Mughal and Indian Art

Vibrant historical paintings depicting themes of love and devotion in Mughal and Indian culture, showcasing meticulous details and rich colors.

Miniature Painting on Paper, Rag hameer, naltdwara school Copyright: xBhagwandasxRupani/DinodiaxPhotox

The destitute Mukhtar meets his wife Maimuna at a holy shrine, 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: 13.2 x 10.1 cm (5 3/16 x 4 in.). In the center of the image, a surprised Mukhtar, dressed in rags, confronts his wife. A few days prior, he had attempted to kill her in order to steal all of her possessions. Now destitute, Mukhtar begs for his wifes forgiveness, which she grants.

Shri Raga, Folio from a Ragamala (Garland of Melodies). India, Rajasthan, Bikaner, circa 1625. Drawings; watercolors. Opaque watercolor, gold, and red and black ink on paper

Krishna and herders.

Madhu Madhavi Ragini. A woman for a palace flight inside for the storm outside. The performance is framed by a brown edge, trimmed with gold in black frame lines and speckled a wide leaf edge with gold.

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

God Ganesa (Ganapati) with elephantslurf with his two servants Siddhi and Buddhi sitting under a Balkijn, Anonymous, c. 1775 - c. 1823 drawing. Indian miniature Kangra paper. deck paint. gouache (paint) brush

Vishnu is located on the snake Ananta, Bhumi is sitting in front of him. Vishnu is on the snake Ananta; Bhumi is in front of him and strokes his foot. A lotus flower grows from the navel from Vishnu, from which Brahma is born.

A woman is drawing a portrait of her absent lover. A servant waves her cool with a fan of peacock feathers. A peacock is lured by the plucking of a second servant's tanpura, Woman draws the portrait of her absent lover (Dhanashi ragini)., draughtsman: anonymous, Hyderabad, 1700 - 1749, paper, brush, h 250 mm × w 153 mm, h 319 mm × w 216 mm

Miniature Painting on Paper, Rag hameer, naltdwara school Copyright: xBhagwandasxRupani/DinodiaxPhotox

Rama's Court, Folio from a Ramayana (Adventures of Rama). India, Himachal Pradesh, Chamba, 1775-1800. Drawings; watercolors. Opaque watercolor and gold on paper

Kidnapping of Rukmini by Krishna, Anonymous, 1830 - 1850 Indian miniature. drawing In front of an altar on a temple square, a horse and car are ready with Krishna who helps Rukmini board, she is also helped by a woman while a few women to the right of the altar name her aftermell; In the background a forest and rolling hills. To the show a dark blue (or black) Rand with flower and tergotif in white and gold, around it a wide pink leaf edge with red framework lines; A little slanted. Hindur paper brush

Krishna Takes His First Steps, from an Ocean of Poems (Sursagar)manuscript

A Man Dips His Hand into a Cauldron as Ladies of the Harem Stand in Amazement: A Page from a Manuscript of Religious History, c. 1600. Mughal India. Opaque watercolor with gold on paper, text on verso; page: 31.6 x 20.4 cm (12 7/16 x 8 1/16 in.).

Madhumadhavai Ragini: Page from a Dispersed Ragamala Series (Garland of Musical Modes). Culture: India (Rajasthan, Marwar). Dimensions: 10 1/2 x 7 7/8 in. (26.7 x 20 cm). Date: ca. 1640-50.The text of this Ragini tells of peacocks that cry at the threat of rain--here shown in the roiling black horizon and blue lines. Thinking that the peacock's cry comes from hunger, a lady offers food. The audience would have also understood allusions to Nayikabheda poetry in which the abhisarika nayika (a heroine) travels at night in a storm to meet her lover. The figure type and color palette are distinctly Marwari, while the flattened architecture and color fields are characteristics shared with Malwa painting. Museum: Metropolitan Museum of Art, New York, USA.

A religious figure possibly Shiva being offered food and offerings by two worshippers and two angels. Gouache drawing.

Maharaja Abhai Singh of Marwar (r. 1724-49), Equestrian, Watching Girls Swingingat the Teej Festival, c. 1740. Northwestern India, Rajasthan, Marwar, Rajput Kingdom of Jodhpur. Gum tempera and gold on paper; miniature: 29.9 x 19.4 cm (11 3/4 x 7 5/8 in.). The festival of Teej is celebrated primarily by women in northern India and Nepal. The women sing and dance to welcome the monsoon season and observe fasts for the long life of their husbands. In the painting, two women can be seen playfully swinging on a tree branch while a group of women cheer for them.

Simeon Kneels in Front of Mary and Jesus After Recognizing Them, from a Mirror of Holiness (Mirat al-quds) of Father Jerome Xavier, 1602-04. Mughal India, Allahabad, made for Prince Salim (1569-1627). Opaque watercolor, ink, and gold on paper; sheet: 26.2 x 15.7 cm (10 5/16 x 6 3/16 in.); image: 21.4 x 12.6 cm (8 7/16 x 4 15/16 in.). Simeon had heard a prophecy that he would encounter the Messiah with his mother in the temple at Jerusalem. This painting depicts his moment of recognition that the prophecy had come true. The temple is populated by Jewish teachers and scholars, and a number of unusual visual elements. A dragon-headed vase is set by the stairs; curled dogs and a kneeling figure are carved like bas-reliefs into the pillars of the temple, which also has niches for vases. The form of the temple itself seems to be an imaginative combination of Hindu temple and Mughal palace architecture.

Ascet sitting for a prince and court. .

Album of Ragamala. Young woman with a portait of her absent lover. Servant holds up portrait of her mistress (to be sent to absent lover). 19th century Indian miniature, Rajasthan School.

Krishna welcoming Sudama, from a Bhagavata Purna. Date/Period: 17th century. Painting. Color and gold on paper. Height: 170 mm (6.69 in); Width: 290 mm (11.41 in). Author: UNKNOWN.

"Asaf khan Presents Offerings ()", Folio from a Manuscript of the Akbarnama. Folio from the Davis Album ca. 1604 Abu'l Fazl This painting from the Akbarnama has been identified as depicting the Mughal emperor Akbar (r. 1556-1605) receiving spoils of war from his leading general Asaf Khan in Jaunpur in 1565. The text specifies that Asaf Khan brought the rarities of the region for the emperor, and presented him with elephants, and fine horses from Iran and Turkey. However, in other versions of the Akbarnama Asaf Khan is shown with distinctive Tajik features and whitening beard, therefore this remains a tentative identification.Written by the courtier Abu'l Fazl between 1589 and 1598, the Akbarnama chronicles the life of the emperor Akbar. This painting is one of eight folios from the so-called "Chester Beatty Akbarnama" in the Davis album.. "Asaf khan Presents Offerings ()", Folio from a Manuscript of the Akbarnama. Folio from the Davis Album. ca. 1604. Ink, opaque watercolor, and gol

The story of the River Ganga's descent from heaven is told in the Ramayana, the Mahabharata and several Puranas. It begins with the sage, Kapila, whose intense meditation has been disturbed by the sixty thousand sons of King Sagara. Livid at being disturbed, Kapila sears them with his angry gaze, reduces them to ashes, and dispatches them to the netherworld. Only the waters of the Ganga, then in heaven, can bring the dead sons their salvation. A descendant of these sons, King Bhagiratha, anxious to restore his ancestors, undertakes rigorous penance and is eventually granted the prize of Ganga's descent from heaven. However, since her turbulent force will also shatter the earth, Bhagiratha persuades Shiva in his abode on Mount Kailash to receive Ganga in the coils of his tangled hair and break her fall. Ganga descends, is tamed in Shiva's locks, and arrives in the Himalayas. She is then led by the waiting Bhagiratha down into the plains at Haridwar, across the plains first to the conflu

Album of Ragamala. A prince kneels at the feet of his mistress Khandita Nayiki (The One Wronged) asking pardon for his absence . 19th century Indian miniature, Rajasthan School.

Page from a Dispersed Shiva Mahatmya (Great Tales of Shiva) ca. 1710 India (Rajasthan, Mewar). Page from a Dispersed Shiva Mahatmya (Great Tales of Shiva) 37917

Page from a Dispersed Shiva Mahatmya (Great Tales of Shiva). Culture: India (Rajasthan, Mewar). Dimensions: 10 3/8 x 16 3/8 in. (26.4 x 41.6 cm). Date: ca. 1710. Museum: Metropolitan Museum of Art, New York, USA.

Lakshmana Meets with Tara, Sugriva, and Hanuman in the Palace of Kishkandha, Folio from a Ramayana (Adventures of Rama). India, Jammu and Kashmir, Mankot, circa 1700. Drawings; watercolors. Opaque watercolor and gold on paper

The Ashta-Nayika is a collective name for eight types of nayikas or heroines as classified by Bharata in his Sanskrit treatise on performing arts, the Natya Shastra. The eight nayikas represent eight different states (avastha) in relationship to her hero or nayaka. As archetypal states of the romantic heroine, it has long been used as theme in Indian painting, literature, sculpture as well as Indian classical dance.

Shiva a parvati, anonymous, 1810 - 1830 Indian miniature. drawing Shiva is sitting on a green field, his to the left is Parvati. The bull is in front of the pedestal of Shiva. Around the show two narrow edges in gray and red. Cashmir paper brush

Krishna Declares His Innocence, an illustration from book 10 of a Bhagavata Puranaseries

Miniature with Image of Three Incarnations of Devi. unknown, painter

Shiva is sitting on a green field, left of him is Parvati. The bull lies in front of Shiva's pedestal. Around the representation two narrow edges in grey and red, Shiva and Parvati., draughtsman: anonymous, Kasjmir, 1810 - 1830, paper, brush, h 110 mm × w 132 mm

Krishna and Radha, Page from a Dispersed Rasikapriya (Verses Celebrating Aspects of Love) ca. 1660-70 India (Rajasthan, Bundi) Krishna approaches Radha and a go-between who has facilitated their meeting. The open pavilion and empty bed, allusions to a possible passionate encounter, are a recurrent theme within paintings illustrating the devotional poetry of the Rasikapriya. Bundi workshops developed a refined jewel-like painting style featuring patterned architecture and a verdant conception of nature. While the Bundi aesthetic shares many characteristics with the Mewar and Malwa idioms, especially the architectural consideration of space, contact with the Mughal atelier contributed to its realistic portrayal of the natural world.. Krishna and Radha, Page from a Dispersed Rasikapriya (Verses Celebrating Aspects of Love) 37815

Bāburnāma (Chagatai/Persian: بابر نامہ;´, literally: 'Book of Babur' or 'Letters of Babur'; alternatively known as Tuzk-e Babri) is the name given to the memoirs of ahīr ud-Dīn Muḥammad Bābur (1483-1530), founder of the Mughal Empire and a great-great-great-grandson of Timur. It is an autobiographical work, originally written in the Chagatai language, known to Babur as 'Turki' (meaning Turkic), the spoken language of the Andijan-Timurids. Because of Babur's cultural origin, his prose is highly Persianized in its sentence structure, morphology, and vocabulary, and also contains many phrases and smaller poems in Persian. During Emperor Akbar's reign, the work was completely translated to Persian by a Mughal courtier, Abdul Rahīm, in AH 998 (1589-90 CE).

Lahula Ragaputra, Son of Dipak Raga, Folio from a Ragamala (Garland of Melodies). India, Himachal Pradesh, Bilaspur, circa 1685-1690. Drawings; watercolors. Opaque watercolor and gold on paper

Episode from the love history of Laila and Majnun, the slowered Majnun is in a landscape with a man and his camel, anonymous, c. 1500 - c. 1700 Majnun's father visits his son in the wilderness. Illustration of the story of Laila and Majnun from the Khamsa of Nizami. Persia paper. deck paint. gouache (paint) brush Majnun's father visits his son in the wilderness. Illustration of the story of Laila and Majnun from the Khamsa of Nizami. Persia paper. deck paint. gouache (paint) brush

Krishna steals butter from the carshous yasoda. For her house, Yasoda is tuning and looks back to Krishna that has removed a pot of butter. The performance is framed by a wide orange-red border and a black frame line between leaf edge and show.

Prince Shreyamsa Dreams of the Coming of Rishabha, from a Panchakalyanaka (Five Auspicious Events), 1670-80. Northwestern India, Rajasthan, Rajput Kingdom of Amber. Gum tempera, ink, silver, and gold on paper; 26.7 x 42.5 cm (10 1/2 x 16 3/4 in.). The scene from the life of the first Jina Rishabha depicts Prince Shreyamsa asleep, experiencing eight dreams that foretell the arrival of the Jina Rishabha. The emphasis on the life of the first Jina, rather than the last, indicates that it was commissioned by a follower of the Digambara (Sky Clad) order, rather than the more mainstream Shvetambara (White Clad) order.

Rama Releases the Demon Spies Shuka and Sarana: Folio from the Siege of Lanka series ca. 1725 Attributed to Manaku On the eve of the great battle, Ravana sent the spies Shuka and Sarana to assess the strength of Rama's monkey and bear armies. Vibhishana discovered the spies, arrested them, and brought them before Rama (at right). Rama, sitting with Lakshmana and Sugriva, set them free, as they had come as "envoys" and were not armed. The demon spies are seen entering the palace and, at the top, reporting to Ravana. They tell of the terrifying strength of Rama's generals and his invincible army: "Vibishana took us captive with the intention of slaying us, O king, but Rama, he whose valor is immeasurable, seeing us, let us go." This painting is from an important commission, only a few folios of which were finished. The artist, Manaku, used a continuous narrative, sequencing the three events. That, in turn, shaped the composition, which juxtaposes Ravana's golden fortress with Rama's enca

A Lady Receiving a Messenger Indian. A Lady Receiving a Messenger, mid 18th century. Opaque watercolors on paper, sheet:10 x 6 3/4 in. (25.4 x 17.1 cm). Asian Art mid 18th century

Krishna on a swing, Anonymous, 1750 - 1770 Indian miniature. drawing India paper brush

Varaha Rescuing the Earth, page from an illustrated Dasavatara series Indian. Varaha Rescuing the Earth, page from an illustrated Dasavatara series, ca. 1730-1740. Opaque watercolor, gold, and silver on paper, Sheet: 10 1/2 x 8 1/8 in. (26.7 x 20.6 cm). This painting of the Varaha story shares several common elements with the two adjacent examples, which offer different solutions to the question of how to depict a fantastic, multi-episode story on a single small page. All three represent the earth as a landmass (rather than a goddess), balanced on Varahas head, and all make reference to the battle with the demon Hayagriva, although they signal his defeat in different ways. One artist completely ignores the aquatic setting, while the other two tackle the challenge of depicting water and partially submerged figures. Asian Art ca. 1730-1740

A raga is one of the melodic modes used in Indian classical music. A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons. Rāginī (Devanagari: ागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.

Women Conversing 17th century. Women Conversing 446582

Ragamala Paintings are a series of illustrative paintings from medieval India based on Ragamala or the 'Garland of Ragas', depicting various Indian musical nodes, Ragas. They stand as a classical example of the amalgamation of art, poetry and classical music in medieval India. Ragamala paintings were created in most schools of Indian painting, starting in the 16th and 17th centuries and are today named accordingly, as Pahari Ragamala, Rajasthan or Rajput Ragamala, Deccan Ragamala, and Mughal Ragamala.

Presentation with sitting men and show with riders, an elephant and falcons. The performance is divided into two horizontal strips, separated by a wide orange tire. Upstairs are four men, of which a dark colored in tailor seat. They eat their food offered that is prepared by a man left in two large pots and is offered by a standing man; In a tower on the left there is a woman with a drum and three women's heads are visible at the top. The lower strip is higher and represents a stage with men who come from the falcon hunt or still have to go and three men under a tent cloth, servants right the falcons on their gloved hands and in the open door of a pink building is one in it Viewed white dress.

A watercolor painting by an anonymous artist depicting a saint surrounded by women being served.

Guru Nanak comes upon the Sanyasi Dattetreya. Date/Period: Between 1775 and 1800. Author: UNKNOWN.

miniature painting of mughal prince enjoying hookah, india Copyright: xBhagwandasxRupani/DinodiaxPhotox

Maharana Sangram Singh of Mewar Riding in an Elephant Procession , ca. 1730-40. Opaque watercolor and gold on paper, 13 7/8 x 19 13/16 in. (35.2 x 50.3 cm). Indian rulers liked to ride elephants because the animals offered a high vantage point and represented the power and stability of a prosperous kingdom. But elephants were very expensive to care for, so only the wealthiest princes could afford to keep them and they used them only on special occasions. This painting must represent an extremely important event, because the princecarrying a gold elephant goadis one of several nobleman seated on elephants. The painting offers no information about the destination of the procession; perhaps the group is traveling to visit the ruler of a neighboring state. Asian Art ca. 1730-40

Illustration To The Bhagvata Purana. Kangra, Circa 1790. Depicting Krishna, Yasada, Nanda And The Sons Of The Yaksha King Kubera: Nala And Kuvara. 20 X 26cm.

Woman is led to her lover, Dipak Raga. .

Album of Ragamala. Young woman prays at the shrine of Shiva. As chief Hindu god and creator Shiva is represented by the lingam (Phalus). 19th century Indian miniature, Rajasthan School. Religion

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

Shiva in the guise of Ardhanarisvari, half man, half woman, with a cobra around her waist, out of her head rises the Ganges, on the right stands Ganesha, with red elephant head and four arms. The representation is framed by a red border and white, black and silver lines, at the top five lines of text in black and red Indian writing on a yellow background, Shiva Ardhanarisvari., draughtsman: anonymous, Centraal-India, 1795 - 1805, paper, brush, brush, h 305 mm × w 217 mm, h 248 mm × w 160 mm

Nasir ud-din Muhammad Humayun (Persian: نصیر الدین محمد همایون; full title: Al-Sultan al-'Azam wal Khaqan al-Mukarram, Jam-i-Sultanat-i-haqiqi wa Majazi, Sayyid al-Salatin, Abu'l Muzaffar Nasir ud-din Muhammad Humayun Padshah Ghazi, Zillu'llah; 7 March 1508 - 22 February 1556) was the second Mughal Emperor who ruled present day Afghanistan, Pakistan, and parts of northern India from 1530-1540 and again from 1555-1556. Like his father, Babur, he lost his kingdom early, but with Persian aid, he eventually regained an even larger one. On the eve of his death in 1556, the Mughal empire spanned almost one million square kilometers. He succeeded his father in India in 1530, while his half-brother Kamran Mirza, who was to become a rather bitter rival, obtained the sovereignty of Kabul and Lahore, the more northern parts of their father's empire. He originally ascended the throne at the age of 22 and was somewhat inexperienced when he came to power. Humayun lost his Indian territories to the P

A visit at night to a mullah. Date: 18th century. Origin: India. Period: Mughal dynasty. Color and slight gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Arab manuscript depicting angel weighing a soul.

Rao Jodha (Urdu: راؤ جودھا ‎), (1416-1489) was an Indian ruler of Mandore (in present day Rajasthan). He was the son of Rao Ranmal (Ranamalla) of the Rathore clan. He is known for founding the city of Jodhpur in 1459.

Maharao Ram Singh II of Kota (r. 1828-66) Worships Brij Nathji as the Bridegroom, c. 1830s. Northwestern India, Rajasthan, Rajput Kingdom of Kota. Gum tempera and gold on paper; Shri Nathji, the dark stone sculpture carved in high relief with its monolithic stele is here shown sumptuously dressed, wearing the square headdress of a bridegroom. His long tuft of hair, braided with flowers, swings to one side, while the end of his stole swings to the other, imparting joyous vitality and dynamism.

Sadhus Gathered Around a Fire Indian. Sadhus Gathered Around a Fire, ca. 1600. Opaque watercolor on paper, sheet: 15 15/16 x 11 3/16 in. (40.5 x 28.4 cm). Asian Art ca. 1600

Radha manifesting the effect of love's separation from Krishna, page from a Rasikapriya series of Keshavadasa Kasam Ahmad. Radha manifesting the effect of love's separation from Krishna, page from a Rasikapriya series of Keshavadasa, 1749. Opaque watercolor, gold, and silver on paper, sheet: 10 1/4 x 7 5/16 in. (26.0 x 18.6 cm). Asian Art 1749

Krishna Kills the Crane Demon, Illustration from a Bhagavata Purana Series, c. 1720, Master of the Court of Mankot (possibly 'Meju'), Indian, active c. 1680-1730, 8 7/8 × 5 13/16 in. (22.54 × 14.76 cm) (image)11 3/16 × 8 1/4 in. (28.42 × 20.96 cm) (sheet), Opaque pigments and gold on paper, India, 18th century, The artist identified as 'the Master at the Court at Mankot' (possibly Meju) is prized for painting deeply felt, astoundingly inventive pictures. Here, the artist depicts one of the childhood exploits of Krishna, the 8th incarnation of Lord Vishnu, who comes to earth to vanquish evil. In this scene, the blue-skinned Krishna and the cowherds (gopas) take their cattle to a pond in the idyllic landscape of Vjraj, only to be disturbed by yet another demon sent by the wicked King Kamsa of Mathura. The giant crane demon Bakasura swallows Krishna, but the great god emits so much heat that the crane disgorges him; Krishna then tears the demonbird apart, ripping its beak asunder. The art

. On a terrace in front of a house there is a young woman with the arms above her back turned head stretched on a white garment on which all kinds of sheets and carafes with food and drink are standing that are taught by a servant to the left of her; Behind the terrace a tree with different colored birds, behind it a flat green field. Around the show a narrow trim in yellow with black frame lines and a red border with a white frame line; Above the show a strip of yellow with a text in Indian scripture.

Hanuman Revives Rama and Lakshmana with Medicinal Herbs. Artist: Workshop active in the generation after Nainsukh (active ca. 1735-78). Culture: India (Punjab Hills, Guler). Dimensions: 9 15/16 x 13 15/16 in. (25.2 x 35.4 cm). Date: ca. 1790.At the upper left, Hanuman is flying through the air carrying the peak of a Himalayan mountain on which medicinal herbs grow. The mountain peak is seen (lower right), while Hanuman, with a handful of herbs, approaches and revives Rama and Lakshmana, who had been rendered unconscious on the field of battle outside the golden palace of Lanka (upper right). King Vibhishana accompanies Hanuman. Continuing the achievements of the Kangra school, this work combines astute naturalism in its attention to details with an illusionistic approach to landscape. Museum: Metropolitan Museum of Art, New York, USA.

Painted in an eccentric palette of lemon yellow, warm pink, and mauve, this scene represents an ashram. The two young disciples Rama and Lakshmana appear twice: once with their teachers on the painting's left and again on the left by the gateway in the woven brush/bramble fence. A tiger and water buffalo lap water from the pond. Opaque watercolor on paper. Origin: Kulu or Bilaspur, Himachal Pradesh state, India. Date: ca. 1690-1710. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Krishna has destroyed the Wagendemon. A tree is a totally destroyed car, a red cloth depends on the drawbar in which Krishna had been put to sleep when the Wagendemon tried to kill him; His mother Yashoda takes him while two shepherdess watches. Around the show two wide red piping between which a yellow border with red and white flowers and green leaf refines; Damage to the decorative edge; The leaf is stuck on an underlying piece of paper.

Krishna as the Destroyer of Demons, page from Surdas's Sursagar, c. 1700. India, Rajasthan, Mewar school, early 18th Century. Ink, color and gold on paper; overall: 36.5 x 25.4 cm (14 3/8 x 10 in.).

Krishna and Radha. Painting by an Indian artist, 1800s.

Lord Vishnu lying on the coils of the serpent, Anantha with his consort, lakshmi. Gouache painting by an Indian painter.

A raga is one of the melodic modes used in Indian classical music. A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons. Rāginī (Devanagari: ागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.

Asavari Ragini. A woman with a blue skin color is lonely in a rocky landscape. Her hair was tied in a meeting and her clothes only consists of a skirt from peacock feathers. She is wearing many jewelry. In her hand, for her foot and in her immediate area, Cobra's winds. There are lotuses in the river. On top of a rock a peacock is showing off his way. A second peacock is watching. With these elements, the Asavari Ragini is portrayed: a jungle resident that lures hoses.

Vishnu in his 10th Incarnation as the White Houre Kalki, 1710-1720. Artist: Unknown.

Devotional Discourse Indian. Devotional Discourse, 1750-1775. Opaque watercolor and gold on paper, sheet: 8 3/4 x 9 3/16 in. (22.2 x 23.3 cm). Asian Art 1750-1775

Iran/India: Mughal Emperor Muhammad Shah (left) and King Nadir Shah of Iran (right). Unknown artist, 1740, Musee Guimet, Paris

Radha and Krishna Caught in a Storm, c.1615-1620. India, Mughal Dynasty (1526-1756). Color on paper; overall: 13 x 13 cm (5 1/8 x 5 1/8 in.).

A raga is one of the melodic modes used in Indian classical music. A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons. Rāginī (Devanagari: ागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.

Sultan Ali Adil Shah II Van Bijapur.

Shri Raga, Folio from a Ragamala (Garland of Melodies). India, Rajasthan, Jaipur, circa 1850-1900. Drawings; watercolors. Opaque watercolor and gold on paper

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

Sidh Sen (reigned 1684-1727) Dressed as Shiva. India, Himachal Pradesh, Mandi, circa 1730. Drawings; watercolors. Opaque watercolor, gold, silver, and ink on paper

Ram Darbar miniature painting on paper with embossed Copyright: xBhagwandasxRupani/DinodiaxPhotox

Radha and Krishna Walk in a Flowering Grove (recto); Krishna Fluting (verso). Artist: The Kota Master (Indian, active early 18th century). Culture: India (Rajasthan, Kota). Dimensions: recto: 7 1/2 x 4 3/8 in. (19.1 x 11.1 cm)verso: 9 x 5 7/8 in. (22.9 x 14.9 cm). Date: ca. 1720 (recto); ca. 1750-75 (verso).Krishna and Radha gaze into each other's eyes during a sunset walk. Their love is expressed by the multitude of birds, the flowering trees, and the intertwining of their bodies and garments. This quintessential Indian idea--that nature echoes human passion--is beautifully manifested in this work by a master who has successfully translated emotion into visual delight. The personification of nobles as the lovers Krishna and Radha was a popular pictorial theme in Kota and other Rajasthani courts. The subject relates to the poetry of the time. Museum: Metropolitan Museum of Art, New York, USA.

Tantric Devi on Shiva, from a Mandi Devi Series, c. 1810. India, Himachal Pradesh, Pahari Kingdom of Mandi. Gum tempera and gold on paper; 20.3 x 25.4 cm (8 x 10 in.).

Patron of the Arts, Situ Panchen Chokyi Jungne (1699-1774). Date/Period: 19th century. Painting. Pigments on cloth Pigments on cloth. Author: UNKNOWN.

A Procession Scene with Musicians, from a copy of the Padshanama 1625-1675 India. Opaque watercolor and gold on paper . Mughal

Princess Nurjahan and Attendants 18th century. Princess Nurjahan and Attendants 450754

Maharana Sarup Singh Inspects a Prize Stallion 1845-46 Tara The artist Tara, who worked primarily during the reign of Sarup Singh (r. 1842-61), maharana of Mewar, often employed formal perspectival devices to bring structure to his large-scale paintings. In this grand picture of a tented camp, we see the maharana being presented with a prize stallion, perhaps a gift to mark his birthday. The inscription on the reverse refers to the horse by name but makes no reference to the event being celebrated. The ruler and his courtiers, along with a troupe of female singers and dancers with musicians, all wear pink dresseven the attendants have donned pink turbans, and the stallion and hunting dog pink blanketsa curious feature that must reflect this special but unidentified occasion. Tara’s work stands at the threshold between late Indian painting traditions and early experiments in photography. Both of his two sons trained under him as painters, and the younger, Mohanlal, became a well-known

Companion with two princes at a campfire. Against a green background is a company of men around a campfire; The front row of sieves is divided into three and four that look at each other, behind the left are two more men looking at the middle and the two princes are on either side of a square campfire; On the right an each tree.

Shepherdesses looking for Krishna. Draughtsman: anonymous. Dating: 1710 - 1730. Place: Centraal-India. Measurements: h 182 mm × w 355 mm. Museum: Rijksmuseum, Amsterdam.

Ladies in a Pavilion: Page from a Dispersed Ragamala Series (Garland of Musical Modes) ca. 1640-50 India (Rajasthan, Marwar) In this unidentified Ragamala page, two women sit in conversation while a third looks on. Marwari taste for saturated red and orange earth tones and a formal presentation are perfectly typified. The flowers above the kneeling womans head indicate an awareness of Mughal forms. One also finds clear relationships with earlier Rajput styles exemplified in the Bhagavata Purana of 1520-40 (1985.34). (This painting is part of the same Ragamala series as 55.121.27 and 55.121.29.). Ladies in a Pavilion: Page from a Dispersed Ragamala Series (Garland of Musical Modes) 37896

Lady with oil lamp on the way to her beloved, Anonymous, c. 1780 Indian miniature. drawing Against a nocturnal starry sky, a young woman rushes through the white houses on the way to her lover, she holds an oil lamp that she shields with her headscarf. The show is glued on a beige leaf with gold paint splashes and framed by a narrow golden border in black and red framework lines. Pakih paper brush / brush

India: Rama telling Lakshman of Sita's Abduction. From the ancient Hindu epic, Ramayana. Miniature painting, Basholi, c. 1660-1670

Persian couple copulating

Bikaner (Rajasthani: िकाणो, Urdu: بِيكانير ‎) is a city in the northwest of the state of Rajasthan in northern India. It is located 330 kilometres (205 mi) northwest of the state capital, Jaipur. Bikaner city is the administrative headquarters of Bikaner District and Bikaner division. It was formerly the capital of the princely state of Bikaner. The city was founded in 1486 and from its small origins has developed into the fifth largest city in Rajasthan. The Ganges Canal, completed in 1928, and the Indira Gandhi Canal, completed in 1987, have allowed the farming of crops such as mustard, cotton, groundnuts, wheat and vegetables. Other industries include wool production and the mining of Gypsum, plaster of Paris and bentonite.

Kedara Ragini, Page from a Dispersed Ragamala Series Indian. Kedara Ragini, Page from a Dispersed Ragamala Series, ca. 1800. Opaque watercolor on paper, sheet: 12 x 8 1/4 in. (30.5 x 21.0 cm). Asian Art ca. 1800

Bhairava Raga, Page from a Ragamala Series Bhairava Raga, Page from a Ragamala Series, ca. 1670-1680. Opaque watercolor and gold on paper, image: 8 7/8 x 4 3/4 in. (22.5 x 12.1 cm). Asian Art ca. 1670-1680

India: Akbar Hands His Imperial Crown to Shah Jahan. Miniature painting from the Minto Album by Bichitr (fl. 1610-1660), c. 1630-1631.

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

King Kamsa, Vasudeva and Devaki and two other figures, Anonymous, 1820 - 1849 Indian miniature. drawing King Kamsa stands on the left with raised arms in which he holds a sword and a shield up, right in front of him are two men who shine their right hand sussing up and on the right on the leaf is a couple on a taboeret; Above them a text in Oud-Indian script. Nepal paper brush

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