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Tigers Chasing Deer, with Dragon
Silk Velvet Designed by 'Ghiyath'
Velvet and Silk Carpet
Carpet with Palm Trees, Ibexes, and Birds
Carpet
Silk Animal Carpet
The Emperor's Carpet
Royal Carpet with Silk and Metal Thread
Velvet Panel with Flowering Plants
Textile
Floral Tent Panel
Carpet with Triple-Arch Design
Silk Kashan Carpet
Collection of Poems (Divan)
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.
Carpet with Scrolling Vines and Blossoms
"Black Buck", Folio from the Shah Jahan Album
Rectangular Textile Fragment
Birds and Flowers
Hunting and fishing scenes
Peahen and hibiscus
Textile Fragment
European Banquet Scene (or The Marriage Feast at Cana?)
"Dancing Dervishes", Folio from a Divan of Hafiz
Canopy with Dragon among Flowers
Dragon in foliage with lion and phoenix heads
Garden Gathering
Length of velvet
On this folio from Walters manuscript W.604, King Qizil Arslan welcomes the poet Nizami.
Fragment textiel
"The Concourse of the Birds", Folio 11r from a Mantiq al-Tayr (Language of the Birds)
Angel (Peri) Riding a Composite Camel
Grapevine in the Wind
Alexander the Great Enthroned at Persepolis
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.
Mandarin ducks and cotton rose hibiscus
Tile Panel
Zal Climbing to Rudaba, page from a copy of the Shahnama of Firdausi
screen by Fukae Roshu "Narrow ivy road". Six-fold screen, color on gold leafed paper, Important Cultural Property
Cloth with Procession of Figures
Ōtsu-e of a Youth Holding Irises (Yarō)
Bridal Robe (Hwarot)
Ivy Lane
An Old Sufi Laments His Lost Youth
Five Medallion Carpet
Symbols of Longevity: Deer under Peach and Pine (Pine) (right)
Fragment (Dress Fabric)
The Flood of Noah (Genesis 7:11-24)
Leaf from Book of Hours
Peonies
Ingelijste muurschildering voorstellende Xiwangmu en dienaressen
Summer Flowers
Insects and Flowers, Ming dynasty, 14th-15th century, color on silk, Tokyo National Museum
Portrait of Emperor Jahangir
Twee fragmenten textiel
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.
Monkey Hanging on to a Branch
Birds and Flowers
Prince and Princess Hunting Blackbuck
Fragment textiel
Palampore
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.
Thangka with the Seventh Bodhisattva
Maharana Amar Singh II with Ladies of the Zenana outside the Picture Hall at Rajnagar
Icon of the Virgin and Child
Ceremonial Hanging (Palepai)
A Young Prince on Horseback
Vase of Flowers with Grasshopper, Marine Life, and Garden Rock
Khambavati Ragini: Page from a Dispersed Ragamala Series (Garland of Musical Modes)
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.
The Greedy Dog
A Messenger is Dispatched: Page from a Dispersed Manuscript
"Lotto" Carpet
Portrait of a Ladakhi Mountain Goat
Lakeside Retreat
Pink and Rose
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
Birds and Flowers
Asavari Ragini, page from a Garland of Musical Ragas (Ragamala) Set
Pichhwai for the Festival of Cows
Leaf from Album of Persian Calligraphy
Panel with the god Zeus/Serapis/Ohrmazd and worshiper
A Virtuous Woman Placates the King by Plucking Out Her Eyes
Hunting Scene
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.
Phoenixes and Paulownia
Hebe
Japan; Illustrated book; Illustrated Books
Chinese Bird on Snow-Laden Branch
Fragment textiel
Gibbons in a Landscape
Bird on a Loquat Tree
Flowers and Birds in a Spring Landscape
Buddhist Priest's Ceremonial Robe
A Monumental Portrait of a Monkey
Crossing at Sano
Krishna's Fifth and Sixth Avatars, page from a copy of the Gitagovinda of Jayaveda
"The Funeral of Isfandiyar," Folio from a Shahnama (Book of Kings)
Winter and Summer Flowers
Abhisarika Nayika (Heroine Running to Meet her Lover)