ink stick – Ink, Yarn & Beer

Resources for Ink Painters & Sumi Artists

Over the past year or so I have gotten numerous requests about sumi, suzuri, brushes, paper, lessons, and where they may be bought. I would like to respond to people, but there are times when it requires a lot of work and time on my part to answer individual enquiries in depth. I have sent out a few lengthy emails in reply, but have received no acknowledgment back from the recipient. Other times, people have been quite demanding, asking me to do this, to do that, and while I generally do not mind helping people out, it can become a chore. So, given this, I hope that this posting will prove useful.

Let’s face it – there is a real challenge to finding high quality art supplies for traditional Asian art. Much of what art suppliers import is poor or student quality, simply because it is such a niche market. I would like to import items myself, but that takes time and energy I really do not have – there are too many other things I am interested in, as well as am obligated to do. That said, I am going to write up a bit about what I know.

Sumi Ink Sticks

Acorn Planet was a wonderful resource for good Chinese ink sticks, brushes, paper and stones. They no longer provide such items, but remain online with a wealth of information. Ink sticks from tourist shops are likely to be worthless. And, if you value your suzuri, you need to make sure you get fine quality ink. Thus, at this point, the only places I would recommend for sumi would be John Neal Books (JNB) for Japanese ink – I own many that they carry, so can vouch for the quality of the sumi by manufacturer. I have never ordered from them, but will when I want more ink! The other resource is Oriental Art Supply (OAS), which carries Chinese ink sticks, none of which I have used, but am inclined to think should be good given how great their other supplies are. Both are listed to the side as direct links.

Brushes

I think good ones are the most difficult to find. Cheap ones may be found everywhere. My preference is for Japanese brushes, but the high labor costs make them expensive. Still, as any art student is told, buy good supplies when you begin; this same adage holds here. Poor quality supplies can be very frustrating, and the fact is, the Asian brush can be an extremely difficult brush to master, especially the soft one. Western brushes are, in general, much stiffer in character, and are not as flexible as Asian ones, and do not hold on to water or paint as tenaciously.

For the beginner, mixed hair brushes are probably the best, as there is resilience from an inner core of harder hairs, which helps the Western painter, combined with an outer layer of softer hairs, which retain liquids. Because both hardness and softness are combined in this type of brush, a beginning student will be more comfortable with the brush, as well as learn about the challenges of the Asian brush.

OAS carries these in various sizes and prices. At this point, OAS is likely to be the only supplier from whom I would buy a brush sight unseen, partly because of their service, partly because I have been to their storefront, and partly because I have boughten a number of their harder brushes, and have been really pleased with them. This is not to disparage other vendors, this is simply based on personal experience.

If you are a beginner, buy a medium-sized mixed brush, but also get yourself a hard brush. These are incredible for texture and expression. Additionally, they do not retain water as much as the mixed brush, but can be so hard that you feel you are painting with a bunch of sticks! My favorite ones from OAS include the Happy Dot and Orchid Bamboo for smaller ones; and the Dragon Brush for a larger one, and the Mountain Horse for expressive lines. The Biff Brush is a kick to use and is unlike anything you will find elsewhere. Expressive calligraphy is nicely accomplished using the Cao brush, which is available in hard and soft.

Suzuri / Ink Stone

These remain the most elusive item. The last I checked, John Neal Books carried only one inkstone, the Shakyo-Ken, which I wrote about here. This stone is wonderful, and in a pinch would work well for painting, but it is quite small. Ebay is a good resource for stones; I have picked up some there which were worthwhile, and have been rooked on others. OAS has a few; I have one similar to their large round one, which I have enjoyed. Its round shape will hold a lot of ink, but lacks the flat surface and deep well a suzuri has.

Buying a stone on Ebay is risky. Some are “stones” which are really just a plaster mold, antiqued to look interesting. If you are going to buy a stone, don’t get anything too fancy, and get one with a slope and well. This is the best stone if you plan on grinding ink as you have the smooth area to grind on, and the well to collect the ink. Never buy a kit containing a stone, brushes, and inks, all prettily packaged – these are basically worthless. Sometimes the best ones to buy are used. You may need to clean them up a bit to remove old ink, and you may need to sand them down, but the quality may be had for a small price and a bit of elbow grease. If you want antique stones, check out various Asian antique sites, but beware as they may be very overpriced.

Paper

I love paper! Asian paper is quite different than Western art paper, in structure and manufacture. A major difference is the amount of sizing and thickness of the sheet.

My favorite Chinese paper I have used comes from OAS. It is their Premium Double Shuen. Expensive? Yes, compared to other papers, but I have found it has the best response to my way of painting. Chinese paper is “raw” if it is not sized, and extremely absorbent. It will make you crazy. Even the Premium Double Shuen is very absorbent, not quite as much as raw. Specialty papers for calligraphy may also be found at OAS.

Japanese paper is also different than Western paper. It may be sized, it may not be. It is also constructed with different materials. Handmade paper may be very expensive. An excellent resource for Asian papers is Hiromi Paper in Los Angeles. Their online store is quite good, and their brick-and-mortar store is a delight to wander through.

When it comes to buying paper, of course it is always best to go in and see and touch it. When you cannot physically try out a paper or touch it, if the company offers a sample packet, it can be worthwhile, as long as the papers are clearly labeled. When I buy sample packets, I usually use permanent ink to write the name on the paper – most places use pencil – but this lets me remember what it was, and if I would want it again. I consider this as “tasting” a paper – you can get really overwhelmed by too many at one time!

Color / Paints

Color pigments and paints must, of necessity, be waterproof in Asian painting. Western watercolors will not substitute as they are less intense and not manufactured to become waterproof when dry.

Tube paints are a Western invention of the 1800s (I think!). And, they are a major convenience! However, colors may also be had in the form of chips and sticks.

Colored “ink” sticks are very convenient, and can be a wonderful experience, but the drawback is grinding the pigment. You do not use your suzuri for this! Rather, a gaken (gakken?) is used. This is a ceramic dish, which may be had from JNB. I clean these after each use, so they are rather intensive to use. A separate one is best for each color. JNB carries the color pigment sticks.

Chips may be dissolved in baby food jars and stored. Chips may be purchased from OAS. Japanese companies also manufacture color chips, but I have never found them for sale in the U.S. Daniel Smith offers dry pigments, but I have no idea if they can be used for Asian painting.

Tube paints I have used for Chinese painting are manufactured by Marie’s and are very inexpensive, and can be found at many different retailers. (Just do a google search!) The tubes are sealed, and the paints have a rather awful smell, but are essential if you do Chinese painting. The palette is also limited, but good watercolorists do not tend to 50 different colors, either. The reason Marie’s are de rigueur is because, once dried on the paper, they are waterproof. The same may be said for the paint chips and sticks. Bone glue is used to bind the pigments, and it is this, from my understanding, that creates the final impermeable paint. Ink sticks are also bound with bone glue, which is why ink does not run after it has dried. Holbein manufactures the Irodori line of opaque watercolors, based on antique pigments. These colors are lovely, but I do not recall if they are waterproof or not once dried! (Think I should do some painting??)

Lessons

Unless you live in an area with an established Asian population, or artistic community, individual and group instruction may be difficult to come by. Here where I live, there is a wonderful group for Chinese painting. The instructor comes monthly. Harris Ha is very talented. OAS maintains a list of instructors you may search. Silver Dragon Studio has another list. These may be worthwhile checking out. Ning Yeh of OAS offers classes through a local community college, and sometimes through UCLA extension. In the links to the side, you will also find some artists I admire who may offer classes.

Truthfully, hands-on instruction can be the best experience, but the cost may be out of the range of your finances. Books, then, when coupled with good supplies, dedication, and time, are also very good ways to learn the art of ink painting. The internet provides us with many resources, from old books to videos. I’ve watched Kazu Shimura over and over! Making videos of my own painting has been fun, and re-watching them, educational and surprising.

Other Supplies

Asian painting must be done on a felt panel. Wool ones are the best, and can be found in varying sizes. In a pinch, flannel from the fabric store is fine to use.

A brush rest is useful as it holds the brush tip above the surface on which you are painting, keeping your work surface clean and organized.

Antique Brass Suiteki (Water Dropper) from Japan

A water source, from which small drops of water may be used to wet the ink stone, is another necessity. I use a “sucky cup” – a Rubbermaid cup with a straw that folds down – or a fancy antique suiteki, which is a water dropper. There are cheap ones available, and can be delightful additions to your studio. Water containers are also necessary, and it is best to have at least two to use – one to rinse out a brush, and a second for fresh water. This helps keep your paints bright, and your ink gradations unpolluted.

A palette is necessary for colors, and small white porcelain dishes are useful for ink gradations.

Paper towels for blotting wet paper are other useful utensils – I always keep a roll on my desk. Old, absorbent towels are also important, particularly for blotting excess water or ink from brushes before touching them to raw paper.

Some artists recommend using a blow dryer if your paper is too wet. This may be good for a beginner, but ultimately, it should not be used. The heat could change the chemicals of the pigments, I’ve been told, but the real reason for not using a blow dryer is that dependence on it is not a good thing. As an artist, mastery of your craft includes learning the quirks of the media.

Because Asian paper is very thin, paperweights are essential for holding the paper in place. Also, long sheets need to be moved along if they are on a table, rather than the floor, and paperweights help keep large sheets from blowing around in a breeze. Long ones are great for the top and bottom of a sheet, or along the length. Smaller ones are good for corners, and can range from the whimsical to elegant. Rocks are also useful as paperweights, and if you walk along the beach or river, some very lovely ones can be found. Do not disregard the value of paperweights – the first time your paper pulls up and sticks to your brush, ruining your stroke or painting, you will understand their importance!

Finally, brush holders are a necessity. There are some beautiful hangers for Asian brushes. These are excellent for use when drying your brushes after use because the water will not drip into the handle and dissolve glues holding the bristles in place, nor cause the wood or horn to rot, weaken or disintegrate. Personally, I do not have one, but rest my brushes on their sides after rinsing and drying with towelling. I have a piece of wood and screw-in cup hooks I keep meaning to put together for the same purpose. Storing dried brushes is easy enough – just put them in a jar, tip up.

Summary

I hope that this helps out all you inkophiles out there! If you have any resources which you would like to share, please let me know. I’m always looking for good, reliable resources.

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 Four Treasures: Inkstone / Suzuri, vi

Four Famous Stones

According to Wikipedia, and other internet sources, there are four main ink stones historically prized throughout China:

For serious calligraphers and painters, a good inkstone is as important as the quality of the ink. An inkstone will affect the quality and texture of the ink that is ground upon it. Four kinds of inkstones are especially noted in inkstone art history and are popularly known as the “Four Famous Inkstones.”

The first is Duanshi stone (Japanese: Tankei) (端石砚) from Duanxi, Guangdong. Duan stone is a volcanic tuff, commonly of a purple to a purple-red color. There are various distinctive markings such as eyes that were traditionally valued in the stone. A green variety of the stone was mined in the Song period. Duan inkstones are carefully categorized by the mines (k’eng) from which the raw stone was excavated. Particular mines were open only for discrete periods in history. For example, the Mazukeng mine was originally opened in the Qianlong period (1736-1795),　although reopened in modern times.

She stone (Japanese: Kyū) (歙砚) from She County, Anhui. This stone is a variety of slate and like Duan stone is categorized by the various mines from which the stone was obtained historically. It is a black color and displays a variety of celebrated gold-like markings. These inkstones likewise date from the late Tang period.

Of great rarity is Tao River stone (洮河砚) from South Gansu. This stone is no longer found today and was gathered from a river bottom in the Song period. The stone is crystalline and like jade. The stone bears distinct markings such as bands of varying shades. This stone can be easily confused with Duan stone of the green variety, but can be distinguished by a careful observation of its crystalline nature.

Chengni ceramic stone (澄泥砚) is a ceramic-manufactured inkstone. This process was begun in the Tang period and is said to have originated in Luoyang, Henan.

She Ink Stones

In particular, the She ink stone has long been prized for its quality.

The history of inkstone goes back to over 5,000 years ago. There is a lot of archeological evidence that Chinese used inkstone for grinding ink. There was a stone inkstone found in a 5,000-year-old archeological site in Jiazhai of Shanxi Province.

As one of the essential tool of ink brush painting, She inkstone, produced in Anhui Province in East China, is one of the most sought collector’s item among the literati and elite for thousands of years. It is one of the Four Great Inkstones in Chinese history.It is named after Shezhou Prefecture, Anhui Province, where it was first produced in the Tang Dynasty (618-907). Many counties under the jurisdiction of this prefecture produce She ink slabs, but the best come from Longwei Mountain in Wuyuan County. Sometimes She ink slabs are referred to as Longwei inkstones.

She inkstone is made of gray, light green, or black rare slate with markings, and the stone appears in layers and is hard. She inkstone has three features: quick forming of ink, no harm done to the brush, and preserving wetness of ink.

She inkstone has a special artistic style with different markings resulting from geological changes with passage of time. Typical markings are Gold Star, Gold Star Patch, Gold Line, Silver Star, Silver Line, Cherry Blossom Gold Star, and Small Water Wave. More rare ones are Eyebrows, Jade Belt, Jade Belt with Gold Star, Big Water Wave, Fish Egg, Dates Kernel Eyebrows, Jade Patch, and so on.

My Suzuri

The inkstone I am writing about today is my favorite. I purchased it a number of years ago from Japan, but it is Chinese in origin. It is a very large, very heavy stone, encased in a custom rosewood box. The box measures 6 3/4 x 9 7/8 inches (17 x 25 cm) and weighs 1 lb 10.2 oz (745 g), while the stone measures 5 3/8 x 9 inches (13.65 x 22.86 cm) and weighs 4 lbs. 10.4 oz (2.1 kg). It is my understanding that this is a She inkstone, and over 70 years old. Acorn Planet has a lot of information about Chinese ink stones – unfortunately, they no longer sell them.

Custom Box for Suzuri

Boxes are custom made for each high quality suzuri, to ensure protection as well as a fit unique to the shape of each stone. Above, you can see the box for this stone. It is solid and heavy, made of rosewood. The wood is smoothly polished. The bottom half of the box holds the suzuri securely. Underneath, small feet provide support. Altogether, the box is a work of art in itself.

Underside of Box Bottom - Notice the Feet in Each Corner

My stone itself is a beautiful dark grey color, with a single inclusion or marking, which is skillfully centered in the middle of the carvings, like the moon amongst tree branches on a foggy night. The well is deep, and the slope onto the flat surface is evenly carved. There are no rough spots on this stone. Touching the stone, it is cool. The sound of the stone, when tapped, is clear and crisp. Breathing onto the stone, the moisture from one’s breath sits on the surface, and slowly – very slowly – evaporates or is absorbed by the stone, which shows the correct porosity for hand-ground ink. Tilting the stone in sunlight shows fine sparkles, indicating the presence of pyrites.

Ink ground on this stone is very fine, and quickly ground, and rests easily on the surface with little need to replenish the water. I use my finest Japanese ink sticks on this stone – to use ones of dubious quality would possibly ruin its smooth surface if there were coarse grains within the ink stick. To pour liquid ink onto it would be sacrilege!

High quality stones, according to some web sources, are well-carved, but without excessive design. Lesser quality stones may be more elaborately carved to increase their value. Various inclusions, such as color streaks or the dots, as seen on this stone, are rare and add to the value of the stone. This stone has a narrow band of elaborate carving at the top, of cherry blossoms, bamboo, and birds. Its style is very Chinese, from what I can tell; Japanese stones have different carving characteristics.

There is no way to describe the intense pleasure which comes from using a fine inkstone – it is an experience unique to itself. Any sumi artist or calligrapher will know what I mean. I am very fortunate to be able to enjoy such a wonderful stone.

The Four Treasures: Ink, ii

This really is my home-made video debut. For my birthday, I got a Kodak Zi8. I’ve never shot a video in my life. It’s been in the back of my mind for some time to try to create videos on various subjects, in particular those related to sumi ink painting. I’ve long admired a number of ink artists, and have learned a lot from watching their videos. So, I decided to make a video today, just to see what I can do. Already, I know that what I have done is incredibly amateur, but for a first try, I decided to go ahead and post what I’ve done. Just making the videos gave such a greater appreciation for the thought which goes into a good one, as well as having good editing software. The Kodak Zi8 comes with MediaImpression for Kodak, by ArcSoft. I’ve managed to add a title and an ending to the file, but nothing else. What you see is really unedited footage!

The Art of Grinding an Ink Stick

Many authors of Japanese and Chinese ink-painting books will tell you that while you grind the ink on the stone, with gentle motions, it is a good time to collect oneself. I agree. I like to take my time, listen to calming music, and relax. Focusing on breathing helps – in, out, in, out – slowing down. Given the permanency of every ink stroke in sumi, it makes sense to calm down, to control one’s energy, and to take time to become centered. Breathing helps. I know that if I start out feeling stressed, my painting is stressed, tight and unhappy. Grinding ink is a period of transition.

Making the Video

Well, making the video was a pain! At first the camera was too low, and the field of vision too narrow. I had to build up the height of the camera, and retrain its focus. Looking at the video, certainly lighting needs to be improved, and the camera should be coming over my left shoulder, and lighting needs to be less yellow (maybe use the no-light setting!?!). Shadows need to disappear.

Purpose of the Video

Show the ink stone, with water
Demonstrate the ink stick
Demonstrate the upright position of the ink stick, and the motion on the top of the stone, as well as pulling the water up from the well of the stone, to continue the grinding process
Show the creation of dark ink, show the creation of medium ink, and the creation of light ink
Show through the time of the video that grinding ink for sumi does take time – it’s not something poured out of a bottle.

The Video

Let me know what you think! Try it in HD and full screen, too.

The Four Treasures: Ink, i

Ink sticks – sumi sticks – are made in China and Japan, and most likely in Korea as well. Bottled ink is also available, but lacks many of the qualities preferred by traditional painters and calligraphers. Pouring ink from a bottle is not the same as being able to take the time grind a fine stick on a lovely stone, to enjoy the task, and focus one’s energy. Most ink is also poorly made, and contains chemicals which can damage a fine brush or stone. It is very important that if you do use bottled ink that you wash your brush thoroughly afterward, blot it, and reshape the point prior to hanging it to dry.

In this video, the artist Hirokazu Kosaka discusses ink sticks. While he does not go into great detail about their production, he does show some interesting elements of their construction and packaging. Opening a pawlonia wood box, he shows a “color” chart for the sumi stick. The light and dark capabilities of the ink are demonstrated on a piece of paper inside the box lid. He also shows the mold used to create the ink stick. Many ink sticks are embossed with symbols or pictures, which are later colored with gold or silver or colored paint.

The quality of a sumi stick varies, from very poor (as is most sold in the U.S.) to student grade, to professional. They also vary in size and shape, from very small to very large and colored. There is some argument as to which is better, the Japanese or Chinese; I have both and will say that the professional quality Japanese sumi is one I prefer. I also have some Chinese ink sticks, and their quality tends to fluctuate. Also, the Japanese ink tends to be a bluer-black color, while the Chinese ink is more brown-black. Both have their beauty.

According to Wikipedia:

Inksticks (Chinese: 墨 pinyin: mò; Japanese: 墨 sumi), sometimes known as sumi (Japanese transliteration), are a type of solid ink used traditionally in several East Asian cultures for calligraphy and brush painting. Inksticks are made mainly of soot and animal glue, sometimes with incense or medicinal scents added. To make ink from the inkstick, it has to be continuouly ground against an inkstone with a small quantity of water to produce a dark liquid which is then applied with an ink brush. Artists and calligraphists may vary the thickness of the resulting ink according to their preferences by reducing or increasing the intensity and time of ink grinding.m Sumi sticks after it has been used), and delivered.

Ink sticks need to age, just as wine. A well-made sumi stick may be very old and very valuable. Commercially, such ink sticks are available, but not readily in the U.S. or Europe. There are various importers, but as the market is limited, they are unlikely to carry the variety available in China or Japan.

Most ink sticks sold in the U.S. are inexpensive ones, whether originating from Japan or China. If you cannot grind a dark ink in a moderate amount of time, if there are grainy particles which scratch your stone, you do not have an ink stick worth using as far as I am concerned.

This video from Yang Hai Ying (“yanghaiying” on YouTube) gives a few more details about the manufacture of ink sticks:

And finally, another one by Yang Hai Ying showing both bottled and stick ink:

For us ink stick lovers, it would be sheer heaven to walk into a shop filled with ones to choose!