日本奈良地區松井家族所主持的古梅園墨店，自十六世紀中葉即開始其家族之製墨業。十八世紀時，因松井元泰父子的努力，更加蓬勃發展。探究該墨店當時的運作狀況，恰有助了解此一時期的東北亞，尤其是中日之間文化與藝術交流之部分概況。十八世紀古梅園墨店的成就，具體呈現在《古梅園墨譜》與該店出版的其他相關墨書中。雖然當時中國已入清朝，但是該墨店卻透過兩本中國明代的墨譜—《程氏墨苑》與《方氏墨譜》，得知中國明代的製墨成就，並因此深受啟發。據此而知，版畫書籍的大量流傳對中日物質文化的變革與傳播有深遠影響。透過《古梅園墨譜》與相關墨書的剖析，本研究將深入探討中日二國的製墨業，如何經由書籍、版畫來進行宣傳與論述，兩國的工藝又如何突破種種的限制，進行技術上之交流，期望能具體呈現當時中日工藝文化互動的另一模式，以及當時大量的出版品如何為工藝發展提供創作上新的可能。同時，更值得注意的是，此研究也描畫出中日兩國間文化與藝術來回往復交流複雜實況之一斑。

First founded in mid-16th century Nara by the Matsui family, the Kobaien Atelier was an ink seller that flourished in the 18th century, whose achievements are preserved in the Kobaien bokufu 古梅園墨譜 and its other related publications. The records in the Kobaien bokufu illustrate a significant exchange of information, techniques, and decorative designs between China and Japan, even in the early 18th century when the Japanese government had strict laws concerning contact with foreigners. These Japanese ink-makers were still very much inspired by two old Ming dynasty ink catalogues from China: the Fang shi mopu 方氏墨譜 and the Cheng shi moyuan 程氏墨苑. This study explores how books and woodblock prints formed the basis of transmission and discourse between ink makers in China and Japan, how limitations in the craft were overcome, techniques exchanged, and the large number of publications at the time created new possibilities for innovation in the craft. Moreover, this research sheds light on the complex two-way cultural and artistic exchange between the countries in north-east Asia.