Related

Alexander the Great Enthroned at Persepolis

"Dancing Dervishes", Folio from a Divan of Hafiz

"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

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.

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

Portrait of a Ladakhi Mountain Goat

Ruler Entertained by Dancers in a Paradise Garden

A Virtuous Woman Placates the King by Plucking Out Her Eyes

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

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

Angel (Peri) Riding a Composite Camel

Portrait of Emperor Jahangir

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

The Greedy Dog

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

Leaf from Album of Persian Calligraphy

An Old Sufi Laments His Lost Youth

Young Woman Smoking a Huqqa

Carpet

A Messenger is Dispatched: Page from a Dispersed Manuscript

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

This folio from Walters manuscript W.580 is the left side of an illuminated double-page frontispiece of geometric design in gold, red, blue, and green, with a marginal rosette at the left.

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

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).

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.

Tile Panel

Dragon in foliage with lion and phoenix heads

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

Silk Animal Carpet

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

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

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

A Stallion

Manuchehr Kills Tur, Manuscript from Shahnama

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

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.

A Disconsolate Lady on a Terrace with Attendants

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

Collection of Poems (Divan)

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

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

Maharana Bhim Singh in Procession

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

Textile Fragment

Abhisarika Nayika (Heroine Running to Meet her Lover)

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.

Prince and Princess Hunting Blackbuck

Garden Gathering

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

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

Carpet with Triple-Arch Design

Silk Kashan Carpet

Pichhwai for the Festival of Cows

Walters manuscript W.619 is an illuminated manuscript containing 2 works by Sa"di (died 691 AH/AD 1292): the Gulistan (Rose garden) and the Bustan (Orchard). It was copied in 980 AH/AD 1572 by Muhammad Riza al-Tabrizi in Iran. The text of the Gulistan appears in the main area, while that of the Bustan is inscribed obliquely around the main text area on three sides. Both texts are written in black and gold nasta"liq script. The margins are multi-colored, gold-sprinkled tinted or marbled paper. The original leather binding dates to the 10th century AH/AD 16th and has dentelle-style decorated boards and doublures with gold filigree work over a multi-colored ground of blue, green, red, and black.

Book on Navigation

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

Krishna with an Ascetic

Folio from a Qur'an Manuscript

Leaf from Book of Hours

慈眼大師像

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

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

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

Velvet and Silk Carpet

Canopy with Dragon among Flowers

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

Carpet with Scrolling Vines and Blossoms

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.

Carpet with Palm Trees, Ibexes, and Birds

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

Les Noces de Cana

A Young Prince on Horseback

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.

The Merry Family

Thanka with Buddha

Folio from a Qur'an Manuscript

Peonies

The Wade Cup with Animated Script

Palampore

Ragini Gaudi, Page from a Jaipur Ragamala Set

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

Buddhist Priest's Ceremonial Robe

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

Buddhist Deities

Hunting Scene

Textile

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)

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.

Grapevine in the Wind

Krishna Fluting

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.

Panel with the god Zeus/Serapis/Ohrmazd and worshiper

Folk Painting

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)

Fragment van een muurschildering

Farmer Returning Home in Autumn

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.”

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