Krishen Khanna

“The syncopated tunes intended for the jollification of the baraat (wedding party), the quotient of assertive maleness and vigour of the accompanying groom’s party, the residual image of the British colonial march past, and sanguine military energy collapsed into a singular image on that warm Delhi afternoon. Positioning himself as a sympathetic spectator and a somewhat humourous narrator, Krishen Khanna has steadily painted the Bandwallah; the heroics of the street have been rendered with a deep humanist sympathy” (Gayatri Sinha, “Serenading Lajwanti”, Krishen Khanna: Images in My Time, Mapin Publishing Pvt. Ltd., Ahmedabad, 2007, p. 27)