Science and Art of Calligraphy and Painting

Author(s): S Andhare
Publisher: Indian National Science Academy

Page 99

and material available for study. In the early Jain manuscripts there is sufficient use of white pigment, the nature and scientific classificion of which has still not been made. Use of zink white or lead white is not mentioned in the early literature. However, the Manasollasa or the Abhlashitartha Chintamani" ca. 12th cent A. D. mentions of shell white being used in that period Shell white, सीप का सफेदा, was also used in Mughal painting of the 16th and 17th Century.
Muni Punyavijayji has published some information obtained from two strary Ms. folios1 mentioning the use of lead white as Safeda in Mughal painting of 16th and 17th centuries which was used in making colour mixtures of variours shades for use in paintings and MS. illustrations.
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However, Zink-white has certain drawbacks. Firstly, it has a tendency of tarnishing when exposed to gases in the atmosphere and thereby changing the colour values of the work; secondly, it, being poisonous, proves hazardous to workmen and thirdly, it does not mix well with certain colours like verdigris and orpiment. Therefore, it is concluded that burnt conch, shell, kaolineor chalk were mainly used as white pigment in a majority of paintings, Silparatna13 mentions dhavala varna i.e. white colour, being used as priming material for pictures and it was composed of white earth the exudation of elephant apple and
Moti Chandra
Muni Punyavijayji
Moti Chandra
63
8.
:
ibid,
Jaina Chitra Kalpadruma I. P.P. 47. Ob-cit P. 76.