The blue eucalyptus shuttled through the lively crowd, and after walking more than ten meters, you saw the Chengde Hall located next to the Nanhu Academy. Now Shu Hanyan has contracted the entire Chengde Hall as a store for selling Hui ink.

Almost all of the treasures sold in the store are "gold does not change", and the ink pattern painting and lacquer box decoration production have reached the peak of the realm. Famous craftsmen and famous products emerge in endlessly, among which dragon incense ink, Tianchen ink, peach kernel ink, crape myrtle stellar picture ink, fish play lotus ink, West Lake ten scenery ink, earth ink and so on are peerless.

According to the different raw materials, the ink in the store can also be divided into pine smoke, oil smoke, paint smoke and super paint smoke and other varieties, the most valuable is super paint smoke and other high-grade oil smoke ink. This kind of ink exudes a purple jade luster, which is used for calligraphy to have a dark and moist color; It is used for painting thick but not sluggish, light but not gray, and has clear layers, so it is respected by calligraphers and painters of all ages.

Blue eucalyptus in the store fascinated to watch all kinds of emblem ink, "Heavenly Treasures", "Imperial King Gui Relics", "Xiaoxiang Eight Scenes", "Eight Treasures and Treasures", "Zodiac", "Sword", "Moon Essence", "Golden Turtle", "Jade Cicada Ink", "Eighteen Arhats" and so on, are all practical value and appreciation value of the coexistence of a complete set of highlights.

Huimo is a special pigment made of pine smoke, tung oil smoke, lacquer smoke and glue as the main raw materials, mainly for traditional calligraphy and painting. There are many varieties of Hui ink in the past dynasties, mainly including lacquer smoke, oil smoke, pine smoke, whole smoke, clean smoke, glue reduction, incense and so on. High-grade lacquer smoke ink is made of more than 10 kinds of precious materials such as tung oil smoke, musk, borneol, gold leaf, pearl powder, etc. Huimo integrates painting, calligraphy, carving, modeling and other arts, making ink itself a comprehensive art treasure. The production skills of Huimo are complex, and different genres have their own unique production techniques, which are not passed on.

Lan Eucalyptus asked Shu Hanyan, the shopkeeper of the store, with great interest, "Can I visit the production process of Hui Mo?" The shopkeeper replied generously, "No problem!" ”

Shu Hanyan told Lan Eucalyptus that the production of Hui ink has a history of more than 1,000 years, and the formula and process of Hui ink production are very particular, "The ink of Ting, one pound of pine smoke, three taels of pearls, one tael of jade shavings borneol, and one or two of jade keptol, and at the same time pound 100,000 pestles with raw lacquer." Therefore, "those who have obtained the ink and those who hide it will not be less than fifty or sixty years, and the glue will be defeated and the ink will be toned." It is as hard as jade, and its lines are as rhinoceros."

The first step in ink making, tobacco refining, is to extract soot from pine branches or grease by incomplete combustion. The quality of these soots directly determines the value of the ink.

Xi Chao, the founder of Huimo, used Huangshan pine branches as raw materials. Workers cut the old pine branch into small pieces and cut off the thorns to make it fire evenly. Before entering the formal ink-making process, the inker needs to burn the soot in a closed furnace to make the scattered smoke condense into lumps.

The top was made of wooden boards, and every two boards were connected, and it was sealed with mud, and the kiln was left with pores and small doors for taking cigarettes. Take three or five pine branches and make a pile of them, and set them on fire.

When the kiln is cold, you can enter the small door to sweep the smoke. The smoke is divided into front, middle, and back grades, with the latter being the best, the middle being secondary, and the front being the worst. The lighter the smoke, the better, and the ancients distinguished the advantages and disadvantages of smoke by just pressing their fingers. Anything that flies as soon as the finger drops smoke is a good smoke, because it proves that the smoke is thin and light.

Tobacco washing is the continuous refining of this soot and water to remove impurities and provide raw materials for the next step.

Then, the bone glue and water are stirred in a ratio of 1:20, fused, and boiled for 6-8 hours to form a molten state. In this way, the glue is boiled!

The ancients melted glue and required that "the glue is clear after boiling, and the ink is not greasy". The quality of ink is very closely related to glue, and the glue making process has always been one of the secret techniques of ink making throughout the ages.

Then sieve the cigarette ash into the jar with fine silk, mix the decoction glue, add the medicinal materials and mix well. The glue to be boiled is fully integrated with the washed soot, and some additives (including Chinese herbal medicines, important raw materials, etc.) are added. The ratio of smoke to glue is 2:1, and the raw material is stirred into a black mud shape.

And pounding the pestle is quite laborious, and it needs to be repeatedly pounded evenly and thoroughly to come out of the mortar, so there is a saying that "ink is not tired of pounding".

After the ink pellet is embedded in the printing plate, it will be placed under the seat made of bamboo. At this time, the inkman sat on the bamboo pole, moved around, and used the weight of his body to smooth the ink. The squeezed and regularized ink ingots need to be cooled and shaped before they can be demolded, and the demoulding time in summer is usually longer than in winter.

The ink ingot after demoulding will be sent to the ink field to dry, the ancient ink making often used furnace ash to dehydrate, and now it is mainly dried indoors, but the requirements for the ink field are extremely high: it is necessary to maintain constant temperature and humidity, avoid direct sunlight, close the window when the wind is strong, and promote air circulation in the rainy season.

When drying the ink, the ink worker should also turn the ink ingot frequently to prevent uneven shrinkage and deformation. The size of the ink ingot determines the length of the ink drying time, under normal circumstances, one tael of ink ingots takes 6 months, two taels of ink ingots take 8 months, the larger the ink ingot, the longer the drying time is needed.

After drying, the ink ingots also need to be trimmed by a special person to remove the residual ink on the edges. The ink trimmer nails a slotted wooden board to the wooden pier, then fixes the ink ingot in the wooden trough, and then uses a tool to polish and smooth the burr of the ink ingot to remove the imperfections.

The workers then wash off the dust on the surface of the repaired ink ingot, and paint and fill in the color according to the patterns and characters on the ink ingot. Drawing gold is a delicate job that requires a lot of patience, so this part is basically done by female workers. In the end, after packaging, it becomes Hui ink.

After the whole process, we will find that it may take up to a year to make the ink. In today's pursuit of rapid development, there are really very few people who can carry out this kind of persistence.

Today, the art of making Hui ink is in danger of being lost. Because the production process is very cumbersome, there are roughly more than a dozen procedures. In addition, the four treasures of the study have lost their original living space, making fewer and fewer people engaged in survival Huimo. Now one or two Hui ink, not to mention one or two gold, it has almost reached the point where it is difficult to find a thousand gold.

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