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Alexander the Great Enthroned at Persepolis

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

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

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

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

Manuchehr Kills Tur, Manuscript from Shahnama

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

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

Ruler Entertained by Dancers in a Paradise Garden

A Virtuous Woman Placates the King by Plucking Out Her Eyes

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.

An Old Sufi Laments His Lost Youth

Portrait of Emperor Jahangir

A Messenger is Dispatched: Page from a Dispersed Manuscript

Maharana Bhim Singh in Procession

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

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

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

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

"Dancing Dervishes", Folio from a Divan of Hafiz

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

Prince and Princess Hunting Blackbuck

The Greedy Dog

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

Maharana Sangram Singh Riding a Prize Stallion

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

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

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

A Young Prince on Horseback

Portrait of a Ladakhi Mountain Goat

A Disconsolate Lady on a Terrace with Attendants

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

Abhisarika Nayika (Heroine Running to Meet her Lover)

"Black Buck", Folio from the Shah Jahan Album

Angel (Peri) Riding a Composite Camel

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

Young Woman Smoking a Huqqa

Durga Slaying Mahisha

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

Collection of Poems (Divan)

Ragini Gaudi, Page from a Jaipur Ragamala Set

Thanka with Buddha

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

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

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).

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

A Stallion

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

Tile Panel

Hunting Scene

Carpet

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)

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

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.

Folk Painting

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

Krishna with an Ascetic

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

Leaf from Album of Persian Calligraphy

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

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

Garden Gathering

Silk Animal Carpet

Dozens of people form a line starting from an opening in a city wall or building in the background to a rustic shed-like structure close to us, to kneel before a seated woman holding a baby on her lap in this vertical painting. All of the people have pale skin tinged faintly with green. The top edge of the panel is shaped so it has two rounded sections like shoulders leading to a stepped, crown-like form with an inward curving triangle at the top. A nickel-gray, crenelated stone wall of a distant city is nestled into the top, stepped section, with a glimmering gold sky above filling the uppermost triangle. Tile-roofed and domed buildings and a few towers appear densely packed beyond the wall. People on foot and horseback create a line from an arched opening in the wall toward us and to our right. Three of the people on horseback in the distance wear long robes and have gold halos. The line of people winds behind a tall, narrow hill to our right and it continues close to us. Two horses, two camels, and several people wait to the right but our attention is drawn to the trio in the foreground, Mary, Jesus, and Joseph, and the three men near the infant, the Magi. Mary wears a lapis-blue mantle covering her head and shoulders over a petal-pink dress, and she sits on a wooden or stone chest in the center of the painting. Her body faces us but she turns her face to look with pale blue eyes off to our right. In one hand she holds a hexagonal gold vessel that tapers to a flame-like finial. With the other hand, on our left, she supports the blond infant sitting in her lap. He is covered only with a white cloth around his waist, and he looks toward the vessel as he holds up the index and middle fingers of his right hand. To our left and slightly behind Mary, a balding man with white hair and beard and wearing a blue garment under a red robe sits with his head propped in his hand, looking down. His other hand rests on what might be the handle of a crutch or staff. The man, woman, and child have gold halos with what appears to be writing. The three Magi also have gold halos and they all wear scarlet-red shoes. The oldest kneels before Mary and kisses Jesus's feet. He has a long, light gray beard and is balding. He wears a brocade-like gold robe over pale brick-red sleeves. A cleanshaven man with dark brown hair and wrinkles around his mouth kneels to our left as he raises a jewel-encrusted gold crown from his head. He wears a gold and red floral-patterned garment and holds a rounded vessel, also with a flame-like finial. A younger, cleanshaven man with smooth features and shoulder-length, curling blond hair to our right also wears a gold crown. A dagger hangs from the waist of his sky-blue tunic, and his leggings are pale plum purple. Both arms are bent to his hands are held up, and in his right hand, he holds another tabernacle-like gold vessel. The structure to our left houses a donkey and bull munching hay. A gold sunburst floats above the roof, which seems to be built up against the stone wall of a building. The hills and trees beyond the people is painted with pine and moss greens and brown.

慈眼大師像

The Assembly of Tejaprabha Buddha

Krishna and Balarama Fight the Evil King Kamsa’s Wrestlers: Page from a Dispersed Bhagavata Purana

Performance of Hanasaka Jiji, by Toshi, 1889, Meiji 21, from the Hood Museum of Art - PR.995.23.42abc.

Hunting near Hartenfels Castle

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

Uccello — the Battle of San Romano

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.

Carpet with Triple-Arch Design

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

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

The Battle of Waterloo

Krishna Fluting

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

Palampore

Green Tara

Sceneries in the Tropical Land, by Imamura Shiko, Tokyo National Museum, Japan

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.

The Wade Cup with Animated Script

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.

Silk Kashan Carpet

Portrait of Momonoi Naoaki

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

The Merry Family

Dragon in foliage with lion and phoenix heads

Peonies

Christ Carrying the Cross

Fan painting with river landscape

Book on Navigation

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.

Velvet and Silk Carpet

Les Noces de Cana

Buddhist Priest's Ceremonial Robe

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