A collection embodying the drama and the beauty of classical Indian paintings

Classical Indian paintings have long been treasured for their storytelling, intricacies and vibrant palette. Originally produced for small courts around central and north India where they were kept in folios in treasuries, these miniature manuscript paintings have since gained global appeal. With past collectors ranging from Rembrandt to Henri Matisse and Richard Diebenkorn, classical Indian paintings are also experiencing a contemporary resurgence. During October 2025, Christie’s London sale Exceptional Paintings from the Personal Collection of Prince & Princess Sadruddin Aga Khan was 100% sold, achieving £45.7 million, six times the pre-sale estimate. Bidders (of which 19% were new to Christie’s) from 20 countries across four continents drove record-breaking results, including a new world auction record for a Classical Indian or Islamic painting.

This spring during Christie’s Asian Art Week in New York, collectors will have a new opportunity to vie for these elegant masterworks during the Indian, Himalayan and Southeast Asian Art on 25 March and the Arts of Asia Online sale from 18 March-2 April. The Parson Family Collection brings together more than 30 classical Indian paintings passionately assembled by collectors Dr. Narendra Parson and Rita Parson over nearly half a century. ‘Each work represented a way of preserving cultural heritage, artistic beauty and historical memory at the same time,’ says Madhuri Parson of her parents, who migrated from India to Southern California during the 1970s. ‘Together, the collection reflects a shared belief that art carries meaning beyond aesthetics — it holds stories, values and traditions meant to be cared for and passed on.’

Works from the collection, which encompass Mughal, Rajput and Pahari paintings spanning the 17th through 19th centuries, have been exhibited over the last 30 years in prestigious exhibitions from California to Australia. ‘This is very much a passionate and personal collection,’ says Edward Wilkinson, Christie’s global head of Indian, Himalayan and Southeast Asian Art. Rather than explicitly collecting one school, artist or subject, the paintings are united in the deep emotional response they elicited in their owners. As a result, there’s something for everyone, says Wilkinson: ‘Whether battle scenes or sweet Ragamala paintings [which represent musical modes or ragas], there’s a lovely balance to the collection that would be inspirational and interesting to a very broad collector community.’

A rich family legacy in the arts

For Dr. Narendra Parson and Rita Parson, collecting is a multi-generational phenomenon. ‘For me, [Indian art] defines who I am. It is part of my identity and a way of seeing my culture through the artist’s lens,’ says Rita Parson, whose mother’s maiden name is Nahar. ‘Art has always been woven into my family’s heritage as well — earlier generations collected important classical paintings, many of which are now housed in the Indian Museum in Kolkata. This collection feels like a continuation of that legacy.’

Founded in 1814, the Indian Museum is the oldest and largest multidisciplinary museum in the Asia-Pacific region. The Rai Manilal Nahar Bahadur collection of paintings, textiles, decorative objects and artifacts was acquired by the museum during the late 1920s.

Dr. Narendra Parson’s familial connection to Indian miniatures reflects a long tradition of how these classical paintings were disseminated beyond the courts. Royal families of India would trade their paintings with jewellers to obtain opulent pieces for weddings. Dr. Narendra Parson’s family were jewellers, adding to his emotional connection with the artworks. Several of the Ragamala paintings also depict nayikas, or heroines, in exquisitely rendered jewels.

A collection built on emotion and memories

Madhuri Parson tells Christie’s that the seed of her father’s connection to fine art was planted at an early age. Around age 11, Dr. Narendra Parson unexpectedly won the Governor H. C. Mookerjee Gold Medal in Kolkata through an open competition hosted by the College of Arts (his paintings of the Kolkata market remains in College of Arts Museum in Kolkata today). While he pursued medicine professionally, he remained entrenched in the art community, travelling often around India to meet artists, visit studios and engage with fellow collectors.

‘Over the years, this resulted in a diverse and thoughtful collection spanning multiple schools and periods of Indian art. His interests extended beyond painting to include sculpture, informed by his love of Indian classical music, singing and a deep spiritual practice. Growing up in a Jain household also shaped his appreciation for art rooted in philosophy, devotion, and introspection,’ says Madhuri Parson. ‘After moving to the United States, collecting Indian art became a way for him to stay connected to his cultural identity and heritage — an expression of continuity, memory and belonging across continents.’

Dr. Narendra Parson and Rita Parson both describe themselves as ‘instinctual’ buyers, guided by an ‘immediate connection.’ In many instances, that emotion is manifested as nostalgia for their childhoods. The six Kalighat paintings, for example, are deeply connected Dr. Narendra Parson’s memories of the Kolkata home where he grew up. They ‘bring back vivid recollections of my early years with my parents. They carry the atmosphere, rhythms, and everyday visual language of that time and place,’ he says. A Holi painting also conjures joyful familial memories of throwing colourful powders on the holiday.

A Haldighati battle scene by Chokha, a holy family procession by Sajnu and more highlights

When it comes to works that stopped Dr. Narendra Parson in his tracks, there are a few defining qualities: ‘What made these works impossible to leave behind was the emotional expression the artists were able to convey — whether through movement, narrative, or quiet intensity. Each piece carried a presence that felt alive, and that sense of feeling and intention was often what guided my decisions more than period or provenance alone.’

One such example is the first work Dr. Narendra Parson ever collected: Rana Pratap Singh at the Battle of Haldighati, painted by Chokha in 1822. Fought in 1576 between the forces of Rana Pratap Singh of Mewar and the Mughal army, this battle remains one of the most enduringly celebrated episodes of Rajput resistance, with Rana Pratap Singh being a symbol of national pride.

‘My nickname has always been Rana. We are Marwaris, and I was called Rana after Maharana Pratap, a 16th-century Rajput ruler of Mewar who is widely remembered for his resistance against the Mughal Empire. Maharana Pratap is revered in Indian history as a symbol of courage, independence and unwavering integrity,’ Dr. Narendra Parson explains. This painting ‘was not simply my first acquisition, but an expression of heritage, values, and a lifelong respect for history as told through art.’ Wilkinson adds that this battle scene is the finest, largest and best-preserved example of Chokha’s paintings of this subject — it’s also never been exhibited, making it completely fresh to market.

Another touchstone of the collection is The Celebration of the Holy Family’s Return from Mount Kailash, attributed to Sajnu, circa 1800. ‘Sajnu was one of the great painters of the Pahari tradition in the Punjab Hills, which is known for its incredible delicacy and sweetness,’ notes Wilkinson. The composition presents Shiva, Parvati, Ganesha and Kartikeya as the divine family, harmoniously arranged, each figure mounted upon their prescribed animal vehicle. After a treacherous descent from the golden Palace on Mount Kailash, the family has arrived in the lush foothills in spring.

One of the earliest paintings is An Illustration from the Bhagavata Purana: Krishna Prepares to Slay Kansa Bikaner, circa 1600. Though the artist is unknown, this work is part of a well-known and documented series. Many of these paintings were created in sets and bound in volumes that could include 100-300 paintings. Paintings from this series, which have become dispersed, are recognisable from their large dimensions and distinctive red border.

Ultimately Dr. Narendra Parson and Rita Parson hope these paintings will enrich others’ lives as much as they’ve enriched theirs. ‘I hope future collectors experience the same pure, wholehearted joy that my husband and I felt when we collected these works — buying from the heart, with sincerity and care,’ says Rita Parson. ‘Each painting carries a story, and I hope that story continues to be felt, appreciated, and preserved for generations to come.’