Mustard Seed Garden Manual of Painting, Vol. 3 (1868) - Page 23

When using heavy, saturated colors on fan-surfaces or paper, if the color cannot be applied as a backing original: 反襯 (fanchen); a technique where color is applied to the back of the paper or silk to subtly enrich the hue on the front, it should be applied directly to the front. Afterwards, apply a wash of grass-green. This will make the colors appear rich, thick, and moist. One should never pile the color on in a single thick layer; instead, it is better to add several thin layers gradually. This ensures the color is even and free of brush marks. After use, one must use boiling water to wash out the glue; when fresh glue and pigment are added the next day, the color will remain vibrant.

Cinnabar

original: 硃砂 (zhusha)

For the "great reds" in a painting, one must use Cinnabar, as it does not change color over time. Silver Vermilion original: 銀硃 (yinzhu); a synthetic cinnabar, however, will eventually darken or alter. Finely grind the cinnabar and add a small amount of light glue-water. Use the levigation method to let it settle, then pour off the heavy dregs at the bottom and skim away the floating yellow impurities from the top. Take the vibrant, clear red from the middle and let it sun-dry before adding glue for use. This is used for the brilliant reds of camellias and pomegranates. For the layers of flower petals, use Carmine original: 胭脂 (yanzhi); a red dye derived from plants or insects for graded shading. Because this cinnabar red is deep and heavy, it is also highly suitable for the backing technique.

Silver Vermilion

original: 銀硃 (yinzhu)

If the available Cinnabar is of poor quality, it is actually not as bright as Silver Vermilion. In such cases, one may use Silver Vermilion instead. You should select high-quality "Standard Vermilion" original: 標硃 (biaozhu) and grind it finely. Use the levigation method to settle the surface impurities and the bottom dregs, taking only the middle portion. Add glue and it is ready for use.

Gold Paste

original: 泥金 (nijin); literally "gold mud"

To prepare Gold Paste, take sheets of genuine gold leaf. Use a finger lightly moistened with glue-water to pick up the gold leaf and place it, sheet by sheet, into a dish. Grind it while dry. Do not use too much glue-water; if there is too much, the water will float and the gold will sink, making it impossible to grind effectively with the finger. Wait until the gold leaf is ground as fine as mud and sticks to the dish. Only then should you add boiling water to thin the mixture. Wash out the excess glue-water and dry the pigment over a gentle flame. Finally, add light glue-water to use it. Gold paste is most effective when applied over Cinnabar or Azurite original: 石青 (shiqing), as it brings out a brilliant luster. Use it to outline and detail the feathers of mythical Luan-Phoenixes and Golden Pheasants. This will make their cinnabar-red and emerald-green plumage appear all the more radiant and magnificent.