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

Portrait of Dara Shikoh, Shah Jahan's eldest son, who ruled in the time of his father over the province of Delhi; After the death of his father, Aurangzeb killed him and has become himself ruler of Delhi.dara Shikoh is Depicted to His Hips, Used To The Left, With His Right Hand Holds His Sword On His Shoulder And In His Left Hand He Has A Fly Brush. Leaf 8 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.

Rawal Gaj Singhji and Portrait Studies. India, Rajasthan, Mewar, circa 1825-1850. Drawings. Ink and opaque watercolor on paper

Armorer (Yoroi takumi), from the illustrated book Picture Book of the Amusements of the East (Ehon Azuma asobi) 1797-1807 Japan. Color woodblock print; page from illustrated book . Katsushika Hokusai

"Rustam Shoots Isfandiyar in the Eye", Folio from a Shahnama (Book of Kings) ca. 1330-40 Abu'l Qasim Firdausi. "Rustam Shoots Isfandiyar in the Eye", Folio from a Shahnama (Book of Kings) 454875

Maharaja Sovan Singh playing pachisi ca. 1868 Ambav The Maharaja of Mewar, Rajasthan, Sovan Singh, is seen playing pachisi (modern parcheesi), a traditional cross and circle game known since the medieval period in India, with his courtier Chundawat Sarup Singh. Together they are seated in a white marble pavilion against a brilliant yellow background. The artist is named in the inscription on the reverse as Ambav, a follower (and likely a pupil) of the renowned Mewar court painter Tara. Together they represented the last generation of court painters in Rajasthan, who were soon to be displaced by a new technology, the glass-plate negative camera and the albumen print.. Maharaja Sovan Singh playing pachisi. Ambav (Indian, active 1860s). India, Udaipur, Mewar, Rajasthan. ca. 1868. Opaque watercolor with gold on paper, inscribed in devanagari on the reverse. Paintings

Arabic Manuscript, Illustrated with Miniatures of Various Formats unknown

"Rustam Battles Sava", Folio from a Shahnama (Book of Kings) 15th century Abu'l Qasim Firdausi. "Rustam Battles Sava", Folio from a Shahnama (Book of Kings) 452754

Prince With a Falcon. India, Mughal empire, circa 1600-1605. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Three physicians preparing medicine, from an Arabic translation of the Materia Medica of Dioscorides, 1224. Abdallah ibn al-Fadl (Iraq). Ink, opaque watercolor, and gold on paper; sheet: 33.1 x 24.5 cm (13 1/16 x 9 5/8 in.); image: 24 x 19 cm (9 7/16 x 7 1/2 in.).

The Feast central part, from The Story of Artemisia. After a design by Antoine Caron (French, 1521-1599); Woven at an unknown workshop at the Manufacture du Faubourg Saint-Marcel; France, Paris. Date: 1607-1630. Dimensions: 189.7 x 402.1 cm (74 3/4 x 157 3/8 in.). Wool and silk, slit and double interlocking tapestry weave. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Al-Hariri of Basra (1054-1122). Arab erudite and poet.; Yahya ibn Mahmud al-Wasiti. 'The Maqamat' (The Assemblies of al-Hariri), characteristic genre of the medieval arabic literature. Edition carried out in Bagdad and illustrated by al-Wasiti (1237). Soldier on camelback. Islamic art. Miniature Painting. FRANCE. LE-DE-FRANCE. Paris. National Library.

"Siege of Baghdad", Folio from a Dispersed copy of the Zafarnama (Book of Victory) of Sharaf al-din 'Ali Yazdi Dhu'l Hijja 839 A.H./A.D. June-July 1436 Sharaf al-din 'Ali Yazdi This folio once illustrated a manuscript of the Zafarnama, a biography of the ruler Timur commissioned by his grandson Ibrahim Sultan. The text glorifies Timurs many victories on the battlefield, including his 1401 siege of Baghdad, depicted here. In the painting residents of the city attempt to flee by swimming across the Tigris. The distinctively spare yet highly animated angular compositions are characteristic of manuscript painting produced in Shiraz in this period.. "Siege of Baghdad", Folio from a Dispersed copy of the Zafarnama (Book of Victory) of Sharaf al-din 'Ali Yazdi 451956

Al-Hariri of Basra (1054-1122). Arab erudite and poet.; Yahya ibn Mahmud al-Wasiti. 'The Maqamat' (The Assemblies of al-Hariri), characteristic genre of the medieval arabic literature. Edition carried out in Bagdad and illustrated by al-Wasiti (1237). Illustration of the Session 29. Islamic art. Miniature Painting. FRANCE. LE-DE-FRANCE. Paris. National Library.

A Tartar Huntsman on His Horse. Origin: China. Date: 15th century. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Illustration with man and horse by Sharaf al-Husayni al-Yazdi, gouache on paper, circa 1595, active 16th century, Russia, St. Petersburg, State Hermitage, 12x20, 8

Ragini Madhu Madhavi Indian. Ragini Madhu Madhavi, ca. 1775. Ink on paper, sheet: 12 7/8 x 8 5/8 in. (32.7 x 21.9 cm). Asian Art ca. 1775

Raj Singh (reigned 1685-1695) of Guler. India, Himachal Pradesh, Guler, circa 1690-circa 1710. Drawings; watercolors. Opaque watercolor and gold on paper

Portrait of muradbakhsh, son of Shah Jahan, born after Shuja and ruled in the time of his father over Gujarat; After his father's death, Aurangzeb has killed him and Gujarat in possession. Muradbakhsh is Depicted to His Hips, Used to the Left, With His Right Hand on His Sword and His Left Hand On The Kattar Stabbed in His Belt. Leaf 7 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.

Riza Abbasi, Riza yi-Abbasi or Reza-e Abbasi, also Aqa Riza or Aqa Riza Kashani (c. 1565-1635) was the leading Persian miniaturist of the Isfahan School during the later Safavid period, spending most of his career working for Shah Abbas I (r.1587-1629). He is considered to be the last great master of the Persian miniature, best known for his single miniatures for muraqqa or albums, especially single figures of beautiful youths.

Against a simple green background in the middle stands a woman on a tabouret, in her right hand she is holding her hair, the left one reaches diagonally back in the bowl that a servant holds in front of her and in which there are jewels, behind the tabouret stands a swan with her neck stretched upwards, in the foreground and on the side some jars and bottles. Around the scene a narrow black border and some pink and yellow frame lines on a purple wide border speckled with blue, lady after bath, with servant., draughtsman: anonymous, Bundi, 1790 - 1810, paper, brush, h 240 mm × w 172 mm

A King Handing a Royal Document to His Minister, King of the Barat (Document) Suit, Playing Card from a Mughal Ganjifa Set. India, Rajasthan, Jaipur (), 19th century. Drawings; watercolors. Opaque watercolor and gold on ivory

Shah-Jahan. (From: Padshahnama, or Chronicle of the King of the World) by Bichitr (-ca 1660) Private Collection Between 1640 and 1650 Watercolour, gouache, gold und white colours on paper India, Mughal school The Oriental Arts Mythology, Allegory

Layla and Majnun in the wilderness with animals, from a Khamsa (Quintet) of Amir Khusrau Dihlavi, c. 1590-1600. Attributed to Sanwalah (Indian, active c. 1580-1600). Opaque watercolor, ink and gold on paper; page: 24.9 x 16.8 cm (9 13/16 x 6 5/8 in.); painting: 18.6 x 16.2 cm (7 5/16 x 6 3/8 in.). Nestled in the multicolored rocks are the reunited lovers Layla and Majnun, forced by society to remain separated for years. Majnuns name means “madman,” since the separation drove him past the brink of sanity. Exiling himself to the wilderness, he became emaciated. When Layla found him after a prophetic dream, the wild animals gathered around, drawn to the purity and depth of their love. This painting illustrates a version of the story as told by an Indian author who wrote in Persian. He altered the ending given by previous Persian authors to the ancient Bedouin tale that originated among nomadic tribes of the Arabian Peninsula, in which Layla dies before the couple can be physically reuni

"Rustam Lassos the Khaqan of Chin, Pulling him from his White Elephant", Folio from a Shahnama (Book of Kings). 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 7/16 x 4 3/16 in. (3.7 x 10.6 cm). Date: ca. 1330-40.The Khaqan (khan) of Chin (China) become an ally of the Turanians and faced the Iranians with a vast army, including many sumptuously adorned war elephants. Rustam, despite the enormous odds, was determined to capture the khan and take the booty to the Iranian shah, Kai Khusrau. Rustam charged through a barrage of missiles unscathed, flung his lasso, pulled the khan from his white elephant, bound him as a prisoner, and duly sent the loot to the shah. Although the confrontation has been reduced to the two principals and their attendant warriors, the presentation is still dramatic, with Rustam tightening the taut rope and the khan vainly trying to resist. Museum: Metropolitan Museum of Art, New York, USA.

Miniature Painting Miniature Painting, 19th century. Ink on paper, Writing: 5 3/4 x 3 3/4 in. (14.6 x 9.5 cm). Arts of the Islamic World 19th century

Portrait of Jihangir Padshah, Humayun's son, ruling after his father in Hindustan. Jihangir Padshah is depicted to his hips, used to the left, with a sword in the right hand and a white cloth in the left hand. Leaf 4 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.

Woman drying her hair. Draughtsman: anonymous. Dating: 1790 - 1810. Place: Kishangar. Measurements: h 236 mm × w 189 mm. Museum: Rijksmuseum, Amsterdam.

Portrait of a lady wearing a blueshawl

Portrait of Raja Karan, who has been Aurangzeb's sight. Draughtsman: anonymous. Dating: c. 1686. Place: Golkonda. Measurements: h 203 mm × w 140 mm. Museum: Rijksmuseum, Amsterdam.

Angel (Peri) Riding a Composite Camel. India; probably Deccan. Date: 1695-1705. Dimensions: Image: 19.2 x 14.2 cm (7 1/2 x 5 5/8 in.); Paper: 25 x 18.4 cm (9 7/8 x 7 1/4 in.). Ink wash, gold, and color on paper. Origin: India. Museum: The Chicago Art Institute, USA.

"Bahrum Gur Before His Father, Yazdigird I", Folio 551v from the Shahnama (Book of Kings) of Shah Tahmasp. Artist: Painting attributed to Dust Muhammad. Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Painting: H. 7 3/16 x W. 6 11/16 in. (H. 18.2 x W. 17 cm)Entire Page: H. 18 5/8 x W. 12 5/8 in. (H. 47.3 x W. 32.1 cm). Date: ca. 1530-35.Munzir, Bahram's Arab host, sends a painting of him to his father,Yazdigird I, who is so struck by his son's handsome physique and hunting prowess that he asks Munzir to send him to Iran. Bahram arrives and greatly impresses his father with his manly appearance and proper demeanor. Yazdigird then calls Bahram into his service night and day, a situation that eventually causes Bahram to return to Arabia. Museum: Metropolitan Museum of Art, New York, USA.

Illustrated Manuscript Page , 1700-1735. Opaque watercolor on paper, Image: 7 1/2 x 5 7/8 in. (19 x 15 cm). Asian Art 1700-1735

"Zal Consults the Magi", Folio 73v from the Shahnama (Book of Kings) of Shah Tahmasp. Artist: Painting attributed to Sultan Muhammad (active first half 16th century) , assisted by 'Abd al-'Aziz. Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Painting: H. 11 1/16 x W. 7 1/4 in. (H. 28.1 x W. 18.4 cm)Entire Page: H. 18 9/16 x W. 12 1/2 in. (H. 47.1 x W. 31.8 cm). Workshop director: Sultan Muhammad (active first half 16th century). Date: ca. 1530-35.In this painting, Zal is depicted enthroned as he consults his magi, or Zoroastrian wise men, on how to win his father's approval to marry Rudaba, the granddaughter of the evil king Zahhak. The phoenix-like bird on the canopy may refer to the simurgh, which saved and nurtured the infant Zal, whose parents had rejected him for being an albino. The sinuous flowering trees often appear in Turkmen painting of Tabriz. Museum: Metropolitan Museum of Art, New York, USA.

Une caravan en marche: illustrations des Séances de Hariry (XIIIe. siècle). Yahia el-Wacetty. Prisse d'Avennes, 1807-1879. Prints, Drawings. 1877. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection. Architecture, Islamic, Architecture , Egypt , Cairo, Art , Egypt , Cairo, Art, Islamic, Islamic decoration and ornament, Camels , Middle East, Caravans , Middle East, Illumination of books and manuscripts, Islamic, Writing, Arabic, Men , Clothing & dress , Middle East

A Rajput warrior on a horse holding a spear. Gouache painting by an Indian painter.

"The Nobles and Mubids Advise Khusrau Parviz about Shirin", Folio from a Shahnama (Book of Kings). Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Text block: 6 1/8 x 4 7/8 in. (15.5 x 12.4 cm)Painting: 2 3/16 x 4 7/8 in. (5.5 x 12.4 cm). Date: ca. 1300-30. Museum: Metropolitan Museum of Art, New York, USA.

The Fire Ordeal of Siyawush from a Shahnama Manuscript The Fire Ordeal of Siyawush from a Shahnama Manuscript, 16th century. Opaque watercolor and gold on paper, image: 14 3/16 x 17 5/16 in. (36 x 44 cm). Arts of the Islamic World 16th century

A man smoking a hookah; a river beyond. Gouache painting.

Folios from a Non-Illustrated Manuscript. Date: 16th-17th century. Museum: Metropolitan Museum of Art, New York, USA.

Squatted figure, anonymous, 1395 - 1405 Persian miniature. drawing In a block of text, the representation of a king on his square at the bottom left is a diagram of 9 squares with diagonals and text in red in the left corner. The leaf is discolored and torn on the left (or torn out somewhere), above a later text in the edge. Persia paper brush

Portraits of two Jhala Rajputs. Probably Kishangarh, 18th century. Yellow rule (trimmed), laid down on silver-sprinkled pink leaf, 25.7 x 18.1cm.

Against a background of red earth with a blue sky dome and clouds above it, Iskander sits on a cushion on a yellow background, on the left in front of him two women visiting, on the right a servant with a fan, four columns of text in Persian handwriting around the representation. The representation is at a third height in the middle two of four columns of text, separated from each other by red frames and a narrow space of the leaf, the columns are also on the back., Iskander with two ladies, draughtsman: anonymous, Kasjmir, 1490 - 1510, paper, brush, h 244 mm × w 174 mm, h 192 mm × w 127 mm, h 55 mm × w 70 mm

"Bizhan Forces Farud to Retreat into his Fort", Folio from a Shahnama (Book of Kings). Author: Abu'l Qasim Firdausi (935-1020). Dimensions: 7.87 in. high 7.37 in. wide (20 cm high 18.7 cm wide). Date: ca. 1430-40.This painting shows the dramatic confrontation between the hero Bizhan, on the right, and Farud, the brave halfbrother of the Iranian king Kai Khusrau, in the fort on the left. Each has just slain his opponent's horse, and eventually Farud will also be killed. This painting comes from a copy of the highly Persianate Shahnama that was probably made in northern India. The paintings from this book were later cut out and placed in an album with brightly colored borders. Museum: Metropolitan Museum of Art, New York, USA.

Mughal prince sitting on an elephant, draughtsman: anonymous, 1675 - 1700, paper, brush, h 226 mm × w 145 mm

"Prince Killing a Lion", Folio from the Davis Album 17th century 'Ali Riza 'Abbasi This dramatic scene depicts a prince stabbing a wounded lion as his horse sinks its teeth into the lion's neck. On the basis of the tightly wound turban with a thick bulge in front and a fanned end with flowers on a gold ground the painting can be dated to the 1690's or early eighteenth century. A signature would have appeared in the faintly visible cartouche beneath the horse's belly but it has faded into illegibility. It probably gives the name of the artist Shaykh Abbasi who worked in this tinted drawing style with blue hills in the background. The bold nasta'liq calligraphy mounted above and below the painting is signed by 'Ali Riza 'Abbasi, who was the director of the library of Shah 'Abbas (r. 1587-1629).. "Prince Killing a Lion", Folio from the Davis Album 448493

A watercolor painting by an anonymous artist depicting women engaged in physical activity.

Zal Climbing to Rudaba, page from a copy of the Shahnama of Firdausi 1575-1590 Shiraz. Among the most beautiful examples of Islamic art are the illuminated manuscripts from Persia that portray legendary tales of heroism, love, and adventure. Zal Courting Rudabahis a page from a 16th-century version of the Book of Kings,the national epic of Persia. Below the lovers seen on the balcony are attendants, animals, architecture, flowering plants, and calligraphy (revered as an art form throughout the Islamic world), all carefully integrated into a rich, overall pattern. The paintingís jewel-like quality is enhanced by its brilliant colors, including gold and blue, formed from the precious stone lapis lazuli.. Opaque watercolor and gold on paper . Islamic

A Couple Seated Against Two Pillows Making Love, c. 1700-10. Northern India, Himachal Pradesh, Pahari Kingdom of Chamba. Gum tempera on paper; page: 21.2 x 18.1 cm (8 3/8 x 7 1/8 in.); image: 18.1 x 16.4 cm (7 1/8 x 6 7/16 in.). Erotic paintings were commissioned by the patrons of painting, at times for educational purposes, mostly for pleasure. The artists would seek inspiration for the peculiar sexual positions from ancient texts such as Kamasutra and Kokashastra. In the painting, a woman rests on the lap of her paramour while their position is supported by two large bolsters put against the wall.

FABULAS DE KALILA-WA-DIMNA, TRADUCCION AL ARABE DE LA FABULA INDIA DE BIDPAY, EN EL SIGLO VIII. Location: NATIONAL LIBRARY. France.

The Kitab al-Bulhan is an Arabic manuscript of divinatory works, dating principally from the late 14th century A.D., containing astrological, astronomical and geomantic texts compiled by Abd al-Hasan Al-Isfahani, containing more than 80 illustrations.

Finch, Poppies, Dragonfly, and Bee Indian. Finch, Poppies, Dragonfly, and Bee, 1650-1670. Opaque watercolor and gold on paper, sheet: 11 1/2 x 7 3/4 in. (29.2 x 19.7 cm). The Mughal emperors introduced botanical and ornithological paintings to northern India in the sixteenth century. This painting represents a variation on that tradition because all of the natural elements have been rendered in a fanciful palette of intense colors. While the fantastic rock form and the representation of more than one species recall paintings by the Persian artist Riza Abbasi, the use of jewel tones suggests that it was made in the southern Indian region known as the Deccan, where the poppy and the dragonfly were often used as emblems of the seasons. Asian Art 1650-1670

"Women Bathing by Moonlight", Folio from the Davis Album. Dimensions: Page: H. 13 1/8 in. (33.3 cm)W. 8 1/4 in. (21 cm)Painting: H. 10 1/8/ in. (25.7 cm)W. 6 5/8 in. (16.8 cm)Mat: H. 19 1/4 in. (48.9 cm)W. 14 1/4 in. (36.2 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

In a hilly landscape a number of mounted warriors are fighting a few demons, behind the hilltops three warriors are watching, top right and bottom right are strips of text. Around the representation two broad edges are painted in grey and beige, the representation is pasted on., Fighting demons, draughtsman: anonymous, Persia, 1500 - 1600, voorstelling, :, brush, h 301 mm × w 212 mm, h 140 mm × w 100 mm

Ibrahim Adil Shah II of Bijapur. India, Karnataka, Bijapur, circa 1675. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Het Hobbelpaard, 1833 - 1856 print Leaf with a large representation of a boy on a rocking horse. Completely surrounded by a decorative edge. In the lower margin a four -line verse in two columns. Numbered in the middle: (no 156). publisher: Turnhoutprint maker: Netherlands paper letterpress printing rocking-horse

Standing old and young woman. .

Akbar lifting captured cheetahs. From the Akbarnama (Book of Akbar). Comparison by Tulsi, painting by Narayan. Opaque watercolour and gold on paper, Mughal. This painting records the first occasion (in 1560) when Akbar hunted cheetahs.

Miniature painting, Meherangarh Fort, Jodpur, Jodpur, Rajasthan, India, Asia

Promotional art for Mary Garden, Perfume of Rigaud, 1913. It was launched in 1910 and later discontinued. Named for the popular Scottish-American operatic lyric singer, 1874-1967. A woman in ancient Greek hairstyle and costume with strings of pearls looks in a mirror between two columns. Colour-printed illustration by George Barbier from Andre de Fouquieres The Perfumes of Rigaud, Letters of a Parisian and and American Girl, L'art des parfums, Lettres d'un Parisien et d'une Américaine, Maison Rigaud, Parfumeur, Paris, 1915.

Courtesan in a Window Indian. Courtesan in a Window, 18th century. Washes of watercolor, gold, and ink on paper, sheet: 11 7/8 x 8 3/16 in. (30.2 x 20.8 cm). Asian Art 18th century

Gîv kills Gurûy (or Gurwî).. 1616. Firdawsî. text. illuminated manuscripts, Illuminations, Manuscripts. Spencer Collection. Manuscripts, Persian

Farâmarz, a son of Rustam, strikes Shîrm.. 1616. Firdawsî. text. illuminated manuscripts, Illuminations, Manuscripts. Spencer Collection. Manuscripts, Persian

The image features three plants identified as follows on the left is an unknown plant, while the right and center plants are Dog's mercury (Mercurialis annua), referred to as fûllûn. Above, Willow weed (Polygonum persicaria) is also noted as qrâtihâwghunûn. The image is attributed to Mîrzâ Bâqir (fl. 19th c.) and was created between 1889 and 1890, likely in Tehran or Mashhad. The dimensions are 15.2 x 13.8 cm at the top and 13.5 x 25.5 cm at the bottom

Portrait of Fath Jang Khan, the grand vizier of Aurangzeb. Draughtsman: anonymous. Dating: c. 1686. Place: Golkonda. Measurements: h 203 mm × w 140 mm. Museum: Rijksmuseum, Amsterdam.

Allegorical Figure of Fortitude (). Attributed to Basawan (India, Akbar reign, Mughal Empire, active circa 1565-1600). Pakistan, Lahore, Mughal Empire, circa 1590. Drawings; watercolors. Ink, opaque watercolor, and gold on paper

Mughal painting. Alexander the Great directing building of a wall of fire against Gog and Magog. 1600.

Maharaja Chattarsol of Kotah Shooting Lions, c. 1860. India, Rajasthan, Kotah school, mid 19th century. Ink, color and gold on paper; overall: 30 x 22.5 cm (11 13/16 x 8 7/8 in.).

Poelzig Hans (1869-1936), town house. Schinkel competition 1898 (1898): firing wall in the ballroom. View 1:25. Tusche watercolor on the box, 59.8 x 49.9 cm (including scan edges) Poelzig Hans (1869-1936): Stadthaus. Schinkelwettbewerb 1898

The Safavid artist Afzal al-Husayni, a student of Reza Abbasi, creates a striking composition in which the focus, in vibrant colors, is on two lovers, while the decorative background is obscured by golden foliage. The woman is administering love burn marks on her lover's arm, which during the Safavid era were a sign of a lovers sincerity and devotion.

The Mature Unrestrained Heroine Indian. The Mature Unrestrained Heroine, ca. 1660-1690. Opaque watercolor and gold on paper, sheet: 9 1/4 x 6 3/4 in. (23.5 x 17.1 cm). Asian Art ca. 1660-1690

The image features three botanical illustrations on one page. At the top, Groundsel (Senecio vulgaris) is depicted, showcasing its characteristic features. Below, on the right, is a depiction of Small Medow-rue (Thalictrum minus). The illustrations are attributed to Mîrzâ Bâqir, who was active in the 19th century. The artwork, created between 1889 and 1890, measures 15.5 x 15 cm at the top, with the bottom right illustration measuring 15.4 x 7.1 cm and the bottom left measuring 13.5 x 13.1 cm. The location of creation is either Tehran or Mashhad

Ahmad Shah Durrani, also known as Ahmad Khan Abdl, 1722-1772. founder of the Durrani Empire and is regarded as the founder of the modern state of Afghanistan. Wikipedia

Sanfoin (Onobrychis vicifolia) is depicted at the top, while Hypericum (Hypericum coris) is illustrated at the bottom. Both images are found on folio 175, created by Mîrzâ Bâqir in the 19th century. The artwork measures 20 x 10.1 cm for the top image and 21.3 x 17.2 cm for the bottom image. The date of creation is between 1889 and 1890, and the work is attributed to either Tehran or Mashhad

Coptic man and woman in robes, veil and turban in front of the pyramids, portrait of a bearded Copt in turban, and two upper-class women of Cairo in hats, veils and elaborate robes seated shoeless on a platform. Handcoloured lithograph from Friedrich Wilhelm Goedsche's "Vollstaendige Völkergallerie in getreuen Abbildungen" (Complete Gallery of Peoples in True Pictures), Meissen, circa 1835-1840. Goedsche (1785-1863) was a German writer, bookseller and publisher in Meissen. Many of the illustrations were adapted from Bertuch's "Bilderbuch fur Kinder" and others.

The Siege of Chitor (right side) from the Akbarnama (book of Akbar). Composition by Miskina, painting by Sarwan. Opaque watercolour and gold on paper Mughal c 1590-5. The Mughal attack on the seemingly impregnable Hindu fortress of the king Chitor in Rajasthan took place in 1567-8.

Rustam captures Kâmûs.. 1616. Firdawsî. text. illuminated manuscripts, Illuminations, Manuscripts. Spencer Collection. Manuscripts, Persian

An African Lyre Player, circa 1640-1660, Indian and Southeast Asian Art

A Mamluk Training with a Lance (Miniature from a furusiyya manuscript) by Anonymous / The David Collection / The Oriental Arts / c. 1500 / Mamluk Sultanate of Egypt / Watercolour on paper / Genre,History / 24x16,7

Musician, 19th century, 17 13/16 x 11 5/16 in. (45.2 x 28.7 cm), Watercolor on paper, India, 19th century

Farbenfrohe Artefakte und Gemälde im Museumskomplex, Stadtpalast, Udaipur, Rajasthan Colourful artifacts and paintings displayed in the museum complex, City Palace, Udaipur, Rajasthan LicenseRF Copyright: xZoonar.com/RealityImagesx 23325403

Go, happy bird, said he. Illustration by George Hood 1869 to 1949 from Legends of the Alhambra by Washington Irving published by Lippincott 1910

Depiction of an erotic scene, love scene, sex, in a 19th century edition of the Kama Sutra, textbooks on eroticism, India, Arabia, Historical, digitally restored reproduction of an original from the period, Asia

Darius I (548-486 BC) Achaemenid king of Persia from 521, with attendants. Chromolithograph of 1881after frieze in citadel at Susa

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