, a sharp critic of Nehruvian socialism and a defender of individual liberty, he embodied intellectual independence as much as political freedom.
Nations mature by revisiting the stories they tell themselves. Britain has had its reckoning with imperial statues, so have America and South Africa. India, long hesitant to disturb the physical remnants of the Raj, is now beginning to do the same.
A republic confident in itself need not genuflect to the self-image of its former rulers. While symbols do not govern countries, they do reveal how power understands itself. The removal of Edwin Lutyens from Rashtrapati Bhavan marks India’s decision to stop letting its colonial past dominate the present.



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