Opaque watercolour painting of the red-complexioned, four-armed and magnificently attired S?rya. He stands in samabhanga on a low dais at the centre of an oval frame. He carries in each of his upper hands a dagger, while his lower right hand is in abhaya and his lower left in varada mudra....
Painting illustrating the death of K???a and the Pandavas visiting the dying Bhishma from the epic Razmnameh. Originally from manuscript Bhishma lies in the centre of the scene surrounded immediately by kneeling attendants, while warriors and horsemen stand in the near distance amidst a rocky lan...
Winged Shaivite? figure riding composite bull, opaque watercolour and gold on paper, Murshidabad, ca. 1760
Painting, in opaque watercolour and gold on paper, a Shaivite figure with angel's wings and pale white skin, with a cobra entwined on either arm, riding a composite bull, made up of hares, ...
Garuda, the 'vahana' of Vishnu, returning with the vase of Amrita, which he had stolen from the gods in order to free his mother from Kadru, mother of serpents. The 'vahana' is the animal mount or vehicle of a Hindu god or goddess.
ca. 1820 - ca. 1825
Gouache on watermarked pa...
The shrine of Vishnu in the form of Viraraghavaswami, reclining on the serpent of eternity, the form in which he is worhipped at the shrine of Tiravallur in Chingleput district. To the right stands Lakshmi and to the left a Vaishnava priest.
ca. 1820 - ca. 1825
Gouache on wate...
Gouache on watermarked paper
Trichinopoly, ca. 1825
Vishnu as Vaikuntha-natha seated on the coils of the serpent Sesha between his two shaktis, Shri and Bhumi Devi; a third, Nila Devi, supports his right foot. From a series of 100 drawings of Hindu deities created in South India...
early 12th century
India (Uttar Pradesh)
Imagine posing as a model for this dancing female figure. You'll soon realize that this striking pose is anatomically impossible. Yet the sculptor has captured the essence of continuous, whirling motion.
Inkpot of the Emperor Jahangir
dated A.H. 1028/A.D. 1618–19
Sturdy, monumental, artfully rounded, richly adorned, and so weighty and well balanced that it could hardly be overturned, this dignified and useful inkpot can be seen as a poetic visual symbol of the empire inherited by Jahangir. If hi...
Deposition from cross with rejoicing angels, opaque watercolour and gold on paper, Mughal, ca. 1590-1600.
This painting was probably done for the Mughal emperor Jahangir (r.1605–1627) when he was still a prince living in the 1590s at Lahore, the northern capital of the Mughal empire, now in nort...