Technique of the painting process in the temple of vijayalaya cholisvaram in the Pudukkottai State

Paramasivan, S.

doi:10.1007/bf03045400

Cited by 7 publications

(5 citation statements)

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“…Parmasivan did pioneering work on Indian mural paintings in the 1930s by researching the paintings of Ajanta, Sittanavasal, Thanjavur (Figure 3), and Lepakshi, among others, to identify the painting's methods and materials. He identified the white pigments in Vijayalaya Cholisvaram, Tamil Nadu to be from lime, black from wood charcoal, yellow from yellow ochre, red from red ochre, green from green ochre, and bluish-greenfrom a mixture of terreverte and ultramarine [64]. Similarly, pigments such as yellow ochre, red ochre, carbon, lime, terreverte were also found at Badami in Karnataka and Kanchi Kailasanathar temple in Chennai [65,66].…”

Section: Discussion On Earth Pigments Used In India's Wall Paintingsmentioning

confidence: 99%

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A Review on Historical Earth Pigments Used in India’s Wall Paintings

Sharma

Singh²

2021

Heritage

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Iron-containing earth minerals of various hues were the earliest pigments of the prehistoric artists who dwelled in caves. Being a prominent part of human expression through art, nature-derived pigments have been used in continuum through ages until now. Studies reveal that the primitive artist stored or used his pigments as color cakes made out of skin or reeds. Although records to help understand the technical details of Indian painting in the early periodare scanty, there is a certain amount of material from which some idea may be gained regarding the methods used by the artists to obtain their results. Considering Indian wall paintings, the most widely used earth pigments include red, yellow, and green ochres, making it fairly easy for the modern era scientific conservators and researchers to study them. The present knowledge on material sources given in the literature is limited and deficient as of now, hence the present work attempts to elucidate the range of earth pigments encountered in Indian wall paintings and the scientific studies and characterization by analytical techniques that form the knowledge background on the topic. Studies leadingto well-founded knowledge on pigments can contribute towards the safeguarding of Indian cultural heritage as well as spread awareness among conservators, restorers, and scholars.

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Section: Discussion On Earth Pigments Used In India's Wall Paintingsmentioning

confidence: 99%

“…Calcium sulfate is an impurity in the lime, according to him. Calcite and gypsum both were used either as white pigments or ground in many rock and cave paintings of India [64][65][66][67][68][69]. Through his researchSingh has identified calcite as the white pigment used at the Ajanta and Ellora paintings [70,71].…”

Section: Calcite and Gypsummentioning

confidence: 99%

A Review on Historical Earth Pigments Used in India’s Wall Paintings

Sharma

Singh²

2021

Heritage

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“…The same plant or animal glue was used as a binding medium for paints. Studies of the paintings of Indian cave temples were started at the beginning of the twentieth century [2], but it was S. Paramasivan who carried out systematic research between 1930-40 (see, e.g., references [29][30][31][32][33]. It was discovered that in almost all the buildings examined the ground consists of two layers: the lower, thicker (1°5-2.5 mm) one and the upper, thinner (0·6-0·8 mm) one.…”

Section: Discussionmentioning

confidence: 99%

“…Chemical analysis showed that, usually, there is lime with an admixture of sand in the thick layer and only lime in the thin one. In most cases, no organic components were discovered in the 'paintings [28][29][30][31]. Only in the black pigments of some of the seventh-to ninth-century paintings was plant gum discovered [32,34] as were traces of oil in the ninth-to fifteenth-century paintings.…”

Section: Discussionmentioning

confidence: 99%

“…However, according to the recent review of O. Agrawal, there are no natural organic glues in a large number of Indian paintings [27]. That is why S. Paramasivan and o. Agrawal supposed that paintings had usually been made in the fresco secco technique, while lime water was used as a binding medium [27,[29][30][31][32]34]. Buddhist cave temples of the early medieval period are also to be found in Chinese Turkestan and Afghanistan.…”

Section: Discussionmentioning

confidence: 99%

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On the Technology of Central Asian Wall Paintings: The Problem of Binding Media

Birstein¹

1975

Studies in Conservation

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Organic components of paint layers and grounds in specimens of late antique and early medieval Central Asian wall paintings were studied. Quantitative analysis of amino acids isolated from specimens of Mansur-Depe wall paintings, second to first century B.C., has demonstrated that gelatin was used for the preparation of painting media and grounds-proline, glycine and alanine were revealed to a high percentage while hydroxyproline was not detected. In other wall paintings of the second to the eighth century the use of plant gums was inferred since polysaccharides isolated from the specimens had infrared spectra resembling those of polysaccharides from the Prunoideae sub-family. The gum used in the Toprak-Kala wall paintings, third to fourth century, and in a nineteenth-century painting from Khiva could be identified precisely: it was either apricot or cherry gum. The technique used for the preparation of paints and grounds in Mansur-Depe and Kara-Tepe, second to fourth century, resembles those described in medieval Indian manuscripts. the Bactrian Buddhist temple complex of Kara-Tepe, second to fourth century [4J; the Khorezmian palace of Toprak-Kala, third to fourth century [5]; houses of Sogdian city nobles in Pendjikent, seventh to eighth century [6]; the Buddhist temple of Adjina-Tepa, seventh century [7]; and the Tashkhauli palace, 1830, in Khiva. MATERIALS AND METHODS Samples of Paintings 1 -From Mansur-Depe-smallfragments with red paint on a relatively thick (2-3 mm) ground. The paint must have been Inade of Kzyl-kessak (a kind of ochre) as a pigment [3]. The ground consists of chalk with fillers: pounded ceramics and small pebbles [3]. It was placed on the mud plaster. The samples were collected in the portico (aiwan). 2 -From Kara-Tepe-fragments with red paintings and a fragment with a polychromatic painting from the P-II cave temple. The paintings are made on a ground 1-5-2-0 mm thick. The ground is different from that of Mansur-Depe. It is looser than the latter, almost insoluble in HCI, and with sand as the filler. The ground must have been spread in thin layers. The uppermost layer just below the painting is the finest and whitest one. The ground was placed over the sandstone walls of the cave. 3 -From Pendjikent-fragments of a thick clay plaster with fillers. A thin layer of white ground is over it. The colouring is black and brownish (the pigments are soot and ochre [8D· On the technology of Central Asian wall paintings: the problem of binding media 9

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Technique of the painting process in the rock-cut temples at Badami

Paramasivan¹

1939

Proc. Indian Acad. Sci. (Math. Sci.)

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Technique of the painting process in the temple of vijayalaya cholisvaram in the Pudukkottai State

Cited by 7 publications

References 3 publications

A Review on Historical Earth Pigments Used in India’s Wall Paintings

A Review on Historical Earth Pigments Used in India’s Wall Paintings

On the Technology of Central Asian Wall Paintings: The Problem of Binding Media

Technique of the painting process in the rock-cut temples at Badami

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