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The Assembly of Tejaprabha Buddha

Amitabha Triad, Tokyo National Museum

慈眼大師像

Manjushri

Thanka with Buddha

Thangka with the Seventh Bodhisattva

Green Tara

Portrait of the Great Master Yeongwoldang Eungjin

Ōtsu-e of a Youth Holding Irises (Yarō)

Vase of Flowers

Sixteenth Arhat, Cūḍapanthaka (from the Sixteen Arhats)

Buddhist Deities

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

Portrait of Emperor Jahangir

Buddhist Priest's Ceremonial Robe

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

Canopy with Dragon among Flowers

Bridal Robe (Hwarot)

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

Standing Saint

Hell Courtesan

Against a shiny gold background, a man with peach-colored skin nearly fills this tall, narrow, vertical panel above a row of twelve people, significantly smaller in scale, kneeling by his feet and looking up at the man, their hands together in prayer. The top of the panel comes to a point above the man’s head. His body faces us, and he looks at us with brown eyes under furrowed, dark eyebrows. His nose is long and straight, and his mouth is small with a rosy lower lip. He has a brown, trimmed beard, and his hair is receding. He holds up a gold-handled sword with a slate-gray blade in his right hand, on our left, while in his other hand, he cradles a thick black book with a gold-edged pages against his chest. The man wears a floor-length, celery-green tunic with a flowing, rose-pink robe over his left shoulder, on our right, and around his body. The robe is lined with tangerine orange and has a faint, patterned border. The toes of his sandaled feet stick out. On a smaller scale, along the bottom of the painting, six pairs of people kneel facing the center, three couples to each side. Eleven of the people gaze with heads tipped back, up at the man with their hands folded in prayer. To our right, one woman turns and gestures, mouth open, to her neighbor. Their long robes are painted in shades of shell pink, indigo blue, scarlet red, butter yellow, sage green, and chestnut brown. Some wear white fabric over their hair while others are bareheaded. The gold background is incised around the man’s head to create a halo. Molding and a band of alternating strips of slate blue and brick red enclose the pointed panel. Three shapes, like small banners, are painted in red with gold lettering around the man’s head, with an “S” at the top center, “PAU” over his shoulder to our left, and “LUS” to our right. In the blue and red band set into the frame at the lower center, an inscription reads, “NI.MCCCXXXIII M II.ESPLETUM FUIT HC OPUS.” There is a noticeable network of cracks across the painting’s surface, especially on the gold background behind the man.

松下達摩図

Krishna Fluting

Birds and Flowers

Monkey Hanging on to a Branch

Grapevine in the Wind

Chrysanthemums by the Water

Girl Arranging Flowers

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

A woman and child sit on an ornate gold, curving throne in front of a shimmering gold background in this vertical painting. Two winged angels in roundels at the upper corners and the woman and child all have peach-colored skin with a gray cast. The woman tips her head toward the child, to our right. She has almond-shaped eyes, a long, straight nose, and her small lips are closed. She looks into the distance over the child’s head. She wears a scarlet-red mantle that covers her head and drapes over her shoulders and body. The azure-blue of her dress beneath is visible at her throat and over one knee. The child sitting on her knee is as tall as a toddler but has adult proportions in his face and body. He holds up his right hand, on our left, and raises the first two fingers. He holds a red scroll in his other hand. He wears a forest-green robe over a salmon-pink garment. The clothing of both the woman and child have geometric gold lines indicating folds in the drapery, and both have gold halos. The child’s halo is marked with three red arms to create a cross above and to the sides of his head. The woman rests her feet on a low stool in front of the opening of the elaborately carved, two-tier throne that nearly encircles the pair. The winged angels in the upper corners have gold halos, brown hair, jeweled, gold garments, and each holds an orb and scepter.

Goddess Riding a Dragon, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)

Ema (Votive Painting) of a Chinese Lion and Peony Tree by Flowing Water

Summer Flowers

Prince and Princess Hunting Blackbuck

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

Scholar admiring plum blossoms

Puppies

Saint in Red Cloak

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

Camellia by Water

"Black Buck", Folio from the Shah Jahan Album

Standing Avalokiteshvara, the Bodhisattva of Infinite Compassion

Carpet with Triple-Arch Design

Chinese Bird on Snow-Laden Branch

Lakeside Retreat

This is a painting of a pastoral scene near the water with a ship and buildings in the background. The artwork is in the style of American folk art, presented in an oval frame. The image depicts a serene landscape by the water, with figures engaged in activities such as gathering flowers in the center. The foliage is in shades of green and brown, spreading above under a lightly clouded, blue sky. On the left side, a ship is anchored near the shore, with buildings visible in the distance. The water has soft waves, contrasting with the rocky ground in the foreground. The pastel colors create a calm and reflective mood, evoking tranquility and connection with nature.

Buddha

This painting depicts a man with light skin, white hair, and a white beard wearing an orange cloth draped over a dark-blue garment with gold embroidery around the shoulder and neckline. He holds two large red keys in his left hand, and a thin, red, cross-topped rod in his right hand. There is a faint outline of a halo around the man's head, which is slightly turned to the right. The background is gold, enclosed within a red, white, and black patterned border.

Depicts Zen monk Huike (慧可) thinking. By painter Shi Ke (Chinese: 石恪), from Five Dynasties and Ten Kingdoms Period to Northern Song (about 10th century)

Folk Painting

Returning Sails off a Distant Shore, from Eight Views of Xiao-Xiang

Fragment van een muurschildering

The bodhisattva Maitreya

Sparrows on Blossoming Plum

Panel with the god Zeus/Serapis/Ohrmazd and worshiper

A Stallion

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

Young Woman Smoking a Huqqa

Portrait of Momonoi Naoaki

Painting from Flowers and Grasses

Hunting Scene

Vase of Flowers with Grasshopper, Marine Life, and Garden Rock

A woman wearing a cobalt-blue robe and a white veil sits with her hands raised, palms out, as she looks toward a slender, bearded man who stands to our left in this vertical painting. Both have light skin and delicate features, and they sit in a room with stone walls and arched windows. There are faint circles under the woman’s light brown eyes. She has a long slender nose, and her pink lips are pursed. One knee is bent, and she is low to the ground, suggesting she sits on a stool. A book lies open on a wooden stand in front of her to our right, below her left elbow. The ruffled edges of her multi-layered, white veil sweep over her forehead and down to her shoulders. Her loose, long-sleeved blue garment is edged with gold and falls in angular folds to pool at her feet. She holds her long-fingered, slender hands up at her chest, palms facing the man to our left. He stands with his body angled toward her as he looks down, his head tipped slightly forward. His brown hair falls over his shoulders. His voluminous, gold-edged, red cloak is fastened at his throat with a gold, jeweled brooch, and it drapes over his shoulders and around his lower torso, leaving his arms, chest, and a gash over his right ribs exposed. He holds a tall, gold staff topped with a jeweled cross in his left hand, to our right. A moss-green pennant flutters back from the base of the cross, as if lifted in a breeze. The man holds up his other hand so the palm faces the woman with the first two fingers raised. Round, puncture wounds with red blood mark the palm of that hand and tops of both bare feet. The floor is patterned with gray, brown, blue, and green tiles. The wall behind the woman has honey-brown paneling along the bottom half and the top half is slate gray. Gray columns are spaced along that wall, supporting a curving, vaulted ceiling. Two arched windows pierce the wall behind the woman, and both have stained glass designs within the curving tops. The window closer to us opens onto a narrow view of a landscape with a rose-pink arch over a bridge, and a path winding through green fields. An open door over the shoulder of the man, to our left, shows the stepped roofline of a pink building under a blue sky. The entire scene is framed with a flattened arch supported by gleaming columns of polished, veined brown stone, creating the impression that we look onto the people and room through the arch. The columns have leafy capitals and white bases. The tan-colored arch is carved with a row of stylized rosettes along the opening that spans the top of the painting.

Farmer Returning Home in Autumn

Peahen and hibiscus

Tigers Chasing Deer, with Dragon

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

Monkeys in a Cherry Tree

Standing Buddha

Durga Slaying Mahisha

Guanyin

Exhibit in the Jordan Schnitzer Museum of Art, University of Oregon - Eugene, Oregon, USA.

Hebe

Silk Kashan Carpet

Cuckoo Flying under a Full Moon

Angel (Peri) Riding a Composite Camel

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

Carpet with Scrolling Vines and Blossoms

Duck in Flight

Birds and Flowers

The head, shoulders, and chest of a man wearing a deep rose-red garment fills this vertical portrait painting. His body is angled slightly to our left, and he looks directly at us from the corners of his eyes. His brown hair falls across his forehead, sweeps down over his ears, and curls gently at the nape of his neck. His eyebrows arch over brown eyes, and he has a long, angular nose. His upper lip is full, and his mouth is closed. He has high cheekbones and a cleft in his chin. The high collar is a black band over the voluminous red garment, which falls in pleats or folds down his chest. His right hand, on our left, lifts to clutch the fabric near his chest, in the lower left corner of the painting, and he wears a gold ring on his pinky finger. The background behind the man fades from dark aquamarine blue across the top to pale arctic blue at his shoulders, which span the width of the composition.

Paradise

This frightening print illustrates the story of Kohada Koheiji, a Kabuki actor who was drowned by his wife’s lover but later came back to haunt the couple. The tale was popular in the 18th century, eventually inspiring a novel and several Kabuki plays. Here, the skeletal ghost of Kohada Koheiji pulls down the mosquito net and eerily peers at the sleeping couple in their bed.

牡丹花肖柏像（重要文化財、東京国立博物館蔵）

Flowers and Birds in a Spring Landscape

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

Flowers and Goldfish

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

The Beach at Sumiyoshi from the Tales of Ise

"Dancing Dervishes", Folio from a Divan of Hafiz

A Messenger is Dispatched: Page from a Dispersed Manuscript

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

Irises

Cho Jae-ho from Punhyang Cho Family

Ivy Lane

Mandala of the Three Shrines at Kumano

Birds and Flowers

Coronation of the Virgin