Related

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

Manuchehr Kills Tur, Manuscript from Shahnama

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

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

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

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.

An Old Sufi Laments His Lost Youth

A Virtuous Woman Placates the King by Plucking Out Her Eyes

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

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

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

Portrait of a Ladakhi Mountain Goat

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

"Dancing Dervishes", Folio from a Divan of Hafiz

The Greedy Dog

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

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

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

"Black Buck", Folio from the Shah Jahan Album

Alexander the Great Enthroned at Persepolis

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.

Leaf from Album of Persian Calligraphy

Angel (Peri) Riding a Composite Camel

Collection of Poems (Divan)

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.

Maharana Bhim Singh in Procession

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

Krishna with an Ascetic

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

A Messenger is Dispatched: Page from a Dispersed Manuscript

Portrait of Emperor Jahangir

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

Prince and Princess Hunting Blackbuck

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

A Young Prince on Horseback

Abhisarika Nayika (Heroine Running to Meet her Lover)

Folio from a Qur'an Manuscript

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

A Disconsolate Lady on a Terrace with Attendants

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

Hunting Scene

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).

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

Ragini Gaudi, Page from a Jaipur Ragamala Set

Carpet

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)

Durga Slaying Mahisha

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

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

Dragon in foliage with lion and phoenix heads

Tile Panel

Thanka with Buddha

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

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

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

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

Performance of Hanasaka Jiji, by Toshi, 1889, Meiji 21, from the Hood Museum of Art - PR.995.23.42abc.

Mt. Fuji through Pines

Garden Gathering

Maharana Sangram Singh Riding a Prize Stallion

Panel with the god Zeus/Serapis/Ohrmazd and worshiper

Japan; Illustrated book; Illustrated Books

Japan; Illustrated book; Illustrated Books

Cloth with Procession of Figures

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

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

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 Stallion

Pichhwai for the Festival of Cows

Peonies

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.

Folio from a Qur'an Manuscript

Buddhist Deities

Silk Animal Carpet

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.

Folk Painting

Paradise

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

Stela of Amenemhat and Hemet

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

The Assembly of Tejaprabha Buddha

Palampore

The Wade Cup with Animated Script

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

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

Buddhist Priest's Ceremonial Robe

慈眼大師像

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

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

Carpet with Triple-Arch Design

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.

Six women, eight men, two satyrs, and one child gather in pairs and trios in a loose row that spans the width of this nearly square painting. They are set within a landscape with craggy rocks, cliffs, and trees. Most of the people face us, and the men, women, and child have pale skin. The two satyrs have men’s torsos and furry goat’s legs, and they have darker, olive complexions. Most of the men wear voluminous, knee-length togas wrapped in short robes in shades of white, topaz blue, grass green, coral orange, or rose pink. Most of the women wear long, dress-like garments in tones of shell pink, apricot orange, or lapis blue over white sleeves. For all but one woman, their garments have fallen off one shoulder to reveal a round, firm breast. Several objects are strewn on the rocky, dirt ground in front of the group, including a wide, wooden bucket with a piece of paper affixed to its front to our right, a glass goblet, a pitchfork, a large blue and white ceramic dish filled with grapes and small yellow fruits, and an overturned cup near the center. Cliff-like, craggy rocks rise steeply behind the group to our left, filling much of the sky opposite a tall grove of leafy, dark green trees to our right. A few puffy white clouds float across the vivid blue sky. The slip of paper on the barrel has been inscribed, “joannes bellinus venetus p MDXIIII.”

Carpet with Palm Trees, Ibexes, and Birds

Portrait of Momonoi Naoaki

Velvet and Silk Carpet