Persian Miniature Paintings

Intricate miniatures illustrating historical narratives, depicting regal scenes and traditional stories in rich colors and fine details.

Prince Siyavush is shown for the first time to his father, Kay-Kavus, king of Iran. The king is seated on a throne in a rocky landscape. Two servants are at his side, one of them waves the king coolly, the other holds the shield and weapons, Siyavush meets his father for the first time., draughtsman: anonymous, Noord-India, 1540 - 1560, paper, brush, h 215 mm × w 180 mm, h 270 mm × w 185 mm

Prince Siyavush is shown for the first time to his father, Kay-Kavus, king of Iran. The king is seated on a throne in a rocky landscape. Two servants are at his side, one of them waves the king coolly, the other holds the shield and weapons, Siyavush meets his father for the first time., draughtsman: anonymous, Noord-India, 1540 - 1560, paper, brush, h 215 mm × w 180 mm, h 270 mm × w 185 mm

"Rustam Lassos Rakhsh", Folio from a Shahnama (Book of Kings) ca. 1450 Abu'l Qasim Firdausi In this highly Persianate Shahnama produced in India in the fifteenth century, we see the hero Rustam, identifiable by his tiger-skinned robe, as he first captures Rakhsh, the steed that would accompany him on his adventures. When Rustam lassoed Rakhsh, the horses mother charged like a furious elephant, but Rustam sent her off with a slap on the withers. Rustam mounted Rakhsh and sped like the wind. This was certainly the horse to carry him to his deeds of glory.. "Rustam Lassos Rakhsh", Folio from a Shahnama (Book of Kings). ca. 1450. Ink and opaque watercolor on paper. Attributed to India. Codices

Courtyard of a Palace 1499-1599 Iran. Opaque watercolor and ink on paper . Islamic

Twee Oosterse figuren op een tapijt voor een paleis.In the middle of the show there is an old man with white beard, left opposite him a young man in purple robe, on his knees, in the background a piece of palace with wall at which a flowering bush stands; The show runs over the width of two columns of text. The performance is in the middle of the leaf and cover the width of two columns text located above and below the show and also on the back of the leaf.

Courtyard of a Palace. Iran. Date: 1499-1599. Dimensions: Image: 22.9 x 13.1 cm (9 x 5 3/8 in.); Paper: 26.8 x 14.2 cm (10 9/16 x 5 5/8 in.). Opaque watercolor and ink on paper. Origin: Iran. Museum: The Chicago Art Institute, Chicago, USA. Author: Islamic.

The Parrot Addresses Khujasta at the Beginning of the Fifteenth Night, from a Tuti-nama (Tales of a Parrot), c. 1560. India, Mughal court, 16th century. Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 7.6 x 10 cm (3 x 3 15/16 in.).

Illustrated Folio from a Manuscript of Persian Poetry showing a Ruler on Horseback Witnessing a Birth Scene Illustrated Folio from a Manuscript of Persian Poetry showing a Ruler on Horseback Witnessing a Birth Scene, 1530-1540. Ink, opaque watercolors, and gold on paper, Sheet: 10 3/4 x 7 1/2 in. Arts of the Islamic World 1530-1540

"The Combat of Rustam and Ashkabus", Folio 268v from the Shahnama (Book of Kings) of Shah Tahmasp. Artist: Painting attributed to Mirza Muhammad Qabahat. Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Painting: H. 9 3/8 x W. 7 5/8 in. (H. 23.8 x W. 19.4 cm)Entire Page: H. 18 5/8 x W. 12 5/8 in. (H. 47.3 x W. 32.1 cm). Workshop director: 'Abd al-'Aziz (active first half 16th century). Date: ca. 1525-30.With daylight the battle resumes. Before the armies can clash, Ashkabus rides out from the Turanian side and starts to abuse the Iranians. After Ruhham tries unsuccessfully to shoot Ashkabus with arrows, Rustam enters the fray. He is on foot, having left Rakhsh to rest. He parries the taunts of Ashkabus, then shoots the Turanian's horse with a single arrow. After that, one arrow from Rustam's bow finishes him off. Museum: Metropolitan Museum of Art, New York, USA.

"Zal is Restored to his Father Sam by the Simurgh", Folio from a Shahnama (Book of Kings) ca. 1300-30 Abu'l Qasim Firdausi. "Zal is Restored to his Father Sam by the Simurgh", Folio from a Shahnama (Book of Kings). ca. 1300-30. Ink, opaque watercolor, silver, and gold on paper. Attributed to Northwestern Iran or Baghdad. Codices

35mm original

Death of Rustam and Van Shaghad, an episode from Firdausi's Shahnama (completed in 1010), Anonymous, 1417 - 1447 drawing. Persian miniature Shiraz (possibly) paper. deck paint. paint (coating). gouache (paint) brush

Bahram Visits the White Domed Pavilion on Friday (recto), c. 1560-80. Iran, Shiraz, Safavid period (1501-1722). Opaque watercolor, ink, and gold on paper; image: 26.8 x 17.5 cm (10 9/16 x 6 7/8 in.); overall: 30.7 x 19.7 cm (12 1/16 x 7 3/4 in.).

Faribus kills Kulbad. Draughtsman: anonymous. Dating: 1500 - 1600. Place: Persia. Measurements: h 315 mm × w 225 mm; h 201 mm × w 160 mm. Museum: Rijksmuseum, Amsterdam.

In a field with flowers two men are sitting on a picnic blanket, around them are all kinds of figures, some of them playing a musical instrument and others offering the men fruit and drinks, right above and below a text in Persian on two columns. On a third from below a sharp fold, the face of the right man is damaged and above him is also a damage, representation and text are framed with fine lines., Picnic, draughtsman: anonymous, Persia, 1500 - 1600, voorstelling, :, brush, h 214 mm × w 301 mm, h 142 mm × w 109 mm

The Emperor Aurangzeb Carried on a Palanquin ca. 1705-20 Painting by Bhavanidas The emperor Aurangzeb (r. 1656-1707) and his royal hunting party are shown here in one of the final grand imperial images of the Mughal era. Preparations for the chase are in progress, as evident from the row of hunters in the foreground and others who lead deer as bait or carry leafy screens for camouflage. Bhavanidas, painter of this scene, worked first at the Mughal court and then later moved to the Rajput court of Kishangarh, where he became its preeminent artist.. The Emperor Aurangzeb Carried on a Palanquin 454619

"Rustam's First Encounter with Afrasiyab", Folio from a Shahnama (Book of Kings) dated A.H. 1077/ A.D. 1666-67 Abu'l Qasim Firdausi. "Rustam's First Encounter with Afrasiyab", Folio from a Shahnama (Book of Kings) 452765

The viziers son receives the magic wooden parrot from the wife of the merchant, who is drunk, and has a replica made by a carpenter, from a Tuti-nama (Tales of a Parrot): Tenth Night, c. 1560. Lalu. Gum tempera, ink, and gold on paper; painting only: 9.8 x 10.2 cm (3 7/8 x 4 in.); overall: 20.1 x 13.2 cm (7 15/16 x 5 3/16 in.).

Prince in a Garden Courtyard 1525-30 This typical bazm (feast) scene is the left-hand side of a double page painting. Traditionally, the right half would have shown royal servants preparing a feast. The prince is seated on a square platform under a canopy, holding the two key symbols of Persian kingshipa wine cup and a royal handkerchief. His attendants offer him wine and fruit in gold vessels, as poetry is recited to the sound of the barbat (Persian lute) and the dayira (tambourine).. Prince in a Garden Courtyard. 1525-30. Opaque watercolor, ink, gold, and silver on paper. Attributed to Iran, Tabriz. Codices

The old procuress conveys the young mans message of love to Mansurs wife, from a Tuti-nama (Tales of a Parrot: Seventeenth Night, 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: 11.3 x 10.1 cm (4 7/16 x 4 in.).

Painting from 17th century Persian manuscript Drinking party outdoors by river or lake

Habbaza meets Bashir under a tree, from a Tuti-nama (Tales of a Parrot): Twenty-fourth 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: 13.8 x 10 cm (5 7/16 x 3 15/16 in.). Habbaza clandestinely meets with her lover Bashir outside of her village. The two lovers have been separated by Habbazas husband, who learned of their affair. Bahirs friend, who arranged the secret meeting, waits at the right. The lower register shows a scene of the activity in Habbazas village.

Babur meeting with Sultan Ali Mirza at the Kohik River, from a Babur-nama (Memoirs of Babur), c. 1590. India, Mughal school, 16th century. Opaque watercolor and gold on paper; image: 28 x 16.5 cm (11 x 6 1/2 in.); overall: 41 x 27.1 cm (16 1/8 x 10 11/16 in.). Thirty years before he captured Delhi and founded the Mughal Empire, Babur began his expansionist activities at the age of 13, as depicted in this painting of an encounter that took place in 1496. Having traveled long distances across harsh dry terrain, Babur confronted one of his rivals who, like him, was angling to march on and conquer the illustrious city of Samarkand, the former capital of his ancestor Timur.

The Parrot Addresses Khujasta at the Beginning of the Twenty-second 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: 10.1 x 9.8 cm (4 x 3 7/8 in.).

35mm original

Islamic Arts Museum. Bahram Gur in the green pavilion. Persia. 16th century. Kuala Lumpur. Malaysia.

King Luhrasp Ascends the Throne: a Processon Arrives at Court, recto of the left folio of a double-page composition from a Shahnama (Book of Kings) of Firdausi (940-1019 or 1025), c. 1560-90. Iran, Shiraz, Safavid period (1501-1722). Opaque watercolor, ink, and gold on paper; sheet: 47 x 29.7 cm (18 1/2 x 11 11/16 in.); image: 43.9 x 26.6 cm (17 5/16 x 10 1/2 in.).

Portrait of the Emperor Akbar 19th century. Portrait of the Emperor Akbar. 19th century. Ink, opaque watercolor, and gold on paper. Attributed to India. Codices

In a frame of a narrow ornamental border in dark blue with golden flower and leaf tendrils, a simply dressed person sits on a narrow carpet, in front of him on the floor are writing utensils and a sheet of a manuscript, in the background golden and some dark blue colored leaf tendrils and a gold colored tree trunk with a (heavily damaged) sun at the top, the outer edge of the leaf is gold colored dotted and contains cut and pasted inserts in sky blue and sepia with gold colored ornaments. The image is pasted on the left side of the leaf within the frame line and appears to be part of a counterpart on which the border decoration must run., Simply dressed person with writing utensils, draughtsman: anonymous, Iran, 1500 - 1699, paper, brush, h 189 mm × w 113 mm, h 311 mm × w 195 mm

Arjasp's Horsemen Killing Luhrasp, Page from an Illustrated Manuscript of the Second Small Shahnama of Firdawsi (d. 1020) Arjasp's Horsemen Killing Luhrasp, Page from an Illustrated Manuscript of the Second Small Shahnama of Firdawsi (d. 1020), ca. 1300. Ink, opaque watercolors and gold on paper, 6 3/4 x 5 1/8 in. (17.2 x 13.0 cm). Arts of the Islamic World ca. 1300

Kanhara Ragini: Song of Inspiration to Krishna for Killing the Elephant Demon, from the Ragamala Series, c. 1760. India, Rajasthan, Bundi-Kota school, 18th century. Color on paper; overall: 26.1 x 18.7 cm (10 1/4 x 7 3/8 in.); with borders: 33.7 x 25.1 cm (13 1/4 x 9 7/8 in.).

Islamic Arts Museum. Majnun on a horse buying adeer from a hunter. Persia. 17th century. Kuala Lumpur. Malaysia.

The traveler Yaqûb ibn Ishaq was attacked by another inhabitant of Sagsâr island top; The sawfish (samak al-minshâr) of the Sea of Zanzibar bottom, f. 91v. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

Rustam's Seventh Feat: he kills the white dîv.. 1616. Firdawsî. text. illuminated manuscripts, Illuminations, Manuscripts. Spencer Collection. Manuscripts, Persian

The monkey, serving as the lions chamberlain, converses with the lynx and its mate who have arrived with their cubs to settle in the lions domain, from a Tuti-nama (Tales of a Parrot): Twenty-ninth Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; painting only: 7.7 x 10.3 cm (3 1/16 x 4 1/16 in.); overall: 20 x 14.2 cm (7 7/8 x 5 9/16 in.).

Rajasthani miniature painting from Rajasthan, India. Probably late 19th century or early 20th century. Scene outside a stable. A man leads a horse out of the stable. Another rides by on a magnificent white horse. Other men confer about a scrawny pony.

Page from Tales of a Parrot (Tuti-nama): text page, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Ink and gold on paper; overall: 20 x 14.3 cm (7 7/8 x 5 5/8 in.); text field: 16.6 x 10.2 cm (6 9/16 x 4 in.).

TIMUR LANK (O TAMERLAN) INVADE LA INDIA - SIGLO XV/XVI. Location: VICTORIA AND ALBERT MUSEUM. LONDON. ENGLAND.

Illuminated Page of Calligraphy in nasta'liq script Student of Muhammad Amir Salim Dehlawi. Illuminated Page of Calligraphy in nasta'liq script, 1631. Opaque watercolor and gold washes on paper, sheet: 11 3/4 x 7 5/8 in. (29.8 x 19.4 cm). Asian Art 1631

The eldest brother explains the reason for his youthful appearance, from a Tuti-nama (Tales of a Parrot): Forty-ninth 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: 9.9 x 10 cm (3 7/8 x 3 15/16 in.). A kings official sits conversing with the oldest of three brothers. Despite his advanced age, the man appears younger than all of his siblings. When asked, he explains that he has not aged because his life is free of anxiety: his farm yields abundant crops, and his wife is obedient and happy.

REY ENTRONIZADO CON SUS CORTESANOS - MINIATURA DEL LIBRO DE LOS REYES O SHAH NAMEH - MINIATURA PERSA - SIGLO XIV. Author: TABRIZ ESCUELA DE. Location: PRIVATE COLLECTION. France.

"Gustaham Kills Lahhak and Farshidvard", Folio from a Shahnama (Book of Kings) ca. 1300-30 Abu'l Qasim Firdausi. "Gustaham Kills Lahhak and Farshidvard", Folio from a Shahnama (Book of Kings) 452044

The daughter of the merchant of Mazanderan asks the gardener for the rose, from a Tuti-nama (Tales of a Parrot): Twelfth Night, c. 1560. India, Mughal court, 16th century. Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 6 x 10.1 cm (2 3/8 x 4 in.).

Bilval Ragini. A woman at a gallery of a palace makes toilet while her servant ceases a mirror and stands next to it. The show is immaced by a thin decorative edge of flower drinks on gold and dark blue filigree motifs, around it a wide decorative edge of dark blue with gold speckled and thin frame lines of red and gold.

Hunter decapitates a man. Draughtsman: anonymous. Dating: 1575 - 1585. Measurements: h 120 mm × w 162 mm; h 153 mm × w 210 mm. Museum: Rijksmuseum, Amsterdam.

Prince and courtiers on a terrace. Draughtsman: anonymous. Dating: 1820 - 1840. Place: India. Measurements: h 355 mm × w 235 mm; h 508 mm × w 390 mm. Museum: Rijksmuseum, Amsterdam.

Two jobs with a pair on the top track and four musicians on the lower, Anonymous, 1790 - 1810 Indian miniature. drawing The magazine is divided into two lanes with a pair and musicians above and below and two one-line columns above and below the performance in Old Persian script; On Verso a text in diamond shapes. Cashmir paper brush / brush

View of iranian town by Iranian master, Watercolor, ink, gold color on paper, 1550s, USA, Washington, D.C., Freer Gallery of Art, 34,2x23,2

Iran / Persia: Camel and keeper. Watercolour painting by Shaykh Muhammad (fl. 16th century), c. 1556-1557. A Persian miniature is a small painting on paper, whether a book illustration or a separate work of art intended to be kept in an album of such works called a muraqqa. The techniques are broadly comparable to the Western and Byzantine traditions of miniatures in illuminated manuscripts. Although there is an equally well-established Persian tradition of wall-painting, the survival rate and state of preservation of miniatures is better.

Left side of a double-page album folio: Outside a Royal Encampment (recto) and Calligraphy, Persian Verses (verso), c. 1485. Style of Bihzad (Iranian, active 1470-1506). Opaque watercolor, ink, and gold on paper; The painting is the left side of a double composition; at the upper left are musicians who provide ambient entertainment. A cook prepares meat over a brazier, while a servant brings kebab on a shallow bowl. The unfinished state of this painting reveals the artist's process of creating underdrawings that are filled with color. The verso has an example of calligraphy.

The invention of musical instruments from the intestines of a monkey, from a Tuti-nama (Tales of a Parrot): Fourteenth 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 10.2 cm (3 13/16 x 4 in.).

Fight from Salm and Tur with Irai.

Prince Kushrau weeping in a landscape. Draughtsman: anonymous. Dating: 1450 - 1499. Place: Deccan. Measurements: h 278 mm × w 177 mm; h 134 mm × w 119 mm. Museum: Rijksmuseum, Amsterdam.

Ferangis Returns to Iran with Giv and Her Son, Kai Khusrau, from a "Shahnameh" of Firdausi Ferangis Returns to Iran with Giv and Her Son, Kai Khusrau, from a "Shahnameh" of Firdausi, late 15th-early 16th century. Ink, opaque watercolors, and gold on paper, 9 1/2 x 5 7/16 in. Arts of the Islamic World late 15th-early 16th century

"Caesar Makes a Talisman", Folio from a Shahnama (Book of Kings). Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Painting: 1 5/8 x 4 5/16 in. (4.2 x 11 cm). Date: ca. 1330-40. Museum: Metropolitan Museum of Art, New York, USA.

"Sultan Sanjar and the Old Woman", Folio 17 from a Khamsa (Quintet) of Nizami A.H. 931/A.D. 1524-25 Nizami This folio is from a lavishly illustrated copy of the Khamsa (Quintet) by the poet Nizami. The calligrapher of this manuscript, Sultan Muhammad Nur, is known to have worked in Herat during the reign of the Timurid ruler Sultan Husain Baiqara, along with the famous painter Bihzad. By the time this manuscript was produced, however, the city had come under Safavid control. Nevertheless, this painting exemplifies the fine drawing and jewellike finish of the style established within Sultan Husain’s royal workshop.. "Sultan Sanjar and the Old Woman", Folio 17 from a Khamsa (Quintet) of Nizami 446593

"Bahrum Gur Before His Father, Yazdigird I", Folio 551v from the Shahnama (Book of Kings) of Shah Tahmasp ca. 1530-35 Abu'l Qasim Firdausi Munzir, Bahram's Arab host, sends a painting of him to his father,Yazdigird I, who is so struck by his son's handsome physique and hunting prowess that he asks Munzir to send him to Iran. Bahram arrives and greatly impresses his father with his manly appearance and proper demeanor. Yazdigird then calls Bahram into his service night and day, a situation that eventually causes Bahram to return to Arabia.. "Bahrum Gur Before His Father, Yazdigird I", Folio 551v from the Shahnama (Book of Kings) of Shah Tahmasp 452170

Fainting lady fanned byattendants

"Leopard Bearing Lion's Order to Fellow Judges", Folio 51 recto 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.

Woman with a Wine Bottle and Cup. Iran, Isfahan, about 1655. Manuscripts; folios. Ink color washes, and gold on paper

"The Parent Bird Blinds the Prince in Revenge for the Death of her Young One", 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.

LAMINA INDIA - PAREJA SENTADA - SIGLO XIX. Location: PRIVATE COLLECTION. MADRID. SPAIN.

The caption for this 1910 image reads: The Gulistan Rose Garden Palace -handwritten from the year 1582. From the collection of Carl of Crawford, written by Muhammad Husain Kashmiri Indian, active ca. 15601611 The miniature shows the poet and the scribe. Gulistan, sometimes spelled Golestan, is a landmark of Persian literature, perhaps its single most influential work of prose. Written in 1258 AD, it is one of two major works of the Persian poet Sa'di, considered one of the greatest medieval Persian poets.

late Mughal style miniature A full-page miniature drawing in black ink with gilt and tiny blue and red accents. A turbaned figure sits cross-legged on a tiger skin under a tree, with an attendant behind and two courtiers kneeling in front. The silhouette of a city can be seen on the horizon. From an anonymous and untitled collection of Persian love poetry.

Page from the Shahnama. Date/Period: 1525 - 1535. Manuscript. Height: 470 mm (18.50 in); Width: 320 mm (12.59 in). Author: Iran Unknown.

Concentric circles with Persian annotations and a decorative border. Gouache painting by a Persian artist.

Page from a Ramayana Series Page from a Ramayana Series, ca. 1850. Opaque watercolor on paper, 18 5/8 x 12 1/2 in. (47.3 x 31.8 cm). Asian Art ca. 1850

A woman with two children, having abandoned her home, goes into the forest where she encounters a leopard, from a Tuti-nama (Tales of a Parrot): Thirtieth 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: 15.6 x 10.2 cm (6 1/8 x 4 in.).

Sleeping Youth (verso), Illustration from a Single Page Manuscript, early 1600s. Style of Riza-yi Abbasi (Iranian). Opaque watercolor and gold on paper; image: 21 x 12.4 cm (8 1/4 x 4 7/8 in.); overall: 31.6 x 20.4 cm (12 7/16 x 8 1/16 in.).

Gaudi Ragini, c. 1700-1725. India, Rajasthan, probably Jaipur, 18th century. Ink and color on paper; image: 25.5 x 19 cm (10 1/16 x 7 1/2 in.); overall: 30.7 x 23.8 cm (12 1/16 x 9 3/8 in.).

Jujak Asks Vessantara for His Children as Slaves, Scene from a Vessantara Jataka. Thailand, 1820-1840. Drawings; watercolors. Opaque watercolor and gold on cloth

Page from the Late Shah Jahan Album: Calligraphy Framed by an Ornamental Border with Poppies and Pairs of Birds (verso), c. 1653. India, Mughal court, reign of Shah Jahan (1628-1658), Mughal Dynasty (1526-1756), 17th Century. Opaque watercolor, gold, and ink on paper; overall: 37.8 x 27.3 cm (14 7/8 x 10 3/4 in.). Treated as a jewel set in gold and floral arabesques, this work is an example of how Mughal patrons held the art of calligraphy in higher esteem than figural painting. This work is unsigned, so the calligrapher remains unknown, but the lines are excerpts from a didactic ode composed by Amir Khusrau (1253-1325) of Delhi, known as the "Parrot of India," one of the most accomplished authors of the Persian language in India. The text itself reads: "Anyone, whether noble or ignoble, who covets wealth, is destined for hell. Aloe-wood and dung, once thrown in the fire, turn to ash. It is hard for an unrefined mind to master sophisticated thought. For the wind to lift up the feet of

A man in a landscape scene. Gouache painting by an Indian artist, ca. 1750.

Arjuna's Heroic Feat in Battle Arjuna's Heroic Feat in Battle, ca. 1830-1850. Ink and color on paper, 16 3/8 x 11 1/8 in. (41.6 x 28.3 cm). Asian Art ca. 1830-1850

Colour illustration from 'The illuminated manuscript Khamsa of Nizami' a 12th Century a lavishly illustrated manuscript of the Khamsa or 'five poems' of Nizami Ganjavi (1141-1209) a Persian poet.

The Murder of Thomas Becket. Canterbury Cathedral. ENGLAND.

MINIATURA DE MANUSCRITO PERSA- VIDA COTIDIANA. Location: PRIVATE COLLECTION. MADRID. SPAIN.

MUSEO-MINIATURA-MAHOMA SOCORRE A UNA CIERVA - S XVI. Location: PALACIO TOPKAPI-BIBLIOTECA. ISTANBUL. TURQUIA.

Ruhhâm chases Bârmân.. 1616. Firdawsî. text. illuminated manuscripts, Illuminations, Manuscripts. Spencer Collection. Manuscripts, Persian

The romance and legend of Alexander the Great (356-323 BC) was recounted endlessly in Islamic art and literature from Southern Russia to the gates of India, often under the name of Iskandar. Battle between Alexander and the Persian king Darius III. After a Persian manuscript.

Tiger hunt. A white pavilion in a hilly landscape with setting sun; On the roof of the pavilion two men with guns and a third man who is half visible, before the window below two ladies who watch, behind a large safety net through the show two bloodthirsty tigers and some hunters behind the rocks. The show is framed by a gray trim in black frame lines and a wide red border.

Desavari Ragini, Folio from a Ragamala (Garland of Melodies). India, Rajasthan, Bundi, circa 1675. Drawings. Ink and opaque watercolor on paper

"Isfandiyar's Third Course: He Slays a Dragon", Folio 434v from the Shahnama (Book of Kings) of Shah Tahmasp ca. 1530 Abu'l Qasim Firdausi This dramatic image illustrates the third of seven challenges, or courses, that Prince Isfandiyar underwent en route to freeing his sisters from captivity in Turan. Learning that he would encounter a dragon on his perilous path, Isfandiyar ordered a horse-drawn cart with a box in which he could hide and from which spears projected. Here, the dragon has appeared and is sucking the horses into its maw, soon to be impaled on the spears and slashed by Isfandiyars sword. The tightly coiled dragon slithering through the rocks and breathing fire lends drama and menace to the scene, which otherwise contains many elements associated with Turkmen painting, such as the writhing bare bushes and squat figures, competently rendered by Qasim ibn 'Ali, an artist from Shiraz who was active at the Safavid court in the second quarter of the sixteenth century.. "Isfan

Prince and courtiers on a terrace, anonymous, 1820 - 1840 Indian miniature. drawing India paper brush royal household; courtiers, retinue, train. terrace

MINIATURA DE MANUSCRITO PERSA-ESCENA CORTESANA. Location: PRIVATE COLLECTION. MADRID. SPAIN.

Hawk with crane. Draughtsman: anonymous. Dating: 1719 - 1723. Place: Deccan. Measurements: h 229 mm × w 368 mm; h 78 mm × w 115 mm; h 113 mm × w 205 mm. Museum: Rijksmuseum, Amsterdam.

Dakshina Nayaka Dakshina Nayaka, ca. 1625-1650. Ink on paper, 10 9/16 x 5 15/16 in. (26.9 x 15.1 cm). Asian Art ca. 1625-1650

A girl by the waterside. Date: early 17th century. Origin: India. Period: Mughal dynasty. Color, gold, and silver on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Page from a Kalpa-sutra: The Birth of Mahavira , early 1500s. Jain, Western India, Gujarat, early 16th century. Ink and color on paper; 18th century gold flecked border; image: 9.5 x 6.8 cm (3 3/4 x 2 11/16 in.); overall: 22.2 x 16.5 cm (8 3/4 x 6 1/2 in.).

Kneeling writer, rocks, herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc., anonymous, India, 1605 - 1615, paper, brush, h 120 mm × w 65 mm h 282 mm × w 183 mm

A gilded and painted scroll depicting scenes in Asakusa, Japan. Dated 18th Century

Devagandhara Ragini: An Ascetic in Retreat, from the Ragamala Series, c. 1760. India, Rajasthan, Bundi-Kota school, 18th century. Color on paper; overall: 25.6 x 18 cm (10 1/16 x 7 1/16 in.); with borders: 33.5 x 25.4 cm (13 3/16 x 10 in.).

Illuminated Leaf with Writing by Muhammad Ali, 1788. India, Mughal Dynasty (1526-1756). Ink on paper; overall: 21.6 x 31.8 cm (8 1/2 x 12 1/2 in.).

"Fifth Joust, The Death of Simurgh by the Hands of Isfandiyar," Folio from a Shahnama (Book of Kings) 16th century Abu'l Qasim Firdausi. "Fifth Joust, The Death of Simurgh by the Hands of Isfandiyar," Folio from a Shahnama (Book of Kings). 16th century. Ink, gold and metallic paint, and watercolor on paper. Country of Origin Iran. Codices

"Camp Being Prepared in the Hills", Folio from a Manuscript of the Akbarnama. Folio from the Davis Album 17th century This painting is of the format and style of the so called Chester Beatty Akbarnama. This illustrated manuscript of the history of the Mughal emperor Akbar was dispersed with eight folios ending up in the Davis album. Here the background might have been altered or added to in the eighteenth century.. "Camp Being Prepared in the Hills", Folio from a Manuscript of the Akbarnama. Folio from the Davis Album 448486

The illustration features Alkanet (Anchusa hybrida), also known as bûghlûsûn, in three varieties. The top section displays a variety with three stalks, while the bottom section presents an unknown plant labeled ûfûghulûssûn. The artwork is dated between 1889 and 1890 and is attributed to Mîrzâ Bâqir, likely created in either Tehran or Mashhad. The overall dimensions of the page are 14.5 x 16.3 cm for the top image and 16 x 13.7 cm for the bottom image, both included on a single page

A woman standing between two cushions, holding a letter in her left hand and clutching the branch of a tree with her right hand. Gouache painting with gold.

Illustration for the Fairy tale of Ivan Tsarevich, the Firebird, and the Gray Wolf, Zvorykin, Boris Vasilievich (1872-after 1935)

Hemlock (Conium maculatum), fûthiyyûn !, fol. 205, Mîrzâ Bâqir (fl. 19th c.), 1889 - 1890, Tehran or Mashhad, 22 x 13 cm

Luohan Unidentified artist. Luohan. Unidentified artist. China. Side panel of a triptych of framed paintings; watercolor on linen. Ming dynasty (1368-1644) or earlier. Paintings

A Persian miniature is a small painting on paper, whether a book illustration or a separate work of art intended to be kept in an album of such works called a muraqqa. The techniques are broadly comparable to the Western and Byzantine traditions of miniatures in illuminated manuscripts. Although there is an equally well-established Persian tradition of wall-painting, the survival rate and state of preservation of miniatures is better, and miniatures are much the best-known form of Persian painting in the West, and many of the most important examples are in Western, or Turkish, museums. Miniature painting became a significant Persian genre in the 13th century, receiving Chinese influence after the Mongol conquests, and the highest point in the tradition was reached in the 15th and 16th centuries. The tradition continued, under some Western influence, after this, and has many modern exponents. The Persian miniature was the dominant influence on other Islamic miniature traditions, princip

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