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.
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.
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.
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!).
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.
Patina: a surface appearance of something grown beautiful, especially with age or use.
Provenance: origin, source. the history of ownership of a valued object or work of art or literature.
Keshiki: . . . (Japanese) after you use [something] and make some stain, it is natural thing and we call it “keshiki” (“a scenery naturally made”) that makes the item valuable.
The Veleveteen Rabbit: a children’s novel written by Margery Williams and illustrated by William Nicholson. It chronicles the story of a stuffed rabbit and his quest to become real through the love of his owner.
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We buy things to use, to admire, to give pleasure to our lives, to make our lives more efficient, to wear, to eat, to provide shelter, to take us from one place to another. Sometimes we hoard, from fear, necessity, greed. There are things we all have hiding in a cupboard or drawer or under the bed, saved for the rainy day that never comes, for that yet-to-be-determined special occasion.
And then we die. All that was valuable to us, as individuals, is gone. Now it is junk for others to cart away.
I have decided to ink my only un-used suzuri, using a highly prized ink stick. The experience will be mine alone.
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.
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.