Krishna and Radha Narratives

Depicts scenes from Hindu mythology, featuring figures of Krishna, Radha, and playful children in vibrant colors and intricate patterns.

Nanda and Yasoda with Krishna and Balarama, Anonymous, c. 1800 Indian miniature. drawing The royal couple is in a fairly geometric composition with a lot of decorative textiles opposite each other on colored carpets, each parent has a child on their lap and between the two rugs are two children with their arms to Krishna on mother's lap; Four children are playing on the white with gold motifs in the foreground, two cows look up at Krishna and a cow serves as a toy for the child at the bottom right. Around the show a number of decorative edges in plain gray with golden frameworks, royal blue with white framework lines and a wider orange-red edge with gold and white framework lines; Some damage to the performance and the edges with severe damage. Rajasthan paper brush / brush

Nanda and Yasoda with Krishna and Balarama. The royal couple sits in a fairly geometric composition with many decorative textiles opposite each other on colored carpets, every parent has a child on her lap and between the two dresses have two children with their arms to Krishna on Mothers shot; On the white with gold motifs printed carpet in the foreground are four children playing, two cows look at Krishna and a cow serves as a toy for the child at the bottom right. Around the show a number of decorative edges in solid gray with gold frame lines, royal blue with white frame lines and a wider orange-red border with gold and white frame lines; Some damage to the performance and the edges with serious damage.

Radha Awaiting Reconciliation with Krishna, from a Gita Govinda of Jayadeva, c. 1680. Northwestern India, Rajasthan, Rajput Kingdom of Mewar. Gum tempera and gold on paper; overall: 21.3 x 25.3 cm (8 3/8 x 9 15/16 in.). The artist has depicted Krishnas favorite lover, Radha, six times to emphasize her agitation while she waits for Krishna. She has made intimate enclosures of flowering branches for their tryst, she pleads with a picture of him, and she lays out blossoms and liquor under a tree in preparation. Her confidante makes an appeal to Krishna who sits under a tree at right, seemingly unmoved and dispassionate. The viewer is meant to put oneself in the place of Radha, and feel her intense longing for Krishna. Even when it seems like the god does not come when he promises, that he does not care, the devotee, like Radha, should continue to wait and prepare to receive him.

An Indian lady feeding peacocks while another woman holds a bowl. Gouache painting by an Indian painter.

The Brahmin Delivers Rukmini's Letter to Krishna: Page from a Dispersed Bhagavata Purana (Ancient Stories of Lord Vishnu). Culture: India (Rajasthan, Bikaner). Dimensions: 6 3/4 x 9 7/8 in. (17.1 x 25.1 cm). Date: ca. 1610.Krishna, seated on a throne, holds a letter from his future wife, Rukmini, delivered by the Brahmin standing before him (Bhagavata Purana 10.52.37-.43). Museum: Metropolitan Museum of Art, New York, USA.

Kamod Ragini. Two women stand in a dark tinted landscape with trees and rocks, the woman in the middle performs two peacocks with fruits from the tree; At the bottom of a edge pattern of geometric shapes. Around the show a narrow white and a lilac edge and a wide orange-red border with rounded corners.

Scenes from the Childhood Krishna, from a Sur Sagar Manuscript. Date/Period: 1655 - 1660. Drawing. Pigment on paper. Height: 292 mm (11.49 in); Width: 238 mm (9.37 in). Author: Attributed to Manohar.

The Brahmin Delivers Rukmini's Letter to Krishna: Page from a Dispersed Bhagavata Purana (Ancient Stories of Lord Vishnu) ca. 1610 India (Rajasthan, Bikaner) Krishna, seated on a throne, holds a letter from his future wife, Rukmini, delivered by the Brahmin standing before him (Bhagavata Purana 10.52.37-.43).. The Brahmin Delivers Rukmini's Letter to Krishna: Page from a Dispersed Bhagavata Purana (Ancient Stories of Lord Vishnu) 37862

The maid appeals to justice and the prince is taken to the place of execution for the fourth time, from a Tuti-nama, Tales of a Parrot. Tutinama, Tales of a Parrot, is a series of 52 stories in Persian from the 14th century, in the 16th century Mughal Emperor Agbar commissioned an illustrated version, Historic, digitally restored reproduction from an original of the period

Nanda and Yasoda with Krishna and Balarama, Anonymous, c. 1800 Indian miniature. drawing The royal couple is in a fairly geometric composition with a lot of decorative textiles opposite each other on colored carpets, each parent has a child on their lap and between the two rugs are two children with their arms to Krishna on mother's lap; Four children are playing on the white with gold motifs in the foreground, two cows look up at Krishna and a cow serves as a toy for the child at the bottom right. Around the show a number of decorative edges in plain gray with golden frameworks, royal blue with white framework lines and a wider orange-red edge with gold and white framework lines; Some damage to the performance and the edges with severe damage. Rajasthan paper brush / brush

Rama and Sita Enthroned, anonymous, 1790 - 1810 Indian miniature. drawing On a platform in front of a palace, a royal couple, right behind them, sits a servant with a feather, for them on the left the king of monkeys, Hanuman, who gives them a tribute. Around the show a narrow orange and a narrow golden rim. Northern India paper brush

Hindola Raga, Folio from a Ragamala (Garland of Melodies). India, Madhya Pradesh, Malwa, circa 1650. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Bilavala Ragini Indian. Bilavala Ragini, ca. 1770-1790. Opaque watercolor and gold on paper, sheet: 12 7/8 x 7 7/8 in. (32.7 x 20.0 cm). 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. This painting depicts an unusually optimistic ragini, Bilavala, with a woman grooming herself in preparation for a romantic tryst. A servant holds up a mirror while the heroine adjusts a hair ornament, and another servant entertains them with music. They are situated within a palace courtyard of the type found throughout northern India in the eighteenth century. The pair of cushions in the cupola on the roof might indicate that this will be the setting for the upcoming tryst. The

Lady points to colored clouds, anonymous, c. 1880 Indian miniature. drawing On a hill outside of a city that can be seen in the background, a prince dressed in white is on a multi -colored carpet standing behind him and servant and a servant, in front of him is a young woman whose left arm is by the prince Hold on and with her right hand she points the prince to the colored clouds hanging above the landscape, on the left in the screen a rock with a waterfall. Around the show a narrow piping in gray with black framework lines, around two dark red framework lines on the beige leaf. Marwar (possibly) paper brush / brush

Krishna and shepherdesses, draughtsman: anonymous, Bikaner, 1700 - 1725, paper, brush, h 254 mm × w 191 mm

. For an altar on a temple square, a horse and carriage are ready with Krishna that helps Rukmini boarding, she is also helped by a woman while a few women to the right of the altar hair; In the background a forest and rolling hills. To the show a dark blue (or black) Edge with flour and tendrils' motif in white and gold, around it a wide pink leaf edge with red frame lines; A tad sloping.

Album of Ragamala. Servant brings refreshment to lovers on terrace by pavilion. Bow and arrow held by man are symbols of Kama, god of love. 19th century Indian miniature, Rajasthan School.

A Group of Women in Ecstasy Before Madhava, from a Madhavanala Kamakandala, c. 1720. India, Bilaspur. Gum tempera and gold on paper; page: 21.7 x 31 cm (8 9/16 x 12 3/16 in.); image: 19.1 x 28.3 cm (7 1/2 x 11 1/8 in.). Sitting under a tree, Madhava sings in front of a group of women who came to fetch water from the well. Enchanted by his voice, the bedazzled ladies swoon and drop their clay pots. Their gaze is fixed on Madhava who is dressed as an ascetic. The backdrop is monochromatic green, and a thin blue strip denotes the sky.

Krishna massaging the feet of Radha, a scene possibly from the Gita Govinda. Date/Period: 1725/1735. Painting. Ink, opaque watercolor, gold, and beetle thorax casings on paper. Width: 20.3 mm. Height: 26.7 mm (work). Author: India, Punjab Hills, Mankot School.

The Punishment of Khwaja Mu'azzam. Date/Period: Ca. 1604. Painting. Color and gold on paper. Height: 231 mm (9.09 in); Width: 125 mm (4.92 in). Author: UNKNOWN.

Fighting at the gates to Jerusalemm, The holy objects of Muhammad buried in the presence of the Angel of God, miniature from The tales of Luqman, Arabic manuscript, 1583.

Vibhasa Ragini, Ragamala Album, School of Rajasthan, 19th century. A servant brings some lovers refreshments, holding a bow and arrow, the symbol of Kama, god of the love. Found in the collection of Jean Claude Carriere. The artist is unknown.

Nobleman Visiting Saint at his Shrine, 17 - 18th century. India, Mughal, 17th-18th century. Color on paper; overall: 21.3 x 13.3 cm (8 3/8 x 5 1/4 in.).

Punyaki Ragini, Fourth Wife of Bhairava Raga, Folio from a Ragamala (Garland of Melodies). India, Himachal Pradesh, Bilaspur, circa 1700. Drawings; watercolors. Opaque watercolor and gold on paper

Woman signs the portrait of her absent beloved (Dhanashi Ragini). A woman is busy drawing a portrait of her absent loved one. A servant admits her coolness with a range of peacock feathers. A peacock is lured by strumming on the tanpura of a second servant.

Shri Raga, from a Ragamala (Garland of Melodies), 1695. Nasiruddin (Indian, active 1679-1700). Gum tempera and gold on paper; page: 27 x 18.4 cm (10 5/8 x 7 1/4 in.); miniature: 15 x 10 cm (5 7/8 x 3 15/16 in.). Sharing a bottle of wine, the royal couple enjoy the performance of a musician playing a vina and the horse-headed divinity Tumbaru on the cymbals. Tumbaru is a divinity who has the power to increase the prosperity of the realm. This page is from a series that was made on the occasion of Diwali, the Hindu festival of lights.

A Lady and Her Duenna: Page from a Dispersed Rasikapriya (Lover's Breviary) 1685-92 Ibrahim Indian. A Lady and Her Duenna: Page from a Dispersed Rasikapriya (Lover's Breviary) 37865

An Ambassador before Humayun, c. 1610. Attributed to Miskin (Indian, active 1570s-c. 1604). Opaque watercolor with gold on paper; painting: 20.9 x 11.7 cm (8 1/4 x 4 5/8 in.). Humayun, the second Mughal emperor of India, son of Babur and father of Akbar, is enthroned in an outdoor royal encampment. The scene recalls Humayuns 15 years of exile between 1540 and 1555, many of which he spent traveling through Pakistan, Afghanistan, and Iran, after an Afghan rebel ousted him from India.

The Planetary Deity Brihaspati (Jupiter). India, Western Rajasthan, circa 1800. Drawings; watercolors. Opaque watercolor and ink on paper

A Lady Being Led to her Bedchamber Indian. A Lady Being Led to her Bedchamber, late 18th century. Opaque watercolors on paper, sheet: 18 5/16 x 12 7/16 in. (46.5 x 31.6 cm). Asian Art late 18th century

Demons Fighting Over an Animal Limb late 17th century India (Rajasthan, Bikaner or the Deccan) In this painting, set in a fantastic landscape with rocks, trees and a cityscape in the distance, two fearsome demons are seen quarreling over the leg of an animal. In the middle ground, three women dressed in typical Rajput fashion and carrying water pots, are oblivious to the demons in their midst. Demonic of this bizarreness are best known in Central Asian manuscript painting, and indeed this is probably their origin, transmitted to India via Persian models. The painter reveals himself as one trained in Rajasthan, probably in the Bikaner court, who was exposed to Deccani painting, either through travel or by access to Deccan paintings at his patrons library.. Demons Fighting Over an Animal Limb 37811

18th century Indian manuscript about the life of Krishna.

Krishna Lifts Mount Govardhan, from a Bhagavata Purana, 1686. Central India, Madhya Pradesh, Malwa. Gum tempera on paper; page: 19.4 x 27.6 cm (7 5/8 x 10 7/8 in.). After Krishna convinced the dwellers of the cowherd village in Braj to not give the annual offering to Indra, king of the gods, an enraged Indra flooded the village with heavy rainfall. Krishna, shown with four arms, lifted nearby Mount Govardhan, and the villagers took shelter underneath. The painting depicts a heavy torrent of rain, and in the upper left, Indra sits enthroned with two attendants and his white elephant mount.

Scenes Form The Early Youth of Krishna. On a large magazine, the life of the young Krishna is portrayed in various tableaux, some of which bounded by a white border, at the various stages are texts. The show is framed by a narrow yellow border with an ornamental beverage motif in black and red, in red frame lines, around it a wide orange border with black and white frame lines. On the right edge and the bottom right are texts in the Devanagari script, in white, some in red and black. At the back, the text is from the Bhagavata Purana book 10.10.23-43 and 11.1-9.

Raga Hindol, from a Garland of Musical Modes (Ragamala)manuscript

While they were talking, Radha Krishna took Krishna's flute, so that they can stay in each other's company a little longer. His boyfriend, a shepherd boy and Radha's girlfriend are watching, Radha doesn't give Krishna his flute back., draughtsman: Chajju, (attributed to), draughtsman: anonymous, draughtsman: Pahari, draughtsman: Chamba, 1805 - 1815, paper, brush, h 163 mm × w 115 mm, h 207 mm × w 157 mm

"Jahangir and His Vizier, I'timad al-Daula", Folio from the Shah Jahan Album recto: ca. 1615; verso: ca. 1530-45 Painting by Manohar While Jahangir (r. 1605-27) and l'timad al-Daula (a title meaning "reliance of the state") greet each other formally in this painting, they had a warm personal relationship, for in 1611 l'timad al-Daulas daughter had married Jahangir. By virtue of this connection, her father became the chief minister of the realm, a position he retained until his death in 1622.. "Jahangir and His Vizier, I'timad al-Daula", Folio from the Shah Jahan Album 451269

Hamir Receives Mehma, Folio from a Hamir Hath. India, Himachal Pradesh, Guler, circa 1840. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Padmottara, once anointed king, will be attacked by King Duhprasaha, in which the latter's soldiers will die, detail from the Swayambhu Purana, an important Buddhist sacred text in Nepal, gouache, Nepal. Nepalese Civilisation, 19th century.

A princess reclining on a terrace with attendants, c. 1730-1740. India, Mughal, 18th century. Opaque watercolor and gold on paper; page: 20.6 x 30.6 cm (8 1/8 x 12 1/16 in.). This scene presents an idealized view of the life of a Mughal princess. Bejeweled and dressed in costly garments, she reclines on a couch set up on a white marble terrace. She watches two musicians sing and clap time, and a companion pours for her a cup of liquor. Two attendants stand behind, one waving a whisk to keep away the insects and another holding a box of paan, a betel-leaf preparation for freshening the breath. At the far right an older woman of the harem holds a fan while enjoying a hookah.

Rahda And Krishna Indian Art(- ) Gouache

"Yusuf Freed from the Well," Folio from the Bellini Album late 16th century. "Yusuf Freed from the Well," Folio from the Bellini Album 451979

Bhairava Raga, Folio from a Ragamala (Garland of Melodies). India, Madhya Pradesh, Datia (), circa 1650. Drawings; watercolors. Opaque watercolor and gold on paper

Rag Megh Malar, page from a Garland of Musical Ragas (Ragamala) Set 1745-1770 Rajasthan. Opaque watercolor and gold on paper .

Drie vrouwen op een terras spelen blindemannetje.On a terrace under a canopy there are three women, one holds both hands for her eyes, the others keep both arms raised. The presentation is on the top and bottom with text rules, on the back two vertical columns text.

Devotions to Nagadevata Indian. Devotions to Nagadevata, ca. 1790. Opaque watercolor and gold on paper, sheet: 11 3/16 x 8 1/16 in. (28.4 x 20.5 cm). This unusual painting shows a group of individualshuman, divine, and semi-divineworshipping a snake deity, or naga (with multiple cobra heads), in a temple setting. Indians of various religious affiliations have worshipped snakes since ancient times: poisonous, but helpful because they eat rodents, serpents are thought to have close ties to the earth and the underworld and are therefore believed to deserve reverence. The multi-headed, white-skinned figure at the left is the Hindu god Shiva. The horse-headed musician at the right is a kinnara, or celestial entertainer. The snake-god’s two wives, with human bodies and snake tails, appear at the right. Asian Art ca. 1790

Krishna and the Gopis Take Shelter from the Rain 1760 India (Rajasthan, Jaipur) Here, dark clouds fill the sky and Krishna shelters several gopis (cow maids), alluding to his lifting of Mount Govardhana to shield the inhabitants of the village of Braj from a devastating storm sent by the god Indra. The gopis devotion (bhakti) to Krishna is mimicked by the cows who share in their adoration. Krishnas pastoral activity, which was mapped for places of pilgrimage, and his erotically charged relationship with the gopis, which speaks of his passionate connection to his devotees, came to be important aspects of religious life. Accordingly, they were the subjects of paintings at many of the Rajput courts.. Krishna and the Gopis Take Shelter from the Rain 37968

Krishna and Radha in a Bower: Page From a Dispersed Gita Govinda ca. 1665 Sahibdin The lush foliage seen in this work perfectly reflects the rich metaphoric prose of Jayadevas Gita Govinda, giving visual form to Krishna and Radhas passion. Radhas confidante is seen at center looking back through the tangled jungle where Radha had to travel to meet with her lover. While the depiction of the forest is perhaps less polished than that done by the workshop of Sahibdin in the early seventeenth century, it is more freely depicted and employs a greater range of colors.. Krishna and Radha in a Bower: Page From a Dispersed Gita Govinda. Sahibdin (active ca. 1628-55). India (Rajasthan, Mewar). ca. 1665. Ink and opaque watercolor on paper. Paintings

Krishna Stealing the Clothes of Gopis, anonymous, c. 1780 Indian miniature. drawing Krishna is in a large tree, his arms in a flute position, around him the clothes that he has stolen from the shepherds that are pleading under the tree; The other shepherdesses sit on a landing near a river, in which a few more ladies swim around, a naked lady hides behind the tree. Around the show a yellow trim in black framework lines and a wider purple -brown border. Bundi paper brush

Ragini Gujari, from a Garland of Musical Modes (Ragamala)manuscript

Miniature Painting on Paper, Ragini Ratha , naltdwara school Copyright: xBhagwandasxRupani/DinodiaxPhotox

Council of Heroes: Page from a Dispersed Mahabharata (Great Descendants of Mahabharata) ca. 1800 India (Maharashtra, Paithan). Council of Heroes: Page from a Dispersed Mahabharata (Great Descendants of Mahabharata) 37933

Friends of Krishna, folio 163 from a Bhakti Ratnavali of Vishnu Puri, 1725-50. Northwestern India, Rajasthan, Rajput Kingdom of Mewar. Gum tempera and gold on paper; overall: 26.5 x 42.2 cm (10 7/16 x 16 5/8 in.). In the upper left vignette, the blue-skinned Krishna sits with two of his friends before Nanda, his foster father and head of the cowherd village in Braj, where he spent his youth. Below, he interacts with three adoring cows. The scene in the upper right corner accords with the end of the verse at the top of the page, which reads, The one who speaks about him to his wife and son at home will never be abandoned by him.” The text is drawn from a compendium of devotional verses excerpted from the extensive Bhagavata Purana by the medieval commentator Vishnu Puri.

Page from a Dispersed Rasikapriya (Lover's Breviary). Culture: India. Dimensions: 5 3/4 x 8 7/16 in. (14.6 x 21.4 cm). Date: ca. 1650. Museum: Metropolitan Museum of Art, New York, USA.

Vishnu on Garuda Indian. Vishnu on Garuda, ca. 1725 or earlier. Opaque watercolor, silver, and gold on paper, sheet: 8 11/16 x 5 3/4 in. (22.1 x 14.6 cm). The Hindu god Vishnu resides in a heavenly realm, but when humankind requires his help, he descends to earth to save the day, riding on the back of a part-man, part-eagle creature named Garuda. Although Vishnus blue color is not explained in Hindu scriptures, several Hindu pundits have suggested that his color reflects his home above the clouds. Vishnu is also closely associated with the primordial ocean that existed before the gods created land and living creatures. Asian Art ca. 1725 or earlier

Gunakali Ragini. On a covered porch there is a woman on her bed and picks leaves from the flowers that stand for her in a large pot. Around the show a narrow yellow edge in red frame lines and an outer edge in red with rounded corners; Inscription above the performance in and wide yellow strip.

Fortune-telling; a group of women on a terrace at night. Date: 18th century. Origin: India. Period: Mughal dynasty. Color and gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Krishna Kisses Radha: Page from the Boston Rasikapriya (Lover's Breviary) ca.1610 India (Rajasthan, Amber). Krishna Kisses Radha: Page from the Boston Rasikapriya (Lover's Breviary). India (Rajasthan, Amber). ca.1610. Ink, gold and opaque watercolor on paper. Paintings

Sacrificial Fire, c. 1650. India, Gujarat, Jain, 17th century. Color on paper; overall: 25.4 x 21.5 cm (10 x 8 7/16 in.).

Frost with white horse under a tent roof in a rocky landscape, Anonymous, 1690 - 1710 Indian miniature. drawing In a rocky landscape there is a prince on a white rug under a tent roof, behind him two servants, one of which holds a white cloth over him, for him three monkey people with a white horse on the lines that offer him a bowl of delicacies. Bilaspur paper brush

Khambhavati Ragini: Folio from a ragamala series (Garland of Musical Modes). Culture: India (Rajasthan, Bikaner). Dimensions: 6 1/4 x 5 in. (15.9 x 12.7 cm). Date: ca. 1675.Here a female mendicant makes a Vedic fire offering to the god Brahma who is represented with four overlapping faces and holds a text, rosary (mala), and flower. An earlier ragamala text of 1550 provides the following description of Brahma: "He Brahma teaches the Vedas . and causes other to perform the fire-oblation. A bright garment covers the beauty of her body; her fair colour gleams.". Museum: Metropolitan Museum of Art, New York, USA.

An Illustration to the Mahabharata: The Pandava and Kaurava armies face each other

Ragini Diskar, from a Garland of Musical Modes (Ragamala)manuscript

Sugriva Sends Emissaries, Led by Hanuman, to Find Princess Sita. India, Himachal Pradesh, Kangra, circa 1830-1840. Drawings; watercolors. Opaque watercolor, gold, and silver on paper

Shri Rama Putra Raga: Page from the Dispersed "Boston" Ragamala Series (Garland of Musical Modes). Culture: India (Rajasthan, Kota or Bundi). Dimensions: Painting 7 1/4 x 4 7/8 in. (18.4 x 12.4 cm)Page 12 3/8 x 9 1/4 in. (31.4 x 23.5 cm). Date: ca. 1760.A prince attended by two female servants speaks to his beloved, who stands beneath a flowering banana tree. Silver grays and cool greens and whites dominate, masterfully contrasting with the less plentiful reds, yellows, and golds. The illusion of space is particularly accomplished, and the mystery of the moonlit encounter has been captured. An inscription at the top reads, "Shri Rama Putra son of Dipak Raga, to be sung in the evening.". Museum: Metropolitan Museum of Art, New York, USA.

Maharana Sangram Singh II (r. 1710-34) Worshipping a Linga Under a Banyan Tree, c. 1712-15. Northwestern India, Rajasthan, Rajput Kingdom of Mewar. Opaque watercolor, ink, and gold on paper; page: 24.8 x 18.1 cm (9 3/4 x 7 1/8 in.); miniature: 23.2 x 16.8 cm (9 1/8 x 6 5/8 in.). The king kneels in worship at an ancient tree shrine on the banks of a lake. Such shrines were often associated with serpent deities, and a four-headed snake painted in gold is wrapped around the linga, the phallic emblem marking the sacred presence of the god Shiva. Flowers, packets of paan (areca nut and sweetmeats wrapped in betel leaf), coconuts, and a flower garland are among the offerings.

Set Malar-ragini.

A lady charms the snakes from the trees. 17th cent. INDIA.

The emperor Jahangir celebrating the Festival of Holi with the ladies of the zenana. Date/Period: Ca. 1800. Miniature,opaque watercolour, gold. Height: 264 mm (10.39 in); Width: 216 mm (8.50 in). Author: India) Lucknow (Uttar Pradesh.

The coronation of Ogodei Khan in 1229, from Rashid al-Din, early 14th century.

Women in front of a linga-altar (Bhairavi ragini). Draughtsman: anonymous. Dating: 1770 - 1780. Place: Oudh. Measurements: h 154 mm × w 105 mm; h 301 mm × w 222 mm. Museum: Rijksmuseum, Amsterdam.

Bhairava Raga, Page from a Dispersed Ragamala Series Indian. , ca. 1700. Opaque watercolor and silver on paper, sheet: 16 x 11 1/2 in. (40.6 x 29.2 cm). Asian Art ca. 1700

The Holy Krakutsanda consecrates Brahmins who become monks, detail from the Swayambhu Purana, an important Buddhist sacred text in Nepal, gouache, Nepal. Nepalese Civilisation, 19th century.

Krishna at the Feet of Radha: Page from a Dispersed Rasikapriya 1634 India (Madhya Pradesh, Malwa) The Rasikapriya passage illustrated shows Radha arrogantly rejecting her lover, Krishna, who kneels in humility at her feet. Radhas friend tries to intercede on Krishnas behalf, and when Radha tells her to cease her chatter, she replies: “How long can you maintain your pride? Embrace him.” This early Malwa work sets the figures against a red background showing a simplified palace and thundercloud outlined in white, which is repeated in other pages from this section of the Rasikapriya. (This page is from the same manuscript as 35.34.). Krishna at the Feet of Radha: Page from a Dispersed Rasikapriya 37885

Episode from the love history of Laila and Majnun, the slimaged Majnun is in a landscape with a man and his camel.Maynun's father visits his son in the wilderness. Illustration of the story of Laila and Majnun from the Khamsa of Nizami.

Solomon, according to the Book of Kings and the Book of Chronicles, a King of Israel and according to the Talmud one of the 48 prophets, is identified as the son of David, also called Jedidiah in 2 Samuel 12:25, and is described as the third king of the United Monarchy, and the final king before the northern Kingdom of Israel and the southern Kingdom of Judah split; following the split his patrilineal descendants ruled over Judah alone. In the Qur'an, he is considered as a major Prophet, known as Sulaiman, son of David. The Queen of Sheba was a monarch of the ancient kingdom of Sheba and is referred to in Ethiopian history, the Bible, the Qur'an, Yoruba customary tradition, and Josephus. She is widely assumed to have been a queen regnant, although there is no historical proof of this; in fact, she may have been a queen consort. The location of her kingdom is believed to have been in Ethiopia and Yemen.

Vibhara ragini, anonymous, 1760 Indian miniature. drawing In a palace a woman is resting on a bed, behind her head a servant who blows her coolness and in a window opening a second servant who puts her finger on the lips to manny Krishna to silence; He is ready in a doorway with a tense arch to shoot an arrow with the head of a lotus flower on the beloved; Two musician ladies in the foreground; At the top of the show a wide strip of text in Old Indian on yellow background. The show is framed by a wide red edge and separated from it by black and white framework lines. Central India paper brush / brush

Krishna and Radha Conversing: Page from a Dispersed Gita Govinda (Loves of Krishna) 18th century India (Orissa) Krishna and Radha sit conversing on opposite sides of a tree. Below, another of the gopis is seated inside a building with a tiered roof.. Krishna and Radha Conversing: Page from a Dispersed Gita Govinda (Loves of Krishna) 37998

The Malla Dynasty was a ruling dynasty of Nepal c. 1201-1769. It was during their reign that the people living in and around the Kathmandu Valley began to be called 'Newars', meaning citizens of Nepal. The Mallas were the ruling clan of the Malla Mahajanapada. They have claimed Kshatriya status themselves. The first of the Malla kings came to power in Kathmandu Valley around 1200. The Malla period was a golden age that stretched over 600 years, though it was frequently blighted by fighting over the valuable trade routes to Tibet.

Shiva and Parvati on a composite cow made of assembled women - Unknown, Rajasthan School. Date/Period: Between 1775 and 1800.

Ragini Kedara, from a Garland of Musical Modes (Ragamala)manuscript

miniature painting of lady celebrating diwali festival, india Copyright: xDinodiaxPhotox

painting of mughal emperor with his wives in love scene, india Copyright: xBhagwandasxRupani/DinodiaxPhotox

Krishna's Fifth and Sixth Avatars, page from a copy of the Gitagovinda of Jayaveda 1680-1690 Deccan. Opaque watercolor and gold on paper .

Gajendra Moksha. Date/Period: 1750 - 1770. Painting. Height: 355 mm (13.97 in); Width: 235 mm (9.25 in). Author: UNKNOWN.

The use and consequences of bhang. The use and consequences of bhang. Bhang is a drink prepared from marijuana.

Sada Shiva Indian Art Musee Guimet, Paris, France

Slighted Heroine (Khandita), Nayika Painting Appended to a Ragamala (Garland of Melodies)

Gods, Rishis, and Demons at the Feast of Ramas Birth, from a Ramayana, c. 1810. Northern India, Himachal Pradesh, Pahari Kingdom of Kangra. Gum tempera and gold on paper; page: 27.7 x 39.4 cm (10 7/8 x 15 1/2 in.); image: 23.5 x 34.7 cm (9 1/4 x 13 11/16 in.). The womens quarters of a palace occupy the right side of the composition. On the left, in the courtyard, gods, including the four-headed Brahma, blue Vishnu, Indra with eyes all over his body, and Shiva with snakes in his hair who sits closer to the demons, feast on large platters of rice brought to them by servants. The depiction of the feast is inspired from an ancient Pahari feast called Dh?m.

Priests worshipping Krishna as Shrinathji for Mountain of Food festival Annakuta utsava; shrine hanging pichhavai. Date/Period: Ca. 1840. Painting,opaque watercolour, ink, silver and gold on cotton. Height: 1,885 mm (74.21 in); Width: 1,445 mm (56.88 in). Author: India) Kota school (Rajasthan.

Dance of Krishna and the Gopis, from a History of the Lord (Bhagavata Purana)manuscript

Krishna and Gopis (Recto); Kamadeva, God of Desire, Shooting an Arrow at Krishna (Verso), Folio from a Gita Govinda (Song of the Cowherd). India, Gujarat, circa 1585. Books. Opaque watercolor and ink on paper

Godin Durga a Hanuman, Anonymous, 1760 Indian miniature. drawing On a tiger, the goddess Durga, on the right in front of her is the demigod with monkey face Hanuman with folded hands, behind her a servant who cools her coolness. Around the show a black and white framework and narrow orange-red edge; damaged. Mandi paper brush

Mandalika Ragini, Page from a Dispersed Ragamala Series Indian. Mandalika Ragini, Page from a Dispersed Ragamala Series, mid 18th century. Opaque watercolors on paper, sheet: 12 1/4 x 7 in. (31.1 x 17.8 cm). Indian Paintings of Musical Themes The most prevalent form of classical music in northern India is the raga. A raga is not a composed piece of music but an established set of tonal, rhythmic, and expressive guidelines from which a musician creates an improvised performance. The guidelines are specific enough that a seasoned listener can recognize any particular raga if it is performed properly. There are many different ragas, and over the centuries they have been organized into categories, described as families, in which related musical themescalled raginisare considered the wives of a raga, and still otherscalledraga-putrasare considered the raga’s sons and daughters. Each raga is associated with an emotional state and a time of the day and year. Poets imagined brief narrativ

Album of Ragamala. Dipaka (light) Raga: On a terrace lit by torches, a lover listens to music played by his love. 19th century Indian miniature, Rajasthan School with Mughul influence.

Radha's Friend Pleads with Her to Receive Krishna: Page from a Dispersed Rasikapriya. Culture: India (Madhya Pradesh, Malwa). Dimensions: 7 3/4 x 6 in. (19.7 x 15.2 cm). Date: 1634.Krishna approaches Radha's pavilion, having won over her friend to act as an intermediary. The confidante tells how the peacocks cry in anger at Radha's sulking lustfulness and how the clouds resound likes drums of pleasure while she frets in silence. The pages of this manuscript, dated to 1634, show female figures wearing striped garments while the male protagonists from this group often have sheer muslin outer garments and flat turbans. Given Malwa's geographic expanse and our lack of knowledge of the court workshops, these types of commonalities help in recognizing regional production. Museum: Metropolitan Museum of Art, New York, USA.

Ragini Deva Gandhara, from a Garland of Musical Modes (Ragamala)manuscript

Durga on her lotus with symbols surrounded and attended by devotees. Gouache drawing.

Queen Trisala Nursing the Newborn Mahavira: Folio from a Kalpasutra Manuscript 15th century India (Gujarat) A nearly identical composition as the birth scene, this painting depicts Trisala supporting the feeding infant Mahavira, while above, in another narrative, the infant is being rocked in a swing cradle by two handmaids. In this series we witness the appearance of the use of crimson along with the ultramarine ground, an innovation of the fifteenth-century style.. Queen Trisala Nursing the Newborn Mahavira: Folio from a Kalpasutra Manuscript 74986

Krishna and Balarama Arrive in the Forest, Folio from a Bhagavata Purana (Ancient Stories of the Lord). India, Odisha (Orissa), circa 1800-1825. Books. Opaque watercolor and ink on paper

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