Introduction: Colour Before Ready-Made Paints
Earlier, artists made their own colours using natural materials.
Before tubes of acrylic and factory-sealed paints existed, colour was something to be discovered, prepared, and patiently crafted. Across India, artists relied on what the land around them offered: stones from riverbeds, minerals from hills, roots from forests, soot from lamps, and even powdered shells. Every region developed its own palette based on locally available resources.
Ajanta cave frescos
This deep relationship between geography and colour meant that art was inseparable from the environment. Even today, when synthetic colours dominate the market, traditional pigments remind us that art once began with the earth itself.
What Are Traditional Pigments?
Traditional pigments are colours made from natural sources.
In simple terms, a pigment is a coloured powder that is mixed with a liquid or binder to create paint. Historically, these powders came from three main sources:
- Minerals – Stones and earth such as red ochre, malachite, and lapis lazuli.
- Plants – Leaves, flowers, bark, roots, and fruits like indigo, turmeric, and madder.
- Animal or insect sources – Occasionally used for specific shades, particularly reds and blacks.
Orange colour is made by mixing red oxide (sindur) with yellow Orpiment
Unlike modern synthetic paints, which are chemically manufactured for consistency and speed, traditional pigments were organic and handmade. Their tones were often softer, more textured, and subtly varied qualities that gave Indian art its distinctive depth.
Pigments Used in Different Indian Art Forms
Each art form developed its own material language, shaped by region, climate, and purpose.
Indian Miniature Painting
In Indian Miniature traditions, artists used precious minerals and metals to achieve luminous effects.
- Lapis lazuli produced a rich, deep blue.
- Malachite created vibrant greens.
- Red ochre offered warm earthy reds.
- Gold was applied for detailing and ornamentation.
Delicate butterfly in Mughal Miniature by Mohan Prajapati
These pigments were finely ground and mixed with natural binders to paint delicate court scenes, devotional imagery, and poetic narratives. The jewel-like finish of Miniature paintings comes directly from these mineral-based colours.
Kalamkari
The textile art of Kalamkari relies almost entirely on plant-based dyes and natural mordants.
- Indigo gives blue.
- Madder root produces red.
- Pomegranate peel yields yellow tones.
- An iron solution creates deep black outlines.
Krishna and the Gopis in Kalamkari by Harinath N
The process involves repeated dyeing, washing, and sun-drying. Each colour must be fixed carefully so it bonds with the fabric. The result is not just painted cloth, but a layered story rendered through botanical chemistry and time-intensive craft.
Pattachitra
The scroll paintings of Pattachitra use bold, earthy pigments derived from natural elements.
- Conch shell powder provides white.
- Lamp black (collected soot) creates black.
- Hingula (cinnabar) gives red.
- Haritala (oriment) produces yellow.
Krishna in Vrindavan in Pattachitra by Gitanjali Das
These pigments are mixed with natural gums and applied in flat, striking tones. The vibrancy and clarity of Pattachitra paintings reflect both ritual importance and disciplined technique.
How These Pigments Were Made
Making colours was a slow and detailed process.
Minerals had to be broken down and ground repeatedly on stone slabs until they became an ultra-fine powder. Plant dyes required boiling, soaking, filtering, and fermenting. Some colours needed multiple extractions to achieve the desired intensity.
Once prepared, the pigment was mixed with natural binders such as gum arabic, tree sap, or tamarind seed paste. Achieving consistency demanded experience; too much water diluted the colour, too little made it unusable.
The preparation of pigment was not separate from art; it was part of the artistic discipline itself.
History and Cultural Importance
These pigments were deeply woven into cultural and spiritual life. They coloured temple murals, sacred manuscripts, ritual objects, and storytelling textiles. Techniques were passed down within artisan families, often guarded as inherited knowledge.
Symphony of Colours: Mastery of Thikri Glasswork by Vinayak Art Glass inlay Handicrafts
Colours themselves carried symbolic meanings. Red signified fertility and auspiciousness. Yellow represented purity and sanctity. Blue was associated with divinity, especially in depictions of Krishna.
Thus, pigment was never merely decorative; it was symbolic, ritualistic, and deeply cultural.
Then vs Now: What Has Changed
Today, many traditional materials have been replaced or adapted.
Earlier, pigments were natural, handmade, and time-consuming to produce. Now, synthetic colours are widely used because they are affordable, easily available, and consistent in tone. What once required days of grinding and preparation can now be purchased in minutes.
Mother with babies: A conflict folk story, Bhil Art by Geeta Bariya
