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An Old Sufi Laments His Lost Youth

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

The Greedy Dog

Alexander the Great Enthroned at Persepolis

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.

A Messenger is Dispatched: Page from a Dispersed Manuscript

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

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

Manuchehr Kills Tur, Manuscript from Shahnama

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

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.

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

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

Portrait of a Ladakhi Mountain Goat

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

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

Ragini Gaudi, Page from a Jaipur Ragamala Set

"Black Buck", Folio from the Shah Jahan Album

Portrait of Emperor Jahangir

"Dancing Dervishes", Folio from a Divan of Hafiz

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

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

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

Ruler Entertained by Dancers in a Paradise Garden

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

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

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

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

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 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.

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

A Disconsolate Lady on a Terrace with Attendants

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.

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

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).

Maharana Bhim Singh in Procession

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

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

Prince and Princess Hunting Blackbuck

Abhisarika Nayika (Heroine Running to Meet her Lover)

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

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)

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

Young Woman Smoking a Huqqa

Angel (Peri) Riding a Composite Camel

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

Folio from a Qur'an Manuscript

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.

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

Garden Gathering

Krishna with an Ascetic

Tile Panel

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

Collection of Poems (Divan)

A Stallion

Maharana Sangram Singh Riding a Prize Stallion

Folk Painting

Thanka with Buddha

Krishna Fluting

The Beach at Sumiyoshi from the Tales of Ise

慈眼大師像

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

Mt. Fuji through Pines

Birds and Flowers

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

Peahen and hibiscus

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.

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

Carpet

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

Peonies

Folio from a Qur'an Manuscript

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.

The Merry Family

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.

Paradise

Dragon in foliage with lion and phoenix heads

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

Girl Arranging Flowers

Durga Slaying Mahisha

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.

Carpet with Triple-Arch Design

The Test of Fire of Moses

Book on Navigation

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.

Pichhwai for the Festival of Cows

Silk Animal Carpet

Camellia by Water

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

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

Peacocks and Bamboo

Flowers and Birds in a Spring Landscape

牡丹花肖柏像（重要文化財、東京国立博物館蔵）

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

Monkey Hanging on to a Branch