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Krishna with an Ascetic

Abhisarika Nayika (Heroine Running to Meet her Lover)

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

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

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

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

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

A Disconsolate Lady on a Terrace with Attendants

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

A Messenger is Dispatched: Page from a Dispersed Manuscript

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)

Krishna Fluting

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

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

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

Folk Painting

Maharana Bhim Singh in Procession

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

Angel (Peri) Riding a Composite Camel

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

Durga Slaying Mahisha

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

Ragini Gaudi, Page from a Jaipur Ragamala Set

Alexander the Great Enthroned at Persepolis

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

A Virtuous Woman Placates the King by Plucking Out Her Eyes

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

Green Tara

Ruler Entertained by Dancers in a Paradise Garden

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

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.

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.

"Dancing Dervishes", Folio from a Divan of Hafiz

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

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

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

An Old Sufi Laments His Lost Youth

The Assembly of Tejaprabha Buddha

Prince and Princess Hunting Blackbuck

Thanka with Buddha

Manuchehr Kills Tur, Manuscript from Shahnama

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

Manjushri

Young Woman Smoking a Huqqa

Maharana Sangram Singh Riding a Prize Stallion

Cloth with Procession of Figures

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

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

Portrait of Emperor Jahangir

慈眼大師像

"Black Buck", Folio from the Shah Jahan Album

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

Fragment van een muurschildering

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

Tile Panel

Buddhist Deities

A Stallion

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

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

Canopy with Dragon among Flowers

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

Garden Gathering

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

Textile

Panel with the god Zeus/Serapis/Ohrmazd and worshiper

Tigers Chasing Deer, with Dragon

Thangka with the Seventh Bodhisattva

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

Daibutsu and Scaffolding, by Migita Toshihide, 1895, Meiji 27, from the Hood Museum of Art - PR.995.23.9ab.

Dragon in foliage with lion and phoenix heads

Fragment (Dress Fabric)

A Young Prince on Horseback

The Greedy Dog

Tathagata Buddha

Carpet

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

Buddhist Priest's Ceremonial Robe

Portrait of the Great Master Yeongwoldang Eungjin

Sixteenth Arhat, Cūḍapanthaka (from the Sixteen Arhats)

Hell Courtesan

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.

Ōtsu-e of a Youth Holding Irises (Yarō)

Palampore

Silk Animal Carpet

A Monumental Portrait of a Monkey

Stela of Amenemhat and Hemet

Vase of Flowers

Pichhwai for the Festival of Cows

Portrait of a Ladakhi Mountain Goat

Leaf from Album of Persian Calligraphy

Dozens of people form a line starting from an opening in a city wall or building in the background to a rustic shed-like structure close to us, to kneel before a seated woman holding a baby on her lap in this vertical painting. All of the people have pale skin tinged faintly with green. The top edge of the panel is shaped so it has two rounded sections like shoulders leading to a stepped, crown-like form with an inward curving triangle at the top. A nickel-gray, crenelated stone wall of a distant city is nestled into the top, stepped section, with a glimmering gold sky above filling the uppermost triangle. Tile-roofed and domed buildings and a few towers appear densely packed beyond the wall. People on foot and horseback create a line from an arched opening in the wall toward us and to our right. Three of the people on horseback in the distance wear long robes and have gold halos. The line of people winds behind a tall, narrow hill to our right and it continues close to us. Two horses, two camels, and several people wait to the right but our attention is drawn to the trio in the foreground, Mary, Jesus, and Joseph, and the three men near the infant, the Magi. Mary wears a lapis-blue mantle covering her head and shoulders over a petal-pink dress, and she sits on a wooden or stone chest in the center of the painting. Her body faces us but she turns her face to look with pale blue eyes off to our right. In one hand she holds a hexagonal gold vessel that tapers to a flame-like finial. With the other hand, on our left, she supports the blond infant sitting in her lap. He is covered only with a white cloth around his waist, and he looks toward the vessel as he holds up the index and middle fingers of his right hand. To our left and slightly behind Mary, a balding man with white hair and beard and wearing a blue garment under a red robe sits with his head propped in his hand, looking down. His other hand rests on what might be the handle of a crutch or staff. The man, woman, and child have gold halos with what appears to be writing. The three Magi also have gold halos and they all wear scarlet-red shoes. The oldest kneels before Mary and kisses Jesus's feet. He has a long, light gray beard and is balding. He wears a brocade-like gold robe over pale brick-red sleeves. A cleanshaven man with dark brown hair and wrinkles around his mouth kneels to our left as he raises a jewel-encrusted gold crown from his head. He wears a gold and red floral-patterned garment and holds a rounded vessel, also with a flame-like finial. A younger, cleanshaven man with smooth features and shoulder-length, curling blond hair to our right also wears a gold crown. A dagger hangs from the waist of his sky-blue tunic, and his leggings are pale plum purple. Both arms are bent to his hands are held up, and in his right hand, he holds another tabernacle-like gold vessel. The structure to our left houses a donkey and bull munching hay. A gold sunburst floats above the roof, which seems to be built up against the stone wall of a building. The hills and trees beyond the people is painted with pine and moss greens and brown.

This is a painting of a pastoral scene near the water with a ship and buildings in the background. The artwork is in the style of American folk art, presented in an oval frame. The image depicts a serene landscape by the water, with figures engaged in activities such as gathering flowers in the center. The foliage is in shades of green and brown, spreading above under a lightly clouded, blue sky. On the left side, a ship is anchored near the shore, with buildings visible in the distance. The water has soft waves, contrasting with the rocky ground in the foreground. The pastel colors create a calm and reflective mood, evoking tranquility and connection with nature.

The Eighth Plague: Locusts (Exodus 10:12-15)

Hunting Scene

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

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.

Ema (Votive Painting) of a Chinese Lion and Peony Tree by Flowing Water

Pleasure Boat on the Sumida River