Out of the ???? wenfangsibao “four treasures” set for calligraphy writing in China, paper is considered the second main one to follow the brush. The best type of paper which was used to create top China painting and calligraphy masterworks is ?? xuanzhi paper.

Chronics state that in times of the Eastern Han dynasty, when the inventor of the paper Ca Lun (??) died in 121 AD, his youngest brother and co-partner Kongdan  decided to commemorate Ca Lun in a fine painting and was thinking of unusual paper to implement  his intention .   Once,  walking through the woods he saw a sandal tree fell down across a mountain stream. Running water stripped off its bark which decomposed and revealed long white fibre. Kongdan was pleased with the color and made few attempts to make a pulp with it. His final success resulted in highest quality of snow-white xuanzhi paper.

The recipe was invented in Anhui province and is based on natural ingredients available in Jiangsu province. The Tartar wingceltis tree bark, elm, rice straw, mulberry, hemp and bamboo pulp are the main components. In general, cotton may stand up to 40% of pulp composition, while expensive and exquisite type contain up to 80% of sandal, elm and similar bark ingredients. The manufacturing process involves using variety of juices, intensive steaming and bleaching,  but some details are still kept secret. Production cycle divides into 18 stages and once lasted for about 300 days. But all efforts are justified as the final product features extreme whiteness, softness, longevity and absorbing ink without running. The paper unsurpassable durability, resistance to tearing, mould  and insects damage has gain it a title of ????( zhi shou qian nian)-  “paper living thousand years”.

Methods of production divide xuan paper in three main types – raw(?? shengxuan), processed  (?? shuxuan) and half-processed (??? ban shuxuan). The last two types are treated with alum to vary the material ability to absorb ink, paint or water. Untreated type  has the highest absorbability, while processed types are more tough. Besides, processing may vary paper colour in different shades – peach blossom, milky cloud, coral wax, wine gold, ivory gloss, tiger stripes etc.

Xuanzhi paper soaking up  attributes have influenced two types of Chinese traditional painting. Xieyi (?? writing thoughts)  technique with its free manner of “suggestive”  landscape painting and colourful blobs and splashing   is much more expressive on raw xuan paper. Processed types are more suitable for Gongbi (?? working brush) technique with its fine lines and detailed sketches. Only high quality bark-based paper is suitable for painting. For calligraphy handwriting mainly cotton types of xuanzhi paper are in use. Another “honourable” usage of this paper is to bear  China`s  most important diplomatic agreements and state documents originals.

Third Precious Ink

Ink is the third treasure of classic Chinese study. Sketches and scripts performed in ink hundreds and thousands years ago still present fine distinct images as time seems to have no power over them.

Originally ancient Chinese used  mineral graphite for writing needs. By the time of Eastern Zhou (12-11 century BC) the first ink proto-type was invented out of coal and wood soot. Second century BC combined soot and animal grease for writing. The best ink recipe was composed  in the Tang dynasty (618-907 AC) near  Huangshan Mountain ??”Yellow Mountain” in Anhui, today –  Qianyang county of Shenxi province (?????). Local pine trees has become the source of Chinese most famous writing substance and gave the name to the ink –?? huimo – “Hui [county] ink”.

Historically there were many types of ink produced in China. Manufacturing technique  and initial product divides all inks into two main groups – oil soot and  wood soot. In oil types soybeans, tea tree seeds or vegetable grease is the foundation, in wood types – the tree resin.  Some mixed oil-wood combinations, aroma ink, colored ink, etc. also exist. In general, oil burnt inks are highly valued for their “eternity”, high resistance, suitability for fine delicate writing, superb glossy effect and rich intensive color of crow`s plumage. But, however,  high glue content  makes oil-based ink somewhat tough to use. Wood type is less glossy, not water-resistant, but low-gluey and “leaking” for speedy easy script. There also oil-wood combinations, aroma ink, colored ink, lacquer, unglued, full-burnt, half-burnt and other types, exists. Many of them are using traditional Chinese medicine ingredients for scent or preservation like cloves, sandal, ash, herb extracts, etc. Luxurious lacquer ink e.g. consists of Tung oil soot, musk, borneo camphor, gold foil, pearl powder and 10 other precious components. Aromatic substances are working mostly for the ink odor and writing process enjoyment. Oils have more practical application, offering elastic, durable and highly resistant finishing touch for inscriptions –  ????????? feng ji ni li, guangze ru qi – “fine muscles,  fat pattern glossy shining like lacquer”. Except for calligraphy, painting, engraving artworks,  huimo ink is widely used for printing, decorating, porcelain production, industrial blueprint,  pharmacy etc. Black color is traditional, though modern art is using other colors as well. Bright orange or red is common in calligraphy study to correct student`s works and set characters standard patterns by teachers.

By custom, ink is produced in solid form to be dissolved with water prior to use. Soot and animal glue like egg whites, pig fat or fish skin are mixed into a dough and dry into stick molds. Cheap stuff is sold in pieces, while for expensive items special forms or paired sets are more common. Fine silk box packing,  lavish paper wrap, gilding, handmade decorating with poems or colorful miniatures by famous artists have been turning such ink into luxurious items. By the time of Qing dynasty such writing  treasures were priced equally to gold upon weight. They were too precious to use for the main purpose and, no wonder, has became treasure hunt collectables, valued not by calligraphers and artists solely.

Fourth Stone

Follow brush, paper and ink, ink-slab is the forth treasure in Chinese written culture.

So far as ink has been produced in solid sticks, liquefying its to a workable substance is a fundamental skill in calligraphy and painting. Water and ink-stone are two things the end of an ink stick is rub to in circular movements to get thick dark liquid applicable by brush.

The right consistency of  ink is crucial  for color strength, writing speed and special effects  in high quality works.

An ink-stone ?? yàn tái is a “stone mortar”  for  grinding ink stick and keeping the mixture. The slabs are as old as ink itself with the first of them dating back to the Han dynasty  about 200 BC.  The quality of  a stone polished surface and its natural texture effects the ink mixture greatly. It`s the main reason why slabs are as important for artworks as all other writing treasures. Four main types of ink-stones have been popular in China:

??? duanshiyan –  volcanic tuff, originating from Guangdong province. It is commonly purple or purple-red in color, though historically few green variety had been excavated. This most famous stone slabs have 1500 years history.

?? sheyan – slate from Anhui province. Black or dark grey in color with fine golden “veins” net they are very decorative.

??? taohe yuan – green crystalline stones from  Gansu province. They were gathered from the bottom of the Tao river during the Song dynasty but not available now. The stone   appearance is very similar to jade, being extremely beautiful and rare.

??? chengniyan – man-made ceramic stones which were first manufactured in Henan province. It`s number one cheap option for common use.

The stones hardness and fineness are the main attributes to get the ink right viscosity. Varying and composing altogether stiff or soft brush, thick or leaking  ink,  tough or fine paper bestow diversity of calligraphy and painting possibilities to implement most delicious or crazy ideas. Slabs have been always gorgeously decorated to help an artist to get inspired. Dragon images or famous poems engravings are the most common motives on Asian palettes.

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