Miniature Paintings

Ornate miniatures showcasing scenes from Persian literature, featuring vibrant colors and intricate detail typical of 16th-century art.

The royal couple sits in a rather geometric composition with lots of decorative textiles facing each other on colored carpets, each parent has a child on their lap and between the two rugs two children with their arms towards Krishna stand on their mother's lap, on the white carpet printed with gold motifs in the foreground four children are playing, two cows look up at Krishna and a cow serves as a toy for the child on the lower right. Around the show a number of decorative borders in plain gray with gold frame lines, royal blue with white frame lines and a wider orange-red border with gold and white frame lines, some damage on the show and the edges with heavy damage, Nanda and Yasoda with Krishna and Balarama, draughtsman: anonymous, Rajasthan, c. 1800, paper, brush, brush, h 311 mm × w 244 mm, h 233 mm × w 182 mm

Miniature: Seated Figure, Unknown, Pen and black ink with watercolor and gold on paper, mounted, A central figure is seated on layers of geometric and vegetal carpets, wearing a short-sleeved robe composed of many male figures and animals that are constrained to the frame of the garment. A garment like a coronet draped with a white cloth is worn upon the head. The figure is holding in the right hand a small vessel with a bird perched upon the rim. Laid upon a small carpet at the feet of the figure is a bowl of fruit, two small vessels, and a tall, handled ewer with elongated spout. In the background (possibly viewed through a window) is a large green mound framed by two trees in bloom, with clouds rendered to appear fast-moving., 18th century, miniatures, Drawing, Drawing

"Yusuf is Drawn Up from the Well", Folio from a Yusuf and Zulaikha of Jami. Author: Maulana Nur al-Din `Abd al-Rahman Jami (1414-92). Dimensions: Painting: Ht. 8 in. (20.3 cm) W. 4 5/8 in. (11.7 cm)Page: Ht. 9 in. (22.9 cm) W. 5 3/8 in. (13.7 cm)Mat: Ht. 19 1/4 in. (48.9 cm)W. 14 1/4 in. (36.2 cm). Date: second half 16th century. Museum: Metropolitan Museum of Art, New York, USA.

"Bahram Gur in the Turquoise Palace on Wednesday", Folio 216 from a Khamsa (Quintet) of Nizami. Artist: Painting by Shaikh Zada. Author: Nizami (Ilyas Abu Muhammad Nizam al-Din of Ganja) (probably 1141-1217). Calligrapher: Sultan Muhammad Nur (ca. 1472-ca. 1536); Mahmud Muzahhib. Dimensions: Painting: H. 7 7/8 in. (20 cm) W.4 7/8 in. (12.4 cm)Page: H. 12 11/16 in. (32.2 cm)W. 8 3/4 in. (22.2 cm)Mat: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm). Date: dated A.H. 931/A.D. 1524-25.The fourth of the late twelfth-century Persian poet Nizami's five epic poems, later combined to form the famous Khamsa (Quintet), was the Haft Paikar, or Seven Portraits, so named from one incident in the story. It recounts the legendary history of the Sasanian king Bahram Gur, who is idealized as a great lover and hunter. The story is known also as the Seven Princesses because Bahram Gur, so the story goes, married seven beautiful princesses from the seven regions of the world, and visited each in her

"Preparation For a Noon-Day Meal," Folio from a Divan (Collected Works) of Mir 'Ali Shir Nava'i 1580 Mir 'Ali Shir Nava'i Listen to experts illuminate this artwork's story Listen Play or pause #6703. Overview: Shiraz and Tabriz as Centers of the Book Arts 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 soon as possible.. "Preparation For a Noon-Day Meal," Folio from a Divan (Collected Works) of Mir 'Ali Shir Nava'i 446592

Album Leaf: Miniature Painting Opaque watercolors and gold on paper, 7 1/2 x 4 1/2 in. (19.1 x 11.4 cm). Asian Art

The Birth of Rustam, page from a copy of the Shahnama of Firdausi 1615-1625 Iran. Opaque watercolor and gold on paper . Islamic

Prophet in the wilderness. Draughtsman: anonymous. Dating: c. 1500 - c. 1800. Place: Iran. Measurements: h 176 mm × w 101 mm; h 210 mm × w 127 mm. Museum: Rijksmuseum, Amsterdam.

"Death of Farud", Folio from a Shahnama (Book of Kings) of Firdausi. Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Page: 8 x 4 7/8 in. (20.3 x 12.4 cm)Painting: 3 5/16 x 3 9/16 in. (8.4 x 9.1 cm). Date: ca. 1610.The Shahnama is filled with tragic events. On the page illustrated here, the painter has depicted the sad destiny of Farud, the son of Prince Siyavush and Jarira. After witnessing her son's death, Jarira ripped open her belly with a dagger. Then, lying down with her face against Farud's, she let herself die. Museum: Metropolitan Museum of Art, New York, USA.

The royal couple sits in a rather geometric composition with lots of decorative textiles facing each other on colored carpets, each parent has a child on their lap and between the two rugs two children with their arms towards Krishna stand on their mother's lap, on the white carpet printed with gold motifs in the foreground four children are playing, two cows look up at Krishna and a cow serves as a toy for the child on the lower right. Around the show a number of decorative borders in plain gray with gold frame lines, royal blue with white frame lines and a wider orange-red border with gold and white frame lines, some damage on the show and the edges with heavy damage, Nanda and Yasoda with Krishna and Balarama, draughtsman: anonymous, Rajasthan, c. 1800, paper, brush, brush, h 311 mm × w 244 mm, h 233 mm × w 182 mm

King Isfandiyar on horseback. Draughtsman: anonymous. Dating: 1625 - 1635. Place: India. Measurements: h 162 mm × w 137 mm; h 236 mm × w 192 mm. Museum: Rijksmuseum, Amsterdam.

"Kai Kavus Upbraids Siyavush in a Letter", Folio 174r from the Shahnama (Book of Kings) of Shah Tahmasp. Artist: Painting attributed to 'Abd al-Vahhab. Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Painting: H. 11 in. (28 cm) W. 7 3/16 in. (18.3 cm)Page: H. 18 5/8 in .(47.3 cm) W. 11 11/16 in. (29.7 cm)Mat: H. 22 in. (55.9 cm) W. 16 in. (40.6 cm). Workshop director: Mir Musavvir (active 1525-60). Date: ca. 1525-30.When Rustam brings news of the peace to Kai Kavus, the shah refuses to believe the gesture is in good faith. He relieves Rustam of his command of the army and appoints Tus in his place. Kai Kavus drafts a furious letter to Siyavush, accusing his son of laziness and of scheming with Rustam to overthrow him. He urges Siyavush to recommence war with Turan. Rustam returns to Zabulistan washing his hands of Kai Kavus. Museum: Metropolitan Museum of Art, New York, USA.

"Asvatthama Fires the Narayana Weapon (Cosmic Fire) at the Pandavas", Folio from a Razmnama. Dimensions: Page: 15 1/16 x 9 7/16 in. (38.2 x 24 cm)Painting: 14 1/2 x 8 3/4 in. (36.8 x 22.2 cm). Date: ca. 1616-17. Museum: Metropolitan Museum of Art, New York, USA.

Khusrau and Shirin dated A.H. 904/A.D. 1498-99 Hatifi This manuscript is a copy of the tale of Khusrau and Shirin composed by the Persian poet Hatifi, and shows the importance of Persian literature in the Ottoman world. It contains seven paintings, executed in a distinctive style, related to western Iranian tradition from the Aq Quyunlu, but also borrowing elements from European sources. The page shown depicts Khusrau riding on Shabdiz, his beautiful horse, while hunting. The calligraphy, illumination, gilding, and painting were completed by a single artist calling himself Suzi ("the burning one"). Listen to experts illuminate this artwork's story Listen Play or pause #6661. Overview: Ottoman Book Arts - Hatifi Manuscript, Part 1 Play or pause #6661. Overview: Ottoman Book Arts - Hatifi Manuscript 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 soon as possible.. Khusrau and Shi

Vrouw, die rust onder een boom. Vijf illustraties van Kamsa door Nizami met tekst (series title). Draughtsman: anonymous. Designer: anonymous. Dating: 1500 - 1600. Place: Persia. Measurements: h 187 mm × w 136 mm. Museum: Rijksmuseum, Amsterdam.

Painting from 17th century Persian manuscript Hunters and favourites drinking with noble or king

European Banquet Scene 1595-1605 India. Opaque watercolor and gold . Mughal

"Luhrasp Hears from the Returning Paladins of the Vanishing Kai Khusrau", Folio from a Shahnama (Book of Kings) of Firdausi 1576-77 Abu'l Qasim Firdausi The illustration is one of fifty-five dispersed folios from a Shahnama thought to have been commissioned by the Safavid ruler Shah Isma'il II (r. 1576-77). Siyavush, the painter of this work, worked in the royal atelier of Shah Isma'ils father Shah Tahmasp and continued to work at the Safavid court after Shah Tahmasps death. The paintings from this Shahnama are simpler than previous examples and are larger in scale. Details such as the rocks are thinly painted with little attention to detail, suggesting that the painting was never finished.. "Luhrasp Hears from the Returning Paladins of the Vanishing Kai Khusrau", Folio from a Shahnama (Book of Kings) of Firdausi 449020

"Farhad Carves a Milk Channel for Shirin", Folio 74 from a Khamsa (Quintet) of Nizami A.H. 931/A.D. 1524-25 Nizami In Nizamis tale of Khusrau and Shirin, the princess Shirin has an ardent admirer in the talented sculptor and stonemason, Farhad. When Shirin desires milk from a herd of goats that graze in a distant field, Farhad sets to work cutting a channel from the goats mountain pastureland to a pool at the foot of Shirins palace. In this painting, Shirin visits Farhad upon his completion of the pool. At the very top of the composition, a goat cavorts in its hillside home.. "Farhad Carves a Milk Channel for Shirin", Folio 74 from a Khamsa (Quintet) of Nizami 446595

Ghatotkacha and three demons in his company chase Bhagadatta, from Bhishma-parva (volume six) of 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), 1616-17. Attributed to Fazl (Indian, active early 1600s). Ink, opaque watercolor and gold on paper, text on verso; page: 36.7 x 24 cm (14 7/16 x 9 7/16 in.). The red demons riding elephants were generated in multiples by Ghatotkacha, a son of one of the five Pandava brothers who knew how to use magic. Though created by magic, the elephant-riding demons could still cause problems for their adversaries and forced them to retreat. This scene took place on the fourth of 18 days of heated battle. This lavishly illustrated copy of the Book of Wars was commissioned by the Khan Khanan, chief minister to the emperor, first under Akbar (reigned 1556-1605) then under Jahangir (reigned 1605-27).

35mm original

"Bahram-e Chubineh Wears Women's Clothing and Spins Yarn", folio from a Shahnama (Book of Kings) of Firdausi Author Abu'l Qasim Firdausi Iranian ca. 1480-90 View more. "Bahram-e Chubineh Wears Women's Clothing and Spins Yarn", folio from a Shahnama (Book of Kings) of Firdausi. ca. 1480-90. Ink, opaque watercolor, and gold on paper. Made in Iran, Shiraz. Codices

Prince Riding in Chariot Drawn by Goats 1580-1725 India. Opaque watercolor and gold on paper . Mughal

Scene with astrologer. The show with an astrologer is surrounded with two ornamental edges, one in beige with gold drinks and black and gold frame lines, the second, outer edge is made of green-marbled paper whose vertical strips are stuck on the horizontal.

35mm original

Prins Jehaan Badoun.Drawing from the manuscript of the VOC servant Adrianus Canter Visscher with in the back of twenty-egypt Indian miniatures and two cards of places on the Coromandel coast. The text consists of two parts: a history of the Mogolrijk and the VOC branches on the Coromandel coast; This is followed by advice to the men's XVII about the economic situation of the VOC in the Coromandel.

Kamjuy, the wife of the Raja, averts her face from the fishes, from a Tuti-nama (Tales of a Parrot): Twenty-third Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 11.5 x 10.1 cm (4 1/2 x 4 in.). On the left Kamjuy, chief of the Rajas forty wives, turns away from the bowl of fish and hides her face behind her veil. She claims that it would be sinful to allow any male, even a fish, to see her. To the astonishment of both the Raja and Kamjuy herself, the fish immediately begin to laugh at her assertion.

The parrot addresses Khujasta at the beginning of the forty-fourth night, from a Tuti-nama (Tales of a Parrot), c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold in paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 9.6 x 10.1 cm (3 3/4 x 4 in.).

"The Final Joust of the Rooks: Gudarz Versus Piran", Folio 346r from the Shahnama (Book of Kings) of Shah Tahmasp ca. 1525-30 Abu'l Qasim Firdausi The artist has captured the essentials of this tragic story with delicate sensitivity. The Iranian Gudarz has wounded the old Turanian warrior Piran, but in respect for his seasoned enemy, has offered him safe passage to the Turanian army. Piran, seen through a gap in the rocks, refuses this, preferring the inevitable warriors death to surrender. The grooms in the foreground frame the scene, in which the poses of the two adversaries—Gudarz in pursuit, Piran skulking up the mountain—give visual expression to the essential dilemma of the story.. "The Final Joust of the Rooks: Gudarz Versus Piran", Folio 346r from the Shahnama (Book of Kings) of Shah Tahmasp 452155

The magician, disguised as a Brahman, visits the king of Babylon, from a Tuti-nama (Tales of a Parrot): Thirty-fifth 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: 12.5 x 10.1 cm (4 15/16 x 4 in.).

Shri raga. Maker: anonymous. Dating: 1780. Place: Deccan. Measurements: h 251 mm × w 163 mm; h 315 mm × w 230 mm. Museum: Rijksmuseum, Amsterdam.

On a terrace under a canopy a prince sits on the right on a multicolored carpet, on the left in front of him a young woman, both gestures with his right hand towards each other, in the foreground there are bowls and bottles and on the right behind the prince a servant blows him cool, against the deep blue sky a couple of flowering shrubs, the representation is provided with two columns of text that continue on the back, bordered with a couple of frame lines and partly colored. Recto and verso two columns of text, framed lines all around, partly colored, Prince under a canopy in conversation with a young woman., draughtsman: anonymous, Kasjmir, 1790 - 1810, h 184 mm × w 105 mm, h 150 mm × w 87 mm

"The Eavesdropper", Folio 47r from a Haft Paikar (Seven Portraits) of the Khamsa (Quintet) of Nizami. Artist: Painting by Unknown. Calligrapher: Maulana Azhar (d. 1475/76). Dimensions: Painting: H. 8 7/8 in. (22.5 cm) W. 4 7/8 in. (12.4 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). Poet: Nizami (Ilyas Abu Muhammad Nizam al-Din of Ganja) (probably 1141-1217). Date: ca. 1430.This folio once illustrated a magnificent manuscript of Nizami's Haft Paikar (Seven Portraits). The story of the Seven Portraits comprises a series of moralizing tales as told to the Persian hero Bahram Gur by seven princesses. This lively and lyrical scene illustrates a story in which a youth spies upon maidens swimming in a garden pool by moonlight. The voyeur is barely visible here, peering out of the shuttered window, unbeknownst to the playful bathers below. Museum: Metropolitan Museum of Art, New York, USA.

The son of the king of Babylon sees the Brahman transformed into a woman bathing and falls in love with her, from a Tuti-nama (Tales of a Parrot): Thirty-fifth 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: 14.5 x 10.2 cm (5 11/16 x 4 in.).

Man in a Fur-Lined Coat. Artist: Painting by Riza-yi `Abbasi (Persian, ca. 1565-1635). Dimensions: H. 5 3/8 in. (13.6 cm)W. 2 1/2 in. (6.4 cm). Date: ca. 1600.The style and subject of this work are emblematic of the master painter Riza, who is best known for his paintings of languorous youths. The curving body of the young man, his delicately painted curls, and the garden setting are all typical of Riza's work in the early seventeenth century. His style and subjects reflect the taste of Shah 'Abbas' court at Isfahan, which was renowned for its luxurious palaces and gardens, and attracted visitors from all over the world. The painting is signed below the figure and to the right of the fruit: "Riza drew it.". Museum: Metropolitan Museum of Art, New York, USA. Author: Painting by Riza-yi 'Abbasi.

The representation is divided into two horizontal planes, the lower half is a dark room in a palace with in the middle a young woman leaning on an elevation against a large roller cushion, she is sliding flowers in her hair, left is a servant with a large mirror, right is a servant with a torch, the upper half consists of planes of the palace roof with left and right circular roofs and in the middle four pillars with a round head, right on a piece of flat roof is a large yellow bird. Above and below the representation two red rushes, the lower one heavily damaged and almost colorless, an inscription on the black sky at the top., Vilaval-ragini, draughtsman: anonymous, Marwar, c. 1685 - c. 1700, paper, brush, h 315 mm × w 242 mm

Couple with lions at a lotus pond, Anonymous, 1800 - 1949 Indian miniature. drawing A couple is intimately wrapped on a terrace of a palace next to a lotus pond to which two lions are struggling; The man has arrow and bow in the attack; In the background a hilly landscape with trees and a dark lake by night. The show is framed by a narrow black border with white frames and a wider red border with black framework lines on the inner edge. Rajasthan paper. deck paint brush

"Assad Ibn Kariba Launches a Night Attack on the Camp of Malik Iraj", Folio from a Hamzanama (The Adventures of Hamza) ca. 1564-69 Attributed to Basavana The Hamzanama relates the story of Hamza, an uncle of the prophet Mohammad and an ardent defender of the Muslim faith. In this scene, Assad ibn Kariba, a supporter of Hamza shown dressed in an orange jama, takes an army of unbelievers (non-Muslims) by surprise in a night attack. In the midst of the chaos, the unbelievers attack and kill one another. The drama-filled story of the Hamzanama was a favorite of the Mughal emperor Akbar, who commissioned this magnificent manuscript in 1562. Composed of 1400 illustrations and bound into several volumes, the work took nearly one hundred artists fifteen years to complete. Listen to experts illuminate this artwork's story Listen Play or pause #7952. Assad Ibn Kariba Launches a Night Attack on the Camp of Malik Iraj, Folio from a Hamzanama (The Adventures of Hamza), Part 1 Play or pause #7953. A

Vilaval-ragini, anonymous, c. 1685 - c. 1700 Indian miniature The show is divided into two horizontal surfaces, the bottom half is a dark room in a palace with a young woman in the middle leaning against a large roll cushion, she is putting flowers in her hair, on the left is a servant with A large mirror, on the right one with a torch; The upper half consists of surfaces of the palace roof with round -like roofs left and right and in the middle four pilots with a round header; On the right on a piece of flat roof is a large yellow bird. Above and at the bottom of the performance two red piping, the lowerth most badly damaged and almost colorless; An inscription on the black air at the top. Marwar paper. gouache (paint) brush

The sheet is divided in two lanes with a pair and musicians above and below and two one-line columns of text above and below the representation in old Persian writing, on verso a text in diamond shapes., Two lanes with a pair on the top lane and four musicians on the bottom lane., draughtsman: anonymous, Kasjmir, 1790 - 1810, paper, brush, brush, h 194 mm × w 121 mm, h 154 mm × w 92 mm

"The Monkey Tries Carpentry", Folio from a Kalila wa Dimna. Dimensions: 12.5 in. high 8.87 in. wide (31.8 cm high 22.6 cm wide). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Kedar Ragini. There are two men on a yellow terrace, the judge is a yogi and is blue colored, the left is a frost, with halo; There is a writer for the terrace that holds paper and stamp; In the background blooming trees against a night sky littered with stars and a full moon; White birds in the trees. The show is framed by ornament edges in green and red with silver colored motifs. In the night sky under the moon an inscription in silver.

The two cooks, who attempt to seduce the warriors loyal wife, are trapped by her in a cellar, from a Tuti-nama (Tales of a Parrot): Fourth Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; painting only: 12.6 x 10.4 cm (4 15/16 x 4 1/8 in.); overall: 20 x 13.6 cm (7 7/8 x 5 3/8 in.).

Dining Scene with European Elements, c. 1590. India, Subimperial, 16th century. Color on paper; image: 13.5 x 7.5 cm (5 5/16 x 2 15/16 in.); overall: 26.5 x 20.5 cm (10 7/16 x 8 1/16 in.).

Album of Paintings and Calligraphy. India, Andhra Pradesh, Hyderabad, circa 1780 (binding: 19th century). Books. Opaque watercolor, gold, and ink on paper mounted on board, leather binding

Episode from the love story of Laila and Majnun, the emaciated Majnun sits in a landscape with a man and his camel. Draughtsman: anonymous. Dating: c. 1500 - c. 1700. Place: Persia. Measurements: h 160 mm × w 87 mm. Museum: Rijksmuseum, Amsterdam.

Fishing in the Nile, f. 125v. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

Five women under a dark blue sky in front of a white pavilion. Draughtsman: anonymous. Dating: 1790 - 1810. Place: Kashmir. Measurements: h 183 mm × w 103 mm; h 146 mm × w 85 mm. Museum: Rijksmuseum, Amsterdam.

On a yellow terrace are two men, the right one is a yogi and is colored blue, the left one is a frost, with halo, in front of the terrace is a writer holding paper and stamp, in the background flowering trees against a night sky dotted with stars and a full moon, white birds in the trees. The scene is framed by ornamental borders in green and red with silver motifs. In the night sky under the moon an inscription in silver, Kedar ragini., draughtsman: anonymous, Centraal-India, 1820, paper, brush, brush, h 314 mm × w 216 mm, h 253 mm × w 149 mm

Folios from an Illustrated Manuscript of the Shahnama by Firdawsi Folios from an Illustrated Manuscript of the Shahnama by Firdawsi, late 17th century. Ink, opaque watercolor on paper, Text: 10 5/8 x 5 7/8 in. (27 x 15 cm). Arts of the Islamic World late 17th century

De eerste koninginne van den Mogol Auxeng Zeeb.Drawing from the manuscript of the VOC servant Adrianus Canter Visscher with in the back of twenty-egypt Indian miniatures and two cards of places on the Coromandel coast. The text consists of two parts: a history of the Mogolrijk and the VOC branches on the Coromandel coast; This is followed by advice to the men's XVII about the economic situation of the VOC in the Coromandel.

Krishna and Radha. Draughtsman: anonymous. Dating: c. 1720. Place: Mewar. Measurements: h 252 mm × w 217 mm; h 190 mm × w 179 mm. Museum: Rijksmuseum, Amsterdam.

"Faridun in the Palace of Zahhak", Folio from a Shahnama (Book of Kings). Author: Abu'l Qasim Firdausi (935-1020). Dimensions: 13.87 in. high 9.56 in. wide (35.2 cm high 24.3 cm wide). Date: late 19th-early 20th century. Museum: Metropolitan Museum of Art, New York, USA.

"Rustam Captures Rakhsh", Folio from a Shahnama (Book of Kings) mid-15th century Abu'l Qasim Firdausi When he came of age, Zal promised his son, the hero Rustam, the pick of the wild horses that roamed Zabulistan and Kabulistan. Rustam chose a horse that was notoriously difficult to catch; for three years, it had resisted the attempts of the warriors who tried to tame him. Rustam, however, was able to capture the horse with his lasso and climb on its back.. "Rustam Captures Rakhsh", Folio from a Shahnama (Book of Kings) 447299

Asceet sitting in front of a frost and his royal household, draughtsman: anonymous, c. 1600, paper, pen, brush, h 202 mm × w 130 mm

Two Ladies on a Terrace, Folio from an Amaru Sataka (Hundred Stanzas of Amaru). India, Madhya Pradesh, Malwa, circa 1670. Drawings; watercolors. Opaque watercolor and gold on paper

Folio from a Gulistan (Rosegarden) by Sa'di; verso: the Prophet and the Persian physician; recto: text. Date/Period: Text dated 1468, paintings repainted ca. 1645. Manuscript. Ink, gold, and opaque watercolor on paper. Height: 246 mm (9.68 in); Width: 160 mm (6.29 in). Author: Sultan 'Ali Mashhadi.

Tabriz was capital of the Safavid Empire from 1501 to 1548, during which time many great painters, such as Aqa Mirak, Mir Sayyid Ali and Dust Muhammad produced magnificent royal manuscripts. Safavid art set the standard for painting, literature and architecture, as well as ceramics, metal and glass. While of course nourished by Persian culture, much Safavid art was strongly influenced by Turkish, Chinese, Ottoman and Western cultures. The royal workshops of Tabriz were very influential, and illuminated and illustrated manuscripts spread throughout the empire. When the capital was transferred from Tabriz to Qazvin in 1548, the court artists fled to foreign courts, mostly Mughal or Ottoman.

Todi ragini.Against an unparallished background, a young woman is on a tabouret and plays a musical instrument, right before her state and boky with raised head; Above her head a curved branch with fern-like blisters. The performance has been recorded, with a few frame lines around; The blade is then recorded on a piece of cardboard, left and right have been turned on vertical strips; On the freshly caught a tiled edge around a leaf with calligraphic text in edited and decorated windows placed.

A watercolor painting showing a woman seated at a toilet, depicted with careful posture and setting.

Lovers Watching an Approaching Thunderstorm, c. 1780-90, 13 3/16 x 10 5/16 in. (33.5 x 26.2 cm), Opaque watercolor and gold on paper, India, 18th century, In this classic painting from the hill state of Kangra in northern India, a couple embraces as heavy monsoon clouds darken the late summer sky. Lightning flashes startle cranes into flight, while an elegant peacock roosts on the building, undaunted by the impending cloudburst. Female musicians in a downstairs room prepare to serenade while attendants serve the amorous couple. The theme of this sensuous work is drawn from the Baramasa (The Twelve Months), a text that describes the romantic attributes of each month of the year. Artists often used rain clouds and lightning to symbolize romantic passion, and Kangra painters fully exploited this theme.

"Bizhan Slaughters the Wild Boars of Irman", Folio from a Shahnama (Book of Kings) of Firdausi ca. 1330-40 Abu'l Qasim Firdausi The people of Irman (Armenia) complained to the shah about a plague of ferocious and destructive wild boars. Bizhan, an impetuous young hero, volunteered to rid the forest of them. Here, the artist has departed from the text of the poem by showing Bizhan on foot (forgetting, however, that the young man should not have facial hair), with the result of enhancing the danger and drama of the encounter.. "Bizhan Slaughters the Wild Boars of Irman", Folio from a Shahnama (Book of Kings) of Firdausi 452643

The Old man and the Youth second quarter 17th century Painting by Riza-yi 'Abbasi Mounted on an album page below a calligraphy signed by Nur al-Din Muhammad Lahiji, these two drawings form a single composition depicting an old man dressed as a dervish pursuing a youth with a wine bottle and cup. Although the drawings are ascribed to Riza-yi 'Abbasi, the quality of line here is more rigid and less sure than that of the master. The image of an old man yearning for a youth finds parallels in Persian mystical poetry. The line of poetry above the drawings refers to the virtue of a young male on the verge of manhood, but may be an ironic reference to the youth in the drawing.. The Old man and the Youth 447798

A Man Seated Under a Tree. Iran, Isfahan, circa 1630. Manuscripts; folios. Ink on paper

"Zal in the Simurgh's Nest", Folio from a Shahnama (Book of Kings). Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Page: 8 x 5 1/8 in. (20.3 x 13 cm)Painting: 3 3/16 x 2 3/16 in. (8.1 x 5.6 cm). Date: ca. 1330-40.Left in the wilderness as a baby because his father Sam thought his white hair was an attribute of the devil, Zal was rescued by the Simurgh and taken to her nest on Mt. Elburz. Rumors eventually reached Sam, who came to reclaim his son and to thank the great bird. In spite of the damage to the lower right hand portion of this stepped composition, the painting is striking, with the youth crouched in his mountain home talking to his foster mother while his repentant father bows to the ground in homage and gratitude to the Simurgh. The hares in the composition emphasize the remoteness of the setting. Here, the Simurgh has not yet taken the pictorial form of the Chinese phoenix as it had by this time in the more prominent artistic centers. Museum: Metropolitan Museum of A

Miniature Painting from a Dispersed Kalila wa Dimna Manuscript , 19th century or earlier. Opaque watercolors, ink, and gold on paper, Image (Each): 9 1/2 x 4 in. (24.1 x 10.2 cm). Asian Art 19th century or earlier

The parrot laughs on hearing the Raja of Ujjains wife admire her beauty in a mirror, from a Tuti-nama (Tales of a Parrot: Forty-sixth Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Opaque watercolor, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 13.3 x 9.8 cm (5 1/4 x 3 7/8 in.).

"Mihrab Vents His Anger Upon Sindukht", Folio 83v from the Shahnama (Book of Kings) of Shah Tahmasp. Artist: Painting attributed to Qadimi (active ca. 1525-65); Painting attributed to 'Abd al-Vahhab. Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Painting: H. 10 15/16 in. (27.8 cm) W. 7 1/8 in. (18.1 cm)Page: H. 18 1/2 in. (47 cm) W. 12 7/16 in. (31.6 cm)Mat: H. 22 in. (55.9 cm) W. 16 in. (40.6 cm). Date: ca. 1525-30.When Mihrab of Kabul first heard of his daughter Rudaba's secret love affair with Zal, he wanted to kill her, but his wife Sindukht persuaded him that Sam, Zal's father, had agreed to the alliance. Now, when Mihrab learned that Shah Manuchihr had ordered Sam to destroy his house, Mihrab's 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 Mihrab's treasury. Desperate to save his kingdom, Mihrab allowed his wife to undertake the mission. The decorous depiction of Si

Malavashri ragini, kneeling woman with lotus in front of a house. Draughtsman: anonymous. Dating: 1650 - 1700. Place: Bikaner. Measurements: h 317 mm × w 203 mm. Museum: Rijksmuseum, Amsterdam.

35mm original

The pious mans son, now a king, reveals himself to his father; his nurse upbraids his unfaithful mother, from a Tuti-nama (Tales of a Parrot): Fifty-second Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 8.7 x 10 cm (3 7/16 x 3 15/16 in.). The young man throws himself at his overjoyed fathers feet. As a boy, he was nearly killed by his treacherous mother, who hoped to please her lover. The nurse, learning of her plan, took the child and fled to safety. In the intervening years, he killed a dragon, married a princess, and became a king. The kings success is attributed to a magical, seven-colored birds head, which he ate as a child.

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

Lady at the toilet, Deccan, 1750, brush, h 180 mm × w 121 mm h 352 mm × w 221 mm

Iran / Persia: 'Khusraw at Shirin's Palace'. Ink and paint on paper folio, c. 1478-1490. Khosrow II (c. 570 - 28 Febraury 628), also known as Khosrow Parviz, was a Shahanshah (King of Kings) of the Sasanian Empire (r. 590-628), considered by many as the last great shah of Persia. He briefly lost his throne, but regained it with the help of the Byzantine Empire, who he would later go to constant war with. He conquered much of the Byzantine Empire's territories, but he was eventually executed by his own son, leading to a civil war and the eventual Muslim conquest of Persia five years later.

Farhad Carrying Shirin and Her Horse, from a copy of the Khamsa of Nizami 1480-1490 Iran. Opaque watercolor on paper . Islamic

Krishna's Fifth and Sixth Avatars, page from a copy of the Gitagovinda of Jayaveda. India; probably Deccan, Aurangabad. Date: 1680-1690. Dimensions: Image: 13.5 × 16.3 cm (5 5/16 × 6 3/8 in.); Border: 14.6 × 16.8 cm (5 3/4 × 6 5/8 in.); Paper: 16.6 × 19 cm (6 1/2 × 7 1/2 in.). Opaque watercolor and gold on paper. Origin: Deccan. Museum: The Chicago Art Institute, Chicago, USA.

"Rustam Shoots His Half-brother Shaghad through a Plane Tree", Folio from a Shahnama (Book of Kings) of Firdausi dated A.H. 887/A.D. 1482 Abu'l Qasim Firdausi Rustam, the great epic hero of the Iran, was lured by his treacherous half-brother to ride over a hidden pit implanted with spears, which impaled him and his trusted horse Raksh. However, with the last vestige of his strength, Rustam was able to shoot his murderer through the tree behind which he was lurking. This miniature is in the forthright style associated with the city of Shiraz under the Aq Qoyonlu (White Sheep) Turkoman domination. The compositions are usually simplified and balanced, while the overall effect is both vigorous and decorative.. "Rustam Shoots His Half-brother Shaghad through a Plane Tree", Folio from a Shahnama (Book of Kings) of Firdausi 449688

Emperor Shah Jahan, late 17th century. India, Mughal Dynasty (1526-1756). Ink and color on paper; image: 15.7 x 20.6 cm (6 3/16 x 8 1/8 in.); overall: 21.3 x 28.9 cm (8 3/8 x 11 3/8 in.).

"Portrait of Muhammad Ali Baig", Folio from the Shah Jahan Album recto and verso: early 19th century. "Portrait of Muhammad Ali Baig", Folio from the Shah Jahan Album 451273

The Shahnameh or Shah-nama (Persian: شاهنامه Šāhnāmeh, 'The Book of Kings') is a long epic poem written by the Persian poet Ferdowsi between c. 977 and 1010 CE and is the national epic of Iran and related Perso-Iranian cultures. Consisting of some 60,000 verses, the Shahnameh tells the mythical and to some extent the historical past of Greater Iran from the creation of the world until the Islamic conquest of Persia in the 7th century. The work is of central importance in Persian culture, regarded as a literary masterpiece, and definitive of ethno-national cultural identity of Iran. It is also important to the contemporary adherents of Zoroastrianism, in that it traces the historical links between the beginnings of the religion with the death of the last Zoroastrian ruler of Persia during the Muslim conquest.

Shahr-Arai and her husband adopt her lover as a brother in the family, from a Tuti-nama (Tales of a Parrot): Fortieth Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 9.1 x 10.2 cm (3 9/16 x 4 in.).

Lady at toilet, anonymous, 1750 Indian miniature. drawing A servant takes care of the feet of her mistress in a room in a palace, for the ladies are an oil noise and a bowl. The show is framed by a thin blue decorative border within a frame of red and gold lines, the outer frameworks of which are filled in with a block motif that are repeated in the framework lines of the outer decorative edge that contains a stylized flower and window pattern in pink, gold and green On an ocher -colored surface, the wide edge is framed by a thin brown -painted plain edge. Deccan Presentation: Paper brush

Vecht scene between two mounted warrior, Anonymous, 1500 - 1800 Persian miniature. drawing A fighting scene between two reasoned warriors; In the corners of cubes with a flower wreath and in the middle and bottom cubes of text. On Verso two vertical columns of text, which have been crossed halfway through a horizontal tire in which a block of text and a block with a floral pattern on both sides thereof. Iran paper brush

Radha Pining for Her Beloved, Page from a dated Rasikapriya Series Indian. Radha Pining for Her Beloved, Page from a dated Rasikapriya Series, 1634. Opaque watercolor and gold on paper, sheet: 7 13/16 x 6 in. (19.8 x 15.2 cm). Asian Art 1634

Lady at toilet. Draughtsman: anonymous. Dating: 1750. Place: Deccan. Measurements: h 180 mm × w 121 mm; h 352 mm × w 221 mm. Museum: Rijksmuseum, Amsterdam.

The Greedy Dog. India; Attributed to Farrukh Chela (active 1580-1604). Date: 1575-1600. Dimensions: Image: 19.8 x 12.1 cm (7 13/16 x 4 3/4 in.); Outermost Border: 21.8 x 13.8 cm (8 9/16 x 5 7/16 in.); Paper: 33.4 x 20.8 cm (13 1/8 x 8 1/4 in.). Opaque watercolor and gold on paper. Origin: India. Museum: The Chicago Art Institute, FLORENCIA, USA.

The soldier receives a garland of roses from his wife which will remain fresh as long as she is faithful, from a Tuti-nama (Tales of a Parrot): Fourth Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; painting only: 3.8 x 10.6 cm (1 1/2 x 4 3/16 in.); overall: 20 x 14.3 cm (7 7/8 x 5 5/8 in.).

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

Portrait of Kapur Singh. Draughtsman: anonymous. Dating: 1850. Place: Pahari. Measurements: h 144 mm × w 200 mm. Museum: Rijksmuseum, Amsterdam.

. In the middle there is a woman on a golden throne and combs her hair, left behind the throne is a servant with a leaf with carafe and two cups; Right front of the throne a third woman is in a bowl and washes her hair. The performance is framed by a narrow frame edge in gray with frameworks in red and yellow and thing up a wide purple border with gold and a frame line in gray.

Frost with white horse under a tent roof in a rocky landscape. Draughtsman: anonymous. Dating: 1690 - 1710. Place: Bilaspur. Measurements: h 220 mm × w 300 mm. Museum: Rijksmuseum, Amsterdam.

Gunakali Ragini, c. 1750. India, Rajasthan, probably Jaipur, 18th century. Color on paper; image: 23.6 x 15.6 cm (9 5/16 x 6 1/8 in.); overall: 30.5 x 22.9 cm (12 x 9 in.).

Udaipur, also known as the City of Lakes, is a city and the administrative headquarters of the Udaipur district in the state of Rajasthan in western India. It is located 403 kilometres (250 mi) southwest of the state capital, Jaipur, 248 km (154 mi) west of Kota, and 250 km (155 mi) northeast from Ahmedabad. Udaipur is the historic capital of the kingdom of Mewar in the former Rajputana Agency. The Guhils (Sisodia) clan ruled the Mewar and its capital was shifted from Chittorgarh to Udaipur after the founding of Udaipur by Maharana Uday Singh. The Mewar province became part of Rajasthan after India became independent. Apart from its history, culture, and scenic locations, it is also known for its Rajput-era palaces.

Portrait of a Woman mid-16th century. Portrait of a Woman 451086

Amanohashidate Koshikibu no Naishi, No 2 from Three Famous Scenes (Sankei no uchi Sono ni) 1828-1838 Japan. Color woodblock print; center sheet of shikishiban triptych (right 1954.745, left 1954.589), surimono . Totoya Hokkei

MTI1 - CANTIGA DE SANTA MARIA Nº 155 - F211R - ERMITAÑO DE ALEJANDRIA MANDA PENITENCIA A CABALLERO A POR AGUA - SIGLO XIII -. Author: ALFONSO X EL SABIO (1221-1284). Location: MONASTERIO-BIBLIOTECA-COLECCION. SAN LORENZO DEL ESCORIAL. MADRID. SPAIN.

Standing figure, with flowers in one hand and a bowl, anonymous, c. 1800 - c. 1900 Young man with bowl and flower branch // standing man with bowl and flowering branch. (AK Title) Persia paper. deck paint. gouache (paint) brush Young man with bowl and flower branch // standing man with bowl and flowering branch. (AK Title) Persia paper. deck paint. gouache (paint) brush

Lalita Ragini, Fifth Wife of Bhairava Raga, Folio from a Ragamala (Garland of Melodies). India, Madhya Pradesh, Malwa, circa 1650. Drawings; watercolors. Opaque watercolor on paper

Vibhara ragini. Draughtsman: anonymous. Dating: 1760. Place: Centraal-India. Measurements: h 250 mm × w 170 mm; h 292 mm × w 212 mm. Museum: Rijksmuseum, Amsterdam.

Illustration for "L'oiseau de Fue" Tsarevich Ivan with Tsarevna Elena the Fair on the Grey Wolf. Artist: Boris Zvorykin (Russian, Moscow 1872-1942 Paris). Dimensions: Image:10 13/16 x 8 1/16 in. (27.5 x 20.5 cm)Sheet: 13 11/16 x 10 9/16 in. (34.8 x 26.8 cm). Date: ca. 1925. Museum: Metropolitan Museum of Art, New York, USA. Author: Boris Zvorykin.

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