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"Black Buck", Folio from the Shah Jahan Album
Portrait of Emperor Jahangir
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.
Maharana Bhim Singh in Procession
Alexander the Great Enthroned at Persepolis
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
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.
Pradyumna and Samvara fight with maces, from the "Large Basohli Bhagavata Purana"
Maharana Amar Singh II with Ladies of the Zenana outside the Picture Hall at Rajnagar
Angel (Peri) Riding a Composite Camel
Collection of Poems (Divan)
Durga Slaying Mahisha
Abhisarika Nayika (Heroine Running to Meet her Lover)
Portrait of a Ladakhi Mountain Goat
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.
Vasant Ragini: Folio from a ragamala series (Garland of Musical Modes)
A Stallion
Krishna's Fifth and Sixth Avatars, page from a copy of the Gitagovinda of Jayaveda
A Messenger is Dispatched: Page from a Dispersed Manuscript
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)
Maharana Sangram Singh Riding a Prize Stallion
A Disconsolate Lady on a Terrace with Attendants
Hunting near Hartenfels Castle
This folio from Walters manuscript W.596 depicts the fall of Samarqand.
Krishna Fluting
An Old Sufi Laments His Lost Youth
European Banquet Scene (or The Marriage Feast at Cana?)
A Monumental Portrait of a Monkey
"Dancing Dervishes", Folio from a Divan of Hafiz
Velvet Fragment with Design from Nizami of Ganja's Khusrau and Shirin
Hunting Scene
Tigers Chasing Deer, with Dragon
The Young Emperor Akbar Arrests the Insolent Shah Abu’l-Maali, Page from a Manuscript of the Akbarnama
Manuchehr Kills Tur, Manuscript from Shahnama
Ragini Gaudi, Page from a Jaipur Ragamala Set
"The Concourse of the Birds", Folio 11r from a Mantiq al-Tayr (Language of the Birds)
Silk Animal Carpet
On this folio from Walters manuscript W.604, King Qizil Arslan welcomes the poet Nizami.
Al-Mu'tazz Sends Gifts to Abdulla ibn Abdulla, from a copy of the Tarikh-i Alfi
Tile Panel
Gibbons in a Landscape
Ingelijste muurschildering voorstellende Xiwangmu en dienaressen
"The Funeral of Isfandiyar," Folio from a Shahnama (Book of Kings)
Close to us, a bearded, balding man leads a donkey carrying a woman and child to our right against a hilly landscape in this horizontal painting. All three people have pale, peachy skin and halos. The man has a gray beard and hair, and wears a royal-blue tunic under a ruby-red robe. He leans on a walking stick and looks back at the donkey. The woman riding the donkey wears a blue and gold brocade-like cloak covering her head and body. She has a straight nose, small pink lips, and she looks toward the infant she holds close to her body. The baby wears a white garment and reaches for the woman’s face with one hand as he turns to look over his shoulder toward us. The path they walk on is lined with grass and detailed plants. A river runs parallel to the path a short distance away. The horizon line comes about two-thirds of the way up the painting is lined with green trees, blue mountains, and a few buildings to our left. Wispy white clouds sweep across an azure-blue sky streaked with peach near the horizon.
Alauddin Khilji Conquering Ranthamore Fort, Kangra school, India, late 18th century, opaque watercolor on paper, Tokyo National Museum
The Flood of Noah (Genesis 7:11-24)
Ruler Entertained by Dancers in a Paradise Garden
A Young Prince on Horseback
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
Green Tara
Carpet
screen by Fukae Roshu "Narrow ivy road". Six-fold screen, color on gold leafed paper, Important Cultural Property
Ivy Lane
Autumn Evening with Full Moon on Musashino Plain
Young Woman Smoking a Huqqa
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
A Virtuous Woman Placates the King by Plucking Out Her Eyes
Japan; Illustrated book; Illustrated Books
Portrait of Prince Sur Singh Rathor of Bikaner (1594–1631)
Asavari Ragini, page from a Garland of Musical Ragas (Ragamala) Set
Thanka with Buddha
The Greedy Dog
Peonies
Flowers and Birds in a Spring Landscape
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
Fan painting with river landscape
Garden Gathering
Crossing at Sano
Folk Painting
Peahen and hibiscus
Khambavati Ragini: Page from a Dispersed Ragamala Series (Garland of Musical Modes)
Woman Addressing a Peacock: Gujari Ragini of Megh, from a Ragamala
Pichhwai for the Festival of Cows
Symbols of Longevity: Deer under Peach and Pine (Pine) (right)
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 with Triple-Arch Design
Leaf from Album of Persian Calligraphy
The Blue Boat
Fragment van een muurschildering
Birds and Flowers
The Infant Krishna Spirited Away by Vasudev, from a copy of the Dispersed Bhagavat Purana
Krishna and Balarama Fight the Evil King Kamsa’s Wrestlers: Page from a Dispersed Bhagavata Purana
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.
Grapevine in the Wind
The painting depicts a wintry scene from an elevated point of view, showing people skating and playing games on a frozen river. On the left, leafless trees line the frozen bank. On the right, there are brown buildings with snow on their roofs and smoke rising from their chimneys. A woman stands on one of the porches, holding a small child. On the snowy ground outside the buildings, a sled is being pulled by two horses. In the center of the painting is the wide frozen river. The people on it wear colorful clothes in shades of red, yellow, green, blue, and brown. Some of them slip and fall on the ice, and others lace skates on their feet. Four men in the center hold long curved sticks and look towards a small round ball on the surface of the ice. In the distance, the horizon is marked by blue-tinged mountains under a cloudy gray sky.
Portrait of Momonoi Naoaki
Phoenixes and Paulownia
Sceneries in the Tropical Land, by Imamura Shiko, Tokyo National Museum, Japan
Portrait of the Great Master Yeongwoldang Eungjin
Krishna with an Ascetic
Manjushri
Carpet with Palm Trees, Ibexes, and Birds
Krishna and Radha in a Pavilion, from a copy of the Seven Hundred Verses (Sat Sai) of Bihari
Belt clasp
A man wearing armor, sitting astride a cream-white horse, drives a long lance down at a lizard-like dragon as a woman kneels with her hands in prayer in the landscape beyond in this vertical painting. Both people have pale skin and thin, gold halos floating above their heads. At the center of the composition, the man faces our left in profile as he looks down at the creature. The man has a straight nose and honey-brown hair under his gold-trimmed, pewter-gray helmet. Armor covers his entire body, and a celestial-blue cape billows behind him from where it fastens around his neck. A narrow, indigo-blue and gold band is tied around his left calf, and is inscribed with the word “HONI.” A black sword hangs from his left side. The horse is white with a silvery-white mane and tail. It rears on its hind legs as it turns its head to look at us with hazel-brown eyes. The horse wears a blue saddle and bridle, the same color as the man’s cape, trimmed with gold. A strap around the horse’s neck is painted in gold with the name, “RAPHELLO.” The rider thrusts his foot into the stirrup we can see as he plunges a lance down at the dragon under the horse’s front feet. The dragon has tawny brown skin with a mint green, dog-like head. It grips the earth with clawed feet as at pushes at the lance with one front foot. It twists its long, snake-like neck to look at the man with dark eyes. The dragon opens its pointed snout to show its teeth, and bat-like wings splay out. A tall outcropping over a cave rises along the left edge of the composition, behind the dragon. In a field a little farther back, to our right, the woman kneels with her body angled to our left. She tilts her head away from us and gazes past the man and horse. She has a straight nose, pale pink, bow-shaped lips, and her blond hair is pulled back in a bun. She wears a ruby-red dress and a sheer white wrap around her shoulders and across her arms. Around the woman, straw-yellow hills with bands of pine-green trees roll into the distance. Two terracotta-orange towers rise from a row of trees along the horizon. A few taller trees are outlined against the baby-blue sky, which lightens toward the horizon.
慈眼大師像
The Bathers, Souvenir of the Banks of the Anio River at Tivoli