Traditional Indian Artworks

A series of historical Indian paintings depicting divine episodes, featuring vibrant colors and intricate details in portrayals of Hindu gods and royal figures.

Album of Ragamala. A prince sits on the terrace of a pavilion listening to music played by Narada, bearded divine sage, and a Kinnara, celestial musician half man half horse. 19th century Indian miniature, Rajasthan School.

Episode Surrounding the Birth of Krishna, Page from a Dispersed Bhagavata Purana Series Indian. , late 17th-early 18th century. Opaque watercolor on paper, sheet: 10 1/8 x 15 15/16 in. (25.7 x 40.5 cm). The Hindu god Krishna is said to have lived on earth as a prince. Krishnas evil uncle, Kamsa, received an omen that he would be killed by a nephew, so he had all his sisters children killed. To protect their new baby, Krishnas parents sent him away and presented Kamsa with a decoy infant who was actually a goddess in disguise. This painting shows Kamsa smashing the infant against a rock. As soon as Kamsa kills the child, the goddess rises up from its body. The painting is from Mewar, the region surrounding the city of Udaipur, where artists made highly legible paintings that are flat and graphic. Asian Art late 17th-early 18th century

Khambavati Ragini with God Brahma. God Brahma sitting in a white temple in holy four unit is honored by two women with gifts. Around the show a narrow white edge and a wide red border with rounded corners.

Prince Himan Raj Singh at Worship. India, Madhya Pradesh, Orchha, circa 1790. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Vilaval Ragini: Folio from a ragamala series (Garland of Musical Modes) ca. 1680 India (Rajasthan, Sirohi) The Vilaval ragaini is to be performed in the morning, as suggested by the sun rising in a dark sky. In poetry this raga is described as a lady preparing to meet her lover, and here she is shown looking in a mirror and fixing her earrings. The pavilion is represented without depth and great emphasis is given to surface patterning. The orange borders and the red and green color fields in the architectural frame link the work to an exquisite ragamala series attributed to the Sirohi court. The overall composition may be compared to late seventeenth-century Malwa court styles, with which the artist of this series likely had contact.. Vilaval Ragini: Folio from a ragamala series (Garland of Musical Modes) 37854

The God Brahma who sits in a white temple in holy four is worshipped with gifts by two women. Around the representation a narrow white border and a wide red border with rounded corners, Khambavati ragini with God Brahma., draughtsman: anonymous, Sirohi, c. 1690, tempel en kleding van brahma, :, brush, h 205 mm × w 166 mm, h 180 mm × w 138 mm

An Indian woman holding a bird while another looks on. Gouache painting by an Indian painter.

Asavari Ragani (), Anonymous, 1710 - 1730 Indian miniature. drawing A woman in a landscape, around her snakes and birds. To the show two narrow edges in yellow and red. Central India paper brush

Radha and Krishna Embracing in a Bower, Folio from a Gita Govinda (Song of the Cowherd). India, Madhya Pradesh, Malwa, circa 1605 or later. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Album of Ragamala. A prince sits on the terrace of a pavilion listening to music played by Narada, bearded divine sage, and a Kinnara, celestial musician half man half horse. 19th century Indian miniature, Rajasthan School.

Page from a Dispersed Rasikapriya (Lover's Breviary) 1685 Nuruddin Within a palace courtyard, Krishna approaches Radha, who is leaning against a bolster and is attended by two female servants. In the right middle ground are two men, perhaps jewelers: one blows into a brazier with a long tube while the other holds a ring.. Page from a Dispersed Rasikapriya (Lover's Breviary) 58450

Grotesque Dancers Performing, c.1600. Mughal India. Gum tempera, ink, and gold on paper; image: 16 x 9 cm (6 5/16 x 3 9/16 in.). This scene from an unidentified manuscript depicts entertainers at the Mughal court. The dancers appear to be from the fringes of society, and they may be intended to depict tribal people or semihuman nature spirits. One is dark skinned with small elephant ears and red-rimmed eyes, wearing a white tiger-skin pelt. The female dancer wears a collar of leaves; the male figure on the right has horns, wears bells, and carries an animal-headed club that appears to be made of bone. An exuberant orchestra provides musical and vocal accompaniment below. While not an imperial production, this painting may reference the Mughal emperor Akbars practice of welcoming a wide range of people from all regions and traditions to his court, since he was interested in understanding their customs.

Dipakali Ragini. In a covered area of a palace, Krishna is on a roll cushion, left for him a young woman squatted, both hands stretched against each other; behind her against the wall a burning oil lamp; Left for the wall of the palace Three women, the front dances, the middle plays a drum and the back holds a bowl, above the wall of the palace a nocturnal starry sky with a crescent lake. Around the show two piping in executives, one yellow and the outer, wider red; The dome roof of the palace and the third woman on the left are partly painted over these piping.

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

Radha and Krishna sit on a terrace on a bench. Krishna holds a water lily in his left hand and with his right hand he embraces Radha. They are surrounded by three women: a dancer, a woman playing a drum and a servant with a fan made of peacock feathers. Above the drawing an inscription in the Devanagari script: Sri raagakii (raakhii) svaruupa. No. 27. No. 27 from the Ragamala series, Radha and Krishna in a palace (Ragamala), draughtsman: anonymous, c. 1610 - c. 1620, paper, h 218 mm × w 148 mm, h 240 mm × w 182 mm

Hindu Saint with Two Disciples and Two Musicians on a Rooftop in the Evening 18th century. Hindu Saint with Two Disciples and Two Musicians on a Rooftop in the Evening 448015

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'.

18th century Indian manuscript about the life of Krishna.

A Royal Reception. India, Rajasthan, Kota, circa 1700. Drawings; watercolors. Opaque watercolor and gold on paper

A Hindu man with a hawk. Man with a hawk in his hand sitting on a carpet against a pillow.

Hindola Raga. A prince and princess on a swing outside, servants give the swing a push, the prince holds a musical instrument that is lovingly bad by the princess.

Simeon Kneels in Front of Mary and Jesus After Recognizing Them, from a Mirror of Holiness (Mirat al-quds) of Father Jerome Xavier, circa 1602

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., The month Bhadrapada, draughtsman: anonymous, Bundi, c. 1770 - c. 1780, paper, brush, h 293 mm × w 187 mm, h 251 mm × w 147 mm

Dhanashri Ragini, First Wife of Dipak Raga, Folio from a Ragamala (Garland of Melodies). India, Madhya Pradesh, Bundelkhand or Malwa, circa 1700. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Prince Visiting an Ascetic during a Hunt 1620-1655 India. Opaque watercolor, gold, and ink on paper .

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'.

The Defeat by Timur of the Sultan of Delhi, Nasir Al-Din Mahmum Tughluq, in the winter of 1397-1398. Timur (1336 - 1405), later Timur Gurkan a Turco-Mongol conqueror who founded the Timurid Empire in and around modern-day Afghanistan, Iran and Central Asia, becoming the first ruler of the Timurid dynasty. As an undefeated commander, he is widely regarded as one of the greatest military leaders and tacticians in history.

Rama and Sita Enthroned. Draughtsman: anonymous. Dating: 1790 - 1810. Place: Noord-India. Measurements: h 226 mm × w 152 mm; h 218 mm × w 133 mm. Museum: Rijksmuseum, Amsterdam.

Shiva and Krishna. Date/Period: 1734/1767. Painting. Tempera on laid paper. Width: 16.5 cm. Height: 23.2 cm (overall). Author: Unknown Indian.

The difficult roads leading to Faizâbâd, fol. 8. asan, Mīr, active 18th century. 1822-02-12. Spencer Collection

The daughter of the king of the jinns bows before the King of Kings who has just undergone the ordeal of passing through the boiling oil to emerge as a youth, from a Tuti-nama (Tales of a Parrot): Seventh Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; painting only: 16.7 x 9.9 cm (6 9/16 x 3 7/8 in.); overall: 20.3 x 14 cm (8 x 5 1/2 in.).

Guru Nanak with Mardana in the house of Bhai Lalu - Unknown, Sikh School. Date/Period: Between 1825 and 1850.

An Indian king and two other members of royalty riding on elephants. Gouache painting by an Indian painter.

An Ascetic Receiving an Offering from a Woman. India, Rajasthan, Bikaner, circa 1725-1750. Drawings; watercolors. Opaque watercolor, gold, and silver on paper

Krishna Exacts a Toll from the Milkmaids: Dana-Lila, from a Bhagavata Purana, c. 1600. Northwestern India, Rajasthan, Rajput Kingdom of Bikaner. Gum tempera and gold on paper; page: 21.6 x 29.2 cm (8 1/2 x 11 1/2 in.). Krishna can be seen here teasing the girls who bring pots of milk and yogurt to the Brahmin priests. Thinking it a waste of time to feed the Brahmins, Krishna waylays them, pretending to be the owner of the land where they are walking. He threatens to topple their pots if they dont pay him a toll. An exasperated cow herder follows.

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

Abu'l-Fazl ibn Mubarak presenting the Akbarnama to Akbar. Artist: Unknown

THE HOUSE OF BIJAPUR, by Chand Muhammad, 1670-80s, Indian painting, ink, watercolor on paper. Dynastic portrait of all nine Adil Shahi sultans who ruled Bijapur, a Deccan sultanate, from c. 1550 to 1686, when it was conquered by the Mughal Empire. The last Sultan, Sikandar Adil Shah, is the boy at far right. In center, the key of legitimacy is given by Ismail, founder of the Safavid dynasty of Iran, to Yusuf, founder of the Bijapur dynasty (BSLOC_2017_16_28)

Jodhpur (Rajasthani: ोधपुर), (Urdu: جودهپُور ‎) is the 2nd largest city in the Indian state of Rajasthan. It is located 335 kilometres (208 mi) west of the state capital, Jaipur and 200 kilometres (124 mi) from the city of Ajmer. It was formerly the seat of a princely state of the same name, the capital of the kingdom known as Marwar. The city is known as the 'Blue City' due to the vivid blue-painted houses around the Mehrangarh Fort. The old city circles the fort and is bounded by a wall with several gates. However, the city has expanded greatly outside the wall over the past several decades. Jodhpur lies near the geographic centre of Rajasthan state, which makes it a convenient base for travel in the region.

Ragini Pancham, from a Garland of Musical Modes (Ragamala)manuscripta

Miniature with image of the month of Chaitra (Krishna with his beloved on a terrace under a canopy, two servants standing by). unknown, painter

Vintage Indian Asian Art. Mughal ruler Humayun defeating the Afghans before reconquering India, folio from an Akbar-nama (Book of Akbar) of Abul Fazl (Indian, 1551-1602), c. 1590. Mughal India

Shri Raga. For a house with roof terrace, an old man with an Indian seating seat, next to him, a person with a head in the form of a horse playing another instrument. The listener is sitting on a low table with a large green lead role, behind him is a fourth person; The dark sky indicates that it is night. The performance is placed in a frame of gold-colored and black frame lines with gold-colored leaf motifs and stuck on blue-specked paper.

Damayanti Looks in the Mirror, Folio from a Nala-Damayanti. India, Himachal Pradesh, Kangra, circa 1790. Drawings; watercolors. Opaque watercolor and gold on paper

Mahliqa, Daughter of the Emperor of China, Pointing at the Bird-Man Khwaja Mubarak: A Leaf from a Poetical Romance Relating to Shah Alam I (verso); Stenciled Scenes of Lion and Gazelle (verso), c. 1710. Mughal India. Opaque watercolor with gold on paper (recto); ink and gold on pink-speckled paper (verso); page: 42.2 x 28.5 cm (16 5/8 x 11 1/4 in.). A Persian inscription identifies the bird-man in the tree by name, but the text in which he appears remains unidentified. Also unknown is the Chinese princess Mahliqa (she who has a face like the moon”), named in a Persian inscription written in front of her face. The artist depicts her in the dress of a Mughal court lady, except for the addition of an unusual headdress, and her handmaidens all look Indian. They gesture to the bird-man from the opposite side of a formal garden canal with fountains. A fortified city lies in the distance behind the walled garden, while creatures peer up at the fabulous composite figure from the water below.

Vintage Indian Asian Art. Babur receives booty and Humayuns salute after the victory over Sultan Ibrahim in 1526, from an Akbar-nama (Book of Akbar) of Abul Fazl (Indian, 1551-1602), c. 1596-1597 or 1604. Mughal India, court of Akbar (reigned 1556-1605)

Kaiwan, Latif and Sharif arrive at a place of worship where they seek help from Khurshid, who has become a mystical healer, 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 Thirty-Second Night, c.1560. Mughal India, court of Akbar (reigned 1556 -1605), historical, digitally restored reproduction of a template from that time.

Tree Worship. India, Rajasthan, Kota, circa 1730-1750. Drawings; watercolors. Opaque watercolor and gold on paper

Narasimha (the man-lion incarnation of Vishnu). For the entrance to a palace, Vishnu is in his incarnation (Avatara) as a man-lion with a man about his lap of which he has opened the intestines; For him a respectful man (the Prince Prahlada) with folded hands. Around the show a narrow orange and a narrow golden edge.

Yasoda and Krishna. Against a bright yellow background, Yasoda stands up with raised arms and hands in collapse around an object to which the little Krishna extends hazardly with raised arms. The performance is trimmed off with a wide black frame edge and thin frame lines once-painted paper.

Kamsa Receiving His Minister, Folio from a Bhagavata Purana (Ancient Stories of the Lord). India, Rajasthan, Kota, circa 1640. Drawings; watercolors. Opaque watercolor and gold on paper

Kedara Ragini, Fifth Wife of Shri Raga, Folio from a Ragamala (Garland of Melodies). India, Rajasthan, Bundi, circa 1675-1700. Drawings; watercolors. Opaque watercolor and gold on paper

Deccan-Hearerser (Maratha King Shaambhuji).

Shahnameh. The Book of Kings. 16th c. Sohrab looks carefully at some of the tents in the camp. 16th c. Persian art. Safavid period. Miniature Painting. FRANCE. PICARDY. OISE. Chantilly. MusŽe CondŽ (CondŽ Museum).

Ragini Des Variri: Page from a Dispersed Ragamala Series (Garland of Musical Modes) ca. 1680 India (Madhya Pradesh, Malwa). Ragini Des Variri: Page from a Dispersed Ragamala Series (Garland of Musical Modes) 37890

A folio from a Rasikapriya - Unknown, Rajasthan School. Date/Period: Between 1725 and 1750.

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"Krishna Holds Up Mount Govardhan to Shelter the Villagers of Braj", Folio from a Harivamsa (The Legend of Hari (Krishna)). Dimensions: H. 11 3/8 in. x W. 7 7/8 in. (28.9 x 20 cm). Date: ca. 1590-95.The Hindu epics the Mahabharata and the Ramayana, and other texts such as the Harivamsa, a genealogy of Hari (or Krishna), were translated into Persian and illustrated for the first time during Akbar's reign (1556-1605). Unlike other manuscript projects for which the Mughal court artists inherited a tradition of iconography and style from earlier Iranian manuscripts, they had to invent new compositions for these works. The present folio depicts Krishna holding up Mount Govardhan to protect the villagers of Braj from the rains sent by the god Indra. Museum: Metropolitan Museum of Art, New York, USA.

Krishna and Consort on a Palace Balcony with Musicians: Vukharo Ragaputra of Bhairav, from the Boston Ragamala”, 1770-75. Northwestern India, Rajasthan, Rajput Kingdom of Kota. Gum tempera, ink, silver, and gold on paper; page: 32.7 x 23.8 cm (12 7/8 x 9 3/8 in.); miniature: 18.8 x 12.7 cm (7 3/8 x 5 in.). The mood of this scene is joyous, as the blue-skinned god Krishna sits with his beloved in a high covered balcony. Below, exuberant musicians blow horns and clap time. One man in front plays the cymbals next to the open-mouthed singer on a lute-like instrument. A guard sits relaxed and unworried, counting the beads of his rosary.

Evening in the women's rooms. Four women play a board game in a spacious courtyard of a palace. The woman at the front right has three elongated dice in hand, ready to throw. The woman to the right of her is leaned against a roll cushion. She is the most important lady. The game that is played here is called Chaupar or Pacisi. It is night, but there are lamps everywhere to relieve the terrace. In the background, an immense amount of slightly placed on the walls of the city. The Islamic party Shab-i-Barat is probably celebrated here.

Scenes from the Kama Sutra from cupboard in the Juna Mahal fort, Dungarpur, Rajasthan state, India, Asia

Krishna Revels with the Gopis: Page from a Dispersed Gita Govinda (Song of the Cowherds) ca. 1630-40 India (Madhya Pradesh, Malwa) A girl with curving hips, bending to whisper in his ear, Cherishes her kiss on her lovers tingling cheek. Hari revels here as the crowd of charming girls Revels in seducing him to play. —Gita Govinda, canto 1, verse 41 This illustration faithfully adheres to the text, presenting Krishna (Hari) on the bank of a river surrounded by admiring cow maids (gopis). However, it is the color play of the natural elements, populated with birds and monkeys, that animates the scene. With its wavelike cloud pattern and distinct figure type, this work typifies the early Malwa stylistic vocabulary.. Krishna Revels with the Gopis: Page from a Dispersed Gita Govinda (Song of the Cowherds). India (Madhya Pradesh, Malwa). ca. 1630-40. Opaque watercolor and silver on paper. Paintings

Miniature with a representation of rainy season - a scene of Krishna's life; 18th century (1701-00-00-1800-00-00);

Govardhan (fl. 17th century) was a well-known Indian painter from the period of the Mughal Empire. The son of painter Bhavani Das, Govardhan joined imperial service during the reign of Emperor Akbar, and continued serving the imperial court during the reign of Shah Jahan. He was one of the illustrators of the Baburnama.

Illustration from a Bhagavata Purana Series, Book 10: Krishna Leads theTownspeople

Bhairavi Ragini (a musical mode): three figures before a shrine. Date: ca. 1725. Color and gold on paper. Origin: Hyderabad, Andhra Pradesh state, India. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Krishna Playing with the Gopis in the Yamuna, c. 1770. Northern India, Himachal Pradesh, Pahari Kingdom of Nurpur. Gum tempera and gold on paper; page: 24.8 x 17.8 cm (9 3/4 x 7 in.); image: 23.5 x 16.6 cm (9 1/4 x 6 9/16 in.). After Krishna raised Mount Govardhan, he began to play erotically with the girls of his village. Under a scorching sun, Krishna and three milkmaids enjoy the cooling waters of the Yamuna River. The women neatly stack their clothes on a nearby tree, and Krishnas crown and scarf rest by the bank. Krishna playfully splashes one of the women, and she turns her face away. This scene evokes the joy of spending life in intimacy with the god Krishna.

Madhava Plays his Vina before Five Women Drawing Water from a Well, from a Madhavanala Kamakandala, c. 1720. India, Bilaspur. Gum tempera and gold on paper; image: 19.1 x 28.6 cm (7 1/2 x 11 1/4 in.); page: 21.7 x 30.9 cm (8 9/16 x 12 3/16 in.). Madhava sits under a tree playing his vina. As two women draw water from the well in earthen pots, another woman on her way from the well has turned around to hear Madhavas music. Two women on the right have dropped and broken their pots.

Shiva Ardhanarisvara, Anonymous, 1795 - 1805 Indian miniature. drawing Shiva in the form of Ardhanarisvara, half man, half -woman, with a cobra around her waist; The Ganges rises from the head; Ganesha is on the right, with red elephant head and four arms. The show is framed by a red edge and white, black and silver framework lines, at the top five lines of text in black and red Indian writing on a yellow background. Central India paper brush / brush

"Meeting between Babur and Sultan 'Ali Mirza near Samarqand", Folio from a Baburnama (The Book of Babur) ca. 1590 The memoirs of Babur, founder of the Mughal Empire and descendant of Timur, were translated from the original Turki into Persian under the patronage of Baburs grandson Akbar, who held a strong interest in the history and literary culture of the empire. In this scene, Babur, shown on horseback at the left, encounters ʿAli Mirza, his cousin, ally, and fellow Timurid ruler, near Samarqand. A walled city is visible in the distance. This meeting, which took place before the founding of the Mughal Empire, was part of an attempt by Babur to capture the city of Samarqand from another member of the Timurid dynasty.. "Meeting between Babur and Sultan 'Ali Mirza near Samarqand", Folio from a Baburnama (The Book of Babur) 451958

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

Madhu Ragaputra, Third Son of Bhairava Raga, Folio from a Ragamala (Garland of Melodies). India, Himachal Pradesh, Chamba, circa 1715. Drawings; watercolors. Opaque watercolor, gold, silver, and ink on paper

Emperor Aurangzeb Carried on a Palanquin. India, Uttaranchal, Garhwal, circa 1775. Drawings; watercolors. Opaque watercolor on paper

Maharaja Bakhat Singh of Nagaur(1706-1752)

Sri Krsna with the flute. Date: ca. 1790-1800. Opaque watercolor and gold on paper. Origin: Punjab Hills, India. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

History of a spouse and his wife. The history of a spouse who goes into a monastery, on which his wife deposits from desperation from the upstairs of the house.

Shiva and Parvati Playing Chaupar: Folio from a Rasamanjari Series dated 1694-95 Devidasa of Nurpur This painting belongs to a series illustrating the Rasamanjari (Essence of the Experience of Delight), a fifteenth-century Sanskrit love poem by Bhanudatta devoted to the expression and classification of the moods and emotions of the nayaka (hero-lover) and nayika (heroine-loved). It originated in the first treatise on dramatic arts, Bharata’s Natyashastra. In this highly charged scene, enlivened by bold coloring and spatial ambiguities, Parvati is pleading with her husband, Shiva, who has just cheated her out of a necklace in a game of chaupar. The symbolic use of color and gesture is a signature feature of the Basohli school of this period. Listen to experts illuminate this artwork's story Listen Play or pause #7982. Shiva and Parvati Playing Chaupar: Folio from a Rasamanjari Series Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not availabl

Lady Holding a Sparkler ca. 1800 India (Punjab Hills, Kangra) This page is distinguished by its unusual lighting effects, the incandescence of the sparkler as opposed to the faint light of the new moon. The prominent use of shadows is also unusual. Although some passages are beautifully observedfor example, the fleeing ducks and the sway of the principal figure's pink sariothers, such as the rolled shades at the top of the picture and the architecture, are stock motifs.. Lady Holding a Sparkler 37993

Krishna and Gopis Celebrating the Holi Festival. India, Rajasthan, Mewar, circa 1700-1720. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Standing woman with fireworks and servant, draughtsman: anonymous, India, 1750 - 1770, paper, brush, h 163 mm × w 123 mm

Jahangir Preferring a Sufi sheikh to Kings by Bichitr (-ca 1660)/ State Hermitage, St. Petersburg/ c. 1618/ India, Mughal school/ Watercolour, ink, gold colour on paper/ The Oriental Arts/ Mythology, Allegory and Literature,History

A charioteer riding through a rocky landscape with an entourage of footmen and musicians, page from a Razm-nama (Book of Wars) adapted from the Sanskrit Mahabharata and translated into Persian by Mir Ghiyath al-Din Ali Qazvini, known as Naqib Khan (Persian, d. 1614) by Yusuf Ali, 1616-1617, Indian and Southeast Asian Art

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

Sita in the Garden of Lanka, From the Ramayana epic of Valmiki, c. 1725. Northern India, Himachal Pradesh, Guler. Opaque watercolor and gold on paper; image: 55.5 x 79 cm (21 7/8 x 31 1/8 in.); overall: 56.3 x 81 cm (22 3/16 x 31 7/8 in.). The demon king Ravana, the villain of the epic Ramayana, has 10 heads and 20 arms and lives on the golden island of Lanka. He is shown twice in this painting: enthroned with demon guards at left and approaching the heroine Sita at right, whom he has abducted and imprisoned. Guarded by demonesses, Sita sits steadfast in her refusal to become his queen and to remain faithful to her husband Rama.

Two standing hovelings, the judge with a bird of prey on the arm.

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

Four Monks, Number Four of the Sanaka (Ancient) Suit, Playing Card from a 32-Suit Dashavatara (Ten Avatars) Ganjifa Set. India, Rajasthan, Mewar, circa 1800. Drawings; watercolors. Opaque watercolor and gold on paper

An Ascetic and a Woman Plucking a Thorn from her Foot (recto), Text (verso), Folio from a Sukra Rambha Samvada (Story of Sukra and Rambha). India, Popular Mughal, 1600-1625. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Ram Darbar in miniature painting on paper with golden embossing Copyright: xBhagwandasxRupani/DinodiaxPhotox

Mohammed Shah receives Qamar-UD-Din Khan.

The Worship of the Krishna Child, c. 1890, illustration from 1880, East India, Bengal, Kolkata, Temple Kalighat, Historic, digitally restored reproduction from a 19th century original

Raja Bikram Collecting the Clothes of the Bathing Fairies, c. 1710, Mulla Nusrati, 15 1/4 x 8 7/8 in. (38.74 x 22.54 cm) (sheet), Opaque watercolors and gold on paper, India, 18th century, The Gulshan-i-Ishq is a romance written in Deccani Urdu by the Bijapur court poet Mian Nusrati for Sultan Ali Adil Shah II in 1657. The work, incorporating words in Persian, Arabic, and Marathi, recounts the love story of a Hindu prince, Manohara, and embodies themes typical of the Indian romantic tradition. The remarkable diversity of language and culture apparent in the book derives in part from the thriving sea trade that existed between the Deccan and the Turkish, Persian, and Arab populations. Such a large and artistically exquisite manuscript probably was made for a wealthy Urdu-speaking nobleman of the Mughal-controlled Deccan.

A Princess entertained by a dancer; attendants and musicians. Date: early 18th century. Origin: India. Period: Mughal dynasty. Color and gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

The Courtesan Kosa with the King's Charioteer: Folio from a Kalpasutra Manuscript 15th century India (Gujarat) Sthulabhadra became a great acharya and eventually the head of the sangha (community of monks and nuns). This moralizing story celebrates the charioteer's archery skills and Kosa's unsurpassed qualities as a dancer, neither of which could match the spiritual accomplishments of Sthulabhadra.. The Courtesan Kosa with the King's Charioteer: Folio from a Kalpasutra Manuscript. India (Gujarat). 15th century. Ink, opaque watercolor, and gold on paper. Paintings

Shiva and Parvati on Berg, Anonymous, 1830 Indian miniature. drawing On a tiger sheet on a rock are shiva em Parvati, for them animals; At the bottom left a worshiper. At the bottom of the show Red, Gray and a Purple Framework around a yellow piping; Below that an inscription. Paari paper brush

Radha and Krishna on a Bed at Night ca. 1830 India (Punjab Hills, Sirmur). Radha and Krishna on a Bed at Night 37959

Desvarati Ragini: Folio from a ragamala series (Garland of Musical Modes) 1605-06 India (Rajasthan, Bikaner) Ragamala texts describe the woman in this scene as a lady whose gesture is one of languor and silence, whose eyes are restless from lack of sleep, who is exhausted by the effort of love-making.” Here, the artist shows a woman sitting with arms upraised in longing, looking back at an empty bed in an attempt to translate the mood of the text and the related musical passage into a pictorial representation.. Desvarati Ragini: Folio from a ragamala series (Garland of Musical Modes) 38017

Taking of the Toll, Dana-Lila, c. 1760. Northern India, Himachal Pradesh, Pahari Kingdom of Chamba. page: 26.2 x 19.9 cm (10 5/16 x 7 13/16 in.); image: 21.2 x 17.9 cm (8 3/8 x 7 1/16 in.). Radhas energy in the painting as a royal guard about to strike Krishna for his delinquencies brings effervescence to this otherwise serene and tranquil composition. The gopis appear to be perturbed by the way the situation has unfolded, as one of them even raises her hand toward Radha, asking her to regain her composure.

Royal Ladies Conversing Across a Stream. India, Uttar Pradesh, Farrukhabad, circa 1775. Drawings; watercolors. Opaque watercolor and gold on paper

Krishna and Radha Meeting at the Time of the Fearful Event, Folio from a Rasikapriya (The Connoisseur's Delights). India, Madhya Pradesh, Orchha (), 1634. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

A Maid's Words to Radha, Page from a Dated Rasikapriya Series Indian. A Maid's Words to Radha, Page from a Dated Rasikapriya Series, 1634. Opaque watercolor on paper, sheet: 8 3/8 x 6 5/8 in. (21.3 x 16.8 cm). This page is from one of the earliest illustrated versions of the Rasikapriya, a Hindu text that describes the love affair between the god Krishna and his beloved, Radha. It depicts a dejected Radha speaking with a confidante. The empty bed suggests that Radha has refused to see Krishna because she believes that he has been unfaithful. The text at the top quotes the friend, who asks Radha what joy there is to be had in denying herself the gods beauty and charm. The painting is in the bright, flat, efficient style practiced in central India in the seventeenth century. Asian Art 1634

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