Indian Painting under the Mughals, A.D. 1550 to A.D. 1750 c22.38

c22.38

The fine black outline seen in many of the Mughal miniatures was obtained by means of the *siyāhī* described above. Much of the quality of this line was due to the care exercised in the preparation of this black pigment, but not a little of it also depended on the fineness of the brushes (*qalam*). The finest of all, by which most of the miniature painting was done, were made from the downy hairs on the tails of young grey squirrels—the *galairi*, a little family of whom make their home in almost every roadside tree in the Punjab. Prevented by his religion from taking life, the Indian painter released the squirrel after removing its tail, a small bundle of the latter being always kept among his implements for use as required. Large brushes for coarse work were made from the hair inside the ears of calves, while those of a medium size were obtained from the hairs on the underside of the goat, and also from the mongoose. The black outline having been correctly drawn on the burnished surface of his paper, the picture was then ready for the colour. What is known among European artists as *tempera* was the process by which the Mughal painter executed his miniature. It is so named because the pigments are *tempered*, that is, mixed and diluted with a ‘medium’, or, as it is sometimes called, a ‘vehicle’. Nevertheless the designation *tempera*, which is derived from the Italian, admits of the widest application, but *gouache*, the French studio word, also practically describes the Mughal technique. The process of tempering brings the pigments to the correct consistency for painting, as well as causing them to adhere to the surface of the paper. Gum arabic was the basis of the medium usually employed by the Mughals, but a preparation of glue was sometimes used, and occasionally the resin of the *nīm* tree (*Melia Azadirachta*). The glue (*vajra-lepa* or *sares*) was made from freshly shredded buffalo hide boiled in water until it assumed the consistency of butter. It was then rolled into balls and dried to preserve it; when required it was dissolved in hot water. Some of the painters preferred fish glue prepared in a similar manner. Two kinds of gum arabic were in request, a fine quality in crystals called *babūl* which was mixed with the colours, and a coarser grade known as *katila* and used for priming the surface ready for the painting. To prepare the medium the gum was mixed with a little sugar, water was added, and the whole boiled.