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Family of Nainsukh - Heroine Rushing to Her Lover (Abhisarika Nayika )

Ignoring all the hazards of nature -- night's blackness, pelting rain, streaking lightning above and striking cobras below -- the heroine rushes through the forest to her lover. Glancing over her shoulder she sees not her lost jewelry fallen on the ground, but the gently intertwined trees, strengthening her desire to be similarly entwined in her lover's arms.
Museum of Fine Arts, Boston Heroine Rushing to Her Lover (Abhisarika Nayika ) late 18th centuryDetails The Family of Nainsukh (edit IPTC) (E)
Ignoring all the hazards of nature -- night's blackness, pelting rain, streaking lightning above and striking cobras below -- the heroine rushes through the forest to her lover. Glancing over her shoulder she sees not her lost jewelry falle ...
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art inde - Torso of a fertility goddess (yakshi), (25 B.C. - 25 A.D.)

Sunga period
Madhya PradeshMuseum of Fine Arts, Boston Torso of a fertility goddess (yakshi), (25 B.C. - 25 A.D.)Details Unknown (edit IPTC) (E)
Sunga period
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Mohammed Abdur Rahman Chughtai - Hiraman Tota

Mohammed Abdur Rahman Chughtai from Lahore now in Pakistan, belonged to a family of traditional artists and architects, originally from Persia. He grew up with the language of the miniature tradition and this made him respond to the aesthetics of the Bengal School. Chughtai’s first lessons in art were from his uncle who was a traditional artist. He then joined the Mayo College of Art at Lahore and finally travelled to Kolkata (then Calcutta) to train under Abanindranath Tagore.

The painting ‘Hiraman Tota’ shows Chughtai’s understanding of the classical narrative tradition where the parrot, among other things, was a messenger between separated lovers. The treatment of the image with a seated woman in the foreground, the bird, architectural elements and the stylized vegetation in the background is strongly reminiscent of a miniature painting. Chughtai’s intense palette and handling of drapes, the lyricism of his lines mark this painting as a very distinctive work.National Gallery Of Modern Art (NGMA), New Delhi Hiraman Tota Mid 20th CenturyDetails Mohammed Abdur Rahman Chughtai (edit IPTC) (E)
Mohammed Abdur Rahman Chughtai from Lahore now in Pakistan, belonged to a family of traditional artists and architects, originally from Persia. He grew up with the language of the miniature tradition and this made him respond to the aesthet ...
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Kshitindranath Majumdar - Rasa Lila 20th Century

National Gallery Of Modern Art (NGMA), New Delhi Rasa Lila 20th CenturyDetails Kshitindranath Majumdar (edit IPTC) (E)
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anonyme - Baz Bahadur And Rani Rupmati

The romantic legend of the mid sixteenth century of Sultan Baz Bahadur of Mandu and his beautiful Queen Rupmati has been immortalized in the songs and couplets of Ahmad-ul-Umri Turkman written in 1599. Baz-Bahadur the handsome Sultan of Mandu in Central India crafted crown is decorated with flowers full of fragrance which have attracted the honey bees. Shaivite mark is an adding grace to his personality.

The artist combined in this composition raga Hindola with its first ragini Telangi. Instead of raga Hindola the artist painted ragini Telangi on the swing, swinging with the help of her three companions. She is wearing a buttidar ivory white coloured sari with heavy pallu. Her hairdo is decorated with white jasmine flowers. Several honey-bees have surrounded her due to the sweet fragrance coming from her body. She is fanned by her attendants. One of her companion tries to save her from the honey-bees.National Museum, Delhi Baz Bahadur And Rani Rupmati 1800 ADDetails Unknown () (edit IPTC) (E)
The romantic legend of the mid sixteenth century of Sultan Baz Bahadur of Mandu and his beautiful Queen Rupmati has been immortalized in the songs and couplets of Ahmad-ul-Umri Turkman written in 1599. Baz-Bahadur the handsome Sultan of Man ...
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anonyme - Celebrations Of Krishna s Birth (detail 1)

National Museum, Delhi Celebrations Of Krishna s Birth (1785 AD - 1790 AD)Details Unknown (detail1) (edit IPTC) (E)
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anonyme - Celebrations Of Krishna s Birth (detail 2)

National Museum, Delhi Celebrations Of Krishna s Birth (1785 AD - 1790 AD)Details Unknown (detail2) (edit IPTC) (E)
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anonyme - Celebrations Of Krishna s Birth (detail 3)

National Museum, Delhi Celebrations Of Krishna s Birth (1785 AD - 1790 AD)Details Unknown (detail3) (edit IPTC) (E)
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anonyme - Chand Bibi Playing Polo

Polo or Chaugan bazi, a traditional outdoor game among royal families till the eighteenth century, was an old pastime of the feudal class. It was while playing polo in 1210 that Qutab-din-Aibak had died falling from his horse. The game of polo was generally played between two teams of five players riding on horses with sticks having angular ends.

In this miniature, five princesses are shown playing polo against a dark green background. The princesses are mounted on beautifully decorated stallions of white, blue, dark brown and pale yellow colours. The colourful costumes and bejeweled head dresses of the princesses are painted with the utmost delicacy. The picture is a very good example of the early-18th century Golkonda style. In the foreground is a silvery-grey lotus lake with aquatic birds and in the background is the receding plains depicting rocks, huts and trees.

The Persian inscription in the background reads Chaugon-bazi-Chand Bibi. It is said that Chand Bibi was a gallant horse rider and fine polo player. She was the sister of Murtaza Nizam Shah I of Ahmadnagar and the widow of Ali Adil Shah I, the Sultan of Bijapur. She is known in history for her heroic battles with the Mughal forces of Emperor Akbar.Chand Bibi is among a small group of historic Indian women who took on powerful men. Paintings such as this provide clues to the liberal life-style of the Deccan.National Museum, Delhi Chand Bibi Playing Polo (1700 AD - 1750 AD)Details Unknown () (edit IPTC) (E)
Polo or Chaugan bazi, a traditional outdoor game among royal families till the eighteenth century, was an old pastime of the feudal class. It was while playing polo in 1210 that Qutab-din-Aibak had died falling from his horse. The game of p ...
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anonyme - Chand Bibi Playing Polo (detail)

In this miniature, five princesses are shown playing polo against a dark green background. The princesses are mounted on beautifully decorated stallions of white, blue, dark brown and pale yellow colours. The colourful costumes and bejeweled head dresses of the princesses are painted with the utmost delicacy. The picture is a very good example of the early-18th century Golkonda style. In the foreground is a silvery-grey lotus lake with aquatic birds and in the background is the receding plains depicting rocks, huts and trees.
National Museum, Delhi Chand Bibi Playing Polo (1700 AD - 1750 AD)Details Unknown (detail) (edit IPTC) (E)
In this miniature, five princesses are shown playing polo against a dark green background. The princesses are mounted on beautifully decorated stallions of white, blue, dark brown and pale yellow colours. The colourful costumes and bejewele ...
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anonyme - Cowherd Krishna And Surprised Radha

The poet Keshvadasa of Orchha, the capital seat of Bundelas in central India, composed his famous poetry Rasikapriya in 1592 AD. This picture of Bundi style is based on the love sports of Radha and Krishna. The poet describes in Rasikapriya- love, separation, union and emotions of Radha and Krishna. Here the heroine is Radha – the soul and the hero is Krishna – the lord himself.

Illustrates here a verse from the poetry of Rasikapriya depicts Radha asking her sakhi how Nanda and Yasodha could be so unkind as to send Krishna to forest with cows with other gopalas, who is as lustrous as the sun, as delicate as moon, kind hearted like Shiva, strong like Indra, and valorous like Rama, handsome like Kamadeva the god of love. Krishna is also calm like a sea and wise and clever like Ganapati.

The artist tried to fill the space by creating small figures of gods between the two beautifully decorated palatial houses of Nanda-Yashoda and Radha. Rama is shown on Pushpak Viman, while he was returning from Lanka after defeating Ravana and Indra is on his white elephant Airavata. Ganesha is shown seated before Shiva and Parvati under a tree and Nandi is also shown in front of them. Kamadeva- the god of love is shown with bow and arrow of flowers and the sun and moon are shinning in the sky.

The beautiful architecture of the house and its decorative interior is rendered colourfully. The bejeweled Radha is shown standing on the door with her friend and looking at Krishna who is in colourful red and golden jama costume.National Museum, Delhi Cowherd Krishna And Surprised Radha 1700 ADDetails Unknown (edit IPTC) (E)
The poet Keshvadasa of Orchha, the capital seat of Bundelas in central India, composed his famous poetry Rasikapriya in 1592 AD. This picture of Bundi style is based on the love sports of Radha and Krishna. The poet describes in Rasikapriya ...
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National Museum, Delhi Daily Life In A Village 1750 ADDetails Unknown (detail) (edit IPTC) (E)
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anonyme - Fainted Laila and Majnun-Based on the Khamsa of Persian poet Nizami

a great musician. One day while hunting he saw the beautiful Rupmati in the dense forest singing melodious songs. Instantly he fell in love with her. In order to win her hand in marriage he requested Than Singh, a proud Thakur of the area and father of Rupmati. A fierce battle raged between them and Baz Bahadur ultimately defeated Than Singh and rode away with Rupmati and made her his queen.
Their love for each other and their mutual interest in music made their lives and their union idyllic. The forest drenched in pristine moonlight was their haunt. The king and queen used to ride together in the forests of Mandu composing and innovating new ragas and singing through these magical nights of their love. But their love was not a “happily ever afterwards” tale. Baz-Bahadur was defeated by the invading Mughal army of Emperor Akbar under Adham Khan and Rupmati became a captive. Adham Khan offered to marry her but she refused and preferred death. The brave and loyal queen eluded her captor through a lethal dose of poison. The lady of the lotus, as poets and bard singers called her, lies buried in her mausoleum at Sarangpur near Mandu with her beloved husband Baz-Bahadur, together in their final rest as they were in their lives.


National Museum, Delhi Fainted Laila And Majnun-Based On The Khamsa Of (1740 AD - 1750 AD)Details Unknown () (edit IPTC) (E)
a great musician. One day while hunting he saw the beautiful Rupmati in the dense forest singing melodious songs. Instantly he fell in love with her. In order to win her hand in marriage he requested Than Singh, a proud Thakur of the area a ...
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National Museum, Delhi Fainted Laila And Majnun-Based On The Khamsa Of (1740 AD - 1750 AD)Details Unknown (detail1) (edit IPTC) (E)
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National Museum, Delhi Fainted Laila And Majnun-Based On The Khamsa Of (1740 AD - 1750 AD)Details Unknown (detail2) (edit IPTC) (E)
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anonyme - Hero Enjoying The Bathing Beauty

Beauty expresses itself in various shades but the scenes related to snana and shringara, that is, bathing and adornment reveal beauty in its utmost lustre. The Indian art has produced some of the best examples of female beauty by exploring it during a bath or in adornment. For them, a woman, while bathing in heavenly blue transparent waters of either a river or spring, has always stood transformed into an altogether different person, a figure endowed with celestial beauty.
In this painting, the heroine has just finished her bath and helped by a maid who brought her costume in a tray is wearing her garments. Her black long hair cascade down on her back. Her lover, secretly looking at her from the window of the upper floor, is overwhelmed by her naive charms and beauty.
The composition is relatively simple. The blue tiled courtyard of her house and the green banana plants in the background greatly balance it. The Kotah painter draws his figures with remarkable assurance, imparting to the women in particular a look of great innocence and charm and converts thus his theme into a piece of pure artistic delight.


National Museum, Delhi Hero Enjoying The Bathing Beauty 1770 ADDetails Unknown (edit IPTC) (E)
Beauty expresses itself in various shades but the scenes related to snana and shringara, that is, bathing and adornment reveal beauty in its utmost lustre. The Indian art has produced some of the best examples of female beauty by exploring ...
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National Museum, Delhi Krishna Lifting Mount Govardhan 1800 ADDetails Unknown () (edit IPTC) (E)
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National Museum, Delhi Krishna Lifting Mount Govardhan 1800 ADDetails Unknown (detail) (edit IPTC) (E)
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National Museum, Delhi Lady Writing A Love Letter (1700 AD - 1800 AD)Details Unknown (detail) (edit IPTC) (E)
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National Museum, Delhi Lady Writing A Love Letter (1700 AD - 1800 AD)Details Unknown (edit IPTC) (E)
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National Museum, Delhi Lord Shiva Dancing (1700 AD - 1800 AD)Details Unknown (edit IPTC) (E)
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National Museum, Delhi Mughal Emperor Shahjahan (1660 AD - 1670 AD)Details Unknown (edit IPTC) (E)
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National Museum, Delhi Nanda And Other Cowherds Moving To Vrindavana Based ... (1785 AD - 1790 AD)Details Unknown (edit IPTC) (E)
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National Museum, Delhi Navaneeta Krishna (1850 AD - 1900 AD)Details Unknown (edit IPTC) (E)
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National Museum, Delhi Paradise Of Bhaisajyaguru (7th Century - 8th Century)Details Unknown () (edit IPTC) (E)
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National Museum, Delhi Prince Playing Holi In Harem 1800 ADDetails Unknown () (edit IPTC) (E)
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National Museum, Delhi Prince Playing Holi In Harem 1800 ADDetails Unknown (detail) (edit IPTC) (E)
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National Museum, Delhi Radha And Krishna In The Boat Of Love UnknownDetails Unknown () (edit IPTC) (E)
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National Museum, Delhi Radha And Krishna In The Boat Of Love UnknownDetails Unknown (detail1) (edit IPTC) (E)
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National Museum, Delhi Radha And Krishna In The Boat Of Love UnknownDetails Unknown (detail2) (edit IPTC) (E)
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National Museum, Delhi Radha And Krishna In The Boat Of Love UnknownDetails Unknown (detail3) (edit IPTC) (E)
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National Museum, Delhi Ragaputra Vibhasha-Based On The Indian Classical Musical ModeUniara, 1770 ADDetails Unknown (edit IPTC) (E)
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National Museum, Delhi Raghuraj Singh Hunting Tigers Datia, (1800 AD - 1855 AD)Details Unknown () (edit IPTC) (E)
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National Museum, Delhi Raghuraj Singh Hunting Tigers Datia, (1800 AD - 1855 AD)Details Unknown (detail) (edit IPTC) (E)
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National Museum, Delhi Ragini Todi (1785 AD - 1790 AD)Details Unknown () (edit IPTC) (E)
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National Museum, Delhi | Ground Floor | Painting Gallery, Ground Floor Gajendra Moksha (1750 AD - 1770 AD)Details Unknown (edit IPTC) (E)
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National Museum, Delhi | Reserve Collections Storage | Reserve Collections Storage Raga Hindola With Ragini Telangi-Based On Indian Classical ... 1900 ADDetails Unknown () (edit IPTC) (E)
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National Museum, Delhi | Reserve Collections Storage | Reserve Collections Storage Raga Hindola With Ragini Telangi-Based On Indian Classical ... 1900 ADDetails Unknown (detail1) (edit IPTC) (E)
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National Museum, Delhi | Reserve Collections Storage | Reserve Collections Storage Raga Hindola With Ragini Telangi-Based On Indian Classical ... 1900 ADDetails Unknown (detail2) (edit IPTC) (E)
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Philadelphia Museum of Art An Elephant Combat C. 1660Details Artist:maker unknown, India (edit IPTC) (E)
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Philadelphia Museum of Art Krishna And Radha C. 1750Details Artist:maker unknown, India (edit IPTC) (E)
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Philadelphia Museum of Art Qasam Al-Abbas Arrives From Mecca And Crushes Tahmasp ... Manuscript Dated C. 1562-77; Imperial Mughal Workshop, Reign Of AkbarDetails Attributed to Mahesha, Indian, active c. ... (edit IPTC) (E)
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