1.1. Seven Buddha's of the past and Maitreya, a folio from the Vredenburg manuscript.
1.2. One of the eight major events of Buddha's life, a folio from the Vredenburg manuscript.
1.3. Seven Buddha's of the past and Maitreya, a folio from the Vredenburg manuscript.
1.4. One of the eight major events of Buddha's life, a folio from the Vredenburg manuscript.
1.5. The simultaneous presence of Amitabha and Prajnaparmita, a folio from the Vredenburg manuscript.
1.6. The goddess forming a pair with Amitabha, a folio from the Vredenburg manuscript
1.7. The five Tathagatas, a folio from the Vredenburg manuscript.
1.8. A group of Buddhas of the past, a folio from the Vredenburg manuscript.
1.9. The quest of Sadaprarudita, a folio from the Vredenburg manuscript
1.10. The quest of Sadaprarudita, a folio from the Vredenburg manuscript
1.11. The quest of Sadaprarudita, a folio from the Vredenburg manuscript
2.1. A panel showing the earliest minting scene prepared on the basis of a mural painting depicting an allegorical mint in Pompeii, Italy
2.2. Sketches in a later edition of Ain-i-Akbari, 1873 presenting the process of minting of coins
2.3. Mint workers striking coins by hand, Mughal painting, North India, 17th-18th century,
British Museum, London
2.4. Minting scenes, painted by Arthur William Devis (1762-1822), Ashmolean Museum, Oxford.
2.5. 'An Assayer' by Arther William Devis, Ashmolean Museum, Oxford
2.6. Working of a Sikh mint, Punjab, 19th century, National Museum, New Delhi
2.7. A mint worker preparing his tools, Punjab, 19th century, National Museum, New Delhi
3.1. Wedding of Humayun and Hamida Banu in September 1541. Work of Asi and Daulat. From an Akbarnama c. 1590-1600 sometimes associated with Hamida Banu. Courtesy : Cynthia Hazen Polsky Collection, New York
3.2. Folio from the Bayaz, an Anthology of pictures and calligraphic specimens by Mir All. Courtesy : National Museum, New Delhi
3.3. Picture of a Safavid Ruler (Shah Tahmasp?) attributed to Sultan Muhammad. From the Bayaz. Courtesy : National Museum, New Delhi
3.4. Two pages of the Gulistan-i-Sa'di written by Sultan 'All in 891H/1486. Courtesy : Art and History Trust, Houston
3.5. Scene in a bathhouse. Ascribed to Govardhan who reworked a Bukharan work from the Khamsa-i-Mir 'All ShirNawa '/written by Sultan 'All in 897H/1492. Courtesy : Royal Library, Windsor Castle
3.6. Vishnu killing the demons Mali and Sumali. From a Ramayana ms of 1594 associated with Hamida Banu. Present location not known
4.1. Prince and holy men. Attributed to Manohar, Mughal school, circa 1610. 14,9 x 8,7 cm. L. Habighorst Collection, Koblenz, Germany
4.2. Sulaiman Shikoh in conversation with a Shaikh. Attributed to Chitarman, Mughal school, circa 1655-58. 23,8 x 16,2 cm. L. Habighorst Collection, Koblenz, Germany
4.3. Conclave of four Shaikhs by a riverside. Attributed to Payag, Mughal school, circa 1640. 15,4 x 10,1 cm. L. Habighorst Collection, Koblenz, Germany
4.4. Four Sufis in conversation. Drawing, Mughal school, after 1640. 15,0 x 10,5 cm. L. Habighorst Collection, Koblenz, Germany
4.5. Sages' conversation. Mughal school, circa 1640. 22,3 x 14,5 cm. St. Petersburg Muraqqa. Oriental Manuscript. Coll. St. Petersburg
4.6. Convent of six holy men. Coloured drawing, School unknown, Chandigarh Art Museum and Gallery (F-6)
4.7. Portrait of Shah Mian Mir. Drawing, Mughal school, circa 1630. 12,1 x 7,4 cm. L. Habighorst Collection, Koblenz, Germany
4.8. Four Shaikhs under a tree. Sketch of Rembrandt, circa 1650. British Museum, London
5.1. "The sorrow of Krishna" from the first Kangra Gita Govinda series
5.2. Radha's fantasy about a dalliance between Krishna and one of the gopis
5.3. The elephant-headed Ganesh and his wives, who are in human form
5.4. Genealogical painting of the rulers of Mewar including Bhopal Singh, the last reigning Maharana.
5.5. Durga as Mahishasuramardini slaying the buffalo demon
5.6. Dewas Junior Branch stamp showing the goddess on a British lion slaying a German soldier.
5.7. Eighteenth century Assamese manuscript illustration
5.8. Ascetic seated with a "peaceful kingdom" of animals beneath the tree, whose "fruit" consists of animal and human heads
5.9. Company School painting from the Fraser album, Haryana, circa 1816
5.10. The sacred "undying" tree, the Akshayavata, in Prayag (Allahabad)
5.11. The human and animal fruit of the tree and the tree itself are painted only in gold while the birds in the tree are renderd in other colours
5.12. Multiple perspective portrayal of Krishna's attack on Narakasura's citadel of Pragjyotisa
5.13. This Kangra drawing, circa 1790, consists of a composite image over time depicted by continuous narrative
5.14. Tilakyat Girdharji throwing red powder at an image of Shrinathji while his son Dauji II daubs it on Navanitapriyaji during Phuldol, the Flower Swing festival
5.15. Nathdwara painting, circa 1944
5.16. Krishna reveals himself as Visvarupa, his cosmic form containing the whole of reality
5.17. Matsyavatara rescues the four Vedas. A folio from the first Mankot Bhagavata Purana series or a Vishnu Avatara series, circa 1700
5.18. Raja Shamsher Sen (dressed as Shiva) with "Parvati" and "Nandi". Mandi painting, circa 1740
5.19. The union of Shiva and the Goddess above "sava" in a graveyard
5.20. Togalu Gombe Atta style shadow figure from Karnataka of Kama and his parrot mount (in composite bird-man form like Garuda) are shown riding a composite elephant, composed of nine women
5.21. Composite man with face, hands, and feet made up of birds. Pahari miniature painting from Chamba, circa 1695
5.22. The ganas, depicted with animal heads, in a battle where they fight with Shiva and Banasura against Krishna, Balarama, and Garuda. Gouache from an Usha-Aniruddha series, Chamba, circa 1775
5.23. Map of Dewas Senior Branch and Dewas Junior Branch showing that each was a composite polity made up of scattered but intertwined parcels of land
6.1. Young Abd-ar-Rahim Khan Khanan, son of Akbar's guardian Bairam Khan
7.1. Mercury spring. Mughal circa 1750. Bodleian Library Oxford. 26,5 x 17 cm
7.2. Mercury spring. Guler circa 1770. L. Habighorst Collection, Koblenz, Germany 17, 1 x 26, 3 cm.
7.3. Mercury spring. Kangra circa 1810. Bhuri Singh Museum Chamba HP. 1 9 x 25 cm.
7.4. Mercury spring. Kangra circa 1830. Chandigarh Museum and Art Gallery. 16,5 x 23 cm.
8.1. Feudal environment of opulence, leisure and pleasure. Guler, circa, 1800, L. Habighorst Collection, Koblenz (Germany)
8.2. Raja Jit Singh of Chamba with his Rani, Guler School at Chamba, circa 1800. Collection : Bhuri Singh Museum, Chamba
8.3. Ragini Varari (Beradi), Ragamala Painting-confluence of three arts : Music, Painting and Literature. Mewar, circa 1640. L. Habighorst Collection, Koblenz (Germany)
8.4. Abhisarika Nayika, detail from Basohli Rasamanjari Series, circa 1675. Collection : Dogra Art Gallery, Jammu
8.5. Lady playing on a lute, Later Mughal Painting, circa 1750. Collection : Himachal State Museum, Shimla
8.6. Mugdha-a coy Nayika, Kangra Painting, circa 1820. Collection : Honolulu Academy of Arts (USA)
8.7. Vipralabdha Nayika, A heroine cheated by a Nayak. Nurpur, circa 1800. L. Habighorst Collection, Koblenz (Germany)
9.1. Abhisaudhita Nayika, Malwa painting of about AD 1660, Rasavali, Puhakara
9.2. Samyoga (love in union) Rasikapriya , a Malwa painting of about AD 1670
9.3. Rama and demon Maricha, Malwa painting of about AD 1635-40, Ramayana series
9.4. Krishna subduing fire, Malwa painting of about AD 1690, Bhagavata Purana series
9.5. Putana Vadha or Krishna killing the demoness Putana, Malwa painting of about AD 1680-90, Bhagavata Purana series
9.6. Ragini Vibhasha
9.7. Hindola Raga, Malwa painting of about AD 1680-90, Ragamala series
10.1. The opening folio of the Rasamanjari
10.2. Madhya Abhisarika nayika, illustration from Bhanudatta's Rasamanjari
10.3. Ajnatayauvana Mugdha nayika, illustration from Bhanudatta's Rasamanjari
10.4. Madhya Vasaksajja nayika, illustration from Bhanudatta's Rasamanjari
10.5. Diva Abhisarika nayika, illustration from Bhanudatta's Rasamanjari
10.6. Pragalbha nayika, illustration from Bhanudatta's Rasamanjari
10.7. Dhira madhya nayika, illustration from Bhanudatta's Rasamanjari
11.1. Mattancherry Palace
11.2. St. Francis church
11.3. Temple of Krishna
11.4. The interior of Mattancherry Palace
11.5. A detail of Putrakameshthi yajna, Mattancherry, c. 17th century AD. Pi
11.6. Hanuman's encounter with demon Sursa, Mattancherry, c. 17th century AD
11.7. Rama's combat with Havana, Mattancherry, c. 17th century AD
11.8. Sita's fire ordeal, Mattancherry, c. 17th century AD
11.9. Rama, Sita and Lakshmana return to Ayodhya, Mattancherry, c. 17th century AD
11.10. Shyamala Devi seated on white lotus, Mattancherry, c. 18th century AD
11.11. Vishnu Sheshashyana, Mattancherry, c. 17th century AD.
11.12. Koodala Manikkaswamy, Mattancherry, c. 17th century AD
11.13. Siva and Parvati, Mattancherry, c. 17th century AD
11.14. Vishnu seated on Shesha, Mattancherry, c. 18th century AD
11.15. Vishnu, Mattancherry, c. 18th century AD
11.16. Krishna and Gopis in amorous posture, Mattancherry, c. 18th century AD
11.17. Girigovardhana, Mattancherry, c. 18th century AD
11.18. A scene from Ratirahasya, Mattancherry, c. 18th century AD.
11.19. Line drawing from the Kumarasambhava, Mattancherry, c. 18th century AD.
11.20. Padmanabhapuram Palace
11.21. Gajalakshmi, Padmanabhapuram Palace, c. 18th century AD.
11.22. Venugopala, Padmanabhpuram Palace, c. 18th century AD
11.23. Sthanamalya Sbivalingam, Padmanabhpuram Palace, c. 18th century AD
11.24. A detail of the cot
11.25. Gajendramoksha, Krishnapuram Palace, c. 18th century AD.
11.26. Rama piercing the seven Sala trees, copy of the paner from Mattancherry, Krishnapuram Palace, 20th century AD.
11.27. Bali vadha, copy of the panel from Mattancherry, Krishnapuram Palace, 20th century AD.
12.1. Anudha Radha
12.2. Pradurbhutamanobhava Madhya Sakhi to Krishna
12.3. Sakhi describes to Krishna the physical beauty of Radha
12.4. The Pining Radha : folio from a Rasikapriya Series, Mewar. Rajasthan, circa 1660, Virginia Museum of Fine Arts, the Nasli and Alice Heeramaneck Collection (Gift of Paul Mellon)
12.5. Kamabhsarika Nayika : Folio from a Rasikapriya Series. Mewar, Rajasthan, circa 1660. Philadelphia Museum
12.6. Navala Ananga Mugdha : Folio from a Rasikapriya Series. Mewar, Rajasthan, circa 1660. National Museum, New Delhi
13.1. Illustration to a story from the Mahabharata, Mewar School, circa 1700 AD. Collection : Rasaja Foundation, Delhi
14.1. Portrait Heads of Two Princes, Inscribed in Takri : "vidhata pal kutlehriya" (left); "mian bishambhar" (right). Body in light-brown line, and heads finished in full colours. Chamba School, c.l650. Page 15.5 x 10.8 cm. (804-76.804 DR.239)
14.2. Portrait Heads of a Raja and a Noble, Body in dark-brown line, and heads finished in full colours. Chamba School, c.1670-75. Page 9.5 x 13.7 cm. (802-76.802 DR.237)
14.3. Standing Portrait of a Courtier, Body in black line, and head finished in full colours. Chamba School, c.1670-75. Page, with red border 14.2 x 8.1 cm. Fragment of a bigger drawing. (803-76.803 DR.238)
14.4. Portrait Heads of a Young Prince and a Bearded, Body in brown line, and heads finished in full colours. Chamba School, c. 1670-80. Page 17 x 10.2 cm. (805-76.805 DR.240)
14.5. A Seated Raja, Smoking a Hookah, conversing with a seated official, Brown line, with touches of colour, and heads finished in full Colours. Chamba School, c.1690. Page 9.5 x 11.3 cm. (809-76.809 DR.244)
14.6. A Seated Prince, in Green Coast, and Two Bust Portraits of Princes, Brown line, with garments and heads finished in full colours. Chamba School, c. 1680-90. Page 29-3 x 20.6 cm. (806-76.806 DR.241)
14.7. Two seated princes conversing, Body in light-brown line, with heads finished in full colours. Chamba school, c. 1690-1700, Page 11. 5 x 17.9 cm (807 -76.807 DR. 242)
14.8. A prince seated, and a portrait head, at top right, Body in reddish-brown line, and heads finished in full colours. Inscribed in Takri at top : Chamba school, c. 1710-1720, Page 15. 8 x 13.5 cm. (810-76.810 DR. 245)
14.9. A prince seated holding a falcon. Two portrait drawings on reverse, Greenish-brown line, and colour washes. Chamba school, c. 1720, Page 11. 5 x 11.1 cm. (808-76.808 DR. 243)
14.10. A seated prince, Inscribed at top in Takri : "yanat duthain". Body in grey line, and head finished in full colours. Chamba school, c. 1720. Page 15.3 x 10 cm. (811-76.811 DR. 246)
14.11. A prince seated with a sword, Body in brownish line, the upper part and head finished in full colours. Chamba school, c. 1730-1740. Page 12 x 8.8 cm. (812.76.812 DR. 247)
14.12. Raja Umed Singh (1748-1764) of Chamba, reclining against a bolster, Smoking a hookah on a terrace. An attendant stands behind him with a fly-whisk, Inscribed at top in Hindi "Raja Umed Singh". Black line on partially white-primed ground. Chamba school, c. 1750-1755. Page 22 x 17.5 cm. (813-76.813 DR. 248) All the above plates (14.1 to 14.12) are from the collection of Jagdish & Kamla Mittal Museum of Indian Art, Hyderabad.
15.1. Siva performs the daily samdhya rite. Himachal Pradesh, Kangra school, c. 1800-1825. Opaque water colours on paper; Image : 23. 5 x 19.7 cm. Ramesh and Urmil Kapoor Collection. Photo : Courtesy Norton Simon Museum, Pasadena
15.2. Detail of Pl.15.1
16.1. King Dasharatha performing Putrakameshthi yajna
16.2. Kaushalya's amazement on observing Rama simultaneously sleeping and eating
16.3. Rama and Lakshmana hunting deer (Mrigaya)
16.4. Meeting of Dasharatha and Vishvamitra
16.5. Dasharatha allows Vishvamitra to take Rama and Lakshmana with him
16.6. Rama and Lakshamana in Mithila visit the arena for bow contest (Dhanushyajna)
16.7. Meeting of Rama and Lakshmana with Sita in the palace garden of Janaka, at Mithila, before the lifting of the bow by Rama
16.8. Rama and Lakshmana arrive in Dhanush yajnashala (the arena of bow contest)
16.9. Rama and Lakshmana being introduced to Parashuram after the lifting of Janaka's bow by Rama
16.10. Dasharatha proceeding to Mithila with the marriage party for the marriage of his four sons
16.11. Meeting of Dasharatha and Janaka on the occasion of marriage of Rama
16.12. Janaka washes the feet of Rama during the marriage ritual
16.13. Wedding feast after the marriage of Rama and Sita at Mithila
16.14. Rama and Sita offering worship at the Durga temple after their wedding
16.15. Rama, Lakshmana, Bharata and Shatrughana bowing to mothers after the marriage
16.16. Kaikeyi in Kopa-Griha before Dasharatha
16.17. Rama taking leave of Dasharatha on proceeding to Vanavasa, accompanied by Sita and Lakshmana
16.18. Departure of Rama, Sita and Lakshmana for exile in forest
16.19. The first halt of Rama, Sita and Lakshmana in the forest at Singraur
16.20. Rama, Sita and Lakshmana arrive at the ashrama of Bhardvaja
16.21. Rama, Sita and Lakshmana arrive at the ashrama of Valmiki
16.22. Forest life of Rama, Sita and Lakshmana in Chitrakut
16.23. Cremation of Dasharatha
17.1. Gita Govinda, Gujarat, c 1550, Author's personal collection
17.2. Rasikapriya, Malwa, 1634, Author's personal collection
17.3. Rasikapriya, Mewar, 18th century, Author's personal collection
17.4. Drawing, Pahari, 19th century, Author's personal collection
17.5. Kangra, 1820-1830, Author's personal collection
17.6. Kangra 1820-1830, Author's personal collection
18.1. A folio from the Rasikapriya manuscript; the colophon reveals the name of Raja Devi Chand of Kahlur (Bilaspur) as its commentator. Collection : Library, Himachal Academy of Art, Culture and Languages, Shimla
18.2. Krishna raises the Mount Govardhana. Possibly, based on the verse of the Bihari-Satsai. Kangra, circa 1825. Collection : Bhuri Singh Museum, Chamba
18.3. A confidante teases the nayika by humorous remark. Illustration to a verse of the poet Matirama. Kangra, circa 1800. Collection : National Museum, New Delhi
18.4. Radha expresses her desire for union with Krishna. Illustration to the poet Keshavadas' Rasikapriya. Kangra, circa 1800. Collection : Jagdish and Kamla Mittal museum of Indian Art
18.5. Surata-gopana; A nayika conceals her love-marks on her bosom. Illustration to the Sundar-Shringara poem. Guler painting at Mandi atelier, circa 1780. Collection : Simon Ray, London. Photo courtesy : Sotheby's Inc
18.6. Navodha Suratanta; a newly-wed nayika being teased by her sisters-in-law. Illustration to the Sundar-Shringara poem. Guler painting at Mandi atelier, circa 1780. Collection : Simon Ray, London. Photo courtesy : Sotheby's Inc
18.7. A coy nayika tossing a flower. Illustration to a verse of the Bihari-Satsai. Kangra, circa 1820. Collection : Bhuri Singh Museum. Chamba
18.8. A coy nayika tossing a flower. Illustration to a verse of the 'Bihari-Satsai'. Kangra, circa 1840. Collection : Government Museum and Art Gallery, Chandigarh
18.9. Crow's augury. Illustration to a verse of the poet Tularam. Kangra, circa 1820. Collection : Bhuri Singh Museum, Chamba.
18.10. The divine-lovers meet at the bank of Yamuna. Kangra, circa 1800. Collection : Dr. Gursharan Sidhu, USA
18.11. Parakiya Radha discreetly casts glances from the veil at her lover Krishna. Illustration to a verse of the poet Kalidas Trivedi. Kangra, circa 1800. Collection : Government Museum and Art Gallery, Chandigarh
18.12. Radha and gopis swoon on hearing Krishna's magic flute. Illustration to a verse of the poet Gang. Chamba, circa 1770. The Heeramaneck collection, USA
18.13. Vipralabdha Radha. Illustration to the poet Keshavadas' Rasikapriya. Kangra, circa 1850. Private collection
18.14. Krishna bewitched by Radha's ravishing beauty. Illustration to a verse of the poet Bhagwan. Kangra, circa 1790. Collection : Ramesh Kapoor, New York
18.15. The love-sports of Krishna. Painting based on a verse of an unknown poet. Kangra, circa 1800. Collection : Bharat Kala Bhawan, Varanasi
19.1. Rama and Sita enthroned, Chamba Rumal, mid 18th century. Collection : National Museum, New Delhi
19.2. Rama and Sita enthroned, 19th century mural from Rangmahal, Chamba, now preserved in the National Museum, New Delhi
19.3. Krishna legend, Chamba Rumal, 19th century. Collection : National Museum, New Delhi
19.4. Sheltering in the rains, mural from Rangmahal, Chamba, 19th century, now preserved in National Museum, New Delhi
19.5. Wedding of Shiva and Parvati, Chamba Rumal, Late 18th century. Collection: National Museum, New Delhi
19.6. Wedding scene painting done on cloth, late Kangra style, 19th century. Collection : National Museum, New Delhi
19.7. Gajantaka Shiva, Chamba Rumal, circa 18th century. Collection : National Museum, New Delhi
19.8. Gajantaka Shiva, Guler painting, Late 18th century. Collection : National Museum, New Delhi
19.9. Holy family, Chamba Rumal, 19th century. Collection : National Museum, New Delhi
19.10. Holy family, 19th century mural from Rangmahal, Chamba, now preserved in National Museum, New Delhi
20.1. Painting depicting the ladies carrying gifts covered with embroidered textile. Detail from a Kangra Ragamala folio, circa 1800. Collection : National Museum, New Delhi
20.2. Drawing of mandapaof vedishowing the symbols (diagrams) of Ganesha and Brahma. Drawing by Parikshit Sharma of Chamba
20.3. A celestial wedding showing the galaxy of gods. Chamba Rumal, early 19th century. Collection : Indian Museum, Kolkata
20.4. Chamba rumal showing marriage ceremony. Brahma and Ganesha are depicted in iconographical forms, circa 1775-80. Collection : Himachal State Museum, Shimla
20.5. Arti prepared for greeting the bridegroom
20.6. Chamba rumal depicting wedding scene. The newly wedded couple is being greeted with artiby the mother of bridegroom. Late 18th century, Collection : Calico Museum, Ahmedbad
20.7. Chamba rumal depicting the folk ritual of juth in the lower room of the palace, circa 1775 AD. Collection : Bhuri Singh Museum, Chamba
20.8. The circular coverlet (chhabii) showing the til-chauli dance of Chamba. 20th century. Collection : Bhuri Singh Museum, Chamba
20.9. Detail of a spoiled rumal depicting Rasamandala. The faded drawing in the middle is still visible. Late 19th century, Author's collection
20.10. Circular coverlet showing Sun motif in the centre. Late 18th century. Collection : Rajkumar Brijendra Singh
20.11. Circular coverlet depicting Rasamandala, circa 1800. Collection : Bharat Kala Bhawan, Varanasi
21.1. Krishna and Radha taking shelter under an umbrella and looking intently into each other's eyes
21.2. Four armed Ganesha seated with crossed legs on a full blown lotus
21.3. Shiva and Parvati journeying together on the bull Nandi after their descent from mount Kailasa
21.4. Four headed Brahma seated on a full blown lotus along with his consort Sarasvati seated to his right instead of the usual left
21.5. Baby Krishna crawling on the floor with a butter ball in his hand
21.6. Krishna standing cross-legged and playing on flute
21.7. Hanuman clad in shorts and wearing a conical kuladarcap stands in obeisance with folded hands suggesting devotion towards Lord Rama
21.8. Dashrathi Ram holding bow and arrow (sam-cbap-dbar)
21.9. Garuda with wings turned up in conformity to the ancient text; he has eyes of the eagle, nose of a parrot and claws of the bird as his feet
21.10. Surya. The lone figure of Sun god wearing an ankle reaching dhoti and holding two lotus stalks in his hands raised up to the shoulder level
21.11. Four armed Vishnu holding conventional emblems in his four hands
21.12. Two armed crowned deity probably Indra
21.13. Sage Narada
21.14. Hanuman leaping across the skies carrying the mountain in his hand
21.15. Sage Narada seated cross-legged on full blown lotus
21.16. Shiva dancing the evening dance of tandava. Lifts his leg in bbujang-trasiat
21.17. Raja Jit Singh with his queen Sharada, Guler style AD 1800. Collection : Bhuri Singh Museum, Chamba
22.1. Mural from Rang Mahal, Chamba, transferred by the laboratory of the National Museum, New Delhi
22.2. Haveli in Phalodi
23.1. Maharana Amar Singh, Udaipur, c. 1700 AD
23.2. Maharana Amar Singh, Udaipur, c. 1700 AD
23.3. Maharana Amar Singh with Raja Ajit singh and Swai Jai Singh, Udaipur, c. 1708 AD
23.4. Maharana Amar Singh playing Holi with his chieftains (Sardars), Udaipur, c. 1700 AD
23.5. Celebration of Dewali in the Kotah Palace, Kotah, late 17th century AD
23.6. Maharana Sangram Singh with Dasbavtara and other mythological cartouches, Udaipur, c. 1720 AD
23.7. Maharana Sangram Singh watching crocodile feeding, Udaipur, c. 1720 AD
23.8. Maharana Sangram Singh watching an elephant fight, Udaipur, c. 1720 AD
23.9. Maharana Sangram Singh with his sons, Udaipur, c. 1725 AD
23.10. Maharana Sangram Singh on a hunting expedition, Udaipur, c. 1725 AD
23.11. Hunting Scenes, Udaipur, c. 1725 AD
23.12. Maharana Jagat Singh in royal regalia, Udaipur, c. 1735 AD
23.13. Maharana Jagat Singh with his queens and sons in the Jag Nivas Palace, Udaipur, c. 1735 AD
23.14. Maharana Jagat Singh seated in the Gulab bari, Udaipur, c. 1740 AD
23.15. Maharana Bhim Singh with his queen, Udaipur, c. 1755 AD
23.16. Maharana Bhim Singh with his family, Udaipur, c. 1755 AD
23.17. Portrait of an Englishman, Udaipur, c. 1750 AD
24.1. The painter Siba's letter in Takri. Undated (after B.N. Goswamy : Marg, Vol. 21, November, 1968)
24.2. Princess performing rituals. Painting in Kangra style. Here attributed to the painter Siba. circa 1780-90. Collection : Goverment Museum and Art Gallery, Chandigarh.
1. Pratapaditya Pal, General Editor, Marg Publications Research Fellow, Norton Simon Museum 411, West Colorado Boulevard Pasadena, CA 91105-1825, USA Former Keeper, South-east Asian Art, Los Angeles Country Museum, Los Angeles Claudine Bautze-Picron
2. Chargee de recherche, C.N.R.S., Paris; Chargee de cours, Universite de Bruxelles 78, Kantstrasse, D-10627 Berlin, Germany.
3. Rita Devi Sharrna, Keeper (Numismatics), National Museum, Janpath, New Delhi-110011
4. Asok Kumar Das, 'Varnika', Baganpara, P.O. Santiniketan-731235, W.B.
5. Ludwig Habighorst, Neuendorfer Strasse, 22, D 56070, Koblenz, Germany
6. Kenneth X. Robbins, Collector, Exhibition Curator, Independent Scholar 11305, Rouen Drive, Potomac, MD 20854, USA
7. Chandramani Singh, 12, Usha Colony, Malviya Nagar, Jaipur-302019
8. Vijay Sharma, Artist and Researcher, Bhuri Singh Museum, Chamba-176310 (HP)
9. Maithili Prasad Bhardwaj, Senior Professor and Chairman (Retd.), Department of Hindi, Punjab University, Chandigarh House No. 754, Sector 12, Panchkula (Haryana)
10. B.L. Nagarch, Director (Retd.), Archaeological Survey of India, Janpath, New Delhi-110 Oil E 121, Sector 27, Noida-201301 (UP)
11. Satya Vrata Tripathy, Deputy Keeper (Manuscripts), National Museum, Janpath, New Delhi-110011
12. Usha Bhatia, Former Editor, National Lalit Kala Akademi, New Delhi Presently Director, Harmony Art Foundation, Mumbai.
13. Amar Nath Khanna, Senior Technical Officer (Retd.), Indira Gandhi National Centre for the Arts, New Delhi Savitri Kutir, G-26, Sarita Vihar, New Delhi-110076
14. O.P. Sharma, Deputy Keeper (Retd.), National Museum Rasaja Foundation, H 38, Kailash Colony, New Delhi
15. Jagdish Mittal, Jagdish and Kamala Mittal Museum of Indian Art 1-2/214, Gagan Mahal Road, Hyderabad-500029 (AP)
16. Ratan Parimoo, Director, L.D. Museum, Ahmedabad (Gujarat)
17. Harsha V. Dehejia, Professor of Religion, Carleton University, Ottawa, Canada
18. Anamika Pathak, Keeper (Decorative Arts) National Museum, New Delhi-110011
19. Kamal Prashad Sharma, Research Scholar, 'Govind Niwas', Mohalla Bangotu, Chamba (HP)
20. Surinder Mohan Sethi, Curator (Retd.), Shimla Museum, 'Shanti Kuteer', Hardaspura, Chamba (HP)
21. A.S. Bisht, Chief Restorer (Retd.), National Museum B 3/67A, Keshavpuram, New Delhi-110035
22. Gauri Parimoo Krishnan, Senior Curator, Asian Civilizations Museum, River Front, Singapore
23. Carol Cains, Curator, National Gallery of Victoria, Melbourne
24. Rajesh Sehgal, Research Scholar, H.N.B. Garhwal University, Srinagar, Uttranchal Sehgal House, Mohalla Chougan, Chamba (HP)