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PIGMENTS AND COLOURS 41. After ground preparation the artists starts painting using colourful paints. The stability and quality of the painted picture depends on the quality of the substances used for painting. Suitably mixed colours make the painting excellent. Before starting the painting, mineral colours are to be prepared. The colours can be classified into mineral, vegetal and chemical according to their availability. Only the light resistant in mineral colours is suitable for mural paintings. With regard to the origin they can be categorise as primary, secondary and intermediate. Primary = yellow, red, blue Secondary = green, violet, orange Mixing these colours in equal proportion or in different proportions large number of colours can be achieved When colours are choosen for mural paintings natural colours suitable for plaster and priming should be selected. Natural or mineral colours are suitable. Only natural colours are seen on the ground. White colour is obtained from white lead. Lime is suitable for all murals. White clay is used for blue tempera. Gypsum and Tempera are used as the priming of the ground work and stycco as colour pillar.

Though marble dust is a factor for ground preparation, it is used to lighten colours in some places. No white other than litarum white is suitable for mural painting. Though yellow red and green colour had been obtained from minerals only of these said colours were used in olden days. In various literary works the basic principle and features of the colours are seen described. Primary, secondary and intermediate were the colour distinction. Metallic and non metallic were other classification available in the ancient days. The ndian artists' were acquainted with the colour separation of local and atmosphere In ancient days where such knowledge was acquired by French impressionist in 19th century only. The accounts of the real and unreal colours were derived from The Praja Markendeya debate. The unreal colour of water was suitable for labislazuil (vaidurya) The reflection of the sky in the water is qualified. The real colours of water can be visualised in a cascade when it is viewed in the moonlight. The Indian artists choose lime and white clay for white colour. For black, car- 蓴on (soot) for yellow, yellow ochre, for read red ochre, grude, cinnabar, for green, erravarte or the component of yellow and blue, or blue lapislazuli were used. How- 1. Vishnudharmottarapurana Part III Ch. 52, verse 10-12

43 ever great the creation may be only the above mentioned colours were used. PRIMARY COLOURS The primary colours are blue, red and yellow. They were treated as pure and used to make shades. In Vishnudharmottara-purana' in two different occasions, two separate lists are given as to the primary colours. In each lists white, yellow, black and green are common. The red colour in the first list becomes blue in the second list. In man² white, red, yellow and black are only included in that list. The availability of the colours are also described. In S.R.³ five colours were treated as primary. Exempting white and black, what has been stated in Agnipurana* will stand equal to the present methods of colours. The mixing of six colours such as white, black, yellow red and blue and green and their usage for mural paintings are described. A. WHITE In Indian mural painting white colour is used to soften rough colours and also used to do ornamental works and titles. The entire tonal value and colour scheme depend on the white colour. The primary colours are started from white as white colour is treated as prominent and also the personification of purity. Conch-shell, white, lime white, kaolin white, clay gypsum or marble meal are the difference in white colours. Visnudharmottarapurana Part III Ch. 27 verse 8 -234 1. 2: Man Vol II, ch-1 verse 156-157 3. 4. S.R. Part I, Ch.46, verse 27 Agnipurana Ed. Panchanan Tarkatirtha Vangabasi Edition Calcutta 1908 Ch-30 verse 18b - 20a

VEGETAL SOURCES 49 In Vishnudharmottara-purana' It is enumerated that Bakula and Sindoora are very good binding medium. Besides, to strengthen illustrious painting, the sap of the grass matanga which is filtered is smeared on the surface. In case the wall is cleaned by water, the strength of the picture enormously increases. In S.R.2 It is suggested that the sap of Nimba tree can be used for the colours like black, red, Ochre vermilan, realger as medium and also suggested to mix the saps of elephant apple and margosa with Vajralepa. A. BLUE Blue is manufactured from the tissues from the bones of animals and their skins. The substances which are evacuated by way of extraction of not water, when heated and cooled, blue is produced. Totain and Cologne is a substance taken from the skin of animal and this substance is used tor painting. Blue contains protein, organic materials, inorganic salt and gelatin. By heating potatto blue is produced. Blue colour gets dissolved in water very quickly. The blurredness of colour can be avoided by adding 4% of formalin solution or wax soap. To make blue damp proof, oil or resin is added. To use blue as medium, some egg or gum tempera 1. Vishnudharmottara-purana Part III, Ch. 40 verse 29,30 2. S.R. Part I, Ch. 46 verse -51 (a), 122 a

paintings other than mural painting. BINDING MEDIUM 48 The term medium used in the art of painting is actually a binding material or vehicle which holds the particles of pigment on the carrier or ground forming a colour film. The mural paintings of India is seen made in tempera. The suitable media were blue, gum, resin, casein yolk or Albumen of an egg. PROCESS OF PREPARING A BINDING MEDIUM mal. Two medias such as blue and gum relates to the sources of vegetal and aniANIMAL SOURCES Painting media can be created using the horns of bullock, buffallow, goat, cow etc. and also using the skin of the above mentioned animals according to the version in Vishnudharmottara-purana¹ But the use of the media is prohibited in the interial parts of temples and palaces. The same things are related in S.R.² and Man³. The skin of animals get heated in water and softened by way of such heating. The mixture is known as diamond solution. The component of diamond solution and the sap of the trees bakula and sindoora is strong enough to be properly used. If the layer is thick it may get broken and if it is thin the picture will become shabby. 1. Vishnudharmottara-purana Part III Ch. 40 verse & Ch. 35 verse 43 2. S.R. Part I, Ch. 46, verse 131-133 3. Man. Vol II, Ch.I verse 133-136

47 was a peculiar colour. The mineral stone is obtained from terraverty. The other mineral is obtained from green-ajurite, malachite, verdemontana, chrysocolla and secondary copper from ore deposits. MIXED COLOURS The mixed component of colours are classified into two categories basing on proportion of each element. One is secondary and other is intermediate. Mixing yellow, red and blue colour in equal proportion, green, violet and orange colours (secondary colurs) can be obtained. Changing their proportions innumerable intermediate colours can be obtained. Mixing primary colours such as the yellow red and blue one another colours like green violet and orange can be produced. Changing proportion of the said colours intermediate colours can be obtained. In Vishnudharmottara-purana' the details of colours of like greenish yellow, yellowish green, green like a pea and tints of the colours are elaborated. METALLIC COLOURS Metallic colours are not seen used in mural painting. But in ancient literary works the use gold, copper, mica etc. and the process of their manufacture is seen narrated. This indicates the fact that metallic colours had been used in all other 1. Vishnudharmottara-purana Part III, Ch. 40 verse 19b

D. BLUE 46 It is originated from mineral and vegetal and it elaborated in Vishnudharmottara-purana' and man. Though blue or Indigo can be obtained from Indigo fera, it is not useful for paintings. In Shilparatna 2 , using the term sysma, the blue and dark colours are indicated. LAPIS LAZULI This was obtained from a kind of stone and was brought from Persia to India. Nila was exempted from painting and blue colour called as syama was considered. Mixing yellow colour with blue colour, yellowish green colour had been produced. E. YELLOW In Mural paintings, yellow ochre was used for yellow pigment. The original of yellow is said to be from harithala (or Orpiment) as narrated in Vishnudharmottara-purana³ According to man² harithala or Orpiment alone constitutes yellow colour. Yellow ochre was avaiiable from the bank of mountain rivers. Orpiment was not commonly used in mural painting as it was treated as somewhat poisonous. F. GREEN Green colour is produced by mixing blue and yellow colours. Only in Vishnudharmottara-purana this colour is considered as basic colour. For Indian mural painters terraverty green 1. Vishnudharmottarapurana Part III, Ch-40, verse 16,23,25-26,81 2. S.R. Part I, Ch-46, verse 142 a. 3. Vishnudharmottarapurana Ch.40, verse 26 a 4. S.R. Part I, ch-46, verse 41-45

A. RED OCHRE 45 This colour is extensively used for painting. The colour is obtained from the natural soil. The preparation of this colour is elaborated in S.R.' The red clay is washed in pure water and purity is assured. Then the colour is used. The colour is known in the name of Gairika in literary works. B. RED-LEAD-BRIGHT SCARLET White lead or lithrage otherwise known as darada in man² and lohita in S.R.3 get heated for hours at 480 C and thus produced. If it is exposed in sunlight for a long time, the colour is changed as chocolate brown. As it is poisonous the use of this substance is not so popular in Indian paintings. C. VERMILION CINNABAR Vermilion or cinnabar is a ore of mercury obtained from the nature and is known as hingula in Vishnudharmottara-purana 4 and Sindura in Shilparatna 5 In silparatna it is stated that sindoora, mixing with water and keeping for half a day can be very well used. The gum of nim tree to be added with these component. The other red colours like red lac (laksarasa or alaktka rasa) real gar or red arsenic (manah sila) are not useful for mural painting. 1. Ibid - opcit verse 119 2345 2. Man Vol II. Ch. verse 152 3. S.R. Part I ch. 46 verse 115 a 4. Vishnudharmottara-purana Part III, Ch-40, verse 26 5. Shilparatna Part I, Ch-46, verse 120

B. BLACK 44 According to modern science of colour, when a particular colour gets vanished from the picture or its reflective capacity is lost, it becomes dark. In the 19th century the impressionist gave up black colour from their colour pallet and received dark green, dark blue, dark violet etc. According to scientific study, black color never becomes an obstruction or hindrance to painting. Black colour was used to make contrast, depth and contradictions to painting. In Indian painting, hair, eyes outlines some articles etc. were drawn in black colour. The remote outline of the picture was suggested to be painted in black colour'. In Indian painting there was no painting without black colour. Carbon was used to make black colour and such process had been universally accepted. Besides the dust of slate marsplade, bone black etc. had been used. Oil black had been made in 2 different ways². C. RED Almost all the artists selected this colour as their favourite colour. It has a number of shades. They are soft red, middle red, deep red etc³. 1. S.R. Ch. 46 verse 115 b S Man Vol II Ch I, verse 178 a. 2. Shilparatna Part I, Ch. 46 verse 47-51 3. Ibid - Opcit verse 117-118

50 is mixed. When animal blue and vegetable blue are mixed, the component becomes more adhesive and elastic B. GUM The plants which are known to crystalline and structureless contain more gum. This is a viscous solution that contains carbon, hydrogen and oxygen. It expands when it is dissolved in water. It is in the same form when it is contained in mucilaginon solution or nitrogenous bodies. The gum that contains Nytrogen becomes insoluble in gum alcohol. Water colour is used in temperas for agglutinate pigments. C. RESINS This is obtained from plants by natural or artificial means and also produced by the unification of both. They help to prepare paints, varnishes, and lacquerels. D. CASEIN This is produced from skimmed milk and is an active element of milk tempera. Adding poppy oil, this can be made in soluble in tempera. To make it fluid, equal quantity of water, and skimmed milk should be added. E. LIME The surface is washed several times using slaked lime and is processed in

51 moistured state. Lime fast colour are prepared in lime water and diluted in slaked lime. When it is being dried up, painting is done in fresco sicco style. The principal colour being white the painted figures are seen flat and soft. F. SECCO This is a method whereby the diluted calcium water is completely soaked on lime plastered wall. Equal quantity of water ground colours, binding medium, the solution of hide blue are mixed. Paint is thinly used in a translucent manner without being piled in a implasto manner. G. WHITE OF EGG OR YOLK OF EGG. Mixing the white of egg, water in double quantity, a piece of turmeric a drop of vinagiri and diluted acetic acid solution, these mixture is prepared. Increasing the proportion of the white of egg, and adding water in high proportion the component is prepared in different ways. The different forms of varnish, such as resin blue gum oil can be used in a dried up manner. Besides white vinagar camphor or oil of clove or any other forms of these substances can be used for the same purposes. T 731

LIME MEDIUM 52 52 This method is described in S.R.' only. Using hard brush calcium is smeared on the dry plastered ground several times. CRAYON OR PENCIL Today the painting material such as crayon or pencil are easily available from the shops. In ancient time the painters had to make the same materials by themselves. Crayons and pencils were used for initial drawings and the drawings were easily to be erased. In literary books they are known as vartika. This soft and steady soil, charcol, bricks powder, rice water, are mixed together in different proportions according to climatic conditions. The shape of edges can easily be changed according to necessity.