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Green Tara

Thanka with Buddha

Buddhist Deities

Thangka with the Seventh Bodhisattva

Tathagata Buddha

慈眼大師像

The Assembly of Tejaprabha Buddha

Amitabha Triad, Tokyo National Museum

Buddhist Priest's Ceremonial Robe

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

Fragment van een muurschildering

Angel (Peri) Riding a Composite Camel

Canopy with Dragon among Flowers

Portrait of Emperor Jahangir

Manuscript Cover with Prajnaparamita Attended by Sadakshari Lokeshvara and a Tara

Sixteenth Arhat, Cūḍapanthaka (from the Sixteen Arhats)

Tigers Chasing Deer, with Dragon

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

Maharana Bhim Singh in Procession

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

Bridal Robe (Hwarot)

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

Silk Kashan Carpet

Carpet with Triple-Arch Design

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

Flowers and Goldfish

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

A woman wearing long robes and standing on an upturned, gold crescent moon is surrounded by twenty winged angels who lift her up, sing, or play musical instruments in this vertical painting. Below, a grassy landscape with rocky hills, a river, and buildings stretches into the distance. Along the top edge of the painting and smaller in scale, more angels surround two men sitting on a throne, holding a crown. All the people have smooth, pale skin, oval faces with small, delicate facial features, and long wavy hair. They wear fluttering, jewel-toned robes. The woman at the center, Mary, stands facing us with her eyes downcast and her hands held together in prayer. Her strawberry-blond hair lightens where her hair rests over her shoulders, and a jeweled band encircles her head. She wears a long, ruby-red dress with a jeweled neckline and navy-blue cloak trimmed with gold. Eight of the winged angels seem to lift her body, four along each side. Seven more angels float around the scene playing instruments, including a lute, a harp, recorder-like instruments, and stringed instruments, one of which resembles a violin and another a dulcimer. Along the top of the group, around Mary’s head, four angels sing, holding sheet music. In tiny letters, writing on the sheet of music to our left reads, “A ve regina celorum mr regis,” while the writing on the music to our right reads, “A Tenor ve regina.” The angels wear robes in emerald green, royal or sky blue, butter yellow, rose pink, tomato red, silver, or white, and their wings match their robes. Some of the robes are embroidered with gold and some angels wear jeweled diadems. The edges of an oval, gold halo are visible behind the angels at Mary’s head and feet. Above Mary and the angels, a scene, much smaller in scale, recedes into the distance within a ring of dark clouds. Two haloed, bearded men wearing scarlet-red robes and with shoulder-length brown hair sit on a wide throne covered with a black and gold brocade cloth. The man to our left is bareheaded and the man to our right has a tall, blue and gold crown. A white dove with wings spread hovers above a second gold crown they hold between them. More than a dozen angels surround the throne, holding up the cloth or singing. A black and red checked tile floor stretches in front of the throne. Along the bottom edge of the painting, beneath Mary and the angels, a grassy landscape with fields and trees stretches into the distance to gray castle-like structures. A river winds from the lower right between the buildings. A man rides a horse near the riverbank to our right, and the shore is lined with minuscule shells. To our left, a second man walks in the field, away from us toward the building, and another man crosses a short bridge over a second, smaller stream.

Durga Slaying Mahisha

Mandala of the Three Shrines at Kumano

Silk Animal Carpet

Mandala Base

Alexander the Great Enthroned at Persepolis

Puppies

A woman and child sit on an ornate gold, curving throne in front of a shimmering gold background in this vertical painting. Two winged angels in roundels at the upper corners and the woman and child all have peach-colored skin with a gray cast. The woman tips her head toward the child, to our right. She has almond-shaped eyes, a long, straight nose, and her small lips are closed. She looks into the distance over the child’s head. She wears a scarlet-red mantle that covers her head and drapes over her shoulders and body. The azure-blue of her dress beneath is visible at her throat and over one knee. The child sitting on her knee is as tall as a toddler but has adult proportions in his face and body. He holds up his right hand, on our left, and raises the first two fingers. He holds a red scroll in his other hand. He wears a forest-green robe over a salmon-pink garment. The clothing of both the woman and child have geometric gold lines indicating folds in the drapery, and both have gold halos. The child’s halo is marked with three red arms to create a cross above and to the sides of his head. The woman rests her feet on a low stool in front of the opening of the elaborately carved, two-tier throne that nearly encircles the pair. The winged angels in the upper corners have gold halos, brown hair, jeweled, gold garments, and each holds an orb and scepter.

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.

Prince and Princess Hunting Blackbuck

Abhisarika Nayika (Heroine Running to Meet her Lover)

Pichhwai for the Festival of Cows

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

Vase of Flowers

Portrait of the Great Master Yeongwoldang Eungjin

Cloth with Procession of Figures

Fragment (Dress Fabric)

Insects and Flowers, Ming dynasty, 14th-15th century, color on silk, Tokyo National Museum

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

Seated Amitayus

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

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

Textile

Goddess Riding a Dragon, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)

Carpet

Vase of Flowers with Grasshopper, Marine Life, and Garden Rock

Camellia by Water

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

A Monumental Portrait of a Monkey

Hell Courtesan

Monkey Hanging on to a Branch

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

Velvet and Silk Carpet

Dragon in foliage with lion and phoenix heads

Ōtsu-e of a Youth Holding Irises (Yarō)

A woman, Mary, sitting on a throne made of clouds is surrounded by ten winged angels, floating above a landscape with twelve people gathered closely around a long, rectangular, stone box filled with flowers, all set against a gold background in this tall, vertical painting. Mary and the angels have pale, peachy skin and the men below have more tan complexions. Each person’s head is surrounded by a flat, gold halo. In the upper half of the composition, Mary’s blond hair is covered by a veil, and her white robe is decorated with a pattern of starburst-like, gold shapes and edged in gold. She holds her hands together in prayer and looks up. She sits on a light blue, cloud-like form, which is held up by two angels. The other eight angels look on, four to each side. Six of them each play a different musical instrument, and the top two cross hands across their chests. The angels all have blond hair and wear flowing robes in cranberry red, steel gray, cream white, or pale sky blue. In the bottom half of the painting, the people kneeling or bending over the coffin-sized, stone box wear gold-trimmed robes in azure blue, lilac purple, raspberry pink, marigold orange, sage green, or coral red. All but one is bearded, though the face of one, opposite us, is half-hidden behind the outstretched arm of his neighbor. One man, to our left, points into the box, which is filled with white and red flowers and pine-green leaves, and others look into the box, up, or at each other. The box is inlaid with teal-green panels on the side we can see. Grass and flowers grow below. Beyond the box and people, and between them and Mary above, a person kneels on an olive-green, rocky outcropping with hands raised. The angels around Mary line the inner edge of an arch at the top of the panel. The roundels at the top corners above the arch are occupied by a person wearing a mauve-pink robe over a gold garment to our left and a blue robe over a white and gold garment to our left. The entire panel is surrounded by a gold frame carved with steps and moldings.

Guanyin

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)

Gibbons in a Landscape

Censer with seated king

Tánggǔ (堂鼓)

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

Standing Avalokiteshvara, the Bodhisattva of Infinite Compassion

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

Chinese Bird on Snow-Laden Branch

"Dancing Dervishes", Folio from a Divan of Hafiz

Lakeside Retreat

Palampore

"Black Buck", Folio from the Shah Jahan Album

A Disconsolate Lady on a Terrace with Attendants

Panel with the god Zeus/Serapis/Ohrmazd and worshiper

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

Peahen and hibiscus

Tree of Knowledge, No. 1

Grapevine in the Wind

松下達摩図

A Stallion

Leaf from Book of Hours

Das Innere der Piaristenkirche in Wien

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

The Adoration of the Magi

Young Woman Smoking a Huqqa

Cover Panel for a Tihong

Returning Sails off a Distant Shore, from Eight Views of Xiao-Xiang

Collection of Poems (Divan)

Ragini Gaudi, Page from a Jaipur Ragamala Set

A Young Prince on Horseback

The Emperor's Carpet

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.

The Greedy Dog

Coronation of the Virgin

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.