Mughal Miniatures

Colorful miniatures depicting historical and mythological scenes from Mughal India, rich in detail and vibrant artistry.

Encampment with camels. Gouache heightened with gold on paper. Herat, circa 1600, 24.7 x 14cm.

Drawing, Miniature: Seated Figure; Unknown; pen and black ink with watercolor and gold on paper, mounted; 31.6 x 20.6 cm (12 7/16 x 8 1/8 in.)

Siyavush meets his father for the first time. Draughtsman: anonymous. Dating: 1540 - 1560. Place: Noord-India. Measurements: h 215 mm × w 180 mm; h 270 mm × w 185 mm. Museum: Rijksmuseum, Amsterdam.

The court of the Raja of Ujjain, from a Tuti-nama (Tales of a Parrot): Forty-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: 15.9 x 10.1 cm (6 1/4 x 4 in.).

Mevlana heals a pustule on his eldest son's throat, Ottoman miniature from Mevlana Rumi's Memoirs (The Bright Stars of Legendary Life Stories) by Sevakib-I Menakib, manuscript, Turkey 1599.

The young man, who has magically taken on the appearance of Mansur the merchant, arrives at his home, from a Tuti-nama (Tales of a Parrot): Seventeenth 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: 10.9 x 10.1 cm (4 5/16 x 4 in.).

"Interior Reception", Folio 36r from a Bustan of Sa`di. Artist: Painted by Shaikh Zada. Author: Sa'di (1213/19-92). Dimensions: Painting: H. 8 3/4 in. (22.3 cm) W. 4 15/16 in. (12.5 cm)Page: H. 11 in. (27.9 cm) W. 7 1/4 in. (18.4 cm)Mat: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm). Date: ca. 1525-35.The Bustan of Sa'di, completed in 1257, combines moral advice with illustrative anecdotes. The manuscript to which this painting belongs was likely copied in Herat, but it was illustrated for an Uzbek patron several years later, probably in Bukhara in the 1530s. The Bukharan school of painting, which was influenced by the Herat style, is characterized by a bright palette and the use of a black ground to set off fine arabesque designs. This scene of an interior reception, with its intricately patterned textiles and tiles and fine metal objects and weaponry, provides a glimpse into the types of luxury goods found in the early sixteenth century. Museum: Metropolitan Museum of Art, Ne

Group of men in a rocky landscape with a saint figure. Draughtsman: anonymous. Dating: 1400 - 1700. Place: Iran. Measurements: h 164 mm; w 127 mm × h 134 mm; h 252 mm × w 150 mm. Museum: Rijksmuseum, Amsterdam.

Encampment with camels. Gouache heightened with gold on paper. Herat, circa 1600, 24.7 x 14cm.

The princess discovers the dead bodies, with heads severed, of her husband and his Brahman friend, from a Tuti-nama (Tales of a Parrot): Thirty-fourth Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; overall: 20.3 x 13.4 cm (8 x 5 1/4 in.); painting only: 17.7 x 10.3 cm (6 15/16 x 4 1/16 in.).

The Parrot Addresses Khujasta at the Beginning of the Eighth 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: 11.4 x 9.8 cm (4 1/2 x 3 7/8 in.). On the eighth night, the parrot tells Khujasta a storythe most lavishly illustrated of all the chapters in the bookthat has important parallels with the experiences of Emperor Akbar himself. The overarching tale is about a prince who maintained a vow of silence despite being imprisoned and taken to be executed on seven consecutive days. Each day, the king was convinced to stop the execution after hearing a story told by one of his seven viziers, or ministers. The adjacent paintings illustrate scenes from the overarching tale as well as the fifth vizier's story. The golden sky, purple hills, cyprus tree, and flowering branches are elements learned from Persian painting. Indian sources contributed t

Illustration to the Tale of Mansur and the Barber. India, Uttar Pradesh, Awadh, Lucknow, circa 1775. Drawings; watercolors. Ink and opaque watercolor on paper

"Bahram Gur in the White Palace on Friday", Folio 235 from a Khamsa (Quintet) of Nizami A.H. 931/A.D. 1524-25 Nizami The arrangement of this miniature is close to that of Bahram Gur in the black pavilion, in that the building, except for a touch of blue sky here, takes up the entire picture space. In addition, the same two ladies playing musical instruments appear in both compositions in reversed positions. However, there are individual elements in this painting, based on the text of the poem. There Bahram Gur is described as dressing in purest white and wearing a white feather in his turban. The princess is described as having pots of lilies and narcissus at her feet, their white petals not as white as her skin.. "Bahram Gur in the White Palace on Friday", Folio 235 from a Khamsa (Quintet) of Nizami 446610

"A Contest of Skill in Archery on Horseback", Folio from a Divan (Collected Works) of Mir 'Ali Shir Nava'i 1580 Mir 'Ali Shir Nava'i. "A Contest of Skill in Archery on Horseback", Folio from a Divan (Collected Works) of Mir 'Ali Shir Nava'i 446598

Watercolor and gold painting depicting Nawab Goejalha, anonymous artist, focused on portrait and attire.

Prince with two ladies, Anonymous, 1900 - 1950 Indian miniature. drawing On a terrace with canopy, there is a prince between two semi -dressed ladies and they love them; In addition to themselves, the ladies also offer all kinds of drinks. The show is stuck on a piece of blue cardboard and framed by a wide dark green decorative border 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 gold decorative motif of flowers and gold and black frameworks , the whole leaf is finally finished with an also discolored ivory -colored narrow edge on which some unclear or worn motifs and sweeping are placed in gold. Deccan paper brush

The goldsmith and the carpenter inform the king of a dream in which the golden images plan to desert the city for lack of worshippers, from a Tuti-nama (Tales of a Parrot): 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: 16.5 x 10.4 cm (6 1/2 x 4 1/8 in.).

Self-Portrait of Mir Sayyid Ali. Mir Sayyid Ali (Iran, active India, circa 1510-circa 1572). Pakistan, Lahore, Mughal empire, 1555-1556. Furnishings. Opaque watercolor, gold, and ink on paper

A warrior grazing his four horses in a meadow, above the image four columns of text in Persian handwriting, bottom left two columns, Warrior with three horses in a meadow, draughtsman: anonymous, Persia, 1500 - 1600, voorstelling, :, brush

"The Sixth Joust of the Rooks: Bizhan Versus Ruyyin", Folio 343r 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 (recto): H. 6 1/16 x W. 6 3/4 in. (H. 15.4 x W. 17.1 cm)Painting (verso): H. 8 9/16 x W. 6 3/4 in. (H. 21.7 x W. 17.1 cm)Entire Page: H. 18 5/8 x W. 12 9/16 in. (H. 47.3 x W. 31.9 cm). Date: ca. 1525-30.Folio 343r: The Sixth "Joust of the Rooks": Bizhan versus Ruyin In the sixth joust Bizhan, Giv's son, takes on Ruyin, son of Piran. When arrows make no dent in the armor of either soldier, Bizhan steers his horse alongside Ruyin and crashes his mace down on his foe's head. Ruyin remains in his saddle at first but soon falls, his skull smashed to bits. Folio 343v: The Seventh "Joust of the Rooks": Hajir versus Sipahram The seventh champion, Hajir, another son of Gudarz, is pitted against Sipahram, a famous Turanian paladin. They draw their swords and battle fur

Shahnameh. The Book of Kings. 16th c. Bahram Chubina's night attack on the camp of Khusrau Parviz. Circa 1420 (Timurid Dinasty). Shiraz school. Persian art. Miniature Painting. FRANCE. ëLE-DE-FRANCE. Paris. National Library.

The polo game. Polo players. The performance lies on the right side of a blade with a blue paint of a tendrilment pattern, around the show a stuck list of unexpected paper with a stained frame lines and a gold breeze in black frame lines; At the top of a rectangle with a middle part on which a floral and tendrilment motive is a text in Persian Scripture written in gold.

Radha and Her Confidant Sit in an Open Room: Page from a Dispersed Rasikapriya. Culture: India (Madhya Pradesh, Malwa). Dimensions: Image: 8 3/4 × 5 3/4 in. (22.2 × 14.6 cm)Mat: 9 1/16 × 6 1/8 in. (23 × 15.6 cm). Date: ca. 1680-90.In the Rasikapriya the poet Keshav Das addresses love in all its various aspects, focusing on secret desires and their outward manifestations. Here, Radha speaks to her confidante and go-between, undoubtedly arranging a secret meeting with her lover, Krishna. Details such as the stylized flowers at the base of the building as well as the beginnings of special depth seen in the architecture indicate contact with the painting ateliers of the Mughals. Museum: Metropolitan Museum of Art, New York, USA.

35mm original

Meeting of Two Generals, Folio from a Shahnama (Book of Kings). India (), 1475-1500. Drawings; watercolors. Opaque watercolor, gold, and black and red ink on paper

A warrior in full armor on a white horse with a black plumage and the flag of the victor at the top carries the horse with his victim lying against the horse's neck on the reins, at the bottom of the representation are four columns of text in Persian handwriting, with a wide horizontal band over the middle two columns with a thicker calligraphy. The representation lies slightly from the middle to the left on the sheet, which is damaged and restored here and there, on the verso also four columns of text., Faribus kills Kulbad, draughtsman: anonymous, Persia, 1500 - 1600, voorstelling, :, brush, brush, h 315 mm × w 225 mm, h 201 mm × w 160 mm

LAMINA INDIA-HOMBRE INDIO RODEADO DE SUS CONCIBUNAS EN UN PATIO-S XIX. Location: PRIVATE COLLECTION. MADRID. SPAIN.

Khwaja Shamsu d-Din Muhammad Hafez-e Shirazi, known by his pen name Hafez (1325/1326-1389/1390),was a Persian lyric poet. His collected works composed of series of Persian poetry (Divan) are to be found in the homes of most Persian speakers in Iran and Afghanistan, as well as elsewhere in the world, who learn his poems by heart and use them as proverbs and sayings to this day. His life and poems have been the subject of much analysis, commentary and interpretation, influencing post-fourteenth century Persian writing more than any other author. Themes of his ghazals are the beloved, faith, and exposing hypocrisy. His influence in the lives of Iranians can be found in 'Hafez readings', frequent use of his poems in Persian traditional music, visual art and Persian calligraphy. His tomb in Shiraz is visited often. Adaptations, imitations and translations of Hafez' poems exist in all major languages.

"Bahram Gur in the Dark Palace on Saturday", Folio 207 from a Khamsa (Quintet) of Nizami of Ganja A.H. 931/A.D. 1524-25 Nizami The artist has used the color black, which according to the text, should be all-pervasive, with elegant restraint. He has, like a skilled haute-couturier, avoided somberness and set off the black by contrasting it with both bright colors and light shades. Also its use in each costume and in the dome and spandrels of the architecture effectively unifies the composition. The air of courtly leisure in this miniature is particularly apparent.. "Bahram Gur in the Dark Palace on Saturday", Folio 207 from a Khamsa (Quintet) of Nizami of Ganja. Painting by Shaikh Zada (Iranian, active 1510-1550). A.H. 931/A.D. 1524-25. Ink, opaque watercolor, silver, and gold on paper. Made in present-day Afghanistan, Herat. Codices

Bairadi Ragini: Folio from a ragamala series (Garland of Musical Modes) ca. 1605-6 India (Rajasthan, Bikaner) In this image lovers quarrel and the bedchamber remains empty, as evoked in a ragamala text: That most beautiful one, wearing fine armlets.. [is holding off her beloved with her fly-whisk.” Much of Rajput style is distilled from early Mughal painting, as reflected in the architectural devices, the use of flattened color, and the figure types. Another painting from the same manuscript bears a date of Samvat 1662 (A.D. 1605-06), thus dating this work.. Bairadi Ragini: Folio from a ragamala series (Garland of Musical Modes) 37851

Rustam Lassoes the Khaqan (Ruler) of China,” Page from an Illustrated Manuscript of the Shahnama (Book of Kings) of Firdawsi (d. 1020) Rustam Lassoes the Khaqan (Ruler) of China,” Page from an Illustrated Manuscript of the Shahnama (Book of Kings) of Firdawsi (d. 1020), late 15th-early 16th century. Ink, opaque watercolor, and gold on paper, 9 1/2 x 5 7/16in. (24.1 x 13.8cm). Arts of the Islamic World late 15th-early 16th century

A King Picnicking in the Mountains, c. 1560, 12 3/4 x 8 1/4 in. (32.39 x 20.96 cm), Ink, colors, and gold on paper, Iran, 16th century, This lavish work depicting a king and his courtiers picnicking in a mountain glade is a definitive example of Safavid manuscript painting from the late 1500s. The painting illustrates a scene from the Khamsa, or Five Poems, by Nizami (c. 1140-1203), one of the greatest poets in Persian literature. The exquisite marginal drawings of animals in the midst of lush gold foliage, the finely detailed and lyrically dynamic composition, and the decorative use of color define Safavid court aesthetics. Since Safavid court artists occasionally worked for the Mughal rulers in South Asia, this style of painting influenced Islamic court painting in that region too. For example, the Mughal painting Majnun in the Wilderness (c. 1600), which appears on page XX, displays mountain forms similar to these.

Young woman and old man in a palace room. Draughtsman: anonymous. Dating: 1790 - 1810. Place: Kashmir. Measurements: h 183 mm × w 107 mm; h 146 mm × w 85 mm. Museum: Rijksmuseum, Amsterdam.

The merchant returns, bringing with him a young slave who is in fact the son of the Princess of Rum, now married to the king, from a Tuti-nama, Tales of a Parrot. Tutinama, Tales of a Parrot, is a series of 52 stories in Persian dating from the 14th century, in the 16th century Mughal Emperor Agbar commissioned an illustrated version, Fiftieth Night, c. 1560. Mughal India, Court of Akbar (ruled 1556-1605) ., Historical, Digitally Restored

Isfandiyar slays Arjasp, the king of Turan, from a Shah-nama (Book of Kings) of Firdausi (Persian, about 934-1020), 1600-1605. Haidar Kashmiri (Indian, active late 1500s-early 1600s). Opaque watercolor, gold, and ink on paper, text on verso; page: 36.7 x 24.4 cm (14 7/16 x 9 5/8 in.). This illustrated scene occurs early in the narrative of Isfandiyar, who is destined to serve as king of Iran with Rustam as his champion. The episode describes Isfandiyars quest for vengeance against the tyrant Arjasp of Turan, who had defeated his father in battle and taken his sisters captive. Isfandiyar disguised himself as a merchant, entered Arjasps fort, and then fought his way to the enemy king, whom he defeated in battle. The artist has included beautiful and delicate details of the garden and architectural setting of this gruesome scene. An onlooker below puts his finger to his mouth in a gesture of astonishment.

Man Making a Net, Tomb of Ipuy ca. 1295-1213 B.C. New Kingdom, Ramesside Norman de Garis Davies. Man Making a Net, Tomb of Ipuy 557822

Standing frost ..

De prinsesse Moenisja.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.

Malkosa Raga, Page from a Dispersed Ragamala Series Indian. Malkosa Raga, Page from a Dispersed Ragamala Series, ca. 1700-1710. Opaque watercolor on paper with gold and silver, sheet: 17 1/8 x 12 5/8 in. (43.5 x 32.1 cm). Asian Art ca. 1700-1710

"Afrasiyab on the Iranian Throne", Folio 105r from the Shahnama (Book of Kings) of Shah Tahmasp. Artist: Painting attributed to Bashdan Qara (active ca. 1525-35). Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Painting: H. 11 5/8 x W. 7 7/16 in. (H. 29.5 x W. 18.9 cm)Entire Page: H. 18 9/16 x W. 12 1/2 in. (H. 47.1 x W. 31.8 cm). Date: ca. 1525-30.Back in Dahistan the Turanians defeat the Iranians and take Shah Nauzar prisoner. With news of the Turanian rout in Zabul, Afrasiyab pillories Nauzar and beheads him. The Turanians march across Iran, and Afrasiyab sits on the throne. With this victory come the vast riches of the Iranian treasury, which servants parade before him. One year later famine descends on Iran and Turan, and the two enemies are forced to agree to an armistice. Museum: Metropolitan Museum of Art, New York, USA.

Rajasthani miniature painting from Rajasthan, India. Probably late 19th century or early 20th century. Upper class people sitting in a garden pergola enjoying entertainers one who appears to be thro

Young woman and old man in a palace room, Anonymous, 1790 - 1810 Indian miniature. drawing In a room in a palace, a young woman sits opposite an old wise man with a white beard who seems to give her advice, outside the window a young man is sleeping on the terrace. The show is provided on the top and bottom with text columns that continue on the back, crosses on Verso through a horizontal blue band with white text. Cashmir paper brush / brush sleeping; unconsciousness

"How a Braggart was Drowned in a Well", Folio 33v 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. 8 7/8 in. (22.5 cm) W. 4 3/4 in. (12.1 cm)Page: H. 11in. (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.This miniature is an illustration of the most dramatic episode in the tale told by the Moorish princess in the Green Paviliion on Monday. While traversing the desert, Bashr, a good and pious man, and his bragging and evil-minded traveling companion come upon a jar filled with pure water sunk into the sand. After they have quenched their thirst, the selfish companion insists upon bathing in the water, in spite of Bashr's pleas against polluting it. The water turns out to be a deep well fed by a spring, and the heedless companion drowns. The tale ends happily for

Love Scene late 16th-early 17th century. Love Scene 447802

Rustam Shoots Isfandiyar in the Eye, Page from a Manuscript of the Shahnama (Book of Kings) of Firdawsi. Iran, Shiraz, circa 1560. Manuscripts; folios. Opaque watercolor heightened with gold and silver on paper

Jesus Heals the Nobleman's Son in Capernaum, from a Mirror of Holiness (Mirat al-quds) of Father Jerome Xavier, 1602-04. Mughal India, Allahabad, made for Prince Salim (1569-1627). Opaque watercolor, ink, color and gold on paper; sheet: 26.2 x 15.5 cm (10 5/16 x 6 1/8 in.); image: 22.4 x 11.2 cm (8 13/16 x 4 7/16 in.).

Folio from a "Shahnameh": Rustam Fighting Puladvand Div Folio from a "Shahnameh": Rustam Fighting Puladvand Div, ca. 1580-1590. Ink, and opaque watercolors on paper, 14 9/16 x 8 15/16in. (37 x 22.7cm). Arts of the Islamic World ca. 1580-1590

MINIATURA - ISKANDAR RECONOCIDO POR NUSHABA. Location: PRIVATE COLLECTION.

Khujasta kills the pet mynah who advises her not to be unfaithful to Maymun, her husband, from a Tuti-nama (Tales of the Parrot): First Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; overall: 19.9 x 14.2 cm (7 13/16 x 5 9/16 in.); painting only: 12.9 x 10.5 cm (5 1/16 x 4 1/8 in.).

Yo -Yo playing woman, anonymous, 1680 - 1699 Indian miniature. drawing A yo-yo playing vrowu against a gray background. The show is framed by narrow framework lines in black and red and filled around the image with gold; The leaf with the show is glued. Bikaner Text and edges: Paper brush / brush / brush

Todi ragini. Draughtsman: anonymous. Dating: 1740 - 1760. Place: Deccan. Measurements: h 209 mm × w 123 mm; h 145 mm × w 98 mm. Museum: Rijksmuseum, Amsterdam.

The parrot addresses Khujasta at the beginning of the thirty-second night, from a Tuti-nama (Tales of a Parrot), c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 6.5 x 10.2 cm (2 9/16 x 4 in.).

Kaumari Indian. , late 18th century. Opaque watercolor, gold, and silver on paper, sheet: 4 7/16 x 6 11/16 in. (11.3 x 17.0 cm). Asian Art late 18th century

Illustration from the Qissa-i Amir Hamza. Date/Period: 1500 - 1600. Illustration. Height: 635 mm (25 in); Width: 597 mm (23.50 in). Author: India unknown.

Portrait of Akbar Padshah, the son of Humayun, who ruled after his father in Hindustan, c. 1686 drawing. Indian miniature Akbar Padshah is depicted up to his hips, used to half to the right, with a sword in the right hand and a white flower in the left hand. Leaf 3 in the `Witsen-Album ', with 49 Indian miniatures of princes. Above the portrait a piece of paper with the name in Persian. Under the portrait a piece of paper with the name in the Portuguese. Golkonda paper. deck paint. gold leaf. gouache (paint) brush ruler, sovereign. historical person (...) - historical person (...) portrayed alone

"Hurmuzd I's Last Testament to Prince Bahram I", Folio 535r from the Shahnama (Book of Kings) of Shah Tahmasp. Artist: Painting attributed to Aqa Mirak (active ca. 1525-60). Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Painting: H. 6 5/8 x W. 7 3/32 in. (H. 16.8 x W. 18 cm)Entire Page: H. 18 11/16 x W. 12 5/8 in. (H. 47.5 x W. 32.1 cm). Date: ca. 1525-30.Shapur and Mihrak's daughter have a son, who rules as Hurmuzd I, a just and prudent king. When he grows old and death is upon him, he calls for the crown prince Bahram I and exhorts him to rule with moderation. Museum: Metropolitan Museum of Art, New York, USA.

Portrait of Shah Jahan (possibly) Indian. Portrait of Shah Jahan (possibly), late 17th century. Ink drawing with slight color on paper, mounted on gold-sprinkled border, sheet: 12 x 7 7/8 in. (30.5 x 20.0 cm). Asian Art late 17th century

"Gustaham Slays Lahhak and Farshidvard", Folio from a Shahnama (Book of Kings) ca. 1330-40 Abu'l Qasim Firdausi Piran, the wise old commander-in-chief of the Turanians, was slain. He had advised his brothers that his army had been promised quarter in the event of his death but that the Turanian nobles would be in mortal danger. Therefore, the Turanian brothers Lahhak and Farshidvard fled toward Turan, pursued by the Iranian noble Gustaham. Farshidvard was killed by Gustaham's sword and Lahhak frenzied with grief, let loose his arrows. Both cavaliers were wounded, but Gustaham charged and cut off his opponent's head, thus ending a royal line. The artist has depicted a full-fledged battle scene, with all its action and confusion, even though the poem calls for only three combatants.. "Gustaham Slays Lahhak and Farshidvard", Folio from a Shahnama (Book of Kings) 452644

Shiva and Parvati with children, Anonymous, 1830 Indian miniature. drawing Shiva and Parvati outside on a lawn with a cow behind their backs and children in the foreground. The show is framed by a narrow edge in dark blue with white flower and dotted patterns, around it a somewhat wider pink edge; The show is stuck on the edges. Mandi Framework edge: Paper brush

Twee liggende figuren in een arcadisch landschap.In a paradise garden, two figures are relaxed on the grass, surrounded by sheep, bucks and a dog, behind the hillside lord loves a black-dressed figure over the edge, above him a whimsical black cloud. The performance is placed in narrow frame lines with gold colored, some animal figures go over the frame lines, the edges of the leaf are not decorated and the left edge is wider than the judge.

"Portrait of Jahangir Holding Flower", Folio from the Davis Album second half 17th century While this painting offers a close rendering of Jahangirs facial features, his slightly top-heavy body, stiff pose, and the dark background indicate that this is not a product of the imperial atelier. It could have been made at one of the provincial courts of northern India, or as some have suggested, at the Persian city of Isfahan by a local artist copying a Mughal image.. "Portrait of Jahangir Holding Flower", Folio from the Davis Album 448464

Plato as a Musician. India, Mughal Empire, circa 1600; border: Iran, Qajar, 19th century. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Frost with musicians, anonymous, c. 1500 - c. 1800 Persian miniature. drawing Above two vertical columns with text is a representation of a frost in an open space of a palace and a number of visitors on the terrace in front of the prince, some of which make music; Up and below the performance and on three -quarters of the text, vertical tires with flower rank decorations run. The show is surrounded by a leaf with a light gold ornamental decoration; The right edge is narrower than the left edge; The two columns and the horizontal distributions are continued on the back. Iran Text: Paper brush

Bilaval ragini, anonymous, 1760 Indian miniature. drawing A woman in a gallery of a palace makes a toilet while her servant stops a mirror and is a second servant next to it. The show is framed by a thin decorative edge of flower vines on gold and dark blue filigrein motifs, around it a wide decorative edge of dark blue with gold dicked and thin lines of red and gold. Deccan Presentation: Paper brush

Islam Khan Rumi Indian. Islam Khan Rumi, 1875-1900. Opaque watercolor and gold on paper, sheet: 19 5/8 x 11 7/8 in. (49.8 x 30.2 cm). Asian Art 1875-1900

Shah Abbas II of Persia (1633-1668) by Iranian master / Private Collection / 1750 / Iran, Safavid dynasty / Gouache on paper / Portrait / 36,2x26

"Kai Kavus Ascends to the Sky", Folio 134r from the Shahnama (Book of Kings) of Shah Tahmasp ca. 1525-30 Abu'l Qasim Firdausi Kai Kavus was a long-lived powerful king and a capricious ruler. One day, while hunting, he was approached by a div disguised as a handsome youth. The ill-natured devil began praising him, saying that his royal farr-the kingly glory-was of such splendor that he should reign the world from the heavens. Seduced by this idea, the king ordered his servants to build him a golden throne, which he then lifted up in the air with the help of four hungry eagles tied to the throne's corners at whose top were placed succulent baits of meat. The floating throne floating quickly met disaster: when the birds tired out, the flying seat-and its heedless ruler-plunged to earth.Although more sober than other illustrations, this painting displays a perfect balance of compositional rigor and humorous license. The solemn ascension of the heavily built throne is observed and commente

. .

"Haji Husain Bukhari", Folio from the Shah Jahan Album. Dimensions: H. 15 1/4 in. (38.7 cm)W. 10 5/16 in. (26.2 cm). Date: recto: early 19th century; verso: later copy of 16th century original. Museum: Metropolitan Museum of Art, New York, USA.

Two standing courtiers, the judge with a bird of prey on the arm, anonymous, c. 1605 drawing. Indian miniature paper. deck paint. paint (coating). gouache (paint) brush

Maharaja Kalyan Singh (Reigned 1798-1838). India, Rajasthan, Kishangarh, 1798 or earlier. Drawings; watercolors. Opaque watercolor and gold on paper

A Persian noble makes love to his paramour, assisted by scent and music from her smirking handmaidens. Date: possibly 17th century

The Shahnameh (Book of Kings) is a Persian epic of 60,000 verses written by Persian poet Ferdowsi in 1000 CE. It tells of Persian history from the creation of time until the Arab invasion of the 7th century.

35mm original

Siyvush plays polo (chaugn) before Afrsiyb.. 1720 - 1725. Firdawsî. text. Manuscripts, Illuminations. Spencer Collection. Manuscripts, Persian, Islamic painting, Polo players

Bilaval ragini. Draughtsman: anonymous. Dating: 1760. Place: Deccan. Measurements: h 229 mm × w 150 mm; h 405 mm × w 292 mm. Museum: Rijksmuseum, Amsterdam.

Sketch of a few ladies on a terrace. A partly colored drawing of two women in front of a terrace, a seated and a standing, and a seated lady on a roll cushion on the terrace a pillow between her hands holding, in the background a tree art. The bottom and both sides are damaged and torn out.

Arabic Manuscript, Illustrated with Miniatures of Various Formats unknown

"The Elephant Clock", Folio from a Book of the Knowledge of Ingenious Mechanical Devices by al-Jazari. Author: Badi' al-Zaman ibn al-Razzaz al-Jazari (1136-1206). Calligrapher: Farrukh ibn `Abd al-Latif. Dimensions: 11 13/16 x 7 3/4in. (30 x 19.7cm)Mat: 19 1/4 x 14 1/4 in. (48.9 x 36.2 cm)Frame: 20 1/4 x 15 1/4 in. (51.4 x 38.7 cm). Date: dated A.H. 715/A.D. 1315.This page comes from a treatise on fantastic devices invented by the author al-Jazari. His elephant clock was especially intricate: every half hour, the bird on the dome whistled; the man below dropped a ball into the dragon's mouth; and the driver hit the elephant with his goad. While illustrated manuscripts were growing increasingly popular at the time, this folio is a rare survival from Syria, where few such manuscripts are known from this date. Museum: Metropolitan Museum of Art, New York, USA.

Lalit Ragini: Folio from a ragamala series (Garland of Musical Modes). Culture: India (Madhya Pradesh, Malwa). Dimensions: 7 3/4 x 5 1/2 in. (19.7 x 14 cm). Date: ca. 1680-90.This morning raga shows the sleeping woman and her lover, who is silently departing after a night of passion: "Wearing many ornaments and garments, splendid, the fair mistress lies exhausted upon her bed at dawn." The work exemplifies the Malwa taste for compositions made up of compartmentalized structures that emphasize the role of each protagonist. Museum: Metropolitan Museum of Art, New York, USA.

Gunakari Ragini, woman sitting in a palace courtyard, draughtsman: Rukn-ud-din, (attributed to), 1675 - 1700, paper, brush, h 214 mm × w 169 mm

Maharana Sangram Singh of Mewar and Maharaja Sawai Jai Singh of Amber and Jaipur, Folio from the Amber Album. Kriparam (India, Rajasthan, active 18th century). India, Rajasthan, Amber, dated 1732. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Standing man behind a fence; Fragment, Anonymous, 1565 - 1575 Indian miniature. drawing An order conserver at a park fence; excerpt of a much larger cotton painting, probably an illustration from the Dastan-i-amir Hamza entelling, framed by a series of narrow decorative edges in green and pink, separated from each other by gold-colored piping and equipped with framework lines in white, red and red and red and red and red and red and red and red and red and red and Black, around a wide purple blue leaf edge with white and black framework lines; The show is glued. cotton (textile). deck paint brush

Krishna's Fluting Causes the Palace Women to Swoon. India, Himachal Pradesh, Hindur (), South Asia, circa 1830-1840. Drawings; watercolors. Opaque watercolor and gold on paper

Muhammad Shah (Roshan Akhtar). Gouache painting.

The merchants daughter encounters a wolf and bandits on her way to meet the gardener in order to keep her promise, from a Tuti-nama (Tales of a Parrot): Twelfth Night, c. 1560. India, Mughal court, 16th century. Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 11.2 x 10.1 cm (4 7/16 x 4 in.).

Two ascetes in a landscape, Anonymous, 1825 - 1835 Indian miniature. drawing In a landscape with a few trees there is an ascetic with a vina over the shoulder. A second ascetic is to wash in a lotus pond. He has laid his vina on the bank. Kangra paper. gouache (paint) brush

Prince Riding an Elephant. Artist: Painting by Khem Karan. Dimensions: Page: H. 12 1/4 in. (31.1 cm)W. 18 1/2 in. (47 cm)Painting: H. 7 3/4 in. (19.7 cm)W. 10 3/4 in. (27.3 cm)Mat: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm). Date: 16th-17th century.Elephants were highly prized at Indian courts, greatly appreciated as gifts, and eagerly sought as booty in military campaigns. Paintings of several admired elephants were made at the Mughal court, much as portraits were made of courtiers and nobles. Khem Karan, whose signature appears at the bottom of the picture, was a well-known painter in Akbar's atelier. Museum: Metropolitan Museum of Art, New York, USA.

Portrait of Raja Ram Singh of Amber (r. 1667-1688) with a Deccan Sword (recto), c. 1680-85. India, Mughal, 17th century. Opaque watercolor on paper (recto); page: 30.4 x 18.5 cm (11 15/16 x 7 5/16 in.). The sensitive, naturalistic rendering of weariness and forbearance in the face belies the trappings of favor bestowed on Ram Singh by the Mughal emperors Shah Jahan and Alamgir, whom he served as courtier and general between 1643 and 1688. He was a Hindu ruler from the kingdom of Amber in Rajasthan, under the control of the Mughal empire. Spending most of his life at the imperial court or leading military expeditions for the Mughals, this portrait was included in a Mughal album and inscribed with an Urdu verse indicating his value to the empire: "wherever he has led an expedition, victory is his." He wears a sumptuous coat of honor with a fur collar, woven with gold threads and floral sprigs and costly rubies, emeralds, and pearls. The straight sword with enameled hilt may be the one g

"The Coup against Usurper Shah", Folio 745v from the Shahnama (Book of Kings) of Shah Tahmasp. Artist: Painting attributed to Dust Muhammad. Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Painting: H. 7 3/16 x W. 10 7/16 in. (H. 18.2 x W. 26.5 cm)Entire Page: H. 18 1/2 x W. 12 1/4 in. (H. 47 x W. 31.1 cm). Date: ca. 1530-35.In the year 630, during a fifty-day reign, Shah Farain Guraz completely dissipated the entire royal treasury. Because of this greed and injustice, the army soon turned against the shah and swore to rid Iran of the usurper. One day while on a hunt, the leader of the coup, Shahran Guraz, drew his bow as if to shoot a stag but instead shot the monarch in the back. The accompanying warriors then began to battle with each other. This illustration appears to take place after the murder of the shah. Unlike many battle scenes, the artist Dust Muhammad has rendered each horse's armor with great care, resulting in a rhythmic and colorful pattern across the field of th

Iranian master State Hermitage, St. Petersburg Book Art 23,7x13,7 Mythology, Allegory and Literature Farhad Carries Shirin and her Horse on his Shoulders

"Battle Between Iranians and Turanians", Folio from a Shahnama (Book of Kings). Calligrapher: Muhammad al-Qivam al-Shirazi (active ca. 1560s). Illuminator: Muhammad ibn Taj al-Din Haidar Muzahhib Shirazi (active 1560s-80s). Date: 1562-83. Museum: Metropolitan Museum of Art, New York, USA.

"Ottoman Army Entering a City", Folio from a Divan of Mahmud `Abd al-Baqi last quarter 16th century Mahmud 'Abd-al Baqi Ottoman This manuscript copy of Mahmud 'Abd alBaqi’s Divan (collected works) contains poems extolling the pleasures and notable events of courtly life in later sixteenth-century Istanbul. This painting illustrates the arrival of the Safavid prince Haidar Mirza, sent to the Ottoman court as a hostage to fulfill the terms of a treaty between the Ottomans and the Safavids.. "Ottoman Army Entering a City", Folio from a Divan of Mahmud `Abd al-Baqi 450587

A Prince and his consort. Date: ca. 1790. Opaque watercolor on paper. Origin: Jaipur or Alwar, Rajasthan state, India. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

On a golden tabouret on a white terrace sits a royal couple on the left, the man holds the snake of the hookah, the woman behind him a tampoera, on the left behind the tabouret three servants, on the right in front of the tabouret a dancing woman with behind her a group of women, some of them holding a musical instrument, behind the terrrass bushes and cypresses. The representation is in frame lines of black, red and white, a golden piping around the inner edge, the outer edge of the leaf is in sky blue with foliage in gold, the vertical edges as wide as horizontal, around the painted edge even more frame lines in white, red and black, also filled in with a golden piping in the middle., Frost with musicians, draughtsman: anonymous, Shorapur, 1770 - 1790, paper, brush, brush, h 225 mm × w 291 mm, h 144 mm × w 218 mm

Month of Pausha, Page from a Baramasa Series Indian. Month of Pausha, Page from a Baramasa Series, ca. 1750. Opaque watercolor and gold on paper, sheet: 13 3/4 x 10 5/8 in. (34.9 x 27.0 cm). Asian Art ca. 1750

Setmalar Ragini: Folio from a ragamala series (Garland of Musical Modes) ca. 1630-40 India (Madhya Pradesh, Malwa) This ragini evokes the rainy season and is given dramatic expression by the bands of heavy clouds and snakelike bolts of lightning across the upper register. The associated text by Lachiman Das tells of a woman, who, stricken by separation from her husband, has dressed as a man and taken up asceticism: [She has rubbed ash on her body. .[and remembers, in her heart, [her husband.. [as she sits in the courtyard of the hermitage. The dark clouds appeared from the four directions, followed by the birds and brilliant lightning.” The juxtaposition of flattened forms and color fields, which are typical of the Malwa painting style that flourished outside the Mughal sphere of influence, gives this work a forceful presence.. Setmalar Ragini: Folio from a ragamala series (Garland of Musical Modes). India (Madhya Pradesh, Malwa). ca. 1630-40. Ink and opaque watercolor on paper. P

Ramakali Ragini. A young man sits on his knees for a young woman on a roll cushion, she turns her head off him, although her left foot lies on his right arm and he keeps her right foot in his left hand; Behind the man a woman is also with a calm head; A home a night sky in the background. The corners of the bottom left and at the top right are badly damaged and the blade also shows damage.

Portrait of a Falconer Holding a Hawk on Gloved Right Hand. Turkey, late 16th century. Manuscripts; folios. Ink, opaque watercolor, and gold on paper

The Emperor Alamgir (reigned 1658-1707) on Horseback, c. 1690-1710. India, Mughal Dynasty (1526-1756). Opaque watercolor, gold, and silver on paper; overall: 30.5 x 22.3 cm (12 x 8 3/4 in.).

Hoemojoen.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.

of 3