Miniature Indian Paintings

Intricate Rajput and Mughal miniatures portraying stories and figures, rich in color and detail, reflecting royal heritage.

Garden Scene with Princes and Attendants, 15th century, 6 x 3 1/2 in. (15.24 x 8.89 cm), Ink, colors, and gold on paper, Iran or Turkey, 15th century, A beautiful arrangement of forms and richly orchestrated colors, rather than the illustration of a specific narrative, distinguishes this lovely miniature. The romantic fairyland world it depicts is drawn from the work of the well-known Persian author Sa'di. The mystical-didactic writings of Sufi poet-scholars Sa'di (13th century) and Tamu (d. 1492) were immensely popular. Accordingly, miniature paintings based on their verse often served as visual metaphors for a spiritual union with the divine by representing the physical union of two loversin this case, two princes.

"A Ruffian Spares the Life of a Poor Man", Folio 4v from a Mantiq al-tair (Language of the Birds) ca. 1600 Farid al-Din `Attar This painting once formed part of a rare surviving illustrated copy of Farid al-Din 'Attars mystical poem, the Mantiq al-tair (Language of the Birds). Originally commissioned in the late fifteenth century, the manuscript was left unfinished, completed over a century later during the reign of the Safavid ruler Shah 'Abbas I (r. 1587-1629). Four new paintings were added at that time, including this seventeenth century illustration for the story of a ruffian who spares the life of a poor man.. "A Ruffian Spares the Life of a Poor Man", Folio 4v from a Mantiq al-tair (Language of the Birds) 451723

Malashri Ragini, Page from a Jaipur Ragamala Set 1745-1770 Rajasthan. Opaque watercolor and gold on paper .

Lady with two deer. A woman dressed in a yellow robe is right in a palace hall with a window behind her that overlooks a lotus pond and a hill with groups of trees; Left and right for the woman are two deer with flower wreaths around the neck. The show is placed in a thick black border frame with two white lines within black; A light brown with red speckled edge that is also provided with red frame lines; The leaf is stuck on a brown piece described.

Young Prince and Mentor Sitting in Landscape ca. 1600. Young Prince and Mentor Sitting in Landscape 446591

Rajput painting, also known as Rajasthani Painting, is a style of Indian painting, which evolved and flourished during the 18th century in the royal courts of Rajputana, India, flowing from the style of Mughal painting, which itself derived from the Persian miniature. Each Rajput kingdom evolved a distinct style, but with certain common features. Rajput paintings depict a number of themes, including events from epics like the Ramayana and the Mahabharata, Krishnas life, beautiful landscapes, and human life. Miniatures in manuscripts or single sheets to be kept in albums were the preferred medium of Rajput painting, but many paintings were done on the walls of palaces, inner chambers of the forts, havelis, particularly, the havelis of Shekhawati, the forts and palaces built by Shekhawat Rajputs. The colours were extracted from certain minerals, plant sources, conch shells, and were even derived by processing precious stones. Gold and silver were used. The preparation of desired colours

Megha raga. Draughtsman: anonymous. Dating: c. 1690. Place: Sirohi. Measurements: h 202 mm × w 159 mm; h 155 mm × w 140 mm. Museum: Rijksmuseum, Amsterdam.

Garden Scene with Princes and Attendants, 15th century, 6 x 3 1/2 in. (15.24 x 8.89 cm), Ink, colors, and gold on paper, Iran or Turkey, 15th century, A beautiful arrangement of forms and richly orchestrated colors, rather than the illustration of a specific narrative, distinguishes this lovely miniature. The romantic fairyland world it depicts is drawn from the work of the well-known Persian author Sa'di. The mystical-didactic writings of Sufi poet-scholars Sa'di (13th century) and Tamu (d. 1492) were immensely popular. Accordingly, miniature paintings based on their verse often served as visual metaphors for a spiritual union with the divine by representing the physical union of two loversin this case, two princes.

The Parrot Addresses Khujasta at the Beginning of the Tenth Night, from a Tuti-nama (Tales of a Parrot), c. 1560. Iqbal (Indian, active 1550s-1590s). Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 9.9 x 10.1 cm (3 7/8 x 4 in.).

Frost and hovelings on a terrace. .

Recycled princess with servants. On a cheerful floral terrace there is a gold-driven bed on which a princess leaned, behind her and witching them to them two women smiling back, at the footstone standing three servants that pampered her, in the foreground a symmetrically landscaped garden with flower beds, on Background a symmetrical row of trees with the leaves in gold, rises between each pair of trees rice a cypress against a light blue morning sky colored by the rising sun red colored. The performance is trimmed with a narrow yellow edge and a stir-colored leaf edge around it.

The polo game. Draughtsman: anonymous. Dating: c. 1600 - c. 1625. Place: India. Measurements: h 75 mm × w 44 mm; h 215 mm × w 135 mm. Museum: Rijksmuseum, Amsterdam.

A woman dressed in a yellow robe stands in the middle of a palace hall with behind her a window overlooking a lotus pond and a hill with groups of trees, left and right in front of the woman are two deer with garlands of flowers around their necks. The representation is placed in a frame of a thick black border with two white lines within the black, around it is a light brown border with red speckled lines, the leaf is stuck on a brownish piece of described paper., Lady with two deer, draughtsman: anonymous, Chamba, 1810, paper, brush, h 203 mm × w 128 mm, h 275 mm × w 194 mm

Emperor Muhammad Shah. India, Delhi, Mughal empire, circa 1735. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Prins onder een baldakijn in gesprek met een jonge vrouw.On a terrace under a canopy is a prince on the right of a multi-colored carpet, left for him a young woman, both gestures with the right hand to each other; In the foreground are scales and bottles and the right behind the prince a servant blows him coolness, against the deep blue sky a few blooming shrubs; The presentation is on the top and top with two columns of text that go on the back, sinked with a few frame lines and partly colored. Recto and verso two columns text, exhaust lines around, partly colored.

Couple on roll cushions in a palace with two servants behind them, Anonymous, 1790 - 1810 Indian miniature. drawing On the lower half of the magazine you can see the representation of a pair in a palace, above it two vertical columns with text in blocks and also text in two columns that run on the back. Two columns text on the front and back in Oud-Perzian script; Recto at the top of a kind of hopping track with wide tracks and two blocks side by side of which the blocks in the middle part are described opposite each other, the blocks also return halfway through the back; Around the frameworks a piece of leaves and then again framework lines; Leaf corners and side torn and irregular. Cashmir paper brush / brush

Prince with two ladies. Maker: anonymous. Dating: 1900 - 1950. Place: Deccan. Measurements: h 154 mm × w 110 mm; h 381 mm × w 257 mm. Museum: Rijksmuseum, Amsterdam.

Jahangir sitting on a throne. The Mughal Emperor Jahangir (1605-1627) sitting on a throne on a terrace under a canopy.

The Parrot Addresses Khujasta at the Beginning of the Seventeenth Night, from a Tuti-nama (Tales of a Parrot), c. 1560. Sravana (Indian). Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 11.7 x 10.2 cm (4 5/8 x 4 in.). Tuti the talking parrot begins to tell Khujasta the story of a merchant named Mansur and his encounter with an imposter. Various features of the room, including the pale colors and flat composition are reminiscent of the pre-Akbar painting style.

Krishna and Radha. Draughtsman: anonymous. Dating: 1810. Place: Kangra. Measurements: h 155 mm × w 92 mm; h 192 mm × w 130 mm. Museum: Rijksmuseum, Amsterdam.

Deccan-heerser (Maratha king Shambhuji), anonymous, c. 1650 - c. 1699 Indian miniature Deccan paper. deck paint. gouache (paint) brush

Sita Shies Away from Hanuman, Believing He is Ravana in Disguise. (Miniature from the Ramayana by Valmiki) by Indian Art / The David Collection / The Oriental Arts / 1594 / India, Mughal school / Gouache on paper / Mythology, Allegory and Literature /

De koninginne chandohaan.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.

Princess Smoking a Hookah (as Salabhanjika), 1700s. India, Mughal, Kulu influence, 18th century. Opaque watercolor on paper; sheet: 30.5 x 21 cm (12 x 8 1/4 in.); image: 13.4 x 10.2 cm (5 1/4 x 4 in.).

Women's house in a palace, anonymous, c. 1670 - c. 1750 drawing. Indian miniature paper. deck paint. gouache (paint) brush

Raja with his Beloved, c. 1790 - 1800. India, Kangra School, late 18th Century. Color on paper; overall: 18.1 x 13.4 cm (7 1/8 x 5 1/4 in.); with borders: 18.3 x 13.4 cm (7 3/16 x 5 1/4 in.).

"Rustam Brings the Div King to Kai Kavus for Execution", Folio 127v from the Shahnama (Book of Kings) of Shah Tahmasp. Artist: Painting attributed to Qasim ibn 'Ali (active ca. 1525-60); Painting attributed to Mir Musavvir (active 1525-60). Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Painting: H. 11 3/16 x W. 7 1/8 in. (H. 28.4 x W. 18.1 cm)Entire Page: H. 18 5/8 x W. 12 9/16 in. (H. 47.3 x W. 31.9 cm). Date: ca. 1525-30.Even with the death of the White Div and the Div General Arzhang, the demons of the Div King of Mazandaran continue to harry the Iranians. At last, Kai Kavus leads his army into battle gainst the divs. Rustam captures the Div King, who transforms himself into a stone. When Rustam lugs him to Kai Kavus and threatens to slice him up, he returns to div form and is executed on Kai Kavus's order. A later hand blackened the face and hands of Kai Kavus.. Museum: Metropolitan Museum of Art, New York, USA.

Khurshid reunited with her husband Utarid, from a Tuti-nama (Tales of a Parrot): Thirty-second 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: 10.6 x 10.1 cm (4 3/16 x 4 in.).

The parrot addresses Khujasta at the beginning of the forty-first night, from a Tuti-nama (Tales of a Parrot): Forty-first 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: 9.8 x 10 cm (3 7/8 x 3 15/16 in.). On the forty-first of fifty-two nights, Khujasta consults Tuti the parrot for advice on how to balance her lovers wishes with her vow of marriage. Tuti, perched atop his cage, responds by telling her a story about a donkey who was punished for singing too brazenly.

"Funeral Procession", Folio 35r from a Mantiq al-tair (Language of the Birds). Author: Farid al-Din `Attar (ca. 1142-1220). Calligrapher: Sultan 'Ali al-Mashhadi (active late 15th-early 16th century). Dimensions: Painting: H. 9 3/4 in. (24.8 cm) W. 5 1/2 in. (14 cm)Page: H. 13 in. (33 cm) W. 8 1/2 in. (21.6 cm)Mat: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm). Date: dated A.H. 892/ A.D. 1487.This illustration is associated with a story related by the hoopoe as a response to a bird who complains about his fear of death. In the story, a son grieves the death of his father in front of his coffin and a sufi soothes him, explaining that his father had experienced much pain and that no one can avoid death. Here, the painter depicts the incident as occurring in front of a cemetery gate. The scene behind the gate is replete with motifs that are irrelevant to the story itself. The viewer at the court may have enjoyed deciphering them. Museum: Metropolitan Museum of Art, New York, USA.

The young man changes himself to look like Mansur, and thus inveigles himself into the bed of Mansurs wife, but is put off by her, from a Tuti-nama (Tales of a Parrot): Seventeenth Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 6.6 x 10.2 cm (2 5/8 x 4 in.).

Vorst die hoogwaardigheidsbekleders ontvangt.There is a frost on a throne, dressed in a transparent, white Jama. A pearl necklace is hung over his red turban. And servant is behind him and waves him coolness. For the throne there are four men, the front of which does a request to the prince. Around the show framellates, colored in green and gold, upside down and down a wide horizontal surface filled with gold motifs filled and picked up, right a block with goldsup.

"Kai Kavus Ascends to the Sky", Folio 134r from the Shahnama (Book of Kings) of Shah Tahmasp. Artist: Painting attributed to Qadimi (active ca. 1525-65). Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Painting: H. 11 3/16 in. (28.4 cm) W. 7 3/16 in. (18.3 cm)Page: H. 18 5/8 in. (47.3 cm) W. 12 9/16 in. (31.9 cm)Mat: H. 22 in. (55.9 cm)W. 16 in. (40.6 cm). Date: ca. 1525-30.Kai Kavus was a long-lived powerful king and a capricious ruler. One day, while hunting, he was approached by a div disguised as a handsome youth. The ill-natured devil began praising him, saying that his royal farr-"the kingly glory-was of such splendor that he should reign the world from the heavens. Seduced by this idea, the king ordered his servants to build him a golden throne, which he then lifted up in the air with the help of four hungry eagles tied to the throne's corners at whose top were placed succulent baits of meat. The floating throne floating quickly met disaster: when the birds tired out,

Folio from a "Shahnameh": The Iranians Capture Afrasiyab's Fortress Folio from a "Shahnameh": The Iranians Capture Afrasiyab's Fortress, ca. 1580-1590. Ink and opaque watercolor on paper, 14 1/2 x 8 3/4in. (36.8 x 22.2cm). Arts of the Islamic World ca. 1580-1590

35mm original

Prins in een paviljoen die schalen krijgt aangereikt.In a pavilion on the left there is a prince who gets all kinds of scales with edible gifts provided by four ladies in the foreground, while two ladies arrive in the background with jugs and carafes. A deep blue sky contains a thriving shrub and a tree; The top and bottom edge of the leaf consist of two columns text with frame lines. The performance has text in two columns on recto and verso and put in frame lines.

In search of her beloved, the fearless heroine defies the elements, anonymous, c. 1815 - c. 1825 Indian miniature A girl in a dark forest is chased by a black angry spirit with a child over his shoulder. The show is framed by a narrow edge of dull gold flowers and tendrils against a dark blue background with white framework lines. Mandi paper. gouache (paint) brush

The Heroine Who is Faithfully Loved: Leaf from a Rasamanjari, c. 1710. India, Pahari, Nurpur, 18th century. Color and gold on paper; image: 17 x 26.8 cm (6 11/16 x 10 9/16 in.); overall: 20.5 x 28.2 cm (8 1/16 x 11 1/8 in.).

Ragini Desavaradi, Page from a Jaipur Ragamala Set 1745-1770 Rajasthan. Opaque watercolor and gold on paper .

Turkish or Persian hunters with bow and sword Date: probably 18th century

Sultan Muhammad, son of Miran Shah Indian. Sultan Muhammad, son of Miran Shah, 1875-1900. Opaque watercolor and gold on paper, sheet: 19 5/8 x 11 3/4 in. (49.8 x 29.8 cm). Asian Art 1875-1900

Turkoman Prisoner. Iran, second half of 16th century. Manuscripts; folios. Ink, opaque, watercolor, and gold on paper

Young woman on a terrace in front of a palace gate. Draughtsman: anonymous. Dating: 1790 - 1810. Place: Kashmir. Measurements: h 180 mm × w 99 mm; h 146 mm × w 85 mm. Museum: Rijksmuseum, Amsterdam.

European Woman Seated on a Terrace Smoking a Venetian Style Water Pipe (huqqa); Folio from an Album Belonging to Shuja al-Daula of Oudh. Follower of Mir Kalan Khan (style of)Style of a follower of Mir Kalan Khan (India, Uttar Pradesh, Oudh). India, Uttar Pradesh, Awadh, circa 1760-1775. Drawings; watercolors. Opaque watercolor and gold on paper

Ladhdhat al-nisí (The Enjoyment of Women) translated and illustrated by Ziyí [al-Dn Nakhshab 18th century)illustrated Persian treatise on sexual hygiene appears to be a translation from an Indian treatise. An illustration of the diagnosis of lovesickness by feeling the pulse.

Portret van Akbar Padshah, de zoon van Humayun, die na zijn vader regeerde in Hindustan.Akbar Padshah is depicted to his hips, half-turned right, with a sword in the right hand and a white flower in the left hand. Leaf 3 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.

"Rustam Slays the White Div", Folio from a Shahnama (Book of Kings). Artist: Abu'l Qasim Firdausi (935-1020). Dimensions: H. 14 5/8 in. (37.1 cm)W. 7 3/4 in. (19.7 cm). Date: 1560-80. Museum: Metropolitan Museum of Art, New York, USA.

Dancers in a palace room. Draughtsman: anonymous. Dating: 1790 - 1810. Place: Rajasthan. Measurements: h 216 mm × w 137 mm. Museum: Rijksmuseum, Amsterdam.

. In a palace room a royal couple is wrapped in a blue scarf; The woman has the long snake of a water pipe standing in her mouth; The man takes something from a box that is provided by a servant; Through the window behind them in the middle, a landscape can be seen from white mountains, a blue wall with a bowl and green booms; The windows on either side are filled black. To make the show a dark blue (or black) Edge with floral pattern in lilac and orange; The edge is slightly damaged and irregularly cut.

Prince who receives dignitaries. Draughtsman: anonymous. Dating: 1610 - 1620. Place: India. Measurements: h 82 mm × w 81 mm. Museum: Rijksmuseum, Amsterdam.

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

Folio from the Kathasaritsagara ca. 1590 This folio is from a vast compilation of tales in Sanskrit written by the eleventh-century poet Somadeva for the amusement of the Kashmiri queen Suryamati, and translated into Persian for Akbar (r. 1556-1605) in the late sixteenth century. Exactly which of the hundreds of Somadevas stories is depicted here has yet to be determined, but the action appears typical of these tales, which are fantastic and unusually complicated, involving many twists and turns.. Folio from the Kathasaritsagara 457054

Cassiopeia (Zât al-Kursî) top; Perseus (Barsâvush)bottom, f. 26v. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

Woman with Vase of Lilies second half 16th century. Woman with Vase of Lilies 451307

Krishna and the shepherdesses, between text in Nastaliq script. Draughtsman: anonymous. Dating: 1700 - 1799. Place: India. Measurements: h 42.5 cm × w 60 cm; h 445 mm × w 235 mm; h 400 mm × w 195 mm. Museum: Rijksmuseum, Amsterdam.

Kakubha ragini. Draughtsman: anonymous. Dating: c. 1820. Place: Rajasthan. Measurements: h 283 mm × w 212 mm; h 225 mm × w 156 mm. Museum: Rijksmuseum, Amsterdam.

"Isfandiyar Slays Arjasp", Folio from a Shahnama (Book of Kings) ca. 1330-40 Abu'l Qasim Firdausi Prince Isfandiyar's sisters were imprisoned in the Brazen Hold by the Turanian chieftain Arjasp. Disguised as a merchant with a caravan laden with desirable goods and treasures, the prince is able to enter the magically impregnable prison. He releases his troops, which are hidden in the caravan boxes, and they capture the Brazen Hold, killing all its defenders; the Iranian hero personally dispatches the reprehensible Arjasp. In the epic, the battle in the fortress takes place in the dead of night, with Arjasp wakened by the din and strapping on his armor. Here, however, he is shown having just been dragged down from his throne by Isfandiyar, who holds him by the hair while cleaving him with his sword; thus the spirit of the narrative is dynamically presented, even if some details are altered.. "Isfandiyar Slays Arjasp", Folio from a Shahnama (Book of Kings) 452654

Woman under a canopy and a woman on her knees, anonymous, 1500 - 1800 Persian miniature. drawing The show is divided into two areas: in the upper plane a woman sits under a canopy and a second woman stands opposite her, in the lower surface a woman sits on her knees and holds her left hand in front of her, opposite her one in it White dressed man diagonally through the surface and holds a kind of staff in his right hand. The show is stuck in a framework of frameworks, the old edges of which have been released here and there and new edges have been stuck over it; The outer edge is unadorned and lies on the lower, upper and left side of the performance. Iran paper brush

A Prince (Recto); Page of Calligraphy (Verso). India, Rajasthan, Bikaner, circa 1600-1625. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

"TheWhiteHorseGotStucktoaRockinMountVindhyachal",FoliofromaRazmnama1616-17'Abdal-RahimibnMuhammadBairamKhanKhan-iKhananTheHinduworkoftheMahabharatawastranslatedintoPersianandillustratedfor ̒Abdal-Rahim,amilitarycommanderundertheMughalemperorsAkbarandJahangir.Thetale,whosetranslationwascalledtheRazmnama,chroniclesthestruggleofdynasticsuccessionbetweentheKauravaandthePandavaclans.Inthestory,Arjuna,amemberofthePandavaclanandoneoftheprotagonistsofthework,travelswithawhitesacrificialhorse.AfterbeinglostintheVindhyamountains,thehorseisrediscoveredbyArjuna,hisfourbrothers,andKrishna.Theawkwardnessofthecomposition,withthehorse’splacementinspaceisolatedinthemidground,isunusualforworkspaintedbythewell-knownartistFazl,whomayhavebeenoverwhelmedbytheenormityofhisroleintheproject.Thetextpanelthatoverlaysmuchofthepagefollowsthestyleoftheim

Two birds, sitting on a mountain, reading a sacred text. Draughtsman: anonymous. Dating: 1700 - 1799. Place: Udaipur. Measurements: h 30 cm × w 42.5 cm; h 112 mm × w 277 mm; h 148 mm × w 311 mm. Museum: Rijksmuseum, Amsterdam.

"Dervish Leading a Bear", Folio from the Shah Jahan Album. Dimensions: H. 15 3/16 in. (38.6 cm)W. 10 1/4 in. (26 cm). Date: recto: early 19th century; verso: later copy of 16th century original. Museum: Metropolitan Museum of Art, New York, USA.

Koning Isfander Percised it.

The Month of Bhadon (August-September), Folio from a Barahmasa (The Twelve Months). India, Rajasthan, Kota, circa 1700-1725. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Sitting lady. Draughtsman: anonymous. Dating: c. 1780. Place: Bundi. Measurements: h 188 mm × w 244 mm; h 159 mm × w 210 mm. Museum: Rijksmuseum, Amsterdam.

Illustration from a Ragamala Series (Garland of Musical Modes) late 18th century India (Punjab Hills). Illustration from a Ragamala Series (Garland of Musical Modes). India (Punjab Hills). late 18th century. Gouache on paper. Paintings

"The Night Battle of Kai Khusrau and Afrasiyab", Folio367v from the Shahnama (Book of Kings) of Shah Tahmasp. Artist: Painting attributed to Bashdan Qara (active ca. 1525-35). Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Painting: H. 12 1/8 x W. 7 1/4 in. (H. 30.8 x W. 18.4 cm)Entire Page: H. 18 9/16 x W. 12 9/16 in. (H. 47.1 x W. 31.9 cm). Date: ca. 1525-30.At nightfall, after a day-long battle against Afrasiyab and his army, Kai Khusrau warned his Iranian troops that Afrasiyab would certainly try a surprise night attack. The Iranians dug a ditch across the Turanian route, doused their lights, and maintained silence. Meanwhile, Afrasiyab ordered the attack on the Iranians. When the Turanian army neared the Iranian camp, they let out war cries and charged, but many fell in the trench, and the rest fled. Then Rustam went forward from one side, Giv, Tus, and Gudarz from the other, and massacred the Turanian army. Afrasiyab abandoned his troops and fled. This was his last battle

A lady sits on a pink rock in a hilly landscape, in the foreground a pond and in the background a house and trees against a sky of setting sun. The representation is framed by two ornamental borders, a narrow green border with a motif of tendrils with white three-leaved flowers and yellow frame borders and a wider red border with a decorative pattern of alternating upright and curved flowers in gray, the outer border is worn and damaged here and there, a white frame line separates the two ornamental borders., Lady on rock, draughtsman: anonymous, Bikaner, 1700 - 1800, paper, brush, h 256 mm × w 151 mm, h 351 mm × w 250 mm

Vijf vrouwen onder een donkerblauwe hemel voor een wit paviljoen.On a terrace under a dark blue sky for a white pavilion are five women; One in the middle for the pavilion and two groups of two each on both sides of her; Three of the four women point to the middle with a raised right hand as if they want to make something clear. The presentation is explained at the top and bottom by two columns of text that continue on the back.

Frost with a group of people. Draughtsman: anonymous. Dating: c. 1800. Place: Centraal-India. Measurements: h 135 mm × w 225 mm. Museum: Rijksmuseum, Amsterdam.

Portrait of frustration siyar on horse. Portrait of Ferrint Siyar (1712-1719) on horseback.

Mukhtar throws his wife Maimuna into the pit, but she saves herself, from a Tuti-nama (Tales of a Parrot): Twenty-fifth Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 11.2 x 10.1 cm (4 7/16 x 4 in.). Maimuna clings to a branch in a dark pit while her villainous husband watches from above. He threw her into the pit in an attempt to steal her possessions. However, because Maimuna was guiltless, luck and fate saved her from an untimely death.

A young woman is riding a gray horse, on her left hand stretched out backwards is a falcon, in the foreground two young servants are running with bags in their hands. The representation is framed in a dark black line, surrounded by a light brown border with thin black lines and finally a pink border with a white line, Queen Shand Bibi on horseback., draughtsman: anonymous, Deccan, 1780, paper, brush, h 201 mm × w 130 mm, h 374 mm × w 275 mm

Majnun in the Wilderness, c. 1600, Mughal school, India, 9 3/4 x 5 1/2 in. (24.77 x 13.97 cm) (sheet), Opaque watercolor on paper, India, 16th-17th century, This exquisite painting was produced during the reign of Akbar (1542-1605), the third Mughal emperor of India, who had ascended the throne at the age of fourteen and under whose direction imperial art and architecture reached an unprecedented efflorescence. The painting illustrates a scene from the romance Layla and Majnun, one of the most popular poems of the late medieval period. The romance was first written by Nizami (c. 1140-1203), one of the greatest Persian poets. This excellent example of early Mughal court painting combines the birds-eye perspective and the representation of nature typical of the Safavid painting tradition, with the softer and more volumetric forms, naturalistic colors, and spatial organization preferred by Indian court painters. The painting depicts the nearly drowned hero, Majnun, rescued and revived by

Rajasthani miniature painting from Rajasthan, India. Probably late 19th century or early 20th century.

On a terrace in front of a red brick wall with three gates there are four figures in the background in front of the gates, on a white tiled piece in front there are three men, in paltry attire and a half bare, the representation is placed halfway through the sheet in two columns of text in Persian handwriting. The representation is placed in the middle of the sheet and covers the width of two columns of text above and below the representation and also on the back of the sheet, Number of figures on a terrace in front of a red brick building, draughtsman: anonymous, Kasjmir, 1790 - 1810, paper, brush, brush, h 184 mm × w 117 mm, h 145 mm × w 85 mm

"The King of the Hares in Counsel with his Subjects", 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.

Two standing courtiers, the judge with a bird of prey on his arm, draughtsman: anonymous, c. 1605, paper, brush, h 364 mm × w 257 mm, h 152 mm × w 111 mm

Munir al-Mulk Bahadur Indian. Munir al-Mulk Bahadur, 1875-1900. Opaque watercolor and gold on paper, sheet: 19 11/16 x 11 13/16 in. (50.0 x 30.0 cm). Asian Art 1875-1900

Rustam Rescues Bizhan from the Dungeon, Leaf from a Dispersed Shah-nama Series Indian. Rustam Rescues Bizhan from the Dungeon, Leaf from a Dispersed Shah-nama Series, late 16th century. Opaque watercolors, silver, and gold on paper, sheet: 12 x 7 3/4 in. (30.5 x 19.7 cm). Asian Art late 16th century

Alexander Comforts the Dying Darius, page from a copy of the Shahnama of Firdausi 1475-1495 Iran. Opaque watercolor and ink on paper . Islamic

Kedara raga, man and woman sitting in front of a building. Draughtsman: anonymous. Dating: 1775 - 1800. Place: India. Measurements: h 155 mm × w 104 mm. Museum: Rijksmuseum, Amsterdam.

A prince in a garden by Rahim Deccani. India 17th century. Gouache painting.

Ladhdhat al-nisí (The Enjoyment of Women) translated and illustrated by Ziyí [al-Dn Nakhshab 18th century)illustrated Persian treatise on sexual hygiene appears to be a translation from an Indian treatise. An illustration of the diagnosis of lovesickness by feeling the pulse.

A Lady and attendant on a terrace at evening, with three women musicians. Date: 18th century. Origin: India. Period: Mughal dynasty. Color and gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

"'Umar Walks around Fulad Castle, Meets a Foot Soldier and Kicks Him to the Ground", Folio from a Hamzanama (The Adventures of Hamza). Artist: Attributed to Kesav Das (active ca. 1570-1604); Attributed to Mah Muhammad (active 1570s). Dimensions: H. 28 3/4 in. (73 cm)W. 22 1/4 in. (56.5 cm). Date: ca. 1570.The Hamzanama recounts the fable of Hamza, an uncle of the Prophet Muhammad who was a legendary defender of the faith. This painting illustrates an episode involving 'Umar, a spy loyal to Hamza, who learns of a secret tunnel into Fulad castle from the soldier whom he has bested. It comes from a multivolume, large-scale copy of the text made for the emperor Akbar that took approximately fifteen years to complete. Unlike most books, its paintings were probably meant to be held up for an audience while a storyteller recited the text. Museum: Metropolitan Museum of Art, New York, USA.

Youth with a Sprig of Narcissus. Iran, Qazvin or Isfahan, circa 1595-1600. Manuscripts; folios. Ink and color washes on paper

Baber.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.

"Kai Khusrau Crosses the Sea", Folio from a Shahnama (Book of Kings) of Firdausi ca. 1610 Abu'l Qasim Firdausi These leaves come from a small-format manuscript of high quality, judging from the exquisite detail and lavish use of gold. The pastel palette and details like fantastic rock formations and small groupings of white buildings suggest the manuscript was made in Bijapur. This painting shows the ship of Kai Khusrau, which, when pursuing his enemy Afrasiyab, was blown off course by a fearful storm to a place with all manner of weird sea creatures.. "Kai Khusrau Crosses the Sea", Folio from a Shahnama (Book of Kings) of Firdausi. ca. 1610. Ink, opaque watercolor, and gold on paper. Attributed to India, Deccan, Bijapur. Codices

A woman with a blue skin is lonely in a rocky landscape. Her hair is tied up in a knot and her clothing consists only of a skirt of peacock feathers. She does wear a lot of jewelry. In her hand, around her foot and in her immediate surroundings cobras wriggle. In the river there are lotuses. On top of a rock a peacock is showing off its feathers. A second peacock is watching. With these elements the Asavari ragini is depicted: a jungle inhabitant luring snakes towards her., Asavari ragini, draughtsman: anonymous, 1600 - 1649, paper, brush, h 160 mm × w 99 mm, h 347 mm × w 238 mm

Kaliyadamana Indian. Kaliyadamana, ca. 1760-1770. Opaque watercolor on paper, sheet: 10 3/8 x 7 1/8 in. (26.4 x 18.1 cm). Asian Art ca. 1760-1770

"Portrait of Mulla Muhammad Khan Vali of Bijapur", Folio from the Shah Jahan Album. Artist: Painting by Hashim (active 1620-60). Calligrapher: Mir 'Ali Haravi (d. ca. 1550). Dimensions: H. 15 5/16 in. (38.9 cm)W. 10 3/16 in. (25.9 cm). Date: recto: ca. 1620; verso: 1537-47.The inscription in Jahangir's hand on the inner border of this painting states that it is a portrait of Mulla Muhammad Bijapuri, probably the emissary sent by Ibrahim 'Adil Shah II to ask for assistance from the Mughals against his rival Malik Ambar of Ahmadnagar. Hashim was a Deccani painter specializing portraits who moved to the Mughal court ca. 1620. While his use of strong contours and choice of color palette remained constant, under Jahangir's direction Hashim's rendering of facial features evolved dramatically. Museum: Metropolitan Museum of Art, New York, USA.

Vasaka Sajja Nayika Indian. , ca. 1690. Opaque watercolor on paper, sheet: 6 15/16 x 6 3/4 in. (17.6 x 17.1 cm). This painting, like so many others made in northern India in the seventeenth and eighteenth centuries, depicts a woman pining for her absent lover. Probably from a series depicting nayikas, or types of female lovers, the image shows a woman making a bed, her bent posture suggesting that she is dejected. One can imagine that she remembers past lovemaking that took place there, and that she is preparing it in the vain hope that it will be occupied by her lover again soon. As is often the case, one of her friends is trying to cheer her up. Asian Art ca. 1690

"Portrait of Khan Dauran Bahadur Nusrat Jang", Folio from the Shah Jahan Album. Artist: Painting by Murad. Calligrapher: Mir 'Ali Haravi (d. ca. 1550). Dimensions: H. 15 5/8 in. (38.9 cm)W. 10 1/4 in. (26 cm). Date: verso: ca. 1640; recto: 1530-50.The subject of this portrait was viceroy of the Deccan and one of Shah Jahan's leading soldiers. For distinguished service during the conquest of Daulatabad, he received the title "Khan Dauran." By the time of his death in 1645, Khan Dauran had been promoted to the highest imperial rank held by a person of nonroyal blood. Museum: Metropolitan Museum of Art, New York, USA.

Portrait of man by Manohar, Watercolour, Gouache on Paper, Second half of the16th century, End of 16th century, Russia, St. Petersburg, State Hermitage, 29, 2x14, 5

India, Rajasthan, Shekhawati, Nawalgarh, Poddar Haveli, mural,

A young man sits on his knees in front of a young woman on a roll pillow, but she turns her head away from him, although her left foot lies on his right arm and he holds her right foot in his left hand, behind the man stands a woman also with her head turned away, in the background a house a night sky. The corners lower left and upper right are severely damaged and the leaf is also damaged, Ramakali ragini., draughtsman: anonymous, Bilaspur, (possibly), c. 1620, paper, brush, h 254 mm × w 206 mm

Nadir Shah (reigned 1736-1747) and a Woman in Union. Nepal, circa 1830. Drawings; watercolors. Opaque watercolor, gold, and silver on paper

Rustam slaying jackal, from the Shahnama of Firdausi 1301-1400 Iran. Ink and opaque watercolor on paper . Islamic

Rustam Takes Aim at Ashkabus, from a Shah-nama (Book of Kings), c. 1425-50. Sultanate India, Deccan or Malwa. Gum tempera and ink on paper; folio: 31.8 x 25.6 cm (12 1/2 x 10 1/16 in.); painting: 13.7 x 20.5 cm (5 3/8 x 8 1/16 in.). The central warrior is Irans mythic hero Rustam, who approached an enemy army on foot, aiming to shoot the general off his mount. This page is from the oldest surviving illustrated Islamic manuscript made in India. The painting is by a local artist working for a Sultanate patron in India who admired Persian literature and emulated the erudite court culture of Iran.

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