Indian Miniature Paintings

Vibrant miniature artworks depicting historical and cultural scenes from India, featuring intricate details of attire and architecture, rich colors, and expressive characters.

On a terrace with a canopy a frost sits between two half-dressed ladies and caresses them, the ladies offer themselves as well as all kinds of drinks. The representation is pasted on a piece of blue cardboard and framed by a wide dark green border with stylized flower and leaf motifs in gold, between the representation and the wide border is a narrow border colored ivory paper with a golden ornamental motif of flowers and golden and black lines, the whole leaf is finally framed with a narrow ivory colored border on which in gold some indistinct or worn-out motifs and smudges are placed., Frost with two ladies, maker: anonymous, Deccan, 1900 - 1950, paper, brush, h 154 mm × w 110 mm, h 381 mm × w 257 mm

Scene with astrologer. Draughtsman: anonymous. Dating: c. 1715 - c. 1735. Place: Hyderabad. Measurements: h 229 mm × w 133 mm; h 370 mm × w 248 mm. Museum: Rijksmuseum, Amsterdam.

Syam Kalyan Ragini Syam Kalyan Ragini, ca. 1740-1750. Opaque watercolors on paper, Image: 5 1/2 x 3 3/8 in. (14 x 8.6 cm). Asian Art ca. 1740-1750

A Heroine Plucking a Flower: Page from a Dispersed Nayikabheda. Culture: India (Madhya Pradesh, Malwa). Dimensions: 8 3/8 x 6 3/16 in. (21.3 x 15.7 cm). Date: ca. 1660-80.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. Museum: Metropolitan Museum of Art, New York, USA.

Reception of a Persian Ambassador by a Mughal Prince. Dimensions: H. 5 11/18 in. (14.5 cm)W. 5 11/16 in. (14.5 cm). Date: early 17th century. Museum: Metropolitan Museum of Art, New York, USA.

A Hindu man with a hawk, anonymous, c. 1700 - c. 1800 Indian miniature. drawing Man with a hawk sitting in his hand sitting on a carpet against a pillow. Punjab paper brush

Lalit Ragini, folio from a Ragamala. Opaque watercolor and gold on paper. Date: ca. 1605-1610. Origin: perhaps Marwar, Rajasthan state, India. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

De godin Tripurasundari, anonymous, 1750 - 1770 Indian miniature. drawing The goddess with two pairs of arms and sitting on a throne whose legs consist of gods, a man in white clothing is kneeling in front of her; Behind the white terrace with lilac lower edge a green surface with a blue, whitewashed sky. To the show Framework lines in blue and black and a narrow gold -colored piping. Collar paper brush

Vairati ragini. Draughtsman: anonymous. Dating: 1680 - 1699. Place: Bikaner. Measurements: h 242 mm × w 175 mm; h 175 mm × w 113 mm. Museum: Rijksmuseum, Amsterdam.

On a terrace with a canopy a frost sits between two half-dressed ladies and caresses them, the ladies offer themselves as well as all kinds of drinks. The representation is pasted on a piece of blue cardboard and framed by a wide dark green border with stylized flower and leaf motifs in gold, between the representation and the wide border is a narrow border colored ivory paper with a golden ornamental motif of flowers and golden and black lines, the whole leaf is finally framed with a narrow ivory colored border on which in gold some indistinct or worn-out motifs and smudges are placed., Frost with two ladies, maker: anonymous, Deccan, 1900 - 1950, paper, brush, h 154 mm × w 110 mm, h 381 mm × w 257 mm

Fratricide Witnesses the Loyalty of Two Friends. Date/Period: 1597-1598 (Mughal). Illuminated manuscripts; folios (leaves). Ink and pigments on laid paper ink and pigments on laid paper. Height: 28.50 mm (1.12 in); Width: 19 mm (0.74 in). Author: Amir Khosrow.

A woman in a landscape, around her snakes and birds. Around the representation two narrow edges in yellow and red, Asavari ragini(), draughtsman: anonymous, Centraal-India, 1710 - 1730, paper, brush, h 258 mm × w 188 mm, h 237 mm × w 170 mm

Vrouw onder een baldakijn en een vrouw op haar knieën.The show is divided into two planes: in the upper plane there is a woman under a canopy and a second woman is opposite her, in the lower level a woman is on her knees and holds her left hand for her mouth, opposite her is one in it White dressed man diagonally through the surface and holds a kind of staff in his right hand. The show has been stuck in a framework of frame lines, the old edges of which have been loosened here and there and new edges have been glued over it; The outer edge is unfromed and is located on the bottom, upper and left side of the show.

Islamic Arts Museum. Khosrow kills the lion with his fist. Shiraz, Persia. 16th century. Kuala Lumpur. Malaysia.

In a field with animals a woman with a dead man lies half over her, a man stands half over the woman and sprinkles her from a bottle, a woman holds up a large black robe and behind the hills half a figure is visible, a persian text in four columns runs up and down the representation. The representation is framed by a wide colored ivory leaf edge and lies to the right side of the leaf, Laila and Mainum., draughtsman: anonymous, Persia, 1500 - 1600, voorstelling, :, brush, brush, h 267 mm × w 162 mm, h 186 mm × w 104 mm

"Marriage of Khusrau and Shirin", Folio 104 from a Khamsa (Quintet) of Nizami. Artist: Painting by Shaikh Zada. Author: Nizami (Ilyas Abu Muhammad Nizam al-Din of Ganja) (probably 1141-1217). Calligrapher: Sultan Muhammad Nur (ca. 1472-ca. 1536); Mahmud Muzahhib. Dimensions: Painting: H. 7 in. (17.8 cm) W. 4 3/4 in. (12.1 cm)Page: H. 12 5/8 in. (32.1 cm) W. 8 3/4 in. (22.2 cm)Mat: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm). Date: dated A.H. 931/A.D. 1524-25.The second poem of Nizami's 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

Rustam says goodbye to Shah Kai Khusrau. Draughtsman: anonymous. Draughtsman: Husain Mirza Baiqara van Herat (manner of). Dating: c. 1469 - c. 1506. Measurements: h 431 mm × w 280 mm. Museum: Rijksmuseum, Amsterdam.

"Laila and Majnun in School", Folio 129 from a Khamsa (Quintet) of Nizami. Artist: Painting by Shaikh Zada. Author: Nizami (Ilyas Abu Muhammad Nizam al-Din of Ganja) (probably 1141-1217). Calligrapher: Sultan Muhammad Nur (ca. 1472-ca. 1536); Mahmud Muzahhib. Dimensions: Painting: H. 7 1/2 in. (19.1 cm) W. 4 1/2 in. (11.4 cm)Page: H. 12 5/8 in. (32.1 cm) W. 8 3/4 in. (22.2 cm)Mat: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm). Date: A.H. 931/A.D. 1524-25.One of the best-known stories of Nizami's Khamsa (Quintet) is that of Laila and Majnun, a tale akin to that of the star-crossed lovers Romeo and Juliet. This folio illustrates their meeting at the madrasa (school) where they fall in love at first sight. In addition to the young lovers, this highly detailed painting depicts activities typical of the sixteenthcentury schoolyard--with children burnishing paper, practicing their penmanship, and reading various types of books. Although the story takes place in Arabia, the architectural se

Two men on horseback, Anonymous Indian miniature. drawing Two men on horseback. The man on the right (Rustam) sits on a white, spotted horse and holds an arc in his hands. Opposite him a man on a gray horse. The meeting is observed by four men who are visible at the top of the drawing. The scene is surrounded by a thin gold border. paper brush

Page from Tales of a Parrot (Tuti-nama): text page, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Ink and gold on paper; overall: 20 x 14.4 cm (7 7/8 x 5 11/16 in.); text field: 16.6 x 10 cm (6 9/16 x 3 15/16 in.).

Illustration to the RasikaPriya

Warriors on horseback attack each other with crossbows in a hilly landscape, encouraged by a half naked figure who remains safely behind the hilltops. The scene lies on the right side of a sky blue leaf dotted with gold and is framed by golden lines, in the lower left corner is a cove., Fighting scene, draughtsman: anonymous, Persia, 1450 - 1470, paper, brush, h 201 mm × w 130 mm

Joodabhay.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.

Near a tree lies a totally destroyed wagon, on the drawbar hangs a red cloth in which Krishna was put to sleep when the wagon demon tried to kill him, his mother Yashoda picks him up while two shepherdesses are watching. Around the scene two broad red rushes with a yellow border with red and white flowers and green foliage, damage to the ornamental border, the leaf is stuck on an underlying piece of paper, Krishna destroyed the wagon demon., draughtsman: anonymous, Sirohi, c. 1620, paper, brush, brush, h 237 mm × w 270 mm, h 158 mm × w 191 mm

"Isfandiyar Slays Arjasp", Folio from a Shahnama (Book of Kings). Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Page: 8 1/16 x 5 5/16 in. (20.5 x 13.5 cm)Painting: 1 13/16 x 4 1/4 in. (4.6 x 10.8 cm). Date: ca. 1330-40.Prince Isfandiyar's sisters were imprisoned in the Brazen Hold by the Turanian chieftain Arjasp. Disguised as a merchant with a caravan laden with desirable goods and treasures, the prince is able to enter the magically impregnable prison. He releases his troops, which are hidden in the caravan boxes, and they capture the Brazen Hold, killing all its defenders; the Iranian hero personally dispatches the reprehensible Arjasp. In the epic, the battle in the fortress takes place in the dead of night, with Arjasp wakened by the din and strapping on his armor. Here, however, he is shown having just been dragged down from his throne by Isfandiyar, who holds him by the hair while cleaving him with his sword; thus the spirit of the narrative is dynamically presented, ev

Illustration for the Fairy tale Marya Morevna, Zvorykin, Boris Vasilievich (1872-after 1935)

Kedar ragini, anonymous, 1820 Indian miniature. drawing There are two men on a yellow terrace, the right is a yogi and is blue, the left is a prince, with halo; In front of the terrace is a writer who holds paper and stamp; In the background flowering trees against a night sky strewn with stars and a full moon; White birds in the trees. The show is framed by ornament edges in green and red with silver -colored motifs. In the night sky under the moon an inscription in silver. Central India paper brush / brush

Shahnameh. The Book of Kings. 16th c. Ferdowsi's Book (Shah Nahme). Sohnab begore the tent of the king. Persian art. Safavid period. Miniature Painting. FRANCE. PICARDY. OISE. Chantilly. MusŽe CondŽ (CondŽ Museum). Proc: IRAN.

Khalis repays the prince for his kindness by changing into a snake and sucking the poison from the kings daughter, from a Tuti-nama (Tales of a Parrot): Eighteenth Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 6.5 x 10.2 cm (2 9/16 x 4 in.). The prince looks on in amazement as his snake companion resumes his original form and saves the life of the princess, who was dying from a poisonous snake bite. The snake owed the prince a favor, since the prince had cut a piece of his own flesh to feed him and his mate. After the girl was restored to health, the prince married her and became viceroy to the king. His three companions, Good Fortune, the snake, and the frog, having fulfilled their obligation, then bid him farewell.

In a palace room sits a royal couple wrapped in a blue scarf, the woman has the long snake of a bong standing in front of her in her mouth, the man grabs something from a box handed over by a servant, through the window behind them in the middle you can see a landscape of white mountains, a blue wall with a bowl on it and green bulging trees, the windows on both sides are filled with black. Around the depiction a dark blue (or black) border with floral motif in lilac and orange, the border is slightly damaged and irregularly cut., Sovereign couple in palace, draughtsman: anonymous, Mandi, 1810 - 1830, paper, brush, h 226 mm × w 176 mm, h 210 mm × w 159 mm, FTZYC Doctype

In a hall of a palace a dancer is dancing in front of a bed, to her left a second dancer is crouching on a cushion, holding a musical instrument in her right arm, to her right a tabouret with jugs and bowls. The performance is bordered at the top edge as part of the gate with decorative borders, around a reddish-brown border with black and white frame lines, damage on the edges., Dancers in a palace room, draughtsman: anonymous, Rajasthan, 1790 - 1810, paper, brush, h 216 mm × w 137 mm

The young prince is presented to the king, his father, by his teacher, but refuses to speak, from a Tuti-nama (Tales of a Parrot): Eighth Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 11.5 x 9.8 cm (4 1/2 x 3 7/8 in.).

Women's residence in a palace, draughtsman: anonymous, c. 1670 - c. 1750, paper, brush, h 256 mm × w 167 mm

General Yue Fei is being tought the Yang family spear fighting technique in his dream. unknown, painter

Before meal by Riza-i Abbasi, Watercolour on parchment, 1612, circa 1565-1635, Russia, St. Petersburg, State Hermitage, 26, 2x16, 5

A Rajput Maharaja with an attendant standing behind. Gouache painting by an Indian painter.

Genera Yue fei is a technician of free fighting techniques Yang family style; XVIII-XIX century (1700-00-00-1800-00-00);Chinese (culture), fights scenes, court scenes, Chinese art, purchase (provenance)

Shirin Entertains Khusraw. Date/Period: 1597-1598 (Mughal). Illuminated manuscripts; folios (leaves). Ink and pigments on laid paper ink and pigments on laid paper. Height: 28.50 mm (1.12 in); Width: 19 mm (0.74 in). Author: Amir Khosrow.

Khandita Nayika Indian. Khandita Nayika, ca. 1800-1820. Opaque watercolor and gold on paper, sheet: 10 3/8 x 7 1/2 in. (26.4 x 19.1 cm). Some traditions celebrate Radha as the more powerful half of the pair because she has captured the heart of God. This painting shows Radha physically elevated above Krishna. He kneels before her, begging forgiveness for a past indiscretion. Her posture and gesture indicate that she does not want to hear his pleas. This painting is from a series depicting generic types of lovers. Khandita is the wronged heroine (nayika) who must be wooed back carefully. By placing Krishna in the role of the wooer, the artist adds layers of complexity to the subject. Asian Art ca. 1800-1820

Twee Oosterse figuren onder een baldakijn op een terras.Two men under a canopy on a tabouret on a terrace, on the left a servant, in the foreground two half-depths with fur hats arrive, right half a figure with a horse. The performance lies in the middle of the leaf and cover the width of two columns Persian text located above and below the show and also on the back of the leaf.

Royal couple in Palace, Anonymous, 1810 - 1830 Indian miniature. drawing In a palace room there is a royal pair wrapped in a blue scarf; The woman has the long snake of a water pipe standing in front of her mouth; The man takes something out of a box that is presented by a servant; Through the window behind them in the middle you can see a landscape of white mountains, a blue wall with a bowl on it and green convex trees; The windows on either side are filled in black. To the show a dark blue (or black) Rand with floral pattern in lilac and orange; The edge is slightly damaged and irregularly cut off. Mandi paper brush

Kanhra Ragini, c. 1700. India, Rajasthan, Amber, early 18th Century. Color on paper; overall: 29.6 x 18.4 cm (11 5/8 x 7 1/4 in.).

Two tracks with a pair on the upper track and four musicians on the lower one. Draughtsman: anonymous. Dating: 1790 - 1810. Place: Kashmir. Measurements: h 194 mm × w 121 mm; h 154 mm × w 92 mm. Museum: Rijksmuseum, Amsterdam.

"Rustam Captures Rakhsh", Folio from a Shahnama (Book of Kings). Author: Abu'l Qasim Firdausi (935-1020). Dimensions: 7.25 in. high 7.62 in. wide (18.4 cm high 19.4 cm wide). Date: mid-15th century.When he came of age, Zal promised his son, the hero Rustam, the pick of the wild horses that roamed Zabulistan and Kabulistan. Rustam chose a horse that was notoriously difficult to catch; for three years, it had resisted the attempts of the warriors who tried to tame him. Rustam, however, was able to capture the horse with his lasso and climb on its back. Museum: Metropolitan Museum of Art, New York, USA.

On a terrace in front of a palace gate sits a young woman on a roll pillow, on the left in front of her sits another young woman with a striped scarf around her head and shoulders explaining something with the help of her hands, at the back right a servant waves to her coolness, on the multicolored carpet there are bowls and bottles, the representation is provided with two columns of text on top and bottom, which continue on the back, all around bordered with frame lines. The representation is provided with two columns of text at the top and bottom and on verso, around frame lines, partly colored, Young woman on a terrace in front of a palace gate., draughtsman: anonymous, Kasjmir, 1790 - 1810, paper, brush, brush, h 180 mm × w 99 mm, h 146 mm × w 85 mm

On a tabouret a prince in a white robe sits behind him a servant with an uplifted stick. The representation is framed by black lines with a piping of gold in it, a thin decorative border decorated with goldsmith's patina and a blue decorative border with goldsmith's patina, also with lines, surrounded by a narrow border in light brown with a white line., Malkos-ragini, draughtsman: anonymous, c. 1600 - c. 1605, sierrand en kaderlijn, :, brush, h 204 mm × w 137 mm, h 151 mm × w 95 mm

Group of six women in a landscape. Draughtsman: anonymous. Dating: 1700 - 1799. Place: India. Measurements: h 270 mm × w 185 mm; h 330 mm × w 227 mm. Museum: Rijksmuseum, Amsterdam.

Iskander Comforts the Dying Darius 1585-1595 Iran. Gouache on paper .

"Bahram Gur on the Chase", Folio 10r from a Haft Paikar (Seven Portraits) of the Khamsa (Quintet) of Nizami of Ganja ca. 1430 Nizami "Bahram Gur about to Kill the Lion and Onager with one Arrow". It is this feat that gave the young prince his initial fame as a great hunter. The miniature is in the court style of Herat under the patronage of the Timurid prince Baisunghur for whom the manuscript may have been made. The fine drawing, masterly composition with its subtle asymmetry, and the delicate coloring of this style are all evident here. The scene takes place in Yemen and the artist has depicted the Arab type of turban with the long end looped under the chin.. "Bahram Gur on the Chase", Folio 10r from a Haft Paikar (Seven Portraits) of the Khamsa (Quintet) of Nizami of Ganja 455055

Persian miniature: Standing woman, Unknown, Pen and black ink, brush and opaque watercolors and gold., A woman with long veils is seen walking in a landscape and holding aloft a headband with her left thumb. Stylized clouds. Border with floral ornamentation., Persia, 18th century, Drawing, Drawing

Krishna Under a Canopy, c. 1680. Northwestern India, Rajasthan, Rajput Kingdom of Raghogarh. Gum tempera and gold on paper; page: 26.7 x 17.8 cm (10 1/2 x 7 in.); miniature: 22.9 x 14 cm (9 x 5 1/2 in.). This tranquil, languid scene on a white marble, carpeted terrace depicts the god Krishna in the place of an earthly prince. A female attendant at the left fans him, while he and another lady each hold a rose. The open doorway in the background with the rolled-up curtain above suggests the intimacy of an imminent encounter inside.

The parrot addresses Khujasta at the beginning of the forty-ninth night, from a Tuti-nama (Tales of a Parrot): Forty-Ninth Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Opaque watercolor, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 8.8 x 10 cm (3 7/16 x 3 15/16 in.). On the forty-ninth of fifty-two nights, Tuti the wise, talking parrot tells Khujasta a moralizing story about three brothers, two of whom aged prematurely, while the third remained young. The story lasts until sunrise, and Khujasta is unable to leave to visit her lover.

Fight between Durga and Nicumba. Draughtsman: anonymous. Dating: 1770 - 1790. Place: Guler. Measurements: h 286 mm × w 407 mm; h 252 mm × w 352 mm. Museum: Rijksmuseum, Amsterdam.

Ancestral group of Mughal rulers. Date: 18th century. Origin: India. Period: Mughal dynasty. Color and gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

The rejuvenated old man and the daughter of the king of the jinns take leave of the King of Kings, from a Tuti-nama (Tales of a Parrot): Seventh Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 11.3 x 10.1 cm (4 7/16 x 4 in.).

Mughal Emperor Shahjahan. Date/Period: 1660 - 1670. Painting. Height: 250 mm (9.84 in); Width: 160 mm (6.29 in). Author: UNKNOWN.

Frost and courtiers on a terrace, draughtsman: anonymous, India, 1820 - 1840, paper, brush, h 355 mm × w 235 mm, h 508 mm × w 390 mm

A man waving a stick to frighten the birds away. Gouache painting by an Indian painter.

Use Ragini, Anonymous, c. 1690 Indian miniature. drawing On a covered veranda a woman sits on her bed and picks from the flowers that stand in front of her in a large pot. Around the show a narrow yellow border in red framework lines and an outer edge in red with rounded corners; Inscription above the performance in and wide yellow strip. Sirohi paper brush / brush

Churning from ocean. Draughtsman: anonymous. Dating: 1830. Place: Garhwal. Measurements: h 275 mm × w 202 mm; h 230 mm × w 181 mm. Museum: Rijksmuseum, Amsterdam.

A Courtesan and Her Lover Estranged by a Quarrel: Page from a Rasamanjari series dated 1694-95 Devidasa of Nurpur The Rasamanjari (Essence of the Experience of Delight) is a series of late fifteenth-century poems that subtly categorizes amorous situations, moods, and physical traits of women. In this image, the half-open doorway alludes to the lovers hasty departure from the palace of his mistress. The marble gateway with darkened portal visually separates the two and forms a visual metaphor for their rift. Unlike earlier versions of this theme, in which the nayaka (lover hero) is represented as Krishna, here that role is played by a princely figure, adding heightened realism to the scene.. A Courtesan and Her Lover Estranged by a Quarrel: Page from a Rasamanjari series. Devidasa of Nurpur (active ca. 1680-ca. 1720). India (Punjab Hills, Basohli). dated 1694-95. Opaque watercolor, ink, silver, and gold on paper. Paintings

Zal and Rudaba in a Palace, page from a copy of the Shahnama of Firdausi. Iran. Date: 1475-1495. Dimensions: 25.4 x 11.4 cm (10 x 4 1/2 in.). Opaque watercolors and ink on paper. Origin: Iran. Museum: The Chicago Art Institute, Chicago, USA. Author: Islamic.

Bahrâm Gûr hunting, accompanied by his slave girl zâdah., 1616 - 1620, Istanbul, Manuscripts, Turkish, 21 x 18.4 cm

Jahangir sitting on a throne. Draughtsman: anonymous. Dating: 1675 - 1700. Measurements: h 276 mm × w 179 mm. Museum: Rijksmuseum, Amsterdam.

TIMUR LANK (O TAMERLAN) EL TARTARO CONQUISTA INDIA EN 1398 - MINIATURA TURCA - SIGLO XV/XVI. Location: VICTORIA AND ALBERT MUSEUM. LONDON. ENGLAND.

Khusraw Beholding Shirin Bathing. (Miniature From the Cycle of Eight Poetic Subjects) by Indian Art / The David Collection / The Oriental Arts / c. 1720-1740 / India, Deccan sultanates / Watercolour, Gouache on Paper / Mythology, Allegory and Literatur

"Iskandar Speaks with the Bird on the Mountain", Folio from a Shahnama (Book of Kings) of Firdausi ca. 1330-40 Abu'l Qasim Firdausi Iskandar (Alexander the Great) finds large birds nesting on tall poles high in the mountains. One speaks to him, sending him to a mountaintop. There, still higher up, he will see Israfil, the angel with the trumpet, who warns him of his impending demise. The extensive damage and patching of the background of this miniature may have obscured the birds on the two pillars that are visible. Iskandar's isolation and despair are movingly depicted.. "Iskandar Speaks with the Bird on the Mountain", Folio from a Shahnama (Book of Kings) of Firdausi 452658

"The Eavesdropper", Folio 47r from a Haft Paikar (Seven Portraits) of the Khamsa (Quintet) of Nizami ca. 1430 Maulana Azhar This folio once illustrated a magnificent manuscript of Nizamis Haft Paikar (Seven Portraits). The story of the Seven Portraits comprises a series of moralizing tales as told to the Persian hero Bahram Gur by seven princesses. This lively and lyrical scene illustrates a story in which a youth spies upon maidens swimming in a garden pool by moonlight. The voyeur is barely visible here, peering out of the shuttered window, unbeknownst to the playful bathers below.. "The Eavesdropper", Folio 47r from a Haft Paikar (Seven Portraits) of the Khamsa (Quintet) of Nizami 455059

The Lovelorn Heroine, from a Sat Sai of Bihari, 1780-90. India, Himachal Pradesh, Pahari Kingdom of Garhwal or Guler. Gum tempera and gold on paper; image: 19.3 x 14.2 cm (7 5/8 x 5 9/16 in.); overall: 26.5 x 21.1 cm (10 7/16 x 8 5/16 in.). The Sat Sai is a collection of poems mainly describing the beauty of women in a range of emotional states. The heroine of this poem sits against a tree that is in full flower, like her, but her lover is absent, and other girls walk by, gossiping. Not coincidentally, her dress matches the color of the blossoms, and no bees come to pollinate.

Illuminated Page Haidarabad Telinganeh (Golkonda). Illuminated Page, 17th century. Watercolor and gold on paper, 7 5/8 x 4 1/8in. (19.4 x 10.5cm). Asian Art 17th century

Mars, from a Mandi Astrology Series, c. 1810. Attributed to Sanju (Indian, active late 1700s-early 1800s). Gum tempera and gold on paper; 25.4 x 20.3 cm (10 x 8 in.). This page is from a series of paintings featuring astrological subjects, including personifications of planets and signs of the zodiac. Historically in India, the auspicious conjunction of planets with certain calendar dates was important for determining when to schedule events or ceremonies. Mars is depicted as a warrior with green skin and riding a tiger through the sky.

Krishna on a swing. Draughtsman: anonymous. Dating: 1750 - 1770. Place: India. Measurements: h 200 mm × w 133 mm; h 220 mm × w 153 mm. Museum: Rijksmuseum, Amsterdam.

"Faramarz Slays Varazad", Folio from a Shahnama (Book of Kings) of Abu'l Qasim Firdausi ca. 1330-40 Abu'l Qasim Firdausi Many of the wars recounted in the Persian epic, the Shahnama, concern revenge for the murder of the pure-hearted Iranian prince Siyavush at the hands of the Turanians, as seen in this rarely illustrated episode. Of particular interest is the building with a square panel of kufic script set into the brickwork, a common feature of the architecture of the period. The flames indicate that the lands of the Turanians were burned and laid waste after their defeat.. "Faramarz Slays Varazad", Folio from a Shahnama (Book of Kings) of Abu'l Qasim Firdausi 452645

Two lovers in a pavilion, from an Amarushataka (Hundred poems of Amaru), or an unidentified erotic series. Date: ca. 1680. Opaque watercolor and gold on paper. Origin: Malwa, Madhya Pradesh state, India. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Shiva and Parvati outside on a lawn with a cow behind their backs and a rocky landscape in the background. The representation is framed by a narrow edge in black with a yellow rush and a pink outer edge with red frame lines: both the representation and the leaf are heavily damaged on the lower half., Shiva and Parvati, draughtsman: anonymous, Kangra, 1810, kaderrand, :, brush, h 246 mm × w 195 mm, h 214 mm × w 159 mm

A watercolor depicting two women with two mountain peaks in the background in an outdoor scene.

Nezami (Elyas Yusof Nezami Ganjavi born c1141-1203/17) Persian poet, recounting the history of Alexander the Great (c356-323 BC). The legend of Alexander was endlessly recounted in Islamic art and literature from southern Russia to the gates of India, often under the name of Iskander. 18th century Persian manuscript of episodes in his life.

Dongfang Shuo (Tongbang Sak), one of the Eight Chinese Immortals. Korea, Korean, Joseon dynasty, 1392-1910, 18th century. Paintings. Hanging scroll, ink and color on paper

Fight between Durga and Nicumba, Anonymous, 1770 - 1790 Indian miniature. drawing The goddess with four pairs of arms and sitting on a tiger in fight with the green demon on a chariot pulled by two horses with a rider. The show is framed by a decorative edge of blue geometric motifs on yellow, around it a thin red piping and wide Seffen dark blue border; Outdoor edge damaged and almost cut away at the top. Collar paper brush

The Emperor Shāh Jahān recumbent, wistfully gazing at the Taj Mahal, accompanied by an attendant. Chromolithograph after an oil painting by Abindranath Tagore.

Bijan killing the wild boars of Irman, from a Shah-nama (Book of Kings) of Firdausi (Persian, about 934-1020), c. 1610. India, Bijapur, Deccan. Opaque watercolor, ink and gold on paper; page: 20.3 x 12 cm (8 x 4 3/4 in.); page: 20.5 x 12.4 cm (8 1/16 x 4 7/8 in.).

Archery. Date/Period: 1620. Painting. Height: 283 mm (11.14 in); Width: 193 mm (7.59 in). Author: UNKNOWN.

"Gushtasp Slays the Dragon of Mount Saqila", Folio from a Shahnama (Book of Kings) of Firdausi ca. 1330-40 Abu'l Qasim Firdausi Gushtasp, Prince of Iran, was living in disguise in Rum. In order to win the hand of Caesar's youngest daughter he had to perform a mighty feat - slay the terrible dragon of Mount Saqila. By his courage and prowess Gushtasp prevailed and killed the monster. The dragon takes up two thirds of the composition, its writhing form exuding might and menace. Adding to the dramatic tension, Gushtasp is shown to be in a restricted space from which there appears to be no escape should his mission fail.. "Gushtasp Slays the Dragon of Mount Saqila", Folio from a Shahnama (Book of Kings) of Firdausi 452649

The dervish brings the King of Kings before the king of Bahilistan, from a Tuti-nama (Tales of a Parrot): Seventh Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 13.3 x 9.9 cm (5 1/4 x 3 7/8 in.).

Lalita Ragini Indian. , ca. 1650. Opaque watercolor and gold on paper, sheet: 8 1/2 x 5 3/4 in. (21.6 x 14.6 cm). Asian Art ca. 1650

"Gushtasp Slays the Dragon of Mount Saqila", Folio from a Shahnama (Book of Kings) of Firdausi. Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Page: 8 x 5 1/4 in. (20.3 x 13.3 cm)Painting: 1 15/16 x 4 1/4 in. (5 x 10.8 cm). Date: ca. 1330-40.Gushtasp, Prince of Iran, was living in disguise in Rum. In order to win the hand of Caesar's youngest daughter he had to perform a mighty feat - slay the terrible dragon of Mount Saqila. By his courage and prowess Gushtasp prevailed and killed the monster. The dragon takes up two thirds of the composition, its writhing form exuding might and menace. Adding to the dramatic tension, Gushtasp is shown to be in a restricted space from which there appears to be no escape should his mission fail. Museum: Metropolitan Museum of Art, New York, USA.

Rider on horseback and a beggar, anonymous, 1500 - 1800 Persian miniature. drawing A rider on horseback and a beggar in a hilly landscape. The leaf is described on either side, on recto in the top of three blocks, on Verso in two vertical columns, which are crossed through a horizontal tire in which a block of text and a block of floral pattern on both sides thereof. Iran paper brush

The use and consequences of bhang. Draughtsman: anonymous. Dating: c. 1800 - c. 1825. Place: Jaipur. Measurements: h 306 mm × w 399 mm; h 228 mm × w 318 mm. Museum: Rijksmuseum, Amsterdam.

A Woman Pining for her Lover. Draughtsman: anonymous. Dating: c. 1700 - c. 1750. Place: Mewar. Measurements: h 256 mm × w 214 mm; h 229 mm × w 186 mm. Museum: Rijksmuseum, Amsterdam.

A page from a Punishment series: Punishment for murder, c. 1740. Northwestern India, Rajasthan, Rajput Kingdom of Bundi. Gum tempera and gold on paper; page: 33.7 x 24.8 cm (13 1/4 x 9 3/4 in.); miniature: 27.3 x 17.5 cm (10 3/4 x 6 7/8 in.). Themes of punishments of hell were popular in Rajasthani ateliers, and several courts commissioned paintings depicting infernal cruelty. The dark-skinned punisher pulls a royal figure from his terrace with chains and is about to smite him with his baton. A ferocious tiger can be seen ripping another man with his claws.

Dhanashri Ragini, First Wife of Dipak Raga, Folio from a Ragamala (Garland of Melodies). India, Rajasthan, Kota, circa 1725-1750. Drawings; watercolors. Opaque watercolor and gold on paper

Shahnama (Book of Kings) of Firdausi. Author: Abu'l Qasim Firdausi (935-1020). Calligrapher: Shah Muhammad of Sabzavar. Dimensions: H. 15 1/2 in. (39. 4 cm)W. 11 in. (27.9 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

The Greedy Dog 1575-1600 India. Opaque watercolor and shell gold on paper .

Kakubha ragini: a Forlorn Lady walking amongst Peacocks, anonymous, c. 1775 - 1799 Bikaner paper. deck paint. gouache (paint) Bikaner paper. deck paint. gouache (paint)

MUSEO - ULTIMA PALABRA DE MAHOMA ANTES DE MORIR - S XVI. Location: PALACIO TOPKAPI-BIBLIOTECA. ISTANBUL. TURQUIA.

A Persian miniature painting inside information center of the Genghis Khan Equestrian Statue (130 feet tall), which is part of the Genghis Khan Statue Complex on the bank of the Tuul River at Tsonjin Boldog, 33 miles east of Ulaanbaatar in Mongolia.

In a spacious courtyard of a palace, four women play a board game. The woman on the front right has three oblong dice in her hand, ready to throw. The woman on her right sits leaning against a roll pillow. She is the most important lady. The game played here is called Chaupar or Pacisi. It's night, but there are lights everywhere to light the terrace. In the background an immense amount of lights are placed on the walls of the city. Probably the Islamic feast Shab-i-Barat is celebrated here, evening in the women's rooms., draughtsman: anonymous, Lucknow, (possibly), c. 1760 - c. 1770, paper, brush, h 343 mm × w 256 mm

Ruiter meets a warrior, Anonymous, 1540 - 1560 Indian miniature. drawing Northern India paper brush

Jujhar Singh. India, Rajasthan, Bikaner, circa 1750. Drawings; watercolors. Opaque watercolor and gold on paper

Ladies on a terrace, Anonymous, 1740 - 1760 Indian miniature. drawing On a white terrace with a gallery of the palace on the right, a group of ladies, two on a couch, some people hold a musical instrument in their hand; Behind the couch is a leaf with carafes, heads and glasses and some scales with food; In the garden behind the terrace you can see dark trees, and cypresses and a few large palm leaves, a pond with a fountain and flower beds on either side for the terrace. The show is pissed off with a yellow and golden piping and frameworks, the edges of the leaf are painted orange -red and rather damaged. Shorapur paper brush / brush

of 3