Fresco-Buono (First Method): The word fresco originates from the Italian word for fresh, indicative of the fresh plaster (wet surface) used in the paintings. It is also known as wet-wall paintings, 'Arayash', 'Alagila' etc. In this method, colours are mixed with lime and water and painted on wet lime plaster. Absorption of CO2 from the atmosphere while drying leads to carbonation of the lime, rendering the paintings stable and durable-though not immune to time, nature and vandalism. The colours are absorbed by the wet plaster and become a distinguished part of the painting. Secco (Second Method): The wall paintings on dry surfaces are called, 'fresco-secco' (the term is of Halian origin). Tempora colours are used with the sticking and binding material, and hence this method is also called the tempora method. The advantage of this method is that changes can be done in the painting later on too. Any cracks and holes on the wall are first filled with plaster so that the paintings do not get spoil. The wall is made free from moisture to prevent the alkaline effect from spoiling the colours of the paintings. An excess of gypsum in the wall is also harmful for the stability of the colours; in such an event the wall is be plastered again. Materials like gum, sares, egg, cascein etc. are used for binding and sticking. Wall paintings of both styles are found in Shekhawati where hot and cold colours have been used. In these Havelis pure frescoes are drawn on the lower surfaces and outside walls; which are made from the viewpoint of stability while inside the buildings and on the ceiling the secco method is used. TECHNIQUES Lime: Natural lime or calcium carbonate undergoes various chemical changes with water to return to its primary state which is not affected by external factors. Lime of Ranoli was very suitable for wall paintings as it was processed on wooden fire. This lime had the right quantity of gypsum to ensure stability of the paintings. Lime is soaked in water for a long time to allow its impurities to settle down and its useless upper layer of carbonate is removed. This thin layer reacts with the colours to make them ineffective and therefore has to be removed every day. By this useful process, lime could be stored for years. In the local method gum, methi, gur, curd etc. were mixed with lime to make it soft, shiny and homogeneous. This paste used for plastering was locally called "Sudha Bandan" or "Panna". Earlier earth from the Katli river and Aravalli hills was considered good. Finely powered sand had to be brought from Makrana by camels, which used to be an expensive affair. So sometimes, sand from the Katli river was finely powdered and used on the lower surfaces and the finely powdered sand from Makrana was used for the upper surface. The use of finely powdered sand may be seen in the cenotaphs and temples of Mandawa. Plaster work (plastering): Before plastering, the wall is made sufficiently wet so that it does not absorb more water from the plaster. The wall is then rubbed with a hard brush so that, the plaster could be gripped; four coats are used to provide stability to the plaster. First coat (plastering): This was called primary plastering. In this process three fourth part roughly powered sand and one fourth part lime was used, which was thrown sharply on the walls from a distance of about 50-60 cms so that the plaster would adhere to the wall. This 1" to 2" thick layer was centred in an upper direction to fill the holes and drive out the inner air between the wall and the plaster. This plaster was levelled by the leveller known as "Batkara". Second Coat (plastering): For this surface three fourth part roughly powdered sand and one fourth part lime were mixed. The mixture was made less wet than the first layer. This plaster was centred in an upward direction, like the first layer. Sometimes the paste would be mixed with husks of rice, fibres of jute and cowdung (gobar). Lime purified in Shekhawati was mixed with gur (jaggery) to solidify it and make it dense and non sticky, methi (Trigonella gracieum) added hardness and to prevented cracking, curd was used for smoothness, shine and purity while shell was used as a binding agent in the solution. Through this process the chemical activity of lime was neutralized. Third Coat (plastering): In this process two third part finely powdered sand and one third part lime was used for plastering, 40-50 minutes after the second coat. Fourth Coat (plastering): For this plastering half part finely powered rock and half part lime was mixed and centred in circular form to make the layer even and smooth. It was then polished with a very fine paste called. "Sudha Lape" which was very smooth and shinny. This paste would be applied four or five times and each time it would be polished by a process called 'Mohra'. This process was repeated until the surface become shiny. This would not allow the air to enter and fill the creak. It would then be polished with coconut. Painting procedure Sketching ('Rekha Karm'): A rough sketch is made on paper with a sharp pointed needle or spine used for punching the line on the sketch after which it is put against the wall. Colours are rubbed lightly by hand on this sketch so that it can reach down to the surface, a process called 'Jharna' (Khaka). The dark black against the dark yellow colour is ideal for sketching on a white wall, giving the artist an idea of the sketch. Following this process painting is done. Painting (pigmentation-Varn Vyas): The colours most suitable for wall paintings are mineral colours that do not react with lime. They are obtained from rocks and sand, for e.g.: Ram Raj, Hir Mirch flingul, Hara Bhata, Neel (Indigofera Tendora), Gaugoli Kajal, Kharia etc. The Aravali hills have been a very useful source of these colours. Paintings with these colours can be seen all over the Shekhawati region. The process of making colours 'Kharia' (white colour from chalk): The use of hard chalk can be seen. Finely powdered chalk is mixed with water and left out for two or three days after which the water is filtered. The filtered water is used as a white colour for painting. 'Hara Bhata' (Terra Verte): Hara Bhata is rubbed on a stone to remove the impurities and the same process used for chalk is repeated. 'Hir Mirch' (Dark Red): These colours are also obtained in the pure form by the sieving procedure as described above for chalk. 'Kajal' (Lampu Dark): An earthen pot is kept in an inverted position at a certain distance above a burning lamp of mustard or sweet oil seed so that carbon (lamp black) gets collected on it. The deposit is removed and used as black colour, which is mixed with gum of the Acacia tree according to the desired consistency. Charcoal powder is also used for black colour. In wall painting skimmed milk or casein is also used with black colour to impart stability. In Shekhawati, fresh milk is also used for this colour. 'Kesula' (Dark Yellow Colour): This is obtained from the vegetable pigments. The yellow flowers are kept soaked in water in an earthen pot for twenty days. The residue is powered on a stone. After filtering it several times pure colour is obtained. At times, fresh milk is also mixed. The use of this colour can be seen in the region of Bissau, Ramgarh etc. 'Kariya' (Light Pink Colour): This colour is also made local pigment vegetables. The flowers of 'Kair' bushes are kept in an earthen pot for a month with water. The process as described for 'Kesula' is performed to obtain the pure colour. As the procedure is very difficult this colour is used very rarely. In the cenotaph of Malsisar this colour has been used. 'Rohira' (Saffron colour): This colour is obtained from local vegetable pigments. The flowers of Rohira (Tecomella undulata) tree are soaked in water for 2-25 days and the process as in 'Kesula' and 'Kariya' is performed to get the pure colour. It is mixed with fresh milk for use in painting. This colour has been used for painting of Mahanar. 'Khinpe' (Dark Green Colour): This colour is prepared from Khinpe (Leptedenia) plant. The long and fresh fibres of this plant are soaked in water for one month and then cleaned with fresh milk water. This pure colour is stored in a coconut shell. 'Singh Ruf': Singh Ruf used in the painting of Shekhawati is ground in the mortar with the milk of sheep for 2 or 3 days so that the colour gets cleared. The material obtained from the procedure is cleaned with water and lemon juice. The water is filtered off and the upper layer of colour is used. The lower layer is discarded because the quantity of mercury is more. If necessary it is mixed with gum of Acacia and stored in coconut shell. 'Sindoor': This colour too, is prepared by the above method. Lac colours are prepared from the bark of the Banyan and Lac trees. The bark of the tree is left in water for decomposition. After two days the coloured water is removed in an earthen pot and heated on fire with borax (Suhaga). The water evaporates to leave behind a red residue. The red residue is collected in the dry state to obtain a colour called "Kiram Ka Rang". The method is possible only in an earthen pot. The green colour lac is prepared in a copper vessel, and dark blue colour in a green vessel. 'Hilkari' (Colour of Silver and Gold): In a clean china clay bowl transparent chips of the rare metal with a few drops of water is ground. This solution is heated on slow fire and mixed with salt for purification. The upper layer of water is removed by decantation. The lower layer is allowed to solidify or frozen. If needed the gum of Acacia is also mixed and stored in a coconut shell. The beautiful effect of Hilkari may be observed in the Havelis of Mahansar, Sikar, Ramgarh and Fatehpur. In the ancient literature, an exhaustive list of colour materials, their methods of preparation and their constituents have been described. The effect of these rich organic colours can be seen in the paintings of Shekhawati. Vartana (Final touch of Shades):'Vartana' is the process whereby final touches are given to the painting. 'Vartana' is performed for three principle effects which are: a) Reduction b) Enlargement c) Standard Every painter starts with the process of sketching. "Vartana" makes the painting complete and is performed in three steps: a) Cross line b) Slumping c) Dots The above three steps bring liveliness to the painting. The cross line system that imparts dense and deep effect to colours has been used in the Haveli's of Fatehpur. The above three steps have been demonstrated in the Clay Palace of Silar. After 'Vartana', the painting is rubbed lightly with a soft cloth to check the stability of colour. If the colour runs on to the cloth it is again polished with Akaki Stone after which coconut is rubbed on it to remove impurities. This makes the painting shiny. The simplicity and ease with which colours have been used in the paintings of Shekhawati display a great role in giving motion, tone and originality to the work. The effect remains marked in the mind of the artist. Colour selection is done with a deep understanding of psychology. Most of the Shekhawati paintings have been prepared in a rectangular form, which imparts continuity in motion.
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