[Pramāṇa](https://indike.org/pramana/) › [Studies](https://indike.org/pramana/ins) › [Architecture and art](https://indike.org/pramana/ins.art) › [Indian Sculpture and Painting, Illustrated by Typical Masterpieces, with an Explanation of their Motives and Ideals](https://indike.org/pramana/ins.art.havell-1908) › c13.s8 # Indian Sculpture and Painting, Illustrated by Typical Masterpieces, with an Explanation of their Motives and Ideals c13.s8: Notes on Indian Painting Processes, Supplied by Mr. Ishwary Prasad, Teacher in the Calcutta School of Art Indian Sculpture and Painting, Illustrated by Typical Masterpieces, with an Explanation of their Motives and Ideals c13.s8 - **Language:** English ## Contents - [c13.s8.t1 Paper for Miniature Paintings](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t1) — 2 parts - [c13.s8.t2 Tracing Paper (Charba)](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2) — 23 parts ### Notes on Indian Painting Processes, Supplied by Mr. Ishwary Prasad, Teacher in the Calcutta School of Art ### Paper for Miniature Paintings ### [c13.s8.t1.1](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t1.1) The papers used were of three kinds: (1) called \*bavsâha\*, made from crushed bamboo, (2) \*tâtâhâ\*, made from \*tât\*, or jute, (3) \*tulât\*, made from \*tula\*, or cotton. ### [c13.s8.t1.2](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t1.2) A smooth enamelled surface was given to the paper by placing it face downwards on a polished stone and rubbing the back of it with a polisher. ### Tracing Paper (Charba) ### [c13.s8.t2.1](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.1) This was prepared from deer-skin. Drawings were transferred by pricking and pouncing with charcoal powder. For fine work the charcoal was made from the \*arahar\* plant (\*Cajanus Indicus\*); for ordinary work charcoal made from mango-tree twigs was used. ### [c13.s8.t2.2](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.2) \*Brushes\* were made from the hair of a squirrel's tail. Worn brushes were carefully kept for fine outline work. Dr. Coomaraswamy says that in Ceylon brushes for drawing fine lines are made of the awns of \*teli tana\* grass (\*Aristida adscensionis\*), and are admirably adapted to their purpose. ### [c13.s8.t2.3](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.3) The first outline was always made with Indian red (\*gairika\*—a red used by mendicants for colouring their cloths) used without gum. The finishing outlines were made with lampblack, prepared by burning a camphor wick in a mustard-oil lamp. ### [c13.s8.t2.4](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.4) \*Mediums.\*—The mediums used with the colours were water, gum, glue, sugar, and linseed water. ### [c13.s8.t2.5](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.5) \*Gold.\*—The best gold was known as Panna gold, obtained from the Panna State Gold Mines. The gold size was made by boiling fourteen ounces' weight of gum and two ounces' weight of sugar in four ounces of water ; when cold it was ready for use. ### [c13.s8.t2.6](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.6) The following are the technical names of the principal processes of painting : ### [c13.s8.t2.7](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.7) \*Âbina.\*—Drawing a sketch of the picture with a brush dipped in water only ; the paper, when dry, has a water-line impression which serves as a guide for future work (\*ab\*—water, \*bina\*—to see). ### [c13.s8.t2.8](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.8) \*Khâkâ\* (form).—To give form to the water-line drawing with some mineral colour, Indian red being often used. ### [c13.s8.t2.9](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.9) \*Rangamezi\* (colouring). ### [c13.s8.t2.10](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.10) (\*a\*) \*Dagina\* (marking).—The different parts of the picture, such as the face, sky, trees, dresses, etc., are marked out with various colours. (\*b\*) \*Potna\* (filling up).—The spaces thus marked out were filled up with colour-washes. ### [c13.s8.t2.11](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.11) \*Golaî.\*—Gradating and softening off the colours. ### [c13.s8.t2.12](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.12) \*Sâyâ-susma\* (shading). ### [c13.s8.t2.13](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.13) (\*a\*) \*Sâyâ.\*—Shading the different parts of the picture with darker tones. \*Sâyâ\* touches are only put on the face, hands, feet, folds of the dress, and accessories such as furniture ; never on the sky or on flat walls. (\*b\*) \*Susma.\*—To use different colours in giving relief to an object. ### [c13.s8.t2.14](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.14) \*Sia-kalam\* (ink-brush).—Finishing the whole picture with ink-lines of varying thickness and strength. ### [c13.s8.t2.15](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.15) \*Gula-pamba\* (chrome yellow and Chinese white).—This was used instead of gold in painting jewellery, etc. ### [c13.s8.t2.16](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.16) \*Sufâda\*.—To paint bright spots in the picture, such as the white of the eye, pearls, and jewellery, with touches of white. ### [c13.s8.t2.17](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.17) \*Jarab\*.—In this process real pearls and precious stones were stuck on to the picture (see illustration, Plate LII.). ### [c13.s8.t2.18](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.18) Grounds for tempera painting on cloth, wood, and walls : ### [c13.s8.t2.19](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.19) \*Cloth\*.—For first-class work, boiled and liquefied \*khoi\* (parched paddy) mixed with gum 1/16th part. For ordinary work, rice starch mixed with linseed water ⅛th part, and gum 1/20th part. ### [c13.s8.t2.20](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.20) \*Wood\*.—Glue and sugar 1/16th part, a pinch of alum and a tablespoonful of shellac, boiled together. ### [c13.s8.t2.21](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.21) \*Walls\*.—Chalk and milk ½ part, milk curd ⅛th, sugar 1/16th, and a little yellow ochre. ### [c13.s8.t2.22](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.22) Dr. Waddell, in his "Lamaism in Tibet," p. 331, describes the method of preparing the ground for the sacred banners which are hung in Buddhist temples and monasteries : ### [c13.s8.t2.23](https://indike.org/pramana/ins.art.havell-1908.c13.s8.t2.23) "The cloth used is canvas or cotton, seldom silk. It is prepared by stretching it while damp on a wooden frame to which a margin of cloth is stitched, and its surface is then smeared with a paste of lime and flour, to which a little glue is sometimes added. On drying the surface is rubbed smooth and slightly polished by a stone, and the drawing is then outlined either by hand or with a charcoal crayon. In the more technical subjects a stencil plate is used." --- Source: [https://indike.org/pramana/ins.art.havell-1908.c13.s8](https://indike.org/pramana/ins.art.havell-1908.c13.s8) · Pramāṇa