Oblong octavo (overall 90 x 140 mm - average text panel 60 x 105 mm). 283 leaves with six illuminations. In very good condition, regardless of some waterstaining throughout, and other minimal signs of usage. Cardboard binding covered in (very worn) linen, and with a matching small flap. Sanskrit text is arranged in a 6-line single column in black ink with verse separators as a pair of red vertical strokes. A thick orange band frames the text panel, which is in encompassed turn by a thin red and black perimeter line. Each leaf is marked by the beginning syllable of the relative poem's title. On the recto/reverse side of the first miniature is a three-line note, where an anonymous hand makes the reader aware of the tile of this work, written in Kashmiri. The decor apparatus shows particular profusion on the the three opening leaves of each of the five sections, repeating the same scheme each time. On the verso side of the initial page you see a full-page miniature illustration describing or summarising the key characters of the text in either a dramatic or emblematic situation. Subsequently, the opening recto of each poem presents the text embellished by means of alternating lines in light red, gold, and black, enclosed in a decorative border of botany in soft colours, framed in turn by a vast symmetrical 'rug-like' decoration with ribbon-shaped elements modulated by foliage on a blue background, crossed by gilded designs. This simple pattern is repeated to define the the first double page of each textual section. Importantly, the decorative set finds its climax in the five illustrations that precede each poem of this anthology. Coloured plates: 1. The Bhagavadgita. Depicting Arjuna and Krisna on a war chariot during the Kuruksetra war. 2. Visnu showing himself in a theophany (from Greek theophaneia, “appearance of God”) as the Visvarupa ("He, who has all forms"), a symbol of the deepest state of reality, beyond its various appearances. 3. The Visnusahasranama. Visnu as 'Narayana' ("The Man whose abode are the waters"), seen resting on the primeval snake 'Adisesa', while his Divine Consort Laksmi (Mother Goddess in Hinduism)massages his feet. 4. The Bhismastavaraja. Depicting the dying warrior and the sage Bhisma on the 'arrows bed.' 5. The Anusmrti. A revered sage (Bhisma?) teaching a noble devotee. 6. The Gajendramoksa. Depicting Lord Visnu saving the Elephant King Gajendra.