Indian Miniature Paintings

A collection of Indian miniature artworks depicting heroic figures, deities, and women in serene landscapes. Rich colors and intricate details capture traditional themes of longing and devotion.

The goddess with two pairs of arms and sitting on a throne of which the legs are made up of gods, a man in white attire is kneeling in front of her, behind the white terrace with lilac underneath a green surface with a blue, white-cloudy sky. Around the picture framing lines in blue and black and a narrow gold-colored piping, Devi on throne with gods as legs., draughtsman: anonymous, Guler, 1750 - 1770, paper, brush, h 228 mm × w 172 mm, h 207 mm × w 163 mm

A Heroine Plucking a Flower: Page from a Dispersed Nayikabheda ca. 1660-80 India (Madhya Pradesh, Malwa) The artist instilled this painting with an iconography of longing: the empty bed, the solitary nayika (heroine), and the forlorn call of the peacock. The patterned raindrops, stylized creepers, and surface treatment of the architecture distinguish this manuscript from other work done in the Malwa courts. The figural type suggests an awareness of the Mewar or Bundi traditions; the use of a black sky and a red color field behind are typical of the archaic tastes of Malwa production, which survived into the late seventeenth century.. A Heroine Plucking a Flower: Page from a Dispersed Nayikabheda 37881

The goddess with two pairs of arms and sitting on a throne of which the legs are made up of gods, a man in white attire is kneeling in front of her, behind the white terrace with lilac underneath a green surface with a blue, white-cloudy sky. Around the picture framing lines in blue and black and a narrow gold-colored piping, Devi on throne with gods as legs., draughtsman: anonymous, Guler, 1750 - 1770, paper, brush, h 228 mm × w 172 mm, h 207 mm × w 163 mm

Kamod ragini. Draughtsman: anonymous. Dating: c. 1690. Place: Sirohi. Measurements: h 207 mm × w 156 mm; h 161 mm × w 131 mm. Museum: Rijksmuseum, Amsterdam.

A Lady Archer Indian. A Lady Archer, 1875-1900. Opaque watercolor and gold on paper, sheet: 19 3/4 x 11 3/4 in. (50.2 x 29.8 cm). Asian Art 1875-1900

Sitting lady on terrace, Anonymous, 1790 - 1810 Indian miniature. drawing For a white palace, a woman sits on a taboeret, standing on a red rug with blue floral motifs; In front of her lies a woman kneeling with both arms put forward, behind her a servant who getting her coolness; In the background a river with three white-blue hills with towers on top. To the show a dark blue (or black) Rand with flower and tergotif in white and red, around it a wide pink leaf edge with red framework lines. Collar paper brush

Posthumous portrait of Emperor Jahangir under a canopy (recto), c. 1650. India, Mughal, 17th century. Opaque watercolor and gold on paper, borders with floral motifs in colors and gold; page: 35.2 x 22.1 cm (13 7/8 x 8 11/16 in.). Jahangir, the fourth Mughal emperor, was remembered for his greatness long after his death. Ruling from 1605 to 1627, he laid the foundations for long-term trade and diplomatic relations with various nations of Europe, most notably England and Portugal. He oversaw the transition of Mughal India into a global power during a time that can be considered the international Age of Exploration. This posthumous portrait depicts Jahangir amid the trappings of wealth and power with the light of divine sanction shining behind his head. A white marble railing demarcates his imperial space.

A Persian miniature is a small painting on paper, whether a book illustration or a separate work of art intended to be kept in an album of such works called a muraqqa. The techniques are broadly comparable to the Western and Byzantine traditions of miniatures in illuminated manuscripts. Although there is an equally well-established Persian tradition of wall-painting, the survival rate and state of preservation of miniatures is better, and miniatures are much the best-known form of Persian painting in the West, and many of the most important examples are in Western, or Turkish, museums. Miniature painting became a significant Persian genre in the 13th century, receiving Chinese influence after the Mongol conquests, and the highest point in the tradition was reached in the 15th and 16th centuries. The tradition continued, under some Western influence, after this, and has many modern exponents. The Persian miniature was the dominant influence on other Islamic miniature traditions, princip

Lovers on aTerrace

Bikaner (Rajasthani: िकाणो, Urdu: بِيكانير ‎) is a city in the northwest of the state of Rajasthan in northern India. It is located 330 kilometres (205 mi) northwest of the state capital, Jaipur. Bikaner city is the administrative headquarters of Bikaner District and Bikaner division. It was formerly the capital of the princely state of Bikaner. The city was founded in 1486 and from its small origins has developed into the fifth largest city in Rajasthan. The Ganges Canal, completed in 1928, and the Indira Gandhi Canal, completed in 1987, have allowed the farming of crops such as mustard, cotton, groundnuts, wheat and vegetables. Other industries include wool production and the mining of Gypsum, plaster of Paris and bentonite.

Portrait of a Noble imitation of 16th century. Portrait of a Noble. imitation of 16th century. Opaque watercolor, ink, and gold on paper. Attributed to Iran. Codices

Two Women Pluck Flowers on a Terrace: Gunakari Ragini, from a Ragamala, c. 1650. Central India, Madhya Pradesh, Malwa. Gum tempera and gold on paper; page: 21 x 16.5 cm (8 1/4 x 6 1/2 in.). A woman with dark complexion and her fair-skinned companion collect flowers in a white bowl from a plant growing in a golden pot. Two huge yellow bolsters set rakishly on the bed suggest restlessness inside the chamber. A gold box for breath-freshening betel (paan) is on the bed, and golden wine vessels are in the two turrets and on the roof, probably to be drunk while watching for her lover to arrive.

TIMUR LANG O TAMERLAN (1336-1405) EN SU TRONO - PINTURA MONGOLA - MINIATURA DEL SIGLO XVIII. Location: NATIONAL LIBRARY. France. TAMERLAN. TIMUR LANK.

Dipaka Raga, Page from a Dispersed Ragamala Series Indian. Dipaka Raga, Page from a Dispersed Ragamala Series, ca. 1800. Opaque watercolor on paper, sheet: 12 x 8 1/4 in. (30.5 x 21.0 cm). Asian Art ca. 1800

Malavashri Ragini, Kneeling Woman with Lotusbloem for a house, Anonymous, 1650 - 1700 drawing. Indian miniature Bikaner paper. deck paint. gouache (paint) brush

Todi ragini. Draughtsman: anonymous. Dating: 1700 - 1800. Place: Deccan. Measurements: h 140 mm × w 87 mm; h 107 mm × w 135 mm. Museum: Rijksmuseum, Amsterdam.

Regal couple in palace. Draughtsman: anonymous. Dating: 1810 - 1830. Place: Mandi. Measurements: h 226 mm × w 176 mm; h 210 mm × w 159 mm. Museum: Rijksmuseum, Amsterdam.

The Nabob of Arcot with his Prime Minister. Gouache drawing.

A man walking, holding a bowl of fruit. Ink drawing.

A Woman of the Court Dressed as Radha late 18th century Attributed to Ramji Standing boldly against a darkened interior, an idealized woman of the court is shown holding cymbals and musical clappers. All attention is placed on her luminous figure that is aggrandized by her elaborate feathered turban, long green coat and an array of faceted gems and strings of brilliant white pearls done in low relief gesso. She is a nayika, a poetic archetype of feminine beauty who embodies the charged emotional state of separation from her lover. Building on this idea and given the blue background, associated with Krishna, she may be a court beauty dressed as his paramour Radha. Large format paintings reflecting a sophisticated taste for design and spatial ambiguity were produced only during a brief moment at the end of the 18th century at the Jaipur court. While several important painters were active at this court, the distinctive style of this painting allows for a tentative attribution to the artis

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

Lovers Embracing, c. 1630. India, Popular Mughal School, probably done at Bikaner, Mughal Dynasty (1526-1756). Opaque watercolor and gold on paper; image: 14.9 x 10.1 cm (5 7/8 x 4 in.); overall: 24 x 16.8 cm (9 7/16 x 6 5/8 in.); with mat: 35.5 x 25.4 cm (14 x 10 in.).

The poet Sundar Das before Emperor Shah Jahan, folio from a Sundar Shringar. Opaque watercolor and gold on paper. Origin: Guler, Himachal Pradesh state, India. Date: ca. 1750-1760. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Baby Krishna kills the demon Putana, anonymous, 1740 - 1760, In front of a palace with strong geometric planes, the demon Putana is attacked by the baby Krishna and falls down mortally wounded; two women on either side look on and point their fingers to their lips in surprise. The frame edges of the scene are partially cut away; at the top is a rectangular bulge with an inscription.

Portrait of Farruk Siyar (1712-1719) on horseback, Portrait of Farruk Siyar on horseback, draughtsman: anonymous, Deccan, c. 1750 - c. 1799, paper, brush, h 281 mm × w 191 mm

On a cheerfully flowered terrace stands a gold-framed bed on which a princess has flattered herself, behind her and looking at them two women are leaning back smiling, at the foot end stand three servants pampering her, in the foreground a symmetrical garden with flower beds, in the background a symmetrical row of trees with the leaves framed in gold, between each pair of trees rises a cypress against a light blue morning sky coloured red by the rising sun. The representation is bordered with a narrow yellow edge and around it a pinkish colored leaf edge., Lying princess with servants, draughtsman: anonymous, Kishangar, c. 1800, paper, brush, brush, h 231 mm × w 170 mm, h 209 mm × w 150 mm

A European Woman and a Visitor. India, Uttar Pradesh, Awadh, circa 1700-1725. Drawings; watercolors. Opaque watercolor and gold on paper

Frost with a group of people, c. 1800 Indian miniature. drawing Central India paper brush

Maharaja of Kotah Listening to Music and Watching Dancers, c. 1820. India, Kotah school, early 19th Century. Opaque watercolors and ink on paper; image: 33.3 x 25.3 cm (13 1/8 x 9 15/16 in.); paper: 35.4 x 27.2 cm (13 15/16 x 10 11/16 in.).

Young Prince. Date/Period: Mid-16th century. Painting. Opaque watercolor and gold on paper. Height: 341 mm (13.42 in); Width: 240 mm (9.44 in). Author: Signed by Muhammad Haravi.

Portrait of a Youth in Blue with a Fur Hat. Iran, Mashad or Qazvin, circa 1560-1570. Manuscripts; folios. Ink, opaque watercolors and gold on paper

Composite miniature; 18th century (1701-00-00-1800-00-00);

Deccan ruler (Maratha king Shambhuji), anonymous, c. 1650 - c. 1699, draughtsman: anonymous, Deccan, c. 1650 - c. 1699, paper, brush, h 333 mm × w 216 mm

Erotic scene, couple having sex, a pair of lovers, probably Raja Mahendra Pal of Basohli (regent from 1806-13) with a favourite queen, c. 1810. North India, Jammu and Kashmir, Pahari kingdom of Basohli, illustration from c. 1810, India, digitally restored reproduction from an original of the period, Asia

Youth Holding a Pomegranate; Illustration from a Single Page Manuscript, c.1600-1650. Style of Riza-yi Abbasi (Iranian). Opaque watercolor and gold on paper; image: 15.3 x 8 cm (6 x 3 1/8 in.); overall: 27.7 x 16.4 cm (10 7/8 x 6 7/16 in.).

Seated Youth. Date: ca. 1600. Origin: India. Period: Mughal dynasty. Opaque watercolor, ink and gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Young Man in Portuguese Dress mid-17th century The arrival of European traders was soon reflected in the art of Safavid Iran. Male dress, poses from oil portraits, and the depiction of architecture and landscapes were all incorporated into traditional Persian paintings. Here the languid, handsome youth popular in many early seventeenth-century albums appears in the type of costume worn by Portuguese visitors to the court.. Young Man in Portuguese Dress. mid-17th century. Ink, opaque watercolor, and gold on paper. Attributed to Iran. Codices

Portrait of Thakur Sangram Singh Ustad Ahmad (son of Ahmad Ali). Portrait of Thakur Sangram Singh, ca. 1740-1750. Opaque watercolor, gold, and silver on paper, sheet: 12 1/4 x 8 5/16 in. (31.1 x 21.1 cm). Asian Art ca. 1740-1750

Mother and Child. India. Date: 1620-1630. Dimensions: Image: 9.8 x 7.6 cm (3 7/8 x 3 in.); Outermost border: 23.2 x 16.3 cm (9 1/8 x 6 3/8 in.); Paper: 24.2 x 17.2 cm (9 1/2 x 6 3/4 in.). Black ink with gold on paper. Origin: India. Museum: The Chicago Art Institute, Chicago, USA. Author: Mughal.

Maharana Sangram Singh Riding a Prize Stallion ca. 1712 Stipple Master Indian Presented within a long-standing tradition of imperial portraiture, Maharana Sangram Singh sits on rearing horse flanked by attendants holding fly whisks. A radiant halo further aggrandizes the king and references his dynastic descent from the sun god. The premier artist who executed this work used a stippling technique that is otherwise unknown in Rajput painting, though it does have Mughal and Deccan precedents. This distinctive approach coupled with a sparse use of color allows the paper substrate to show through, giving the painting a dreamlike quality seen in works from the period only by this artist.. Maharana Sangram Singh Riding a Prize Stallion 72589

Ruler Entertained by Dancers in a Paradise Garden. India; Uttar Pradesh, Avadh. Date: 1790-1800. Dimensions: Image: 30 x 12.9 cm (11 13/16 x 5 1/16 in.); Outermost Border: 26.2 x 15.4 cm (12 5/8 x 6 1/16 in. ); Paper: 32 x 21.9 cm (12 5/8 x 8 9/16 in.). Opaque watercolor and gold on paper. Origin: India. Museum: The Chicago Art Institute, Chicago, USA.

Rama on Horseback. India, Rajasthan, Raghugarh, 1750-1775. Drawings; watercolors. Opaque watercolor on paper

Prince Riding an Elephant 16th-17th century Painting by Khem Karan Elephants were highly prized at Indian courts, greatly appreciated as gifts, and eagerly sought as booty in military campaigns. Paintings of several admired elephants were made at the Mughal court, much as portraits were made of courtiers and nobles. Khem Karan, whose signature appears at the bottom of the picture, was a well-known painter in Akbars atelier.. Prince Riding an Elephant 447797

Portrait of Asaf Khan 19th century. Portrait of Asaf Khan 446586

"Akbar With Lion and Calf", Folio from the Shah Jahan Album verso: ca. 1630; recto: ca. 1530-50 Painting by Govardhan This posthumous portrait of Akbar incorporates the Elizabethan-derived motif of a lion and calf living in peace under the emperors benign rule. Govardhan, a master of psychological portraiture, has given the calf an air of meek nervousness, as expressed in its sideways glance and lowered ears, due no doubt to the proximity of the lions visible teeth. Cherubs above and a Netherlandish background add cosmopolitan touches in vogue at the time.. "Akbar With Lion and Calf", Folio from the Shah Jahan Album. Painting by Govardhan (active ca. 1596-1645). verso: ca. 1630; recto: ca. 1530-50. Ink, opaque watercolor, and gold on paper. Attributed to India. Codices

Portret van Madanna Panit, Belastingklerk (Majmudar) van Abul Hasan Padshah, C. 1677 - c. 1687 drawing. Indian miniature Madanna Panit is depicted up to his hips, used to the left, his right hand lifted as if he is holding something. Leaf 37 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 the Portuguese. Golkonda paper. deck paint. gold leaf. gouache (paint) brush ruler, sovereign. historical person (...) - historical person (...) portrayed alone

Stalknecht with horse, anonymous, c. 1600 - c. 1625 Indian miniature India paper. gouache (paint) brush

On a terrace in front of a hut sit three ladies with all kinds of attributes, in front of them lie fruits and stands a leaf with cups, plates and a carafe, behind the right figure and in front of the hut stands a tree and behind the hut is a small hill with a reed and flower border visible. The leaf with the representation is stuck on a discolored piece of beige cardboard whose corners were originally rounded, the lower left corner and upper right corner are torn and disappeared, the upper left corner is with cardboard and already torn and disappeared., Three yogini, maker: anonymous, Deccan, 1680, paper, brush, h 165 mm × w 101 mm, h 190 mm × w 128 mm

Beauty Holding a Flower 1640-1660 India. Opaque watercolor, gold, and ink on paper . Mughal

Equestrian Portrait of Bahadur Shah as a Young Man. Date/Period: 1685/1695. Watercolor with gold on paper. Width: 27.3 cm. Height: 38.1 cm (sheet). Author: Attributed to Hunhar I.

A Woman Under a Tree. India, Uttar Pradesh, Awadh, Lucknow, late 18th century. Drawings; watercolors. Ink and opaque watercolor on paper

Dakshina Nayaka Dakshina Nayaka, ca. 1625-1650. Ink on paper, 10 9/16 x 5 15/16 in. (26.9 x 15.1 cm). Asian Art ca. 1625-1650

Two ascetics in a landscape. Draughtsman: anonymous. Dating: 1825 - 1835. Place: Kangra. Measurements: h 186 mm × w 255 mm; h 237 mm × w 304 mm. Museum: Rijksmuseum, Amsterdam.

Portrait of Ibrahim Adil Shah II, of Bijapur (d.1626) (). Date: ca. 1640. Period: Adil Shahi dynasty. Color and gold on paper. Origin: Bijapur, Karnataka state, Deccan plateau, India. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Iskandar (Alexander the Great) & Persian emissary. 1531 book.

Kamod Ragini, folio from a Ragamala. Opaque watercolor and gold on paper. Origin: Kota, Rajasthan state, India. Date: ca. 1770-1775. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Anonymous watercolor showing a woman picking fruit from a tree, highlighting figure and tree details.

Portrait of raja man sing Rajput, visor from aurangzeb. Raja Man Sing Rajput is depicted to his hips, used to the left, in his right hand a spear, his left hand rests on a shield, in his belt a kattan. Leaf 14 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.

Todi Ragini, from a Ragamala Series, c. 1755. Eastern India, Bengal, Murshidabad, 18th century. Opaque watercolor with gold on paper; page: 28.6 x 19 cm (11 1/4 x 7 1/2 in.); miniature: 23.5 x 15.3 cm (9 1/4 x 6 in.). Ragamala paintings were recognized as being associated with a season and time of day. Evoking a late morning in spring, here a young woman beguiles deer from the woodlands with her music to prevent them from destroying the crops in the field. The saturated hues and romantic idealization of the scene continue idioms begun in the Mughal court that were disseminated to regional centers of patronage such as Murshidabad. The inscription at the top of this page identifies the name, ragini todi, in Arabic script, which suggests that this ragamala series was made for a Muslim patron.

Persian painting. Colour plates

Royal Women Feeding Fish. India; Rajasthan, Bundi. Date: 1735-1745. Dimensions: Image: 28.4 x 20.9 cm ; Outermost border: 28.7 x 21.3 cm ; Paper: 29.5 x 22 cm(Image: 11 1/8 x 8 1/4 in.; Outermost border: 11 1/4 x 8 3/8 in.; Paper: 11 5/8 x 8 5/8 in.). Opaque watercolor on paper. Origin: India. Museum: The Chicago Art Institute, Chicago, USA.

Chimpo Urma. Unknown

A couple engaged in sexual intercourse. Gouache painting by an Indian painter.

Coloured illustration of a person riding a white bull. Illustrated by Edmund Dulac (1882-1953), a French British naturalised magazine and book illustrator.

Kneeled writer. .

Portrait of Maratha Vorst Shivaji with extensive Dutch caption on the decorated frame, Anonymous, c. 1680 drawing. Indian miniature Golkonda paper. deck paint. paint (coating). gouache (paint) brush

Miniature painting of Maharaja Sawai Madho Singh Jaipur Copyright: xBhagwandasxRupani/DinodiaxPhotox

Shiva, Parvati Wall frescoed paintings in Poddar Haveli Museum, Nawlgarh, Rajasthan, India Copyright: xRxMakharia/DinodiaxPhotox

Pillow Top Insert. Dated: 1935/1942. Dimensions: overall: 45.9 x 38.3 cm (18 1/16 x 15 1/16 in.). Medium: watercolor and graphite on paperboard. Museum: National Gallery of Art, Washington DC. Author: Henry Murphy.

The apostle Paul. Draughtsman: anonymous. Dating: 1590 - 1610. Measurements: h 156 mm × w 103 mm. Museum: Rijksmuseum, Amsterdam.

A courtesan reclining on cushions, a woman available for love services in aristocratic or high bourgeois circles, 1890, East India, Bengal, Kolkata, Temple Kalighat, Historical, digitally restored reproduction from a 19th century original

Todi Ragini, Ragamala Album, School of Rajasthan, 19th century. A young woman in love charms, with deer and the gazelles. Found in the collection of Jean Claude Carriere. The artist is unknown.

Company with two monarchs at a campfire. Draughtsman: anonymous. Dating: 1670 - 1690. Place: Bilaspur. Measurements: h 215 mm × w 295 mm. Museum: Rijksmuseum, Amsterdam.

Parasurama (Incarnation of Vishnu as Rama-with-a-ax), Anonymous, 1825-1875 Indian miniature. drawing Vishnu as a parasurama goes to battle with an ax against a many -armed warrior. The show is framed by a narrow white piping, around it a wide orange -red decorative border with black framework lines; This leaf is stuck on a leaf paper leaf on which a black framework line is drawn in pencil. Jaipur paper brush / brush / brush / brush

A woman holding a flower. Ink drawing.

A European Woman Pouring Wine into a Cup, c. 1710-20. Gum tempera and gold on paper; miniature: 45.5 x 30.3 cm (17 15/16 x 11 15/16 in.). A woman looks sharply, almost surreptitiously, to one side as she pours wine from a red glass bottle. She has long and curly tresses and a green beret inspired by European styles, though she wears Indian jewelry. Images loosely based on prints that made their way to India from Europe were in vogue in Rajasthan during the 18th century.

Posthumous portrait of the Mughal emperor Muhammad Shah (reigned 1719-1748) holding a falcon by Muhammad Rizavi Hindi (Indian, active mid-1700s), 1764, Indian and Southeast Asian Art

Ornament (France); Attributed to Jean-Baptiste Réveillon (French, 1725-1811); block-printed on handmade paper; 48.5 x 39.5 cm (19 1/8 x 15 9/16 in.)

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.

European Girl Feeding a Parrot Indian. European Girl Feeding a Parrot, ca. 1780. Ink on paper, pounced for transfer, sheet: 8 5/8 x 6 3/4 in. (21.9 x 17.1 cm). Asian Art ca. 1780

Maharaja Serfoji II accompanied by his Minister ca. 1800 India, Thanjavur, Tamil Nadu This painted portrait of Maharaja Serfoji II (Sarabhoji’) (r. 1798-1832) of Thanjavur, South India, is a very rare grand-scaled picture in the late Thanjavur School style. The maharaja is rendered as youthful man in his mid-to-late twenties, sporting a handsome moustache. He is depicted standing in a formal interior treated in the manner of later eighteenth-century European portraiture, gazing directly at the viewer in a manner not traditionally encountered in Indian portraiture. The setting draws directly on European conventions, with heavy drapery with gold trim and tassels drawn back theatrically to frame the subject. Gilded side-tables, one displaying a rosewater bottle and the other a mantle clock, serve as the subject’s identifiers and evoke the quixotic world that Serfoji occupied: an Indian prince educated in English cultural mores by a Danish missionary tutor, governing his people under the

Miniature painting of Maharaja Kishan Singh Jaipur Copyright: xBhagwandasxRupani/DinodiaxPhotox

Portret van Akanna Pandit, opperschrijver van de koning (shahnawis-i kull) in het domein van Sultan Abul Hasan.Akanna Pandit is depicted to his hips, turned to the right, his left hand raised as if he holds something. Leaf 38 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 Neknam-khan; he has been Sultan Abdullah's sight and served as army commander (sar-lashkar) of Karnatak after Mir Jumla. Draughtsman: anonymous. Dating: c. 1686. Place: Golkonda. Measurements: h 203 mm × w 140 mm. Museum: Rijksmuseum, Amsterdam.

The rocking horse. Leaf with a big representation of a boy on a rocking horse. Completely surrounded by a decorative edge. In the undergarge a four-line verse in two columns. Numbered in the middle above: (No 156.

portrait of akbar Copyright: xBhagwandasxRupani/DinodiaxPhotox

Portrait of Mulla Tayfur, who has been the teacher (Ustad) of Sultan Abdullah, c. 1686 drawing. Indian miniature Mulla Tayfur is depicted up to his hips, as a curved old man, used to the right, with a staff in his left hand. Leaf 31 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 the Portuguese. Golkonda paper. deck paint. gold leaf. gouache (paint) brush ruler, sovereign. historical person (...) - historical person (...) portrayed alone

Banquet of Abbas I. 17th c. IRAN. Esfahan. Chehel Sotoun - The Palace of forty columns. Detail. Persian art. Fresco.

Seduction Scene on a Terrace by Moonlight 1655-1665 Murshidabad. Opaque watercolor with gold on paper . Mughal

A forlorn lover, fragment from a Rasamanjari. Opaque watercolor and gold on paper. Origin: Nurpur, Himachal Pradesh state, India. Date: ca. 1710-ca. 1715. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

"Portrait of Ibrahim 'Adil Shah II of Bijapur", Folio from the Shah Jahan Album verso: ca. 1620; recto: 1534 or later Painting by Hashim Ibrahim 'Adil Shah II (r. 1580-1627) was the sixth ruler of Bijapur, a kingdom in the Deccan region of India. It has been argued that the artist Hashim, who painted this likeness, joined the Mughal imperial atelier around 1620, after serving in the Deccan. Whereas the strong contours, costume details, and palette are considered to be vestiges of Hashims Deccani origins, his thoroughly Mughal rendering of facial features is attributed to changes made under Jahangirs guidance.. "Portrait of Ibrahim 'Adil Shah II of Bijapur", Folio from the Shah Jahan Album 451280

The Lovers dated A.H. 1039/ A.D. 1630 Painting by Riza-yi 'Abbasi The artist Rizayi 'Abbasi revolutionized Persian painting and drawing with his inventive use of calligraphic line and unusual palette. He painted The Lovers toward the end of a long, successful career at the Safavid court. The subject of a couple entwined reflects a newly relaxed attitude to sensuality introduced in the reign of Shah Safi (r. 1629-42). Here the figures are inextricably bound together, merged volumes confined within one outline.. The Lovers 451023

Tirtankara Suparsva. A jain-sacred with a green color is in a decorative picture frame of pillars with a serrated dome with floral motifs and a yellow surface with purple flowers on a taboo with orange rolls; An orange halo behind his head. The show is framed by black frame lines, around it a wide lilac framework with black frame line and finally a narrow yellow trim; The corners are sloped off, lower left and above not evenly.

. About the show a thin decorative edge of beige paper with gold paint is speckled, the whole is stuck on a piece of beige cardboard that has also been speckled with gold paint, a thin frame line is placed between the two ornamental edges.

Illustration from 'Princess Badoura: A Tale from the Arabian Nights' depicting the Princess embracing her mother. Illustrated by Edmund Dulac (1882-1953), a French British naturalised magazine and book illustrator.

Bhaskara Ragaputra, Page from a Dispersed Ragamala Series Indian. , ca. 1750. Opaque watercolor and gold on paper, sheet: 10 1/4 x 8 3/8 in. (26.0 x 21.3 cm). Asian Art ca. 1750

Album Page with a Portrait of Namdar Khan (Side A) and Calligraphic Specimens (Side B). India. Date: 1667-1700. Dimensions: Image: 17.8 x 9.8 cm (7 x 3 7/8 in.); Border: 23.8 x 15.9 cm (9 3/8 x 6 1/4 in.); Paper: 41.3 x 27.1 cm (16 1/4 x 10 5/8 in.). Opaque watercolor and gold on paper. Origin: India. Museum: The Chicago Art Institute, Chicago, USA. Author: Mughal.

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