This girl, like a few other children in our village, was very amused to see me photographing doors, bolts and windows, my nephews and nieces, and so on. All of them were very eager to pose for portraits, and when I asked her if she would like to be photographed, she was delighted but also shy enough to cover her face. Her features remind me of kindness and her shawl of ultramarine. In painting, the pigment for this color was made by grinding lapis lazuli (Persian: لاژورد lāzhward) which has been mined primarily in the Badakhshan province of Afghanistan for over 6000 years. It was expensive, difficult to prepare and work with – a synthetic alternative became available in the 19th century. Ultramarinus, the Latin origin of the word, means ‘beyond the sea’ with reference to the foreign (non-European) origin of lapis lazuli.
The first noted use of lapis lazuli as a pigment can be seen in the 6th- and 7th-century AD cave paintings in Afghanistani Zoroastrian and Buddhist temples, near the most famous source of the mineral. Lapis lazuli has also been identified in Chinese paintings from the 10th and 11th centuries, in Indian mural paintings from the 11th, 12th, and 17th centuries, and on Anglo-Saxon and Norman illuminated manuscripts from c.1100. The pigment was most extensively used during the 14th through 15th centuries, as its brilliance complemented the vermilion and gold of illuminated manuscripts and Italian panel paintings. European artists used the pigment sparingly, reserving their highest quality blues for the robes of Mary and the Christ child. Ultramarine blue is now commonly used by many types of contemporary artists, with Yves Klein being prominent. — Wikipedia