Jain Miniature Paintings from Western India c10.14

c10.14

A better description of the technical processes involved in painting is preserved in the Mānasollāsa³, and, though it gives the technique of wall-painting, it is equally applicable to paintings on wooden panels, cloth, and palm-leaf. After the right selection of the materials for painting, the artist tries to visualise the animate and inanimate objects, forming the subject of the painting, and, after determining their proper measurements, puts them on the wall.⁴ The figure drawings have to conform to śāstric measurements.⁵ The rapid sketch was either done with the style (tinduka) or pencil (vartikā), and then the first sketch distinguishing the form (ākāramātrikā rekhā) was drawn without the use of colours.⁶ The final sketch made (ākārajanikā-rekhā) with the help of the style or pencil was finished in red ochre.⁷ Then colours were applied, various details painted, and light in high places (ujjvalam pronnatasthāne) and shade in low places were added.⁸ This was done in a single colour; white was required where there was no shadow, and in darkness black served the purpose.⁹ Different colours were used for representing different types of men; in mixed types, however, mixed colours were used¹⁰. Burnt conch-shell for white, vermilion, lac-dye and red ochre for different shades of red, orpiment for yellow, and lampblack for black, are mentioned as primary colours;¹¹ various other shades being obtained by admixture¹². A rule is set that, while painting birds and beasts, such as antelope, dappled deer, sārdūla, peacock and patridges, their appropriate body colours should be used¹³. In the representations of inanimate objects, such as trees, hills, clothes, etc., only their true colours should be used¹⁴. In applying the colours, the painters resorted to colour contrasts. Thus, orpiment and red ochre, contrasted with pink (gauravarṇa) and indigo, brought the latter into prominence. Similarly, the darker shades of blue around indigo increased its beauty¹⁵. The thinness and thickness of the wayward lines and superfluous colour dots (pāṇḍuram vindujātam) appearing on the painting were removed with the sharp edge of a knife. These corrections, however, could be effected so long as colours were not applied¹⁶. By the light handling of the brush which did not split the burnt conchshell white (plaster ?), the lines of hair on the body (romarājim) and various other white lines were drawn¹⁷. Then gold was used to paint golden ornaments¹⁸. Next the artist represented armpit shadows in lampblack and added ornaments, clothes, flowers, garlands and the lipstick paint on the lips.¹⁹ In the end, the final outline was done in lac-dye and the painting was ready.