Historic Indian Artwork

Intricate paintings from the Mughal period, depicting divine stories and figures in vibrant colors and detailed settings, showcasing epic tales and mythological scenes.

INDIA. Calcutta. Krishna's dance. Illustration from 'Surdas of Sur-Argar', 17th c. Hindu art. Miniature Painting.

Kama Shoots a Love Arrow at Shiva, from a copy of the Song of Gauri (Gita-Gauri) 1670-1685 India. Opaque watercolor and gold on paper .

Grotesque Dancers Performing, circa 1600. India, Subimperial Mughal period, early 17th Century.

Deva with gods. Deva, sitting at a gallery of the palace receives a delegation of gods; In the foreground all kinds of fencing structures, in the background a white wall above that plant and behind it a yellow rock. The half crusicle is in a light blue sky.

Vilaval Ragini. The show is divided into two horizontal surfaces, the lower half is a dark room in a palace with a young woman in the middle leaning against a large wheel cushion, she is shifting flowers in her hair, left a servant with a large mirror, right one with a torch; The upper half consists of surfaces of the palace roof with left and right floating roofs and in the middle, four pillars with a round copel; Right on a piece of flat roof is a large yellow bird. Upstairs and at the bottom of the show two red piping, the lower badly damaged and almost colorless; An inscription on the black sky at the top.

Vasudeva brings Kritivula to King Kamsa. Under a canopy of heraldic banners, the king is leaned on a carpet against a roll cushion, he lit his right hand out inviting to his visitor; On the left front of him on his knees is a musician who raises his left hand in a blessing gesture; The visitor stands for the increase and carries a baby wrapped in a cloth; In the doorway, a servant watched with a sword in his belt with curved head; A servant with a peacock feather behind the king. Around the show a border in red and a black frame line, here and there is transferred to reinforcement of weaknesses.

On a platform in front of a palace sits a royal couple, to their right a servant with a feather fan, to their left the king of monkeys, Hanuman, who pays homage to them. Around the scene a narrow orange and a narrow golden rim, Rama and Sita Enthroned, draughtsman: anonymous, Noord-India, 1790 - 1810, paper, brush, h 226 mm × w 152 mm, h 218 mm × w 133 mm

INDIA. Calcutta. Krishna's dance. Illustration from 'Surdas of Sur-Argar', 17th c. Hindu art. Miniature Painting.

Krishna in Radha, Anonymous, c. 1720 Indian miniature. drawing The leaf is divided into four squares, at the top left, three scenes with Krishna are depicted, bottom left another scene with Krishna and between these two Krishna and Radha next to a tree; At the top right a scene with two women, below a horse with a cover to over the eyes. Around the show a yellow trim with black framework lines and a wider red edge with black framework lines. Above the show a wide yellow strip with an inscription in black and some red lines. Mewar paper brush / brush

Malavakusika Raga: Page from a Dispersed Ragmala Series (Garland of Musical Modes). Culture: India (Rajasthan, Amber). Dimensions: Image: 8 5/8 x 7 3/8 in. (21.9 x 18.7 cm). Date: early 17th century.A prince, fanned by an attendant, is taking pan, a refreshing and slightly narcotic mixture of betel nut, powdered lime, and condiments wrapped in a leaf. Museum: Metropolitan Museum of Art, New York, USA.

Calligraphic Panel with Moral Exhortations from 'Album of Paintings and Calligraphy'. India, Andhra Pradesh, Hyderabad, A.H. 1094/1682-1683. Books. Opaque watercolor, gold, and ink on paper mounted on board, leather binding

Kurma (incarnation of Vishnu as turtle); Carnen from the ocean; Vishnu avatars. Vishnu in his incarnation as a turtle is sitting on Meru mountain that serves as Karnstok at the tough of the ocean of milk. The show is framed by a narrow white piping, around it a wide orange-red decorative edge with black frame lines; This leaf has been recorded on a sheet of carduffler on which a black frame line is drawn in pencil.

Radha and Krishna in a palace (Ragamala), Anonymous, c. 1610 - c. 1620 Indian miniature. drawing Radha and Krishna sit on a bench on a terrace. Krishna holds a water lily in his left hand and with his right hand he hugs radha. They are surrounded by three women: a dancer, a woman who plays a drum and a servant with a fan made from peacock springs. Above the drawing an inscription in the Devanagari script: Sri Raagakii (Raakhii) Svaruupa. No. 27. No. 27 from the Ragamala series paper

Worship of Shri Nathji. Date: ca. 1700. Opaque watercolor and gold on paper. Origin: Bikaner, Rajasthan state, India. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Illustration to a Gajendra Moksha series depicting Vishnu rescuing the elephant king. Mankot, circa 1720, dark palette, 29.9 x 23.2cm.

Malar Ragini: Krishna Playing the Flute to Seven Gopis Holding Musical Instruments, from the Ragamala Series, c. 1760. India, Rajasthan, Bundi-Kota, 18th century. Color with gold and silver on paper; overall: 26.4 x 18.7 cm (10 3/8 x 7 3/8 in.).

Rama, Sita and Hanuman. On a platform for a palace there is a royal couple, right behind them a servant with a feather range, left the king of monkeys, Hanuman, who gives them tribute. Around the show a narrow orange and a narrow golden edge.

Radha's Confidante Meets with Krishna (Arudhayauvana Madhya), Folio from a Rasikapriya (The Connoisseur's Delights). India, Madhya Pradesh, Malwa, circa 1635. Drawings; watercolors. Opaque watercolor on paper

Hindola Raga, Folio from a Ragamala (Garland of Melodies). India, Rajasthan, Amber, circa 1700 or earlier. Drawings; watercolors. Opaque watercolor and gold on paper

Vairati Ragini. On a terrace in front of a house is a lady on pillows, in her hand she holds a flower in front of her nose, right before her is a servant with a yellow range, in the foreground carvs and dishes. Around the show a few brightly colored decorative edges with floral pattern from white and green on red and beige, a narrow trim in gold separates the show of the decorative edges

"Khusrau Parviz before his Father Hurmuzd ()", Folio from a Shahnama (Book of Kings) ca. 1430-40 Abu'l Qasim Firdausi This painting and the two next to it come from the same copy of a highly Persianate Shahnama that was probably made in northern India. The paintings from this book were later placed in an album with brightly colored borders. The illustration may represent two figures of the Sasanian period, Hurmuzd (r. 579-90) and his son Khusrau (r. 590-628). Although here Khusrau makes a humble appearance at his father’s court, he later executed Hurmuzd and took the throne.. "Khusrau Parviz before his Father Hurmuzd ()", Folio from a Shahnama (Book of Kings) 447304

Danasri ragini, anonymous, 1760 Indian miniature. drawing In a palace a woman sits on an elevation surrounded by women painting a portrait of her loved one; In the foreground, a prince is on a white horse, preceded by a musician and followed by a servant with a pitchfork, next to the horse is still a servant who carries something to strings. The show is framed by a wide red edge and separated from it by black, white and gray framework lines. Central India paper brush / brush

Two lovers in bed, as a dog alerts his master who is sitting in the temple while the servants gather the discarded clothes before his arrival. Gouache painting by an Indian painter.

Raga Dipak, from a Garland of Musical Modes (Ragamala)manuscript

Devi on throne with gods like legs. The goddess with two pairs of arms and sitting on a throne whose legs consist of gods, a man in white clothes is kneeling for her; Behind the white terrace with lilac lower edge a green area with a blue, white clouded sky. To the show frame lines in blue and black and a narrow gold-colored trim.

Ravana Challenges Rama's Army Indian. , ca. 1750. Opaque watercolor on paper, sheet: 6 1/8 x 7 3/4 in. (15.6 x 19.7 cm). Asian Art ca. 1750

Ragamala Paintings are a series of illustrative paintings from medieval India based on Ragamala or the 'Garland of Ragas', depicting various Indian musical nodes, Ragas. They stand as a classical example of the amalgamation of art, poetry and classical music in medieval India. Ragamala paintings were created in most schools of Indian painting, starting in the 16th and 17th centuries and are today named accordingly, as Pahari Ragamala, Rajasthan or Rajput Ragamala, Deccan Ragamala, and Mughal Ragamala.

Banquet scene with dance performance. unknown, painter

Incredulous angry attacking a divine camel, Aqa Mirak (active 1524-1576)

Radha Speaks to Krishna: Page from the Boston Rasikapriya (Lover's Breviary) ca. 1610 India (Rajasthan, Amber). Radha Speaks to Krishna: Page from the Boston Rasikapriya (Lover's Breviary) 37967

Rukmini elopes with Krishna, folio from a Bhagavata Purana. Date: ca. 1780. Opaque watercolor and gold on paper. Origin: Garhwal, Uttarakhand state, India. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Kalki with his white horse devadatta.

Procession of the Emperor of Akbar in the Akbar Namah of Abu-l Fazl. Date/Period: 1600/1603. Width: 22 cm. Height: 34.1 cm (Complete). Author: UNKNOWN.

Three women in the garden being watched by a man standing next to the trees with his horse. Gouache painting by an Indian painter.

Da'ud Receives a Robe of Honor from Mun'im Khan. Date/Period: Ca. 1604. Painting. Color and gold on paper. Height: 238 mm (9.37 in); Width: 123 mm (4.84 in). Author: UNKNOWN.

Worship of Shiva, early 1700s. India, Rajasthan, Bikaner school, 18th century. Ink and color on paper; image: 26.7 x 20.3 cm (10 1/2 x 8 in.); overall: 31.2 x 24.5 cm (12 5/16 x 9 5/8 in.).

Rama and Lakshmana on Mount Pavarasana: Folio from the Shangri Ramayana series (Style II) ca. 1690-1710 India. Punjab Hills, kingdom of Jammu (Bahu) Rama is shown with his brother at the summit of Mount Pavarasana passing a sleepless night after searching in vain for his wife, Sita, who has been abducted by the demon Ravana. Her fate is as yet unknown to Rama,so his fear has not yet turned to anger. The Ramayana emphasizes the vast territory they have covered and the desperate nature of their search, suggested by the featureless expanse leading to the curving horizon, marked by a silver moon.This painting belongs to the Shangri Ramayana series, which is associated with a number of Punjab court styles, suggesting that it was the product of itinerant artists who worked for a number of patrons in the region. This folio is most closely associated with the atelier at Mandi, known for its simple but compelling compositions.. Rama and Lakshmana on Mount Pavarasana: Folio from the Shangri Rama

"Women Visiting a Hermit", Folio from the Davis Album 18th century Visitation scenes to holy men became a popular genre in 18th century Mughal painting, with both male and female visitors being depicted. Here we see a hermit receiving a group of women, one of whom holds a child. He is seated on a mat before his simple dwelling while on the far bank of the winding river another style of round village thatched hut may be seen.. "Women Visiting a Hermit", Folio from the Davis Album 448489

Krishna and Radha looking into a mirror. Date/Period: 1800. Painting. Height: 310 mm (12.20 in); Width: 220 mm (8.66 in). Author: UNKNOWN.

Shri Rama Putra Raga: Page from the Dispersed "Boston" Ragamala Series (Garland of Musical Modes) ca. 1760 India (Rajasthan, Kota or Bundi) A prince attended by two female servants speaks to his beloved, who stands beneath a flowering banana tree. Silver grays and cool greens and whites dominate, masterfully contrasting with the less plentiful reds, yellows, and golds. The illusion of space is particularly accomplished, and the mystery of the moonlit encounter has been captured. An inscription at the top reads, "Shri Rama Putra son of Dipak Raga, to be sung in the evening.". Shri Rama Putra Raga: Page from the Dispersed "Boston" Ragamala Series (Garland of Musical Modes) 54183

The Ascension, The Prophet Muhhamed bieng carried to heaven by the Archangel Gabriel, miniature from The tales of Luqman, Arabic manuscript, 1583.

Cut the ocean. On a lotus flower that rests on a water turtle in the river, the second appearance of Vishnu; Gods and samples hold a cobra that has been knitted around the handle of the lotus, in the river two praying figures, in the background a kneeling woman and against the sky on the hilltop an elephant and a polyphonic horse. Around the show a narrow orange and a narrow golden edge.

Krishna welcoming Sudama, from a Bhagavata Purna. Date: ca. 1700. Color and gold on paper. Origin: Bilaspur, Himachal Pradesh state, Punjab Hills, India. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Sorathi Ragini, Wife of Megha Mallar Raga, Folio from a Ragamala (Garland of Melodies). India, Andhra Pradesh, Hyderabad, circa 1750. Drawings; watercolors. Opaque watercolor and gold on paper

Kathputli, Zimmer, Museum, Bagore, Ki, Haveli, Old, City, Pichola, Udaipur, Rajasthan, Puppen, Erbe, Kultur, Ausstellung, traditionell, Volkskunst, Ausstellung, dekorativ, lebendig, Tourismus, künstlerisch, farbenfroh, historisch, Museum, Rajasthan, Handw Kathputli room, museum complex, Bagore Ki Haveli, Old City, Pichola, Udaipur, Rajasthan LicenseRF Copyright: xZoonar.com/RealityImagesx 23317181

Page from a Dispersed Ragamala Series (Garland of Musical Modes) ca. 1710 India (Rajasthan, Mewar). Page from a Dispersed Ragamala Series (Garland of Musical Modes) 37918

Todi Ragini, Anonymous, 1670 - 1690 Indian miniature. drawing A woman sits on a terrace in front of her palace and offered to a small house altar that stands in front of her; Behind her stands a servant who cools her coolness with a peacock ferry. To the show a narrow border in gray and a wider in red. Central India paper brush / brush

"Coffin of Imam 'Ali", Folio from a Falnama (The Book of Omens) of Ja'far al-Sadiq mid-1550s-early 1560s This folio is from a manuscript of the Falnama (Book of Omens), an illustrated divinatory book. It depicts 'Ali, the first Shi'i imam, shown with a face veil and a flaming halo. He leads a camel with a coffin while two other men, his sons Hasan and Husain, watch from behind a hillside. According to Anatolian mystical thought, Imam 'Ali not only predicted his own death but also told his two sons that when he died, a veiled man would carry his coffin away on a camel for burial. He cautioned them not to question the man. When 'Alis prediction came true, Hasan and Husain could not resist asking the mans identity and discovered that he was in fact their father, who was carrying his own body to the grave.. "Coffin of Imam 'Ali", Folio from a Falnama (The Book of Omens) of Ja'far al-Sadiq 451017

Chand Bibi Hawking with Attendants in a Landscape ca. 1700 This painting is an accomplished example of a theme that attained popularity in Deccani painting. Chand Bibi was a legendary queen of Ahmadnagar in the Deccan, who valiantly defended her fortress against the Mughal army in the sixteenth century. Her image became a popular subject in Deccani painting, and she is frequently depicted hawking, as in this work. Here she rides a white horse, whose lower half has been colored red with henna to symbolize its wading through blood (or bravery in battle). Three female attendants accompany her on foot; one holds up a ceremonial sunshade behind the queen while another leads the way ahead of the horse. The figures are skillfully executed and the receding background is filled with charming details of animals, birds, hunters, and scenes of Indian village life.. Chand Bibi Hawking with Attendants in a Landscape. ca. 1700. Opaque watercolor, gold, and silver on card-weight paper. Attributed to I

Ragini Madhmadh, from a Garland of Musical Modes (Ragamala)manuscript

Dipak Raga: Folio from a Ragamala Series (Garland of Musical Modes) 1630-40 India (Madhya Pradesh, Ragugar) The Dipak Raga is associated with night and is meant to evoke the mood of intimacy between lovers. Legend has it that one of Emperor Akbar’s musicians started a palace fire after being forced to play this raga against his better judgment. Typically, depictions of this raga incorporate fire imagery of some sort; here, it takes the form of a pair of women holding lamps. No illusionistic space is shown and the figures are juxtaposed within a mapped architectural space as is typical of Malwa painting from the first half of the seventeenth century.. Dipak Raga: Folio from a Ragamala Series (Garland of Musical Modes). India (Madhya Pradesh, Ragugar). 1630-40. Ink and opaque watercolor on paper. Paintings

Shiva Ardhanarisvara, c. 1700-1750, 8 1/8 × 5 5/8 in. (20.64 × 14.29 cm) (image)25 3/4 × 21 3/4 × 1 in. (65.41 × 55.25 × 2.54 cm) (outer frame), Opaque watercolor heightened with gold on paper, India, 18th century, In this hypnotic image, the Hindu god Shiva and his wife Parvati share one body, in the form known as Ardhanarisvara, lord whose half is woman.’ It reveals Shiva as a symbol of his omnipotence, the seed and womb of all creation and destruction. Here, a razor-sharp vertical divides and unites the image, with the artist depicting the respective halves with individualized dimensionality. Shiva assumes the role of bearded ascetic, wearing a garland of skulls, with his attributes, the trident, kettle-drum, and bull vehicle, Nandi, at his side. His right hand tames a snake while another serpent wraps Shiva’s topknot, which in turn, catches the river goddess Ganga on her decent from heaven to the earth. Parvati, herself a manifestation of Devi (The Great Goddess), and embodiment o

Krishna Uprooting the Arjuna Trees, anonymous, c. 1800 Indian miniature. drawing On a large magazine, the life of the young Krishna is portrayed in different tableaux, some of which bordered by a white border, there are texts in the various stages. The show is framed by a narrow yellow border with an ornamental termotif in black and red, in red framework lines, around it a wide orange border with black and white framework lines. On the right edge and bottom right are texts in the Devanagari script, in white, some in red and black. On the back is the text from the Bhagavata Purana Book 10.10.23-43 and 11.1-9. Datia paper brush

Brahma, Hindu 'Absolute', receiving an offering. Brahma first in the Hindu divine triad, the others being Vishnu and Shiva. After 18th century Indian miniature.

Goddess Bhairavi ca. 1870-80 Shib Gobin Lal The goddess Bhairavi is one of the Mahavidya, the ten manifestations of Devi, the supreme goddess of Hinduism, as well as embodying the female aspect of Bhairava, a wrathful form of Shiva. Shivas crescent moon appears on her forehead framing a third eye and in recognition of her specifically Bhairava affiliation, she wears a long garland of severed humans heads whose faces display a range of benign expressions. The goddess is enthroned on a low throne with cusped back that supports an honorific parasol. All is set on a terrace with a colonnade backdrop with acanthus-leaf capitals and inlaid or painted décor and heavy gold-fringed drapes in the manner of the day. In all respects Bhairavi is presented with the accoutrements of a ruler. Her divine authority is further emphasized by her sitting with one leg drawn up and resting on the knee, a posture of royal ease reserved for those of the highest rank. The throne and terrace setting are contemp

Krishna on a swing.

On a large sheet the life of the young Krishna is depicted in various tableaux, some of which are bordered by a white border, at the various stages there are texts. The representation is framed by a narrow yellow border with an ornamental tendril motif in black and red, in red frame lines, surrounded by a wide orange border with black and white frame lines. On the right edge and bottom right are texts in Devanagari writing, in white, some in red and black. On the back is the text from the Bhagavata Purana book 10.10.23-43 and 11.1-9, Krishna Uprooting the Arjuna Trees., draughtsman: anonymous, Datia, c. 1800, paper, brush, h 238 mm × w 331 mm, h 294 mm × w 386 mm

After Krishna has disappeared from the circle of shepherdesses, they search for him and that search and imitation of Krishna is depicted in three horizontal lanes with various scenes. The horizontal strips are separated by narrow white strips, at the top and bottom of the representation there is a yellow band and the whole is framed by a red border., Shepherdesses in search of Krishna, draughtsman: anonymous, Centraal-India, 1710 - 1730, paper, brush, brush, h 182 mm × w 355 mm

Krishna Talking to aGopi

King Bikramaditya Summons Madhava, from a Madhavanala Kamakandala, c. 1700. Northern India, Himachal Pradesh, Pahari kingdom of Mandi or Bilaspur. Gum tempera and gold on paper; page: 21.2 x 30.7 cm (8 3/8 x 12 1/16 in.); image: 18.7 x 28.6 cm (7 3/8 x 11 1/4 in.). Madhava sits in a tent with King Bikramaditya, who sits against a big bolster and is attended by a fly whisk bearer and two warriors. One man on the left fetches water from the river while another man wearing a lilac garment is fixing the tent.

Desakh Raginii. Against a lilac background, two couples wrestlers are busy in the foreground, their clothing stacked in a well and colorful pile behind them, on the edge of the lilac field and against the light green meadow behind them a four acrobats that show their skills, on the left a servant that pours a pillow; The edges of the fields are decorated with symmetrical flower rolls and on the horizon against a gray-blue sky are a few trees; At the top of a black inscription on a yellow background. The performance is framed by a golden trim and a wide orange-red border with black and white frame lines.

"The Awakening of Kumbhakarna in the Golden City of Lanka", Folio from a Ramayana ca. 1605 Kumbhakarna, the giant brother of the demon Ravana, was tricked by the gods into asking Brahma for the boon of interminable sleep. Ravana built him a lavishly adorned palace, where he slumbered for one hundred years until being awakened by his demon attendants in the episode shown here. They are alerting him that Rama and Lakshmana, together with their monkey and bear armies, have attacked the city of Lanka.. "The Awakening of Kumbhakarna in the Golden City of Lanka", Folio from a Ramayana 454357

Kishkindha was the Monkey Kingdom of the Vanara (monkey) King Sugriva, the younger brother of Bali, in the Indian epic the Ramayana. This was the kingdom where he ruled with the assistance of his minister, Hanuman. This kingdom is identified to be the regions around the Tungabhadra river (then known as Pampa Saras) near Hampi in Karnataka. The Ramayana is a story as old as time and - at least in the Indian subcontinent and across much of Southeast Asia - of unparalleled popularity. More than 2300 years ago the scholar-poet Valmiki sat down to write his definitive epic of love and war. The poem Valmiki composed is styled the Ramayana, or 'Romance of Rama' in Sanskrit. In its present form, the Sanskrit version consists of some 24,000 couplets divided into seven books.

The Sentiment of Peace: Sama Rasa, from a Rasikapriya, 1634. Central India, Madhya Pradesh, Malwa. Gum tempera and gold on paper; page: 19.7 x 16.2 cm (7 3/4 x 6 3/8 in.). A lovesick heroine sits in a chamber with her head turned in disregard. A confidante (sakhi) explains her condition to Krishna and requests that he meet her. The sakhi raises her finger in concern and points toward the heroine with her other hand. Krishna, wearing Mughal turban and garments, gestures in agreement. The color palette is simple, and the composition is flathallmarks of early Malwa painting.

Krishna sits in a large tree, his arms in a whistling position, around him the clothes he stole from the shepherdesses beggingly standing under the tree, the other shepherdesses sit on a platform near a river, in which a few more ladies are swimming around, a naked lady hides behind the tree. Around the scene a yellow piping in black frame lines and a wider purple-brown border, Krishna Stealing the Clothes of Gopis., draughtsman: anonymous, Bundi, c. 1780, paper, brush, h 333 mm × w 209 mm, h 267 mm × w 171 mm

Illustration from 'Nasirean Ethics' by Khaje Nasir al-Din al-Tusi. The Nasirean Ethics is a 13th Century Persian book in philosophical ethics. The book is divided into three parts: Ethics, Domestic Economy and Politics. Khaje Nasir al-Din al-Tusi (1201-1274) a Persian polymath, architect, philosopher, physician, scientist, and theologian. Dated 16th Century

Page from a Dispersed Panchakhyana Series Indian. , ca. 1720-1740. Opaque watercolor on paper, sheet: 10 3/8 x 16 1/2 in. (26.4 x 41.9 cm). Asian Art ca. 1720-1740

Group of men in a rocky landscape with a saint figure, Anonymous, 1400 - 1700 Persian miniature. drawing A group of men stands in a rocky landscape for a kind of volcano where a half -dressed saint with flames is around the head, in the background a shepherd with goats and sheep. The performance is irregular in shape and framed by narrow black framework lines with gold; This magazine is the first in a triptych. Iran paper brush

A Lady Listening to Music or Patamanjari Ragini. India, Himachal Pradesh, Nurpur, circa 1750. Drawings; watercolors. Opaque watercolor, gold, and silver on paper

Bhairavi Ragini: Folio from a ragamala series (Garland of Musical Modes) ca. 1640-50 India (Himachal Pradesh, Mandi) A female devotee is worshiping at a Shaiva shrine inside a palace compound, with a lotus pond in the foreground. She has placed an offerings of fresh flowers on the linga and, as we know from the ragamala verse written above, is singing hymns in praise of her Lord, accompanied by hand cymbals (manjira). Intense, glowing colors underscore the true theme of this subject, the passion of devotion (bhakti).. Bhairavi Ragini: Folio from a ragamala series (Garland of Musical Modes) 37857

Krishna visits Radha. Draughtsman: anonymous. Dating: 1820. Place: Kangra. Measurements: h 316 mm × w 240 mm; h 370 mm × w 290 mm. Museum: Rijksmuseum, Amsterdam.

Krishna Spying on Radha ca. 1780-90 India (Punjab Hills, Mandi). Krishna Spying on Radha 37990

Departure of the Jagers, Anonymous, 1640 - 1660 Indian miniature. drawing Two pairs, one inside a palace and one outside, say goodbye because the men go hunting, to be seen by the bag with arrows and arches that they wear. Under the show a wide yellow strip, underneath a purple-colored edge, also a yellow strip with a 5-line inscription in Old Indian script in black at the top; The leaf is strongly damaged. Central India paper brush

Fighting Derwishen, Anonymous, c. 1800 Indian miniature. drawing In a flat green landscape with gray -blue sky above where cranes fly, four derwishes are engaged in a skirmish; Behind them a bamboo hut with three men in front, two of whom take a green bamboo stalk and for which there is a kind of water pipe while the third, older man rubs his hands in a bowl. The performance is framed by gray and red framework lines and stuck on rose -colored paper. Bundi paper brush / brush fighting

Svetambara Jain Teacher Giving Instruction, c. 1750-60. Possibly by Sahib Ram (Indian, active 1745-1803). Color on paper; page: 20 x 27.9 cm (7 7/8 x 11 in.). A teacher in white robes and a black shawl, sitting on a raised platform, belongs to the sect of the Jain religion called White-Clad (Shvetambara). He delivers a sermon to a family in a private gathering. Men, women, and children are part of the audience, which is arranged according to gender. Seated next to the teacher are three Shvetambara monks wearing white robes.

Lakshmana and Sugriva Being Carried by Palanquin to Receive Rama's Blessings: Folio from the dispersed Mankot" Ramayana series ca. 1710-25 India, Punjab Hills, kingdom of Mankot or Nurpur This depiction does not match the regal description of the event in the Ramayana: "Sugriva and Lakshmana mounted the golden litter that shone like the sun andwas supported by a large number of monkeys. A white canopy was spread over Sugriva's head and magnificent fans made of yaks' tails were waived about him. Eulogized by bards, to the sound of conches and trumpets, he set out in regal state." Here, Lakshmana and the monkey king Sugriva are conversing in a palanquin carried by four monkeys to offer allegiance to Rama. Leading the way through the forest are Hanuman and the bear king Jambavan and accompanying monkeys. This page, along with Hanuman before Rama and Lakshmana, is part of a large Ramayana series thought to be from the court studio at Mankot.. Lakshmana and Sugriva Being Carried by Palanqu

Puriya Ragaputra: Page from the Dispersed "Boston" Ragamala Series (Garland of Musical Modes) ca. 1760 India (Rajasthan, Kota or Bundi ?) Krishna and Radha are shown outside a pavilion. He holds a lute and touches her forehead. She raises her hands to him in anjalimudra, the gesture of reverence.. Puriya Ragaputra: Page from the Dispersed "Boston" Ragamala Series (Garland of Musical Modes) 37875

"A Bathhouse Keeper is Consumed by Passion for his Beloved", Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi 1597-98 Amir Khusrau Dihlavi Matla al-Anwar (Rising of the Luminaries), the first poem of Amir Khusrau Dihlavis Quintet, is comprised of 3310 verses compiled approximately in twenty Maqalat (didactic discourses). Matla al-Anwar is a response by Amir Khusrau to Nizami Ganjavis Makhzan al-Asrar. Painted at Lahore by Nar sing, this painting shows a bathhouse keeper who falls in love when he sees the king on his visit with his retinue. Attention gained by the King, stokes the heat of mystical love that enflames the bathhouse keeper. The King and most of his entourage raise their index fingers in awe and surprise at the sight of the beholder. The painting has a border in siyah qalam (monochrome) style with deer, foxes, hares, and hunting lions in a naturalistic setting with birds perching in the trees.. "A Bathhouse Keeper is Consumed by Passion for his Beloved", Folio from

The Birth of Prince Salim 1590.

Goddess Mangala, from a Devi Series, c. 1660. India, Rajasthan, Ajmer. Color on paper; miniature: 24.8 x 21 cm (9 3/4 x 8 1/4 in.). The four-armed goddess sits on an open lotus against a dark green background. She holds a discus, sword, bowl of cakes, and a shield. Banana trees flank her, and her tiger mount stands beneath. The subject in the painting appears to be a regional form of the Devi, as the name Mangala” does not appear in major Hindu scriptures.

The Ashta-Nayika is a collective name for eight types of nayikas or heroines as classified by Bharata in his Sanskrit treatise on performing arts, the Natya Shastra. The eight nayikas represent eight different states (avastha) in relationship to her hero or nayaka. As archetypal states of the romantic heroine, it has long been used as theme in Indian painting, literature, sculpture as well as Indian classical dance.

Herderinnen op zoek naar Krishna.After Krishna has disappeared from the circle of shepherdesses, they look for him and that search and imitation of Krishna is portrayed in three horizontal jobs with various tonels. The horizontal courses are separated by narrow white strips, above and at the bottom of the show a yellow band runs and the whole is framed by a red border.

Salome Receiving John the Baptist's Head on a Platter, from a Mirror of Holiness (Mir'at al-quds) of Father Jerome Xavier, 1602-1604. Northern India, Uttar Pradesh, Allahabad, Mughal period. Opaque watercolor, ink, color and gold on paper; sheet: 26.4 x 15.7 cm (10 3/8 x 6 3/16 in.); image: 19.8 x 11.2 cm (7 13/16 x 4 7/16 in.). John the Baptist was imprisoned by Herod, king of Judea, for criticizing the rulers marriage to his sister-in-law Herodius. Knowing of her husbands respect for John, Herodius feared for her welfare. She ordered her daughter Salome to perform a dance for Herod who, enthralled by her beauty and skill, promised to give her anything she asked for. At the behest of her mother, Salome asked for the head of John the Baptist, which is depicted here being presented on a platter. Herod, dressed in European clothing, sits on a Mughal-style throne as he witnesses the consequence of his imprudent vow.

Rama being carried by Garuda while a devotee worships him. Gouache drawing.

Radha and Krishna meet in the forest during a storm, c. 1770. India, Bengal, Mughal, 18th century. Opaque watercolor with gold on paper, yellow borders with gold flower heads; page: 26.1 x 37.4 cm (10 1/4 x 14 3/4 in.). This painting depicts the Hindu deity Krishna as a youth among the villagers of the cowherding community where he grew up. Drawn to him, the women hurry to hold a coverlet over him in protection from the rain, not realizing that he is able to lift a mountain to shield them all. Birds and monkeys populate the trees, and a Hindu temple and palace buildings stand in the background. This vibrant work was probably made for an aristocratic Hindu ruler of territories in eastern India during the period when Mughal artists dispersed from the imperial center after the invasion of Delhi in 1739.

Raja Parikshit seated in front of Vishnu. Date/Period: Between 1801 and 1825. Author: UNKNOWN.

Double-sided Leaf from a Chandana Malayaqiri Varta series Attributed to Karam and Mahata Chandji. Double-sided Leaf from a Chandana Malayaqiri Varta series, 1745. Opaque watercolor and gold on paper, sheet: 11 3/8 x 7 7/8 in. (28.9 x 20.0 cm). Whereas most manuscript paintings made in Rajasthan in the eighteenth century were commissioned by Hindu rulers, this painting was made for a practitioner of the Jain religion, probably a wealthy merchant. The image illustrates a Jain text (though the precise subject is difficult to identify) and includes a small shrine with an icon of a Jain savior, known as a Jina or Tirthankara, on the right. The icon sits cross-legged in a meditative posture, and the temple has two white towers of the classic North Indian form. In a nice detail, a small pool in front of the temple reflects the surrounding architecture. Asian Art 1745

Chandravimba Ragaputra: Page from a Dispersed "Boston" Ragamala Series (Garland of Musical Modes) ca. 1760 India (Rajasthan, Kotah or Bundi?) Krishna, seated on a lotus throne, is being fanned by an attendant. He holds a lute in his lap and reaches toward a crane with his left hand. Chandravimba Ragaputra: Page from a Dispersed "Boston" Ragamala Series (Garland of Musical Modes). India (Rajasthan, Kotah or Bundi?). ca. 1760. Ink, opaque watercolor, and silver on paper. Paintings

Queen Choladevi Before the Hermit-Sage Angiras: Page from a Dispersed Vrataraja: (King of Vratas, Rites Undertaken to Fulfill a Vow) ca. 1790 India (Punjab Hills, Guler) The subject of this painting is unusual. Queen Choladevi, whose husband had been blessed by Lakshrni, the goddess of good fortune, had not recognized the goddess when she came to her mansion in disguise. For her neglect, the queen was cursed by the deity and was given the head of a sow. She fled to the sage Angiras, who taught her the secret of the Mahalakshmi vrata, through whose power she was restored to mortal form. The story stresses the efficacy of tantric worship.. Queen Choladevi Before the Hermit-Sage Angiras: Page from a Dispersed Vrataraja: (King of Vratas, Rites Undertaken to Fulfill a Vow) 37951

The Annunciation, from a Mirror of Holiness (Mirat al-quds) of Father Jerome Xavier, 1602-04. Mughal India, Allahabad, made for Prince Salim (1569-1627). Opaque watercolor and gold on paper; page: 26.2 x 15.4 cm (10 5/16 x 6 1/16 in.). The Annunciation is a familiar scene in European Renaissance and Baroque art that is here interpreted by a painter in a Mughal workshop. Mary had been praying before the arrival of the angel Gabriel. She gazes at him as he kneels reverently and informs her that she will bear the son of God. His wings, forced within the boundary line of the painting field, have been polychromed to convey a mystical impression that identifies him as an otherworldly being. The crown held over Marys head refers to her royal bloodline, an important feature in this text.

Heroine Going to the Tryst (Abhisarika), Nayika Painting Appended to a Ragamala (Garland of Melodies)

Rama Releases the Demon Spies Shuka and Sarana: Folio from a Ramayana 'Siege of Lanka' Series. Artist: Attributed to Manaku (active ca. 1725-60). Culture: India (Guler, Himachal Pradesh). Dimensions: Page: 23 1/2 x 32 3/4 in. (59.7 x 83.2 cm)Image: 22 1/4 x 31 1/4 in. (56.5 x 79.4 cm). Date: ca. 1725.On the eve of the great battle, Ravana sent the spies Shuka and Sarana to assess the strength of Rama's monkey and bear armies. Vibhishana discovered the spies, arrested them, and brought them before Rama (at right). Rama, sitting with Lakshmana and Sugriva, set them free, as they had come as "envoys" and were not armed. The demon spies are seen entering the palace and, at the top, reporting to Ravana. They tell of the terrifying strength of Rama's generals and his invincible army: "Vibishana took us captive with the intention of slaying us, O king, but Rama, he whose valor is immeasurable, seeing us, let us go."This painting is from an important commission, only a few folios of which w

Chaturanga party. Two women play Chaturanga, a board game. A servant holds a fly range. The image is immaced by a dark red border with black and white frame lines.

'Fortune Telling Icon'. Buryatia, late 19th century. Dimensions: 6x4 cm. Museum: State Hermitage, St. Petersburg.

Radha Krishna miniature painting on paper with gold embossing Copyright: xBhagwandasxRupani/DinodiaxPhotox

Megha Raga (rainy season), 19th century. Artist: Unknown

A Jain Guru Gives a Sermon, c. 1810, 8 1/8 x 5 3/8 in. (20.64 x 13.65 cm) (image)10 3/4 x 8 in. (27.31 x 20.32 cm) (sheet), Opaque watercolor and gold on paper, India, 19th century, A Jain guru seated in a meditative posture on a podium delivers a sermon to an assembly of devotees, who are separated by gender. The guru wears white robes, which identify him as belonging to the Svetambara (white-robe) sect. He wears a protective veil over his mouth, a preventive measure against accidentally inhaling insects and killing any living thing, adhering the Jain philosophy of non-violence. These practices are still observed by Jains today. Before him is a stand with a holy book, presumably the subject of his sermon, a page of which he holds in his right hand.

Old Indo-Muslim Saint in his hermit lodge, surrounded by people with gifts.

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