Painting and illumination

III Ink Uses and Users

Although the distinction between ink and paint is clear in the present day, this was not the case in antiquity. The Egyptian verb sš, for example, meant both «to write» and «to paint». This can be explained by the nature of Egyptian writing, which originated from a pictographic system (hieroglyphs) and was painted on papyrus. In addition, papyrus texts and inscriptions were often accompanied by elaborate drawings, as exemplified by the Book of the Dead. The skills required for both fields were similar and reflected a deep connection to a cultural narrative in which ink/paint was a vehicle for visual and textual communication.

This versatility is reflected in some recipes, such as one from a 4th-century B.C.E. alchemical papyrus that indicates the use of ink/paint «not only on papyrus or parchment, but also on polished marble and on any other good you wish to decorate» (Leiden Papyrus X, Recipe 72). The same method could be used for painting, writing or varnishing, varying, for example, the type of adhesive. For example, the atramentum (from the Latin ater, «black») was a black liquid used for writing (a. librarium or scriptorium), for dyeing (a. sutorium) or for painting walls and ceilings (a. tectorium), depending on the binder:

«The (atramentum) librarium is mixed with gum Arabic; the tectorium with animal glue.» (Pliny, Natural History 35, 43)

The practice of «illumination» is an area where the distinction between writing and painting becomes particularly blurred. Considered one of the most important art forms until the 16th century, it shows how the manuscript served as a canvas on which ornate capital letters, elaborate borders and miniatures intertwined with the text, transforming the written word into an object of admiration that merged art and literature.