Krishna is in a relationship with a group of women.
The portals are indicated by the cool blue color behind her, while the framed with verses from the Qur'an and inlaid in black red behind the Krishna grouping suggests pas marble, and the spandrels are decorated with floral ara sion.
Not strong enough story unfolds and the heightened emotional tensions detract from the purity of the white marble, the scene.
Birds, trees, and flowers are as brilliant against the adornments as they are against the landscape itself.
The figures all have plump faces and big eyes.
Outside the strongholds of the Mughals, there is life, and the variety of textile patterns provides at Delhi and Agra.
Descendants of the flatness of the scene engage the viewer in the drama because of the intensity of the color and resolute by local princes.
There is a Gouache on paper.
Through separation, reconciliation, and fulfillment, the poem shows the progress of Krishna and Radha's love.
The Trustees naturalism on the later schools of Indian painting is not to be reproduced without prior permission.
The theme is once again Krishna.
He returns to the village with his fellow cowherds and their cattle wearing a yellow garment and a peacock crown.
All eyes are on him as he plays his flute.
Women with water jugs on their heads look at him as others lean from windows to watch.
The village scene is drawn into us by the diagonal movements of the cows as they surge through the gate and into the courtyard beyond.
In the distance, we can see other villagers going about their work or sitting in their houses.
An atmospheric sky and a rim of dark trees make up the aura of enchanted naturalism.
All the figures are the same in type, with refined proportions and a gentle movement that complement the setting.
There is a Gouache on paper.
Each royal household had its own style of painting, just as each Rajput court had a distinctive style of painting.
These massive structures are often combined with imposing fortifications due to both tradition and political reality.
Royal families placed these palaces at strategic hilltop locations and gradually expanded them over the course of generations.
The plans of such structures are often asymmetrical and complex, with multiple terraces and courtyards opening into complicated arrangements of chambers and hallways, some of which were reserved for members of the royal family.
The capital of the Mewar Kingdom was relocated from Chittor in 1559 after the town was sacked by the Mughals.
The Mewar rulers expanded the city and their royal residences almost continuously over the next 300 years because the new location proved to be more defensible.
The complex is located on a ridge above a lake and is better understood as a series of palaces rather than a single building.
The dull stone of the structure was ornamented with bright flourishes of paint, inlaid stone, silverwork, and mirror and colored glass.
Artists paid attention to the best points of decoration.
The balcony was built in the 17th century.
The ceremonial gather surface is ornamented with foliage patterns.
The public nature of this space and its function as colored tile and stained glass.
The courtyard extension of royal authority is reflected in the decoration.
The three molded, high-relief decoration is the work of later centuries.
The display of peacocks in the courtyard's lower level is still important, even though the decoration becomes even more important in court politics.
After the rise of the Ming, China began to look inward, limiting and regulating discarded leftovers, as it had begun to dominate the ceramics trade from Vietnam.
The "Ming gap," a sunken ship laden Chinese trade ceramics, found 22 miles off the coast of Hoi, was an opportunity for the merchants and artists of Southeast An.
Over a quarter of a million ceramic works Asia were brought to light by this wreck.
Both the Thai and Burmese kingdoms were made by Vietnamese potters and were inspired by ceramics from China.
The potters of Sukhothai made green-glazed and blue wares and embellished them with brown-glazed wares at the renowned kilns of Sawankhalok.
The barbed-rim dishes have a diameter of 14'' and 13''.
India's Buddhist and Hindu traditions were accepted in Southeast Asia.
Buddhism was adopted quickly and widely.
Islam began to gain influence in the region in the 12th century.
There were foreign influences at work in Southeast Asia.
As demand for Southeast Asian goods rose abroad, colonial powers saw the region as an attractive target and expanded trade.
The consequences of European, East Asian, and American economic and military interests were profound.