In this painting, Navneet Parikh has worked his magic with his amazing masterstrokes by capturing the season of Basant in ancient India which was known as Basant Panchami then. It marks the historic springtime kite flying event in the Punjab region of...

In this painting, Navneet Parikh has worked his magic with his amazing masterstrokes by capturing the season of Basant in ancient India which was known as Basant Panchami then. It marks the historic springtime kite flying event in the Punjab region of India and Pakistan. This art encapsulates thus event as a royal leisure etching out a beautiful lass whose skin unusually shines bright like the sun. Her countenance is festooned with an exquisite nose and wide eyes that are complimented by her sharp hard angled eyebrows and thin lips. The royal woman wears a lovely crop top yellow banarsi choli as she takes hold of the kite's string. She couples her lovely choli with a motif imprinted long skirt that is tinted in a hue of scarlet red and dusty parakeet green color. Her henna colored hair fails to conceal itself with a translucent dupatta which skillfully styles over her. The lass is adorned in a plethora of jewels including gem studded armlets and gold bangles. Her neck is beautified with an aesthetic choker necklace and a multilayered opera that is stoned with valuable jewels going along with her brooch-like earring and a maroon maang tikka.She is accompanied with a young boy whose bare skin is covered with a diaphanous ballerina pink knee length choga as he holds a Carolina blue manjador in his small hands. Behind the stunning lady sits a young noble geezer who settles on a throne like green sofa that has an excellent floral designed cylindrical cushion by his back and a tuffet with water vessels by his side. He is blessed with a thin Greek nose and large big eyes that are contrasted by his high arch eyebrows and a stubble that sets over his face. His lips are coupled with a petit handlebar that hides his philtrum. He wears a brown banarsisaurashtra turban that cover his charcoal black hair going along with his dark royal purple jama that is embroidered in a gorgeous handiwork and is covered by a light cinnamon brown choga which is embellished with copper tinted threads. He is appareled in a white chrudaar which is emblazoned with red vertical stripes conflicting with his dark brown and golden khussas as he holds a tantalizing purple manjador in his hand.Their background is painted with a long white balustrade that borders the roof which is filled with kites that form a heap near the young boy and manjadors that spread over the floor. It shows a sky filled with vibrant and exotic tinged kite's thus revealing an extending lush green plain below that is filled with beautiful trees. The painting is enclosed in a thick dusty beige border that is ornamented with light yellow floral motifs and symmetrical kites that emboss themselves over the frame. This painting is the perfect match for those who are attracted to the ancient culture of the subcontinent turning out to be the best partner of your lonely walls enhancing them to be much more attractive.

Specifications:
Water Color Painting On Paper
Artist: Navneet Parikh
13.5 inches X 10.5 inches

Mughal Painting
The Mughal school of painting runs parallel to the Mughal dynasty. It came into prominence in the sixteenth century, during the reign of king Akbar. It reached its zenith under the patronage of Akbar’s grandson – king Jahangir. The reign of the latter’s successor king Shah Jahan saw its decline and finally under the unsympathetic Aurangzeb it breathed its last. Indeed, as a school of art, the duration of Mughal painting was a limited one, extending only over approximately two and a half centuries. Actually, it has often been referred to as not exactly a school, but rather an exceptionally brilliant phase in Indian art.
The roots of Mughal painting lay in Samarkand and Herat, where under the patronage of the Timurid kings, Persian art reached its apogee. Babur, a descendant of Timur, and the founder of the Mughal dynasty, speaks of a person named ‘Bihzad’ as ‘a most eminent painter’. It was with the descendants of Bihzad and the deep personal interest taken by Akbar, the grandson of king Babur, that the Mughal school of art started off with a flourish.
Regarding the aesthetics of Mughal painting, one exceptional feature is its commitment to realism or the delineation of likeness. The subjects were majorly drawn from the extremely rich and magnificent court life under the Mughals. That this was a flourishing art during Akbar’s reign is borne out by the list of more than forty painters found in a book written during his era.
However, it was under Akbar’s son Jehangir that Mughal painting gained its highest peaks. Not only portraits and hunting scenes, but also scientific studies of botany and natural history found favor with the artists under the king’s support. The Mughal painters were asked to paint unusual specimens of flora and fauna in their exact likeness. Some of these skilfully painted pictures have survived till today, narrating to us the uniqueness of those rich times.
Under the reign of Shajahan, son of Jahangir, the Mughal school of painting entered its decline. The actual treatment of the subject matter is replaced with more decorative embellishments like rich flowery borders etc. Under Shahjahan architecture scaled new peaks (Taj Mahal etc.), but painting deteriorated. Finally, with the rise of Aurangzeb, Mughal painting breathed its last.