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Khambavati Ragini: Page from a Dispersed Ragamala Series (Garland of Musical Modes)
Vasant Ragini: Folio from a ragamala series (Garland of Musical Modes)
Krishna's Fifth and Sixth Avatars, page from a copy of the Gitagovinda of Jayaveda
A Messenger is Dispatched: Page from a Dispersed Manuscript
Friends of Krishna, folio 163 from a Bhakti Ratnavali of Vishnu Puri
Queen Kaikeyi reminds King Dasharatha about the sacrifices of King Bali and King Shivi, folio 39 from the Ayodhya Kanda (Book of Ayodhya) of a Ramayana (Rama's Journey)
Krishna with an Ascetic
A Disconsolate Lady on a Terrace with Attendants
Maharana Amar Singh II with Ladies of the Zenana outside the Picture Hall at Rajnagar
Woman Addressing a Peacock: Gujari Ragini of Megh, from a Ragamala
The Infant Krishna Spirited Away by Vasudev, from a copy of the Dispersed Bhagavat Purana
Ragini Gaudi, Page from a Jaipur Ragamala Set
Krishna and Balarama Fight the Evil King Kamsa’s Wrestlers: Page from a Dispersed Bhagavata Purana
Krishna and Radha in a Pavilion, from a copy of the Seven Hundred Verses (Sat Sai) of Bihari
Heer Ranjha: Lady with Water Jug on her Head and Lady Holding out her Arms, Jodhpur school, India, c. mid-18th century, opaque watercolor on paper, Tokyo National Museum
Krishna Fluting
Abhisarika Nayika (Heroine Running to Meet her Lover)
Amir Khusrau Dedicates His Poem to Sultan Ala al-Din Khalji, page from the Quintet (Khamsa) of Amir Khusraw Dehlavi
Angel (Peri) Riding a Composite Camel
Pradyumna and Samvara fight with maces, from the "Large Basohli Bhagavata Purana"
Asavari Ragini, page from a Garland of Musical Ragas (Ragamala) Set
Portrait of Prince Sur Singh Rathor of Bikaner (1594–1631)
Maharana Sangram Singh Riding a Prize Stallion
Portrait of Emperor Jahangir
A Procession Scene with Musicians, from a copy of the Padshanama
The setting for the painting is the royal stables in Isfahan. The upper portion of the scene consists of a platform on which are gathered the shah, or Persian king, who appears next to the column on the right; five kneeling courtiers; and various attendants serving fruit and wine. The king is identified in the artist’s signature at the upper left as Shah ‘Abbas II, who died in 1666, but it is possible that the undated painting was executed after his death. The ruler’s status is emphasized by his golden halo and by the opulent gold and jeweled vessels placed before him. The lower portion shows a roundup of horses who bear the trident-like royal brand on their flanks; they move in a spiral that coils counterclockwise from the upper right. The scene bursts with energy and looks chaotic—a brawl is taking place at the lower left—but the courtiers and handlers seem to be getting control of the animals. The figures on the platform, meanwhile, pay no attention to the commotion below. The painting represents a new journalistic, even anecdotal approach to Persian painting introduced in the second half of the seventeenth century. The viewer gets the sense that the work may record a specific moment in daily life at court and that it was observed firsthand. Figures no longer conform to stock types but are highly individualized by facial features and dress. Standing just to the right of center in the upper part of the roundup scene is a man wearing a gold, fur-lined, armless jacket. He holds a list and is writing notes while conferring with a young man in a blue robe. The man taking notes may well be the supervisor of the royal stud, one of whose responsibilities was to inspect the king’s stables and keep an inventory of the animals.
Alexander the Great Enthroned at Persepolis
Alauddin Khilji Conquering Ranthamore Fort, Kangra school, India, late 18th century, opaque watercolor on paper, Tokyo National Museum
Young Woman Smoking a Huqqa
Maharana Bhim Singh in Procession
Durga Slaying Mahisha
An Old Sufi Laments His Lost Youth
European Banquet Scene (or The Marriage Feast at Cana?)
Prince and Princess Hunting Blackbuck
A Stallion
A Virtuous Woman Placates the King by Plucking Out Her Eyes
On this folio from Walters manuscript W.604, King Qizil Arslan welcomes the poet Nizami.
The Young Emperor Akbar Arrests the Insolent Shah Abu’l-Maali, Page from a Manuscript of the Akbarnama
This illustration from Walters manuscript W.644 depicts Zulaykha in a blue-domed litter on a camel led by a cameleer. The retinue is entering the capital of Egypt.
Zal Climbing to Rudaba, page from a copy of the Shahnama of Firdausi
慈眼大師像
Four Portraits from the St. Petersburg Album. Painters unknown, borders by Muhammad Sadiq. Top left: Nadir Shah, Iran, ca. 1740. Top right: Adil Shah, Iran, ca. 1748. Bottom left: Unidentified nobleman, Mughal school, 18th century. Bottom right: Unidentified nobleman, Mughal school, 18th century. Art Institute of Chicago 1919.952 recto
This drawing, Walters manuscript leaf W.749, was executed in Safavid Iran, most probably in the late 10th century AH/AD 16th, in Qazvin or Isfahan. Above, a farmer plows; below, a seated young man watches a produce seller weigh his purchase. On the rocks in the center foreground is inscribed the name of one of the most famous painters in Iran in the 11th century AH/AD 17th, Riza 'Abbasi (active 1001-1044 AH/AD 1591-1592 to 1634). As the handwriting does not match that of the artist, an admirer of Riza's work seems to have attributed the drawing to him. The execution and the bucolic subject matter of this drawing relate closely to the oeuvre of the Persian artist Muhammadi Haravi (active late 10th century AH/AD 16th), who worked in Qazvin. It is possible that this composition was conceived as a manuscript page.
Ruler Entertained by Dancers in a Paradise Garden
Tile Panel
Tathagata Buddha
Fragment van een muurschildering
Ōtsu-e of a Youth Holding Irises (Yarō)
"Black Buck", Folio from the Shah Jahan Album
"The Funeral of Isfandiyar," Folio from a Shahnama (Book of Kings)
"Dancing Dervishes", Folio from a Divan of Hafiz
This folio from Walters manuscript W.596 depicts the fall of Samarqand.
Kichik Beg Wounded during Babur's Attack on Qalat, from a copy of the Baburnama (Book of Babur)
Manuchehr Kills Tur, Manuscript from Shahnama
Stela of Amenemhat and Hemet
Garden Gathering
This folio from Walters manuscript W.580 is the left side of an illuminated double-page frontispiece of geometric design in gold, red, blue, and green, with a marginal rosette at the left.
Green Tara
This folio from Walters manuscript W.677 depicts Bahram Gur in a peasant's house.
"The Concourse of the Birds", Folio 11r from a Mantiq al-Tayr (Language of the Birds)
Thanka with Buddha
Velvet Fragment with Design from Nizami of Ganja's Khusrau and Shirin
Al-Mu'tazz Sends Gifts to Abdulla ibn Abdulla, from a copy of the Tarikh-i Alfi
A Monumental Portrait of a Monkey
Sixteenth Arhat, Cūḍapanthaka (from the Sixteen Arhats)
Portrait of a Ladakhi Mountain Goat
Bahram Gur Arrives at the House of a Merchant, text page (recto); Bahram Gur Slays a Dragon (verso), from a Shahnama (Book of Kings) of Firdausi (940–1019 or 1025), known as the Great Mongol Shahnama
Night Rain at the Double-Shelf Stand, from the series Eight Parlor Views (Zashiki hakkei)
Crossing at Sano
Japan; Illustrated book; Illustrated Books
Ingelijste muurschildering voorstellende Xiwangmu en dienaressen
A Young Prince on Horseback
An Artisan’s Shop, from the album The Mist of Sandara (Sandara kasumi)
On this folio from Walters manuscript W.653, a middle-aged woman stands in a landscape, holding a vase of flowers. The salmon pink margins are stenciled with animal and floral forms. The catchword at the lower left indicates that the following folio is missing.
Panel with the god Zeus/Serapis/Ohrmazd and worshiper
Peonies
Leaf from Album of Persian Calligraphy
Girl Arranging Flowers
Cho Jae-ho from Punhyang Cho Family
The Merry Family
Daibutsu and Scaffolding, by Migita Toshihide, 1895, Meiji 27, from the Hood Museum of Art - PR.995.23.9ab.
Manuscript Cover with Prajnaparamita Attended by Sadakshari Lokeshvara and a Tara
Pichhwai for the Festival of Cows
A Philosopher Watching a Pair of Butterflies, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)
The Assembly of Tejaprabha Buddha
The Greedy Dog
暮れて月いとおもしろきに、宮の亮、女房にあひて、とりわきたるよろこびも啓せさせむとにやあらむ、妻戸のわたりも御湯殿のけはひに濡れ、人の音もせざりければ、この渡殿の東のつまなる宮の内侍の局に立ち寄りて、「ここにや」と案内したまふ。宰相は中の間に寄りて、まだ鎖さぬ格子の上押し上げて、「おはすや」などあれど、いらへもせぬに、な大夫の、「ここにや」とのたまふにさへ、聞きしのばむもことごとしきやうなれば、はかなきいらへなどす。いと思ふことなげなる御けしきどもなり。
Portrait of Momonoi Naoaki
Vase of Flowers
Sceneries in the Tropical Land, by Imamura Shiko, Tokyo National Museum, Japan
Relief: two servants bearing food and drink
Textile
Exhibit in the Jordan Schnitzer Museum of Art, University of Oregon - Eugene, Oregon, USA.
The Wade Cup with Animated Script
Shown from the chest up, a light-skinned man wearing a burgundy-red turban faces our left in profile against a dark background in this vertical portrait painting. He looks off to the left, and the eye we can see is light brown under a faint, possibly plucked eyebrow. He has a straight nose, and his full peach-colored lips are closed. There is the suggestion of a puffy area under the eye we can see, but the rest of his skin is smooth. His brown hair is mostly tucked under his turban, and a piece of fabric hangs down the back of his neck. A band of his white undergarment is visible at the high neck of his olive-brown shirt, which appears to be pleated or striped down the front. He also wears a black jacket, which covers his shoulder and most of his chest. A brown band across the bottom edge of the painting could be a wooden railing or ledge, behind which the man is shown. Cracks are visible across the painting, especially in the deep green background.
The Beach at Sumiyoshi from the Tales of Ise
The Adoration of the Magi
Hell Courtesan
Rustam's seventh course: He kills the White Div, folio 124 from a Shah-nama (Book of Kings) of Firdausi (Persian, about 934–1020)
Mural Fragment Depicting a Maguey Bloodletting Ritual