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Collezioni: Art Institute of Chicago, Cleveland Museum of Art, Ermitage, Galleria Tret'jakov, Getty Museum, Harvard Art Museums, Hirshhorn Museum and Sculpture Garden, Metropolitan Museum of Art, Minneapolis Institute of Art, Museo del Louvre, Museo Puškin delle belle arti, Museo russo, Museum of Modern Art, National Gallery of Art, National Museum of Asian Art, National Portrait Gallery, Rijksmuseum, Smithsonian American Art Museum, Statens Museum for Kunst, Victoria and Albert Museum, Villa Getty, Whitney Museum of American Art, Catalogo statale del fondo museale russo (274 musei), Europeana (19 musei), Wikidata (6 musei), Paris Musées (12 musei) e Joconde, la banca dati dei musei del Ministero della Cultura francese (495 musei). Le immagini appartengono ai titolari dei diritti.

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Layla and Majnun in the wilderness with animals, from a Khamsa (Quintet) of Amir Khusrau Dihlavi, Sanwalah, c. 1590–1600SanwalahLayla and Majnun in the wilderness with animals, from a Khamsa (Quintet) of Amir Khusrau Dihlavic. 1590–1600Cleveland Museum of Art
Court lady singing and playing the vina, Muhammad Rizavi Hindi, c. 1760Muhammad Rizavi HindiCourt lady singing and playing the vinac. 1760Cleveland Museum of Art
The Heroine Who Waits Anxiously for Her Absent Lover: Utka Nayika, c. 1734–50The Heroine Who Waits Anxiously for Her Absent Lover: Utka Nayikac. 1734–50Cleveland Museum of Art
Vishnu in Female Form of Mohini Carrying Amrita for the Gods, c. 1890Vishnu in Female Form of Mohini Carrying Amrita for the Godsc. 1890Cleveland Museum of Art
Text, Folio 145 (verso), from a Manuscript of the Perfection of Wisdom in Eight Thousand Lines (Ashtasahasrika Prajnaparamita-sutra), Sunday, September 14, 1119 (year 239 of the Newar Samvat in the month of Ashvina)Text, Folio 145 (verso), from a Manuscript of the Perfection of Wisdom in Eight Thousand Lines (Ashtasahasrika Prajnaparamita-sutra)Sunday, September 14, 1119 (year 239 of the Newar Samvat in the month of Ashvina)Cleveland Museum of Art
Page from Tales of a Parrot (Tuti-nama): text page, c. 1560Page from Tales of a Parrot (Tuti-nama): text pagec. 1560Cleveland Museum of Art
Icon of the New Testament Trinity, c. 1450Icon of the New Testament Trinityc. 1450105 ByzantineCleveland Museum of Art
Circumcision ceremony for Akbar’s sons, painting 126 from an Akbar-nama (Book of Akbar) of Abu’l Fazl (Indian, 1551–1602), Dharam Das, c. 1602–3Dharam DasCircumcision ceremony for Akbar’s sons, painting 126 from an Akbar-nama (Book of Akbar) of Abu’l Fazl (Indian, 1551–1602)c. 1602–3Cleveland Museum of Art
King Dasharatha confers with Kaikeyi, from the “Shangri” Ramayana, c. 1700–1725King Dasharatha confers with Kaikeyi, from the “Shangri” Ramayanac. 1700–1725Cleveland Museum of Art
The prince and Nikfal are joined by Khalis and the Mukhlis who are the grateful snake and frog in human form, from a Tuti-nama (Tales of a Parrot): Eighteenth Night, c. 1560The prince and Nikfal are joined by Khalis and the Mukhlis who are the grateful snake and frog in human form, from a Tuti-nama (Tales of a Parrot): Eighteenth Nightc. 1560Cleveland Museum of Art
The vagabond crosses a stream with the possessions of the daughter-in-law of the king of Banaras and absconds, from a Tuti-nama (Tales of a Parrot): Sixteenth Night, c. 1560The vagabond crosses a stream with the possessions of the daughter-in-law of the king of Banaras and absconds, from a Tuti-nama (Tales of a Parrot): Sixteenth Nightc. 1560Cleveland Museum of Art
Leaf Excised from a Psalter: The Ascension, c. 1260Leaf Excised from a Psalter: The Ascensionc. 1260Cleveland Museum of Art
The dream of Zulaykha, from the Amber Album, c. 1670The dream of Zulaykha, from the Amber Albumc. 1670Cleveland Museum of Art
Durga Slaying Mahisha, c. 1700–1710Durga Slaying Mahishac. 1700–1710Cleveland Museum of Art
Pichvai of Shri Nathji, 1825–50Pichvai of Shri Nathji1825–50Cleveland Museum of Art
Miniature Excised from a Manuscript: St. Jerome in the Wilderness, c. 1500Miniature Excised from a Manuscript: St. Jerome in the Wildernessc. 1500Cleveland Museum of Art
Page from Tales of a Parrot (Tuti-nama): text page, c. 1560Page from Tales of a Parrot (Tuti-nama): text pagec. 1560Cleveland Museum of Art
Text, folio 158 (verso), from a Manuscript of the Perfection of Wisdom in Eight Thousand Lines (Ashtasahasrika Prajnaparamita-sutra), Sunday, September 14, 1119 (year 239 of the Newar Samvat in the month of Ashvina)Text, folio 158 (verso), from a Manuscript of the Perfection of Wisdom in Eight Thousand Lines (Ashtasahasrika Prajnaparamita-sutra)Sunday, September 14, 1119 (year 239 of the Newar Samvat in the month of Ashvina)Cleveland Museum of Art
Text, Folio 109 (recto), from a Manuscript of the Perfection of Wisdom in Eight Thousand Lines (Ashtasahasrika Prajnaparamita-sutra), Sunday, September 14, 1119 (year 239 of the Newar Samvat in the month of Ashvina)Text, Folio 109 (recto), from a Manuscript of the Perfection of Wisdom in Eight Thousand Lines (Ashtasahasrika Prajnaparamita-sutra)Sunday, September 14, 1119 (year 239 of the Newar Samvat in the month of Ashvina)Cleveland Museum of Art
Text, Folio 41 (recto), from a Manuscript of the Perfection of Wisdom in Eight Thousand Lines (Ashtasahasrika Prajnaparamita-sutra), Sunday, September 14, 1119 (year 239 of the Newar Samvat in the month of Ashvina)Text, Folio 41 (recto), from a Manuscript of the Perfection of Wisdom in Eight Thousand Lines (Ashtasahasrika Prajnaparamita-sutra)Sunday, September 14, 1119 (year 239 of the Newar Samvat in the month of Ashvina)Cleveland Museum of Art
Panel from a Cassone: The Race of the Palio in the Streets of Florence, Giovanni Francesco Toscani, 1418Giovanni Francesco ToscaniPanel from a Cassone: The Race of the Palio in the Streets of Florence1418117A Italian RenaissanceCleveland Museum of Art
The monkey slain, his blood to be used as medicine for the ailing prince he has bitten, from a Tuti-nama (Tales of a Parrot): Fifth Night, Basawan​, c. 1560Basawan​The monkey slain, his blood to be used as medicine for the ailing prince he has bitten, from a Tuti-nama (Tales of a Parrot): Fifth Nightc. 1560Cleveland Museum of Art
The wounded monkey bites the hand of the prince, his chessmate, in the presence of guests, from a Tuti-nama (Tales of a Parrot): Fifth Night, Dasavanta, c. 1560DasavantaThe wounded monkey bites the hand of the prince, his chessmate, in the presence of guests, from a Tuti-nama (Tales of a Parrot): Fifth Nightc. 1560Cleveland Museum of Art
Ascetic Princess with Snakes in a Wilderness: Asavari Ragini, from a Ragamala, c. 1650Ascetic Princess with Snakes in a Wilderness: Asavari Ragini, from a Ragamalac. 1650Cleveland Museum of Art
Krishna and Radha Avoid Embarrassment: Mottaita Bhava, from a Rasikapriya, c. 1640Krishna and Radha Avoid Embarrassment: Mottaita Bhava, from a Rasikapriyac. 1640Cleveland Museum of Art
Two Elephants Fighting in a Courtyard Before Muhammad Shah, Nainsukh, c. 1730–40NainsukhTwo Elephants Fighting in a Courtyard Before Muhammad Shahc. 1730–40Cleveland Museum of Art
A Night Scene of Shiva Puja (recto), Muhammad Rizavi Hindi, c. 1760–70Muhammad Rizavi HindiA Night Scene of Shiva Puja (recto)c. 1760–70Cleveland Museum of Art
The parrot addresses Khujasta at the beginning of the forty-third night, from a Tuti-nama (Tales of a Parrot), c. 1560The parrot addresses Khujasta at the beginning of the forty-third night, from a Tuti-nama (Tales of a Parrot)c. 1560Cleveland Museum of Art
A prince visiting a holy man in a rocky landscape, c. 1590A prince visiting a holy man in a rocky landscapec. 1590Cleveland Museum of Art
Page from Tales of a Parrot (Tuti-nama): text page, c. 1560Page from Tales of a Parrot (Tuti-nama): text pagec. 1560Cleveland Museum of Art
Mahavira's Omniscience and First Teaching (Samavasarana), Folio 39 (verso), from a Kalpa-sutra, c. 1475–1500Mahavira's Omniscience and First Teaching (Samavasarana), Folio 39 (verso), from a Kalpa-sutrac. 1475–1500Cleveland Museum of Art
Page from Tales of a Parrot (Tuti-nama): text page, c. 1560Page from Tales of a Parrot (Tuti-nama): text pagec. 1560Cleveland Museum of Art
Yusuf and Zulaykha (recto), from an Anthology of Persian Verses, including the Haft Awrang (Seven Thrones) of Jami: The Fifth Throne, c. 1556–65Yusuf and Zulaykha (recto), from an Anthology of Persian Verses, including the Haft Awrang (Seven Thrones) of Jami: The Fifth Thronec. 1556–65116 IslamicCleveland Museum of Art
The Parrot Addresses Khujasta at the Beginning of the Twenty-seventh Night, form a Tuti-nama (Tales of a Parrot), c. 1560The Parrot Addresses Khujasta at the Beginning of the Twenty-seventh Night, form a Tuti-nama (Tales of a Parrot)c. 1560Cleveland Museum of Art
The parrot addresses Khujasta at the beginning of the thirty-third night, from a Tuti-nama (Tales of a Parrot), c. 1560The parrot addresses Khujasta at the beginning of the thirty-third night, from a Tuti-nama (Tales of a Parrot)c. 1560Cleveland Museum of Art
The third suitor, who is an archer, shoots the wicked fairy who has imprisoned Zuhra. He rides on a magic horse prepared by the second suitor and is led to the spot by the divining prowess of the first, from a Tuti-nama (Tales of a Parrot): Thirty-fourth Night, c. 1560The third suitor, who is an archer, shoots the wicked fairy who has imprisoned Zuhra. He rides on a magic horse prepared by the second suitor and is led to the spot by the divining prowess of the first, from a Tuti-nama (Tales of a Parrot): Thirty-fourth Nightc. 1560Cleveland Museum of Art
The young prince is presented to the king, his father, by his teacher, but refuses to speak, from a Tuti-nama (Tales of a Parrot): Eighth Night, c. 1560The young prince is presented to the king, his father, by his teacher, but refuses to speak, from a Tuti-nama (Tales of a Parrot): Eighth Nightc. 1560Cleveland Museum of Art
The pious man’s son presents the slain dragon to the king, from a Tuti-nama (Tales of a Parrot): Fifty-second Night, c. 1560The pious man’s son presents the slain dragon to the king, from a Tuti-nama (Tales of a Parrot): Fifty-second Nightc. 1560Cleveland Museum of Art
Nemi's Omniscience and First Teaching (below) and Nemi in the Realm of Liberation (above), Folio 51 (recto), from a Kalpa-sutra, c. 1475–1500Nemi's Omniscience and First Teaching (below) and Nemi in the Realm of Liberation (above), Folio 51 (recto), from a Kalpa-sutrac. 1475–1500Cleveland Museum of Art
Page from Tales of a Parrot (Tuti-nama): text page, c. 1560Page from Tales of a Parrot (Tuti-nama): text pagec. 1560Cleveland Museum of Art
Text, Folio 27 (verso), from a Kalpa-sutra, c. 1475–1500Text, Folio 27 (verso), from a Kalpa-sutrac. 1475–1500Cleveland Museum of Art
Text, Folio 44 (recto), from a Kalpa-sutra, c. 1475–1500Text, Folio 44 (recto), from a Kalpa-sutrac. 1475–1500Cleveland Museum of Art
Text, Folio 113 (recto), from a Manuscript of the Perfection of Wisdom in Eight Thousand Lines (Ashtasahasrika Prajnaparamita-sutra), Sunday, September 14, 1119 (year 239 of the Newar Samvat in the month of Ashvina)Text, Folio 113 (recto), from a Manuscript of the Perfection of Wisdom in Eight Thousand Lines (Ashtasahasrika Prajnaparamita-sutra)Sunday, September 14, 1119 (year 239 of the Newar Samvat in the month of Ashvina)Cleveland Museum of Art
Saint Monica from an Augustinian altarpiece, Venetian, 1450/75VenetianSaint Monica from an Augustinian altarpiece1450/75Sala 237Art Institute of Chicago
Virgin and Child, Pintoricchio, c. 1490–1500PinturicchioVirgin and Childc. 1490–1500Cleveland Museum of Art
The prince rejects the amorous advances of the king’s handmaiden, from a Tuti-nama (Tales of a Parrot): Eighth Night, c. 1560The prince rejects the amorous advances of the king’s handmaiden, from a Tuti-nama (Tales of a Parrot): Eighth Nightc. 1560Cleveland Museum of Art
The marriage of ‘Ubaid, son of a merchant of Tirmiz, from a Tuti-nama (Tales of a Parrot): Forty-second Night, c. 1560The marriage of ‘Ubaid, son of a merchant of Tirmiz, from a Tuti-nama (Tales of a Parrot): Forty-second Nightc. 1560Cleveland Museum of Art
Krishna Steals the Clothes of the Milkmaids and Expounds on the Virtue of Trees, from a Braj Bhagavata Purana, c. 1650Krishna Steals the Clothes of the Milkmaids and Expounds on the Virtue of Trees, from a Braj Bhagavata Puranac. 1650Cleveland Museum of Art
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