Indian Miniature Paintings

Vibrant miniatures depicting romantic and narrative scenes set in palatial backgrounds, showcasing intricate details and rich colors typical of Indian artistry from the 17th to 19th centuries.

Two men on horseback. The man on the right (Rustam) sits on a white, spotted horse and holds a bow in his hands. Opposite him a man on a grey horse. The encounter is observed by four men visible at the top of the drawing. The scene is surrounded by a thin gold rim, Two men on horseback., paper, brush, h 165 mm × w 113 mm, h 175 mm × w 121 mm

Malashri Ragini from a Ragmala series. Opaque watercolor and gold on paper. Origin: Madhya Pradesh state, Malwa, India. Date: 1640. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

"Rescue of Bizhan by Piran", Folio from a Shahnama (Book of Kings) of Firdausi ca. 1610 Abu'l Qasim Firdausi During the reign of Kai Khusrau of Iran, a youth named Bizhan fell in love with Manizha, a daughter of Kai Khusraus rival Afrasiyab of Turan. Upon learning that he was secretly living with Manizha, Afrasiyab sentenced Bizhan to death by hanging. The vizier Piran argued to spare Bizhans life, and instead, Bizhan was imprisoned in a pit sealed with a boulder.. "Rescue of Bizhan by Piran", Folio from a Shahnama (Book of Kings) of Firdausi. ca. 1610. Ink, opaque watercolor, and gold on paper. Attributed to India, Deccan, Bijapur. Codices

Vier figuren op een terras voor de poort van een paleis.On a terrace for a palace, four figures are engaged in discussion, two men talk to each other over the head of a kneeled woman, behind the man right is a second woman trying to pull him away. The performance is in the middle of the leaf and cover the width of two columns text located above and below the show and also on the back of the leaf.

On a terrace in front of a palace sits a love couple on a colorful robe. On the left behind a female servant, on the right in front of a male servant, in two columns of text with Persian handwriting. The representation lies in the middle of the leaf and covers the width of two columns of text above and below the representation and also on the back of the leaf., Love couple on a terrace, with two servants behind them, draughtsman: anonymous, Kasjmir, 1790 - 1810, paper, brush, brush, h 184 mm × w 112 mm, h 145 mm × w 85 mm

On a terrace in front of a palace sits a love couple on a colorful robe, kneeling in front of an old wise man, two columns of text in Persian handwriting above and below and on the back. The representation lies in the middle of the leaf and covers the width of two columns of text above and below the representation and also on the back of the leaf, Love couple on a terrace, kneeling in front of an old wise man., draughtsman: anonymous, Kasjmir, 1790 - 1810, paper, brush, brush, h 182 mm × w 114 mm, h 145 mm × w 85 mm

Two men on horseback. The man on the right (Rustam) sits on a white, spotted horse and holds a bow in his hands. Opposite him a man on a grey horse. The encounter is observed by four men visible at the top of the drawing. The scene is surrounded by a thin gold rim, Two men on horseback., paper, brush, h 165 mm × w 113 mm, h 175 mm × w 121 mm

Radha Speaks to Krishna: Page from the Boston Rasikapriya (Lover's Breviary). Culture: India (Rajasthan, Amber). Dimensions: Sheet: 5 11/16 × 5 3/16 in. (14.4 × 13.2 cm). Date: ca. 1610. Museum: Metropolitan Museum of Art, New York, USA.

"Conquest of Baghdad by Timur", Folio from a Zafarnama (Book of Victories). Artist: Painting by Unknown. Author: Sharaf al-din 'Ali Yazdi (1424-54). Calligrapher: Ya'qub ibn Hasan, known as Siraj al-Husaini. Dimensions: 11 3/8 x 8in. (28.9 x 20.3cm). Date: Dhu'l Hijja 839 A.H./A.D. June-July 1436.This folio once illustrated a manuscript of the Zafarnama, a biography of the ruler Timur commissioned by his grandson Ibrahim Sultan. The text glorifies Timur's many victories on the battlefield, including his 1401 siege of Baghdad, depicted here. The distinctively spare yet highly animated angular compositions are characteristic of manuscript painting produced in Shiraz in this period. Museum: Metropolitan Museum of Art, New York, USA.

A King in aGarden, 16thcentury, Opaque watercolor and gold on paper, framed: 22 × 16 in. (55.88 × 40.64 cm), Iranian/Persian,Islamic, Safavid dynasty (1501-1722), Paintings

"Misbah the Grocer Brings the Spy Parran to his House", Folio from a Hamzanama (The Adventures of Hamza) ca. 1570 Attributed to Dasavanta The Hamzanama recounts the adventures of Hamza, an uncle of the Prophet Muhammad who was a legendary defender of the faith. This painting shows Misbah on the right and Parran on the left as they plot to rescue Hamzas kidnapped son. It comes from a multivolume, large‑scale copy of the text made for the emperor Akbar, which took approximately fifteen years to complete. Unlike most books, its paintings were possibly meant to be held up for an audience while a storyteller recited the text.. "Misbah the Grocer Brings the Spy Parran to his House", Folio from a Hamzanama (The Adventures of Hamza) 447752

Asavari Ragini (). A woman in a landscape, around her snakes and birds. To the show two narrow edges in yellow and red.

The wounded monkey bites the hand of the prince, his chessmate, in the presence of guests, from a Tuti-nama (Tales of a Parrot): Fifth Night, c. 1560. Dasavanta (Indian, d. 1584). Gum tempera, ink, and gold on paper; overall: 20 x 14.2 cm (7 7/8 x 5 9/16 in.); painting only: 10.2 x 10.6 cm (4 x 4 3/16 in.). This painting depicts a scene from the cautionary tale the mother parrot tells her young to warn them that interspecies friendships, like theirs with the fox cubs, are a bad idea. She tells them that there once was a monkey who could play chess, and he enjoyed many games with a prince. When the prince invited dignitaries for a party, the monkey made a bad joke, the prince slapped him, and the monkey bit him in return. At the left, food is prepared as the guests look on in astonishment. An inscription at the bottom of the page names the artist, who went on to become one of the most celebrated Indian masters at the Mughal court.

Woman and Attendant Attributed to Ruknuddin or a follower. , ca. 1700-1710. Opaque watercolor, gold, Overall: 8 3/4 x 6 in. (22.2 x 15.3 cm);. Asian Art ca. 1700-1710

View of indian town by Kesav Kalan, Watercolor, ink, gold colour on paper, circa 1586, active 16th century, USA, Washington, D.C., Freer Gallery of Art, 34, 9x23, 2

"A Tournament at Arms", Folio from a Divan (Collected Works) of Mir 'Ali Shir Nava'i 1580 Mir 'Ali Shir Nava'i. "A Tournament at Arms", Folio from a Divan (Collected Works) of Mir 'Ali Shir Nava'i 446615

A charioteer riding through a rocky landscape with an entourage of footmen and musicians, page from a Razm-nama (Book of Wars) adapted from the Sanskrit Mahabharata and translated into Persian by Mir Ghiyath al-Din Ali Qazvini, known as Naqib Khan (Persian, d. 1614), 1616-1617. Attributed to Yusuf Ali (Indian, active early 1600s). Ink, opaque watercolor and gold on paper; page: 43.5 x 28.3 cm (17 1/8 x 11 1/8 in.).

"Iskandar Speaks with the Bird on the Mountain", Folio from a Shahnama (Book of Kings) of Firdausi. Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Page: 8 1/16 x 5 1/4 in. (20.5 x 13.3 cm)Painting: 1 7/8 x 4 1/4 in. (4.7 x 10.8 cm). Date: ca. 1330-40.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. Museum: Metropolitan Museum of Art, New York, USA.

Nata Ragini, Page from a Ragamala Series Indian. Nata Ragini, Page from a Ragamala Series, ca. 1675. Opaque watercolor and gold on paper, 12 3/8 x 8 7/8in. (31.4 x 22.5cm). In the fifteenth or sixteenth century, a new genre of painting developed that attempted to capture in imagery the moods of famous passages of classical music. The music, known as ragas or raginis, inspired artists to create little scenarioshappy or sad, fierce or quiet, taking place in the daytime or nighttime, the summer or winterthat were illustrated over and over again. The Nata musical theme is always depicted with warriors fighting. The hero, in a sumptuous golden coat and riding a fine (but strangely small) steed, easily overcomes his unmounted opponents, one of whom he has already decapitated. One of the most striking features of this painting is the highly dynamic treatment of the rocks in the background and foreground, which create a lively frame for the action. The convention of depicting rocks as swell

"Nushirvan Eating Food Brought by the Sons of Mahbud", Folio from a Shahnama (Book of Kings) 1330s Abu'l Qasim Firdausi This page once formed part of a now-dispersed manuscript known as the Great Mongol Shahnama, believed to have been produced in the 1330s at Tabriz. A large-scale work, it would have once contained nearly 300 folios with almost 200 paintings. The subject of this beautifully painted folio is unclear as its imagery does not relate directly to its surrounding text, but it likely represents the king Nushirvan dining.. "Nushirvan Eating Food Brought by the Sons of Mahbud", Folio from a Shahnama (Book of Kings) 451082

Todi Ragini, Anonymous, 1740 - 1760 Indian miniature. drawing Against an unpainted background, a young woman is sitting on a taboeret and plays a musical instrument, on the right in front of her state and goat with a lifted head; Above her head a curved branch with fern -like blisters. The show is glued, with a few frameworks all around; The leaf is then stuck again on a piece of cardboard, vertical strips are turned on left and right; placed on the Versokant a brushed edge around a leaf with calligraphic text in processed and decorated windows. Deccan paper brush / brush

Young and an old man in a garden, Anonymous, 1500 - 1600 Persian miniature. drawing A young and an older man walk in a garden full of flowers and trees in bloom; At the top and below four columns with text, three lines in the middle two and two lines in the outer two columns. The show is framed by fine framework lines colored with gold and placed on the left on the leaf surface, the text continues on the back. Persia Presentation: Paper brush

Krishna and Gopis, c. 1660. India, Rajasthan, Mewar school, 17th century. Ink and color on paper; with borders: 25 x 19.5 cm (9 13/16 x 7 11/16 in.); painting only: 23.5 x 17.5 cm (9 1/4 x 6 7/8 in.).

Iskander Comforts the Dying Darius. Iran; Shiraz, Fars. Date: 1585-1595. Dimensions: Page: 30 x 19.5 cm (11 13/16 x 7 11/16 in.)Painting: 16.8 x 12.7 cm (6 5/8 x 5 in.). Gouache on paper. Origin: Iran. Museum: The Chicago Art Institute, USA.

The prince, once reprieved, is returned to the palace of execution a second time on the plea of the kings handmaiden, from a Tuti-nama (Tales of a Parrot): Eighth Night, c. 1560. Gujarati (Indian, active 1550s-1590s). Gum tempera, ink, and gold on paper; overall: 20 x 13.6 cm (7 7/8 x 5 3/8 in.).

Wall paintings with scenes from the life of a Maharani in a Maharaja's Palace, City Palace in Bundi, Rajasthan, India, Asia

Asavari Ragini: A Female Yogini (Page from a Ragamala Set). India; Rajasthan, Bundi. Date: 1640-1699. Dimensions: Image: 20.3 x 13.3 cm (8 x 5 1/4 in.); Outermost Border: 25 x 16.7 cm (9 13/16 x 6 9/16 in.); Paper: 28 x 19.8 cm (11 1/16 x 7 13/16 in.). Opaque watercolor on paper. Origin: India. Museum: The Chicago Art Institute, FLORENCIA, USA.

Vorstelijk gekleed persoon in een heuvelachtig landschap.A royal dressed person is in a hilly landscape and gets a bowl of fruits for him sitting in front of him; Two musicians are in the foreground. The show has been stuck in a framework of frame lines, the edges are here and there some worn out and the framework line has been put in a few places on a strip that has been stuck over the old edge; The unmerked outer edge of the leaf runs along top, lower and left side of the performance.

Couple making love, Indian Art, Mineral pigment on cotton, Usa, Baltimore, Walters Art Museum, circa 1680 21x15,9

A watercolor by an anonymous artist showing a rider engaged in a kite fight, depicting horse, rider, motion, and sky elements.

A Young Woman Visited by the SultanÕs Viziers by Indian Art / The David Collection / The Oriental Arts / c. 1570 / India, Mughal school / Gouache on paper / Genre / 15,5x10,3

"Alexander Executes Janusiyar and Mahiyar, the Slayers of Darius", Folio from a Shahnama (Book of Kings) of Firdausi. Author: Abu'l Qasim Firdausi (935-1020). Dimensions: 8 3/4 x 5 3/8in. (22.2 x 13.6cm). Date: dated A.H. 887/A.D. 1482.Alexander the Great figures prominently in Persian literature and histories, including in the Shahnama, where he is described as the half-brother of the Persian king Darab, who is sometimes considered to be the historical figure Darius. Alexander and Darius go to war, and Darius's attendants decide to kill him and pledge their allegiance to Alexander. When Alexander discovers the dying Darius, however, he tells him of their common parentage and executes Janusiyar and Mahiyar. Museum: Metropolitan Museum of Art, New York, USA.

Akbar sitting on his throne. Draughtsman: anonymous. Dating: 1675 - 1700. Measurements: h 276 mm × w 177 mm. Museum: Rijksmuseum, Amsterdam.

Akbar in Old Age 1604, Das, Manohar, 1604

Seated Edelman with letter in hand, Anonymous, 1600 - 1625 Persia paper. deck paint. gouache (paint) brush Persia paper. deck paint. gouache (paint) brush

Shahr-Arai and her lover dallying on a bed beneath which is concealed her husband, from a Tuti-nama (Tales of a Parrot): Fortieth 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: 13.4 x 10.2 cm (5 1/4 x 4 in.). Shahr-Arais husband hides under his wifes bed in an attempt to catch her in a love affair. Despite his precautions, the ends of his purple robe peek out from beneath the bed. When Shahr-Arai sees this, she quickly concocts a plan to trick her husband and protect her lover.

Resting frost under a tree. Draughtsman: anonymous. Dating: 1537. Place: Iran. Measurements: h 346 mm × w 231 mm. Museum: Rijksmuseum, Amsterdam.

Portrait of Mughal Emperor Aurangzeb, Anonymous

Queen Shand Bibi on horseback. Draughtsman: anonymous. Dating: 1780. Place: Deccan. Measurements: h 201 mm × w 130 mm; h 374 mm × w 275 mm. Museum: Rijksmuseum, Amsterdam.

Bahram Gur and the Farmer's Family, Folio from a Shahnama (Book of Kings). India (), 1475-1500. Drawings; watercolors. Opaque watercolor, gold, and black and red ink on paper

Portrait Forest King Kirpal Dev Forest Multi (Jammu). Portrait One King Kirpal Dev (1660-1690) One Multi (Jammu).

Sri Nathaji , ca. 1775. Opaque watercolor, gold and silver on paper, 11 7/8 x 9 1/4 in. (30.2 x 23.5 cm). Asian Art ca. 1775

Leaf from the Muraqqa Gulshan: The Poet and the Prince (recto) Calligraphy (verso). Date/Period: 1595-1597. Painting. Ink, opaque watercolor and gold paint on paper Ink, opaque watercolor and gold paint on paper. Height: 222.25 mm (8.75 in); Width: 114.30 mm (4.50 in). Author: Salim Quli.

Kakubha Ragini, Third Wife of Megha Mallar Raga, Folio from a Ragamala (Garland of Melodies). India, Maharashtra, Aurangabad, circa 1725. Drawings; watercolors. Opaque watercolor and gold on paper

"Encampment in the Hills: Jahangir with Falcon", Folio from a Manuscript of the Akbarnama. Folio from the Davis Album early 17th century Abu'l Fazl The emperor Jahangir appears in an outdoor encampment, identifiable by his halo, royal falcon and fur collared hunting coat, although his facial features are stiff not portraitlike. The style and small dimensions of this painting resemble folios of the early 17th century "Chester Beatty Akbarnama" manuscript, of which several folios are incorporated into the Davis album. Yet patently, this is a later painting, perhaps made by an artist in India or Iran, to match the historical style of the Akbar manuscript.. "Encampment in the Hills: Jahangir with Falcon", Folio from a Manuscript of the Akbarnama. Folio from the Davis Album 448473

Royal hunting party. Draughtsman: anonymous. Dating: 1560 - 1570. Place: Iran. Measurements: h 285 mm; w 186 mm × h 227 mm; h 352 mm × w 228 mm; h 143 mm × w 146 mm. Museum: Rijksmuseum, Amsterdam.

Two Oriental figures on a carpet in front of a palace. Draughtsman: anonymous. Dating: 1790 - 1810. Place: Kashmir. Measurements: h 185 mm × w 101 mm; h 145 mm × w 85 mm. Museum: Rijksmuseum, Amsterdam.

Abhisarika Nayika (Heroine Running to Meet her Lover) 1725-1775 Kota. Opaque watercolor and gold on wove paper .

Maharaja Ram Singh of Kota Indian. Maharaja Ram Singh of Kota, mid-19th century. Opaque watercolor and gold on paper, sheet: 10 1/2 x 14 5/8 in. (26.7 x 37.1 cm). Asian Art mid-19th century

A Persian hero (Iskandar) on horseback, shoots an arrow at the simurgh (phoenix). Gouache painting by a Persian artist, ca. 1750().

Shah Abbas II of Persia (1633-1668) by Iranian master / Private Collection / 1750 / Iran, Safavid dynasty / Gouache on paper / Portrait / 36,2x26

Ruler Entertained by Dancers in a Paradise Garden 1790-1800 India. Opaque watercolor and gold on paper .

The old man eats of the fruit of the Tree of Life, but drops dead, from a Tuti-nama (Tales of a Parrot): Ninth Night, c. 1560. Lalu. Gum tempera, ink, and gold on paper; painting only: 11.4 x 10.2 cm (4 1/2 x 4 in.); overall: 20.1 x 14.3 cm (7 15/16 x 5 5/8 in.).

The Young Emperor Akbar Arrests the Insolent Shah Abul-Maali, page from a manuscript of the Akbarnama 1585-1595 India. This is a page from the Akbarnama (Book of Akbar), a lavishly illustrated manuscript commissioned by the Mughal emperor Akbar (r. 1556ñ1605) to document the history of his rule. The scene depicts the emperor at age thirteen, three days after his accession. Seated on a gold throne placed on a carpeted platform, Akbar watches as his late fatherís favorite is arrested for his insolent behavior toward the young emperor. The settingóa tented encampment pitched in a gardenóis significant, for Akbar spent much of his reign on the move. Through his active campaigning and strong administrative skills, he greatly expanded the Mughal Empire, consolidating and securing it for his successors. In addition, he was a great patron of the arts, initiating a new style of painting and establishing a vast atelier and library.One of the new themes the emperor encouraged was the painting of

Youth Seated by a Willow; Single Page Illustration, c. 1600-1650. Style of Muhammad Yusuf (Iranian). Ink, gold, and colors on paper; sheet: 33.5 x 21.9 cm (13 3/16 x 8 5/8 in.); image: 15 x 9.6 cm (5 7/8 x 3 3/4 in.).

"The Combat of Rustam and Kafur", Folio from a Shahnama (Book of Kings) ca. 1330-40 Abu'l Qasim Firdausi Only the indomitable Iranian hero Rustam could outdo an enemy chief whose armor was magically impenetrable. In this very dynamic battle scene the artist has mistakenly provided Kafur (a foreign king who supposedly fed only on the human flesh of growing youths) with a mace-and an ox-headed one at that. However, the poem relates that it was Rustam who killed Kafur with a blow of his mace and, moreover, the ox head was the symbol of Iranian heroes, from the time of Faridun.. "The Combat of Rustam and Kafur", Folio from a Shahnama (Book of Kings) 452639

Shiva Ardhanarisvari. Draughtsman: anonymous. Dating: 1795 - 1805. Place: Centraal-India. Measurements: h 305 mm × w 217 mm; h 248 mm × w 160 mm. Museum: Rijksmuseum, Amsterdam.

Deva, sitting on a gallery of the palace receives a delegation of gods, in the foreground all kinds of fencing structures, in the background a white wall above which plants and behind it a yellow rock. The crescent crescent moon hangs in a light blue sky, Deva with gods., draughtsman: anonymous, Centraal-India, 1760, paper, brush, h 253 mm × w 149 mm, h 313 mm × w 219 mm

The guard spares the life of the slave when he learns that he is the son of the princess of the Rum, from a Tuti-nama (Tales of a Parrot): Fiftieth 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: 7.9 x 10 cm (3 1/8 x 3 15/16 in.). The king, mistakenly believing that the princesss secret son is her lover, orders him to be executed. The young man is shown with hands bound and long hair in disarray; his unraveled turban lies on the ground at his side. Just before the guard can behead him, the princesss son reveals his true identity, and his life is spared.

Dame op rots, anonymous, 1700 - 1800 Indian miniature. drawing A lady is sitting on a pink rock in a hilly landscape; In the foreground a pond and in the background a house and trees against an air of a setting sun. The show is framed by two decorative edges, a narrow green border with a motif of tendrils with white three-leaf flowers and yellow framework rings and a wider red edge with a decorative pattern of varied and curved flowers in gray; The outer edge is worn and damaged here and there; A white framework separates the two decorative edges. Bikaner paper. deck paint brush

Krishna on a swing, draughtsman: anonymous, India, 1750 - 1770, paper, brush, h 200 mm × w 133 mm, h 220 mm × w 153 mm

"Portrait of a Persian Lady", Folio from the Davis Album dated A.H. 1149/A.D. 1736-37 This folio depicts a lady seated on a balcony before an expansive landscape. The artist has used European techniques of modeling and shading in rendering the face, neck, and hands. The landscape in the background incorporates the use of perspective, a technique adopted by Iranian court painters in the mid-seventeenth century. A small date in white ink in the sky appears to read A.H. 1149/A.D. 1736-7, which places this work in the period of the Afsharid rulers of Iran.. "Portrait of a Persian Lady", Folio from the Davis Album 448490

Shah Jahan holding a spinel and a long Deccan sword, from the Late Shah Jahan Album, c. 1650. India, Mughal, 17th century. Opaque watercolor and gold on paper; page: 36.7 x 25.4 cm (14 7/16 x 10 in.). This page came from an imperial album assembled for Shah Jahan toward the end of his reign. Only portraits of the emperors have angels hovering with a crown in the top border along with the predator peacefully paired with his prey below. Shah Jahan chose to link these symbols of peace and justice with divine sanction for his rule, as indicated by the light of the sun and moon behind his head. Royal retainers carry emblems of sovereignty in the left border. Imperial Mughal painting reached a pinnacle of refinement and formality under Shah Jahan. The artists reveal astonishing skill in their ability to render the subtle texture of the feather in his turban crest, the gleam of every jewel, the softness of his beard, and the delicacy of his costly translucent muslin robe. In his hand Shah Ja

Maharaja Rai Singh holding a flower, with an attendant holding a fly whisk behind him. Gouache painting by an Indian painter.

To the right of the representation a round vault in a hilly landscape in which white deer roam, behind the vault a tree and under the vault against the grey background a kneeling woman with her face towards the deer, two columns of text at the top and bottom of the representation and on the back, framed by frame lines. Two, columns of text on the front and back in black, on verso a horizontal band in blue with text in white, lady in a cave in a rocky landscape with deer., draughtsman: anonymous, Kasjmir, 1790 - 1810, paper, brush, h 184 mm × w 116 mm, h 145 mm × w 85 mm

A Gentleman with His Musicians mid-16th century. A Gentleman with His Musicians 446891

Man Meditating in a Garden Setting Indian. Man Meditating in a Garden Setting, ca. 1820-1840. Opaque watercolor on paper, sheet: 10 3/4 x 7 7/8 in. (27.3 x 20.0 cm). Asian Art ca. 1820-1840

A portrait of I'timad ad-Dawlah. Date: 18th century. Origin: India. Period: Mughal dynasty. Color and gold over gold-sprinkled black ground on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

"Man's Fate or the Man Taking Refuge in a Well Inhabited by a Dragon", Folio from a Kalila wa Dimna. Dimensions: 12.5 in. high 8.87 in. wide (31.8 cm high 22.6 cm wide). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Radha, seated on a balcony, gazes at Krishna as he approaches. Lush trees and a stormy sky in the background. Opaque watercolor and gold on paper. Origin: Bikaner, Rajasthan state, India. Date: dated 1690. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

A watercolor painting depicting a seated princess in a composed posture, with detailed costume and posture.

Alexander holding court in China., The legend of Alexander the Great (356-323 BC) was recounted endlessly in Islamic art and literature., After a Persian manuscript

Raga Shri-rag, Page from a Jaipur Ragamala Set 1745-1770 Rajasthan. Opaque watercolor and gold on paper .

Illustration for the Fairy tale of Ivan Tsarevich, the Firebird, and the Gray Wolf, Zvorykin, Boris Vasilievich (1872-after 1935)

This illustration is taken from the book "Sinbad the Sailor" that was published around 1914. It shows Lady Bedr-el-Budr at her bath. The illustrator was Edmund Dulac and the story is from the Arabian Nights. Aladdin fell in love with Lady Bedr-el-Buhr when he saw her. Here the Lady is shown at her bath.

Above, the emperor Aurangzeb consults a physician; below, one of the emperor's sons is attended by physicians. Gouache painting, 17--.

A depiction of Dhû'l-Qarnayn, known as 'the two-horned' (i.e., Iskandar or Alexander the Great), accompanied by six warriors. He is supervising the construction of a wall between the known world and the lands of Yâjûj and Mâjûj. The illustration is found on folio 132. It was created around the year 1580, possibly in Qazvin, and measures 16.5 x 16 cm

Illustration from 'Princess Badoura: A Tale from the Arabian Nights' depicting an old man leading a woman across the bridge. Illustrated by Edmund Dulac (1882-1953), a French British naturalised magazine and book illustrator.

Rustam's seventh course: He kills the White Div, folio 124 from a Shah-nama (Book of Kings) of Firdausi (Persian, about 934-1020), 1522-37. Attributed to Abd al-Vahhab (Persian, active about 1516), attributed to Mir Musavvir (Iranian, c. 1510-1555). Opaque watercolor, gold, and silver on paper; sheet: 47.5 x 32.2 cm (18 11/16 x 12 11/16 in.); image: 28.4 x 18.5 cm (11 3/16 x 7 5/16 in.).

Hero enjoying the bathing beauty. Date/Period: 1770. Painting. Height: 305 mm (12 in); Width: 200 mm (7.87 in). Author: UNKNOWN.

Kamod Raga of the "Dipak Raga" Family, page from a Ragamala Series, c. 1750. India, Pahari Hills, Bilaspur School, Mughal. Ink, color and gold on paper; image: 18 x 14.8 cm (7 1/16 x 5 13/16 in.); paper: 22.4 x 18.7 cm (8 13/16 x 7 3/8 in.).

Portrait of a Man early 17th century. Portrait of a Man. early 17th century. Ink, watercolor, and gold on paper. Attributed to Iran. Codices

Return of the Errant Lover, Folio from an Amaru-Sataka (The Hundred Stanzas of Amaru). India, Madhya Pradesh, Malwa, circa 1660. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

"Alexander Fights a Sea Battle", Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi 1597-98 Amir Khusrau Dihlavi 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 Alexanders time.. "Alexander Fights a Sea Battle", Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi 446566

ABDUL Hasan Qutb Shah, ruled Golconda 1662-87 when his state conquered by imperial troops, c. 1680 Golconda Mughal School Indian miniature

On a golden chair on a terrace sits a lady dressed in red, in her left hand she is holding the snake of the hookah that stands right in front of her, left in front of her a bowl of which the pigeons are pecking and in the background three bowls of flowering plants, in the middle of the terrace two leaves with caraffn and pots. The representation is in frame lines of black, red and white, a golden piping around the inner edge, the outer edge of the leaf is in sky blue with foliage in gold, the vertical edges narrower than the horizontal, around the painted edge even more frame lines in white, red and black, also filled with a golden piping in the middle., Lady on a chair, draughtsman: anonymous, Shorapur, 1770 - 1790, paper, brush, brush, h 302 mm × w 222 mm, h 165 mm × w 135 mm

Texts and flower ornaments, India, 1740 - 1760, paper, brush, h 300 mm × w 250 mm

"Rustam Avenges his Own Impending Death", Folio from a Shahnama (Book of Kings) ca. 1330-40 Abu'l Qasim Firdausi Rustam's half-brother Shaghad dug a pit, filled it with sharp spikes, and covered it to trap the hero. Observing from behind a tree and exulting when Rustam and his horse fall into the pit and are impaled, Shaghad is killed by the dying hero's last arrow, which is shot with such strength that it pierces the tree. The scene is illustrated in an effective manner, with only Shaghad's head protruding from behind the tree. The mushroomlike rock on the left is a motif from Chinese painting that entered the Ilkhanid repertoire.. "Rustam Avenges his Own Impending Death", Folio from a Shahnama (Book of Kings) 452656

Figures on a Terrace Indian. Figures on a Terrace, ca. 1760-1775. Opaque watercolor and gold on paper, sheet: 18 15/16 x 12 7/8 in. (48.1 x 32.7 cm). Asian Art ca. 1760-1775

Shah-nameh by Firdausi. Persian 17th or 18th century manuscripts. Eastern laid paper; black ink with with highly decorated major ʻunwāns; minor ʻunwāns in gold ink, now very faded; four columns enclosed in a thin red-blue-yellow border; text begins on folio 1b with rubrication and gold interlinear decoration up to folio 3a; folios 1b and 2a have elaobroate border of grape decoration in various shades of green and gold; catchwords on rectos

Portret van de Shah Suleiman, de heerser van Isfahan.Shah Suleiman (1666-1694) has been depicted until the hips, half to the right, with a sword in the right hand and his left hand on his dagger. Leaf 47 in the `Witsen album ', with 49 Indian miniatures of princes. Above the portrait a piece of paper is stuck with the name in Persian. Under the portrait a piece of paper is stuck with the name of Shah Abbas II in Portuguese, but the portrait presents Shah Suleiman.

Maharaja Jai Singh of Amber and Maharaja Gaj Singh of Marwar, Folio from the Amber Album. Attributed to Bichitr (India, active circa 1610-circa 1660). India, Mughal empire, circa 1630. Drawings; watercolors. Opaque watercolor, gold, gesso, and ink on paper

Radhika's Manifest Agitation (Prakasha Udvaiga), Folio from a Rasikapriya (The Connoisseur's Delights). Attributed to Sahibdin (India, Rajasthan, Mewar, circa 1625-1655). India, Rajasthan, Mewar, Udaipur (), 1625-1650. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Portrait of Fath Ali Shah (1797-1834) by Iranian master / The David Collection / The Oriental Arts / 1811 / Iran, Qajar Dynasty / Gouache on paper / Portrait / 33,7x22,8

Rama and Laksmana Fighting Ravana, c. 1750. India, Pahari, Bilaspur, 18th century. Color on paper; image: 21.2 x 15.8 cm (8 3/8 x 6 1/4 in.); overall: 26.8 x 19.4 cm (10 9/16 x 7 5/8 in.).

The third suitor, who is an archer, shoots the wicked fairy who has imprisoned Zuhra. He rides on a magic horse prepared by the second suitor and is led to the spot by the divining prowess of the first, from a Tuti-nama (Tales of a Parrot): Thirty-fourth 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: 13.8 x 10 cm (5 7/16 x 3 15/16 in.).

Leaf from a Persian Translation of the Ramayana Leaf from a Persian Translation of the Ramayana, 19th century. Ink on paper, 8 5/8 x 5 1/2 in. Asian Art 19th century

Shahnameh. The Book of Kings. 16th c. The Birth of Rostam by Caesarean. Gouache on paper. F01v. Persian art. Safavid period. Miniature Painting. FRANCE. PICARDY. OISE. Chantilly. MusŽe CondŽ (CondŽ Museum).

Rustam hits Kâfûr.. 1616. Firdawsî. text. illuminated manuscripts, Illuminations, Manuscripts. Spencer Collection. Manuscripts, Persian

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