Indian Historical Art and Figures

Colorful and intricate Indian artworks featuring divine figures like Radha and Krishna, Vishnu, and noble men in ornate settings, showcasing traditional styles.

In the middle of the performance Krishna and Radha in a garden with trees and peacocks, on either side two servants with musical instruments, at the bottom a geometrical border. Around the representation a narrow white and a lilac border and a wide orange-red border with rounded corners., Megha raga, draughtsman: anonymous, Sirohi, c. 1690, paper, brush, brush, h 202 mm × w 159 mm, h 155 mm × w 140 mm

Radha and Krishna in a palace (Ragamala). Draughtsman: anonymous. Dating: c. 1610 - c. 1620. Measurements: h 218 mm × w 148 mm; h 240 mm × w 182 mm. Museum: Rijksmuseum, Amsterdam.

Vishnu lies on the snake Ananta, Bhumi is in front of him. Draughtsman: anonymous. Dating: 1830 - 1850. Place: Mandi. Measurements: h 221 mm × w 285 mm; h 146 mm × w 213 mm. Museum: Rijksmuseum, Amsterdam.

Shahzadeh A'zam and Shahzadeh Bidarbakht Indian. Shahzadeh A'zam and Shahzadeh Bidarbakht, 1875-1900. Opaque watercolor and gold on paper, sheet: 19 5/8 x 11 7/8 in. (49.8 x 30.2 cm). Asian Art 1875-1900

Miran Shah Indian. Miran Shah, 1875-1900. Opaque watercolor and gold on paper, sheet: 19 5/8 x 11 3/4 in. (49.8 x 29.8 cm). Asian Art 1875-1900

Seated Figures and Attendants Before a Fountain , 19th century. Opaque watercolors on paper, 6 x 6 in. (15.2 x 15.2 cm). Asian Art 19th century

In the middle of the performance Krishna and Radha in a garden with trees and peacocks, on either side two servants with musical instruments, at the bottom a geometrical border. Around the representation a narrow white and a lilac border and a wide orange-red border with rounded corners., Megha raga, draughtsman: anonymous, Sirohi, c. 1690, paper, brush, brush, h 202 mm × w 159 mm, h 155 mm × w 140 mm

Vishnu in his incarnation as a turtle sits on Mount Meru which serves as a karnstok when churning the ocean of milk. The image is framed by a narrow white rush, surrounded by a wide orange-red decorative border with black lines, this sheet is pasted on a sheet of cardboard paper on which a black line of pencil is drawn, Kurma (incarnation of Vishnu as a turtle) Churning the ocean Avatars of Vishnu (series title)., draughtsman: anonymous, Jaipur, 1825 - 1875, paper, brush, brush, h 350 mm × w 255 mm, h 245 mm × w 176 mm, h 195 mm × w 129 mm

Nanda and Yasoda with Krishna and Balarama. Draughtsman: anonymous. Dating: c. 1800. Place: Rajasthan. Measurements: h 311 mm × w 244 mm; h 233 mm × w 182 mm. Museum: Rijksmuseum, Amsterdam.

The Timid Bride. Culture: India (Punjab Hills, Kangra). Dimensions: 7 1/4 x 5 13/16 in. (18.4 x 14.8 cm). Date: ca. 1800. Museum: Metropolitan Museum of Art, New York, USA.

Woman with child. In the middle of a white terrace with golden fencing is a young woman dressed in purple, red and gold that has a child in yellow for her; The child holds a wind tolerance in his right hand; Behind the terrace a symmetrical row of cypresses against a light green area with a blue night sky above it. The show is trimmed with a golden piping and frame lines in black, the edge of the leaf is bright orange painted without further ornaments; Here and there some holes in edge and show.

Arjuna's Penance, Scene from a Mahabharata Series Indian. Arjuna's Penance, Scene from a Mahabharata Series, ca. 1825-1840. Opaque watercolor and gold on paper, sheet: 15 7/16 x 20 1/2 in. (39.2 x 52.1 cm). Asian Art ca. 1825-1840

Rafi' al-Daula Rafi' al-Shan Padshah ibn Bahadur Padshah Indian. Rafi' al-Daula Rafi' al-Shan Padshah ibn Bahadur Padshah, 1875-1900. Opaque watercolor and gold on paper, sheet: 19 3/4 x 11 13/16 in. (50.2 x 30.0 cm). Asian Art 1875-1900

A prince on horseback is fighting with a nobleman on foot, in the foreground lies a decapitated man. Orange border with frames in gold and black., Nata ragini, draughtsman: anonymous, Deccan, 1780, paper, brush, h 355 mm × w 221 mm, h 225 mm × w 135 mm

In the middle of a white terrace with golden fencing stands a young woman dressed in purple, red and gold who has a child in yellow in front of her, the child holds a windmill in his right hand, behind the terrace a symmetrical row of cypresses against a light green surface with a blue night sky above it. The representation is bordered with a golden piping and frame lines in black, the edge of the leaf is painted bright orange without any further decoration, here and there some holes in the edge and representation, Woman with child., draughtsman: anonymous, Shorapur, 1770 - 1790, paper, brush, brush, h 266 mm × w 213 mm, h 218 mm × w 152 mm

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

Malavashri ragini, kneeling woman with Lotus flower in front of a house, draughtsman: anonymous, Bikaner, 1650 - 1700, paper, brush, h 317 mm × w 203 mm

Looking for her beloved The fearless heroine defies the elements. A girl in a dark forest is chased by a black evil spirit with a child over his shoulder. The show is framed by a narrow edge of dulled flowers and tendrils against a dark blue background with white frame lines.

MINIATURA MONGOLA-ESCENA EROTICA S XVII. Location: NATIONAL LIBRARY. France.

Portrait of Raja Man Singh of Amber ca. 1590 Raja Man Singh, known as the Mirza Raja, was one of Akbars boon companions, a member of the circle the emperor called the Nauratan, or "nine jewels." He joined Akbars court in 1562, when Akbar married the eldest daughter of Raja Bihar Mal of Amber, who had adopted Man Singh. He was appointed governor of Bihar and later of Bengal. Under Jahangir, he served in the Deccan, where he died in 1614.. Portrait of Raja Man Singh of Amber. ca. 1590. Ink, opaque watercolor, and gold on paper. Attributed to India. Codices

The princess discovers the bodies of her man and his Brahmin friend with their heads severed, from a Tuti-nama, Tales of a Parrot. Tutinama, Tales of a Parrot, is a series of 52 stories in Persian dating from the 14th century, in the 16th century Mughal Emperor Agbar commissioned an illustrated version, Thirty-fourth Night, c. 1560. Mughal India, Court of Akbar (ruled 1556-1605) ., Historical, digitally restored reproduction from an original from the then

Portrait of Akbar, standing, with feather plume in hand. Draughtsman: anonymous. Draughtsman: Gangaram (attributed to). Dating: 1700 - 1710. Measurements: h 235 mm × w 136 mm. Museum: Rijksmuseum, Amsterdam.

Lovers, c. 1675, 8 1/2 x 6 1/16 in. (21.59 x 15.4 cm), Opaque watercolors on paper, India, 17th century, These two leaves are classic seventeenth-century Malwa school paintings, one of the earliest and historically most important Rajput schools. At Mandu, the capital of Malwa, miniature painting can be traced back to the fifteenth century, when it developed as a variant of the Jain style of western India. By the seventeenth century, however, this purely Malwa style had evolved. Simple geometric compositions predominate, and colors are bold and highly symbolic, while naturalism and volume are negated. Human figures are typically shown against red or green backgrounds, which dramatically flatten the pictorial surface, thereby lessening the sense of space.

Shahnameh. The Book of Kings. 16th c. Book of Firdawsi (Shah name). Bijene and Reham leave to attack Firud. Persian art. Safavid period. Miniature Painting. FRANCE. PICARDY. OISE. Chantilly. MusŽe CondŽ (CondŽ Museum). Proc: IRAN.

Sri Raga: An Illustration from a Ragamala Series, c. 1740. India, Mughal, 18th century. Opaque watercolor with gold on paper; page: 33.2 x 23 cm (13 1/16 x 9 1/16 in.).

A Raja Smoking a Hookah. Culture: India (Rajasthan, Kota). Dimensions: 6 1/4 x 4 5/16 in. (15.9 x 11 cm). Date: ca. 1690-1710.By the last quarter of the seventeenth century, artists at Kota had already begun producing depictions of court life. Here, an unidentified raja is seated on a terrace covered with a floral carpet. He is smoking a hookah. His left hand simultaneously guides the hose toward his mouth and holds a sprig of flowers. His right arm rests on a large, striped bolster. A box for pan (betel nut), another intoxicant, is set before him. The painting combines elements of the Rajput, Deccani, and Mughal styles. The saturated color in the lower half of the painting is typically Rajput, as is the shallow space. The idea of portraiture likely was inspired by Mughal or Deccani models, as was the pale green background of the painting. Museum: Metropolitan Museum of Art, New York, USA.

Asceet sitting in front of a prince and his court, anonymous, c. 1600 drawing. Indian miniature paper. deck paint. paint (coating). ink. watercolor (paint). gouache (paint) pen / brush

Princess on aBalcony

Twee jonge prinsen ontvangen de zegen.Drawing from the manuscript of the VOC servant Adrianus Canter Visscher with in the back of twenty-egypt Indian miniatures and two cards of places on the Coromandel coast. The text consists of two parts: a history of the Mogolrijk and the VOC branches on the Coromandel coast; This is followed by advice to the men's XVII about the economic situation of the VOC in the Coromandel.

Todi ragini. Draughtsman: anonymous. Dating: c. 1770. Place: Bundi. Measurements: h 286 mm × w 175 mm. Museum: Rijksmuseum, Amsterdam.

The goddess with four pairs of arms and sitting on a tiger fighting the green demon on a chariot pulled by two horses with rider. The representation is framed by an ornamental border of blue geometric motifs on yellow, surrounded by a thin red piping and broad seffen dark blue edge, outer edge damaged and almost cut away at the top., Fight between Durga and Nicumba, draughtsman: anonymous, Guler, 1770 - 1790, paper, brush, h 286 mm × w 407 mm, h 252 mm × w 352 mm

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

Deva with gods. Draughtsman: anonymous. Dating: 1760. Place: Centraal-India. Measurements: h 253 mm × w 149 mm; h 313 mm × w 219 mm. Museum: Rijksmuseum, Amsterdam.

Scene from the "Shangri" Ramayana (History or Rama), 1690-1710. India, Pahari Hills, Kulu School, late 17th-early 18th Century. Ink and color on paper; overall: 22.5 x 32.7 cm (8 7/8 x 12 7/8 in.).

Worship of the Infant Krishna, c. 1890. Eastern India, Bengal, Kolkata, Kalighat. Watercolor, graphite, ink, and tin on paper; secondary support: 36 x 29.1 cm (14 3/16 x 11 7/16 in.); painting only: 29 x 25 cm (11 7/16 x 9 13/16 in.).

Album of Ragamala. A prince leads a young woman towards a divan . 19th century Indian miniature, Rajasthan School.

Radha is kneeling in front of Krishna on a stylized field of flowers. The image is framed by a dark red border with black and white frame lines, Krishna and Radha., draughtsman: anonymous, Kangra, 1810, paper, brush, h 155 mm × w 92 mm, h 192 mm × w 130 mm

Krishna Vishvarupa. Date: ca. 1740. Opaque watercolor and gold on paper. Origin: Bilaspur, Himachal Pradesh state, India. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Mughal officer by Indian Art / Private Collection / c. 1650 / India, Mughal school / Gouache on paper / Genre,History / 22x15,3

Portrait of Farruk Siyar on horseback, Anonymous, c. 1750 - c. 1799 Indian miniature Portrait of Farruk Siyar (1712-1719) on horseback. Deccan paper. deck paint. gouache (paint) brush

An African Lyre Player (recto), c. 1640-60. India, Deccan, 17th century. Ink, opaque watercolor, and gold on paper, recto; page: 40.5 x 28.9 cm (15 15/16 x 11 3/8 in.). The anonymity of the subject of this painting obscures whether this is a portrait of a historical person, or a generic depiction of a musician. The instrument in his hands is a bowl lyre, called a nanga, of the type from Nubia in northeastern Africa. Many Africans, mainly from Ethiopia, settled in the Deccan, on the western coast of southern India, where they found employment as soldiers, mercenaries, and administrators. While stereotypical associations of Africans with music and dance persist in this Deccani album page, the figure is well dressed and less caricatured than the painting from 100 years earlier of the dancing Zangi in the Tuti-nama (Tales of a Parrot).

Woman is led to her lover, Dipak raga. Draughtsman: anonymous. Dating: 1770 - 1790. Place: Lucknow. Measurements: h 184 mm × w 113 mm; h 284 mm × w 188 mm. Museum: Rijksmuseum, Amsterdam.

Sultan Ali Adil Shah II Van Bijapur, Ruknuddin, 1687 - 1688 Indian miniature Bikaner paper. deck paint. gouache (paint) brush

Painting from 17th century Persian manuscript Men on horseback apparantly playing polo

A Warrior Mounting a Held Horse: Saindhava Ragaputra of Shri, from a Chamba Ragamala, c. 1675. Northern India, Himachal Pradesh, Pahari Kingdom of Chamba. Gum tempera and gold on paper; page: 25.7 x 18.8 cm (10 1/8 x 7 3/8 in.); image: 20.8 x 14.5 cm (8 3/16 x 5 11/16 in.). The artist has captured the scene of a noble warrior mounting his steed. Clad in a royal jama and striped trousers, he places his left foot on the stirrup as he holds the two ends of the saddle to hoist himself. His groom stands humbly behind him, admiring the heroic posture of the warrior.

Malkos Raga Indian. Malkos Raga, ca. 1735-1740. Opaque watercolor on paper, sheet: 8 x 6 in. (20.3 x 15.2 cm);. Asian Art ca. 1735-1740

Krishna and Radha Seated on a Terrace Indian. Krishna and Radha Seated on a Terrace, ca. 1760-1775. Opaque watercolor, gold, and silver on paper, sheet: 13 5/8 x 10 13/16 in. (34.6 x 27.5 cm). Asian Art ca. 1760-1775

Portrait of an officer. Date: early 18th century. Origin: India. Period: Mughal dynasty. Color and gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

A Woman is Served Fruit on a Terrace Indian. A Woman is Served Fruit on a Terrace, ca. 1770. Opaque watercolors, gold and silver on paper, 15 9/16 x 11 3/16in. (39.5 x 28.4cm). Asian Art ca. 1770

Naik - fiancée (Naik-la fiancée). Sérusier, Paul (1864-1927), painter

Dalliance on a Terrace. Attributed to Govardhan (India, Mughal, active circa 1596-1645). India, Mughal empire, circa 1615-1620. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Asavari Ragini, Anonymous, 1600 - 1649 Indian miniature. drawing A woman with a blue skin color is lonely in a rocky landscape. Her hair is tied up in a knot and her clothing consists of only a skirt of peacock springs. She does wear many jewelry. In her hand, around her foot and in her immediate surroundings, cobras winds. There are lotuses in the river. On top of a rock is a peacock with its fee showing off. A second peacock watches. With these elements, the Asavari Ragini is portrayed: a jungle resident who lures snakes towards himself. paper brush

The Heroine Who Waits Anxiously for Her Absent Lover (Utka Nayika), c. 1800. Northern India, Himachal Pradesh, Pahari Kingdom of Kangra. Gum tempera on and paper; image: 16 x 10.2 cm (6 5/16 x 4 in.); overall: 23.8 x 14.8 cm (9 3/8 x 5 13/16 in.). Inspired by devotional poetry that likens the waiting for divine favor to that of a woman alone in the forest waiting for her lover, Pahari painters mastered portrayals of this subject. Darkness has fallen, but the moon and stars and jasmine flowers brighten the night. However, monsoon clouds approach in the distance, suggesting impending danger and misery. Her gesture and expression suggest a mixture of hope and heightened uncertainty about how much longer she should continue to wait.

A Woman and a Child (Yashoda and Krishna). Draughtsman: anonymous. Dating: c. 1800 - c. 1820. Place: Mewar. Measurements: h 243 mm × w 155 mm. Museum: Rijksmuseum, Amsterdam.

"Preparation for a Feast", Folio from a Divan of Jami. Dimensions: Painting: H. 6 15/16 in. (17.6 cm) W. 4 3/4 in. (12.1 cm)Page: H. 11 1/8 in. (28.2 cm) W. 7 in. (17.8 cm)Mat: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm). Date: late 15th century.This painting depicts in a lively fashion the many tasks involved in the preparation of a feast. Such realistically observed details of menial activities, albeit for a grand occasion, exemplify the broadening of subject matter that evolved in the Herat school of painting in the latter part of the fifteenth century under the influence of the great painter Bihzad. Many Herat painters were found working in Bukhara in the early decades of the sixteenth century. Certain details of drawing and coloring suggest that this Herat style miniature was probably painted in Bukhara. Museum: Metropolitan Museum of Art, New York, USA.

Miniature depicting a courtly scene, 16th-17th centuries. Mughal Period (1526-1761). India. Opaque watercolour, ink and gold on paper. Calouste Gulbenkian Museum. Lisbon, Portugal.

Painting with a representation of a prince from the Malla dynasty, Anonymous, 1700 - 1725 Painting with a representation of a prince from the Malla dynasty. Princes from the Malla dynasty consider themselves as incarnations of the Hindu-God Vishnu. That is why they let themselves be portrayed with a throne sky consisting of tampering snakes, as is also common for Vishnu. The AVN De Malla Vorst Bhupatendra (1695-1721) portrait at the bottom of a role painting in the National Museum in New Delhi (see P. Pal, The Arts of Nepal Pt. II: Painting, Leiden, 1978, pp. 126-129, Nr. 151) seems like a reduced version of this painting. The portrait of this prince, painted on a wall in the Bhadgaon palace (ditto, pl. 193) is also very similar to the present painting. (very damaged state). Bhaktapur canvas Painting with a representation of a prince from the Malla dynasty. Princes from the Malla dynasty consider themselves as incarnations of the Hindu-God Vishnu. That is why they let themselves be por

Vasanta Ragini, Second Wife of Dipak Raga, Folio from a Ragamala (Garland of Melodies). India, Rajasthan, Marwar, circa 1675-1700. Drawings; watercolors. Opaque watercolor and gold on paper

Wall painting, historical motifs, Sisodia Rani Ka Bagh Palace, Jaipur, Rajasthan, India, Asia

"Courtiers with a Riderless Horse", Folio from a Manuscript of the Akbarnama. Folio from the Davis Album ca. 1604 Abu'l Fazl This fine grisaille drawing is probably the right-hand side of a double composition which shows an assembled group of courtly attendants with a caparisoned horse being led towards the left, where, on the adjoining page there would likely have been a ruler - likely emperor Akbar - and noblemen. Several figures hold tall red wrappings for swords while elephants and horses edge the group. Written by the courtier Abu'l Fazl between 1589 and 1598, the Akbarnama chronicles the life of the emperor Akbar. This painting is one of eight folios from the so-called "Chester Beatty Akbarnama" in the Davis album.. "Courtiers with a Riderless Horse", Folio from a Manuscript of the Akbarnama. Folio from the Davis Album 448471

Girl with a Deer (Todi Ragini ) Indian. Girl with a Deer (Todi Ragini ), 1875-1900. Opaque watercolor and gold on paper, sheet: 19 11/16 x 11 3/4 in. (50.0 x 29.8 cm). Asian Art 1875-1900

"Portrait of a Noble in Gauzy White Costume", Folio from the Davis Album. Dimensions: Page: H. 13 1/8 in. (33.3 cm) W. 8 1/4 in. ( 21 cm)Painting: H. 7 3/8 in. (18.7 cm)W. 5 1/2 in. (14 cm)Mat: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Goddess Durga and Hanuman. Draughtsman: anonymous. Dating: 1760. Place: Mandi. Measurements: h 252 mm × w 165 mm. Museum: Rijksmuseum, Amsterdam.

Harsha Hambira Kalyana Raga Attributed to Bhagvan. Harsha Hambira Kalyana Raga, before 1795. Opaque watercolor and gold on paper, sheet: 9 7/16 x 6 5/8 in. (24.0 x 16.8 cm). Asian Art before 1795

The Demon Kumbhakarna Is Defeated by Rama and Lakshmana. Culture: India (Madhya Pradesh, Malwa). Dimensions: 8 1/2 x 6 1/2 in. (21.6 x 16.5 cm). Date: ca. 1670.According to the Ramayana, Kumbhakarna, the terrifying giant and brother of Ravana, was causing great damage to the monkey army when Rama and Lakshmana entered the battle. Using magical arrows of great power, Rama severed Kumbhakarna's limbs and filled his mouth with pointed steel shafts. The pathos of the demon's defeat is emphasized by his dismembered body parts being carried away by the bear and monkey warriors. Compared to the Mughal depiction The Awakening of the Demon Kumbhakarna, which shows the giant sleeping, this Malwa portrayal focuses on his violent and bloody demise. The brilliant red and black color fields and the spatial ambiguity are drawn from earlier Hindu painting traditions of Malwa, where the Mughal style had little impact. Museum: Metropolitan Museum of Art, New York, USA.

"Portrait of a Prince (Shah Jahan )", Folio from the Davis Album mid-17th century The features of this young prince resemble those of the emperor Shah Jahan, who as a prince was known as Khurram. However, this painting is several degrees removed from the royal observations of the princely visage which are more firmly recognizable. This point, along with the overall stiffness, proportions and dark background suggest it comes from an artist based in a provincial Indian court, or elsewhere.. "Portrait of a Prince (Shah Jahan )", Folio from the Davis Album 448474

A dancing dervish and three musicians, from a Divan (Collected Poems) of Urfi (Persian, 1555-1591), 1637. India, Muhammadpur, Bijapur, Deccan, 17th century. Opaque watercolor with gold on paper, mounted with plain paper borders; page: 14.8 x 11.5 cm (5 13/16 x 4 1/2 in.); painting: 6.2 x 3.5 cm (2 7/16 x 1 3/8 in.).

Ramakali ragini. Draughtsman: anonymous. Dating: c. 1620. Place: Bilaspur. Measurements: h 254 mm × w 206 mm. Museum: Rijksmuseum, Amsterdam.

Emperor Akbar () holding a hookah pipe, sitting with three women and playing a board game while a female attendant stands behind him with a fan. Gouache painting by an Indian painter.

Patamanjari Ragini, Page from a Dispersed Ragamala Series Indian. Patamanjari Ragini, Page from a Dispersed Ragamala Series, early 18th century. Opaque watercolor and gold on paper, Sheet: 12 x 8 7/8 in. (30.5 x 22.5 cm). Asian Art early 18th century

Rathore Shri Kinjan Singhji. India, Rajasthan, Marwar, circa 1850. Drawings; watercolors. Opaque watercolor, gold, silver, and ink on paper

Princess and two servants. Draughtsman: anonymous. Dating: 1660 - 1680. Place: Bikaner. Measurements: h 144 mm × w 104 mm; h 168 mm × w 133 mm. Museum: Rijksmuseum, Amsterdam.

State Central A. Bakhrushin Theatre Museum, Moscow 26,2x35 Opera, Ballet, Theatre

Abhisarika Nayika, a Heroine Longing for Her Lover. Culture: India (Punjab Hills, Kangra). Dimensions: 6 x 3 3/4 in. (15.2 x 9.5 cm). Date: ca. 1790-1800.The Indian predilection for the categorization of experience is demonstrated here by a Nayika, one of a large group of heroines who epitomize various aspects of the ardors of love. The artist skillfully arranged the shapes of the shawl so that they make a comma-shaped opening in which a portion of the shoulder and the head of the Nayika are revealed. It leads the eye toward her gaze and from there down to her flexed hand, which alone reveals her ardor. Museum: Metropolitan Museum of Art, New York, USA.

Ragini, possibly Asavari: Folio from a Ragamala Series. Culture: India (Himachal Pradesh, Mankot). Dimensions: Image: 7 in. × 6 5/8 in. (17.8 × 16.8 cm)Sheet: 8 3/8 × 8 1/8 in. (21.3 × 20.6 cm). Date: ca. 1700-1710.In this pictorial metaphor for a raga (a musical phrase that is used as the basis for improvisation), a lady charms the snakes entwining the adjacent trees. The tree motifs frame the young woman, seen against a monochromatic ground with arching skyline, gesturing to the snakes who respond to her movements. In a related theme, the Abhiri Ragini, the woman feeds the snakes milk from a bowl. Museum: Metropolitan Museum of Art, New York, USA.

Portrait of a Prince with a Hawk, 1700s. India, Mughal, 18th century. Opaque watercolor on paper; sheet: 44 x 28.7 cm (17 5/16 x 11 5/16 in.); image: 17.7 x 11.8 cm (6 15/16 x 4 5/8 in.).

Portret van Musa Khan, die een page van Sultan Abdullah is geweest; na Neknam-Khan heeft hij gediend als legeraanvoerder van Karnatak.Musa Khan has been depicted to his hips, used to the right, in his right hand a sword, with his left hand, he wears a shield. Leaf 26 in the `Witsen album ', with 49 Indian miniatures of princes. Above the portrait a piece of paper with the name in Persian. Under the portrait a piece of paper with the name in Portuguese.

Portrait of Suraj Singh Rathor, Raja of Marwar and Maternal Uncle of Shah Jahan: A Page from the Prince Khurram Album, c. 1600. Attributed to Bishandas (Indian, active c. 1610-30). Opaque watercolor with gold on paper; page: 29.1 x 19 cm (11 7/16 x 7 1/2 in.). This true-to-life portrait depicts the maternal uncle of the Mughal prince Khurram (1592-1658), who would later become the emperor Shah Jahan. His clothing and accessories-especially the six-pointed wrapped tunic made of prized translucent muslin-reveal his wealth and status. The artists skillful brushwork conveys the varied textures of the fabrics and sensitively renders his patient, somewhat weary expression. Prince Khurram selected this painting for inclusion in an album he assembled in 1612. Suraj Singh was a Hindu prince from Marwar, a Rajput kingdom under the auspices of the Mughal empire. His sister, a Marwar princess, was the third wife of the Mughal emperor Jahangir. Intermarriage with Hindu families is one example of

Portrait of Prince Azam Shah 1660-1675 India. Opaque watercolor and gold on paper . Mughal

Kneeling writer. Draughtsman: anonymous. Dating: 1605 - 1615. Place: India. Measurements: h 120 mm × w 65 mm; h 282 mm × w 183 mm. Museum: Rijksmuseum, Amsterdam.

Love Scenes Indian. Love Scenes, 1660-1680. Opaque watercolor and gold on paper, sheet: 8 1/4 x 6 1/2 in. (21.0 x 16.5 cm). Asian Art 1660-1680

Den grootvader.Drawing from the manuscript of the VOC servant Adrianus Canter Visscher with in the back of twenty-egypt Indian miniatures and two cards of places on the Coromandel coast. The text consists of two parts: a history of the Mogolrijk and the VOC branches on the Coromandel coast; This is followed by advice to the men's XVII about the economic situation of the VOC in the Coromandel.

Sages Cursing the Yadava People. Draughtsman: anonymous. Dating: c. 1800. Place: Centraal-India. Measurements: h 247 mm × w 375 mm; h 319 mm × w 446 mm. Museum: Rijksmuseum, Amsterdam.

Repast. Teniers, David II (Flemish, 1610-1690) (designed after) painter Teniers, David III (Flemish, 1638-1685) (designed after) painter c. 1725-1750 Tapestry Dimensions: H 11'6" x W 9'6" Tapestry Materials/Techniques: unknown Culture: Flemish Weaving Center: unknown Ownership History: French & Co. purchased from Henry Symons & Co., NY, invoiced 9/5/1929. Before inn, group of 3 reclining ladies making chaplets; young man reclines in woman's lap; 2 fruit-peddlers approach; couple walking away from scene in background (BRD) picture-frame border with abstracted floral & palmette-shell motif; palmette shells with female faces in every corner & in center of each side French & Co. stock sheet in archive, 34696-a Related Works: Panels in set: GCPA 0241628, 0188295, 0242675, 0241848; compositionally similar tapestry (full composition), GCPA 0241632; iconographically similar tapestry (same borders), GCPA 0241627, 0241512

Hindola Raga, Folio from a Ragamala (Garland of Melodies). India, Rajasthan, Sirohi, late 17th century. Drawings; watercolors. Opaque watercolor and ink on paper

Standing woman with carafe and drinking bowl, anonymous, c. 1740 India paper. deck paint. gouache (paint) brush India paper. deck paint. gouache (paint) brush

Shiva Intercedes for Vanasura: Scene from the Aniruddha Usha Section of Krishna Lila, c. 1840. India, Pahari, possibly Garhwal, 19th century. Color and gold on paper; image: 18.2 x 25.5 cm (7 3/16 x 10 1/16 in.); overall: 19 x 26.5 cm (7 1/2 x 10 7/16 in.).

Mujer con un instrumento musical. Museum: FREE LIBRARY PHILADELPH EEUU.

Parodies of Europeans. India, Rajasthan, Mewar, circa 1760-1775. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Vasanta Ragini, Ragamala Album, School of Rajasthan, 19th century. Dance of Krishna to the sound of the music of Gopis. Found in the collection of Jean Claude Carriere. The artist is unknown.

Rustem slaying the White Genius. Artist: Unknown

Toda Mongke and His Mongol Horde, Folio from a Chingiznama (History of Genghis Khan). Tulsi (India, active 1575-1596)Madhu (India, active 1575-1604). Pakistan, Lahore, Mughal empire, 1596. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Illustration with sitting woman by Riza-i Abbasi, watercolour, ink, gold colour on paper, 1602, circa 1565-1635, Russia, St. Petersburg, State Hermitage, 19, 3x16

Persian painting. Colour plates

A courtesan reclining on cushions. Watercolour drawing.

"Diana, Goddess of the Hunt", Folio from the Davis Album. Dimensions: Page: H. 13 1/8 in. (33.3 cm)W. 8 1/4 in. (21 cm)Mat: H. 19 1/4 in. (48.9 cm)W. 14 1/4 in. (36.2 cm). Date: early 17th century.Although painted by an Indian artist, the style and subject of this painting of the Goddess Diana are distinctly European. It was likely painted in India during the reign of the Mughal emperor Jahangir (1605-27), who was an avid collector and connoisseur. Jahangir collected European paintings, and was particularly interested in religious, allegorical and mythological scenes. Believing his court artists to be as accomplished as European painters, he ordered them to copy several European paintings - it is likely that this folio was among those meant to prove the skill of his court atelier. Museum: Metropolitan Museum of Art, New York, USA.

Panel from a polyptych before 1343 Neopolitan(). Panel from a polyptych. Neopolitan(). before 1343. Poplar. Gilt; deep orange bole.. Frames

LAMINA INDIA-PAREJA INDIA EN LA PUERTA DE UNA CASA-S XIX. Location: PRIVATE COLLECTION. MADRID. SPAIN.

Originally a dancing girl, Lal Kunwar became Jahandar's concubine and later the queen consort. Contemporary historians noted Jahandar Shah's decadent lifestyle and his devotion to Lal Kunwar, who is named in the inscription at the top of the page. Reportedly, Lal Kunwar had much influence at Jahandar's court. Jahandar Shah was defeated in the battle at Agra on 10 January 1713 by Farrukhsiyar, his nephew and the second son of Azim-us-Shan, with the support of the Syed Brothers. He fled to Delhi, from where he was captured and handed over to the new Emperor, who confined him along with Lal Kunwar. He lived in confinement for a month, until 11 February 1713, when professional stranglers were sent to murder him. When the stranglers were admitted into the prison, Lal Kunwar shrieked, clasped hold of her lover and refused to let go. Violently forcing the two apart, they laid hands on Jahandar Shah and finished him off. His head was severed and presented to Farrukhsiyar, while his body was ta

"Alexander Fights a Sea Battle", Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi. Artist: Dharmadas. Dimensions: H. 9 3/4 in. (24.8 cm)W. 6 1/4 in. (15.9 cm). Poet: Amir Khusrau Dihlavi (1253-1325). Date: 1597-98.In the episode illustrated, Alexander the Great has ordered the construction of a tall tower surmounted by a revolving mirror in order to battle the pirates menacing the Mediterranean Sea. The protagonists appear as contemporary Indians wearing turbans and tunics, rather than ancient Greeks, and one of the fighters uses a gun, an invention from nearly two millennia after Alexander's time. Museum: Metropolitan Museum of Art, New York, USA.

18th century Murals frescos paintings in Adinath Jain temple at Vidur village near Tindivanam, Tamil Nadu, South India, India, Asia

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