Jain Journal 1970 04

Author(s): Jain Bhawan Publication
Publisher: Jain Bhawan Publication

Page 30

224
JAIN JOURNAL
(8) Orpiment mixed with deep brown yields the shade of a parrot's
feather. (9) Lac-dye mixed with vermilion yields deep red. (10) Lampblack mixed with lac-dye yields the deep purple of the
Jambu fruit. (11) Lac-dye, jātilinga, white and vermilion mixed in equal pro
portion yield the body colour of the members of higher cast. (12) Lampblack mixed with indigo yields the shade for hair.
Gold
In the Western Indian miniatures of the paper period, gold is extensively used as colour. It was very favourite with the painters as it suggested power and grandeur and as its gleaming lusture appealed to the eyes.
In the Mānasollāsa, a detailed description of how to prepare gold powder is given. It seems that the virana grass with short pointed tips mixed with gold-leaf was levigated slowly with the pestle on a stone slab. Then the powder was put in a bronze vessel mixed with water; it was washed several times till the sand and dust were completely eliminated. After this the gold powder (hemakalka) was ready to be used mixed with the size (vajralepa) in very small quantities. While applying gold to a painting, only the tip of the brush was dipped in the colour and only golden ornaments were painted with it. When the gold had dried, it was burnished with boar's tusk in order to impart gloss to the colour.
From the above description of gold powder, an interesting point emerges. It is emphasised that gold was to be used in very small quantities. Apparently it was considered too precious to be wasted and only ornaments were to be painted with it. This injuction apparently explains the absence of gold in the 12th and 13th century palm-leaf miniatures and its cautious use in the 14th century miniatures and cloth paintings. In the 15th century however, gold is profusedly used and that may be due to cheapening of gold price.
Abridged from Moti Chandra, Jaina Miniature Paintings from Western India, Ahmedabad, 1949.