Persian Miniature Paintings

Vibrant Persian miniature artworks capturing royal figures and historical moments with detailed depictions, vivid colors, and ornate decorative borders.

Miniature depicting pairs lovers (Mi Osna); 19th century (1801-00-00-1900-00-00);

"Zal Returned to Sam", Folio from a Shahnama (Book of Kings). Author: Abu'l Qasim Firdausi (935-1020). Dimensions: 12 5/8 x 9 1/2in. (32 x 24.1cm)Dimensions of painting: 9 1/16 x 6in. (23 x 15.2cm). Date: late 19th-early 20th century. Museum: Metropolitan Museum of Art, New York, USA.

"Jahangir and His Vizier, I'timad al-Daula", Folio from the Shah Jahan Album. Artist: Manohar (active ca. 1582-1624). Calligrapher: Mir 'Ali Haravi (d. ca. 1550). Dimensions: 15 3/8 x 10 3/16in. (39 x 25.9cm)Mat: 19 1/4 x 14 1/4 in. (48.9 x 36.2 cm)Frame: 20 1/4 x 15 1/4 in. (51.4 x 38.7 cm). Date: recto: ca. 1615; verso: ca. 1530-45.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-Daula's 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. Museum: Metropolitan Museum of Art, New York, USA.

Jahangir and Prince Khurram feasted by Nur Jahan. Date/Period: Ca. 1624. Painting. Opaque watercolor and gold on paper. Height: 252 mm (9.92 in); Width: 142 mm (5.59 in). Author: UNKNOWN.

Maharaja Ranjit Singh (reigned 1799-1837). Attributed to Jagannath (India, flourished circa 1850). India, Panjab, Amritsar, circa 1850. Drawings; watercolors. Opaque watercolor and gold on paper

"The Murder of Iraj," Folio from a Shahnama (Book of Kings) of Firdausi late 15th century Abu'l Qasim Firdausi. "The Murder of Iraj," Folio from a Shahnama (Book of Kings) of Firdausi. late 15th century. Ink, watercolor, and gold on paper. Country of Origin Iran. Codices

A King in aGarden

De maand bhadrapada, anonymous, c. 1770 - c. 1780 Indian miniature Krishna and Radha in a palace and a garden with animals. Bhadrapada is the sixth month of the Hindu calendar that starts between August 23 and September 22. Bundi paper. gouache (paint) brush

Miniature depicting pairs lovers (Mi Osna); 19th century (1801-00-00-1900-00-00);

Couple on roller cushions in a palace with two servants behind them. Draughtsman: anonymous. Dating: 1790 - 1810. Place: Kashmir. Measurements: h 203 mm × w 125 mm; h 154 mm × w 92 mm. Museum: Rijksmuseum, Amsterdam.

Faridun and Brothers, Muhammad, Sultan, 1530

King David charming birds and beasts. Date: 17th century. Period: Mughal dynasty. Color and gold on paper. Origin: Bijapur, Karnataka state, Deccan plateau, India. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

The parrot addresses Khujasta at the beginning of the fiftieth night, from a Tuti-nama (Tales of a Parrot): Fiftieth Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Opaque watercolor, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 8.8 x 10 cm (3 7/16 x 3 15/16 in.). As the sun sets on the fiftieth night, Khujasta attempts to leave to visit her lover. She is stopped by Tuti, the clever talking parrot, who begins to tell a story about the princess of Rum and the anguish caused by her son. The parrots tale lasts until sunrise, and Khujasta is again unable to meet with her lover.

Asavari ragini (). Draughtsman: anonymous. Dating: 1710 - 1730. Place: Centraal-India. Measurements: h 258 mm × w 188 mm; h 237 mm × w 170 mm. Museum: Rijksmuseum, Amsterdam.

Meeting of a Prince and Poet. Dimensions: Page: H. 13 5/8 in. (34.6 cm) W. 8 3/4in. (22.2cm)Mat size: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm). Date: mid-16th century.This unfinished work depicts the meeting of a noble young horseman and an older man on foot. Although no rulings for text blocks appear on the page, it may well have been conceived as a manuscript illustration in which a princely figure enounters a humble subject who dispenses useful philosophy. After outlining the figures and foreground elements, the artist painted the gold sky and the rocky landscape. Before painting over the lightly drawn facial details, the artist altered the position of the horse's back right foot. Such an image provides a rare glimpse of the sequence from ink to paint in Persian painting. Museum: Metropolitan Museum of Art, New York, USA.

Indian Art by anonymous painter, watercolour, ink, gold colour on paper, circa 1624-1625, Washington, D.C., Freer Gallery of Art, 25x14

On a porch a woman sits staring sadly in front of her. Her friend, who is sitting in front of her, is trying to comfort her. A woman like this, who has been abandoned by her lover, is a well-known theme from the nayikabheda literature, in which men and women are described and classified according to their behavior and experience in love. The representation is pasted on a sheet with a narrow decorative border of gold on yellowed paper, trimmed with black frame lines, pasted on the top left., Smart princess, draughtsman: anonymous, India, c. 1600 - c. 1650, paper, brush, h 135 mm × w 82 mm, h 150 mm × w 101 mm

The Lord Krishna in the Golden City (Harivamsha) From harivamsa ,an appendix of Razmnama. Date/Period: Ca. 1585. Painting / watercolor painting. Opaque watercolor and gold on paper. Height: 34.9 cm (13.7 in); Width: 23.2 cm (9.1 in). Author: Kesu Kalan and Miskin.

Kakubha Ragini, c. 1750. India, Rajasthan, Probably Jaipur, 18th century. Color on paper; image: 22.9 x 15.5 cm (9 x 6 1/8 in.); overall: 27 x 20.5 cm (10 5/8 x 8 1/16 in.).

Leaf from a Dispersed Hamir Hath Series Indian. Leaf from a Dispersed Hamir Hath Series, 1800-1810. Opaque watercolor and gold on paper, sheet: 9 5/8 x 13 7/8 in. (24.4 x 35.2 cm). Asian Art 1800-1810

"Tahmuras Defeats the Divs", Folio 23v from the Shahnama (Book of Kings) of Shah Tahmasp. Artist: Painting attributed to Sultan Muhammad (active first half 16th century). Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Painting: H. 11 1/8 (28.3 cm) W. 7 5/16 in. (18.6 cm)Entire Page: H. 18 1/2 in. (47 cm) W. 12 5/8 in. (32.1 cm)Mat: H. 22 in. (55.9 cm) W. 16 in. (40.6 cm). Date: ca. 1525.Tahmuras, shown here galloping across a meadow, defeated the divs (demons); in exchange for their lives, they taught him the art of writing. This work is attributed to Sultan Muhammad, the master painter and chief administrator of the first generation of artists of this manuscript. The humor of the divs' ghastly faces and gestures and the painterly treatment of their spotty skin are typical of Sultan Muhammad's style. Museum: Metropolitan Museum of Art, New York, USA.

Krishna and Radha on Terrace, Anonymous, 1800 - 1949 Indian miniature. drawing On a terrace surrounded by flowering trees and shrubs, Krishna and Radha sit opposite each other; In the foreground a lower terrace with two squatted figures for a lotus pond, a peacock on the edge of the pond. The show is framed by a narrow dark blue border with stylized leaf and flower vines and white with pink and yellow green, around it a light yellow border with red framework lines; The outer decorative edge is somewhat wider, light pink with red flicked in and pissed off with red frameworks; The corners have been completed. Rajasthan paper. deck paint brush

Tail and ears of Khusrau Parwiz’s horse are docked:” Folio from a Shahnama (Book of Kings) of Ferdowsi

Portrait by Baha al-Din Gilani, gouache on paper, 1651, State Hermitage, St. Petersburg, 16, 2x9, 2

Seated Youth with a Cup late 16th-early 17th century Aspects of the pose and turban of this seated figure recall the Man in a Furlined Coat’ (55.121.39) signed by Riza and datable to around 1600. The shape of this figure’s voluminous turban bound by a gold cloth resembles that of Riza’s figure. A black feather is stuck in the folds of both men’s turbans. Corkscrew curls escape from under each man’s turban, but Riza’s brushwork is infinitely finer. The angle of the figures’ heads and the position of their knees is the same in both pictures, but the treatment of the hands in the Seated Youth with a Cup’ is awkward and possibly overpainted. At the lower right the faint outline of an effaced seal is visible. The painting has been mounted on an album page with illuminated corner pieces at the upper right and lower left. The outer border is decorated with lotus blossom scrolls and the proportions of the ornament indicate that this would have been a verso side.. Seated Youth with a Cup 446

"The Captive Peasant with his Two Wives", 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.

The parrot addresses Khujasta at the beginning of the thirty-third night, from a Tuti-nama (Tales of a Parrot), 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: 6.8 x 10.1 cm (2 11/16 x 4 in.).

Salim and Salima return to Ayaz and Mahmuda in the sanctuary, from a Tuti-nama (Tales of a Parrot): Thirty-third 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 10.1 cm (3 7/8 x 4 in.).

Faribus kills Kulbad, Anonymous, 1500 - 1600 Persian miniature. drawing A warrior in full ornate on a white horse with a black cover and the flag of the victor in top feeds the horse with his victim against the neck of the horse lying on the lines; At the bottom of the show there are four columns of text in Persian handwriting, with a wide horizontal band over the middle two columns with a thicker calligraphy. The performance is slightly from the center to the left on the leaf, which is here and there damaged and restored; On the Verso also four columns of text. Persia Presentation: Paper brush / brush

Sri Raga, Ragamala Album, School of Rajasthan, 19th century. Artist: Unknown

The king plucks fruit from the Tree of Life with his own hands and feeds it to a lady, from a Tuti-nama (Tales of a Parrot): Ninth Night, c. 1560. Suraju (Indian). Gum tempera, ink, and gold on paper; painting only: 7.7 x 10.1 cm (3 1/16 x 4 in.); overall: 20 x 13.4 cm (7 7/8 x 5 1/4 in.).

Shahnameh. The Book of Kings. 16th c. Faridun's sons marry the three Daughters of Sero, King of Yemen. Gouache on paper. F03v. Persian art. Safavid period. Miniature Painting. FRANCE. PICARDY. OISE. Chantilly. MusŽe CondŽ (CondŽ Museum).

Alanquva and Her Three Sons, Folio from a Chingiznama. Pakistan, Lahore, Mughal empire, 1596. Drawings; watercolors. Opaque watercolor, gold and ink on paper

The false Mansur is punished before the judge and driven out of the city, 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, Seventeenth Night, ca. 1560. Mughal India, Court of Akbar ( reigned 1556-1605), historical, digitally restored reproduction of a original from the period.

Lovers in a Zenana Garden at Night 1600-1799 India. Opaque watercolor and gold on paper . Mughal

Lovers on a terrace, with an attendant and musicians. Date: 18th century. Origin: India. Period: Mughal dynasty. Color and gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

The merchant Mansur departs on a sea voyage, leaving his wife behind, 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: 9.7 x 10.1 cm (3 13/16 x 4 in.).

"Rustam Avenges His Own Impending Death", Folio 472r from the Shahnama (Book of Kings) of Shah Tahmasp ca. 1525-30 Abu'l Qasim Firdausi Rustams wicked half‑brother Shaghad conceived a plan to kill him by preparing a hunting ground with pits filled with upright spears. When Rustam went hunting near these traps, he fell into a pit and was impaled. Realizing that Shaghad, watching from behind a tree, had devised the plot, Rustam sent an arrow through the tree and killed Shaghad, shortly before he himself died. Although the figures are devoid of emotion, the barren setting accentuates the starkness and finality of the scene.. "Rustam Avenges His Own Impending Death", Folio 472r from the Shahnama (Book of Kings) of Shah Tahmasp 452165

A device that works by sand. A throne is constructed on a wheel; a sculpture of a youth with a lighted candle revolves around the throne propelled by sand hitting the wheel, f. 262v. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

Zal and Rudaba in a Palace, page from a copy of the Shahnama of Firdausi 1475-1495 Iran. Opaque watercolors and ink on paper . Islamic

Courtiers' Escapades, Page from an Unidentified Narrative Series Indian. , ca. 1670. Opaque watercolors on paper, sheet: 8 5/8 x 11 3/4 in. (21.9 x 29.8 cm). Asian Art ca. 1670

Princess and attendant in trompe loeil window, c. 1765. Aqil Khan (Indian, active mid-1700s). Opaque watercolor and gold on paper; image: 12.5 x 7.8 cm (4 15/16 x 3 1/16 in.); overall: 44 x 31.6 cm (17 5/16 x 12 7/16 in.). Although unidentifiable by inscription or individualized portrait features, the seated figure can be recognized as a powerful royal woman, the model for whom might be the mother or wife of Muhammad Shah, the last Mughal emperor able to fully support the arts at the imperial court. The halo of light comes from the sky, indicating divine light behind her, rather than being generated from her. A golden window shade has been rolled up to reveal the princess, with her attendant holding royal emblems of honor: the white cloth and the peacock-feather whisk. The carpet draped over the sill echoes that of the balcony rail where the emperor traditionally showed himself to the people. Rather than taking the view of an outsider, the viewer looks from inside the palace out to t

A member of the Mughal royal family. Gouache painting by an Indian painter.

Augury of the Crow (Vasakasajja Nayika), c. 1800. Northern India, Himachal Pradesh, Pahari Kingdom of Kangra. Color on paper; overall: 21.4 x 14.5 cm (8 7/16 x 5 11/16 in.). The heroine in the doorway is waiting for her husband to return, but he is delayed, and ominous monsoon clouds gather in the distance. The pomegranate tree in her garden has ripe fruits replete with seeds and bright red juices, suggestive of her fertility, but a crow is perched there. The sound of a crows voice is an unlucky omen, and this further compounds her anxiety.Depictions of tense, relatable situations were made to elicit empathy in the viewer and emotions that heightened the pleasure of viewing and savoring paintings.

A dîv-centaur (ghûl) top; Pink dîv who looks like a woman (sa'âyat) bottom, f. 300. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

Dancing Krishna. Draughtsman: anonymous. Dating: 1850. Place: Pahari. Measurements: h 375 mm × w 245 mm; h 350 mm × w 220 mm. Museum: Rijksmuseum, Amsterdam.

The Parrot Addresses Khujasta at the Beginning of the Twenty-fifth Night, from a Tuti-nama (Tales of a Parrot), 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: 6.2 x 10.1 cm (2 7/16 x 4 in.). Khujasta stands in front of a porch with a blue arabesque carpet and footed bed. The empty bed speaks to her loneliness and longing for a lover. She is dressed as an Indian woman, with backless blouse, orange wrapped skirt, and a long sash. The pompom fringe of her translucent, muslin stole stands out in a vertical row.

Portrait of Maharanja Mokam Singh, Anonymous, c. 1731 - c. 1732 Indian miniature Pakih paper. deck paint. gouache (paint) brush

Prince Swooning and Two Ladies in a Landscape second half 16th century. Prince Swooning and Two Ladies in a Landscape 452051

Manuscript. Date/Period: 901/1000. Paper, ink, gold, watercolours and leather. Width: 17 cm. Height: 28.1 cm. Author: Nur ad-Din Abd al-Rahman Jami.

Portrait of Raja Ajmer Chand of Kahlur Indian. , ca. 1730. Opaque watercolor and gold on paper, sheet: 6 7/8 x 5 5/8 in. (17.5 x 14.3 cm);. Asian Art ca. 1730

Arjuna Slays Karna, from a copy of the Razmnama 1611-1621 India. Opaque watercolor and gold on paper . Mughal

Jager beheads a man, Anonymous, 1575 - 1585 Indian miniature. drawing A man on horseback riding to the right has just beheaded another man with his dagger, the body and the bleeding head deposit to the earth, a piece written text is applied at the top of the representation. The show is stuck on a gray piece of paper and framed with a dark red and gold trim in black framework lines. paper brush / brush

The cheating wife persuades her husband to sleep in the place where she previously slept with her lover, 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, Eighth Night, circa 1560. Mughal India, Court of Akbar (r . 1556-1605)., Historical, digitally restored reproduction of a template from that time.

Krishna and Two Women in a Garden. Draughtsman: anonymous. Dating: c. 1620 - c. 1640. Place: Rajasthan. Measurements: h 276 mm × w 176 mm; h 252 mm × w 150 mm. Museum: Rijksmuseum, Amsterdam.

Kurma (incarnatie van Vishnu als schildpad). Karnen van de oceaan. Avatars van Vishnu (series title). Draughtsman: anonymous. Dating: 1825 - 1875. Place: Jaipur. Measurements: h 350 mm × w 255 mm; h 245 mm × w 176 mm; h 195 mm × w 129 mm. Museum: Rijksmuseum, Amsterdam.

A prince riding a composite elephant, c. 1590. India, Golconda, Deccan, 16th century. Ink, opaque watercolor and gold on paper; page: 28.8 x 18.6 cm (11 5/16 x 7 5/16 in.); painting: 14.5 x 11 cm (5 11/16 x 4 5/16 in.). A prince sits cross-legged in a covered howdah seat secured to the back of a royal elephant with golden rings on its tusks. The elephant is being driven by attendants, one of whom holds a goad. Artists in the southern Indian region known as the Deccan expanded upon Persian practices of embedding creatures in landscape sceneslike a visual double-entendreand created inventive images of composite creatures made up of figures that invite extended close looking. This painting would have been mounted in an album that was brought out for entertainment in elite intimate gatherings.

The Parrot Addresses Khujasta at the Beginning of the Sixth Night, from a Tuti-nama (Tales of a Parrot), c. 1560. Dasavanta (Indian). Gum tempera, ink, and gold on paper; painting only: 8.9 x 10.6 cm (3 1/2 x 4 3/16 in.); overall: 20 x 14.3 cm (7 7/8 x 5 5/8 in.).

Danasri ragini. Draughtsman: anonymous. Dating: 1760. Place: Centraal-India. Measurements: h 246 mm × w 167 mm; h 292 mm × w 242 mm. Museum: Rijksmuseum, Amsterdam.

"The Mi'raj or The Night Flight of Muhammad on his Steed Buraq", Folio 3v from a Bustan of Sa`di ca. 1525-35 Sultan Muhammad Nur The heavenly journey of the Prophet forms a centerpiece of Muslim piety. Persian poets from the thirteenth century onward prefaced their epics with a colorful description of the mi'raj, the heavenly journey that brought the Prophet into the immediate presence of God. This miniature is particularly interesting as the Prophet is shown with his face unveiled, riding on the mysterious mount Buraq. Later pictures of Muhammad generally show him with a veil covering his face, and in more recent times even his entire body is usually symbolized by a white cloud or a rose.. "The Mi'raj or The Night Flight of Muhammad on his Steed Buraq", Folio 3v from a Bustan of Sa`di 452670

Boeddha als een incarnatie (avatara) van Vishnu. Avatars van Vishnu (series title). Draughtsman: anonymous. Dating: 1825 - 1875. Place: Jaipur. Measurements: h 350 mm × w 248 mm; h 245 mm × w 176 mm; h 193 mm × w 125 mm. Museum: Rijksmuseum, Amsterdam.

Sultan Muhammad, Artist Unknown Mughal - Early 18th Century

. The goddess with four pairs of arms and sitting on a tiger in battle with the green demon on a chariot drawn by two horses with rider. The show is framed by a decorative edge of blue geometric motifs on yellow, around it a thin red trim and wide sect dark blue border; outer edge damaged and almost cut off at the top.

A Woman Pining for her Lover, anonymous, c. 1700 - c. 1750 Indian miniature. drawing On a terrace in front of a house is a young woman with arms above her twisted head stretched on a white rug on which all kinds of magazines and carafes with food and drinks are led by a servant to her to the left; Behind the terrace a tree with different colored birds, behind it a flat green field. Around the show a narrow piping in yellow with black framework lines and a red border with a white framework; Above the show a strip of yellow with a text in Indian script. Mewar paper brush

"Rustam Kills the White Div", Folio from a Shahnama (Book of Kings) ca. 1330-40 Abu'l Qasim Firdausi Rustam had to perform seven difficult and dangerous feats in order to rescue his king, who had been captured by the divs (devils) of Mazandaran. The last battle, with their leader, the White Div, was a terrible one, which took place in a dark cave. In the course of combat Rustam cut off the div's leg. A later restorer, unfamiliar with the story, has clumsily reattached it here.. "Rustam Kills the White Div", Folio from a Shahnama (Book of Kings) 452632

Lady in a cave in a rocky landscape with deer, Anonymous, 1790 - 1810 Indian miniature. drawing On the right of the show a round vault in a hilly landscape in which white deer walk around, behind the vault a tree and under the vault against the gray background a kneeling woman with her face to the deer; Two columns of text on the top and bottom of the show and on the back, framed by framework lines. Two, columns text on front and back in black, on Verso a horizontal band in blue with text in white. Cashmir paper brush

Todi ragini. Draughtsman: anonymous. Dating: 1670 - 1690. Place: Centraal-India. Measurements: h 204 mm × w 166 mm; h 184 mm × w 150 mm. Museum: Rijksmuseum, Amsterdam.

Prince and His Beloved in a Garden Mughal. Prince and His Beloved in a Garden, ca. 1760. Ink and opaque watercolor on paper, sheet: 12 7/8 x 8 1/2 in. (32.7 x 21.6 cm). Asian Art ca. 1760

Vishnu and Lakshmi on the bird Garuda. Draughtsman: anonymous. Dating: c. 1800. Place: Rajasthan. Measurements: h 233 mm × w 170 mm. Museum: Rijksmuseum, Amsterdam.

Lalita Ragini, Page from a Jaipur Ragamala Set 1745-1770 Rajasthan. 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.

Gordiya Parleys with Tuwurg, 1341, Hasan ibn Muhammad ibn `Ali ibn Husaini (known as al-Mausili), 13 x 8 1/8 in. (33.02 x 20.64 cm) (sheet), Ink, colors, and gold on paper, Iran, 14th century, This page, from the same Shahnameh manuscript as the work on the left, shifts the image to the bottom of the six-columned text, demonstrating the variety and visual rhythm of the complete manuscript. The scene depicts the influential Iranian noblewoman Gordiya, seen on horseback on the left. Her late brother Bahram had attempted to seize the throne from the Sasanian emperor Khosrow II (r. 590-628 CE). After Bahrams defeat, they fled to the court of the emperor of China who insisted on taking Gordiyas hand in marriage. Unwilling, Gordiya plans her escape; the emperor soon learns of Gordiays intentions and sends his military leader, Tuwurg, seen on the right, to bring her back. This painting, with its freewheeling composition of polo-like combat, foreshadows Gordiyas victory over Tuwrug, and he

Illustrated Folio from a Manuscript of the Shah-Nama Illustrated Folio from a Manuscript of the Shah-Nama, ca. 1600. Ink and opaque watercolors on paper, Sheet: 14 x 9 3/4 in. Arts of the Islamic World ca. 1600

Drawing, The Fox and the Grapes, Illustration for Aesop's Fables; Victor Wilbour; USA; pen and red ink, crayon on white board; 22.7 × 15.3 cm (8 15/16 in. × 6 in.); 1918-44-15

Desavarati Ragini, Fifth Wife of Dipak Raga, Folio from a Ragamala (Garland of Melodies). India, Rajasthan, Sirohi, 1650-1675. Drawings; watercolors. Opaque watercolor and gold on paper

Portrait of the Emperor Aurangzeb 17th century. Portrait of the Emperor Aurangzeb. 17th century. Ink, opaque watercolor, and gold on paper. Attributed to India. Codices

An old hermit sits on a tiger skin in front of a rocky hole, which serves him as his home. He holds a prayer line in his right hand. A pupil waves him cool with a fan of peacock feathers. Two courtiers have settled down in front of the hermit. One plucks a string instrument, the other claps his hands together. The bright blue and purple painted knotty rocks stand out sharply against the golden background, which turns into blue and golden smudges towards the top., Courtiers visiting a hermit, draughtsman: anonymous, 1690 - 1699, paper, brush, h 169 mm × w 112 mm, h 295 mm × w 208 mm

Bijan killing the wild boars of Irman, from a Shah-nama (Book of Kings) of Firdausi (Persian, about 934-1020) (verso), c. 1610. India, Bijapur, Deccan. Opaque watercolor, gold, and ink on paper; page: 20.3 x 12 cm (8 x 4 3/4 in.). This illustrated page from a Shah-nama depicts the first adventure of the hero Bijan, son of an Iranian knight. When reports arrived at the kings court of wild boars ravaging the borderlands between the enemy realms of Iran and Turan, Bijan volunteered to hunt and kill the beasts, much to the chagrin of his father, who doubted his young sons ability to navigate the politically volatile situation. The fearless Bijan is shown on horseback as he singlehandedly strikes the bodies of the boars in the brush. After overzealously celebrating his success, Bijan must be rescued from a pit by Rustam. This early manuscript from the Deccan made for the sultan of Bijapur is characterized by glowing colors and lavish use of gold.

The Bewildered Nayika, Page from a Rasikapriya Series Indian. The Bewildered Nayika, Page from a Rasikapriya Series, ca. 1660-1690. Opaque watercolor and gold on paper, sheet: 9 1/4 x 6 7/8 in. (23.5 x 17.5 cm). Asian Art ca. 1660-1690

Men by rock by Mirza Ali, watercolour, ink, gold colour on paper, circa 1575, circa 1510-before 1576, USA, New York, Metropolitan Museum of Art, 47, 3x32, 4

Portrait of an officer. Date: ca. 1660. Origin: India. Period: Mughal dynasty. Gold and faint color on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Munsja sultan mhamod derde koning van Indostan.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.

"Siyavush Recounts His Nightmare to Farangis", Folio 195r from the Shahnama (Book of Kings) of Shah Tahmasp ca. 1525-30 Abu'l Qasim Firdausi Siyavush, a Persian prince, awoke one night from a horrible nightmare. The dream, which proved to be prophetic, showed the destruction of his kingdom and foreshadowed the end of his life. Attributed to Qadimi and Mir Musavvir, the second supervisor of the Shahnama project, this folio combines the spatial logic of the Herat style with the elongated figures typical of Safavid painting under Shah Isma'il.. "Siyavush Recounts His Nightmare to Farangis", Folio 195r from the Shahnama (Book of Kings) of Shah Tahmasp 452138

"Portrait of Rup Singh", Folio from the Shah Jahan Album. Artist: Painting by Govardhan (active ca. 1596-1645). Calligrapher: Sultan 'Ali al-Mashhadi (active late 15th-early 16th century). Dimensions: Page: H. 15 5/16 in. (38.9 cm) W. 10 1/8 in. (25.7 cm)Painting with border: H. 8 13/16 in. (22.4 cm)W. 6 5/16 in. (16 cm)Painting without border: H. 5 7/8 in. (14.9 cm)W. 3 1/2 in. (8.9 cm)Mat: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm). Date: verso: ca. 1615-20; recto: ca. 1500.The subject of this painting, Rup Singh, son of Ram Chand (not Rai Chanda, as per Jahangir's inscription), was one of the officials at the court of Shah Jahan. The portrait is surrounded by verse fragments from a Persian masnavi, which belongs to Amir Khusrau's Khamsa (Quintet). Museum: Metropolitan Museum of Art, New York, USA.

Bellawi ragini. Maker: anonymous. Dating: 1750. Place: Deccan. Measurements: h 208 mm × w 131 mm; h 253 mm × w 190 mm; h 179 mm × w 114 mm. Museum: Rijksmuseum, Amsterdam.

The young man of Baghdad solicits advice from a friend as his slave girl, who is adept at music, awaits, from a Tuti-nama (Tales of a Parrot): Forty-eighth Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Opaque watercolor, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 10.3 x 9.9 cm (4 1/16 x 3 7/8 in.). The young man, on the right, shares his problem with his friend. His lover, the slave girl, waits in the background, harp in hand. The man has squandered his riches and now seeks a way to earn them back. His friend suggests that he should become a musician and entertain nobility. Finding this advice degrading, the young man declines and decides to sell the girl.

A Persian prince is seated on an orange carpet, spread out by a river. He brings a cloth to his eyes to dry the tears that appear at the sad news of a messenger, Prince Kushrau weeping in a landscape., draughtsman: anonymous, Deccan, 1450 - 1499, paper, brush, h 278 mm × w 177 mm, h 134 mm × w 119 mm

The guard restores the son who falls at his mothers feet, from a Tuti-nama (Tales of a Parrot): Fiftieth Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Opaque watercolor, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 10 x 10 cm (3 15/16 x 3 15/16 in.). The princess of Rum is overjoyed to discover that her son is alive. The king had ordered the young mans execution after wrongly believing him to be his wifes lover. The guard, who spared the young mans life, is generously rewarded for his kindness.

Munsja Sultan Mhamod Third King of Indostan, Adrianus Canter Visscher, c. 1750 - c. 1755 drawing Drawing from the manuscript of the VOC servant Adrianus Canter Visscher with twenty -eight Indian miniatures and two maps of places on the Coromandelkast. The text consists of two parts: a history of the Mogolrijk and the VOC locations on the Coromandelkast; This is followed by an advice to the lords XVII on the economic situation of the VOC in the Coromandel. Deccan paper writing (processes) / drawing historical persons. ruler, sovereign Coromandelkust

A depiction of a resting frost under a tree, while his horse bites a dog-like animal in the neck, above and below the depiction four columns of text in Persian handwriting, with frame lines in black, gold and red. The leaves all around are painted with golden flower and leaf motifs, the narrow right edge in ornament, the lower left corner diagonally shielded and unpainted. Presentation, text and leaf are one, resting frost under a tree., draughtsman: anonymous, Iran, 1537, paper, brush, h 346 mm × w 231 mm

Two Girls Performing Kathak 1701-1800 India. Opaque watercolor and gold on paper . Mughal

Portrait of a Jaipur official. Draughtsman: anonymous. Dating: c. 1835 - c. 1880. Measurements: h 254 mm × w 176 mm; h 210 mm × w 138 mm. Museum: Rijksmuseum, Amsterdam.

The great Auneng Zub, Adrianus Canter Visscher, c. 1750 - c. 1755 drawing Drawing from the manuscript of the VOC servant Adrianus Canter Visscher with twenty -eight Indian miniatures and two maps of places on the Coromandelkast. The text consists of two parts: a history of the Mogolrijk and the VOC locations on the Coromandelkast; This is followed by an advice to the lords XVII on the economic situation of the VOC in the Coromandel. Deccan paper writing (processes) / drawing historical persons. ruler, sovereign Coromandelkust

The dream of Zulaykha, from the Amber Album, c. 1670. India, Mughal, 17th century. Opaque watercolor with gold on paper, pink and blue borders decorated with gold foliate motifs, text on verso; page: 32 x 24.4 cm (12 5/8 x 9 5/8 in.). In Islamic texts, as in the Hebrew and Christian Old Testament traditions, Zulaykha is the unnamed wife of Potiphar, a wealthy Egyptian. This scene is from a popular Persian poem that recounts the story of Joseph and Zulaykha as a mystical romance, and describes her visionary dreams of a beautiful lover. In this painting we see the luxuriously dressed Zulaykha asleep on a terrace, reclining on ornate pillows as a vision of her love, Joseph, appears before her. He is illuminated by radiant light cast down by angels emerging from the dark night clouds.

'Amorous Couple and a Servant'. Iran, 1696. Dimensions: 19x13,5 cm. Museum: State Hermitage, St. Petersburg.

The sheet is divided into four squares, top left a scene with three singing ladies sitting in front of a lady clapping the beat, top right the messenger with a whistle and a white flag that aims the palace where the ladies are sitting, bottom left the messenger on the road in a night landscape and right the sender, Krishna in a room with a red wall sitting on a roll pillow, above the scene a wide yellow strip with an inscription in black and some red lines and numbers. Around the representation a yellow border with black frame lines and a wider red border with black frame lines, Krishna and Akrura as messenger., draughtsman: anonymous, Mewar, 1735 - 1745, paper, brush, brush, h 242 mm × w 206 mm, h 185 mm × w 180 mm

The king dreams of a lady, the personification of wealth, departing from him on account of his purchasing a bowl and a staff from a yogi, from a Tuti-nama (Tales of a Parrot): Thirty-sixth 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: 10.1 x 10.2 cm (4 x 4 in.).

The unfaithful woman explaining the presence of the teigelefant, 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, Eighth Night, c. 1560. Mughal India, Court of Akbar (ruled 1556-1605) ., Historical, digitally restored reproduction from an original of the period

Toilet of a Princess, Anonymous, 1526 - 1857 The toilet of a distinguished woman. India paper. deck paint. gouache (paint) brush The toilet of a distinguished woman. India paper. deck paint. gouache (paint) brush

Coloured illustration of ladies dancing with pigs in the episode when Odysseus is trapped on the island with Circe. Illustrated by Edmund Dulac (1882-1953), a French British naturalised magazine and book illustrator.

The Rajas daughter and her lover stoned to death for adultery, from a Tuti-nama (Tales of a Parrot): Forty-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: 11.3 x 10.5 cm (4 7/16 x 4 1/8 in.). In this gory scene, the body of the rajas daughter lies crumbled and bloody at her lovers side. He sits resolutely facing his executioners with his hair disheveled and a pained expression on his face. The couple is surrounded by a group of men who wield stones in their raised hands.

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