Book Title: Science and Art of Calligraphy and Painting
Author(s): S Andhare
Publisher: Indian National Science Academy

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Page 124
________________ Shri Mahavirlain Aradhana Kendra www.kobatirth.org Acharya Shri Kailassagarsuri Gyanmandir 85 and put it for heating in a large pan with boiling water. It should not be put directly on fire. In order to make the Lei disinfectant (from funqus or insects), a small quantity of alum, fitkari, is added to it while the paste is being heated. The solution then becomes semi-transparent and sticky. It is then allowed to cool. Some times a small quantity of bluevitrol (Morchud) is added to make it Insect proof. The paste prepared in this manner lasts for a long time. The consistancy of the paste is of great importance. A thicker or thinner paste results in producing defects in the wasli board: Once the wasli is prepared, there are two methods for commencing the work. In one method the wasli board is directly held in hand and the work begins while in the other method the wasli is pasted on the wooden takhti (board) by applying paste along the inner corners or along the border so that it the does not move while drawing and painting. In this method painting cannot be burnished. In case of smaller pictures the wasli can be put on a marble slab with face downwords and burnished with an agate burnisher - called Ghoti (in Rajasthani language). But Bandhna - making a key sketch. When the board is ready, the guru or the master artist or the ustad gives a rough sketch on this board as per desired theme. The drawing in made in black or brown colour with a brush with written indications of colours in those portions, (See Fig1 For Private and Personal Use Only

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