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Rustam's seventh course: He kills the White Div, folio 124 from a Shah-nama (Book of Kings) of Firdausi (Persian, about 934–1020)

Zal Climbing to Rudaba, page from a copy of the Shahnama of Firdausi

A Virtuous Woman Placates the King by Plucking Out Her Eyes

An Old Sufi Laments His Lost Youth

"The Concourse of the Birds", Folio 11r from a Mantiq al-Tayr (Language of the Birds)

Manuchehr Kills Tur, Manuscript from Shahnama

Portrait of a Ladakhi Mountain Goat

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.

European Banquet Scene (or The Marriage Feast at Cana?)

Al-Mu'tazz Sends Gifts to Abdulla ibn Abdulla, from a copy of the Tarikh-i Alfi

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

Alexander the Great Enthroned at Persepolis

This folio from Walters manuscript W.596 depicts the fall of Samarqand.

This illuminated title page from Walters manuscript W.581 gives the title of the work, as well as the authors' names. There is also a statement referring to the patronage of the manuscript, indicating that it was made for the Mawlawi (Mevlevi) Library (bi-rasm al-Khizanah al-Karimah al-"Aliyah al-Mawlawiyah).

This folio from Walters manuscript W.677 depicts Bahram Gur in a peasant's house.

Kichik Beg Wounded during Babur's Attack on Qalat, from a copy of the Baburnama (Book of Babur)

Amir Khusrau Dedicates His Poem to Sultan Ala al-Din Khalji, page from the Quintet (Khamsa) of Amir Khusraw Dehlavi

This page from Walters manuscript W.674 bears 4 diplomas written within illuminated cartouches inscribed in ijazah script by the following master calligraphers: Yaziji zadah, Isma'il al-Zuhdi Katib al-Saray al-Sultani, Muhammad Hasib, and 'Ali al-Wasfi. The page is dated 1219 AH/AD 1804-1805.

Leaf from Album of Persian Calligraphy

"The Funeral of Isfandiyar," Folio from a Shahnama (Book of Kings)

Angel (Peri) Riding a Composite Camel

"Dancing Dervishes", Folio from a Divan of Hafiz

"Black Buck", Folio from the Shah Jahan Album

This is the final illuminated page in the codex, Walters W.582. The last panel contains the colophon, written in Riqa' script, giving the name of the scribe as Habib Allah ibn Dust Muhammad al-Khwarizmi.

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.

The Young Emperor Akbar Arrests the Insolent Shah Abu’l-Maali, Page from a Manuscript of the Akbarnama

Dragon in foliage with lion and phoenix heads

Folio from a Qur'an Manuscript

Ruler Entertained by Dancers in a Paradise Garden

Abhisarika Nayika (Heroine Running to Meet her Lover)

Carpet

Maharana Amar Singh II with Ladies of the Zenana outside the Picture Hall at Rajnagar

Portrait of Emperor Jahangir

The Flood of Noah (Genesis 7:11-24)

The top and bottom panels of this illuminated finispiece from Walters manuscript W.578 are inscribed with the basmalah and hamdalah in white Thuluth script. The Qur'anic verses in the central panel are written in Square Kufic.

Prince and Princess Hunting Blackbuck

Collection of Poems (Divan)

A Disconsolate Lady on a Terrace with Attendants

A Messenger is Dispatched: Page from a Dispersed Manuscript

A Procession Scene with Musicians, from a copy of the Padshanama

Krishna's Fifth and Sixth Avatars, page from a copy of the Gitagovinda of Jayaveda

Khambavati Ragini: Page from a Dispersed Ragamala Series (Garland of Musical Modes)

A Stallion

On this folio from Walters manuscript W.604, King Qizil Arslan welcomes the poet Nizami.

Ragini Gaudi, Page from a Jaipur Ragamala Set

Vasant Ragini: Folio from a ragamala series (Garland of Musical Modes)

Asavari Ragini, page from a Garland of Musical Ragas (Ragamala) Set

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.

Folio from a Qur'an Manuscript

Velvet Fragment with Design from Nizami of Ganja's Khusrau and Shirin

Fragment van een muurschildering

慈眼大師像

Mt. Fuji through Pines

Grapevine in the Wind

Pradyumna and Samvara fight with maces, from the "Large Basohli Bhagavata Purana"

The Infant Krishna Spirited Away by Vasudev, from a copy of the Dispersed Bhagavat Purana

Monkey Hanging on to a Branch

Gibbons in a Landscape

Leaf from Book of Hours

A Young Prince on Horseback

Friends of Krishna, folio 163 from a Bhakti Ratnavali of Vishnu Puri

Fan painting with river landscape

Peonies

Silk Animal Carpet

Young Woman Smoking a Huqqa

Pichhwai for the Festival of Cows

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.

Tile Panel

Book on Navigation

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

Durga Slaying Mahisha

Thanka with Buddha

Woman Addressing a Peacock: Gujari Ragini of Megh, from a Ragamala

Textile

Flowers and Birds in a Spring Landscape

Carpet with Palm Trees, Ibexes, and Birds

Farmer Returning Home in Autumn

Alauddin Khilji Conquering Ranthamore Fort, Kangra school, India, late 18th century, opaque watercolor on paper, Tokyo National Museum

Fishing in a Springtime Valley

In front of a crumbling stone building, an older man kneels in front of a second man, smaller in scale, hanging from a tall, wooden cross, with a city in the background in this vertical painting. Both men have pale skin. At the lower center of the composition, the kneeling man, Saint Jerome, pulls his navy-blue robe to one side to expose his muscular but slender bare chest with a bloody mark at its center. With his other hand, he holds a rounded, gray stone touched with pink, also suggesting blood, by his side. He has long, silvery-gray hair and a long, pointed beard. His pink lips are parted, and we see his teeth. He raises gray eyes to look up at the man on the slender cross, which rises along the left edge of the composition. The man on the cross brown hair, a plate-like gold halo, and a white loincloth is draped across his hips. The shell-pink ground is littered with rocks. A red hat with a shallow brim and a tasseled chin cord sits near Saint Jerome’s sandaled feet. A miniature lion lies between Saint Jerome and the arched opening of the crumbling, terracotta-red structure along the right edge of the painting. Ivy grows up one side of the arch, and an hourglass and book with a red cover and gold-edged pages sit on a white cloth under the opening. An owl perches on a branch of an oak tree growing from the front face of the structure, and a hawk sits on a branch of the fruit tree growing from the stone courtyard, between Saint Jerome and the crucifix. A shrub with dark green leaves and clusters of three olive-green fruits fills in most of the space beneath the canopy of the fruit tree. To our right and in the distance, a man with a pointed black hat, a black jacket, and white pants rides away from us on a gray horse. To our left, the courtyard gives way to an amphitheater-like space. There, next to a donkey, a man with a long white beard hands a bundle of wood or planks to another man whose brown hair is cut into a ring encircling his head. Both men wear rose-pink garments over navy-blue togas. A town with white and pale pink stone buildings rises up a hill into the distance. The sky above deepens from honeydew green along the horizon to pale then peacock blue along the top edge of the composition. A few ice-blue, white, and light gray clouds float across the sky.

A Monumental Portrait of a Monkey

Maharana Bhim Singh in Procession

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

Chinese Bird on Snow-Laden Branch

Portrait of Prince Sur Singh Rathor of Bikaner (1594–1631)

Carpet with Triple-Arch Design

Palampore

Mandarin ducks and cotton rose hibiscus

Krishna and Radha in a Pavilion, from a copy of the Seven Hundred Verses (Sat Sai) of Bihari

The Eighth Plague: Locusts (Exodus 10:12-15)

The Wade Cup with Animated Script

Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, from the series "Thirty-Six Views of Mount Fuji (Fugaku sanjūrokkei)"

Under the Wave off Kanagawa (Kanagawa oki nami ura), or The Great Wave, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei)

Farmhouse on the Slope of a Hill

About three dozen people gather in a grassy field to either side of a crumbling structure to kneel and pray before a woman and baby in the center of this horizontal painting. The woman, Mary, and baby, Jesus, have smooth, pale skin while the others have light or tanned skin. The structure has sand-colored stone pillars, a wooden triangular, pitched roof, and a straw floor. Mary, who has an elongated torso, sits facing us with her knees apart. She wears an azure-blue robe over a rose-pink dress. A shell-pink veil covers her head and body. Jesus sits on her left knee, his pudgy body angled to our left. He is nude except for a transparent cloth wrapped over one shoulder and the opposite hip. Mary’s left hand braces his torso. On Mary’s right, our left, Joseph, an older man, stands facing us. He clasps his hands at his chest and leans on a long stick. He has wrinkled skin, long, gray curly hair, and a full beard. Both Mary and Joseph tilt their heads to their right, our left, as they look down at Jesus. Joseph wears a golden yellow robe over a blue tunic. Joseph, Mary, and Jesus have faint gold halos. Behind them, a brown cow and gray donkey rest on the straw. People closest to Mary and Jesus kneel and bow their heads while the people to the left and right sides mostly stand. Three men kneeling closest to Mary and Jesus offer gifts, including a bronze vessel and a gold jar. One man has long dark brown hair and a beard, and wears a gold crown. Another man is bald with long gray hair and beard, while the third is cleanshaven with shoulder-length brown hair. These men wear robes in powder blue, carnation pink, or celery green with delicate silver and gold embelishments. Others in the crowd range in age from young and cleanshaven to older and bearded. They wear robes and tunics in shades of raspberry pink, butterscotch yellow, lapis blue, plum purple, or forest green. Several horses, their coats white or cinnamon brown, stand among the crowd, a few with riders. To our right, one horse rears its head and two others stand facing each other. Beyond the crowd, grassy green meadows and hills dotted with trees lead back to the horizon. A pale blue sky fills the top third of the composition.

Daibutsu and Scaffolding, by Migita Toshihide, 1895, Meiji 27, from the Hood Museum of Art - PR.995.23.9ab.

Grapevine and Squirrels

Fox, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)

Howling Wolf in a Deep Mountain Valley