It is this that makes their fine and shining ink.
When it has received enough, they take it off, and with a goose feather gently brush the bottom, letting the soot fall upon a dry sheet of strong paper.
WHITE INDIA INK ON WOOD FULL
In 1738, Jean-Baptiste Du Halde described the Chinese manufacturing process for lampblack from oil as: "They put five or six lighted wicks into a vessel full of oil, and lay upon this vessel an iron cover, made in the shape of a funnel, which must be set at a certain distance so as to receive all the smoke. Precious components such as gold dust or musk essence may be added to either types of inks. The sized lampblack was then mixed with glue after which the final product was hammered. The pine soot was soaked in water to divide the fine particles that float and the coarser particles that sink. The low-grade soot was further pounded and ground for printing, while the coarser grade was used for black paint. The last one or two sections delivered soot of the purest quality for the best inks, the middle section delivered mixed-quality soot for ordinary ink, and the first one or two sections delivered low-grade soot. After a burn of several days, the resulting pine soot was scraped from the chamber after cooling. The ground was made from bricks and mud with channels for smoke built in. The pine wood was burnt in a rounded chamber made from bamboo with the chamber surfaces and joints pasted with paper and matting in which there were holes for smoke emission. For the second process, the ink was derived from pine wood from which the resin had been removed. A skillful artisan could tend to 200 lamps at once. The lampwick used in the making of lampblack was first soaked in the juice of Lithospermum officinale before burning. 30 grams) lampblack of fine quality could be produced from a catty (aprox. For the first process, more than one ounce (aprox. In the Chinese record Tiangong Kaiwu, ink of the period was said to be made from lampblack of which a tenth was made from burning tung oil, vegetable oils, or lard, and nine-tenths was made from burning pine wood. Inkmaking from pine wood, as depicted in the Tiangong Kaiwu (1637) It was made by combustion in lamps with wicks, using animal, vegetable, and mineral oils. From the Song dynasty onwards, lampblack also became a favored pigment for the manufacturing of black inks. 1600–1660) of the Ming dynasty has described the inkmaking process from pine soot in his work Tiangong Kaiwu. Several studies observed that 14th-century Chinese inks are made from very small and uniform pine soot in fact the inks are even superior in these aspects to modern soot inks. Pine soot was traditionally favored in Chinese inkmaking. In contrast to Chinese inks that were permanent, these inks could be washed away with water. Like Chinese black inks, the black inks of the Greeks and Romans were also stored in solid form before being ground and mixed with water for usage. To use the dry mixture, a wet brush would be applied until it rehydrated, or more commonly in East Asian calligraphy, a dry solid ink stick was rubbed against an inkstone with water. The traditional Chinese method of making ink was to grind a mixture of hide glue, carbon black, lampblack, and bone black pigment with a mortar and pestle, then pour it into a ceramic dish where it could dry. In India, the carbon black from which India ink is formulated was obtained indigenously by burning bones, tar, pitch, and other substances. The practice of writing with ink and a sharp-pointed needle in Tamil and other Dravidian languages was common practice from antiquity in South India, and so several ancient Buddhist and Jain scripts in India were compiled in ink. Indian documents written in Kharosthi with this ink have been unearthed in as far as Xinjiang, China.
India ink has been in use in India since at least the 4th century BC, where it was called masi, an admixture of several substances. A cylindrical artifact made from black ink has been found in Qin tombs, dating back to the 3rd century BC during the Warring States or dynastic period, from Yunmeng, Hubei.
Numerous documents written in ink on precious stones as well as bamboo or wooden tablets dating to the Spring and Autumn, Warring States, and Qin period have been uncovered. A considerable number of oracle bones of the late Shang dynasty contain incised characters with black pigment from a carbonaceous material identified as ink. India ink was first invented in China, but the English term India(n) ink was coined due to their later trade with India. Woods and Woods (2000) state that the process of making India ink was known in China as early as the middle of the 3rd millennium BC, in Neolithic China, whereas Needham (1985) states that inkmaking commenced perhaps as early as 3 millennia ago in China. A solid ink stick used for the preparation of ink
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