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# Mediaeval Sinhalese Art c19.18

Mediaeval Sinhalese Art c19.18

- **Language:** English

### [c19.18](https://indike.org/pramana/ins.art.coomaraswamy-1908.c19.18)

Painting is commenced upon the \*makul\*-covered surface. The work is first sketched in (\*lakunu kalā\*) with a fine brush and black paint, then the background filled in with pink, leaving the figures white. The latter are then filled in with yellow, carefully outlined in red, and the background filled up in pink exactly to the outline. Part of this work is done by pupils. The pink is covered with a coat of red; and two or three alternate coats of pink and red may be necessary to ensure a fine red at last. The final background is invariably red, as in Pl. I. Detail of features, etc., is added in red on the figures, which are finally cleanly outlined with a firm black line, which at once defines, harmonizes and unites the whole composition. All the line work is done with the fine \*teli taṇa\* brush. The use of yellow for the face and figure is explained by the frequent comparison of the colour of beautiful persons to that of gold. It is a fact that the most beautiful Indian skin colour is golden brown, going with a very satiny texture, and this is recognized in the Indian ideal of beauty, which demands a ‘fair’ skin. A very dark skin is despised, and is actually more usual amongst persons of low caste, than those of high. The elephant-keeper, in Pl. I., is accordingly represented as dark, in contrast to the \*goviyavamsa\* people attendant on the king. Trees, leaves, and water are usually represented in grey; buildings are yellow, tiles red, and rocks black. The use of blue or green is most exceptional.

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Source: [https://indike.org/pramana/ins.art.coomaraswamy-1908.c19.18](https://indike.org/pramana/ins.art.coomaraswamy-1908.c19.18) · Pramāṇa
