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Jain Miniature Paintings from Western India c9.s9: Binding Media

Jain Miniature Paintings from Western India c9.s9

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Binding Media

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Size.—In the *Viṣṇudharmottara Purāṇa*⁵³, the following formula for making the size is given :—"The buffalo hide clippings are boiled in water until they become soft like butter. The water then has to evaporate and sticks have to be made of the paste and dried in the sunshine. When required it is boiled in a mud vessel with water; it will make any colour fast with which it is fixed." A similar process for manufacturing the size is given in the *Mānasollāsa*⁵⁴. After describing the processes involved in the manufacture of the size, the author enjoins that, added in right proportion, it tempers the colours and stops their flaking.⁵⁵

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⁵³ Tr. by Dr. Stella Kramrisch, pp. 16-17.

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⁵⁴ *Mānasollāsa*, II, 1, ss. 132-140.

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⁵⁵ *Ib.*, s. 136.

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It is mentioned in the *Viṣṇudharmottara* that in wall-paintings three layers of priming were laid in the *chūṇam* mixed with the size. In the *Mānasollāsa*, it is said that the size should be used with white earth and applied to the wall in three coatings to obtain good ground. Burnt conch-shell powder and nāga-white from the Nilagiris also served the same purpose.

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Fig. 157

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Fig. 158

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Fig. 159

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Fig. 160

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Fig. 161

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Fig. 162

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Fig. 163

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Fig 164

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Besides the size, the *Viṣṇudharmottara*⁵⁶ commends the exudation of the *sindūra* tree (*Grislea Tomentosa*) as an astringent for tempering the colours. In the *Silparatna*⁵⁷, in addition to the size, exudations of the *kapittha* and *nīm* are suggested as astringents for the ground made of burnt conch-shell and oyster-shell powders. These were also used as binding media for the lampblack and *śyāmadhātu*.⁵⁸ With the red lead, the *nīm* exudation served as astringent.⁵⁹ In another place, the exudations of the *kapittha* and *nīm* are ordained to be used with all colours.⁶⁰

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⁵⁶ Dr. Stella Kramrisch, tr. p. 51.

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⁵⁷ *Chitralakṣaṇa*, s. 29.

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⁵⁸ *Ib.*, ss. 51-52.

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⁵⁹ *Ib.*, s. 122.

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⁶⁰ *Ib.*, s. 133.

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In Jain literature, the proper media for lampblack are the gums of the *nīm*, catechu and gum-arabic,⁶¹ the use of the *dhau* and other kinds of gums is expressly forbidden. In this connection, it is noteworthy that the names of gum arabic and *dhau* are mentioned for the first time, and quite possibly their use as binding medium was learnt from the Persians. In any case, it is at least certain that no medieval Sanskrit text on painting mentions gum-arabic and *dhau* as astringents.

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⁶¹ *Jaina-chitra Kalpadruma*, I, p. 42.

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In the period of illustrated paper manuscripts which extended to Mughal times, gum-arabic was used for all colours, except zinc-white and *peorī* for which *dhau*-gum (*Anogeiss Latifolia*) served as binding medium. The *dhau*-gum is straw coloured and extensively used by the calico printers of Lucknow. If it is used with any other colour, except those mentioned, the colour curdles, spoiling its effect.

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