Calligraphy – Ink, Yarn & Beer

The Art of the Written Word

This past week or so has found me wandering into another element of water-based media: Ink.

Ink is used in drawing, but it is also used in writing, whether using the Roman alphabet, Cyrillic, Arabic, Hebrew, Chinese, Japanese, or any other form of an alphabet for any one of the myriad of languages found throughout the world.

Making ink is an art, and that means knowing something of chemistry (no matter how simple) and permanency. Ink is black and ink is colored – as are paints. This past week has found me suddenly distracted by the making of iron gall ink, also known as oak gall ink, and cutting quills from feathers. You can read about my adventures here, here and here for starters. You can return to Ink, Yarn, and Beer for more updates, too, if you want.

Consequently, I have not had much time to paint or draw as I have been spending a lot of time reading about ink and quills in particular, as well as watching videos on the same. This morning, I came across one which rather blew me away as it is global in nature, but local in artistry. Huh – what does that mean? Take 30 minutes of time to be quiet and to watch . . .

Penstalgia

http://www.youtube.com/watch?v=1xUDehNvbrE

So many people these days cannot write cursive, much less read it, thanks to the insistence on “new technology” in classrooms. Keyboarding takes place of learning how to write using a pencil or pen. Printing seems to be the only thing taught, and mastering it is not even encouraged. It’s funny to think that the hours I spent in the classroom learning to print, to write cursive, and to touch type are now returning to being recognized as skills more valuable than just being able to communicate. Eye-hand coordination, fine motor control, neurological benefits. I probably could do some research and list a thousand things. All this automation and such makes life easier – no doubt! I love my dishwasher! – but the satisfaction of working with your hands is completely lacking.

Cursive has become a foreign language to students born in the last 30 years. They cannot read it. It’s not just U.S. students who should learn cursive, but students coming in from other countries could also benefit from it. Other languages have other alphabets, and their beauty is certainly something to be appreciated. Good handwriting is really an unfancy form of calligraphy. The practicality of good cursive is just as it was advertised years ago – it is clear and readable.

I’m revisiting what I learned ages ago, and it is a lot of fun. I’m using a fountain pen, and I am using a dip pen. A dip pen is not so hard to master, once you learn how to hold it and adapt to holding it at the right angle and tilt. Once there, it is smooth sailing. Repeating letters and practicing strokes, curves, and circles is very soothing. Like coloring, there is something that simply refreshes, like a deep meditation.

Anyway, because I was blundering around on YouTube, I came upon the above video, which I totally enjoyed. It’s informative, classic, and if you like fountain pens, wait until the end – you will learn a few things you may not have known!

Calligrapher’s Suzuri

This is a beautiful little suzuri, ideal for calligraphers. It measures 4.75 x 2.75 inches (12 x 7 cm), originates from Japan, and is made of natural stone. The size makes it perfect for taking with you. Western calligraphers who like to use sumi with dip pens find the deep well at the end a perfect reservoir for ink. Brush calligraphers also find it useful as the brush tip can be dipped straight in. Because of its small size, obviously this is not going to work for someone who needs a lot of ink, but for someone who is writing with a pen or fine brush, this is a superb little stone.

For the sumi artist, a deep well is equally useful. The flat surface can be laid with water, the tip dipped in the well for dark ink followed by a small amount of water, held tip up, and the two will combine in a lovely gradation of ink.

Combined with a professional grade sumi stick, this little stone produces rich, dense ink with little effort.

Calligrapher's Suzuri - 4.75 x 2.75 inches (12 x 7 cm)

The Four Treasures: Inkstone / Suzuri, vii

Every region has its artistic styles, as well as every time period. The same may be said for production of the suzuri, with a classical shape and style modified according to era and taste. The most common suzuri is a rectangular stone with a deep well on one end, and a flat surface sloping into it This makes sense, as it is practical and probably fairly easy to accomplish. Decorative elements and embellishments in the non-working areas are certainly possible, and I would be inclined to say almost inevitable for the expression of the carver’s creative force.

Besides the impact of regional and time preferences, the economics behind the stone’s production itself may be seen. Stones for the masses – the daily stone – are probably more plain than those for the aficionado, simply because of their utilitarian role. These can be made quickly, with or without attention to quality or aesthetics. Today, stones for tourists may be pretty but worthless as far as usability; other stones may be far better in quality and less ornate. A good stone is absolutely necessary, whether for calligraphy or painting, if you are using an ink stick.

Today’s stone is from Japan. It does not have a rosewood box, but it is very nicely encased in a kiri wood box. Unfortunately, I cannot read the label! (If anyone can translate for me, please let me know.) This is the only stone in my collection I have not yet used, and I am still deciding on whether or not I should – it is so beautiful as it is! Knowing me, though, I will at some point when I am not rushing around – I want to take the time to enjoy it.

I am under the impression this stone is carved from nachiguro, a lustrous black slate or river shale unique to Japan, and has been used since the Nara period (710 – 794 CE) for carving practical and ornamental items, such as suzuri, go stones, and suiseki, This stone is a sedimentary shale which originates in the upper side of the Kumano river in Japan’s Mie prefecture, and is characteristically very dark and shiny.

Many traditional Japanese themes and symbols may be considered by a master craftsman in creating a high-end suzuri, but this artist has taken a considerably more modern approach. The abstract elements of the lid are suggestive of many things, and certainly some traditional themes as well. Just in a glance, I can envision falling leaves or swimming koi. The carving is very subtle and pleasing, working very well within the smooth borders of the circle. To the touch, the different textures are smooth and rough at the same time, without any sharp edges.

The smooth elegance of the polished stone is a bit more rough on the grinding surface and the well, having the necessary tooth to create sumi ink. The borders of the well are polished and shiny, in keeping with the rest of the stone. The contrast of these two areas repeats the circular motif of the suzuri’s shape, as well as the framing of the lid’s pattern. The underside of the lid is as smooth and reflective as the underside of the lower portion of the stone. Even the underside of the suzuri well is smoothly finished, and follows the circular motifs of lid surface and underside, and the well. This stone is not especially old, probably produced in last quarter of the twentieth century. It is a large, heavy stone, measuring more than 8 inches (20 cm) in diameter.

Suzuri Well on Left; Underside of Suzuri Lid on Right

I expect this stone could be considered something of a luxury item, for oneself or as a special gift. Given this, I cannot help but wonder if the beauty of the stone is all it has – can it be used to produce good ink? Even if it does not, there is something to be said for simply beautiful objects. The suzuri’s circular shape is pleasing, the lid’s carved surface intriguing, and the soft, candescent glow of the stone subtly elegant. Aesthetically, this suzuri is a sculpture to be appreciated in its own right.

The August Project: Bone Strokes

Kaishu / Kaisho – standard or regular script, with some variations over time, is what most of us are familiar with as Chinese characters or Japanese kanji. It fits nicely into squares, but it goes far, far beyond that. There are a lot of dynamics at work in this script! Dots and lines, hooks, and so on. It is amazingly complicated in some ways, but not in others. But doing it right is another story.

This is an example of regular script, from a long, long time ago.

If you look closely, you will find some long, horizontal lines, which are wider at either end and narrow toward the middle. These are called “bone strokes.” Here is one below – and the path the brush should follow as you create it.