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A Disconsolate Lady on a Terrace with Attendants

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

Abhisarika Nayika (Heroine Running to Meet her Lover)

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

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

Ragini Gaudi, Page from a Jaipur Ragamala Set

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

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

Krishna Fluting

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

A Messenger is Dispatched: Page from a Dispersed Manuscript

Alexander the Great Enthroned at Persepolis

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

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

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

Young Woman Smoking a Huqqa

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

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)

Folk Painting

A Virtuous Woman Placates the King by Plucking Out Her Eyes

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

Angel (Peri) Riding a Composite Camel

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

Krishna with an Ascetic

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

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

Green Tara

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

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.

Portrait of Emperor Jahangir

Ruler Entertained by Dancers in a Paradise Garden

An Old Sufi Laments His Lost Youth

Maharana Bhim Singh in Procession

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

Prince and Princess Hunting Blackbuck

"Dancing Dervishes", Folio from a Divan of Hafiz

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

"Black Buck", Folio from the Shah Jahan Album

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

A Stallion

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

Tile Panel

Durga Slaying Mahisha

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.

慈眼大師像

Maharana Sangram Singh Riding a Prize Stallion

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

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

Thanka with Buddha

Manjushri

Garden Gathering

Leaf from Album of Persian Calligraphy

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.

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

"Sketching a Garden" from the series "Streaked Mist (Yae gasumi)", Woodblock print

Peahen and hibiscus

Silk Kashan Carpet

Hell Courtesan

暮れて月いとおもしろきに、宮の亮、女房にあひて、とりわきたるよろこびも啓せさせむとにやあらむ、妻戸のわたりも御湯殿のけはひに濡れ、人の音もせざりければ、この渡殿の東のつまなる宮の内侍の局に立ち寄りて、「ここにや」と案内したまふ。宰相は中の間に寄りて、まだ鎖さぬ格子の上押し上げて、「おはすや」などあれど、いらへもせぬに、な大夫の、「ここにや」とのたまふにさへ、聞きしのばむもことごとしきやうなれば、はかなきいらへなどす。いと思ふことなげなる御けしきどもなり。

An Artisan’s Shop, from the album The Mist of Sandara (Sandara kasumi)

A Monumental Portrait of a Monkey

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

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

A Young Prince on Horseback

Portrait of a Ladakhi Mountain Goat

The Greedy Dog

A winged angel with arms crossed kneels across from a young woman sitting and holding a book, both under an archway in a paneled room in this vertical painting. They both have pale, yellow-toned skin, blond hair, and flat, gold halos. They also have golden brown eyes, long, straight noses, smooth cheeks, and their pale, pink lips are closed. To our right, the woman sits in a throne-like chair with her body facing our left. Her head tilts down, and she looks toward the angel under lowered lids. Her hair is pulled back under the neck of the lapis-blue cloak she wears over a crimson-red dress. The dress and cloak are trimmed with gold, and a there is a gold starburst on the cloak over her left shoulder, closer to us. She holds her other hand up near that shoulder with her fingertips brushing her chest. With her other hand, she holds open the pages of a small book in her lap, so her fingers overlap some of the words. The entire Latin inscription would read, “virgo concipiet et pariet filium et vocabitur nomen eius emmanuel butirum et mel come dit ut fiat reprobare.” A slender, bone-white column separates her from the angel across from her, along the left edge of the painting. The angel has curly, shoulder-length hair and wears a robe with a gold, floral pattern against a burgundy-red background. Long, golden wings emerge from the shoulder blades and extend off the side of the composition. An open archway just beyond the angel is filled with streaks of flax yellow and burnt orange, possibly representing flames. Some of the walls in the room around the pair are pale olive green and other areas are darker spruce green. There are bands of coral-pink molding and inset panels of patterned mosaics. The flat ceiling of the space immediately over the pair is decorated with checkerboard panels in navy blue, hunter green, brown, and brick red. Gold lines create a ray coming from the ceiling toward the woman. At the back of the space, beyond the column separating the woman and angel, the room extends into an alcove with an arched hallway painted with gold stars against a midnight-blue background. Double doors open at the back of the alcove onto a room with a pale-yellow curtain with a mesh-like trim. We see the pair as if through a stone archway that lines the top and sides of the composition. The upper corners are filled with leafy decorations, as if carved into the stone.

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.

Peonies

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.

On a tiled courtyard between buildings with arches and columns, a winged angel kneels and looks up at a woman standing to our right in this vertical painting. Both people have pale skin, blond hair, and plate-like gold halos at the back of their heads. To our left, the angel wears a silvery-white tunic under a scarlet-red cloak lined with cobalt blue. The wings are fawn brown on the underside, closer to the body, and aquamarine blue on the outside. Gold lines delineate feathers. The angel holds a white lily with two blooms and four buds on a long stem in the hand farther from us, which rests on a bent knee. The other hand is raised in front of the chest. The woman, Mary, stands along the right edge of the painting, her body angled toward the angel. Mary’s long, wavy hair falls to her shoulders, and she wears a lapis-blue robe with a pine-green lining over a red dress. She holds her right hand, farther from us, to her chest and touches the fabric of her cloak with the other, by her hip. The tip of one red shoe peeks out under her voluminous robe. Between the angel and Mary is a stone-white urn with scrolled handles, holding a bouquet of pink and white roses with dark green foliage. The ground is tiled with squares marbled in pale pink, sky blue, rust red, charcoal gray, and brown. Narrow, white panels between the tiles create a grid. The buildings around the pair are fog gray, parchment white, shell pink, or coral red, and are trimmed in black, red, or pink. Rows of arches recede into the square behind the angel and woman, ending at a coral-red wall that encloses the courtyard. An arched doorway in that wall opens onto a pathway leading over a small brook and into a hilly forest. A narrow, conical tree outside the courtyard reaches over the wall, into the vibrant blue sky above. A white dove descends from among the few scattered clouds with golden beams projecting toward the woman to our right.

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

Tigers Chasing Deer, with Dragon

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

Margaret Fuller

Carpet with Triple-Arch Design

Camellia by Water

Tathagata Buddha

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

Armorer (Yoroi takumi), from the illustrated book "Picture Book of the Amusements of the East (Ehon Azuma asobi)"

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

Sixteenth Arhat, Cūḍapanthaka (from the Sixteen Arhats)

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

Carpet

Portrait of the Great Master Yeongwoldang Eungjin

Ōtsu-e of a Youth Holding Irises (Yarō)

Silk Animal Carpet

Une odalisque, dite La grande odalisque

The Assembly of Tejaprabha Buddha

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.

Canopy with Dragon among Flowers

The Siesta

Portrait of Momonoi Naoaki

Annunciation

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

Pleasure Boat on the Sumida River

Viewing the Seashore at the Eguchi Inn

Hydrangeas from the series "Streaked Mist (Yae gasumi)", Woodblock print

The Garden Gate, Bahamas