Mofaji Yao (Compendium of Ink-Making Techniques) is a Ming Dynasty treatise authored by ​Shen Jisun during the Hongwu era (1368–1398), documenting the intricate techniques for crafting ​lampblack ink. The work was rediscovered during the Qing Dynasty and later compiled into the Siku Quanshu (Complete Library of the Four Treasuries) under Emperor Qianlong’s order.

​Key Details

1. ​Content & Structure
   The text systematically outlines ​21 steps of ink production, including:
   • ​Oil immersion (浸油), ​smoke burning (烧烟), ​screening ash (筛烟), ​glue melting (镕胶), and ​mold pressing (印脱).
   • Each process is accompanied by ​illustrations and explanatory texts, detailing tools, materials, and methods.
2. ​Historical Context
   • Shen Jisun compiled the work after learning techniques from a Zhejiang ink master and a Buddhist monk.
   • The original text was lost but later extracted from the Yongle Dadian (永乐大典) during the Qianlong reign.
3. ​Notable Editions
   • ​Qing Dynasty Illustrated Scroll (徐扬绘本): Painted by court artist ​Xu Yang (徐扬) in 1776, this color scroll integrates Shen Jisun’s methods with Qianlong’s revisions. It opens with the emperor’s preface praising its documentary and artistic value.
   • ​Wuying Palace’s Juzhen Edition (武英殿聚珍版): A woodblock-printed version from 1775, featuring revised illustrations and annotations by scholars like ​Lu Xixiong (陆锡熊).
4. ​Cultural Significance
   • The treatise bridges ​artistry and technical precision, depicting workshops, tools (e.g., oil basins, smoke bowls), and labor-intensive processes.
   • Emperor Qianlong hailed it as a vital record of “ancient techniques” (gufa), surpassing earlier ink manuals focused on decorative patterns.

​Key Figures

• ​Shen Jisun (沈继孙): Ming scholar from Suzhou, credited with preserving lost ink-making methods.
• ​Xu Yang (徐扬): Qing court painter known for architectural and figurative precision in the scroll.
• ​Shen Chu (沈初): Official who co-authored the scroll’s colophon under imperial decree.

​Legacy

The scroll and texts are housed in institutions like the ​National Palace Museum (Taipei) and ​Palace Museum (Beijing), serving as critical references for traditional Chinese craftsmanship