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A WANDERING DERVISHSIGNED MUHAMMAD MUHSIN, SAFAVID IRAN, SECOND QUARTER 17TH CENTURY
18/04/2026

A WANDERING DERVISH
SIGNED MUHAMMAD MUHSIN, SAFAVID IRAN, SECOND QUARTER 17TH CENTURY

Panel with Moral Exhortations of Laila & Majnu from 'Album of Paintings and Calligraphy'India, Andhra Pradesh, Hyderabad...
14/04/2026

Panel with Moral Exhortations of Laila & Majnu from 'Album of Paintings and Calligraphy'
India, Andhra Pradesh, Hyderabad
A.H. 1094/1682-1683 AD
Books
Opaque watercolor, gold, and ink on paper mounted on board, leather binding

A fop visits a courtesan, ca. 1880West bengal, India
11/04/2026

A fop visits a courtesan, ca. 1880
West bengal, India

Shiva as Lord of the Dance (Nataraja)Date:Chola period, about 10th/11th centuryArtist:IndiaTamil NaduAbout this artworkS...
06/04/2026

Shiva as Lord of the Dance (Nataraja)

Date:

Chola period, about 10th/11th century

Artist:

India
Tamil Nadu

About this artwork

Shiva, one of the most important Hindu divinities, is here depicted as the Lord of the Dance (Nataraja), an iconic image in Indian art. Shiva’s cosmic dance sets in motion the rhythm of life and death; it pervades the universe, as symbolized by the ring of fire that is filled with the loose, snakelike locks of the god’s hair. One pair of his arms balances the flame of destruction and the hand drum (damaru) that beats the rhythm of life while another performs symbolic gestures: the raised right hand means “fear not,” and the left hand (gajahasta) pointing down toward his raised left foot signifies release from the ignorance that hinders realization of the ultimate reality. Shiva is shown perfectly balanced, with his right leg planted on the demon of darkness (Apasmara), stamping out ignorance. The tiny figure of the personified river goddess, Ganga, is caught up in his matted, flowing locks. Shiva was believed to break the fall of the great Ganges River as it descends from the Himalayas by standing beneath the waters, which divide over his hair, becoming the seven holy rivers of India. This classic bronze comes from the Chola period in the south of India. Icons such as this were carried in procession during religious ceremonies.

Fort William in the Kingdom of BENGAL = Le Fort Guilliaume dans le Royaume de BENGAL.Jan van Ryne, LondonPublish'd accor...
27/03/2026

Fort William in the Kingdom of BENGAL = Le Fort Guilliaume dans le Royaume de BENGAL.

Jan van Ryne, London

Publish'd according to Act of Parlaiment 1754.

The summer palace of Tipu SultanSrirangapatna, Karnataka, ca. 1795 - ca. 1800View of the Darya Daulat Bagh - a richly de...
09/03/2026

The summer palace of Tipu Sultan
Srirangapatna, Karnataka, ca. 1795 - ca. 1800

View of the Darya Daulat Bagh - a richly decorated interior room viewed through an arched entrance. Three soldiers in 'tiger marked' uniforms can be seen - one in front of pillars, two at right.

A MELEE DURING HOLIGood-natured pandemonium breaks loose in the zenana during the Springtime festival of Holi. A crowd ...
04/03/2026

A MELEE DURING HOLI

Good-natured pandemonium breaks loose in the zenana during the Springtime festival of Holi. A crowd of ladies in the harem throw red dye and spray scented water from syringes as they express their affection towards their companions on a white marble terrace of a garden pavilion. Some attempt to quickly refill their syringes from the pool in the foreground - but are interrupted at times by their friends. Musicians play a vigorous beat. A princess stands watching behind the crowd identifiable only by a red nimbus.

Worship of Shri NathjiAsian Art Museum, SmithsonianBikaner School, ca. 1700
14/02/2026

Worship of Shri Nathji
Asian Art Museum, Smithsonian
Bikaner School, ca. 1700

A Royal Picnic on a Terrace, c. 1620, attributed to Muhammad Ali (Persian, active 1590–1620)Mughal India, court of Akbar...
07/02/2026

A Royal Picnic on a Terrace, c. 1620, attributed to Muhammad Ali (Persian, active 1590–1620)
Mughal India, court of Akbar (reigned 1556–1605)

A richly patterned carpet spans the width of the composition and forms the setting for a royal visit. The status of the highest-ranking person is indicated by the tan cloth placed over the carpet and the voluminous wine-colored cushion ornamented with stylized gold clouds. An attendant holding an emblem of Indian royalty, the fly whisk, stands to one side.

At the far right of the carpet are two books, indicating that they are learned men. Like the carpet, the book covers have central medallions and borders, in line with the Persian aesthetic that the Mughals of India held in high regard.

Krishna and Balarama are seated in a chariot driven by Akrura. They are leaving their home of Brindaban and travelling t...
20/01/2026

Krishna and Balarama are seated in a chariot driven by Akrura. They are leaving their home of Brindaban and travelling to Mathura to fight Krishna's uncle Kamsa. The gopis crowd around the chariot, clutching at the wheels, attempting to halt their departure.

The Calcutta Art Studio, ca. 1895, West Bengal, India

Radha chasing the shadow of a kite. The diminute figure flying the kite is Krishna, identified by his yellow costume and...
14/01/2026

Radha chasing the shadow of a kite. The diminute figure flying the kite is Krishna, identified by his yellow costume and blue skin colour; he is positioned in the top left-hand corner of the painted space.

The chasing of the kite's shadow rather than the real thing is a symbol of the separation, 'viraha', of the lover from the loved. This acts as a remainder of the separation of the ever-loving devotee from God.

Chajju, Pahari School, ca. 1810-1830, Punjab Hills, India

A sepoy and his wife, ca. 1830-1835Company School, Tamil Nadu, IndiaA private of the Grenadier Company of the 1st Madras...
14/01/2026

A sepoy and his wife, ca. 1830-1835
Company School, Tamil Nadu, India

A private of the Grenadier Company of the 1st Madras Native Infantry in uniform. His sword hangs from his belt and he is carrying a rifle, looking towards his wife. She is dressed in a sari, has a number of tilakas on her forehead, and carries on her head a bundle in which are stuck some rolled plantain leaves.

© British Museum

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