天工開物·丹青第十六 The Works of Heaven: Vermilion and Ink Song Yingxing 宋應星 (1587–c. 1666) Ming · 1637 Cold Library · Open Stacks · S-006211 · https://coldlibrary.com/s/006211 Rights: Published in 1637; the author died about 1666. Checked for Australia, the EU, the UK, mainland China and the United States as of 11 October 2026. Guidance, not legal advice. Source: Wikisource, https://zh.wikisource.org/wiki/天工開物/丹青第十六 (retrieved 2026-10-11) English translation: Claude (an AI), 2026 · CC0 1.0 Generated 2026-10-14 from https://coldlibrary.com/en/open-stacks/song-yingxing-vermilion-and-ink ---- 宋子曰：斯文千古之不墜也，注玄尚白，其功孰與京哉！離火紅而至黑孕其中，水銀白而至紅呈其變。造化爐錘，思議何所容也！五章遙降，朱臨墨而大號彰；萬卷橫披，黑得朱而天章煥。文房異寶，珠玉何為？至畫工肖象萬物，或取本姿，或從配合，而色色咸備焉。夫亦依坎附離，而共呈五行變態，非至神孰能與於斯哉？ 朱 凡朱砂、水銀、銀朱，原同一物，所以異名者，由精細老嫩而分也。上好朱砂，出辰錦（今名麻陽）與西川者，中即孕汞，然不以升煉。蓋光明、箭鏃、鏡面等砂，其價重于水銀三倍，故擇出為朱砂貨鬻。若以升水，反降賤值。唯粗次朱砂，方以升煉水銀，而水銀又升銀朱也。 凡朱砂上品者，穴土十餘丈乃得之。始見其苗，磊然白石，謂之朱砂床。近床之砂，有如雞子大者。其次砂不入藥，只為研供畫用與升煉水銀者。其苗不必白石，其深數丈即得。外床或雜青黃石，或間沙土，土中孕滿，則其外沙石多自折裂。此種砂貴州思、印、銅仁等地最繁，而商州、秦州出亦廣也。凡次砂取來，其通坑色帶白嫩者，則不以研朱，盡以升汞。若砂質即嫩而煉視欲丹者，則取來時，入巨鐵碾槽中，軋碎如微塵，然後入缸，注清水澄浸。過三日夜，跌取其上浮者，傾入別缸，名曰二朱。其下沉結者，曬乾即名頭朱也。 凡升水銀，或用嫩白次砂，或用缸中跌出浮面二朱，水和搓成大盤條，每三十斤入一釜內升汞，其下炭質亦用三十斤。凡升汞，上蓋一釜，釜當中留一小孔，釜傍鹽泥緊固。釜上用鐵打成一曲弓溜管，其管用麻繩纏通梢，仍用鹽泥塗固。煆火之時，曲溜一頭插入釜中通氣，（插處一絲固密。）一頭以中罐注水兩瓶，插曲溜尾於內，釜中之氣在達於罐中之水而止。共煆五個時辰，其中砂末盡化成汞，布於滿釜。冷定一日，取出掃下。此最妙玄，化全部天機也。（《本草》胡亂注，「鑿地一孔，放碗一個盛水」。） 凡將水銀再升朱用，故名曰銀朱。其法或用磬口泥罐，或用上下釜。每水銀一斤，入石亭脂（即硫黃製造者）二斤，同研不見星，炒作青砂頭，裝於罐內。上用鐵盞蓋定，盞上壓一鐵尺。鐵線兜底捆縛，鹽泥固濟口縫，下用三釘插地鼎足盛罐。打火三炷香久，頻以廢筆蘸水擦盞，則銀自成粉，貼於罐上，其貼口者朱更鮮華。冷定揭出，刮掃取用。其石亭脂沉下罐底，可取再用也。每升水銀一斤得朱十四兩，次朱三兩五錢，出數借硫質而生。凡升朱與研朱，功用亦相仿。若皇家、貴家畫彩，則即同辰錦丹砂研成者，不用此朱也。凡朱，文房膠成條塊，石硯則顯，若磨於錫硯之上，則立成皂汁。即漆工以鮮物彩，唯入桐油調則顯，入漆亦晦也。 凡水銀與朱更無他出，其汞海、草汞之說，無端狂妄，耳食者信之。若水銀已升朱，則不可復還為汞，所謂造化之巧已盡也。 墨 凡墨，燒煙凝質而為之。取桐油、清油、豬油煙為者，居十之一，取松煙為者，居十之九。凡造貴重墨者，國朝推重徽郡人，或以載油之艱，遣人僦居荊、襄、辰、沅，就其賤值桐油點煙而歸。其墨他日登於紙上，日影橫射有紅光者，則以紫草汁浸染燈心而燃炷者也。 凡爇油取煙，每油一斤，得上烟一兩餘。手力捷疾者，一人供事燈盞二百副。若刮取怠緩則烟老，火燃質料並喪也。其餘尋常用墨，則先將松樹流去膠香，然後伐木。凡松香有一毛未淨盡，其烟造墨，終有滓結不解之病。凡松樹流去香，木根鑿一小孔，炷燈緩炙，則通身膏液，就暖傾流而出也。 凡燒松煙，伐松斬成尺寸，鞠篾為圓屋如舟中雨篷式，接連十餘丈。內外與接口皆以紙及席糊固完成。隔位數節，小孔出煙，其下掩土砌磚先為通烟道路。燃薪數日，歇冷入中掃刮。凡燒松煙，放火通烟，自頭徹尾。靠尾一、二節者為清煙，取入佳墨為料。中節者為混烟，取為時墨料。若近頭一、二節，只刮取為烟子，貨賣刷印書文家，仍取研細用之。其餘則供漆工、堊工之塗玄者。 凡松煙造墨，入水久浸，以浮沉分清愨。其和膠之後，以捶敲多寡分脆堅。其增入珍料與漱金、銜麝，則松烟、油烟增減聽人。其餘《墨經》、《墨譜》，博物者自詳，此不過粗紀質料原因而已。 ---- 宋子曰：斯文千古之不坠也，注玄尚白，其功孰与京哉！离火红而至黑孕其中，水银白而至红呈其变。造化炉锤，思议何所容也！五章遥降，朱临墨而大号彰；万卷横披，黑得朱而天章焕。文房异宝，珠玉何为？至画工肖象万物，或取本姿，或从配合，而色色咸备焉。夫亦依坎附离，而共呈五行变态，非至神孰能与于斯哉？ 朱 凡朱砂、水银、银朱，原同一物，所以异名者，由精细老嫩而分也。上好朱砂，出辰锦（今名麻阳）与西川者，中即孕汞，然不以升炼。盖光明、箭镞、镜面等砂，其价重于水银三倍，故择出为朱砂货鬻。若以升水，反降贱值。唯粗次朱砂，方以升炼水银，而水银又升银朱也。 凡朱砂上品者，穴土十余丈乃得之。始见其苗，磊然白石，谓之朱砂床。近床之砂，有如鸡子大者。其次砂不入药，只为研供画用与升炼水银者。其苗不必白石，其深数丈即得。外床或杂青黄石，或间沙土，土中孕满，则其外沙石多自折裂。此种砂贵州思、印、铜仁等地最繁，而商州、秦州出亦广也。凡次砂取来，其通坑色带白嫩者，则不以研朱，尽以升汞。若砂质即嫩而炼视欲丹者，则取来时，入巨铁碾槽中，轧碎如微尘，然后入缸，注清水澄浸。过三日夜，跌取其上浮者，倾入别缸，名曰二朱。其下沉结者，晒干即名头朱也。 凡升水银，或用嫩白次砂，或用缸中跌出浮面二朱，水和搓成大盘条，每三十斤入一釜内升汞，其下炭质亦用三十斤。凡升汞，上盖一釜，釜当中留一小孔，釜傍盐泥紧固。釜上用铁打成一曲弓溜管，其管用麻绳缠通梢，仍用盐泥涂固。煆火之时，曲溜一头插入釜中通气，（插处一丝固密。）一头以中罐注水两瓶，插曲溜尾于内，釜中之气在达于罐中之水而止。共煆五个时辰，其中砂末尽化成汞，布于满釜。冷定一日，取出扫下。此最妙玄，化全部天机也。（《本草》胡乱注，「凿地一孔，放碗一个盛水」。） 凡将水银再升朱用，故名曰银朱。其法或用磬口泥罐，或用上下釜。每水银一斤，入石亭脂（即硫黄制造者）二斤，同研不见星，炒作青砂头，装于罐内。上用铁盏盖定，盏上压一铁尺。铁线兜底捆缚，盐泥固济口缝，下用三钉插地鼎足盛罐。打火三炷香久，频以废笔蘸水擦盏，则银自成粉，贴于罐上，其贴口者朱更鲜华。冷定揭出，刮扫取用。其石亭脂沉下罐底，可取再用也。每升水银一斤得朱十四两，次朱三两五钱，出数借硫质而生。凡升朱与研朱，功用亦相仿。若皇家、贵家画彩，则即同辰锦丹砂研成者，不用此朱也。凡朱，文房胶成条块，石砚则显，若磨于锡砚之上，则立成皂汁。即漆工以鲜物彩，唯入桐油调则显，入漆亦晦也。 凡水银与朱更无他出，其汞海、草汞之说，无端狂妄，耳食者信之。若水银已升朱，则不可复还为汞，所谓造化之巧已尽也。 墨 凡墨，烧烟凝质而为之。取桐油、清油、猪油烟为者，居十之一，取松烟为者，居十之九。凡造贵重墨者，国朝推重徽郡人，或以载油之艰，遣人僦居荆、襄、辰、沅，就其贱值桐油点烟而归。其墨他日登于纸上，日影横射有红光者，则以紫草汁浸染灯心而燃炷者也。 凡爇油取烟，每油一斤，得上烟一两余。手力捷疾者，一人供事灯盏二百副。若刮取怠缓则烟老，火燃质料并丧也。其余寻常用墨，则先将松树流去胶香，然后伐木。凡松香有一毛未净尽，其烟造墨，终有滓结不解之病。凡松树流去香，木根凿一小孔，炷灯缓炙，则通身膏液，就暖倾流而出也。 凡烧松烟，伐松斩成尺寸，鞠篾为圆屋如舟中雨篷式，接连十余丈。内外与接口皆以纸及席糊固完成。隔位数节，小孔出烟，其下掩土砌砖先为通烟道路。燃薪数日，歇冷入中扫刮。凡烧松烟，放火通烟，自头彻尾。靠尾一、二节者为清烟，取入佳墨为料。中节者为混烟，取为时墨料。若近头一、二节，只刮取为烟子，货卖刷印书文家，仍取研细用之。其余则供漆工、垩工之涂玄者。 凡松烟造墨，入水久浸，以浮沉分清悫。其和胶之后，以捶敲多寡分脆坚。其增入珍料与漱金、衔麝，则松烟、油烟增减听人。其余《墨经》、《墨谱》，博物者自详，此不过粗纪质料原因而已。 ---- English translation by Claude (an AI) Master Song says: That letters have not fallen away in a thousand ages is owed to setting down black on white; what work can be compared with it? Out of the red fire of Li the deepest black is conceived; out of white mercury the purest red appears by transformation. In the furnace and hammer of creation, what room is there for our reasoning? When the five-coloured decrees come down from on high, vermilion beside the black makes the great titles shine; when ten thousand scrolls lie open, the black, set off by vermilion, makes the writing of heaven glow. Among the rare treasures of the scholar’s desk, what need is there of pearls and jade? And when painters portray all things, taking now the natural colours and now mixtures of them, every colour is there. These too depend on water and cling to fire, together showing the changing forms of the Five Phases. Who but the most divine could have a hand in this? Vermilion Cinnabar, mercury and silver vermilion are at bottom one substance; they have different names according to how fine or coarse, how mature or young they are. The best cinnabar, from Chenjin (now called Mayang) and from western Sichuan, holds mercury within it, but it is not sublimed. For the bright, the arrowhead and the mirror-face kinds of cinnabar are worth three times their weight in mercury, so they are picked out and sold as cinnabar; subliming them into mercury would lower their value. Only coarse and inferior cinnabar is sublimed into mercury, and the mercury is then sublimed again into silver vermilion. The finest cinnabar is reached by digging ten zhang and more into the ground. Its first sign is a heap of white rock, which is called the cinnabar bed. The cinnabar near the bed may be as big as a hen’s egg. The next grade of cinnabar is not used in medicine; it is only ground for painters or sublimed into mercury. Its sign need not be white rock, and it can be found a few zhang down. Around the bed there may be green or yellow stone, or sand and earth in between; when the earth is full of it, the sand and stone around it often crack of themselves. Cinnabar of this kind is most plentiful in Sizhou, Yinjiang and Tongren in Guizhou, and it also comes in quantity from Shangzhou and Qinzhou. When the second-grade cinnabar is brought out, if the whole pit is whitish and young in colour, it is not ground for vermilion but all sublimed into mercury. If the cinnabar is young but one wants to refine it to red, then as soon as it is brought out it goes into a great iron trough-mill and is crushed as fine as dust, then put into a vat and soaked and settled in clear water. After three days and nights, what floats on top is skimmed off and poured into another vat, and this is called second vermilion. What sinks and settles at the bottom is dried in the sun and called first vermilion. To sublime mercury, one uses either young, white second-grade cinnabar or the second vermilion skimmed from the vat. It is mixed with water and rolled into large coiled strips, and thirty catties go into a cauldron to sublime the mercury, with thirty catties of charcoal beneath. For the sublimation another cauldron is set on top, with a small hole left in its centre, and the edges of the cauldrons are sealed tight with salt-mud. On the upper cauldron an iron tube bent like a bow is fitted; the tube is wound along its whole length with hemp cord and coated over with salt-mud as well. When the fire is lit, one end of the bent tube goes into the cauldron to carry off the vapour (where it goes in, it is sealed without the slightest gap); for the other end, a medium-sized jar holds two bottles of water and the tail of the tube is put into it, so that the vapour from the cauldron travels as far as the water in the jar and stops. After firing for five double-hours, all the cinnabar powder inside has turned into mercury, spread over the whole cauldron. It is left to cool for a day, then taken out and swept down. This is the most marvellous mystery: the whole working of heaven is in this change. (The Bencao’s commentary is nonsense: “dig a hole in the ground and set a bowl of water in it.”) Mercury sublimed again to make vermilion is for that reason called silver vermilion. For the method one uses either a clay jar with a mouth like a chime-stone, or an upper and a lower cauldron. To each catty of mercury two catties of shitingzhi (that is, prepared sulphur) are added; they are ground together until no glints can be seen, and roasted into a black powder, which is packed into the jar. It is covered with an iron dish, and an iron ruler is laid on the dish as a weight. It is bound with iron wire round under the base, the seams of the mouth are sealed with salt-mud, and below, three nails are driven into the ground to hold the jar like the legs of a tripod. The fire is kept up for as long as three sticks of incense take to burn, and the dish is wiped often with an old brush dipped in water; the mercury then turns into powder of itself and sticks to the jar, and what sticks near the mouth is the brightest vermilion of all. When it has cooled the cover is lifted, and the vermilion is scraped and swept off for use. The shitingzhi sinks to the bottom of the jar and can be taken out and used again. Each catty of mercury sublimed gives fourteen ounces of vermilion and three ounces five qian of second vermilion; the extra weight comes from the sulphur. Sublimed vermilion and ground vermilion serve much the same uses. But for the paintings of the imperial and noble houses, vermilion ground from the cinnabar of Chenjin is used, not this kind. Vermilion for the scholar’s desk is made up with glue into sticks and cakes; on a stone inkstone it shows well, but ground on a tin inkstone it turns at once into a black liquid. And when lacquerers colour things brightly, it shows only when mixed with tung oil; put into lacquer it goes dull. Mercury and vermilion come from nowhere else. The tales of “seas of mercury” and “mercury from plants” are wild nonsense, believed by those who take hearsay for knowledge. Once mercury has been sublimed into vermilion it cannot be turned back into mercury: that is where the skill of creation comes to its end. Ink Ink is made by burning soot and setting it into a solid. Ink from the soot of tung oil, vegetable oil and lard makes up one part in ten; ink from pine soot makes up nine parts in ten. For the making of precious ink our dynasty holds the people of Huizhou in the highest regard; because oil is hard to carry, some of them send men to live in Jing, Xiang, Chen and Yuan, where they burn the cheap tung oil for its soot and bring it home. When such ink is put on paper and the sun strikes across it, if it shows a red gleam, the lamp wicks were soaked in the juice of gromwell before they were lit. When oil is burned for its soot, each catty of oil gives a little over an ounce of the best soot. A man who is quick with his hands can tend two hundred lamps. If he is slow to scrape, the soot grows old, and both the fire and the material are wasted. For ordinary ink, the pine trees are first drained of their resin and then felled. If the least hair of resin is left in, ink made from the soot will always have the fault of lumps that will not dissolve. To drain the resin from a pine, a small hole is cut at the root and a lamp is set burning there to warm it slowly; then the oil of the whole tree flows out toward the warmth. To burn pine soot, the pines are felled and cut into lengths. A round chamber is made of bent bamboo strips, shaped like the rain-awning of a boat, and joined end to end for ten zhang and more. Inside and out, and at the joins, it is pasted tight with paper and matting. Every few sections a small hole is left for the smoke, and underneath, earth and bricks are laid beforehand as a passage for the smoke. The wood is burned for several days; when it has cooled, men go inside to sweep and scrape. In burning pine soot, the fire is lit and the smoke passes from the head to the tail. The soot from the one or two sections nearest the tail is clear soot, taken as material for fine ink. That from the middle sections is mixed soot, taken as material for ordinary ink. From the one or two sections near the head it is only scraped off as soot-powder and sold to the printers of books, who still grind it fine before they use it. The rest goes to the lacquerers and plasterers for black coatings. When ink is made from pine soot, the soot is soaked in water for a long time, and the clear is told from the coarse by what floats and what sinks. After the glue is mixed in, the amount of hammering decides whether it will be brittle or hard. As for adding precious ingredients, washing it with gold or steeping it with musk, and how much pine soot or oil soot to use, that is left to the maker. For the rest, the Classic of Ink and the Ink Register are there for those who want to know more; this is no more than a rough record of the materials and where they come from.