Indian Sculpture and Painting, Illustrated by Typical Masterpieces, with an Explanation of their Motives and Ideals c13.s7: The Ajanta and Sîgiri Frescoes
Indian Sculpture and Painting, Illustrated by Typical Masterpieces, with an Explanation of their Motives and Ideals c13.s7
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The Ajanta and Sîgiri Frescoes
c13.s7.1
The ground on which the Ajanta paintings were executed appears to have been composed of pulverised trap, mixed with clay and cow-dung, laid on the roughish surface of the rocks to a depth varying from a quarter to half an inch. Sometimes rice-husks were added, especially on the ceilings. Over this ground was laid the *intonaco* of this smooth plaster, about the thickness of an egg-shell, upon which the painting was done (Mr. John Griffiths, “Ajanta,” vol. i. p. 18).
c13.s7.2
At Sîgiri the ground was a thickness of about half an inch of tempered earth and kaolin of a reddish brown hue, strengthened with rice-husks and perhaps shreds of cocoa-nut fibre. Upon this were laid at least two coatings of white chûnâ (lime), a quarter to half an inch thick (Mr. H. C. P. Bell, "Journal R.A.S., Ceylon," vol. xv., p. 114).