|This item can be back ordered|
|Time required to recreate this artwork:||8 to 10 weeks|
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|Balance to be paid once product is ready:||80%|
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The scene is laid on a large size open palatial terrace running horizontally from one end of the canvas to its other. The maid clad in golden yellow defines the centre of the terrace. There stand towards her left the Begum, the Nawab and two male attendants. The terrace part, to her right, is covered by a number of colourful kites. There also lay two reels with green and red colour coated thread and a couple of bundles of extra thread without colour coat. Beyond the terrace, there stretches a township, all covered with Mughalia kind of Islamic architecture, octagonal, hexagonal, square and rectangular buildings, fluted domes of varied sizes, tall and short minarets, rectangular roofs with well defined parapet, kiosks and eaves, alcoves, arched doors and other Mughal elements. The town has great resemblance with the 19th century Lucknow, the capital of Oudh. The orange, spread all over the sky, is suggestive of the setting sun, the most usual hour for kite-flying. Both, the Nawab and the Begum, are clad in lavishly gold threaded garments and adorned with precious stones and jewelry, while their attendants are in moderate costume and ordinary ornaments. All the males are wearing Mughalia turbans of Jahangiri era, moderate jamas, short overcoats and tight pajamas.
The origin of the game of kite-flying, in India, is quite obscure. Man's fancy to fly in the sky could have inspired him to create an object, which he could send into the sky. The kite could have been the outcome of his efforts. As it involved a lot of cost, it could have remained initially confined only to men of means. But, in the course of time, it came down to common masses, who, as a precaution perhaps, attached it to one of India's minor festivals, known as Akshaya-tratiya. Now as a festive ritual even a common man could enjoy it but strictly as a rarer occasion occurring once a year and not overdoing it. For creating appropriate atmosphere, the artist has covered the entire framing space with variedly designed and coloured kite motifs. Soft colour tones, fine and delicate line-work, interplay of verticals and horizons, intelligently used gold and costume befitting a person's rank and status impart to the painting its distinction. The artist has attained similar distinction in rendering body complexion and each figure's individual features, although he has shown alike ingenuity in their rendering. The use of geometry in devising architectural forms is simply superb.
This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.