| This dissertation covers the subjects of two Hui-chou ink-makers, Fang Yü-lu and Ch'eng Chün-fang, in late Ming China, and their Fang-shih Mo-p'u and Ch'eng-shih Mo-yüan. Chapter one analyses the causations of affluent and flamboyant designs of ink-sticks in Wan-li period in terms of ink-mold carvers, painters and ink-makers. And discusses how the function of ink-sticks transformed from utility to art works. Chapter two describes the kind and enmity and competition in ink-making between Fang Yü-lu and Ch'eng Chün-fang. And prove the so called"Chung-shan lang"in Ch'eng Chün-fang's writing did not necessarily refer to Fang Yü-lu. Chapter three expatiates on the compilation and popularization of Fang-shih Mo-p'u and Ch'eng-shih Mo-yüan in which literati played significant effect. And present the intercourse among Fang Yü-lu, Ch'eng Chün-fang and literati, pay attention to the status of craftsmen in late Ming reaching a conclusion that those who could tattle with literati are not the common craftsmen but the craftsmen resemble to literati. Chapter four discusses the achievement of Fang-shih Mo-p'u and Ch'eng-shih Mo-yüan. Comparing with the other books about ink-sticks, the editorial programs of these two ink-manuals reveal their origins as catalogs of objects, as well as the ambitions of their compilers. Ch'eng-shih Mo-yüan also contains four prints depicting subjects of Roman Catholics. I want to explain why Matteo Ricci changed the commendations of them and called the Modonna as"tien chu"intentionally.
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