ink stone – 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.

Ogatsu Suzuri

Some time ago, I wrote about Ogatsu stone, which is found in Japan. It is a a dark grey stone, nearly black in color, easily carved and used for many purposes. Ogatsu stone is famous for suzuri as it is a dense stone with low porosity.

A characteristic of suzuri carved from Ogatsu stone is that the outer borders and edges of the stone often are left as natural as possible. The well is smooth, with an area for the making of sumi, and a deeper area to store the ink. Touching the surfaces smoothed for ink making, it is an incredible soft feeling, very smooth without any sense of roughness beneath the fingertips. Outside the well, the stone is smoothed, but the texture of the stone is allowed to come through. The sides are rough, as if chipped away with another stone, but then smoothed over, enough to preserve the ripples in the slate, but not to be unpleasant or rough to the touch.

This suzuri is in two parts, a lid, and a stone for grinding and storing ink. The lid is an extension of the stone from which the suzuri is carved, and simply rests on top of the the stone. The weight of the lid helps prevent it from moving off the stone, but, unlike the boxes of Chinese ink stones, this one can slide, and a small disaster could certainly result if it were to fall to the floor!

The length of the stone, including the lid, is about 7.25 inches (18.5 cm) and 5 inches (12.5 cm) at its widest. Total weight of lid and suzuri is about 2.5 lbs.

Every stone has its own characteristics. Japanese stone differs from Chinese, from what I can tell, in that it is less porous than Duan or She. It takes a bit more effort to make sumi with the Japanese stones I have, but not in a negative way – it is simply a different experience. Fine stones from both countries are definitely worthwhile purchases, as are professional grade sumi sticks.

Dragon Stone

We are still moving things around since my brother moved out last year. Needless to say, we are slow! In that process of making room for him, a lot of stuff was shifted, stored, and forgotten. Now that the studio is being revamped, I am refinding things, namely, two ink stones, one Chinese, one Japanese. Today I will write a bit about the dragon stone. Clicking on the image below will take you to a larger image which will allow you to see the in greater detail.

The above stone is Chinese and measures about 8.5 x 6 inches (22 x 15 cm). What kind of stone it is – most likely a slate – I cannot tell you for sure, but I will say the design is more Chinese, from what I know, than Japanese. The stone has a rather bell-like sound to it when tapped. Breathing on the stone shows little retention of surface moisture, as do some other stones, but a thin layer of water holds to the surface, then vanishes. I have not ground any ink on the stone as of this writing. Also, I have no idea where or when I purchased this stone! I expect I bought the stone because I like the carvings of the dragon in the clouds more than anything else – I’m a water dragon myself.

Repairing Chips on Lower Right Side of Dragon Stone

Unfortunately, when I unpacked the stone, a number of chips were in the box. I managed to salvage a few, and, not knowing what type of glue to use, decided to just try white glue. As the stone is porous, and white glue works well on porcelain, I decided to give it a shot. Admittedly, it doesn’t look great, especially in large pictures, but the mending is not too noticeable in the large picture of the stone itself. The stone seems rather soft, which may account for the issue of low moisture retention on its surface, so it may be rather porous as well. However, until I use it to make ink, I really cannot assess its grinding qualities.

I love the energy of the carving! You can just imagine wild, stormy weather, and a fearsome dragon flying through the clouds.

The carving on this stone is quite fine, with thin lines being well expressed in the undulating lines of the dragon’s body as he flies through the clouds. Scales are small and subtle; the whorling clouds undulate gracefully over the carved surfaces.

Left Side Carving - Smaller Dragon and Clouds

There are also small, light inclusions in the stone, which probably to the knowledgeable will give a lot more information about the type of stone this is, and its origins.

This stone is enjoyable for its carving and size. I’ll ink it up in the next few days and tell you what I think. And, hey, maybe I’ll even do some painting (at last!).

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.