black ink
Egypt
17th Century
Source: Martini, G. M. (2025). Arabic Manuscripts on Magic at L’Orientale. Chapter 5, pp. 79-97.
Recipe Details
Preparation Steps
The use of black ink in MS ARA 72 is integrated into a scholarly magical-occult discourse where the ink serves to inscribe divine names within geometric talismanic structures (p. 88). The manuscript itself contains a table of correspondence (Fig. 13, p. 89) which categorizes 'inks' (a-ḥibār) alongside planets, days of the week, and colors, suggesting that the choice of ink was governed by principles of 'universal analogy and sympathy' (p. 89).
Original Recipe Text
The use of black ink in MS ARA 72 is integrated into a scholarly magical-occult discourse where the ink serves to inscribe divine names within geometric talismanic structures (p. 88). The manuscript itself contains a table of correspondence (Fig. 13, p. 89) which categorizes 'inks' (a-ḥibār) alongside planets, days of the week, and colors, suggesting that the choice of ink was governed by principles of 'universal analogy and sympathy' (p. 89).
Evidence
"The name Allāh is inscribed in black ink in the six inner acute angles of each star"
Remarks
MS ARA 72 is described as a 'homogeneous manuscript' produced by a single copyist in 1028/1619 (p. 80-81). The black ink is used for the primary text and for specific internal details of complex 'calligraphic' seals, such as the Seal of Solomon, where it contrasts with red ink used for the primary geometric outline (p. 88).
Scientific Analysis
Analytical Techniques
Visual examination
Certainty Level
Inferred
Instrumentally Verified
Not Verified
Metadata
Material Type
ink
Paper Typehomogeneous manuscript
ColorBlack
RegionEgypt
Approx. Year1650
Source Information
AuthorMartini, G. M.
CollectionEgyptian production
Language
N/A
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