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A Virtuous Woman Placates the King by Plucking Out Her Eyes

Alexander the Great Enthroned at Persepolis

A Messenger is Dispatched: Page from a Dispersed Manuscript

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.

The Greedy Dog

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

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

Portrait of a Ladakhi Mountain Goat

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

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

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

"Black Buck", Folio from the Shah Jahan Album

"Dancing Dervishes", Folio from a Divan of Hafiz

Manuchehr Kills Tur, Manuscript from Shahnama

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

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

Portrait of Emperor Jahangir

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

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

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

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

Ruler Entertained by Dancers in a Paradise Garden

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.

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

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

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

Ragini Gaudi, Page from a Jaipur Ragamala Set

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

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.

Leaf from Album of Persian Calligraphy

Prince and Princess Hunting Blackbuck

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

Collection of Poems (Divan)

Maharana Bhim Singh in Procession

Abhisarika Nayika (Heroine Running to Meet her Lover)

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

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

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.

A Young Prince on Horseback

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

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

Tile Panel

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).

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

A Disconsolate Lady on a Terrace with Attendants

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)

Young Woman Smoking a Huqqa

Angel (Peri) Riding a Composite Camel

Maharana Sangram Singh Riding a Prize Stallion

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

Garden Gathering

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

Folio from a Qur'an Manuscript

A Stallion

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

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

Krishna Fluting

Krishna with an Ascetic

Paradise

Thanka with Buddha

The Beach at Sumiyoshi from the Tales of Ise

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.

Folk Painting

Grapevine in the Wind

Ivy Lane

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.

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

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

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

Carpet

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.

Peonies

Silk Animal Carpet

Carpet with Palm Trees, Ibexes, and Birds

Dragon in foliage with lion and phoenix heads

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

Folio from a Qur'an Manuscript

St Fredianus Diverts the River Serchio

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.

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.

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

Leaf from Book of Hours

Carpet with Triple-Arch Design

Birds and Flowers

Buddhist Deities

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

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

Pichhwai for the Festival of Cows

Adorazione dei Magi. Il Redentore, i Profeti Isaia e David (nelle cuspidi) 1420 circa

慈眼大師像

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

Durga Slaying Mahisha

Silk Kashan Carpet

Three men with crowns and wearing gold-trimmed robes stand and kneel before a woman sitting on a wooden, box-like seat holding a baby to our right, in front of a rocky cave and landscape, in this horizontal painting. A balding man with a gray beard and hair, Joseph, and two younger people with blond hair stand around the woman, Mary, to our right, while a group of five young men or boys and three horses gather near the left edge. All the people have pale skin. Mary, the baby Jesus, Joseph, and the three men closest to them all have shimmering gold halos. One balding man with a long white beard kneels and kisses the baby’s feet. He wears a gold and crimson-red brocade-like robe over a burgundy-red garment, and he holds a pointed gold crown in his right hand, which rests on the ground. Behind him and to our left, a younger man with curly blond hair and goatee, wearing a wine-red tunic belted with gold and a gold crown on his head, holds his hands in prayer as he kneels down on one knee. The third stands to our left, cleanshaven with long blond hair. He wears a fur-lined, thigh-length scarlet-red robe and a gold crown, and he holds up a gold vessel in one hand. To our right, Mary wears a lapis-blue robe that covers her head and falls to her feet. The baby is covered only by a white cloth across his hips, and he has short blond hair. He touches the kneeling man’s head with one hand. His body is pudgy but his face has more adult-like, delicate features. Joseph stands at the woman’s far shoulder, wearing a butter-yellow robe over a rose-pink garment. His hands are gathered on a walking stick in front of his chest and his brows are furrowed with deep lines. One of the two younger people behind Mary, to our right, holds a lidded gold vessel. The group of five attendants to our left gather around cream-white, gray, or chestnut-brown horses. These blond people wear garments of dark olive-green, coral-red, royal-blue, or rose-pink tunics over black stockings. The rocky, brown cave behind Mary and Jesus, to our right of center, is occupied by a donkey and an ox behind a wooden trough. The landscape beyond is segmented into quilt-like squares of stylized crops. The horizon line comes almost to the top edge of the panel beneath a narrow strip of vivid, cobalt-blue sky. A gold star like a sunburst with rays of light hovers over the woman and child.

La pala fu commissionata per la cappella della villa medicea di Cafaggiolo,ristrutturata da Michelozzo nel 1451. Il Wedgwood Kennedy ipotizza una commissione da parte di Piero il Gottoso, per il quale il Baldovinetti aveva giá lavorato nella cappella della SS. Annunziata e, forse, in quella di S. Croce. Lo studioso suggerisce una datazione per la committenza al 1453, anno di nascita di Giuliano, secondogenito di Piero, avvalorata dalla presenza di San Giuliano insieme agli altri santi "medicei".

Autumn Maples with Poem Slips

Cho Jae-ho from Punhyang Cho Family