Historical Indian Miniatures

Miniature paintings depicting historical narratives, featuring vibrant colors and detailed scenes from Indian culture and mythology.

A Persian emir amidst his courtiers appraises a falcon, while on the palace roof one of his harem ladies looses a hawk after a game bird. Date: 17th century

They called Ragini, Anonymous, 1680 - 1699 Indian miniature. drawing On a terrace in front of a house there is a lady on cushions, in her hand she holds a flower in front of her, on the right in front of her is a servant with a yellow fan, in the foreground carafes and dishes. Around the show A few bright -colored decorative edges with floral pattern of white and green on red and beige, a narrow piping in gold separates the presentation of the decorative edges Bikaner paper brush / brush

"Zal Expounds the Mysteries of the Magi", Folio 87v from the Shahnama (Book of Kings) of Shah Tahmasp ca. 1525 Abu'l Qasim Firdausi The Shahnama made for the Safavid ruler Shah Tahmasp (r. 1524-76) is the most luxurious sixteenthcentury copy of this poem about the legendary kings of Iran. It took more than twenty years to complete and involved two generations of the best Safavid artists, including Qadimi, painter of the scene here, who worked on many projects for Shah Tahmasp. In this painting, the hero Zal seeks advice on his wish to marry Rudaba from the wise Magi, seated at the foot of his throne.. "Zal Expounds the Mysteries of the Magi", Folio 87v from the Shahnama (Book of Kings) of Shah Tahmasp 452123

Zulaykha in her palace and as an old woman with Joseph, from a Panj Ganj (Five Treasures) of Abd al-Rahman Jami (Persian, 1414-1492) (recto), 1603-7. Mushfiq (Indian), and others (Indian). Ink, opaque watercolor and gold on paper, double-sided with text on verso; text area: 17.8 x 9.5 cm (7 x 3 3/4 in.); page: 31.6 x 20.4 cm (12 7/16 x 8 1/16 in.). This page illustrates two episodes from the story of Joseph and Zulaykha. In the first, Zulaykha awaits Joseph in the house she has built for them. She has painted the walls with romantic scenes and dressed herself alluringly with the intention of seducing him. The artist has discreetly inserted his name and the paintings date in a brick of the house at the upper left. The virtuous Joseph, with flaming halo and eternally youthful features, rejects the married womans advances, but many years later, when Zulaykha is an elderly widow, they are reunited. In the second episode we see the aged Zulaykha meeting Joseph. His prayers will restore h

A Persian emir amidst his courtiers appraises a falcon, while on the palace roof one of his harem ladies looses a hawk after a game bird. Date: 17th century

"Yusuf and Zulaikha", Folio 51r from a Bustan of Sa`di ca. 1525-35 The Bustan of Sadi, completed in 1257, relates moral advice with illustrative anecdotes. The manuscript to which this painting belongs was likely copied in Herat, but it was illustrated for an Uzbek patron several years later, probably in Bukhara in the 1530s. The story of Yusuf and Zulaikha appears in the Quran, the Bible, and Jamis Haft Awrang, in addition to the Bustan of Sadi. According to the story, Yusufs arresting beauty captures the hearts of all of the women he encounters. Zulaikha, unable to quell her thoughts of Yusuf, attempts to seduce him, but he rejects her advances until they meet again and marry many years later. In some versions of the story, this uncontrollable passion is intended as a Sufi metaphor for a beloveds yearning for union with the divine; it illustrates the triumph of the spiritual over carnal love.. "Yusuf and Zulaikha", Folio 51r from a Bustan of Sa`di. ca. 1525-35. Ink, opaque wate

Gautama is Relieved to Find That His Son Chirakarin Has Not Carried Out His Impulsive Order to Execute Ahalya, Leaf from a Razmnama Manuscript Mohan (Son of Banwari). Gautama is Relieved to Find That His Son Chirakarin Has Not Carried Out His Impulsive Order to Execute Ahalya, Leaf from a Razmnama Manuscript, 1598-1599. Opaque watercolor and gold on paper, Sheet:12 x 6 13/16 in. (30.5 x 17.3 cm). This painting is an illustration from the Persian translation of the great Hindu epic known as the Mahabharata (Razm-nama in Persian). The Mughal emperors who ruled northern India from the mid-sixteenth to the nineteenth century were Muslims, originally from Central Asia. One of the early emperors, Akbar, had the major texts of Hinduism translated into Persian so he could better understand their stories and teachings. The relatively simple composition and lack of minute detail suggest that this painting was made not for the emperor, but for one of his courtiers. It depicts an episode in which

"Marriage of Khusrau and Shirin", Folio 104 from a Khamsa (Quintet) of Nizami of Ganja dated A.H. 931/A.D. 1524-25 Nizami The second poem of Nizamis Khamsa (Quintet) is a romantic epic tale concerning the last great Sasanian ruler, Khusrau II, and his beloved Armenian princess, Shirin. While their union is delayed by many trials, tribulations, and intervening marriages, eventually the two are happily wed. This painting depicts their marriage, set within a crystalline architectural composition. Great care is lavished upon the details of the building, suggesting that the artist may have intended to depict a specific structure. Over the heads of the couple appears an invocation to God—"Oh! Opener of Doors!" The inscription on the portico above, dated Rajab 913 (April-May 1525), is contemporaneous with the colophon of the manuscript.. "Marriage of Khusrau and Shirin", Folio 104 from a Khamsa (Quintet) of Nizami of Ganja 446602

"The Story of the Princess of the Blue Pavillion: The Youth of Rum Is Entertained in a Garden by a Fairy and her Maidens", Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi 1597-98 Amir Khusrau Dihlavi Approximately one century after the Persian poet Nizami wrote his Khamsa (Quintet), the Indian poet Amir Khusrau Dihlavi composed a response using Nizamis structure but varying his stories slightly. This painting comes from the Mughal emperor Akbars (r. 1550-1605) copy of Amir Khusraus verses. It depicts a story told by a princess to the king Bahram Gur, about a youth and the fairy queen he imagines meeting nightly in a lush garden. Listen to experts illuminate this artwork's story Listen Play or pause #6673. The Story of the Princess of the Blue Pavillion Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as soon as possible.. "The Story of the Princess of the Blue Pavillion: Th

Imaginary Meeting of Guru Nanak, Mardana Sahab, and Other Sikh Gurus. India, Andhra Pradesh, Hyderabad, circa 1780. Drawings; watercolors. Opaque watercolor and gold on paper

The prophet Lût (Lot) talks with the angel Jibrâ'îl, with the destroyed city of Sodom in the background, fol. 37v. 1577. text. Manuscripts, Miniatures (Illuminations). Spencer Collection

"Muhammad Revives the Sick Boy", Folio from a Falnama (Book of Omens) of Ja'far al-Sadiq 1550s This illustration belonged to a Falnama, or book of divination, which was used to predict the future and tell fortunes. Once believed to be a depiction of Jesus raising Lazarus from the dead, the subject matter has now been identified as an event from the life of the Prophet Muhammad, who is shown veiled (a pictorial convention not applied to Jesus in the Islamic tradition). The illustration narrates the story of an old woman named Umm Mabid, shown crouching in the foreground, who begs Muhammad to heal her son. Muhammad is shown veiled and haloed in the center, healing the boy as onlookers watch in awe.. "Muhammad Revives the Sick Boy", Folio from a Falnama (Book of Omens) of Ja'far al-Sadiq 451016

Moghul miniature painting, love scenes, india Copyright: xBhagwandasxRupani/DinodiaxPhotox

King Timur and Nazaben. .

Marriage of Ubayd () (recto), Merchant and His Partner Conversing (verso), Folio from a Tutinama. India, Mughal empire, circa 1580. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Tent Encampment Indian. Tent Encampment, 1580-1595. Opaque watercolor and gold on paper, sheet: 9 3/4 x 6 5/8 in. (24.8 x 16.8 cm). Asian Art 1580-1595

Dârâb, the son of Bahman and grandson of Isfandiyâr, is seated in a domed hexagonal pavilion within a courtyard. His mother, Queen Humây, is positioned on a smaller throne to the left. The image was created between 1616 and 1620 in Istanbul. It is part of a Turkish manuscript with dimensions of 25.2 x 18.3 cm

Shri Raga: Folio from a ragamala series (Garland of Musical Modes). Culture: India (Rajasthan, Bundi). Dimensions: 8 1/4 x 4 3/4 in. (20.9 x 12.1 cm). Date: mid-17th century.Here the ruler is seen playing a rudra vina, accompanied by two musicians. This rare representation of ruler as performer appears in paintings from the Bundi and Kota courts. The work also references the fall harvest festivals, a time for relaxing and celebration. The complex architectural setting and the jewel-like treatment of flowering tree are typical of Bundi painting. Museum: Metropolitan Museum of Art, New York, USA.

Ibrahim Ibn Adham fed by angels in the wilderness. Damaged. Color and gold. Gold mount with floral arabesques; floral designs on reverse, and writing. Date: early 18th century. Origin: India. Period: Mughal dynasty. Opaque watercolor and gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Babur receives booty and Humayuns salute after the victory over Sultan Ibrahim in 1526, from an Akbar-nama (Book of Akbar) of Abul Fazl (Indian, 1551-1602), c. 1596-1597 or 1604. India, Mughal court, made for Emperor Akbar. Opaque watercolor on paper, mounted on an album page with borders of gold-decorated cream paper; page: 42 x 27.6 cm (16 9/16 x 10 7/8 in.). The elegant figure of Babur wearing a pale yellow coat is shown seated on his newly won throne in Delhi just after the decisive battle against the Afghans in 1526. He looks directly at his son Humayun, who salutes him, having secured for the first Mughal emperor the allegiance and territories of a Hindu king to the south. Among the tribute presented to Babur on this occasion was the 793-carat Koh-i-Noor diamond, now recut and set in Queen Elizabeth IIs crown.

"Preparing a Noonday Meal on an Outing", Folio from a Kulliyat (Complete Works) of Sa'di 19th century. "Preparing a Noonday Meal on an Outing", Folio from a Kulliyat (Complete Works) of Sa'di 455036

Krishna and Radha. The leaf is divided into four squares, at the top left of three scenes with Krishna depicted, left below a scene with Krishna and between these two Krishna and Radha next to a tree; At the top right a scene with two women, the bottom right of a horse with a cover to over the eyes. Around the show a yellow trim with black frame lines and a wider red border with black frame lines. Above the show a wide yellow strip with an inscription in black and some red lines.

Suridable princess, anonymous, c. 1600 - c. 1650 Indian miniature. drawing A woman is staring a bit sad on a porch. Her girlfriend, who is sitting in front of her, tries to comfort her. A woman, such as this one who has been abandoned by her lover, is a well-known theme from the Nayikabheda literature, in which men and women are described and classified depending on their behavior and experience in love. The show is glued on a leaf with a narrow decorative edge of gold on yellowed paper, trimmed with black frameworks; At the top left a piece. India paper. gouache (paint) brush

The Semitic prophet Hûd causes two kings of 'd to be tossed up into the sky, fol. 18. 1577. text. Manuscripts, Miniatures (Illuminations). Spencer Collection

Woman draws the portrait of her absent loved one (Dhanashri Ragini), Anonymous, 1700 - 1749 drawing. Indian miniature A woman is drawing a portrait of her absent loved one. A servant waves her coolness with a fan of peacock springs. A peacock is lured by the strum on the Tanpura of a second servant. Hyderabad paper. gouache (paint) brush

Khwaja Shamsu d-Din Muhammad Hafez-e Shirazi, known by his pen name Hafez (1325/1326-1389/1390),was a Persian lyric poet. His collected works composed of series of Persian poetry (Divan) are to be found in the homes of most Persian speakers in Iran and Afghanistan, as well as elsewhere in the world, who learn his poems by heart and use them as proverbs and sayings to this day. His life and poems have been the subject of much analysis, commentary and interpretation, influencing post-fourteenth century Persian writing more than any other author. Themes of his ghazals are the beloved, faith, and exposing hypocrisy. His influence in the lives of Iranians can be found in 'Hafez readings', frequent use of his poems in Persian traditional music, visual art and Persian calligraphy. His tomb in Shiraz is visited often. Adaptations, imitations and translations of Hafez' poems exist in all major languages.

Miniature of Eight Standing Figures and One Kneeling Miniature of Eight Standing Figures and One Kneeling, 17th century. Ink on paper, 6 1/2 x 9 3/4in. (16.5 x 24.8cm). Arts of the Islamic World 17th century

Khambavati ragini with God Brahma. Draughtsman: anonymous. Dating: c. 1690. Place: Sirohi. Measurements: h 205 mm × w 166 mm; h 180 mm × w 138 mm. Museum: Rijksmuseum, Amsterdam.

Shiva and Parvati Indian. Shiva and Parvati, ca. 1820-1825. Opaque watercolor and gold on paper, sheet: 8 7/8 x 7 7/8 in. (22.5 x 20.0 cm). Asian Art ca. 1820-1825

"Alexander Visits the Sage Plato in his Mountain Cave", Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi 1597-98 Amir Khusrau Dihlavi The Khamsa of the Indian poet Amir Khusrau includes a section on the philosopher-king Alexander the Great, who in Khusraus telling of his life led expeditions to China, Russia, and the Western Isles, and also undertook quests of a spiritual dimension. Here, the turbaned king is seated on the right, listening to the sage Plato, who offers advice on rulership but also warns of Alexanders impending death.. "Alexander Visits the Sage Plato in his Mountain Cave", Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi. Painting attributed to Basawan (Indian, active ca. 1556-1600). 1597-98. Main support: Ink, opaque watercolor, gold on paperMargins: Gold on dyed paper. Attributed to India. Codices

The king plucks fruit from the tree of life with his own hands and feeds it to a lady, from a Tuti-nama, Tales of a Parrot. Tutinama, Tales of a Parrot, is a series of 52 stories in Persian from the 14th century, in the 16th century Mughal Emperor Agbar commissioned an illustrated version, Ninth Night, c. 1560. Suraju (Indian), Historical, digitally restored reproduction from an original of the period

Devi on throne with gods as legs. Draughtsman: anonymous. Dating: 1750 - 1770. Place: Guler. Measurements: h 228 mm × w 172 mm; h 207 mm × w 163 mm. Museum: Rijksmuseum, Amsterdam.

Umar Converts to Islam 19th century This illustrated folio is from a Shi'i epic recounting the life of 'Ali, the Prophet's son-in-law and, according to Shi'i belief, the legitimate successor to the Prophet. It depicts the Prophet, who wears a white face-veil at the center of the composition, conversing with Umar, whose right eye has been scratched out by a previous owner of the manuscript; Ali is seated in the foreground surrounded by members of the Quraysh tribe. The style and palette are consistent with paintings of the first half of the nineteenth century. Shi'i epics were modeled on the Shahnama, replacing the celebrated hero Rustam with 'Ali. They were a popular genre in the Qajar period although only a few manuscripts survive, making this a rare example.. Umar Converts to Islam. 19th century. Opaque water, gold, and ink on paper. Made in Iran. Codices

The false Mansur is punished in front of the judge and driven out of the city, from a Tuti-nama, Tales of a Parrot. Tutinama, Tales of a Parrot, is a series of 52 stories in Persian from the 14th century, in the 16th century Mughal Emperor Agbar commissioned an illustrated version, Seventeenth Night, c. 1560. Mughal India, Court of Akbar (ruled 1556-1605), Historical, digitally restored reproduction from an original of the period

Group of Dervishes early 16th century. Group of Dervishes. early 16th century. Ink, opaque watercolor, and gold on paper. Made in present-day Uzbekistan, Bukhara. Codices

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.

"The Queen Ilar (Irakht) Before the King Warning him About the Brahmins ()", Folio from a Kalila wa Dimna second quarter 16th century This manuscript contains seventy-eight paintings and many text folios telling the famous tales of the jackals Kalila and Dimna. Based on the book of ancient Indian animal fables, the Panchatantra written by Vidyapati (Bidpai), the stories spread all over the Middle East where they became wildly popular. This manuscript has a strong flavor of Mamluk Egypt in the figure styles and bold drawings, with hints of Ottoman tulips and Safavid turbans. However, the burnt orange palette and darkly-inked lines have led to an attribution to Sultanate Gujarat where it is suggested this manuscript was copied from an Egyptian original. Its life in India is also attested by a Devanagari inscription at the end, although the rest of the Arabic text is written in a strong, left-leaning naskh-like script.. "The Queen Ilar (Irakht) Before the King Warning him About the Brahm

Umed Singh of Bundi with hisSons

Akbar (Urdu: جلال الدین محمد اکبر , Hindi: लालुद्दीन मुहम्मद अकबर, Jalāl ud-Dīn Muhammad Akbar), also known as Shahanshah Akbar-e-Azam or Akbar the Great (25 October 1542 - 27 October 1605), was the third Mughal Emperor. He was of Timurid descent; the son of Emperor Humayun, and the grandson of Emperor Babur, the ruler who founded the Mughal dynasty in India. At the end of his reign in 1605 the Mughal empire covered most of the northern and central India. Akbar was thirteen years old when he ascended the Mughal throne in Delhi (February 1556), following the death of his father Humayun. During his reign, he eliminated military threats from the powerful Pashtun descendants of Sher Shah Suri, and at the Second Battle of Panipat he decisively defeated the newly self-declared Hindu king Hemu. It took him nearly two more decades to consolidate his power and bring all the parts of northern and central India into his direct realm. He dominated the whole of the Indian Subcontinent and he ruled

"The Emperor Humayun Returning from a Journey Greets his Son", Folio from a Manuscript of the Akbarnama. Folio from the Davis Album ca. 1604 Abu'l Fazl A young Akbar is held up - probably by the loyal and influential Bairam Khan - to his father Emperor Humayun. In 1543 Humayun was forced to flee India and leave his young son Akbar in the care of his family at Kandahar, but was reunited with him after two years in 1545, possibly the subject depicted here. This painting is one of eight folios from the so-called "Chester Beatty Akbarnama" in the Davis album. Written by the courtier Abu'l Fazl between 1589 and 1598, the Akbarnama chronicles the life of the emperor Akbar.. "The Emperor Humayun Returning from a Journey Greets his Son", Folio from a Manuscript of the Akbarnama. Folio from the Davis Album 448472

Three Ladies in a Palace Interior: Page from a Dispersed Laur Chanda (Romance of Laurak and Chanda) 1520-30 Northern India (Mandu) The majority of the manuscript from which this page comes is in the Prince of Wales Museum in Mumbai (Bombay). Sultanate-period painting is rare and this set is one of the only three that combine Persian and Indian motifs. It may have been made at the court of Mandu in Madhya Pradesh.. Three Ladies in a Palace Interior: Page from a Dispersed Laur Chanda (Romance of Laurak and Chanda) 37888

Yûsuf (Joseph) being hauled up out of the well to be sold to the merchant Malik ibn Dhu'r, fol. 43v. 1580. Manuscripts. Spencer Collection. Manuscripts, Persian

Anonymous watercolor showing a dancing god accompanied by six women, emphasizing movement and interaction.

The new king Kay Khusrau talks with nobles of his court., 1616 - 1620 (Inferred), Istanbul, Manuscripts, Turkish, 28 x 18.3 cm

Laurak and Chanda Rest on Their Journey to a Trysting Place, Leaf from a Chandayana Manuscript Indian. Laurak and Chanda Rest on Their Journey to a Trysting Place, Leaf from a Chandayana Manuscript, early 16th century. Opaque watercolor and gold on paper, sheet: 10 x 7 11/16 in. (25.4 x 19.5 cm). Asian Art early 16th century

Two winged human inhabitants of Zânij top; A tree from which a river of camphor flows on the island of Zânij bottom, f. 75. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

Asavari Ragini, page from a Garland of Musical Ragas (Ragamala) Set 1640-1699 India. Opaque watercolor on paper .

"Khusrau Arriving at Shirin's Palace", Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi 1520-25 Amir Khusrau Dihlavi Although the manuscript was copied in the city of Balkh and completed in the year 1503 or 1504, Khosrow's headdess indicates that the miniature was added sometime after 1510, the year Shah Isma'il, the first Safavid ruler, captured that city. The fashion of having a tall baton top the cap around which the turban was wrapped-twelve times for the twelve imams-only appeared when that dynasty established the Shi'a sect of Islam as the state religion. The miniature is close in style to Herat painting of the latter part of the fifteenth century, although somewhat simplified in composition, architecture and landscape.. "Khusrau Arriving at Shirin's Palace", Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi 446289

Bangali Ragini: Folio from a ragamala series (Garland of Musical Modes) 1709 India (Rajasthan, Amber) The Amber ragamala text of which this work is a part offers the following description of this ragini: Her sari, soaked with kesara [saffron, is enchanting. [Her musk caste mark at the forehead bewitches the mind. The lovable [woman has matted locks and ash in her[? palms. [She has smeared srikhands [white sandalwood paste all over her body. The trident in her arm is resplendent. Such is the beauty of Bangali.”. Bangali Ragini: Folio from a ragamala series (Garland of Musical Modes). India (Rajasthan, Amber). 1709. Ink, opaque watercolor, and gilt on paper. Paintings

Shiva dances for Parvati, other deities and a group of people in the mountain. Gouache painting by an Indian painter.

The sorcerer, disguised as a Brahmin, visits the King of Babylon, from a Tuti-nama, Tales of a Parrot. Tutinama, Tales of a Parrot, is a series of 52 stories in Persian from the 14th century, in the 16th century Mughal Emperor Agbar commissioned an illustrated version, Thirty-fifth Night, c. 1560. Mughal India, Court of Akbar (r. 1556-1605), Historical, digitally restored reproduction from an original of the period

The wife of the son of the vizier brings the magic wooden parrot to her lover, the monk, who exchanges it for the replica, from a Tuti-nama (Tales of a Parrot): Tenth Night, c. 1560. Lalu. Gum tempera, ink, and gold on paper; painting only: 7.4 x 10.2 cm (2 15/16 x 4 in.); overall: 20 x 13.2 cm (7 7/8 x 5 3/16 in.).

18th century Indian manuscript about the life of Krishna.

. For a white palace, Radha is on a yellow dress, her head prone to a knee raised while left Krishna away from her. To make the show a dark blue (or black) Border with flour and tendrils pattern in white and gold, around it a wide pink with red speckled leaf edge and red frame lines.

The parrot speaks to Khujasta at the beginning of the twenty-ninth night, from a Tuti-nama, Tales of a Parrot. Tutinama, Tales of a Parrot, is a series of 52 stories in Persian from the 14th century, in the 16th century Mughal Emperor Agbar commissioned an illustrated version, Mughal India, Court of Akbar (r. 1556-1605), Historical, digitally restored reproduction from an original of the period

The king of Hâmâvarân sues Rustam for peace., 1616 - 1620 (Inferred), Istanbul, Manuscripts Turkish, Campaigns & battles, Surrenders, 22.3 x 18.5 cm

Vintage Persian Miniature art. Depiction of Muhammad on Bulaq from the Miʻraj Namah, 1750

Bahram Gur Visits the Dome of Piruza on Wednesday, Page from the Haft paykar (Seven Portraits), from a manuscript of the Khamsa (Quintet) of Nizami (d. 1209) Nizami. , 16th century. Opaque watercolor, ink, and gold on paper, 10 1/8 x 5 11/16 in. (25.7 x 14.5 cm). The Haft Paykar, or Seven Portraits, is the fourth of the five narrative poems of the Khamsa of Nizami, and tells the story of the legendary fifth-century Sasanian king Bahram Gur. The tale is believed to contain the poets own views on love and emphasizes the importance of self-knowledge. Raised at the court of an Arab king, Bahram Gur one day found his way into a locked palace room, where he encountered seven portraits of seven princesses representing the seven climes of antiquity. After becoming king, Bahram Gur took these “seven beauties” as brides and built each a domed pavilion. He visited each of his brides on successive days of the week, dressed in robes that matched the color associated with each pavilion. In this pa

Krishna and Radha. Radha is kneeling for Krishna on a stylized field with flowers. The image is immaced by a dark red border with black and white frame lines.

Khusraw Celebrating after Killing the Dragon, Page from a Manuscript of the Khamsa (Quintet) of Nizami. Iran, Safavid, 17th century. Manuscripts; folios. Opaque watercolor, ink on paper

Jahangir (full title: Al-Sultan al-'Azam wal Khaqan al-Mukarram, Khushru-i-Giti Panah, Abu'l-Fath Nur-ud-din Muhammad Jahangir Padshah Ghazi Jannat-Makaani) (20 September 1569 8 November 1627) was the ruler of the Mughal Empire from 1605 until his death in 1627. The name Jahangir is from Persian,meaning 'World Conqueror'. Nur-ud-din or Nur al-Din is an Arabic name which means 'Light of the Faith'. Born as Prince Muhammad Salim, he was the third and eldest surviving son of Mogul Emperor Akbar. Akbar's twin sons, Hasan and Hussain, died in infancy. His mother was the Rajput Princess of Amber, Jodhabai (born Rajkumari Hira Kunwari, eldest daughter of Raja Bihar Mal or Bharmal, Raja of Amber, Rajasthan). Jahangir was a child of many prayers. It is said to be by the blessing of Shaikh Salim Chishti (one of the revered sages of his times) that Akbar's first surviving child, the future Jahangir, was born. The child was named Salim after the dervish and was affectionately addressed by Akbar

In Constantinople honey, oil, water, and wine issue from the mouths of statues, f. 242. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

The Marriage of Krishna and Rukmini. Date/Period: 1590/1600. Painting. Gouache with gold on paper. Width: 30.2 cm. Height: 24.1 cm (sheet). Author: Unknown Indian (Bikaner).

Ragini Bhairavi, Page from a Jaipur Ragamala Set 1745-1770 Rajasthan. Opaque watercolor and gold on paper .

Alexander visits the Ka'ba. Gouache heightened with gold on paper, Shiraz, 16th century, miniature, 22.3 x 15.9cm.

India: Jahangir Preferring a Sufi Shaikh to Kings. Watercolour painting from the St. Petersburg Album by Bichitr (fl. 1610-1660), c. 1615-1618.

Jahangir (full title: Al-Sultan al-'Azam wal Khaqan al-Mukarram, Khushru-i-Giti Panah, Abu'l-Fath Nur-ud-din Muhammad Jahangir Padshah Ghazi Jannat-Makaani) (20 September 1569 8 November 1627) was the ruler of the Mughal Empire from 1605 until his death in 1627. The name Jahangir is from Persian, meaning 'World Conqueror'. Nur-ud-din or Nur al-Din is an Arabic name which means 'Light of the Faith'. Born as Prince Muhammad Salim, he was the third and eldest surviving son of Mogul Emperor Akbar. Akbar's twin sons, Hasan and Hussain, died in infancy. His mother was the Rajput Princess of Amber, Jodhabai (born Rajkumari Hira Kunwari, eldest daughter of Raja Bihar Mal or Bharmal, Raja of Amber, Rajasthan). Jahangir was a child of many prayers. It is said to be by the blessing of Shaikh Salim Chishti (one of the revered sages of his times) that Akbar's first surviving child, the future Jahangir, was born. The child was named Salim after the dervish and was affectionately addressed by Akbar

"Muslim Pilgrim to Mecca Meets a Brahman on the Road", Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi 1520-25 Amir Khusrau Dihlavi. "Muslim Pilgrim to Mecca Meets a Brahman on the Road", Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi 446292

Four Love Scenes and a Landscape: Page from a Dispersed Raskapriya ca. 1700 India (Rajasthan, Bundi) The lowest register sets the context for the multiple scenes above; a couple stands on a terrace in a complex of buildings on the banks of a wooded stream. The couple appears four times; in each instance the chamber is distinct and the couple is dressed in different garb. The separation of these scenes likely relates to different types of interactions between lovers, as recounted in the Rasikapriya.. Four Love Scenes and a Landscape: Page from a Dispersed Raskapriya 37872

Maharana Bhim Singh in Procession. Date/Period: Ca. 1820. Painting. Opaque watercolor and gold on paper Opaque watercolor and gold on paper. Height: 603 mm (23.74 in); Width: 445 mm (17.51 in). Author: Attributed to Ghasi.

Independent Heroine (Svadhinabhartrika), Nayika Painting Appended to a Ragamala (Garland of Melodies). Nepal, Bhaktapur (), circa 1650. Manuscripts. Opaque watercolor, metallic paint, and ink on paper

Dhanyashri Ragini, page from a dispersed Ragamala series Murad (). , ca. 1695. Opaque watercolor, silver, and gold on paper, sheet: 7 5/16 x 6 in. (18.6 x 15.2 cm). In the fifteenth or sixteenth century, a new genre of painting developed that attempted to capture in imagery the moods of famous passages of classical music. The music, known as ragas or raginis, inspired artists to create little scenarios—happy or sad, fierce or quiet, taking place in the daytime or nighttime, the summer or winter—that were illustrated over and over again. Like many ragini paintings, Dhayashri shows a woman who misses her beloved. Here, the woman (with green skin) paints a picture of her absent lover, hoping that this will magically conjure him up. Her friend sits with her, apparently berating her for wasting her time. Peacocks often appear in images of lonely women because their cry sounds like that of a woman in pain. Asian Art ca. 1695

Page From a Dispersed Chandana Malayagiri Varta: (Roaming the Sandlewood Mountain) a (recto), Above, Caravan and Merchants; Below, Raja Presenting a String of Pearls to His Queen; b (verso) A Lady Gathering Wood Beside a Stream 1749 (Samvat 1802) Rikhaji, son of Karam Chand. Page From a Dispersed Chandana Malayagiri Varta: (Roaming the Sandlewood Mountain) a (recto), Above, Caravan and Merchants; Below, Raja Presenting a String of Pearls to His Queen; b (verso) A Lady Gathering Wood Beside a Stream 37912

"Suhrab Slain by Rustam", Folio from a Shahnama (Book of Kings) of Firdausi ca. 1610 Abu'l Qasim Firdausi The hero Rustam was unaware that he had a son, Suhrab, by Princess Tahmina. It came to pass that the two met in battle, fighting on opposing sides. They struggled in single combat until Rustam stabbed Suhrab fatally. Rustam realized that he had slain his own son when he saw Suhrabs arm bracelet, which he himself had given to Tahmina many years before. Tahmina had given it to Suhrab before the battle, hoping it would protect him.. "Suhrab Slain by Rustam", Folio from a Shahnama (Book of Kings) of Firdausi 453265

Krishna Steals the Gopis' Clothes, Page from a Dated Rasikapriya Series Indian. Krishna Steals the Gopis' Clothes, Page from a Dated Rasikapriya Series, 1634. Opaque watercolors on paper, sheet: 7 3/4 x 6 1/8 in. (19.7 x 15.6 cm). Asian Art 1634

Bhim Singh of Marwar seated against abolster

Twee vogels, zittend op een berg, een heilige tekst lezend.The birds are depicted in the form of gods with wings, the left figure has a blue face (shaped from Krishna) and blue wings, the right fighter a green face and green wings; The mountain consists of four tops of the same height on which four miniature trees are located, in a valley above the heads of bird-denities is a round pond with four ducklings; There are different types of birds in the meadow at the foot of the mountain; The Holy Bookwork is located between the two deities in a bench with a red pillow. The performance is framed by coarse yellow and red edges with white and black frame lines decorated; At the top of the red edge is in black the numeral 68, the upper left corner and left edge are ragged and partly torn out.

The Infant Krishna Spirited Away by Vasudev, from a copy of the Dispersed Bhagavat Purana 1520-1555 India. Opaque watercolor on paper .

Guru Nanak Dev ji standing in the midst of devotees. Date/Period: Between 1825 and 1875. Author: UNKNOWN.

Bahram Gur and Courtiers Entertained by Barbad the Musician, Page from a manuscript of the Shahnama of Firdawsi (d. 1020) Bahram Gur and Courtiers Entertained by Barbad the Musician, Page from a manuscript of the Shahnama of Firdawsi (d. 1020), second half 17th century. Opaque watercolors, ink, and gold on paper., image: 10 3/4 x 6 5/16 in. (27.3 x 16 cm). Arts of the Islamic World second half 17th century

Divan (Collected Works) of Mir 'Ali Shir Nava'i 1499-1500 Sultan 'Ali al-Mashhadi The celebrated calligrapher Sultan 'Ali Mashhadi has copied this divan, or collection of poetry, composed by Mir 'Ali Shir Nava'i in Chaghatay or Eastern Turkish, in an elegant and fine nasta'liq script.. Divan (Collected Works) of Mir 'Ali Shir Nava'i 446554

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

Mughal Miniature painting on paper Royal King Enjoying drink Copyright: xBhagwandasxRupani/DinodiaxPhotox

Faridun crosses the River Dijla, fol. 33v12. Date/Period: 1525 - 1535. Manuscript. Height: 471 mm (18.54 in). Author: Iran Unknown.

Sufis Entering a Castle, probably from a biographicaldictionary, late 17th-early 18thcentury, Ink, opaque watercolor, and gold on paper, without mounting: 9 3/4 × 6 in. (24.8 × 15.2 cm), Sufism is a tradition within Islam that is characterized by asceticism, chanting, and repeating the names of God. The coarse blue and yellow robes worn by the two figures in the foreground of this small painting indicate that they are Sufi practitioners. For reasons that remain unclear, they are attempting to enter acastle., Iranian/Persian,Islamic, Safavid dynasty(1501-1722), Paintings

The astrologer predicts a calamity for the newly born prince in his thirteenth year, but one which he would be able to overcome, from a Tuti-nama (Tales of a Parrot): Eighth Night, c. 1560. Banavari 1 (Indian, active 1550s-1590s). Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 6.3 x 9.9 cm (2 1/2 x 3 7/8 in.).

"A Raja and a Guest Seated on a Terrace Listening to Musicians Perform", Folio from a manuscript of the Raga Darshan of Anup AH 1214/1799-1800 AD. "A Raja and a Guest Seated on a Terrace Listening to Musicians Perform", Folio from a manuscript of the Raga Darshan of Anup 455547

Guyuk Khan on a throne in a garden with a maid offering a plate and a lute player, Persian manuscript, manuscript 206, folio 140, verso.

"Muhammad and His Followers Going to Battle," Folio from a Hamla-yi Haidari ca. 1820 Muhammad Rafi Khan. "Muhammad and His Followers Going to Battle," Folio from a Hamla-yi Haidari. ca. 1820. Translucent and opaque watercolor, ink, and gold on paper. From India, probably Hyderabad. Codices

Deva with gods, anonymous, 1760 Indian miniature. drawing Deva, sitting in 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 which plants and behind it a yellow rock. The crescent moon hangs in a light blue sky. Central India paper brush

Two young princes receive the blessing, Adrianus Canter Visscher, c. 1750 - c. 1755 drawing Drawing from the manuscript of the VOC servant Adrianus Canter Visscher with twenty -eight Indian miniatures and two maps of places on the Coromandelkast. The text consists of two parts: a history of the Mogolrijk and the VOC locations on the Coromandelkast; This is followed by an advice to the lords XVII on the economic situation of the VOC in the Coromandel. Deccan paper writing (processes) / drawing prince Coromandelkust

Madhumadhavai Ragini: Page from a Dispersed Ragamala Series (Garland of Musical Modes) ca. 1640-50 India (Rajasthan, Marwar) The text of this Ragini tells of peacocks that cry at the threat of rainhere shown in the roiling black horizon and blue lines. Thinking that the peacock’s cry comes from hunger, a lady offers food. The audience would have also understood allusions to Nayikabheda poetry in which the abhisarika nayika (a heroine) travels at night in a storm to meet her lover. The figure type and color palette are distinctly Marwari, while the flattened architecture and color fields are characteristics shared with Malwa painting.. Madhumadhavai Ragini: Page from a Dispersed Ragamala Series (Garland of Musical Modes) 37895

Jahangir Visiting a Holy Man 19th century. Jahangir Visiting a Holy Man 446579

Manuscript of the Hadiqat al-Su`ada (Garden of the Blessed) of Fuzuli Muhammad bin Sulayman, known as Fuzuli (ca. 1483-1556). Manuscript of the Hadiqat al-Su`ada (Garden of the Blessed) of Fuzuli, AH 1011 / 1602-3 C.E. Opaque watercolor, ink and gold on paper; leather binding, 5 1/2 x 9 3/4 in. (14 x 24.8 cm). This manuscript is a copy of the sixteenth-century Hadiqat al-Sucada (Garden of the Blessed), written in Baghdad by the Ottoman mystic Muhammad bin Sulayman, known as Fuzuli (circa 1483-1556). It is a text on the Prophets family and belongs to a group of illustrated devotional manuscripts executed in a provincial style in Baghdad under the patronage of the Ottoman sultan Mehmet III (r. 1595-1603). Here, the Prophet is shown veiled and seated on a pulpit, accompanied by his cousin and son-in-law, cAli, and his grandchildren, Hasan and Husayn, all distinguished by haloes of fire. According to the Ottoman Turkish text, Muhammad is conversing with the angel Gabriel and the Angel of

Krishna () sitting on a swing with two women, as two maidservants fan them while others get refreshments and play music to entertain them. Gouache painting by an Indian painter.

Kama Aims His Bow at Radha: Page From a Dispersed Gita Govinda (Loves of Krishna). Culture: India (Rajasthan, Mewar). Dimensions: H. 7 1/4 x W. 11 3/8 in. (18.4 x 28.9 cm). Date: ca. 1695.Vegetation and architecture divide this painting into thirds. On the right sits Radha, refusing to be comforted. From the trees, Kama, the Hindu god of love, aims arrows at Radha's heart, while at the center, Radha's friend walks through the woods to bring Krishna (left) back to his lover. Paintings executed during the reign of Maharana Jai Singh (1680-98), like this one, tend to be executed more crudely and are more repetitive than earlier works. The maharana commissioned hundreds of paintings, and it is likely that his artists had to work quickly and with less refinement to keep up with his demands. Museum: Metropolitan Museum of Art, New York, USA.

Two birds, sitting on a mountain, reading a holy text, anonymous, 1700 - 1799 The birds are depicted in the form of gods with wings, the left figure has a blue face (shape of Krishna) and blue wings, the right figure a green face and green wings; The mountain consists of four tops of the same height at which four miniature trees are located, in a valley above the heads of the bird gods is a round pond with four ducks; There are different species of birds in the pasture at the foot of the mountain; The holy book lies between the two deities on a bench with a red pillow. The show is framed by coarse -drawn yellow and red edges with white and black framework lines; At the top of the red edge is in black the number 68, the top left corner and left edge are ragged and partly torn off. Udaipur paper. deck paint brush / brush The birds are depicted in the form of gods with wings, the left figure has a blue face (shape of Krishna) and blue wings, the right figure a green face and green wings;

Shri Raga, Folio from a Ragamala (Garland of Melodies). India, Andhra Pradesh, Kurnool or Wanparthy, circa 1800. Drawings; watercolors. Opaque watercolor and gold on paper

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