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A Disconsolate Lady on a Terrace with Attendants

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

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

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

Krishna Fluting

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

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

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

A Messenger is Dispatched: Page from a Dispersed Manuscript

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)

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)

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

Ragini Gaudi, Page from a Jaipur Ragamala Set

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

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

Alexander the Great Enthroned at Persepolis

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

Prince and Princess Hunting Blackbuck

Angel (Peri) Riding a Composite Camel

Green Tara

Maharana Bhim Singh in Procession

A Virtuous Woman Placates the King by Plucking Out Her Eyes

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

Portrait of Emperor Jahangir

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.

Ruler Entertained by Dancers in a Paradise Garden

An Old Sufi Laments His Lost Youth

Young Woman Smoking a Huqqa

Krishna with an Ascetic

Durga Slaying Mahisha

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

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

"Black Buck", Folio from the Shah Jahan Album

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

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

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

"Dancing Dervishes", Folio from a Divan of Hafiz

The Greedy Dog

Thanka with Buddha

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

Tile Panel

Folk Painting

Fragment van een muurschildering

The work of Carl Blechen, a pivotal ﬁgure in 19th-century German painting, marks a transition from Romanticism to a more realistic view of nature. Inspired in part by his encounter with the Italian landscape and light during a trip he made around 1828 or 1829, Blechen developed a ﬂuid technique that enabled him to capture ﬂeeting atmospheric effects. He often used his landscapes as settings for mysterious ﬁgures, reﬂecting his early contact with Romantic painting and theater.

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.

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

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

Leaf from Album of Persian Calligraphy

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

Famous Views of Ōmi

A Monumental Portrait of a Monkey

Peahen and hibiscus

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

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

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

Buddhist Deities

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

Grapevine in the Wind

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

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

Ivy Lane

A Young Prince on Horseback

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

Garden Gathering

Pichhwai for the Festival of Cows

Silk Animal Carpet

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.

The Bathers, Souvenir of the Banks of the Anio River at Tivoli

Portrait of a Ladakhi Mountain Goat

A Stallion

Manjushri

Peonies

Thangka with the Seventh Bodhisattva

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

Maharana Sangram Singh Riding a Prize Stallion

慈眼大師像

Ōtsu-e of a Youth Holding Irises (Yarō)

Annunciation

Hell Courtesan

Leaf from Book of Hours

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.

Buddhist Priest's Ceremonial Robe

Mandala of the Three Shrines at Kumano

Viewing Sunset over the Ryogoku Bridge from the Onmaya Embankment (Onmayagashi yori Ryogokubashi sekiyo o miru), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"

Fishing by Torch in Kai Province (Koshu hiburi) from the series "One Thousand Pictures of the Ocean (Chie no umi)"

The House with the Cracked Walls

Italienische Landschaft

Tigers Chasing Deer, with Dragon

Camellia by Water

Two people, perhaps a woman and man, and a baby sit at a table in a courtyard surrounded by vine-covered walls in this square painting. The scene is loosely painted with visible dabs, dashes, or smudges. The table is to the left of center. The man sits on the far side, to our left, and the woman, who appears to have her brown hair pulled up, sits facing away from us wearing a smoke-gray garment. A child wearing pink and pale blue sits to our right of the woman and seems to raise both arms. The ground is dotted with cream white and fog gray against the brown board on which this was painted. Steps lead up to a building at the back of the courtyard to the left, and the vine-covered wall stretches across the right two-thirds of the background. The artist signed the lower left corner, “E Vuilllard.”

Carpet with Triple-Arch Design

Gibbons in a Landscape

Floral Tent Panel

Portrait of the Great Master Yeongwoldang Eungjin

Lakeside Retreat

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