Indian Painting under the Mughals, A.D. 1550 to A.D. 1750 c22.42

c22.42

and called *naqlī peori*. Of the greens a charming tint was obtained from verdigris, known as *jangal* or *zangār*, but a darker tone used in backgrounds, and called *vassī*, was obtained by blending indigo with orpiment, while in a somewhat similar manner a water-melon green was produced designated *tarbūzī*. What the painter referred to as *mūng* green was also a favourite colour extracted from the *mūng* (*Phaseolus Mungo*), and he did on occasion introduce a very charming terre verte (*sang sabz*), a silicate of ferrous oxide. A purple was the result of mixing vermilion and indigo, but the artist could get a still darker effect specially suitable for outlining by a combination of lampblack and *hormuzi*, the latter a brownish ochre found on the island of Hormuz, in the Persian Gulf. The white was a white lead, or cerusite, imported from Kashgar in Eastern Turkestan, while the gold was washed from a variety of places in India or the neighbouring countries. It was not obtained from Panna in Central India as is sometimes stated, the soil of that state being in no sense auriferous.