One of the traditional "Four Treasures of the Study" in China is as famous as pen, paper and inkstone. A ingot of good ink should have the characteristics of hard as jade, deep color, falling paper like paint, enduring and rich fragrance. Ink can be divided into three types according to raw materials: oil fume ink, Song Yanmo ink and carbon black ink.

The main technological processes of modern ink making are: smoke refining, engraving, blending, molding, ink drying, polishing, gold tracing and so on.

There are two kinds of ink for calligraphy and painting: oil smoke ink, and Mrs. Wei in the Jin Dynasty said in the "Pen Map": "Its ink takes Dianshan pine smoke and county deer glue, which has been as solid as stone for more than ten years." The Book of Qi Yao Min, written by the Four Associations of the Northern Song Dynasty, also describes the production technology of ink in detail. Oil smoke and pine smoke are made of different materials. In the case of insufficient oxygen, oil can not be fully burned to form soot, and the ink made of this soot is soot ink. In Song Dynasty, Zhao Yanwei said in "Cloud Foot Full of Banknotes": "In recent years, a sink was used to hold water, a coarse bowl in the middle, tung oil as fuel, and a bowl on it, which was cleaned by special personnel and kneaded with cow glue. Its method is the fastest, and it is called soot. " In "Meng Qian Bi Tan", Shen Kuo also described the situation of making ink with the oil produced in Yan 'an Road (now Yan 'an), and he created "Yanshuan Youshi" ink. The famous oil smoke ink in Song Dynasty is Tonghua Smoke ink made by Hu Jingchun. Identifying the authenticity of cultural relics is the premise of scientific research and display research of cultural relics. Without authentication, there is no authentication. Therefore, identification and evaluation are the primary solutions for cultural relics workers. The purpose of our appraisal is to provide references for people to study real and reliable objects. The same is true for us to identify ink marks, which requires us to look at more physical objects, remember more physical objects, verify each other through physical objects and documents, feel after reading them, be good at comparative analysis and find problems. Seeing the real thing can make us more familiar with the ink quality, inscription, pattern, ink quality and expression of a famous work. In addition, enrich your knowledge, learn more literature, and learn to distinguish the ink and manners of Shexian and Xiuning schools. Through the understanding of ink products, I can tell which are famous ink products even if there is no year. For example, whether the Plough Map made in the thirty-fifth year of Kangxi and the Cotton Map made in the thirty-third year of Qianlong were copied or modified, we can conclude that there was no ink on Plow Map before the thirty-fifth year of Kangxi, and there was no ink on Cotton Map before the thirty-fifth year of Qianlong. In the future, it may be easier to identify the authenticity of new works of old models, or the grades of famous ink in Qing dynasty, and the price can also be referenced.

In addition, the influence of taboos on Mexico, feudal society has national taboos and domestic taboos. The national taboo is to avoid the names of emperors and Confucius; Taboo is to avoid the names of one's ancestors. The way to avoid it is to change the original sound when writing, when encountering taboo names that should be avoided, or when missing pens and changing words. Taboo has a certain influence on cultural relics identification. Such as "taboo" is particularly important for the identification of ink in Ming and Qing Dynasties. In the Ming dynasty, it was possible. During the Ming and Qing Dynasties, Zhai Ming was often used in the words "Xuan", "Xuanyuan Gas Field" and "Jiu Xuan San Ji". Emperor Kangxi of the Qing Dynasty was named "Xuan", so the word "Xuan" was taboo, either rewritten as Yuan or written as Xuan. In the Ming and Qing dynasties, any ink with the word "Xuan" was not a fake, but a work before Kangxi, such as "Xuan" rewritten into Yuan, or a work written after Kangxi. And because of the products of "Xuan ink", how much bad luck has been brought to Ming ink. After the ink of the word "Xuan" in the Ming Dynasty arrived in Kangxi, the word "Xuan" was dug out or the ink was destroyed. In a word, the bad luck and loss brought by "Xuan" to the Ming Dynasty are incalculable. But at the same time, it also played a role in dividing the times in identification.

Due to the influence of various schools, the styles of calligraphy and painting in Ming and Qing Dynasties are different. Because of the different styles of painting and calligraphy, the skills and techniques of ink and wash carving are obviously different from the times. Calligraphy in Ming Dynasty is vigorous and powerful. In order to show vigorous and powerful carving techniques, the knife method needs to be profound, so that the font can show vigorous and powerful, and the masculine words are sharp and graceful. Calligraphy in Qing dynasty is full of beauty and embellishment, and the carving techniques must be carefully crafted to show elegance in softness and consistency between calligraphy and painting. Therefore, with the different styles of calligraphy and painting in Ming and Qing Dynasties, the skills of carving ink patterns in Ming and Qing Dynasties formed two schools, namely, the ink patterns in Ming Dynasty, and the knife method was profound and powerful; In the Qing dynasty, Mo's knife method was more flexible and precise. Because of the different styles of calligraphy and painting. In this way, we can master the connotation through the identification of famous ink in Ming and Qing Dynasties.