History of Technology in India, Vol. I: From Antiquity to c. 1200 A.D. v1.c34.s4.t5: Enamelling
History of Technology in India, Vol. I: From Antiquity to c. 1200 A.D. v1.c34.s4.t5
- Language
- English
Enamelling
v1.c34.s4.t5.1
The enamelling is another technique which has been practised in India since remote antiquity. The enamel beads from the various Buddhist sites, like Sankisa, in India trace the history of enamelling to early historic period. Such enamelled beads are divided into two groups, viz; the white enamel on a black or cornelian ground and the black enamel on grey or white agate background. The enamel patterns are chiefly pentagonal, hexagonal, circles with dots in the centre, or else five rows of tiny spots or bands of two or three in number running round the beads. The circle and dot pattern is so arranged on the round beads as to form the tried symbol.
v1.c34.s4.t5.2
The enamelling in medieval India was generally applied in grooves. The motif or patterns were drawn by the Citera or artist and the piece was handed over to the goldsmith, who completed his work leaving grooves to be enamelled. The enameller or *Mīnākār* first cleaned and burnished the plate and when applied his colours in order of their hardness or the power of resisting fire, beginning with the hardest or that which most resists the fire. All the known colours can be applied to gold. The black, green, blue, dark yellow, orange, pink and peculiar salmon can be applied to silver. The white, black and pink colour only can be applied to copper. In order of hardness, the colours are white, blue, black, yellow, pink, green and red. The pure ruby red, being the most fugitive, requires a great care and precision of an experienced craftsman. The Jaipur enamellers were the best in handling this colour. The pink enamel of Banaras was equally famous.
v1.c34.s4.t5.3
The colours are mineral oxides which were obtained in opaque vitreous masses from Lahore. They are ground in postle and mortar and mixed with water. The colours are then filled in the grooves very cautiously with a brush much in the same way as a picture is painted. The paint, if over-flowed, is carefully wiped with a pieces of cotton. The articles is then left in the fire for half an hour or so, when the enamel firmly sets in. It is then rubbed by *kurand* or corundum-bone or *sohan*. The article is next repolished by heating it gently. The last process is to rub it with the file and clean it with the acid of tamarind or lemon. The enamelling was generally done at the back of Mughal ornements.
v1.c34.s4.t5.4
Another famous centre for a different kind of enamelling was at Pratapgarh. Sir George Watt has described this technique, as he says, "The article is made of a piece of green or red coloured glass, or thick layer of enamel, the crude material which is imported from Kashmir”, he further writes, “A frame of silver wire, of the exact size and shape of the glass, is next made, and across this is attached a sheet of fairly thick gold leaf. This is then embedded on lac and the pattern punched out and chased on the gold. The glass is then semi-fused, and while still hot the rim of silver and film of gold are slipped over the edge and pressed on to the surface of the glass. The article is again heated, until a sort of fusion takes place and the gold and glass become securely united. before mounting the article, a piece of silver tin-foil is placed underneath the glass to give it brilliancy”.