From Gujarat/Rajastan; ink and colors on cloth; 63 1/2in. x 64 1/8in. (152.2cm. x 163.5cm.) This elaborate and easily readable painted image illustrates the cosmological beliefs of the Jain religion. Essentially the patta is a representation of the creation of the mortal realm. Brightly colored concentric circles superimposed upon meandering streams, figures and texts create a vivid picture of the world as visualized by Jain philosophers in their complex oral and written discourses.
From Mewar (Rajastan); ink and opaque color on paper; 8 3/4in. x 71/2in. (21.8cm. x 19.8cm.) This lyrical composition is a representation of the unhappy love of the heroine, Radha, suffering the absence of her lover. Painted in the conservative Indian style, this image shows little artistic awareness and contact with the Mughal School of painting.
From Kota (Rajastan); ink and opaque color on paper; 7 7/8in. x 5 3/8in. (19.8cm. x 13.5cm.) This precisely painted, sensual and intimate image is an excellent example of the Rajput painting style that developed out of a highly Mughalized idiom. The finely detailed features of the two figures and the refined comforts of this palace terrace scene allow great insight into the precious world of the Indian nobility. This leaf is an illustration to a Ragamala: Biawal Ragini of Hindola Raga.
Ground pigment on cloth, mounted on brocade.
Angkor Wat style; sandstone; 10 1/2in. (27cm.) high. The characteristic detail and sensitivity of Khmer religious stone carving emerges in the facial features and intricate hairstyle of this fragment. With its face firmly set and framed within its hairlines, the image is at the same time both powerful and serene.
Ink and color on paper; dated 1970; 22 1/4in. x 11 1/2in. (56.2cm. x 29cm.) Artist: Wang Chi Chien (1907 - 2002). This untitled landscape is executed in using a folded paper technique which Wang typically utilized in his later paintings. His later work bridged his evolving westernized style with the traditional brush painting of his early years. This trend is characteristic of many Chinese painters who worked much of their lives outside of China.