Auspicious Embellishment in Bhutan

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Auspicious Embellishment

Contents 1. “A People’s Sanctuary” ……………………………………………………………….……….. 4 2. Completed structures ………………….… (Plates 1 – 3) ………………………………… 9 3. Sketches ………………………………….…… (Plate 4)……………………………………….. 11 4. Window embellishment ………………… (Plates 5 – 16) ………………………………. 11 5. Painting in progress ………………………. (Plates 17 – 21) ……………………………. 18 6. Windows and beam ends ……………… (Plates 22 -25) ……………………………… 21 7. Auspicious symbols ……………………… (Plates 26 – 29) …………………………….. 23 8. Animals ………………………………………. (Plates 31 – 37) …………………………….. 26 9. Various designs ……………………………. (Plates 39 – 75) …………………………….. 30 10. Pillar cantilevers …………………………... (Plates 76 – 80) …………………..………… 48 11. Rafters ………………………………………… (Plates 81 – 82) ……………..……………… 50 12. Doors and entrances ……………..……… (Plates 84 – 93) ………………..…………… 52 13. Balconies and verandas …………………. (Plates 94 – 98) …………………..………… 57 14. Various ………………………….……………. (Plates 99 – 105) …………………………… 60 15. References ………………………………………………………………………………….……… 66 16. About the author ………………………………………………………………………………… 67 17. Annex 1 …………………………………………………………………………………………….. 69 18. Annex 2 …………………………………………………………………………..………………… 70

Cover design: Pema Domingo-Barker Please acknowledge source when reproducing or transmitting through electronic media. © David K. Barker. Photographs by Author Bangkok January 2013 Email: bhutext8@gmail.com 3


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“A PEOPLE’S SANCTUARY” Introduction The highly respected and centuries-old principles of traditional Bhutanese aesthetics are the major focus for the entire spectrum of social, economic and religious life. Expressiveness, moral worth and purity in daily life prevail. The population’s whole-hearted adherence to these principles sets Bhutan specially apart from any other culture in this modern day world. A traditional Bhutanese residence or farmhouse shows strong and enduring evidence of respect and conforming to these principles whether constructed and completed yesterday, or during Europe’s Renaissance period. The house’s overall form, dimensions, size, proportions and tradition historically emanate from, or influenced by neighbouring Tibet, also a deeply insightful culture rooted in Buddhist precepts. A significant external difference exists however, between the Tibetan flat roof and the Bhutanese sloping roof. Bhutan’s residential houses have a strong and lasting impact on the senses. Each Bhutanese house possesses its own character with adjacent landscape included as part of the interior. They are superbly crafted in a truly national form, distinct from those in other adjacent Himalayan countries definitely creating an aura of special dignity, strength and charm. Each individual house appears to be solid, spacious, airy and truly serves as “a people’s sanctuary.” A high level of natural light filtering throughout the interior is a special feature and contributes considerably to household energy efficiency. Often built in groups or clusters rather than in terraced rows, this is attributed to the features of the rugged mountain or contours of the valley terrain, and the social structure of the local community. Each house is built for strength and is expected to provide living space for generations and descendants. Viewed from a distance, the perspective offered from the cluster of traditional Bhutanese homes appears to be similar to rustic alpine Tyrolean dwellings, set against a photogenic backdrop of white mountain peaks, high passes, shadowy vales, silvery rivers, rolling green hills and docile animals at pasture. In traditional Bhutanese architecture, the roof features and associated elements signify a hierarchical order and one’s status in society. The position of the house on the land is determined by adherence to traditional precepts. It also obeys Nature’s rules of prevailing winds, position relative to the movement of the sunlight, and ground slope for drainage. Monks and village elders are consulted on the auspicious positioning of the house and the convenient dates and hours for construction. Astrological perceptions, tradition, beliefs and dogmas are considered. Appropriate markings and flags are then village positioned accordingly. Prior to the commencement of construction, the property and the future work receive a Buddhist blessing in a joyous ceremony performed by a monk. Laying of foundation stones, placing of entrance doorframes, erection of the walls and roof are closely associated to certain rituals. It is noted that according to traditional inheritance law, the women are often the proprietors of buildings and land.

Construction and materials Scheduling of construction is taken into account so that there is little conflict with the labour needs of the clearing, planting and harvesting cycle, or the herding of farm animals into higher, drier or greener pastures.

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Typical traditional house construction consists of three floors, rectangular in form and beautifully proportioned. Building commences with river stones and boulders hauled from nearby riversides and placed in a trench, built to a height of approximately 50 cm above ground to form the foundation. Then the floors and walls take shape, from cleaned mud compacted into place with stout wooden clubs by a team of singing and jocular people in a pleasant rhythm, often women. As a binding agent, dried and chopped straw is added by the handful to the clay mixture while the musical rhythm remains unbroken. After brushing and leveling, final smoothing is done with wet hands. Such walls are built to roof height. Ground floor windows are usually smaller in scale than those on the upper floors. A trefoil motif (horzhing) is characteristic of windows in Bhutan. Building material is almost totally dependent on the availability of the forest’s bounty and includes timber, straw, rubble stone, river pebbles, common soil, clay, stiffened-clay (empese) and sometimes adobe brick. Cement and other manufactured binders are not used. Their organic nature gives these houses a stable continuity throughout its generational use. Renovations and replacement of worn sections are rendered easier when such materials are within reach. Whitewashed plaster facings and the absence of metals for nails or hinges also contribute to the unique features of these dwellings. A recent observation indicates that occasionally metal rods are used for the trefoil windows. Walls are constructed according to a post and beam method. The structural elements remain exposed so that the structural pattern remains apparent. The architectural principle of ‘skin and skeleton’ satisfies the need for economical and rational building. This also differentiates the clear division between load bearing, partition and service elements. An ample height (shambarnang) sufficient for standing is usually created between the upper floor of hard-packed earth of approximately 10 cm in depth, and the roof. With an easy air interflow under the exposed roofing rafters, wooden casks or storage bins, baskets, drying animal skins and meat, hay, harvest grains and produce are properly ventilated, dried, cured and stored. The low-pitched, timber-shingled and slightly sloped roof of between 12 and 15 degrees is weighted with large river stones to firmly hold the shingles and for anchoring during storms and strong winds. The rooftop stones also break the accumulation of heavy ice and snow. The ground floor of a three-storey house, being the coldest part of the house, is used for storage of implements and farmhouse functions such as the nocturnal housing and sheltering of farm animals: cows, goats, roosting poultry and other domesticated animals. Normally, the interior mud walls on this ground floor are un-faced and unadorned. Often, an adjacent roofed area with an earthen floor is allocated adequate space to contain a backstrap loom, spinning wheel and other weaving needs, for the home-woven fabric needs of the household. The positioning of this area often takes into account the maximum daylight possible to enable the weavers, females of the household, to work as many hours as possible.

Embellishment Once the basic structure has been constructed, the specialized craftsmen-artists and monks are invited to bring their meticulous skill sets. Their work is evidenced by elaborate and colourful embellishments to the whitewashed stucco walls and wood frames with animal, floral, geometric and religious symbols or motifs. Normal practice is to hire a master 5


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artist who will be responsible for the preparation and completion of the painting. He will supervise the work of all the chosen artists. Invariably the team has worked together for many years and creates a signature identity to the completed work. Each team member specializes in a particular aspect of painting. Close adherence to tradition and religious beliefs is followed throughout the painting period. This is also purposeful in gaining additional merit to interpret religious themes, as wall and ceiling paintings are prepared accompanied by soft chanting for invocation of good spirits to dwell in the house. Common patterns include the eight auspicious signs of Mahayana Buddhism and traditional designs and shapes that are considered lucky. Such art skillfully mirrors the Bhutanese living appreciation and conveyance of story-like and genuine folk-life experiences. Many centuries of designs are handed down where size, shape, design, colour and form are imprinted from memory to mural, often unaided with plans, blueprints or other documentation.

Exterior walls The whitewashed stucco exterior walls receive decorative treatment with painting sizes dictated by the dimensions and shaping of the unadorned areas. The pleasing façade is further enhanced by these colour intense areas set against the stark whitewashed walls. With an abundance of exposed wood surfaces there is more than adequate space for decoration. These include: ceiling planks, rafter and beam ends, cantilevers (upper and lower), post or pillar shafts, capitals, main beams, lintels, balusters, balustrades, newel posts, newel caps, beam seats, long bows, door transoms, panels, frames and casings of all forms and plaster walls. This also applies to domestic furniture such as chairs, cupboards, tables and cabinets that are also the receivers of fine artistic embellishment. Although variations in techniques, motifs and designs are used for each separate unit, certain similarities do exist between the wall and wood decoration. The Bhutanese window is narrow and has a unique design with corner scrolls at each of the top corners of the outer casing. An interwoven bamboo screen has adjustable positions to increase or decrease incoming light. This is a common practice throughout the country. As with other wood areas each exposed section of a window both internally and externally is elaborately painted. Although decoration is applied to both the internal and external wood, the design finishing tends to be more detailed and elaborate inside the buildings. External verandas, colonnades, balconies, colonnade side partitions, handrails and roof rafters are also adorned with painted designs.

Colours and designs Application of colour sequences is undertaken according to a pre-defined method with fine gold and black detailing reserved for buildings of special consequence or use. In Bhutan the order of colour sequence is closely allied to the Tibetan method. This sequence associates to the mantra, Om Mani Padme Hum. Each syllable relates to the order of colours, white, blue, yellow, green, red and black.

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The designs selected directly relate to the forms to be painted. Painting is confined to designs and motifs that are complete in themselves without continuation to adjoining areas, but harmonious within the context of the whole area of adjacent painting. These apply to rafter ends, upper and lower cantilevers and similar areas. Therefore each symbol or motif will be completed within the limited area. For example, the space of the rafter ends having a dimension between four and six inches. The same design may be constantly repeated on each rafter end with occasional duplication on opposing sections. Continuous designs are selected for longitudinal and narrow areas such as ceiling planks, quadrant pillars, lintels, main beams, long bows, transoms and casings. These include the jewel design, pearl border (single white circles on a dark background) serti (or “gold writing” border design), and continuous meanders including the lotus, key fret, thunder pattern, “T”, yeunrung (Buddhist swastika line design of cross construction with crampons facing to the right) mountains, rivers, waves and foliage. Pillar capitals, main beams and other similar areas tend to receive designs that are spacious and continuous. Often the central features are the eight auspicious signs, real or mythical animals or a collage of auspicious signs extending along the enblatures with cloud, mountain, flower, lotus scrolls or leaves. Echinus, cincture, neck and astragal supporting the capital where the pillar abuts use repeat and continuous designs with few exceptions. The dharma (law) stack decoration is normally confined to the tashi thare group. This group represents good luck and is derived from the square key design. This block design allows the artist to include paler hues and whites to accentuate the depth and intricate nature of the frieze. The lotus (padma) decoration, below the dharma, is usually reserved for the continuous lotus petal design. Panels are normally painted with a yellow ochre background on which the eight auspicious signs are applied. In the event that moulding or carving is present the artist is required to include the upper and lower portions of the carving. This applies to pillar capitals and furniture. When the reverse side is exposed one flat colour is chosen. For repeat designs on wood stencils are rarely used. However for the capitals, main beams and other large areas paper stencils are prepared and used. For lighter areas, small charcoal bags are used to define the required lines. For darker areas white chalk dust is used.

Tibetan influences Similar to the methodology and system of house construction the various components of auspicious embellishment are influenced by neighbouring Tibet. These influences occurred early in the 15 century when travelling Tibetan lamas and pilgrims found peace and tranquility in this heavenly country. th

Later, many skilled craftsmen from neighouring countries found a patronage, culture and climate conducive to the creation of beauty and perfection. The theme of closeness to nature is followed through with the choice of paint pigments that are used for both the wall 7


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and wood decoration. All pigments are taken from natural sources and often the painter will compose his own paints from these bases. Refer Annex 1. Sources of Colour Pigments. As found in Tibet each colour is associated with a natural phenomenon. Red for fire, blue for sky, white for purity among others. The eight auspicious signs of the Buddhist religion are extensively featured throughout the painting process. These include, the parasol, conch shell, lotus, eternal knot, parasol, banner, wheel of law, urn and golden fish. Other symbols are also frequently used and include the eight ordinary signs, four signs of the scholar, and symbols of the immortal spirits. When a Buddhist symbol is featured further enhancement of clouds, flowers, ferns, bamboo, or foliage is added in representational or stylized form. Animals, both real and mythical, flowers, fruits, monograms and other symbols are also used. Occasionally whimsical and fanciful designs decorating walls strongly convey the delightful sense of humor that is within every Bhutanese. To perpetually guard against evil, carved wooden phallus figures are placed at the four corners of the house, or phallus paintings predominately adorn selected parts of the house.

Traditional embellishments and architecture This photo essay displays various aspects of the artistic enhancements undertaken during the embellishment of the outside features of the house. It follows on from the earlier publication, Earth, Wood and Stone: The Bhutanese House. The final effect of this unique and pleasing architecture and auspicious embellishment of Bhutanese traditional homes truly creates a strong and harmonious bond with the country’s natural and spectacular landscape. No doubt it is a positive response and in balance with the mighty but fragile Himalayan environment. The process of harmonious construction with Nature’s materials, the steps taken to insulate and ward off cold winds as much as possible, the artistic inputs of the artist-craftsmen and monks, consideration of the well-being of farm animals, the community bonding, and finally the creation of a mostpleasing dwelling for each family to enjoy, certainly would count as true and living indicators of the concept of Gross National Happiness that is truly Bhutanese. David K. Barker and Evelyn Domingo-Barker

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Plate 1

Plates 1 & 2. Views of completed structures prior to embellishment

Plate 2

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Plate 3

Completed window

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Plate 4

Sketches are prepared for the various designs to be used

Plate 5

Plates 5, 6 & 7. Embellishment commences on the windows 11


Plate 6 12

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Plate 7

Window embellishment

Plate 8

13


Plate 9

Plate10 14

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Plate 11

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Plate 12

Plate 13. 16

Rural window


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Plate 14

Plate 15

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Plate 16

Plate 17

Plates 17 to 20. Painting in progress 18


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Plate 18

Plate 19

19


Plate 20

Plate 21

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Windows and beam-ends

Plate 22

Plate 23

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Plate 24

Windows, beam ends and auspicious signs

Plate 25

Windows and beam-ends 22


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Plate 26

Windows with embellished adjacent wall panels

Plate 27

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Plate 28

Plate 29

Auspicious symbols adorn a boundary fence 24


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Plate 30

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Plate 31

Tigers in a bamboo forest

Plate 32

Tigers and precious jewel 26


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Plate 33

Snow lions

Plate 34

Mythical lions 27


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Plate 35

Mythical dragons

Plate 36

Mythical bird 28


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Plate 37

Tiger and mythical lion

Plate 38

Peace and serenity 29


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Plate 39

The Eight Auspicious Signs 30


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Plate 40

Forest deer

Plate 41

Mythical animal, possibly Bhairab 31


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Plate 42

Clouds and mountains Cantilever and beam embellishment

Plate 43

Three conch, gau, lotus and dharma designs

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Plate 44

Lotus, precious jewels and river meanders

Plate 45

Clouds, valley meander and lotus petals 33


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Plate 46

Floral designs, yuenrung and valley meanders

Plate 47

Conch, jewel and flowers

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Plate 48

Three slate inserts bracketed by a parasol and dharma wheel

Plate 49

Slate carving with one unit of a dharma wheel, eternal knot and lotus 35


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Plate 50

Ribbons, stylized leopard and dharma wheel

Plate 51

Pennants, script and chains 36


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Plate 52

Stylized tiger and eternal knots

Plate 53

Pennant, jewel, lotus and floral décor 37


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Plate 54

The parasol

Plate 55

Stylized serpent, eternal knot and clouds 38


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Plate 56

The dharma wheel and lotus

Plate 57

Yuenrung meander, script :Om Ma Ni Pad Me, and jewels. Chinese influence on colours 39


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Plate 58

Heavily embellished rafter ends, beams, and window frame. Chinese influence on colours

Plate 59

Pearl meander, clouds and flowers 40


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Plate 60

Lotus, stylized flowers and valley meander

Plate 61

The conch 41


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Plate 62

The Eternal Triangle

Plate 63

Plates 63 & 64. Various meanders

Plate 64

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Plate 65

Various flowers

Plate 66

Lotus, urn, jewels and flowers

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Plate 67

Mythical animal in carved wood, precious jewels and lotus meander

Plate 68

Snow lions and eternal knot 44


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Plate 69

The Lotus

Plate 70

Lower window sill

Plate 71

Mani stone 45


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Plate 72

Four panels of figures, beam-ends and cross beams

Plate 73

Pennants and various meanders 46


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Plates 74 & 75. Heavily embellished structures

Plate 74

Plate 75

National Museum entrance 47


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Pillar cantilevers

Plate 76

The Lotus

Plate 77

The Precious Jewel 48


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Plate 78

Script, precious jewel and clouds

Plate 79

Clouds, pearls and script

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Plate 80

Dharma wheel, lotus, clouds and pearls

Rafters

Plate 81 50


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Plate 82

Plate 83

Slate carving 51


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Doors and entrances

Plate 84 52


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Plate 85

Plate 86

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Plate 87

Plate 88 54

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Plate 89

Plate 90

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Plate 91

Plate 92

Top floor corner embellishment with overhanging roof 56


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Plate 93

Pagoda roof

Balconies and verandas

Plate 94

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Plate 95

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Plate 96

Plate 97

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Plate 98

Plate 99

Entrance gate 60


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Plate 100

Cornice 61


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Plate 101

Cornice with whitewashed wall and pearls 62


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Plate 102

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Plate 103 64


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Plate 104

Plate 105

At one with nature 65


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References Architecture in Bhutan: http://suite101.com/article/architecture-in-bhutan-a156743 Arts and Architecture: http://www.birdinginbhutan.com/arts_architecture.php Bhutan Cultural Atlas: http://www.bhutanculturalatlas.org/371/culture/sitesstructures/introduction-to-sites-and-structures-in-bhutan/ Bhutan - Smithsonian Center for Folklife and Cultural Heritage ... http://www.folklife.si.edu/resources/pdf/.../SFF08_PBk_Bhutan.pdf The Clear Exposition of Bhutanese Architecture, transl. Sonam Kinga, Chang Dorji, Thimphu, 2006 (transl. From Chang Dorji (Cang rdo rje) 'Brug gi khyim bzo'i rnam bshad, Thimphu, 2004). Culture of Bhutan: http://www.bhutanmysticbliss.com/bhutan-travel/culturebhutan.html Earth, Wood and Stone, David K. Barker. December 2012. http://issuu.com/dkbbkk/docs/bhutan_house "Demolition and re-erection in contemporary Rukubji, Bhutan: Building as cyclical renewal and spatial mediation", Dujardin, Marc, in N. Gutschow, A. Michaels, C. Ramble & E. Steinkellner (eds.), Sacred Landscapes of the Himalaya, Austrian Academy of Sciences Press, Vienna, 2003, 19-38. From fortress to farmhouse: a living architecture. Dujardin, Marc, in C. Schicklgruber & F. Pommaret, Bhutan : Mountain Fortress of the Gods, Serindia, London, 1997, 61-85. An Introduction to Traditional Architecture of Bhutan. Department of Works, Housing, and Roads, Royal Government of Bhutan, 1993 - 258 pages. " Rituals of Bhutanese House construction in Bhutan" Chime Wangmo, in Soundings in Tibetan Civilization, B. Aziz and M. Kapstein (eds.), Manohar, New-Delhi, 1985, pp.107114. Traditional Architecture Guidelines 1990. Conference Proceedings Department of Urban Development and Housing, Royal Government of Bhutan. Traditional building in Bhutan. http://www.greenstone.org/greenstone3/nzdl;jsessionid=AEB5EB513851E98CBDA307D 988442CEC?a=d&d=HASH01addee18cde72b760dd8fb1.4&c=hdl&sib=1&dt=&ec=&et= &p.a=b&p.s=ClassifierBrowse&p.sa

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About the author David Keith Barker, born in England, completed his full-time education in England and the South Pacific. In 1968, he commenced his career with international organisations undertaking assignments in the Caribbean, Iran, Fiji, Bangladesh, Nepal, Thailand and Zambia. For several years he was a freelance photographer and writer specialising in handicrafts and associated subjects. He is now retired and is resident in Thailand with his wife Evelyn. Both continue to actively assist and support NGO projects in Cambodia, Laos, Nepal, Philippines and Vietnam. Pema, the only daughter, currently works at Queens Museum in New York. His personal discovery of Bhutan and in particular Bhutanese textiles occurred during visits to the country in the 1980’s. This interest increased when textiles in private collections were seen and observations were made of the daily worn garments and displayed by pilgrims en route to holy places in the sub-Continent. This prompted his compilation of Designs of Bhutan and Textile Designs of Bhutan into illustrations in graph format, to capture the beauty of a living tradition made by talented craftspeople and weavers. A forthcoming publication, Grace of the Kira: Bhutan’s Textile Heritage, records and probes textile designs seen on early century fabrics. This collection is a close scrutiny and an attempt to bridge the gap of fast-disappearing vintage designs for repetition by present day weavers, to preserve their historic importance of a weaving culture known for its visual splendour. This current publication was inspired by the prevalence and whole-hearted adherence to traditional Bhutanese aesthetics that was seen throughout the daily life of the Bhutanese population. Previous publications by David K. Barker: Textiles: Designs of Bhutan. Volume 1. Graphic catalogue. Republished in digital format: January 2012. Originally published in paperback, 1985. White Lotus, Bangkok, Thailand. <http://issuu.com/dkbbkk/docs/designs_of_bhutan> Textile Designs of Bhutan. Volume 2. Graphic catalogue. Published November. 2011. <http://issuu.com/dkbbkk/docs/ bhutan_textiles> Bhutan: Textile Designs. Volume 3. Parts 1 & 2. Graphic catalogue. Published January 2012 <http://issuu.com/dkbbkk/docs/part_one> <http://issuu.com/dkbbkk/docs/part_two>

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Other Publications: Earth, Wood and Stone: The Bhutanese House. Published December 2012 http://issuu.com/dkbbkk/docs/bhutan_house Prayer Wheels of the Himalayas. Published Nov. 2011. http://issuu.com/dkbbkk/docs/prayer_wheels_ Maskey: Premier Artist of Nepal. Published Dec. 2011. Parts 1 to 3. Part One: http://issuu.com/dkbbkk/docs/maskey_part_one Part Two: http://issuu.com/dkbbkk/docs/maskey_part_two Part Three: http://issuu.com/dkbbkk/docs/maskey_part_3 Metal Casting in Nepal, Arts of Asia, August 1984. Authors: David Barker, Evelyn Domingo-Barker Ethnic Jewellery of Nepal, Arts of Asia, August 1984. Authors: David Barker, Evelyn Domingo-Barker Bhutanese Handwoven Textiles, Arts of Asia, August 1985. Bhutanese Architectural Painting, Arts of Asia, August 1986.

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Annex 1 Sources of colour pigments Black: Soot and black ash. Blue: Azurite that occurs in nature in two forms: as a crystal and in large earthy forms. Gold: Gold powder and gold leaf. Green: Basic carbonate of copper known as malachite. Orange: Medium shades from a synthetic process from tetraoxide (red lead). Red: Mercury sulphide, mineral cinnabar (vermillion). White: Calcium compounds, high-grade white chalk. Both fine and coarse varieties are used. Yellow: Orpiment (natural yellow trisulphide of arsenic. Yellow ochre: Limonite and used as an undercoat for gold.

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