Indian Miniature Paintings

A collection of vibrant Indian miniature artworks depicting court scenes, romantic themes, and mythical elements, emphasizing intricate details and rich colors.

'Pataman jari raigini' (First spring bloomed branch). In a palace court, a princess is given a lotus flower, the symbol of her lover. Hindu art. Miniature Painting. FRANCE. ëLE-DE-FRANCE. Paris. Marco Polo Gallery.

'Pataman jari raigini' (First spring bloomed branch). In a palace court, a princess is given a lotus flower, the symbol of her lover. Hindu art. Miniature Painting. FRANCE. ëLE-DE-FRANCE. Paris. Marco Polo Gallery.

Shankarabharana Ragaputra, Folio from a Ragamala (Garland of Melodies). India, Maharashtra, Aurangabad, circa 1675. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Woman on a Terrace Indian. Woman on a Terrace, ca. 1775. Opaque watercolors and gold on paper, sheet: 13 3/4 x 8 5/8 in. (34.9 x 21.9 cm). Asian Art ca. 1775

Megha raga, anonymous, c. 1690 Indian miniature. drawing In the middle of the performance Krishna and Radha in a garden with trees and peacocks, two servants with musical instruments on both sides; At the bottom of a geometric edge. Around the show a narrow white and a lilac edge and a wide orange -red edge with rounded corners. Sirohi paper brush / brush

Kedar ragini. Draughtsman: anonymous. Dating: 1820. Place: Centraal-India. Measurements: h 314 mm × w 216 mm; h 253 mm × w 149 mm. Museum: Rijksmuseum, Amsterdam.

Entertainment on a Terrace 17th century. Entertainment on a Terrace 446583

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 13.6 cm (7 7/8 x 5 3/8 in.); text field: 16.7 x 10.1 cm (6 9/16 x 4 in.).

Maharaja Bijay Singh in His Harem ca. 1770 India (Rajasthan, Jodhpur) Maharaja Bijay Singh is shown in the midst of his harem, nestling with one of his wives and listening to a musical performance. Several of the women, intoxicated by the performance, have begun to dance, and two more frolic in the forest beyond the marble terrace. The painting is beautifully rendered, and the colors are particularly rich-hot reds, oranges, and yellows are offset by cooler lavenders, pinks, and greens. Perhaps the most unusual element is the sumptuous textiles, not only the gorgeous costumes but also, and even more strikingly, the extraordinary rugs. Most distinctive is the large, lavender ground carpet with gold floral arabesques, red and pink leaves, and flowers, inhabited by multicolored parrots. A similar but differently colored carpet appears in another Marwar painting, probably by the same artist, in the collection of the Harvard University Art Museums, Cambridge.. Maharaja Bijay Singh in His Har

Dhanashri Ragini, Page from a Ragamala Series Indian. Dhanashri Ragini, Page from a Ragamala Series, ca. 1790 or earlier. Opaque watercolor and gold on paper, sheet: 10 x 6 15/16 in. (25.4 x 17.6 cm). In the fifteenth or sixteenth century, a new genre of painting developed that attempted to capture the moods of famous passages of classical music in pictorial vignettes. This painting depicts one of the most common scenarios for ragini paintings: a lonely woman passing time while her beloved is away. Dhanashri is not a well-known ragini, but it seems likely that it was a quiet, melancholy piece, much like this image. The womans solitude is here underscored by the presence of a pair of rabbits, animals that are famous for their fertility. Asian Art ca. 1790 or earlier

Scenes from the Birth of Rama, c. 1840. India, Pahari, Kangra, 19th century. Color on paper; image: 25.1 x 34 cm (9 7/8 x 13 3/8 in.); overall: 29.9 x 38.5 cm (11 3/4 x 15 3/16 in.).

Lover's Tryst, 1750-1800. India, Rajasthan, Bundi Style, later half 18th century. Color on paper; image: 30.7 x 23 cm (12 1/16 x 9 1/16 in.); overall: 25 x 17.1 cm (9 13/16 x 6 3/4 in.).

Shiva and Parvati outside on a lawn with a cow behind their back and children in the foreground. The representation is framed by a narrow border in dark blue with white floral and dotted motifs, surrounded by a somewhat wider pink border, the representation is pasted on the edges., Shiva and Parvati with children, draughtsman: anonymous, Mandi, 1830, kaderrand, :, brush, h 209 mm × w 156 mm, h 171 mm × w 125 mm

"Akbar Hunting with Cheetahs", Folio from a Manuscript of the Akbarnama. Folio from the Davis Album ca. 1604 Abu'l Fazl Written by the courtier Abu'l Fazl between 1589 and 1598, the Akbarnama chronicles the life of the emperor Akbar, including details on affairs ranging from the issuing of edicts to His Majestys daily diet. The project of creating illustrated copies of the text commenced before Abu'l Fazl had finished writing, as Akbar himself selected episodes for his artists to depict. This painting shows the emperor hunting a cheetah, whose capture, Abu'l Fazl noted, required special skill. This painting is one of eight folios from the so-called "Chester Beatty Akbarnama" in the Davis album.. "Akbar Hunting with Cheetahs", Folio from a Manuscript of the Akbarnama. Folio from the Davis Album. Painting attributed to Manohar (active ca. 1582-1624). ca. 1604. Ink, opaque watercolor, and gold on paper. Attributed to India. Codices

Akbar Visited by Jahangir and Daniyal 19th century. Akbar Visited by Jahangir and Daniyal 446575

Yo-yo spelende vrouw.A yo-yo playing Vrowu against a gray background. The show is framed by narrow frame lines in black and red and completed around the image with gold; The magazine with the show has been recorded.

Raja Mandhata as a musical mode. Date: ca. 1690. Opaque watercolor on paper. Origin: Nurpur, Himachal Pradesh state, India. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Shiva and Parvati on mountain. Draughtsman: anonymous. Dating: 1830. Place: Pahari. Measurements: h 264 mm; w 207 mm × h 237 mm. Museum: Rijksmuseum, Amsterdam.

Sri Raga, Ragamala Album, School of Rajasthan, 19th century. A prince sitting on the terrace of a house where Narada and Kinnara are playing music. Narada or Narada Muni is a divine sage from the Hindu tradition. In Buddhist mythology and Hindu mythology. The artist is unknown.

Three women on a terrace play blindman. Draughtsman: anonymous. Dating: 1790 - 1810. Place: Kashmir. Measurements: h 183 mm × w 105 mm; h 147 mm × w 87 mm. Museum: Rijksmuseum, Amsterdam.

The Heroine Whose Desires are Apparent, Page from a Rasikapriya Series Indian. The Heroine Whose Desires are Apparent, Page from a Rasikapriya Series, ca. 1660-1690. Opaque watercolor and gold on paper, sheet: 9 1/2 x 6 15/16 in. (24.1 x 17.6 cm). Asian Art ca. 1660-1690

Qasam al-Abbas Arrives from Mecca and Crushes Tahmasp with a Mace. Date/Period: Manuscript dated ca. 1562-77; Imperial Mughal workshop, reign of Akbar. Painting. Opaque watercolor and gold- and silver-colored metallic paint on cotton Opaque watercolor and gold- and silver-colored metallic paint on cotton. Height: 787.91 mm (31.02 in); Width: 648.46 mm (25.52 in). Author: Attributed to Mahesha,.

Baby Krishna kills the Demon Putana, Anonymous, 1740 - 1760 Indian miniature. drawing For a palace with strong geometric surface divisions, the Demon Putana is attacked by the baby Krishna and falls deadly struck; Two women look at both sides and point their finger at their lips of surprise. The framework edges of the performance are partly cut away; At the top is a rectangular bulge with an inscription. Jammu paper brush

A Prince and his Consort on a Terrace Indian. A Prince and his Consort on a Terrace, ca. 1800. Opaque watercolor on paper, sheet: 11 3/4 x 8 3/8 in. (29.8 x 21.3 cm). Asian Art ca. 1800

"A Youth Fallen From a Tree", Folio from the Shah Jahan Album verso: ca. 1610; recto: ca. 1530 Painting by Aqa Riza Iranian Attempting to climb to a bird's nest, a boy fell from the tree to his death. A sufi tries to console the grieving father. The artist, from Herat, came to India and entered Jahangir's service when the emperor was still a prince. While he tried to conform to Mughal taste, and in some pictures succeeded, here the deeply rooted harmoniousness of Perisan painting has prevailed, and the basic lyricism of the style outweighs the tragedy of the event depicted. Jahangir's Mughal reference for sensitive naturalism was encouraged, cultivated, and perfected by Aqa Riza's son, Abu al-Hasan, to whom Jahangir awarded the honorific title of Nadir-i Zaman - the wonder of the age.. "A Youth Fallen From a Tree", Folio from the Shah Jahan Album 451266

Yusuf and Zulaykha meeting, c. 1764. India, Provincial Mughal, Lucknow, 18th century. Opaque watercolor, gold and ink on paper; overall: 40.5 x 28 cm (15 15/16 x 11 in.); average: 21.5 x 15 cm (8 7/16 x 5 7/8 in.).

The tenth descent of Vishnu. Vishnu came to earth nine times to save the world from demonic power. In the shape of a white horse he does this again, Kalki with his white horse Devadatta., draughtsman: anonymous, Bikaner, 1725 - 1749, paper, brush, h 269 mm × w 193 mm

The king of the Ocean, having assumed human form, arrives at the court of the Raja, from a Tuti-nama (Tales of a Parrot): Eleventh Night, c. 1560. Ghulam 'Ali (Indian, active 1550s-1590s). Gum tempera, ink, and gold on paper; overall: 20 x 14.7 cm (7 7/8 x 5 13/16 in.); painting only: 11.5 x 10.3 cm (4 1/2 x 4 1/16 in.).

A woman in a palace gallery makes a toilet while her servant holds up a mirror and a second servant stands next to it. The scene is framed by a thin ornamental border of flower vines on gold and dark blue filigree motifs, surrounded by a wide ornamental border of dark blue speckled with gold and thin frame lines of red and gold, Bilaval ragini., Bilaval ragini, draughtsman: anonymous, Deccan, 1760, voorstelling, :, brush, h 229 mm × w 150 mm, h 405 mm × w 292 mm

In a hilly pink landscape a frost is sitting on a tabouret, in front of him on the left a young woman, two women facing her, one with raised hands under the chin of the young woman, in the foreground on the right a dog, in the background bushes and trees in stylized form, above them a few lines of text. Around the scene a night blue border with white frame lines, leaves pasted on cardboard, Desakshari-ragini., draughtsman: anonymous, Deccan, c. 1610 - c. 1620, paper, brush, h 250 mm × w 194 mm, h 232 mm × w 175 mm

Raga Dipak, Page from a Jaipur Ragamala Set 1745-1770 Rajasthan. Opaque watercolor on paper .

Madhu Madhavi Ragini, c. 1630-40. Central India, Malwa. Opaque watercolor, ink, and gold on paper; overall: 19.1 x 14.6 cm (7 1/2 x 5 3/4 in.).

Princely ascetic in the forest visited by ladies, c. 1760. Opaque watercolor and gold on paper; overall: 32.7 x 26.5 cm (12 7/8 x 10 7/16 in.).

The polo game, anonymous, c. 1600 - c. 1625 Indian miniature. drawing Polo players. The performance is on the right side of a leaf that is provided with a tenal pattern with a blue paint, a glued list of unadorned paper around the show with around colored lines and a gold bean in black framework lines; At the top a rectangle with a center piece on which a text written in gold written in Persian script stands against a flower and turd. India paper. gouache (paint) brush

Radha and Hindu God Krishna Celebrating the Festival Holi, c. 1800 - 1810. India, Pahari Hills, Bilaspur School, 19th century. In and color on paper; overall: 26.4 x 18.4 cm (10 3/8 x 7 1/4 in.); with borders: 32.8 x 24.5 cm (12 15/16 x 9 5/8 in.).

Shaikh Salim Chishti 19th century. Shaikh Salim Chishti. 19th century. Ink, opaque watercolor, and gold on paper. Attributed to India. Codices

Anonymous watercolor depicting a couple attended by several servants, showing figures in domestic interaction.

. In the middle of running water, Vishna and Lakhsmi are on a lotus flower; a giant tortoise in the middle in the middle; Men with animal heads and others with crowns hold a nine-coupled snake wrapped around the lotus stalk; In the meadow in the background a few figures and animals, including a multi-headed horse; The sun and the moon in the sky. The show is framed by a narrow edge in green gray and an edge that is upstairs and under wide and freely narrow on the sides, in brown red.

Departure of the hunters. Two pairs, one within a palace and an outside, say goodbye because the men go hunting, to see the bag with arrows and arches that they wear. Under the show a wide yellow strip, below again a purple-colored edge, at the top of a yellow strip with 5-regulating inscription in old Indian script in black; The leaf is highly damaged.

Malakausika Raga, Page from a Dispersed Ragamala Series Indian. Malakausika Raga, Page from a Dispersed Ragamala Series, ca. 1640-1650. Opaque watercolor and gold on paper, sheet: 9 3/4 x 14 1/16 in. (24.8 x 35.7 cm). Asian Art ca. 1640-1650

Krishna Stealing the Clothes of Gopis. Draughtsman: anonymous. Dating: c. 1780. Place: Bundi. Measurements: h 333 mm × w 209 mm; h 267 mm × w 171 mm. Museum: Rijksmuseum, Amsterdam.

Miniature with image of lovers (love scene). unknown, painter

Babur superintending in the Garden of Fidelity, 1508 (1956). Artist: Unknown.Babur, Sahir ed-din Mohammed Indian Great Mogul, 1483-1530. Babur plans with his architects the Bagh-i-Wafa ne. Jalalabad. Illustration to Bishndas, Portraits of Nanha. From: Babur-Nama manuscript, 1589. London, Victoria and Albert Museum. Museum: VICTORIA AND ALBERT MUSEUM, LONDRES, UK.

Wall painting of Bacchus with peacocks and fountains from a garden wall in the House of Romulus and Remus, VII.VII.10. Chromolithograph by Victor Steeger after an illustration by Geremia Discanno from Emile Presuhns Les Plus Belles Peintures de Pompei (The Most Beautiful Paintings of Pompeii), Leipzig, 1881.

Vilaval Ragini, from a Ragamala. Origin: Basohli, Jammu and Kashmir, India. Opaque watercolor on paper. Date: ca. 1690-95. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Bellawi ragini, anonymous, 1750 Indian miniature. drawing A few walks together to a ready bed; The man has hit his left arm around the shoulders of the woman and holds her left arm; In the right hand, both wear a white-red necklace. The show is stuck on a piece of gray cardboard and framed by dark green strips of paper. Deccan paper brush

Prins PenWas.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.

Female Dancer. India, Andhra Pradesh, Golconda (), circa 1650. Paintings. Ink with opaque watercolor and gold on paper; Inner border: marbled paper

Woman driving her hair. .

Meeting of a Prince and Poet mid-16th century This unfinished work depicts the meeting of a noble young horseman and an older man on foot. Although no rulings for text blocks appear on the page, it may well have been conceived as a manuscript illustration in which a princely figure enounters a humble subject who dispenses useful philosophy. After outlining the figures and foreground elements, the artist painted the gold sky and the rocky landscape. Before painting over the lightly drawn facial details, the artist altered the position of the horse's back right foot. Such an image provides a rare glimpse of the sequence from ink to paint in Persian painting.. Meeting of a Prince and Poet 447044

A watercolor painting depicting a figure with four heads in a single composition.

Album Page with Two Sheikhs 1599-1799 India. Ink, opaque watercolor, and gold on paper . Mughal

Varaha (Incarnation of Vishnu as wild boar), Anonymous, 1825 - 1875 Indian miniature. drawing Vishnu as a wild boar is on a lotus footpiece. With one of his tusks he supports the earth (bhu). In front of him are the Brahma and Shiva gods. The show is framed by a narrow white piping, around it a wide orange -red decorative border with black framework lines; This leaf is glued on a leaf paper leaf on which a black framework line is drawn in pencil. Jaipur paper brush / brush / brush

God Shiva in His Ferocious Aspect as Mahakala Dancing, c. 1700-1710. India, Rajasthan, Mewar school, early 18th Century. Ink and color on paper; overall: 28 x 20.3 cm (11 x 8 in.); with borders: 32.8 x 22.8 cm (12 15/16 x 9 in.).

Palace Interior. Gouache on paper. Qajar, Persia, circa 1840, 27.5 x 24.5cm.

Dame na bad, anonymous, c. 1800 Indian miniature. drawing On a red taboeret in a green pasture, in a young woman is only dressed in a veil for a pond; There are a jug and a pot on the edge of the pond. Around the show a dark red border with a white framework. Pakih paper brush / brush

Krishna and Radha in a Pavilion, page from a copy of the Sat Sai Seven Hundred Verses). India; Rajasthan, Mewar. Date: 1714-1724. Dimensions: Image: 21.1 x 17.6 cm; Border: 22.2 x 18.7 cm; Paper: 25.1 x 21.5 cm(Image: 8 1/4 x 6 7/8 in.; Border: 8 3/4 x 7 3/8 in.; Paper: 9 7/8 x 8 1/2 in.). Opaque watercolor and gold on paper. Origin: India. Museum: The Chicago Art Institute, Chicago, USA.

Lovers on a garden terrace; musicians and attendants. Date: 18th century. Color and gold on paper. Origin: Murshidabad, West Bengal state, India. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Drawing, Persian miniature: Standing woman; Manufactured by Unknown; pen and black ink, brush and opaque watercolors and gold.; 31.7 x 20.8 cm (12 1/2 x 8 3/16 in.)

Fishing and Fowling, Tomb of Ipuy ca. 1279-1213 B.C. New Kingdom, Ramesside Nina de Garis Davies. Fishing and Fowling, Tomb of Ipuy 547713

A Portrait of Farhad Khan ca. 1680 The subject of this painting is identified in two places as Farhad Khan, and while little is known about this figure in history, his sumptuous golden garments reveal that he was a person of distinction. The artist has depicted Farhad Khan holding a rose, indicating his refined taste, and a sword, a common attribute in portraiture at the Islamic courts of India. Portraits of Africans in the Deccan are illustrated in the same manner as other courtiers in this period, and these paintings reflect the unique form of social mobility sometimes afforded in Islamicate systems of slavery. East African slaves held roles as military commanders and could rise to the rank of nobles with the ability to pass on titles and properties to heirs.. A Portrait of Farhad Khan. ca. 1680. Opaque watercolor and gold on paper. Made in India, Golconda, Deccan. Codices

Tilkayat Dauji II Maharaj with a Visitor. India; Rajasthan, Kishangarh. Date: 1820-1830. Dimensions: Image: 14.2 × 12 cm (5 9/16 × 4 3/4 in.); sheet: 19.75 × 15 cm (7 3/4 × 5 7/8 in.). Opaque watercolor and gold on paper. Origin: . Museum: The Chicago Art Institute, Chicago, USA.

Krishna and Akrura as a messenger. Draughtsman: anonymous. Dating: 1735 - 1745. Place: Mewar. Measurements: h 242 mm × w 206 mm; h 185 mm × w 180 mm. Museum: Rijksmuseum, Amsterdam.

On a covered porch a woman sits on her bed and picks leaves from the flowers in front of her in a large pot. Around the representation a narrow yellow border in red frame lines and an outer border in red with rounded corners, inscription above the representation and wide yellow strip., Gunakali ragini, draughtsman: anonymous, Sirohi, c. 1690, paper, brush, brush, h 199 mm × w 162 mm

Standing figure, with flowers in one hand and a bowl in the other. Draughtsman: anonymous. Designer: anonymous. Dating: c. 1800 - c. 1900. Place: Persia. Measurements: h 320 mm × w 215 mm. Museum: Rijksmuseum, Amsterdam.

Illustration of an Allegorical Tale (). India, Delhi, Mughal Empire, circa 1850. Drawings; watercolors. Opaque watercolor and gold on paper

The Fox and the Grapes, Illustration for Aesop's Fables, Victor Wilbour, Pen and red ink, crayon on white board, Fox below, facing left, looking up. Grapes at top of wall, upper left., USA, ca. 1916, Drawing, Drawing

"Bahram Gur Entertained by the Daughters of Barzin", Folio from a Shahnama (Book of Kings). Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Text block: 6 3/16 x 4 13/16 in. (15.7 x 12.2 cm)Painting: 2 3/8 x 4 3/4 in. (6 x 12.1 cm). Date: 1300-1330.This scene from the First Small Shahnama takes place around the pool in the garden of a squire named Barzin. Bahram Gur lost his favorite black falcon and during his search for it he came to Barzin's estate, where he was entertained by Barzin's three delightful daughters-a harpist, a singer, and a dancer-all of whom he took with him as his wives. Museum: Metropolitan Museum of Art, New York, USA.

Lakta ragini. Draughtsman: anonymous. Dating: 1650 - 1670. Place: Centraal-India. Measurements: h 219 mm × w 146 mm. Museum: Rijksmuseum, Amsterdam.

"Summer, from a Series of the Four Seasons", Folio from the Davis Album ca. 1660-70 Attributed to 'Ali Quli Jabbadar In the foreground a standing woman turns her head slightly to her right. She holds a basket of cucumbers in her right hand while lifting her dress with her left. The woman's dress and pose and the thatched buildings in the background, which include a barnyard with chickens, a water wheel and two figures, suggest that this painting is based on a European, possibly Flemish, allegory of one of the four seasons, summer. Although the painting is not signed, the palette, composition and details such as the flowers behind the figure all are found in the work of 'Ali Quli Jabbadar, an important Safavid court artist of the second half of the seventeenth century.. "Summer, from a Series of the Four Seasons", Folio from the Davis Album 448482

Page from the Late Shah Jahan Album: Prince and Ascetics, c. 1630. Attributed to Govardhan (Indian, active c.1596-1645). Opaque watercolor, gold, and ink on paper; image: 20.3 x 14.3 cm (8 x 5 5/8 in.); sheet with border: 37.5 x 25.2 cm (14 3/4 x 9 15/16 in.).

Varaha (incarnation of Vishnu as wild boar); Vishnu avatars. Vishnu as wild boar is on a lotus base. With one of his tusks, he supports the earth (BHU). The Gods are Brahma and Shiva for him. The show is framed by a narrow white piping, around it a wide orange-red decorative edge with black frame lines; This leaf has been recorded on a sheet of carduffler on which a black frame line is drawn in pencil.

A lady sitting with two attendants. Drawing by an Indian artist.

A Princess on a Terrace with Attendants at Night (recto), c. 1760. India, Farrukhabad, Mughal, 18th century. Opaque watercolor with gold on paper (recto); miniature: 25.4 x 19.7 cm (10 x 7 3/4 in.). Before a terrace pavilion in the womens quarters of a palace, a royal woman stretches to show off her figure in accordance with age-old Indian poetic imagery. Female musicians provide entertainment, and attendants hold bottles of wine at the ready. Scenes of enjoyment in sumptuous domestic spaces pervaded the artistic repertoire of the imperial court and regional centers of northern India throughout the late 1700s, following the themes set by the Mughal emperor Muhammad Shah.

Asavari Ragini, Fourth Wife of Shri Raga, Folio from a Ragamala (Garland of Melodies). India, Sub-Imperial Mughal, circa 1625. Drawings; watercolors. Opaque watercolor and gold on paper; marbled paper inner border

Illustration of the month Jyeshtha (May/June) in the Barahmasa series, Prince in a garden, draughtsman: anonymous, Jaipur, (possibly), c. 1775 - c. 1799, paper, brush, h 446 mm × w 312 mm, h 304 mm × w 201 mm

Malakausika Raga, Page from a Dispersed Ragamala Series Indian. Malakausika Raga, Page from a Dispersed Ragamala Series, ca. 1640-1650. Opaque watercolor and gold on paper, sheet: 9 3/4 x 14 1/16 in. (24.8 x 35.7 cm). Asian Art ca. 1640-1650

Krishna Ferrying Radha Across the Yamuna River, c. 1890. Eastern India, Bengal, Kolkata, Kalighat. Watercolor, graphite, ink, and tin on paper; painting only: 44.5 x 28.3 cm (17 1/2 x 11 1/8 in.). This image is taken from popular dramas where Krishna, lover of the cowgirls (gopis), disguises himself as a boatman to ferry a demure Radha, his favorite gopi. It depicts devotion and the intensity of separated lovers. The painting includes an image of another woman, dressed in white with shorn hair, possibly a widow. Krishna is portrayed as sporting a mustache and has a Prince Albert hairstyle.

Sample Book (USA); silk; 1967-41-1

Maharana Sangram Singh II (reigned 1710-34) Hunting Tigers. India, Rajasthan, Mewar, Udaipur, circa 1725. Drawings; watercolors. Opaque watercolor, gold, and silver on paper

Bangal ragini from a Ragamala series. Date: ca. 1650. Opaque watercolor on paper. Origin: Madhya Pradesh state, Malwa, India. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Iran, Central Iran, Esfahan, Decorative Arts Museum, wall mural

Illustration from a Manuscript of the Bihari Satasai , early 18th century. Opaque watercolor and gold on paper, with frame: 16 x 13 1/2 x 1/2 in. (40.6 x 34.3 x 1.3 cm). Asian Art early 18th century

Detail of a painted wall in the public reception area, Kuchaman Fort, Kuchaman, Rajasthan state, India, Asia

Tamamo no Mae and the Archer Miura Kuranosuke 1835 Formerly attributed to Yashima Gakutei Japanese The Nine-Tailed Fox, disguised as a beautiful woman, was said to bewitch emperors in China and came to Japan disguised as Tamamo no Mae, a favorite concubine of the Toba emperor (1103-1156). Detected by the court astrologer Abe no Seimei, she flew away to Nasu Field, in northeast Japan, and was shot by the archer Miura Kuranosuke, whereupon she turned into a stone.. Tamamo no Mae and the Archer Miura Kuranosuke 54323

Rajah and son on horses disguised as elephants, and suite of attendants by Indian Art / Private Collection / c. 1810 / India, Mughal school / Gouache on paper / History /

Heroine Rushing to Her Lover (Abhisarika Nayika ). Date/Period: Late 18th century. Painting. Opaque watercolor and gold on paper. Height: 195 mm (7.67 in); Width: 295 mm (11.61 in). Author: Attributed to the Family of Nainsukh.

Miniature Painting Miniature Painting, 18th-19th century. Painting, 19 1/8 x 14 7/8 in. (48.5 x 37.8 cm). Asian Art 18th-19th century

fine arts, India, painting, couple on a divan, miniature, Rajasthan, 19th century, private collection,

Asavari ragini. Draughtsman: anonymous. Dating: 1600 - 1649. Measurements: h 160 mm × w 99 mm; h 347 mm × w 238 mm. Museum: Rijksmuseum, Amsterdam.

Raja Amrit Pal (Reigned 1757-1776) of Basohli. Ranjha (India, circa 1750-circa 1790). India, Himachal Pradesh, Kangra, circa 1765-1770. Drawings; watercolors. Opaque watercolor and gold on paper

Escapade at Night:. Artist: Attributed to Chokha (Indian, active 1799-ca. 1826). Culture: India (Rajasthan, Mewar). Dimensions: Image: 11 1/2 x 14 7/8 in. (29.2 x 37.8 cm)Page: 12 3/16 x 15 15/16 in. (31 x 40.5 cm). Date: ca. 1800-10.A nobleman ascends a rope to visit his lover, who reclines within the palace's defended walls. The clandestine tryst is a theme that runs through the poetry of this period, and certainly the tension of this forbidden act would have appealed to royal tastes. Presenting this scene in the somber tones of night is an innovation of the artist Chokha, who followed his father, Bagta, as the major Mewar painter during this period. Chokha gives the painting a sense of drama by juxtaposing the quietude of the sleeping cows and guards with the brightly colored protagonists and a roiling band of black thunderclouds. Museum: Metropolitan Museum of Art, New York, USA.

Jatayu (Rama's Mythical Bird) Hinders Ravana's Chariot, Trying to Prevent Abduction of Sita (verso), c. 1890. Eastern India, Bengal, Kolkata, Kalighat. Watercolor, graphite, ink, and tin on paper; secondary support: 47.8 x 29.4 cm (18 13/16 x 11 9/16 in.); painting only: 45.5 x 28.2 cm (17 15/16 x 11 1/8 in.).

Udaipur, also known as the City of Lakes, is a city and the administrative headquarters of the Udaipur district in the state of Rajasthan in western India. It is located 403 kilometres (250 mi) southwest of the state capital, Jaipur, 248 km (154 mi) west of Kota, and 250 km (155 mi) northeast from Ahmedabad. Udaipur is the historic capital of the kingdom of Mewar in the former Rajputana Agency. The Guhils (Sisodia) clan ruled the Mewar and its capital was shifted from Chittorgarh to Udaipur after the founding of Udaipur by Maharana Uday Singh. The Mewar province became part of Rajasthan after India became independent. Apart from its history, culture, and scenic locations, it is also known for its Rajput-era palaces.

Beautiful frescoes on walls of the Juna Mahal Fort, Dungarpur, Rajasthan state, India, Asia

The Chinese emperor Ming Huang and Yang Kuei-fei. Date: early 17th century. Origin: Japan. Period: Edo period. Color and gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Page from an Astrological Treatise Indian. Page from an Astrological Treatise, ca. 1750. Opaque watercolor on paper, sheet: 7 3/4 x 4 1/2 in. (19.7 x 11.4 cm). This painting comes from a series that depicts the constellations in the form of figures walking through a landscape. We do not know which constellation is represented here, but it appears to be a composite creature made up of a woman, an elephant, and possibly some other animals. The landscape has been divided into bands, with a decorative foreground of poppies and lotuses, a plain midground, and miniature buildings in a hilly background offering a rudimentary sense of spatial depth. Asian Art ca. 1750

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