Traditional Indian Miniature Art

A collection of vibrant Indian miniatures showcasing scenes of nobility and nature, featuring rich colors, intricate details, and various historical themes.

The Judgement of Solomon by Iranian master / The David Collection / The Oriental Arts / 1664 / Iran, Isfahan School / Watercolour on paper / Bible,Mythology, Allegory and Literature / 21,6x14,9

Malasri Ragini from a Ragmala series. Date/Period: 1640. Painting. Opaque watercolor and gold on paper. Height: 197 mm (7.75 in); Width: 148 mm (5.82 in). Author: UNKNOWN.

On a terrace in front of a house a lady sits on cushions, in her hand she holds a flower in front of her, on the right a servant with a yellow fan, in the foreground carafes and bowls. Around the representation a pair of brightly colored decorative borders with floral pattern of white and green on red and beige, a narrow piping in gold separates the representation from the decorative borders, Vairati ragini, draughtsman: anonymous, Bikaner, 1680 - 1699, paper, brush, brush, h 242 mm × w 175 mm, h 175 mm × w 113 mm

Prince receiving gifts. Draughtsman: anonymous. Dating: 1500 - 1600. Place: Persia. Measurements: h 255 mm × w 162 mm; h 160 mm × w 92 mm. Museum: Rijksmuseum, Amsterdam.

A mechanical contrivance for drawing water, consists of a weathervane in the shape of a mounted rider, a servant with bowl and jug on a wooden takht, and a watercourse, f. 261v. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

The young prince is crowned and the wicked handmaiden is executed, from a Tuti-nama (Tales of a Parrot): Eighth Night, c. 1560. Suraju (Indian). Gum tempera, ink, and gold on paper; overall: 20.1 x 14.3 cm (7 15/16 x 5 5/8 in.); painting only: 13 x 10.1 cm (5 1/8 x 4 in.).

The Judgement of Solomon by Iranian master / The David Collection / The Oriental Arts / 1664 / Iran, Isfahan School / Watercolour on paper / Bible,Mythology, Allegory and Literature / 21,6x14,9

The Parrot Addresses Khujasta at the Beginning of the Nineteenth 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: 10.4 x 10 cm (4 1/8 x 3 15/16 in.). Tuti the parrot begins to tell Khujasta a story about the importance of keeping secrets. The green and gold tiled floor, mauve background, and arabesque, yellow band are vestiges of an earlier paining tradition.

"Birth of Zal", Folio from a Shahnama (Book of Kings). Artist: Attributed to Siyavush (ca. 1536-1610). Author: Abu'l Qasim Firdausi (935-1020). Dedicatee: Shah Isma'il (r. 1576-77). Dimensions: H. 17 3/4 in. (45.1 cm)W. 12 1/8 in. (30.8 cm). Date: 1576-77.This page comes from a manuscript of the Persian epic, the Shahnama (Book of Kings), produced for Shah Isma'il II (r. 1576-77). It depicts a scene from the story of the Birth of Zal, who would become one of the great warrior heroes of the epic. After his birth, Zal was rejected and left to die in the wilderness by his father Sam, here pictured enthroned. The baby Zal was saved by the legendary fantastical bird, the simurgh, and eventually reunited with his father to rule Iran. In addition to the illustration, this page features four columns of text in nasta'liq script. Museum: Metropolitan Museum of Art, New York, USA.

Frost with two ladies. On a terrace with a ballroom is a frost between two semic-covered ladies and caresses; In addition to himself, the ladies also offer all kinds of drinks. The show is stuck on a piece of blue cardboard and refurbished by a wide dark green ornamental edge with stylized flower and leaf motifs in gold, between the show and the wide edge is a narrow edge discolored ivory-colored paper with a golden ornamental pattern of flowers and gold and black frame limits After all, the entire leaf has been repaid with a also discolored ivory-colored narrow edge on which gold unclear or worn motifs and sweeps were placed in gold.

Old wise man with four kneeling visitors. Draughtsman: anonymous. Dating: 1790 - 1810. Place: Kashmir. Measurements: h 182 mm × w 116 mm; h 145 mm × w 85 mm. Museum: Rijksmuseum, Amsterdam.

Loving couple on a terrace, kneeling before an old wise man. Draughtsman: anonymous. Dating: 1790 - 1810. Place: Kashmir. Measurements: h 182 mm × w 114 mm; h 145 mm × w 85 mm. Museum: Rijksmuseum, Amsterdam.

MUSEO - MINIATURA-NACIMIENTO DE MAHOMA - S XVI. Location: PALACIO TOPKAPI-BIBLIOTECA. ISTANBUL. TURQUIA.

On a terrace under a canopy are two women, behind each of them a servant with a bowl and one with a fan. Just below the center of the sheet, the representation is over two columns of text, which continues on the back., Two ladies with their servants on a terrace in front of a palace, draughtsman: anonymous, Kasjmir, 1790 - 1810, paper, brush, brush, h 183 mm × w 108 mm, h 146 mm × w 85 mm

"The Wedding of Siyavush and Farangis", Folio 185v from the Shahnama (Book of Kings) of Shah Tahmasp ca. 1525-30 Abu'l Qasim Firdausi Circumstances of his fathers making force Siyavush, son of the Iranian shah Kai Kavus, into exile in Turan, the neighboring power and chief enemy of Iran. There he marries Farangis, daughter of the king Afrasiyab, and fathers the future shah of Iran, Kai Khusrau. In this painting, the couple celebrate their wedding night inside a pavilion, while musicians serenade them from the terrace. Mir Musavvir, the artist who supervised this painting, was known for his romantic temperament, expressed by the lovers embrace and the merry entertainers. Listen to experts illuminate this artwork's story Listen Play or pause #6720. Overview: Houghton Shahnama, Part 1 Play or pause #6720. Overview: Houghton Shahnama Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as

The princess discovers the bodies of her husband and his Brahmin friend, with their heads severed, 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-Fourth Night, circa 1560. Mughal India, court of Akbar (reigned 1556-1605). Historical, digitally restored reproduction of a original from that time.

A thief is held down by a man while another man and a woman tie him up. Another man holds string, f. 295. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

The parrot speaks to Khujasta at the beginning of the seventh night, 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, c. 1560. Mughal India, Court of Akbar (ruled 1556-1605) ., Historical, digitally restored reproduction from an original of the period

Single combat by Iranian master / Private Collection / 1600 / Iran / Gouache on paper / Genre / 29,5x17,3

Shirin Visiting Farhad, late 15th century, 10 5/8 x 6 3/8 in. (27 x 16.2 cm) (sheet), Ink, colors, and gold on paper, Iran, 15th century, According to the epic poem Khamsa, Farhad was a stonecutter who had the misfortune to fall in love with Princess Shirin. The jealous King Khusrau promised Shirin to Farhad if he could perform the superhuman task of cutting a road through the mountains of Bistan. In this miniature, Shirin visits Farhad in the mountains. The hapless romantic has just recovered from a fainting spell after the shock of seeing her.

Portrait of a youth. Reza Abbasi (1565-1635). Gouache heightened with gold on paper, miniature, mid-seventeenth century, 15.8 x 7cm.

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: 20.1 x 14.3 cm (7 15/16 x 5 5/8 in.).

Laila and Mainum. Draughtsman: anonymous. Dating: 1500 - 1600. Place: Persia. Measurements: h 267 mm × w 162 mm; h 186 mm × w 104 mm. Museum: Rijksmuseum, Amsterdam.

Bangala Ragini, c. 1680. Central India, Rajasthan, Malwa school, 17th century. Ink and color on paper; image: 24 x 19.7 cm (9 7/16 x 7 3/4 in.); overall: 29.6 x 23.8 cm (11 5/8 x 9 3/8 in.).

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. India, Mughal school, 16th century. Opaque watercolor, ink and gold on paper; image: 31.2 x 18.6 cm (12 5/16 x 7 5/16 in.); overall: 36.5 x 23.1 cm (14 3/8 x 9 1/8 in.).

The merchant Mansur goes on a sea voyage and leaves his wife behind, from a Tuti-nama, Tales of a Parrot. Tutinama, Tales of a Parrot, is a series of 52 stories in Persian from the 14th century, in the 16th century Mughal Emperor Agbar commissioned an illustrated version, Seventeenth Night, circa 1560. Mughal India, court of Akbar (reigned 1556-1605)., Historical, digitally restored reproduction of a original from that time.

Mughal empire by Hiranand, Watercolor, ink, gold color on paper, circa 1604, active 17th century, Usa, Washington, D.C., Freer Gallery of Art, 23,8x12,3

The Battle between Khosrow II and Bahram Chobin by Iranian master / Private Collection / 1440 / Iran / Gouache on paper / History / 24,2x15,2

Illustration of a Philosophical Poem. India, Andhra Pradesh, Hyderabad, circa 1800-1825. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Folio from a "Shahnameh": A King and a Visitor with Attendants Folio from a "Shahnameh": A King and a Visitor with Attendants, late 15th-early 16th century. Ink and opaque watercolor on paper, 9 1/2 x 5 7/16in. (24.1 x 13.8cm). Arts of the Islamic World late 15th-early 16th century

Folio depicting Khusraw entertains Shirin at his Palace in Armenia. Dated 18th Century

"'Umar Walks around Fulad Castle, Meets a Foot Soldier and Kicks Him to the Ground", Folio from a Hamzanama (The Adventures of Hamza) ca. 1570 Attributed to Kesav Das The Hamzanama recounts the fable of Hamza, an uncle of the Prophet Muhammad who was a legendary defender of the faith. This painting illustrates an episode involving 'Umar, a spy loyal to Hamza, who learns of a secret tunnel into Fulad castle from the soldier whom he has bested. It comes from a multivolume, large-scale copy of the text made for the emperor Akbar that took approximately fifteen years to complete. Unlike most books, its paintings were probably meant to be held up for an audience while a storyteller recited the text.. "'Umar Walks around Fulad Castle, Meets a Foot Soldier and Kicks Him to the Ground", Folio from a Hamzanama (The Adventures of Hamza) 447744

Firewood-ragini, anonymous, c. 1600 - c. 1605 Indian miniature. drawing On a taboeret a prince sits in a white robe behind him is a servant with a raised stick. The show is framed by black frameworks with a piping of gold in it, a thin decorative border with gold splash decorated and a blue decorative border with gold splash, also with frameworks, around it a narrow edge in light brown with a white framework. Decorative edge and framework: Paper. gouache (paint) brush

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

Two Oriental figures under a canopy on a terrace. Draughtsman: anonymous. Dating: 1790 - 1810. Place: Kashmir. Measurements: h 182 mm × w 116 mm; h 145 mm × w 85 mm. Museum: Rijksmuseum, Amsterdam.

Vasanti Ragini, Page from a Ragamala Series (Garland of Musical Modes). Culture: India (Himachal Pradesh, Bilaspur). Dimensions: Image: 7 5/16 x 4 5/8 in. (18.6 x 11.7 cm)Page: 8 1/2 x 6 1/8 in. (21.6 x 15.6 cm). Date: ca. 1710.Vasant means "spring," and here, two women stand in a burgeoning springtime landscape, filling baskets with flowers. The style of the picture and its vertical format are close to those seen in works from early eighteenth-century Bilaspur. The manuscript to which this page belonged was once in the royal collection of Mandi, likely reflecting the mobility of artists between courts, as witnessed elsewhere in both Rajasthan and at the hill courts of Himachal Pradesh. Museum: Metropolitan Museum of Art, New York, USA.

Malkos Ragini. On a tabouret there is a prince in a white robe behind him is a servant with an raised stick. The show is framed by black frame lines with a piping gold in it, a thin ornamental edge with goldsum decorated and a blue decorative edge with goldsum, also with frame lines, a narrow edge in light brown with a white frame line.

"The Shah's Wise Men Approve of Zal's Marriage", Folio 86v from the Shahnama (Book of Kings) of Shah Tahmasp. Artist: Painting attributed to 'Abd al-'Aziz (active first half 16th century). Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Painting: H. 12 1/2 in. (31.8 cm) W 7 3/16 in. (18.3 cm)Page: H. 18 1/2 in. (47 cm) W. 12 9/16 in. (31.9 cm)Mat: H. 22 in. (55.9 cm) W. 16 in. (40.6 cm). Date: ca. 1525-30.Zal was the son of Sam of the house of Nariman, the ruling family of Sistan who had been vassals and faithful supporters of the Iranian crown for a long time. During his travels to the east, Zal fell in love with the beautiful Rudaba, daughter of the ruler of the rival kingdom of Kabul. But when he expressed his desire to marry her, Shah Manuchihr became very concerned about the future of the Iranian kingdom and reacted negatively to his plans. Upon Sam's insistence, however, the shah asked the advice of his sages and astrologers. Luckily the stars and the wise men gave a positiv

The parrot addresses Khujasta at the beginning of the thirty-seventh 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: 9 x 10.1 cm (3 9/16 x 4 in.).

Rajasthani miniature painting from Rajasthan, India. Probably late 19th century or early 20th century. A man courts a woman in a boudoir scene.

An Evening's Music Indian. An Evening's Music, late 18th century. Opaque watercolor and gold on paper, sheet: 12 3/8 x 8 7/8 in. (31.4 x 22.5 cm). Asian Art late 18th century

Three women on a terrace play blind man, On a terrace under a canopy there are three women, one holding both hands in front of her eyes, the others holding both arms raised. The representation is provided with text lines at the top and bottom, two vertical columns of text at the back., anonymous, Kashmir, 1790 - 1810, paper, brush, h 183 mm × w 105 mm h 147 mm × w 87 mm

Turkoman Prisoner ca. 1610 Numerous paintings and drawings of a Turkman prisoner with his hand and head in a type of stock, known as a 'palahang', were produced from the early 16th to the early 17th century. Here the figure is armed only with a dagger, not the sword, bow, arrows and mace of the prisoners in earlier versions. The windswept clouds, light brown, grey and white washes and calligraphic line of this drawing owe a debt to Riza-yi 'Abbasi, who worked in this style in the first decade of the 17th century.. Turkoman Prisoner 451957

"Isfandiyar's Fourth Course: He Slays a Sorceress", Folio from a Shahnama (Book of Kings) of Firdausi. Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Page: H. 7 7/8 in. (20 cm) W. 5 3/8 in. (13.6 cm)Painting: H. 1 13/16 in. (4.6 cm) W. 4 1/4 in. (10.8 cm)Mat: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm). Date: ca. 1330-40.Depictions of the encounter of Isfandiyar and the sorceress customarily show the witch in her true form - as a hideous hag - rather than in the guise of a beautiful maiden as she first appears. In this idyllic scene, set in an oasis in the desert, the hero, who knows her true personality, lures her with the sound of his lute. He will soon offer her wine to get her drunk and strike her with his sword. Museum: Metropolitan Museum of Art, New York, USA.

"Conquest of Baghdad by Timur", Folio from a Zafarnama (Book of Victory) Dhu'l Hijja 839 A.H./A.D. June-July 1436 Sharaf al-din 'Ali Yazdi This folio once illustrated a manuscript of the Zafarnama, a biography of the ruler Timur commissioned by his grandson Ibrahim Sultan. The text glorifies Timurs many victories on the battlefield, including his 1401 siege of Baghdad, depicted here. The distinctively spare yet highly animated angular compositions are characteristic of manuscript painting produced in Shiraz in this period.. "Conquest of Baghdad by Timur", Folio from a Zafarnama (Book of Victory) 451304

Mughal period miniature painting from an album featuring portraits of Timur the Great and his descendants, mid-17th century.

"Bizhan Receives an Invitation through Manizha's Nurse", Folio 300v from the Shahnama (Book of Kings) of Shah Tahmasp ca. 1525-30 Abu'l Qasim Firdausi Bizhan's envious companion, Gurgin, suggests they attend a festival near Irman but over the border, in Turan, and abduct the prettiest girls. Bizhan enters a grove alone to spy on the girls, but Manizha, the daughter of Afrasiyab, notices him and sends her maid to learn all she can about him. When the maid reports that Bizhan has told her, Manizha invites him to her tent.. "Bizhan Receives an Invitation through Manizha's Nurse", Folio 300v from the Shahnama (Book of Kings) of Shah Tahmasp 452151

Folio from a "Shahnameh": The Death of Rustam and His Killing Shaghad Folio from a "Shahnameh": The Death of Rustam and His Killing Shaghad, ca. 1580-1590. Ink and opaque watercolor on paper, 14 1/2 x 8 3/4in. (36.8 x 22.2cm). Arts of the Islamic World ca. 1580-1590

Nushirwan Sends Mihran Sitad to Fetch the Daughter of the King of China (recto) from a Shahnama (Book of Kings) of Firdausi (940-1019 or 1025), c. 1482. Iran, Shiraz, Timurid period (1370-1501). Opaque watercolor, ink, and gold on paper; image: 14.7 x 15 cm (5 13/16 x 5 7/8 in.); overall: 32.5 x 23.2 cm (12 13/16 x 9 1/8 in.); text area: 23 x 15.5 cm (9 1/16 x 6 1/8 in.).

Arjuna Slays Karna, page from a copy of the Razmnama. India; Attributed to Fazl. Date: 1611-1621. Dimensions: Image: 34.3 x 24.2 cm (13 1/2 x 9 1/2 in.); Page: 35.4 x 24.8 cm (13 7/8 x 9 3/4 in.). Opaque watercolor and gold on paper. Origin: India. Museum: The Chicago Art Institute, Chicago, USA. Author: Mughal.

The Parrot Addresses Khujasta at the Beginning of the Thirtieth 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: 11.5 x 10.2 cm (4 1/2 x 4 in.).

Maharana Ari Singh II of Mewar (r. 1761-73) with His Consort on a Terrace, c. 1761. Northwestern India, Rajasthan, Rajput Kingdom of Mewar. Gum tempera and gold on paper; page: 46 x 30.9 cm (18 1/8 x 12 3/16 in.); miniature: 41 x 24.5 cm (16 1/8 x 9 5/8 in.). The ruler with his golden nimbus strolls with his beloved hand-in-hand on a white marble terrace. Soon, the couple will have enjoyed the hookah on the carpet and the raja will have laid down his sword and shield and retired with his consort to the golden chamber and drawn the curtains for privacy. The chamber sits at a precarious tilt, suggesting vigorous love-play within.

"Bahram Gur's Skill with the Bow", Folio 17v from a Haft Paikar (Seven Portraits) of the Khamsa (Quintet) of Nizami. Author: Nizami (Ilyas Abu Muhammad Nizam al-Din of Ganja) (probably 1141-1217). Calligrapher: Maulana Azhar (d. 1475/76). Dimensions: Painting: H. 7 13/16 in. (19.8 cm) W. 6 3/4 in. (17.1 cm)Page: H. 11 in. (27.9 cm) W. 7 3/16 in. (18.3 cm)Mat: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm). Date: ca. 1430.Depicting the Persian hero Bahram Gur hunting with his harp-playing companion Azada, this painting is one of five illustrations created for a fifteenth-century manuscript of Nizami's Haft Paikar (Seven Portraits). The manuscript was produced in the celebrated kitabkhana (workshop) established by the Timurid prince Baisunghur (r. ca. 1420-33) during his governorship at Herat. This important workshop created some of the canonical illustrations to Nizami's text--immediately recognizable, repeated, and emulated over the subsequent centuries. Museum: Metropolitan Mus

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

Rustan in Demon, Anonymous, 1500 - 1600 Persian miniature. drawing In a rocky landscape there is a prince on the lap of the demon, in the background a red -hungry, in the foreground a horse; Above the performance four columns text in Persian handwriting. Persia Presentation: Paper brush

Set Malar-ragini, draughtsman: anonymous, Jaipur, c. 1755 - c. 1765, paper, brush, h 286 mm × w 223 mm, h 230 mm × w 169 mm

Iranian miniature with a standing young man and a sitting Derwish or Begelaar, Anonymous, Before 1621 miniature. drawing The miniature shows a standing young man, richly dressed with a turban and colorful scarves around his waist, who holds on to a tree that is in bloom. Next to him is a Derwish or beggar. His head is shaved and he wears a simple rug. He keeps a cup in his right hand. In front of him on the ground are a gourd, a fruit and a headgear () With a scarf around it. All this against a simple background with floral motifs. The frame consists of a simple double list with a wide list of an image in gold from a landscape with a large feline (tiger or lion) And four deer who flee shocked. Isfahan painting

A princely couple sits on a bench. The prince holds the hand of the princess. In the background a scene of water and grassland with roe deer. In front an old servant is pouring drinks, Prince and Princess on a terrace., draughtsman: anonymous, 1740 - 1760, paper, brush, h 165 mm × w 111 mm

The Ramayana (Tales of Rama; The Freer Ramayana). Date/Period: From 1597 until 1605. Manuscript. Ink, opaque watercolor, and gold on paper, in modern bindings. Height: 275 mm (10.82 in); Width: 152 mm (5.98 in). Author: Abd al-Rahim-Patron.

Fight between Maina and Chanda. Draughtsman: anonymous. Dating: 1640 - 1660. Place: Malwa. Measurements: h 253 mm × w 193 mm; h 193 mm × w 140 mm. Museum: Rijksmuseum, Amsterdam.

A thin border of beige paper dyed with gold paint has been pasted over the image, the whole thing has been pasted on a piece of beige cardboard that has also been dyed with gold paint, between the two decorative borders a thin frame line has been applied., Todi ragini, draughtsman: anonymous, Deccan, 1700 - 1800, paper, brush, h 140 mm × w 87 mm, h 107 mm × w 135 mm

"Portrait of Rup Singh", Folio from the Shah Jahan Album verso: ca. 1615-20; recto: ca. 1500 Painting by Govardhan The subject of this painting, Rup Singh, son of Ram Chand (not Rai Chanda, as per Jahangir's inscription), was one of the officials at the court of Shah Jahan. The portrait is surrounded by verse fragments from a Persian masnavi, which belongs to Amir Khusrau's Khamsa (Quintet).. "Portrait of Rup Singh", Folio from the Shah Jahan Album 451296

Portrait of a Youth late 16th century. Portrait of a Youth. late 16th century. Opaque watercolor and gold on paper. Attributed to Iran. Codices

Horse Inspection. Iran, probably Isfahan; Ali Quli Jabbadar. Date: 1650-1675. Dimensions: Page: 46.8 × 31.1 cm, Painting: 23.1 × 17 cm(Page: 18 1/2 × 12 1/4 in., Painting: 9 1/8 × 6 11/16 in.). Opaque watercolor and gold on paper. Origin: India. Museum: The Chicago Art Institute, FLORENCIA, USA. Author: INDO-PERSIAN.

Portrait of Akbar Padshah, the son of Humayun, who reigned after his father in Hindustan. Draughtsman: anonymous. Dating: c. 1686. Place: Golkonda. Measurements: h 203 mm × w 140 mm. Museum: Rijksmuseum, Amsterdam.

Portrait of Maharaja Savant Singh with Consort, Bani Thani, mid-1700s. Attributed to Nihal Chand (Indian). Ink, color and gold on paper; image: 21.6 x 14 cm (8 1/2 x 5 1/2 in.); mounted: 42.5 x 33 cm (16 3/4 x 13 in.); with borders: 27.4 x 20 cm (10 13/16 x 7 7/8 in.).

The Young Emperor Akbar Arrests the Insolent Shah Abu'l-Maali, page from a manuscript of the Akbarnama. India; Designed by Basawan, painted by Shankar. Date: 1585-1595. Dimensions: Image: 32 × 19.3 cm (12 5/8 × 7 9/16 in.); Outermost border: 33 × 19.6 cm (13 × 7 11/16 in.); Page: 34.4 × 20 cm (13 1/2 × 7 7/8 in.). Opaque watercolor and gold on paper. Origin: India. Museum: The Chicago Art Institute, FLORENCIA, USA.

The lion returns to his territory and sees the monkey conversing with the lynx, 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: 13.9 x 10.2 cm (5 1/2 x 4 in.); overall: 20 x 14.1 cm (7 7/8 x 5 9/16 in.).

Hormuz Tied to a Column and Beaten, Page from a Manuscript of the Shahnama (Book of Kings) of Firdawsi

"Manuchihr Kills Salm", Folio from a Shahnama (Book of Kings). Author: Abu'l Qasim Firdausi (935-1020). Dimensions: 12 1/2 x 8 3/8in. (31.8 x 21.3cm)Dimensions of painting: 5 7/8 x 9 1/8in. (14.9 x 23.2cm). Date: late 19th-early 20th century. Museum: Metropolitan Museum of Art, New York, USA.

Folio from a Shahnama (Book of Kings) by Firdawsi (d.1020). Surat-i tabut Iskandar (Picture of Alexander the Great's coffin). Date/Period: Ca. 1330. Painting / watercolor painting. Opaque watercolor, ink and gold on paper. Height: 57.6 cm (22.6 in); Width: 39.7 cm (15.6 in). Author: Artist Unknown.

"The First Combat of Gav and Talhand", Folio from a Shahnama (Book of Kings). Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Page: 8 1/16 x 5 1/4 in. (20.5 x 13.3 cm)Painting: 2 3/16 x 4 5/16 in. (5.6 x 11 cm). Date: ca. 1330-40.Three battles between two Indian princes - half brothers contending for the throne - resulted in the invention of the game of chess, to explain the death of one of them to their grieving mother. The Persian word shah mat, or checkmate, indicating a position of no escape, describes the plight of Talhand at the end of the third battle. Gav will not kill his brother, who dies nonetheless upon his war elephant, exhausted by the battle and seeing no escape. The half-clad figures seated on the backs of the elephants are Indian mahouts; mounted archers and other warriors can be seen against the red background. Museum: Metropolitan Museum of Art, New York, USA.

Posthumous portrait of Emperor Jahangir under a canopy (recto); Calligraphy (verso), c. 1650. India, Mughal, 17th century. Opaque watercolor and gold on paper, borders with floral motifs in colors and gold (recto); black ink on marbled paper, a Persian quatrain in calligraphy (verso); page: 35.2 x 22.1 cm (13 7/8 x 8 11/16 in.). Jahangir, the fourth Mughal emperor, was remembered for his greatness long after his death. Ruling from 1605 to 1627, he laid the foundations for long-term trade and diplomatic relations with various nations of Europe, most notably England and Portugal. He oversaw the transition of Mughal India into a global power during a time that can be considered the international Age of Exploration. This posthumous portrait depicts Jahangir amid the trappings of wealth and power with the light of divine sanction shining behind his head. A white marble railing demarcates his imperial space.

In front of the entrance of a palace Vishnu sits in his incarnation (avatara) as a man-lion with a man over his lap whose intestines he has laid open, in front of him a respectable man (the prince Prahlada) with folded hands. Around the scene a narrow orange and a narrow golden border, Narasimha (the man-lion incarnation of Vishnu)., draughtsman: anonymous, Murshidabad, 1790 - 1810, paper, brush, brush, h 229 mm × w 150 mm, h 209 mm × w 130 mm

Portrait of a nobleman. Draughtsman: anonymous. Dating: c. 1695 - c. 1705. Place: Mankot. Measurements: h 152 mm × w 199 mm; h 188 mm × w 236 mm. Museum: Rijksmuseum, Amsterdam.

Woman stay in a palace. Draughtsman: anonymous. Dating: c. 1670 - c. 1750. Measurements: h 256 mm × w 167 mm. Museum: Rijksmuseum, Amsterdam.

The unfaithful wife explaining away the presence of the dough elephant, from a Tuti-nama (Tales of a Parrot): Eighth Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; painting only: 11.5 x 9.9 cm (4 1/2 x 3 7/8 in.); overall: 20 x 14.4 cm (7 7/8 x 5 11/16 in.).

In a room in a palace, a lady is sitting on a roll pillow waiting to be visited by her two friends who are already walking along the wall. The scene is framed by a wide dark blue border and separated from it by white frame lines, in the upper border is an old Indian text in white writing., Two ladies visit a friend in the evening., draughtsman: anonymous, Centraal-India, 1775, paper, brush, brush, h 177 mm × w 192 mm, h 225 mm × w 240 mm

Bustan (Orchard) of Sa'di dated A.H. 936/ A.D. 1529 with later additions Sa'di. Bustan (Orchard) of Sa'di. dated A.H. 936/ A.D. 1529 with later additions. Ink, opaque watercolor, and gold on paper; leather. Attributed to Iran, Tabriz. Codices

Standing man behind a fence; fragment. Draughtsman: anonymous. Dating: 1565 - 1575. Measurements: h 163 mm × w 98 mm; h 320 mm × w 220 mm. Museum: Rijksmuseum, Amsterdam.

"Gustaham Slays Lahhak and Farshidvard", Folio 349v from the Shahnama (Book of Kings) of Shah Tahmasp ca. 1525-30 Abu'l Qasim Firdausi Although the commanders have agreed that the victors of the jousts will become the masters of the opposing army, Lahhak and Farshidvard decide to flee. In the Iranian camp Gustaham, who has stayed behind to command the army, volunteers to follow them and bring them to justice. The three meet in a plain, and Gustaham releases a volley of arrows, one of which pierces the skull of Farshidvard. Lahhak now shoots an arrow at Gustaham and hits his mark, but the Iranian draws his sword and stabs Lahhak in the throat.. "Gustaham Slays Lahhak and Farshidvard", Folio 349v from the Shahnama (Book of Kings) of Shah Tahmasp 452156

Ragini Khambavati, Page from a Jaipur Ragamala Set 1745-1770 Rajasthan. Opaque watercolor and gold on paper .

Alexander Comforts the Dying Darius, page from a copy of the Shahnama of Firdausi. Iran; Turkmen style. Date: 1475-1495. Dimensions: Image: 10.3 x 14.4 cm (4 1/16 x 5 11/16 in.); Page: 34 x 21.6 cm (13 3/8 x 8 1/2 in.). Opaque watercolor and ink on paper. Origin: Iran. Museum: The Chicago Art Institute, Chicago, USA. Author: Islamic.

Malavi Ragini, Ragamala Album, School of Rajasthan, 19th century. A prince leads a woman towards the sleeping chamber. Found in the collection of Jean Claude Carriere. The artist is unknown.

Poisoned Horses and Camels in an Encampment Indian. Poisoned Horses and Camels in an Encampment, ca. 1575-1605. Opaque watercolor on paper, lacquered and mounted on leather, sheet: 10 1/16 x 6 7/16 in. (25.6 x 16.4 cm). Asian Art ca. 1575-1605

"Gustaham Kills Lahhak and Farshidvard", Folio from a Shahnama (Book of Kings). Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Text block: 6 3/16 x 5 in. (15.7 x 12.7 cm)Painting: 1 15/16 x 4 13/16 in. (4.9 x 12.2 cm). Date: ca. 1300-30. Museum: Metropolitan Museum of Art, New York, USA.

Mahrusa kills herself at the tomb of the king of Zabul, and her husband does likewise, from a Tuti-nama (Tales of a Parrot): Thirty-sixth Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 10.2 x 10.3 cm (4 x 4 1/16 in.).

Portrait of Thakur Sangram Singh Ustad Ahmad (son of Ahmad Ali). Portrait of Thakur Sangram Singh, ca. 1740-1750. Opaque watercolor, gold, and silver on paper, sheet: 12 1/4 x 8 5/16 in. (31.1 x 21.1 cm). Asian Art ca. 1740-1750

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Nushirwan Listens to the Owls (recto); the Story of Nushirwan and his Minister, "The Third Discourse on Diverse Events and Disorder in Life" (verso) from a Khamsa (Quintet) of Nizami (1141-1209), 1555-65. Iran, Qazvin, Safavid period (1501-1722). Opaque watercolor, ink, and gold on paper; sheet: 32.7 x 21.8 cm (12 7/8 x 8 9/16 in.); image: 20.3 x 12.7 cm (8 x 5 in.); text area: 20.3 x 12.7 cm (8 x 5 in.). This scene is from the Makhzan al-Ashrar, the first of the Quintet. Although more historically oriented than the following poems, it served more as a vehicle for moralizing tales than for historical events. In this scene Nushirwan asks the sage Buzurgmihr to explain what the owls perched on a ruined building are saying. He explains that one owl is offering the other as many ruined cities as he likes in exchange for his daughter's hand. He thus reproves Nushirwan for his love of conquest and war and the consequent destruction of many cities.

Drunken Son of a Cobbler Mounted on Bahram Gur's Lion, Folio from an Illustrated Shahnama Manuscript Drunken Son of a Cobbler Mounted on Bahram Gur's Lion, Folio from an Illustrated Shahnama Manuscript, ca. 1480-1490. Ink and opaque watercolors on paper, Sheet: 12 x 8 in. Arts of the Islamic World ca. 1480-1490

A maidendancing

Baz Bahadur Riding with Rupmati. Date/Period: 1700/1799. Painting. Opaque watercolor on paper. Width: 20.4 cm. Height: 25.7 cm (image, including border). Author: Unknown Indian.

The sons of King Faridur, Salm, Tur and Irai, fight for the allotted land of Irai (Iran), Fight of Salm and Tur with Irai, draughtsman: anonymous, India, 1590 - 1610, paper, brush, h 255 mm × w 157 mm, h 317 mm × w 217 mm

Three Indian nobles and a servant hunt a tiger

Durga Slaying the Buffalo Demon. India, Himachal Pradesh, Guler, circa 1750-1775. Drawings; watercolors. Ink and opaque watercolor on paper

Vilaval Ragini. Date: ca. 1680. Opaque watercolor and gold on paper. Origin: Malwa, Madhya Pradesh state, India. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Illustration to the epic poem 'The Knight in the Panther's Skin' by Shota Rustaveli by Tseretliseuli, E. Ts. (active 18th century) Georgian National Center of Manuscripts, Tbilisi 18th century Watercolour and ink on paper Georgia Book design Mythol

Woman with sprig of flowers, Arabic miniature, Safavid art, 16th Century.

The Fire Ordeal of Siyawush from a Shahnama Manuscript The Fire Ordeal of Siyawush from a Shahnama Manuscript, 16th century. Opaque watercolor and gold on paper, image: 14 3/16 x 17 5/16 in. (36 x 44 cm). Arts of the Islamic World 16th century

Battle of Ravana and Jatayu, from sarga (chapter) 49 of the Aranya-kanda (Book of the Forest) from a Ramayana (Ramas Journey) of Valmiki (Indian, active c. mid-1000s BC), c. 1605. Mughal, perhaps made at Datia for Raja Bir Singh Deo (r. 1605-27). Opaque watercolor on paper, text on verso;

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