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Persian Miniatures and Tales

Intricate Persian miniatures illustrating historical and mythical narratives, featuring rich colors and detailed patterns. Captured moments depict cultural heritage and storytelling.

Prophet in the wilderness, Anonymous, c. 1500 - c. 1800 Persian miniature. drawing In the middle of the text, a performance of a prophet with gold and red is placed and flames around the head, standing on an elevation; On the left horses fall on his knees in front of him, a leopard in the right corner and a colorful angel makes a bow to him; Around the show a single frame, around the text a series of framework lines that form a list. The edge around the text is damaged and sloppy reconstructed here and there. Iran Text: Paper brush

Zahhâk enthroned listens to the archimages who predict his overthrow by Farîdûn.. 1616. Firdawsî. text. illuminated manuscripts, Illuminations, Manuscripts. Spencer Collection. Manuscripts, Persian

Maharaja Raj Singh in Procession with Members of His Court ca. 1700 Attributed to Nihal Chand This accomplished picture can be attributed to the artist Chand, who worked for Raj Singh of Junia during the final years of the seventeenth century. The maharaja is shown seated in a howdah atop an elephant silhouetted against a hillside. He is attended by a young prince () on horseback and followed by prominent members of his court. Below and peeking over the hill are glimpses of foot soldiers carrying banners. The small state of Junia was located in the Ajmer region in central Rajasthan.. Maharaja Raj Singh in Procession with Members of His Court 72720

Akvân Dîv flings Rustam into the sea., 1616 - 1620, (Inferred), Istanbul, Manuscripts, Turkish, 22 x 18.3 cm

"The Nobles and Mubids Advise Khusrau Parviz about Shirin", Folio from the First Small Shahnama (Book of Kings) ca. 1300-30 Abu'l Qasim Firdausi. "The Nobles and Mubids Advise Khusrau Parviz about Shirin", Folio from the First Small Shahnama (Book of Kings) 449003

Funeral procession, Arabic miniature, 15th Century.

Siyâvush playing polo with Afrâsiyâb.. 1616. Firdawsî. text. illuminated manuscripts, Illuminations, Manuscripts. Spencer Collection. Manuscripts, Persian

Iskander with two ladies. Against a background of red earth with a blue skyline and clouds upstairs, Iskander is sitting on a cushion on a yellow surface, on the left for him two women on visitors, on the right a servant with a range; Four columns text in Persian handwriting around the show. The performance is at a third height in the middle two of four columns text, which are separated from each other by red frame limits and a narrow space of the leaf, the columns are also on the back.

Padshahnama plate 10 : Shah-Jahan receives his three eldest sons and Asaf Khan during his accession ceremonies (8 March 1628). Date/Period: 1630 - 1657. Books & Manuscripts. Manuscript on paper with gold decorated borders; miniatures in gold and bodycolour. Height: 586 mm (23.07 in). Author: Bichitr.

The Monkey Leader Angada Steals Ravana's Crown from His Fortress: Folio from the Siege of Lanka series ca. 1725 Attributed to Manaku This scene is described in Valmiki's Ramayana: "Then Angada the powerful son of Bali, scaled Ravana's palace up to its roof.. the impact of his bounds caused it to crumble." The great monkey warrior Angada is shown four times: leaping over the ramparts and casting down demons, stealing Ravana's crown, flying though the air to return to Rama's camp, and attending the crowning of Vibhishana, the rightful ruler of Lanka. The recovery of the crown does not feature in the Ramayana text and appears to have been invented by the artist to give visual authority to Rama, seen here fulfilling his divine mission to restore virtuous rule to the world. This Ramayana series was never finished. In this folio the color had been blocked in but details are lacking; other folios from the series exist only as ink-brush drawings.. The Monkey Leader Angada Steals Ravana's C

The Merchant's Daughter Meets the Gardener, 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, Twelfth Night, c. 1560. India, Mughal Court, 16th century, Historical, digitally restored reproduction from an original of the period

Mirror of Holiness (Mirat al-quds) of Father Jerome Xavier, 1602-04. Mughal India, Allahabad, made for Prince Salim (1569-1627). 24 full size illustrations with 160 folios of text; gum tempera, ink, and gold on paper; Father Jerome Xavier (1549-1617) of the Society of Jesus, also known as the Jesuit order of Catholic priests, spent 19 years as a guest at the Mughal court from 1595 until 1614. While in residence he learned the Persian language so that he could engage in theological discussions in the courts of Akbar and his successor, Jahangir. When Akbar requested a biography of Jesus, Father Jerome wrote the Mirat al-quds in Persian prose. This text relates his version of the life and miracles of Jesus based on a number of canonical and apocryphal sources. He emphasized aspects of the life of Jesus that he thought would appeal to Akbar in the hopes of winning the emperors conversion to Christianity.

The spring of Qâtûr, in Egypt, f. 127v. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

Princess Rukmini Receives Krishna's Message, Folio from a Rukmini-Harana (Abduction of Rukmini). India, Himachal Pradesh, Guler, circa 1800. Drawings; watercolors. Opaque watercolor and gold on paper

A person on the way to Shâm (Syria) sees a giant serpent that is very thirsty, and he gives it water, f. 306. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

In front of her house Yasoda is churning and looking back at Krishna who has taken away a pot of butter. The picture is framed by a wide orange-red border and a black line between the leaf edge and the picture, Krishna steals butter from the churning Yasoda., draughtsman: anonymous, Bundi, 1750 - 1770, paper, brush, brush, h 302 mm × w 212 mm

Tuhfat al-Ahrar (The Gift to the Noble) 1485-90 Maulana Nur al-Din `Abd al-Rahman Jami It is extraordinary that such precision could be achieved in a leaf and palmette scroll so bursting with energy and movement. Deliberately contrasting are the islands of calm formed by the cartouches with their central palmettes and restrained flower-head scroll. The color combinations, including the gold-frecked light brown of the calligraphy page, are strikingly accomplished.. Tuhfat al-Ahrar (The Gift to the Noble) 450740

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'.

A Woman Standing Beneath a Tree

Buddha as an incarnation (avatara) of Vishnu Avatars of Vishnu (series title), Vishnu in the form of the Buddha sitting in a temple. The performance is framed by a narrow white band, surrounded by a wide orange-red decorative border with black frame lines, this sheet is stuck on a sheet of card paper on which a black border line has been drawn in pencil., anonymous, Jaipur, 1825 - 1875, paper, brush, h 350 mm × w 248 mm h 245 mm × w 176 mm h 193 mm × w 125 mm

Portrait of a Sufi first quarter 17th century This figure can be identified as a sufi, on account of his long-sleeved khirqa cloak, and turban wrapped in fabric. His curled-up posture and lowered gaze suggest that he is in a state of deep introspection. Sufis frequently spent periods of up to forty days in isolation in the wilderness. This practice, called khalwa, facilitated distraction-free meditation and prayer. Young sufis would engage in this habit under the guidance of a shaikh, and more advanced sufis would sustain this practice independently throughout their lives.. Portrait of a Sufi 451401

Two women and a peacock, Gujara Ragini, Anonymous (attributed to), 1780 - 1799 Indian miniature. drawing Two women are each under a tree. The judge votes the Tanpura under a fruit-bearing mango tree. The left holds onto the twig of a tree while looking at a peacock. Shorapur paper. gouache (paint) brush

Krishna, or Krisna, is a major god in Hinduism who is traditionally credited with the authorship of the Hindu classic 'Bhagavad Gita', a tale of duty and morality set around Krishna's defeat of his cousin Arjuna in the Kurukshetra War. Krishna also appears in various events in the Hindu epic 'Mahabharata'. He is usually depicted as blue skinned, and is often portrayed as a mischievous young boy playing a flute. In this scene, Krishna decapitates King Shrigala in a chariot fight.

Khambavati Ragini: Page from a Dispersed Ragamala Series (Garland of Musical Modes). Culture: India (Rajasthan, Marwar). Dimensions: 11 13/16 x 8 15/16 in. (30 x 22.7 cm). Date: 1700-1725.One early text thus explains the subject of this illustration to a musical mode: "Clad as the autumn moon, dazzling as the jasmine, Khambhabati's Vedic devotions and manifold service to Brahma find acceptance by the Four-headed god." Here Khamabhavati is accompanied by a female attendant holding an offering tray of fruits. Museum: Metropolitan Museum of Art, New York, USA.

In the medieval Islamic tradition, Mani is described as a painter who set up a sectarian movement in opposition to Zoroastrianism. He was persecuted by Shapur I and fled to Turkestan, where he made disciples and embellished temples with his paintings. Provisioning in advance a cave which had a spring, he told his disciples he was going to heaven, and would not return for a year, after which time they were to seek him in the cave in question. When they went to look for him, he showed them an illustrated book, called Ergenk, or Estenk, which he said he had brought from heaven: whereafter he had many followers, with whom he returned to Persia at the death of Shapur. The new king, Hormisdas, joined and protected the sect; and built Mani a castle. The next king, Bahram or Varanes, at first favoured Mani; but, after getting him to debate with certain Zoroastrian teachers, caused him to be flayed alive, and the skin to be stuffed and hung up. Thereupon most of his followers fled to India, and

Walnut tree (jauz), f. 160v. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

Two Hindu ascetics or holy men, seated on a verandah by moonlight, listen to music played by a deity () on a vina. Gouache painting, ca. 1880 ().

"Mihrab Vents His Anger Upon Sindukht", Folio 83v from the Shahnama (Book of Kings) of Shah Tahmasp ca. 1525-30 Abu'l Qasim Firdausi When Mihrab of Kabul first heard of his daughter Rudabas secret love affair with Zal, he wanted to kill her, but his wife Sindukht persuaded him that Sam, Zals father, had agreed to the alliance. Now, when Mihrab learned that Shah Manuchihr had ordered Sam to destroy his house, Mihrabs anger arose anew against his wife for falsely quelling his former fears. Sindukht then suggested that she visit Sam at his camp, bringing gifts from Mihrabs treasury. Desperate to save his kingdom, Mihrab allowed his wife to undertake the mission. The decorous depiction of Sindukht and Mihrab in her chamber gives little indication of the heated emotions of their exchange.. "Mihrab Vents His Anger Upon Sindukht", Folio 83v from the Shahnama (Book of Kings) of Shah Tahmasp 452120

Two women are each standing under a tree. The judge tunes the tanpura under a fruit-bearing mango tree. The left one clings to the twig of a tree, looking at a peacock, Two women and a peacock, Gujara Ragini., draughtsman: anonymous, (attributed to), Shorapur, 1780 - 1799, paper, brush, h 183 mm × w 103 mm

Yahya ibn Mahmod al-Wasiti was a 13th-century Arab Islamic artist. Al-Wasiti was born in Wasit in southern Iraq. He was noted for his illustrations of the Maqam of al-Hariri. Maqama (literally 'assemblies') are an (originally) Arabic literary genre of rhymed prose with intervals of poetry in which rhetorical extravagance is conspicuous. The 10th century author Badi' al-Zaman al-Hamadhani is said to have invented the form, which was extended by al-Hariri of Basra in the next century. Both authors' maqamat center on trickster figures whose wanderings and exploits in speaking to assemblies of the powerful are conveyed by a narrator. Manuscripts of al-Hariri's Maqamat, anecdotes of a roguish wanderer Abu Zayd from Saruj, were frequently illustrated with miniatures.

Shah Jehan as a Prince, 17 c. India.

Vishnu in his incarnation as Ramachandra (blue figure) in battle with Ravana, the demon king of Lanka together with his brother Laxshman and the monkey god Hanuman. Gouache painting by an Indian painter.

Hannâd ibn 'Umar kisses the hand of Muhammad, pledging his aid and allegiance., 1594 - 1595 (Inferred), Istanbul, Manuscripts, Turkish, 25.8 x 17.7 cm

Illustration from the Maqamat (The settings) by Al-Hariri, manuscript, 11th Century.

Abu Yahya Zakariya' ibn Muhammad al-Qazwini ( ) (born 1203 - died 1283), was a Persian physician, astronomer, geographer and proto-science fiction writer. Born in the Persian town of Qazvin, he was descended from Anas ibn Malik, Zakariya' ibn Muhammad al-Qazwini served as legal expert and judge (qadhi) in several localities in Persia and at Baghdad. He travelled around in Mesopotamia and Syria, and finally entered the circle patronized by the governor of Baghdad, ‘Ata-Malik Juwayni (d. 1283 CE). It was to the latter that al-Qazwini dedicated his famous Arabic-language cosmography titled 'Aja'ib al-makhluqat wa-ghara'ib al-mawjudat ('Marvels of Creatures and Strange Things Existing'). This treatise, frequently illustrated, was immensely popular and is preserved today in many copies. It was translated into Persian and Turkish. Qazwini was also well-known for his geographical dictionary, Athar al-bilad wa-akhbar al-‘ibad

Scenes of the abduction and rescue of Sita are embedded within a popular tale rewritten in a Gujarati-Rajasthani vernacular language by the poet Karamachand in 1629-30. Many details differ from the more well-known Ramayana of Valmiki. The artist shows Ravana as a merchant carrying Sita in a white sack slung over one shoulder. As Jatayu, a vulture ally of Rama, attempts to rescue her, Ravana attacks him with a sword, above. He then defeats the bird by throwing stones in his mouth. He painted the stones with blood, so Jatayu would swallow them. Ravana battles the great vulture Jatayu and defeats him by throwing stones in his mouth, folio 18 (recto) from a Chandana Malayagiri Varta (Story of King Chandana and Queen Malayagiri) of Karamachand, 1744-45. Northwestern India, Rajasthan, Rajput Kingdom of Kishangarh. Gum tempera, ink, and gold on paper; image: 13.4 x 14.9 cm (5 1/4 x 5 7/8 in.); page: 28.8 x 20 cm (11 5/16 x 7 7/8 in.).

A Nawab () holding a hookah pipe, as a woman dances in front of him, watched by some musicians and a group of people. Gouache painting by an Indian painter.

Planetary table;Turkish miniature

"Man's Fate or the Man Taking Refuge in a Well Inhabited by a Dragon", Folio from a Kalila wa Dimna second quarter 16th century This manuscript contains seventy-eight paintings and many text folios telling the famous tales of the jackals Kalila and Dimna. Based on the book of ancient Indian animal fables, the Panchatantra written by Vidyapati (Bidpai), the stories spread all over the Middle East where they became wildly popular. This manuscript has a strong flavor of Mamluk Egypt in the figure styles and bold drawings, with hints of Ottoman tulips and Safavid turbans. However, the burnt orange palette and darkly-inked lines have led to an attribution to Sultanate Gujarat where it is suggested this manuscript was copied from an Egyptian original. Its life in India is also attested by a Devanagari inscription at the end, although the rest of the Arabic text is written in a strong, left-leaning naskh-like script.. "Man's Fate or the Man Taking Refuge in a Well Inhabited by a Dragon", Foli

Fertility worship of Krishna, circa 1720-25. India, Himachal Pradesh

A Raja Receives Homage Outside the City: Page from a Dispersed Manuscript. Culture: India (Punjab Hills, Bilaspur). Dimensions: 8 7/8 x 11 1/2 in. (22.5 x 29.2 cm). Date: last quarter of the 17th century.This page from an unidentified Hindu chronicle of a king depicts a mountain city with typical multistoried hill architecture atop abstract mounds strewn with clumps of flowers. Outside the gates on the right is a Saivite shrine with a lingum covered by floral offerings to which a goat is led, probably for sacrifice. At the left, courtiers pay their respects to the king under a pavilion. The flat treatment of space; the thin beige, green, and blue coloring; and the influence of seventeenth-century Moghul painting are characteristic of this series. Museum: Metropolitan Museum of Art, New York, USA.

Prophet MuhammadÕs mystical ascension to heaven on the winged horse Buraq, accompanied by the archangel Gabriel by Iranian master / The David Collection / The Oriental Arts / 1388 / Iran, Timurid Dynasty / Watercolour on parchment / Mythology, Allegory

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).

Sri Krishna preaching Gita Upadesh to Arjun. Date/Period: Between 1875 and 1900. Author: UNKNOWN.

Bound Manuscript of the Khamsa of Nizami Nizami. Bound Manuscript of the Khamsa of Nizami, late 16th century. Ink, opaque watercolor, pasteboard, leather, gold on paper, 8 1/4 x 13 3/8 in. (21 x 34 cm). Arts of the Islamic World late 16th century

Armenian () Bishop, Anonymous, c. 1700 drawing. Indian miniature Possibly an Indian miniature. paper. brush

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

Parasurama (incarnation of Vishnu as Rama-with-ax); Vishnu avatars. Vishnu as Parasurama pulls out with a ax of a multimeric warrior. The show is framed by a narrow white piping, around it a wide orange-red decorative edge with black frame lines; This leaf is stuck on a sheet of carduffler on which a black frame line is drawn in pencil.

Standing woman with fireworks and servant, Anonymous, 1750 - 1770 Indian miniature. drawing India paper brush

"The Crow Spy Talks to the King of the Owls and His Ministers", Folio from a Kalila wa Dimna Manuscript second quarter 16th century This manuscript contains seventy-eight paintings and many text folios telling the famous tales of the jackals Kalila and Dimna. Based on the book of ancient Indian animal fables, the Panchatantra written by Vidyapati (Bidpai), the stories spread all over the Middle East where they became wildly popular. This manuscript has a strong flavor of Mamluk Egypt in the figure styles and bold drawings, with hints of Ottoman tulips and Safavid turbans. However, the burnt orange palette and darkly-inked lines have led to an attribution to Sultanate Gujarat where it is suggested this manuscript was copied from an Egyptian original. Its life in India is also attested by a Devanagari inscription at the end, although the rest of the Arabic text is written in a strong, left-leaning naskh-like script.. "The Crow Spy Talks to the King of the Owls and His Ministers", Folio f

RAMA, SITA, AND LAKSHMANA AT THE HERMITAGE OF BHARADVAJA, Hindu, painting, opaque watercolor. The sage Bharadvaja, a revered Vedic Arya sage is seated in his wilderness forest shelter, and advises Rama, Sita, and Lakshmana (BSLOC_2017_16_22)

"Zal Slays Khazarvan", Folio 104r from the Shahnama (Book of Kings) of Shah Tahmasp ca. 1525-30 Abu'l Qasim Firdausi While Afrasiyab fights at Dahistan, a supplementary force is detailed to attack Zabul, home of Zal, of which Mihrab has been left in charge. Through bribery and persuasion, he keeps the Turanians at bay. An urgent message reaches Zal, who returns immediately with his army. He soon dispatches Khazarvan, one of the Turanian commanders, by smashing him on the head with his ox-head mace, then trampling him to death.. "Zal Slays Khazarvan", Folio 104r from the Shahnama (Book of Kings) of Shah Tahmasp 452124

The Battle between Bahram Chubina and Sava Shah, Page from a Manuscript of the Shahnama (Book of Kings) of Firdawsi. Iran, Shiraz, circa 1560. Manuscripts; folios. Opaque watercolor heightened with gold and silver on paper

Hermitage of Valmiki, Folio from the "Nadaun" Ramayana (Adventures of Rama). India, Himachal Pradesh, Kangra, circa 1820. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Persian couple copulating

The Quraysh discuss the conversion of seventy-two Medinans., 1594 - 1595, Istanbul, Manuscripts, Turkish, 19.5 x 17.4 cm

Wat Phumin was constructed in 1596 and is famous for its cruciform ubosoth and well preserved Tai Lue murals depicting everyday life in the 19th century. Nan dates from the mid-14th century and for much of its history was an isolated kingdom. The present day city spreads out along the Nan River's right bank.

Musician Playing theTanpura

Descent and Return of Amida to Western Paradise with a Believer's Soul (Gosho mandara). Culture: Japan. Dimensions: Image: 44 in. × 20 7/8 in. (111.8 × 53 cm)Overall with mounting: 80 1/2 × 27 3/4 in. (204.5 × 70.5 cm)Overall with knobs: 80 1/2 × 30 in. (204.5 × 76.2 cm). Date: ca. 1300.This painting of Amida (Sanskrit: Amitbha) receiving the soul of the warrior Kumagai Naozane (1141-1208) is based on a dream recorded by the founder of the Pure Land sect, Honen (1133-1212). Naozane's taking of the tonsure after dutifully but ruefully killing the young Taira no Atsumori at the battle of Ichinotani during the Genpei War is one of the most affecting stories in Japanese war lore. Unique to this version of the raigo (welcoming descent) theme is the addition of the returning procession in the upper section. The sinuously curved composition of Amida's heavenly host amid the earthly and ethereal landscapes shows the complexity and beauty that Kamakura-period Buddhist painters achieved with

Turkey/Arabia: Manuscript, 13th century Turkish miniature depicting Sughrat or Socrates discussing philosophy with his disciples

Detail from a 19th century enamel and glazed picture depicting the Hindu legend of the Ramayana. The Ramayana is one of the two epic Hindu poems, the other being the Mahabharata. The Ramayana describes a love story between Rama, an ancient King, and Sita, who is captured by Ravan, the King of Ceylon. Rama lays siege to Ceylon and wins back Sita

Krishna and Balarama by a River: Page from a Dispersed Bhagavata Purana (Ancient Stories of Lord Vishnu) 1840 India (Orissa) Krishna and his brother, Balarama, arrive at the Yamuna River on their way from their home in the Braj countryside to the city of Mathura.. Krishna and Balarama by a River: Page from a Dispersed Bhagavata Purana (Ancient Stories of Lord Vishnu) 37999

Vishnu on his transport, Garuda. Gouache drawing.

Abd-Allâh converses with a group of his kinsmen regarding the new religion., 1594 - 1595 (Inferred), Istanbul, Manuscripts, Turkish, 19.3 x 17 cm

Page from an illuminated book, miniature from the Deccan School, India 18th Century.

Service tree (ghubayrâ') top; White poplar (gharb) bottom, f. 169. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

Krishna kills the demon Sri Gala (scene from the Harivamsa).

The expulsion of dam and Hawwâ from Paradise, fol. 8v. 1577. text. Manuscripts, Miniatures (Illuminations). Spencer Collection

Illustration of the Bhagavata Purana, 18th c. Scene of the life of Krishna. Hindu art. Miniature Painting. FRANCE. ëLE-DE-FRANCE. Paris. National Library.

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

year calendar picture & painting for a hindu month bhadon, india Copyright: xBhagwandasxRupani/DinodiaxPhotox

Muhammad preaches from a newly built minbar, necessary due to the large number of followers that made it difficult for those in the back of the mosque to hear., 1594 - 1595 (Inferred), Istanbul, Manuscripts Turkish, 25.2 x 17 cm

Mulla Shah and Mian Mir on aTerrace

Abū Al-Muzaffar Burāj Al-Dīn Muhammad Bahādur Shāh Bādshāh bin Muhammad Akbar Bādshāh Qūm Chaghatā'ī. Gouache painting by an Indian artist, ca. 1850 ().

Bahram Gur and Courtiers Entertained by Barbad the Musician, Page from a manuscript of the Shahnama of Firdawsi (d. 1020) Bahram Gur and Courtiers Entertained by Barbad the Musician, Page from a manuscript of the Shahnama of Firdawsi (d. 1020), second half 17th century. Opaque watercolors, ink, and gold on paper., image: 10 3/4 x 6 5/16 in. (27.3 x 16 cm). Arts of the Islamic World second half 17th century

"Sakyamuni (Buddha) Announces Another Prophet", Folio from a Majma al-Tavarikh (Compendium of Histories) ca. 1425 Hafiz-i Abru This painting illustrates a passage of the "Compendium of History", which Hafiz-i Abru composed by the order of Shah Rukh, the Timurid ruler of Herat. The text narrates the story of Sakyamuni, a name for Buddhha, who with his followers and servants goes through the jungle. When they see a bird in its nest in a tree, the men decide to repose in the trees shade. There, Buddha answers his followers questions: ‘who will proceed you as the next prophet? and ‘what will he be like?.. "Sakyamuni (Buddha) Announces Another Prophet", Folio from a Majma al-Tavarikh (Compendium of Histories). ca. 1425. Opaque watercolor, silver, and gold on paper. Attributed to present-day Afghanistan, Herat. Codices

Sultan Suleyman I (1494-1566), also known as 'Suleyman the Magnificent' and 'Suleyman the Lawmaker', was the 10th and longest reigning sultan of the Ottoman empire. He personally led his armies to conquer Transylvania, the Caspian, much of the Middle East and the Maghreb. He intoduced sweeping reforms in Turkish legislation, education, taxation and criminal law, and was highly respected as a poet and a goldsmith. Suleyman also oversaw a golden age in the development of arts, literature and architecture in the Ottoman empire.

Ragini Dhanasri, from a Garland of Musical Modes(Ragamala)

CONSOLACIONES EN EL ENTRETENIMIENTO DE CALIFAS Y REYES - MANUSCRITO ARABE 528 - FOL 45R - DOS HOMBRES LUCHAN - SIGLO XVI. Location: MONASTERIO-BIBLIOTECA-COLECCION. SAN LORENZO DEL ESCORIAL. MADRID. SPAIN.

Raja Gulab Singh, c. 1830-40. India, Jammu. Color on paper; overall: 19.8 x 13.8 cm (7 13/16 x 5 7/16 in.). Gulab Singh (1792-1857) was a powerful ruler of the Sikhs, members of a monotheistic religion founded by Guru Nanak (1469-1539) in the northern Indian region of the Punjab. Often in conflict with the Mughals, they rejected the more naturalistic Mughal portrait styles. Sikh rulers in the Punjab and the neighboring Himalayan foothill region of Jammu adopted the mode of courtly portraiture that was current among the Rajputs, who were rulers of Hindu regions and principalities of northern and western India. The umbrella held over his head is a millennia-old marker of royalty, and beginning in the 1700s, the hookah was an emblem of power among the Rajputs.

Grand Vizier Davud Pasha in a Procession of Janissaries and Guards (Left-hand side of a Double Page Composition). Turkey, circa 1620-22. Manuscripts; folios. Ink, opaque watercolor, and gold on paper

Fighting yogis. Fighting yogis. Around the show a wide pink painted edge, with a double black frame line deposited on a sheet of green-specked paper.

Bhairavi Ragini Indian. Bhairavi Ragini, ca. 1760. Ink on paper, sheet: 8 1/2 x 6 1/2 in. (21.6 x 16.5 cm). Asian Art ca. 1760

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).

"Kai Kavus Attempts to Fly to Heaven", Folio from a Shahnama (Book of Kings) mid-15th century Abu'l Qasim Firdausi This painting comes from a copy of a highly Persianate Shahnama that was probably made in northern India. The paintings from this book were later placed in an album with brightly colored borders. In the episode illustrated here, the prince Kai Kavus attempts to fly to heaven by fastening young eagles to his throne. The painting shows Kai Kavus, in a gold-domed throne, holding a piece of meat to entice the eagles.. "Kai Kavus Attempts to Fly to Heaven", Folio from a Shahnama (Book of Kings) 447298

Two Bearded Men in Conversation in a Landscape

Eight Men in Indian and Burmese Costume 19th century circle of Ghulam Ali Khan The Scottish brothers William and James Fraser were resident in India during the first half of the nineteenth century and commissioned an extensive series of paintings depicting native people. A folio in the so-called Fraser Album includes the figure of the same Burmese nobleman who is depicted at the center of this folio. Both paintings have been attributed to the Delhi school of the well-known artist Ghulam Ali Khan, although this work is based on the Fraser Album page and was probably done by a different painter in the workshop. The main figure depicted may be a Burmese ambassador to Delhi, and the Delhi Fort is visible in the distant background.. Eight Men in Indian and Burmese Costume. circle of Ghulam Ali Khan. 19th century. Main support: Ink, opaque watercolor, and gold on paperMargins: Gold on dyed paper. Attributed to India, Delhi. Codices

Bahadur Khan I The first ruler of the State1748 - 1758 Junagadh Gujarat India Copyright: xDilipxRajgor/DinodiaxPhotox

Yogini in a Landscape Indian. Yogini in a Landscape, ca. 1760. Opaque watercolor on paper, sheet: 11 3/8 x 7 7/8 in. (28.9 x 20.0 cm). Asian Art ca. 1760

Shahnameh. The Book of Kings. 16th c. A women kneels down before the sultan. It belongs to 'the Book of Calilla and Dinma', from 'the Fables of Bidpay'. Islamic art. Miniature Painting. EGYPT. CAIRO. Cairo. National Library.

Kay Khusrau bids farewell to his court.. 1616. Firdawsî. text. illuminated manuscripts, Illuminations, Manuscripts. Spencer Collection. Manuscripts, Persian

"Radha with Her Confidant, Pining for Krishna", Folio from the "Second" or "Tehri Garhwal" Gita Govinda (Song of the Cowherd) ca. 1775-80 Jayadeva The painting illustrates a scene from the literary masterpiece, the Gita Govinda (Song of the Cowherd) composed by the poet Jayadeva in the 12th century. The painting depicts Radha and her sakhi (friend) in an idyllic hilly setting, the sacred landscape of Braj (setting of the Krishna legends) with a flowing river in the background and flowering trees all around. Radha clutches at a tree with pink blossoms assuming a grief-stricken pose, as the sakhi listens or sings, as described in the text : "The god of love increased her ordeal, / Tormenting her with fevered thoughts, / And her friend sang to heighten the mood.". "Radha with Her Confidant, Pining for Krishna", Folio from the "Second" or "Tehri Garhwal" Gita Govinda (Song of the Cowherd). ca. 1775-80. Opaque watercolor and gold on paper. Attributed to India, Kangra or Guler, Punjab Hill

Christ thorn (Zizyphus spinachristî), râmannûs n.p. Three varieties are shown, fol. 50, Mîrzâ Bâqir (fl. 19th c.)., 1889 - 1890., Tehran or Mashhad, Three images on one page. 13 x 10.5 cm (top), 13 x 11 cm (middle), 12.5 x 8.5 cm (bottom)

Sikhism Gurudwara Gold plated wall Nanded Maharashtra India Copyright: xHarixMahidhar/DinodiaxPhotox

Vishnu lies on the world snake, at his feet sits Shri-Lakshmi, from his navel rises the lotus flower on which Brahma is seated. Around the scene a decorated border in blue and red with flowers, around it celestial piping with red dots, on the outer piping put flowers over the rest of the leaf, Vishnu on the world snake Ananta, birth of Brahma., draughtsman: anonymous, Kasjmir, 1790 - 1810, paper, brush, h 93 mm × w 143 mm, h 70 mm × w 113 mm

Patamanjari Ragini, Page from a Dispersed Ragamala Series Indian. Patamanjari Ragini, Page from a Dispersed Ragamala Series, early 18th century. Opaque watercolor and gold on paper, Sheet: 12 x 8 7/8 in. (30.5 x 22.5 cm). Asian Art early 18th century

year calendar picture & painting for a hindu month shravan, india Copyright: xBhagwandasxRupani/DinodiaxPhotox

Guru Nanak, a saint and founder of the religion of Sikhism, accompanied by his musician and holy man, 1890, East India, Bengal, Kolkata, Temple Kalighat, Historical, digitally restored reproduction from a 19th century original

year calendar picture & painting for a hindu month magha , india

Sultan of the Ottoman Empire, Murad III (4 July 1546 15/16 January 1595) was the eldest son of Sultan Selim II (1566-74), and succeeded his father in 1574. Murad began his reign by having his five younger brothers strangled. His authority was undermined by the harem influences, more specifically, those of his mother and later of his favorite wife Safiye Sultan. The power had only been maintained under Selim II by the genius of the all-powerful Grand Vizier Mehmed Sokollu who remained in office until his assassination in October 1579. The reign of Murad III was marked by wars with Safavids and Habsburgs and Ottoman economic decline and institutional decay.

The astronomer Takiuddin at his observatory at Galata, 1581 showing astronomical instruments in use at the time. After an illuminated manuscript

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