suzuri – Page 2 – Ink, Yarn & Beer

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: Inkstone / Suzuri, v

I have a small collection of inkstones / suzuri. A few I have paid a lot for (for me), and others have been incredibly inexpensive. Some are really poor as far as usefulness, some mediocre, and some surprisingly good for the small amount they cost. Several years ago I bought an excellent stone for $5.00 in an artist supply store. It is a real stone suzuri. Another one I bought a few years ago is not an outstanding stone, but a bit of work made it into a very usable stone. That is the subject of today’s entry.

The Phoenix Stone

I bought this stone on eBay about three years ago, paying about $15.00 for a stone which was never used. The gal I bought it from got it in Hong Kong about twenty years earlier, as a memento of her trip. That said, I wasn’t too sure about it, but liked the carving on it and bought it anyway. It must be understood that many inkstones are made for the tourist industry, are not usable, and most will not be worth more than use as a paper weight or other decorative item. This stone measures 5.25 x 8 inches (13.5 x 20 cm).

This stone is actually pretty good – much better than I expected. When it arrived, there was some sort of coating on it, which did not work at all well with hand grinding an inkstick. I decided to re-read some directions I got awhile back about how to make a stone usable – if it could be made usable at all. The goal was to remove the coating, try the stone, and then finish the stone’s grinding surface if necessary.

Buying a New Stone

When buying a stone to use, the first thing to look for in a stone is whether or not there is a slight glint, or sparkle, in the sun. Tilt the stone this way and that. What is needed is a bit of sparkle, and hopefully that sparkle is copper pyrite, which, according to my source in Japan, is necessary for good ink stick-ink stone connection. This stone has that glint.

Preparing to Refinish / Polish a New Inkstone or Suzuri

To refinish a suzuri is not difficult, though it might be rather scary if you like the stone. This inkstone was unused, so this description is for a new stone that does not seem optimal.

Because this stone was not dirty, with old ink stuck to it, I simply washed it soap and water, using Dawn dish detergent as it is good at cutting grease. I let it soak a bit in hot water, soapy water, and then used a 3M brand green scrubber on it. I did not apply a lot of pressure to the surface, but used just a gentle swirling motion. Once washed, I rinsed it, and let it dry a day before grinding sumi. The resulting ink was okay, but not particularly fine. The surface of the stone felt rather rough, so I decided to sand it down.

Polishing the Inkstone / Suzuri

Sandpaper is not to be used on an inkstone, but fine grit wet-dry paper is needed. This is usually a grey-colored paper, available in good hardware stores, and manufactured by 3M. It comes in varying grits, but to begin with, use nothing less than 600 or 800, and do the final polish with 1000-2000. What you choose to use will vary with the stone, and how much energy you want to put into it. I like a smoother finish, but with a coarse-grained stone will require a bit of gentle elbow grease. The paper shown is what I have used, and am pleased with the results.

Before you begin, run your fingertips over the surface of the stone. This way you will know what your stone feels like before beginning.

When I polish a stone, I go outside. With me comes a basin of water, the paper, the stone, an old bath towel, and table. Place the stone on the towel to protect the table, and to collect any dirty water from the sanding process. Put water on the stone’s surface, and using the coarser papers, begin rubbing the surface in light, circular movements. Don’t put a lot of pressure on the stone, but let the paper do its job. Proceed systematically over the entire surface. Rinse off the particles of stone and paper as needed in the basin of water as they accumulate, and continue. Test the surface of the stone with your fingertips – you should be able to feel the difference. Rinse off your stone, wash and rinse again, and let it dry.

Grind some ink, and notice the quality of the particles. Also notice the quality of your inkstick. If you have a poor inkstick it won’t produce particularly good ink – it will be coarse-grained, and take a long time to produce dark ink. There may be rough spots in it. These rough spots are impurities or contaminants, and can actually gouge your stone. Stop if you find something like this, pick it out, and try again. Remember – you can ruin a good stone with an inferior inkstick.

The key element is patience. Sand down the stone, wash and rinse it, let it dry. Run your fingers over the stone, checking for a smooth finish throughout the entire grinding surface. Try your ink. If you are content, stop. If you want a finer ink, continue using finer papers until you are pleased. Don’t try for a shiny, polished surface. There needs to be some “bite” on the surface for the inkstick so it may be ground into fine particles.

The Phoenix Arises!

I spent a few days polishing out this stone. I used several grits of paper on it before I was content. This stone produces a dark ink in a fairly short amount of time. The surface is flat, without puddling, and the well holds a nice amount of water. Because there is no slope on the stone, I use the water to dilute ink when painting. I add water from a suiteki or sucky-cup (plastic cup with a built-in straw, made by Rubbermaid) in small amounts as I grind ink. The large grinding surface makes for a relaxing “grind” – small surfaces make me tense up.

This stone has a rather greasy quality to it, which is why it is not one of my favorite stones. I expect it has something to do with the type of stone it is. Little spots of white appear on its surface for no known reason. Nonetheless, a stone which was not at all usable, in my opinion, has become functional, and under the right circumstances, pleasurable to use.

The Four Treasures: Inkstone / Suzuri, iv

Ogatsu Inkstones

Another famous Japanese inkstone is the Ogatsu. The stone is a dark grey-black stone, to pure black. It is a type of slate which lends itself well to detailed carving. The stone is about 200-300 million years old, and is quarried in Kitakami mountain, near the city from which these suzuri take their name.

This video shows the carving of a traditional suzuri.

According to the website http://www.kougei.or.jp,

. . . the origins of the Ogatsu inkstone can be traced back to the Muromachi period (1392-1573). Then, at the beginning of the 17th century, two inkstones were presented to the military commander, Date Masamune, who was on a deer hunt on Toojima, an island off the Ojika Peninsular. It seems that he was highly delighted with the stones and reciprocated generously. Date’s son, Tadamune, also recognized the skill with which these inkstones were fashioned and engaged craftsmen to make inkstones for the clan. It then seems that he placed the mine from which the stone was sourced under a monopoly and did not allow outsiders to mine there.

The most important part of an inkstone is the houbou, or bed on which an ink stick is rubbed in a little water. It is the texture and perfect degree of hardness of this surface which is a particular feature of the Ogatsu inkstones. The stones are made from a type of slate and are either black or a deep indigo in color, have a rich luster and a smooth surface. Some highly fashioned, others are almost as they were mined. In all, 26 firms employ 88 people who are engaged in making these inkstones and there are also 4 government recognized Master Craftsmen.

These stones are elaborately carved, with lids, as well as left in a more natural shape. The photos below gives you an idea of the range in which they are produced.