Page 127 - Eye of the beholder

The most extensively used colors were black obtained from soot; white, derived from lead or chalk; blue from lapis lazuli; red from lac, an insect secretion; and green from plants and leaves. The dazzlingly luminous yellow used by Indian artists is ingeniously derived from the urine of a cow that is fed on a diet of only mango leaves and water. This diet colors the urine bright yellow. The urine is then dried into a foul-smelling hard cake to which water is added as required. Pigments were obtained from minerals while ochres of different shades were obtained from a mixture of two. Vegetable colours included indigo, lac dye and carmine, while carbon from various sources produced black. Gold and silver powder and black and red ink were used both for writing and painting.
The process of miniature painting involves many steps, each performed by its own specialist. The initial sketch is a rough outline made by the master. The border, which may be as much as three to four inches wide, is also marked at this stage. In the second step, a thin white wash is applied. The artist traces the first sketch, but this time the outline is incredibly precise and fine. Now the artwork is burnished—placed face down on a smooth, hard surface and polished briskly but gently from the back with an egg-shaped crystal or agate to produce a smooth, hard, glossy surface. Layers of liquid colors are then applied one at a time, for smooth shading, and a final outline is added. At this stage there is no room for error. A second round of burnishing now embeds the pigments deep into the paper and gives an overall union to the color pigments. In the last stage, embossing, ornamentation and other enhancements are added. Pin-pricks are created with a blunt needle for inlaying gems. White drops made of conch shells are added as pearls. Real gold is painted over selected ornaments. For creating transparent effects particularly in women’s clothes, thin color washes were applied. This involves applying a thin layer of stronger color over the base color. After each stage of the painting is completed by the specialists, all toiling together in a shared workshop or karkhana, it returns to the master artist for the finishing touches. The completed painting goes to other artisans for trimming and mounting. The main purpose of the border is to protect the painting from the wear and tear of handling. Miniatures were created not to be displayed on walls; rather they were passed from hand to hand so that each viewer could inspect the work. Fingers would touch only the wide border and not the actual painting.
Traditionally, an apprentice’s training spans eight years. The first technique taught by the master was the posture. There were strict rules regarding the distance of the paper from the eyes, the angle of the arm and the manner in which the brush was held. Since the painters sat on the floor and use a slanted desk, mastering good posture was essential. The process of painting required an inherent discipline, which was the essential aspect of the training imparted to the apprentices, which they carried forth in their practice as artists.
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