Shoyu Online

Author: shoyuonline

  • How to Extend the Life of Ink Sticks

    How to Extend the Life of Ink Sticks

    As you continue to grind solid ink sticks daily, they gradually diminish in size, making them harder to hold in your hand. When the ink stick becomes shorter, there are two methods to continue using it: using an ink stick holder to grind it or connecting it to another ink stick to grind. Ink sticks are meticulously handcrafted by artisans. Even as they diminish in size, it’s important to use them until the very end. Now, let’s introduce a recommended method for extending the life of ink sticks, which is surprisingly simple. If you’re struggling with small or broken ink sticks, give this method a try.

    Connecting Ink Sticks

    While there are adhesives available on the market, some may feel hesitant about using substances other than ink to connect ink sticks. However, ink sticks can be connected without using adhesive.
     
    Ink sticks are made from gelatin, soot, and fragrances. Gelatin, one of the ingredients, serves as a natural adhesive, solidifying the ink. Therefore, by applying the ink stick that has been ground to a thick, sticky consistency to the ink sticks you want to connect, you can seamlessly extend the life of the ink sticks without altering their quality or color.
     

    Procedure:

    ①Prepare the small or broken ink stick. It’s recommended to soak the bonding surfaces in lukewarm water for about 3 to 5 minutes beforehand.

    ②Grind both ink sticks until their grinding surfaces are flat. This applies even if the ink stick is broken, although it may require some patience to flatten uneven surfaces.
    ③Create a concentrated ink mixture that will serve as the adhesive. Prepare a small amount of ink that you’ve ground in step 2, and then create an extremely thick ink solution with the ink stick you want to connect. The concentration of the ink you grind here will determine the adhesive strength, so grind it as thick as possible until it becomes gooey or sticky.
     
    〈Beginning of Grinding〉

    〈Gooey State〉

    ④Dip the thick, gooey ink mixture you’ve ground into the flat grinding surface of the ink stick you prepared in step 2. You don’t need to apply too much, but make sure to evenly coat the grinding surface.

    ⑤Press the bonding surfaces together to connect them. Be careful to align them properly, and press both ink sticks firmly together with both hands. Apply pressure for about a minute if possible. As the adhesive ink dries, it will shrink slightly, so it’s okay if some ink oozes out from the bonded area. After pressing, use a brush or your finger to spread the gooey ink you used for bonding around the bonded area.

    ⑥Allow the bonded area to dry naturally until it’s completely dry. Even for small items, it may take several days to dry completely, so let it dry for at least 3 days.

    With this, the ink stick extension is complete. Please continue to attach your small ink sticks together and make sure to use them carefully until the very end.

     

    Using Ink Adhesive

    When you’re busy and don’t have time, another option is to use ink-specific adhesive to connect ink sticks. Convenient ink adhesives are also available for purchase, so choose according to your needs.

  • Mino Washi Adult Letter Set

    Mino Washi Adult Letter Set

    A letter set that exudes an adult-like sophistication has arrived.

     It features the serene and mature ambiance of Mino Washi paper. This series uses the traditional technique of “rakusui-shi,” where water patterns are applied to freshly made washi paper by showering it with water. The characteristic feature is the translucent appearance of the patterns. This letter series is adorned with patterns of subdued colors, considered auspicious, printed on the bottom surface, combining cuteness with an adult-like atmosphere. It’s a versatile letter set suitable for formal occasions and casual correspondence with friends alike. The paper comes in pure white and cream colors, with stationery, envelopes, and single sheets available. Please use them according to the occasion.

    There are a total of six auspicious patterns, popular among both men and women. The charming and beloved “nanahou” pattern… symbolizing harmony in the home and prosperity for descendants. The refreshing “aouminami” pattern… symbolizing eternal prosperity. The universally appealing “asanoha” pattern… symbolizing growth and warding off evil. The serene and charming “kikubishi” pattern… symbolizing eternal youth, longevity, warding off evil spirits, prosperity for descendants, and good health. Recommended for men, the youthful “wakamatsubishi” pattern… symbolizing longevity, prosperity for descendants, and good health. The stylish “kikkou” pattern… symbolizing longevity.

    Adding a brief note on a letterhead, along with gifts or money, can convey your feelings to the recipient. It’s not only suitable for letters but also recommended for messages on work documents. Since the patterns are considered auspicious, they are perfect for writing congratulatory letters. Additionally, it’s recommended for men to use and to send to superiors.

    These letter sets can be used with fountain pens, brush pens, or traditional brushes.

    If you would like to view all of our products, please click here.

    Adding a brief note on a letterhead, along with gifts or money, can convey your feelings to the recipient. It’s not only suitable for letters but also recommended for messages on work documents. Since the patterns are considered auspicious, they are perfect for writing congratulatory letters. Additionally, it’s recommended for men to use and to send to superiors.

    These letter sets can be used with fountain pens, brush pens, or traditional brushes.

    If you would like to view all of our products, please click here.

  • Discover New Ways to Enjoy Seal Materials!? Introduction to “Appreciation Seal Materials”

    Discover New Ways to Enjoy Seal Materials!? Introduction to “Appreciation Seal Materials”

    Enjoying Seal Materials Through Appreciation

    In addition to carving and touching seal materials, there is another way to enjoy them: through “appreciation.” This involves admiring the beauty of the carving on the handle string of the seal, as well as the patterns delicately carved to match the texture of the stone. In this article, we will introduce the seal material collection kept secret by Shoyu.

    For those who want to enjoy appreciation! Basic Knowledge of Seal Materials
    １）Types and Names of Stones Seal materials come in various types such as Jushan, Fuyuseki, and Xiaohuaishi, each named after the location where it was mined.

    ２）What Makes a Stone Valuable? Among them, stones with a “moist texture,” “fine grain,” and “translucency” are considered high-quality and command high prices.

    ３）Introduction to the Most Effective Stones Furthermore, the pinnacle of seal materials, known as the “Three Treasures of Seal Materials,” are “Tanhuang Stone,” “Chicken Blood Stone,” and “Fuyu Stone.” Tanhuang stones are prized for their patterns resembling red streaks or the cross-section of a radish, with a yellowish skin on the surface being desirable. These stones are now considered rare and are not commonly found on the market.

    As Shoyu’s collection lacks documentation from ancient times, the identification of stones is not certain. However, each stone and carving in the collection is beautiful in its own right. We hope you enjoy them.

    View the entire collection of appreciation seal materials here.

  • You can create your own favorite letter set using Japanese-style paper.

    You can create your own favorite letter set using Japanese-style paper.

    I’ve made a letter set using Japanese-style paper designed for writing in kana characters. These papers often feature beautiful patterns and have a calming atmosphere. If you can’t find a letter set that you like, I hope you’ll give this one a try.

    ■Materials Needed (Produces 4 Standard Size Envelopes and 3 Sheets of Writing Paper)

    • Japanese-style paper for kana writing: 2 sheets (Half-sized paper version)
    • Folding pattern (Please draft and create on a separate sheet as shown in the diagram below)
    • Simple backing paper: 1 sheet (Not necessary if using opaque paper like roll paper. Doubling up two sheets of paper is also acceptable.)

    ■Here’s how to make it:

    1. Cut the half-sized paper in half. Out of the four resulting sheets, use three for writing paper and one for the envelope. (If the paper for writing is thin, you may want to reinforce it with backing paper.)
    2. Fold along the fold lines drawn on the paper along with the folding instructions.
    3. Apply glue to the envelope portion and seal it.

    This time, I used the popular Asuka paper, which is also popular among calligraphers. It comes in 5 colors and 5 patterns, so you can make 5 different kinds of writing paper from one pack! I tried writing on it, and it was very easy to write with a ballpoint pen, brush pen, or small brush.

    You can see a list of half-sized paper versions on the website.

  • Manufacturing Process of Kobaien Ink

    Manufacturing Process of Kobaien Ink

    A traditional method of ink production passed down through generations.

    There are two main types of ink: “oil smoke ink,” made from burning rapeseed oil, sesame oil, or paulownia oil, and collecting the soot, and “pine smoke ink,” made by burning pine resin. Recently, there are also inks made from mineral soot.

    Among these, “oil smoke ink” is known for its fine particles, deep black color, and strong gloss, representing high-quality ink. Oil smoke ink originated during the Muromachi period at Todaiji Temple’s Nikadai Hall, where soot collected from the temple’s lamps was mixed with glue to create ink.

    In our garden, we continue to preserve high-quality oil smoke ink using the secret techniques passed down through generations.

    1.Soot Collection:

    Pure vegetable oil is placed in earthenware pots, and a wick is lit to produce soot, which is then collected. To ensure even accumulation of soot, all pots are moved every 20 minutes.

    2.Gelatin Dissolution:

    Gelatin made from animal bones or skin is placed in a double boiler and heated for an extended period to create a gelatin solution.

    3.Wooden Molds:

    Wooden molds for ink, made from pear wood, are intricately carved with characters and patterns. Each mold holds about 15g of ink, but approximately 25g of wet ink is poured into it due to drying shrinkage.

    4.Molding:

    A mixture of soot, gelatin solution, and fragrance is taken out, kneaded by hand until it shines, and then carefully molded into the ink molds.

    5.Ash Drying

    The ink removed from the molds is buried in wood ash with high moisture content on the first day, and then gradually replaced with wood ash with less moisture from the second day onwards. This ash drying process continues for about one week for small-sized items and around 30 to 40 days for larger ones.

    6.Natural Drying

    After the ash drying process, the ink (with approximately 70% of its moisture removed) is hung from the ceiling indoors by weaving it with straw for natural drying. This process usually takes about two weeks to three months.

    7.Finishing and Polishing

    Once the natural drying is complete, any ash or other substances adhering to the surface of the ink are washed off with water, one piece at a time. After washing, a finishing agent is applied to the surface for makeup. Additionally, depending on the product, the surface may be softened by roasting over charcoal and polished thoroughly with clam shells to bring out the gloss.

    8.Coloring Finishing

    The polished ink is left to air dry for about three days to a week (to remove any moisture retained from washing), then colored using gold powder, silver powder, or other pigments.

  • History of Kobaien, Continuing for Over 400 Years

    History of Kobaien, Continuing for Over 400 Years

    The ink-making industry of Koubaien began in the late Muromachi period.

     The founder, Matsui Michinori (1528-1590), received the official title of Tosa no Jo. The second generation, Michiyoshi, also received the title of Tosa no Jo, and this title was passed down through generations. The third generation, Michitoshi (1611-1697), had a preference for plum blossoms and planted many plum trees under the eaves, leading people to refer to it as Koubaien. The son of the fourth generation, Michiyoshi (1641-1711), named Motonori, had an interest in academics and studied under Ito Jinsai. According to “Shokajin Butsushi” (1792 edition), “Matsugetsu Motonori, also known as Toan. A ink artisan from Nankin. He enjoys elegance and associates with distinguished families. He compiles family ink genealogies and presents them to refined guests or exchanges them for poetry. Koubaien has been known through generations.” He was known as a merchant-scholar and a Han poet who published “Toan Shikou,” a collection of his poetry. Additionally, he devoted himself to the study and improvement of Japanese ink, a legacy continued by the sixth generation, Motayasu.

    Motayasu (1689-1743) is introduced in “Kokin Bokuseki Kantei Benran” (1855 edition) as follows: “His name is Motayasu, and his pseudonym is Teibun. He is also known as Gengen Sai. He is an ink artisan from Nanto. He is commonly referred to as Iwai no Jo. He inherited his father Toan’s scholarly pursuits and was skilled in poetry. Motayasu succeeded his father’s Miniku and once communicated with Tang to learn two techniques of ink production from that country. He refined his ink according to these methods. Later, during the Genbun era, he received official permission and traveled to Nagasaki, where he observed the ink-making methods of the Qing people and refined his techniques further. Motayasu was highly skilled in calligraphy.”

    Motayasu’s efforts to explore Chinese ink-making techniques are also evident in various parts of the “Ink Genealogy,” but his journey to Nagasaki in the year Genbun 4 (1739) is particularly notable. He obtained official permission and engaged in question-and-answer sessions about ink-making techniques with nine Chinese residents in Nagasaki, leaving behind a handwritten record titled “Notes on the Dialogue of Chinese Ink Production.” Additionally, there is a handwritten document titled “Enki-shiki Bokuhon Shikou,” which explores the origins of Japanese ink production. Furthermore, he compiled “Meiboku Shin-ei” (or “Koubaien Meiboku Shin-ei”), which gathers poems dedicated to “Toyoyama Kouboku” (or “Toyoyama Fragrant Ink”), and published it in the year Shotoku 2 (1712). He also collected poems contributed by Qing people and compiled them into “Daiboku Kouko Shishuu,” published in the year Kyoho 19 (1734).

    These books on ink demonstrate deep appreciation for literary arts and a passionate dedication to the ink-making industry. However, the pinnacle of expertise lies in the “Ink Genealogy” and “Kobaien Ink Discussions.” The seventh generation, Motozumi, continued his father’s legacy and created “Benibana Sumi” (or “Benibana Ink”) mixed with safflower. He also inherited his father’s “Ink Genealogy” and compiled the “Second Volume.” In summary, spanning three generations from Motonori to Motayasu to Motozumi, Kobaien made significant advancements in ink-making and left valuable research achievements in the history of ink.

     

    Successive Heads of Kobaien

    Founder: Matsui Michinori (1528–1590) [Official Title: Tosa no Jo]

    Having served Nakahara Tochuu, the lord of Jyuuichi Castle in Yamato Province, Michinori relocated to Nanto (Nara) in 1577 and started the ink-making business. At that time, the ink-making industry in Japan was still immature. Through studies based on texts such as the “Enki Shiki Ryo Zoumoku Shiki,” “Li Family Ink Making Method,” and “Kukai Nitai Bou Oil Smoke Making Method,” he developed methods for producing high-quality ink. In 1603, he presented high-quality ink to the Imperial Court, for which he was granted the title “Tosa no Jo” in recognition of his achievements. He was commonly known as Matasaburou.

    Second Generation: Matsui Michiyoshi (1578–1661) [Official Title: Tosa no Jo]

    There was an old plum tree in the corner of his home garden, which received praise from visiting literati and ink connoisseurs. Thus, the garden name “Kobaien” was born, inspired by the old plum tree. The inscription on a paulownia box reads “Kobaien, crafted by the first patriarch,” suggesting that the second patriarch, Michiyoshi, created the garden name “Kobaien.”

    Third Generation: Matsui Michitoshi (1611–1697) [Official Title: Izumi no Jo]

    He received appointments from the Tokugawa Shogunate, stationed in Edo, and undertook missions at daimyo residences.

    Fourth Generation: Matsui Michiyoshi (1640–1711) [Official Title: Tosa no Jo]

    Fifth Generation: Matsui Motonori (1660–1719) [Official Title: Echigo no Jo]

    He studied under the Confucian scholar Itou Jinsai, adopting the pseudonym “Toan.”

    Sixth Generation: Matsui Motayasu (1689–1743) [Official Title: Izumi no Jo]

    Sixth Generation: Matsui Motayasu (1689–1743) [Official Title: Izumi no Jo] Also known as Genjou-sai Teibun. In 1739, he obtained permission from the shogunate and formed friendships with Chinese ink artisans such as Cheng Tengmu and Wang Junkai in Nagasaki, facilitating technical exchanges between the two countries. Subsequently, he authored works such as “Kobaien Mokufu Shikou” (Records of Kobaien’s Ink Genealogy, Four Volumes),

    “Kobaien Mokudan” (Discussions on Kobaien’s Ink), and “Bokuwashi,” among others. The woodblock diagrams in the four volumes of “Kobaien Mokufu” include examples still produced today, such as “Hakkaku Rojomatsu” (Octagonal Old Pine), “Shakyou Sumi” (Sutra Ink), “Gyokuran” (Jade Orchid), and “Daizai Hotei” (Greatly Blessed Hotei). The ink created by Motayasu, the pioneer of Kobaien’s revival, sought to improve Japanese ink-making. In 1739, with official approval, he exchanged ink-making techniques with Chinese ink artisans in Nagasaki, producing high-quality ink representative of that era.

    Seventh Generation: Matsui Motoi (1716–1782) [Official Title: Izumi no Jo]

    Upon the orders of his father, Motayasu, he experimented with safflower ink, successfully completing the “Kobaien Ink Genealogy, Volume Two,” and authored it. Thereafter, the term “ink = Kubaien” became synonymous, gaining widespread popularity. The “Ink Genealogy, Volume Two” includes ink varieties such as “Gochi,” “Chikurin Shichiken,” “Shinsen,” “Benibana,” “Inchu Hassen,” and “Gen no Mata Gen,” which are still produced today.

    He authored the “Kobaien Ink Genealogy, Volume Two” and created a renowned ink called “Benibana Ink” for calligraphy. He also created ink for painting through interactions with Chinese artisans, contributing to the era’s prestigious ink varieties.

    Eighth Generation: Matsui Mototaka (1756–1817) [Official Title: Izumi no Jo]

    Bestowed with the official title “Izumi no Jo,” he continued the family’s ink business under the peaceful and prosperous atmosphere of his era.

    Among the renowned inks of his time, he crafted signature inks within his collection of ink molds.

    Ninth Generation: Matsui Motozuru (1799–1857) [Official Title: Izumi no Jo]

    Granted the official title “Izumi no Jo,” he continued the family’s ink business under the peaceful and prosperous atmosphere of his era.

    Tenth Generation: Matsui Motonaga (1828–1865) [Official Title: Tosa no Jo]

    During the Meiji Restoration, he relinquished his official title and became “Purveyor to the Imperial Household Agency.” He renounced the title of Tosa no Jo during the Meiji Restoration.

    Representative signature inks that proudly became the purveyor to the Imperial Household Agency.

    Eleventh Generation: Matsui Motoyasu (1862–1931)

    He served as the honorary mayor of Nara City and in the fourth year of the Taisho era, he reorganized the business into a corporate structure.

    During the Meiji Restoration, he quickly dispatched diplomatic envoys nationwide in the industry, expanding the market with signature inks.

    Twelfth Generation: Matsui Teitaro (1884–1952)

    He served as a member of the House of Peers and as the honorary mayor of Nara City. He contributed to the ink-making industry.

    Thirteenth Generation: Matsui Motohisa (1913–1967)

    Even amidst the turbulent period of the end of World War II, he staunchly upheld the four-century-old prestigious business.

    Fourteenth Generation: Matsui Gensho (1964–1997)

    Passed on to the present, in 1985, after a hiatus, he successfully reproduced “Ikimatsu Matsukemuri” using a newly developed smoke extraction method.

  • Ink-making is the specialty at the Koubaien, a traditional ink manufacturer.

    Ink-making is the specialty at the Koubaien, a traditional ink manufacturer.

    Koubaien, the master of Nara ink, delves into the essence of ink-making.

    The name “sumi” is said to have originated from the word “stain” and has been passed down through the ages. Ink is a wonderful writing tool that lasts for years without fading or being eaten by insects.

    Nara ink, dating back to the first year of Daitoku (806 AD), began when Kukai brought back ink-making techniques from Tang China along with brushes. He collected soot accumulated on the ceiling of the Mibutsudo Hall at Kofukuji Temple, mixed it with animal glue, and thus began the production. Even today, Nara ink accounts for over 90% of the national production.

    全国で古梅園だけの墨造り製法

    Koubaien, the only ink manufacturer in the country with its own ink-making method, has proudly flown its signboard since the Azuchi-Momoyama period, continuing to uphold traditional techniques in Nara City.

    Koubaien is the only establishment in the country that manufactures ink from “collecting soot.” It is truly a one-of-a-kind presence.

    The ink-making process, starting from “collecting soot,” involves lighting pure vegetable oil soaked in rushes on a wick, covering it with earthenware, and collecting the soot smoke that adheres to the earthenware.

    To ensure that the soot adheres evenly, all 200 earthenware vessels are rotated every 20 minutes, and the soot collected on the underside of the lid is gathered with chicken feathers…

    Oil-smoke ink extracted from two hundred flames

    Even after tirelessly repeating the exhausting task for 8 hours, the amount collected does not exceed 1 kg. The outer walls of the smoke-extracting chamber are stained pitch black from the soot particles, turning the white walls completely black. Entering inside, one is enveloped in the heat from countless flames, leaving a fantastical and sacred impression.

    Premium quality glue with transparency

    Ink is made by adding soot, glue, and fragrances. Glue, derived from animal bones or skins such as those of cows, is placed in double boilers, where it undergoes a long process of water bath heating to create a solution. Ink-making can only be done during the period of low temperatures from autumn to spring, to prevent the glue from spoiling. Anticipating a pungent smell… yet surprisingly, the smell is minimal, refined, with very few impurities, showcasing the unique transparency and elasticity of high-quality glue.

    Employees unanimously affirm, “We use premium quality glue.” Witnessing the addition of soothing fragrances such as plum to the prepared soot and glue, the stage is set for the “ink master” to make their appearance. Finally, the crucial “mixing” process begins, determining the fate of the ink.

    Ink mixing with skilled technique

    The mochi-like raw ink is evenly kneaded with the feet until the ink balls shine, and then further refined by hand.

    The “mixing” process significantly influences the quality of the ink.

    Just before being placed into molds, the ink balls are shaped into cylindrical forms by the ink master’s hands. If the rolling during mixing deviates even slightly, it can cause warping or cracking in the ink after drying.

    It’s surprising that the moment to stop mixing is indicated by the ink balls themselves. The finely tuned senses unique to skilled artisans enable them to discern the perfect moment without error.

    Skilled technique of “molding” with controlled moisture level

    The unit of weight for ink is called “cho.” (1 cho = 15g)

    Taking into account the drying of moisture, approximately 22.5g of ink is put into the molds for 1 cho.

    The slight difference is determined by the intuition of craftsmen who have calculated the temperature and humidity. The ink master’s intuition never fails.

    Careful drying using ash

    The freshly molded ink, after completion of molding, is placed into wooden molds made of pear wood and secured with clamps.

    The ink taken out from the wooden molds is soft, resembling “yokan” (a type of Japanese sweet bean jelly).

    This ink undergoes “ash drying,” where the ash drying artisans come into play.

    The ink taken out from the wooden molds is slowly dried while buried in the ash surrounding the ash drying room, arranged around wooden boxes.

    Drying process with attention to moisture level

    On the first day of drying, the ink is buried in ash with higher moisture content, and from the second day onwards, it is gradually transferred to ash with lower moisture content.

    This ash drying process continues for about one week for small-sized ink and 30 to 40 days for large-sized ink.

    Completion of the Supreme Ink by the Master Ink Maker

    After the ash drying process, the ink, with about 70% of its moisture removed, is further processed by weaving it with straw and hanging it from the ceiling indoors for natural drying. The drying period typically takes about two weeks to three months. Once the natural drying is completed, each ink piece is meticulously washed with water to remove any ash or other impurities adhering to the surface. Then, a secret finishing agent is applied to the surface for cosmetic purposes.

    Some products undergo an additional process where the ink’s surface is roasted over charcoal to soften it and polished with clam shells until it shines. Every step of the process involves painstaking work.

    Koubaien’s Ink Supported by Many Writers

    The completed ink, after going through these processes, becomes a high-priced item when displayed in stores. However, the ink crafted through such intricate processes never fails to meet the expectations of artists. Products made with pride begin with the preparation of water for polishing the ink, paying attention to temperature and humidity, how to grind the ink, how to match the inkstone, selecting the paper…

    Amidst the increasing popularity of “ink solutions,” there is still a strong trust from artists who have an unwavering love for genuine ink, believing that their artwork must be created with ink. Koubaien, persistently adhering to the techniques and methods developed over many years, embodies the essence of “PRIDE” through its unwavering commitment to meticulous craftsmanship.

  • Method for Stiffening a Brush with Glue

    Method for Stiffening a Brush with Glue

    One method involves stiffening a frayed brush with specialized glue.

    Taking care of and storing brushes is an essential task. While various methods exist for stiffening brushes after use without washing the base, using “specialized glue” as professionals do can restore the brush closer to its original condition.

    Why Specialized Glue for Stiffening Brushes is Recommended by Experts

    The advantage of this specialized glue is that it does not damage the brush. Using resin-based ink or similar substances to stiffen brushes can lead to damage, but using this “specialized glue” can preserve the bristles and extend the brush’s lifespan. Another point is the protection it offers for long-term storage of brushes. It can prevent issues such as insect damage and bristle splitting, even for large brushes stored for extended periods. Now, let’s introduce how to use it.

    ■準Items to Prepare

    Specialized glue

    ・Water

    ・A flat board for mixing the glue

    ・A spatula

    ・A brush comb

    ・String (one end of the string should be fixed to a wall or stand)

    *Please ensure that the brush to be stiffened is thoroughly washed and free from ink.

     

    1.Place about a spoonful of glue on a flat surface, such as a glass plate. This amount should suffice for about ten small brushes. Add water in appropriate amounts until the glue becomes pasty, mixing as you go. It’s necessary to press down as you mix, so ensure you’re working on a flat surface.

    2.Rotate the brush to open up the bristles and spread the glue throughout the entire brush, making sure the glue penetrates the center part of the brush thoroughly.

    3.Remove any excess glue with a spatula, comb the bristles to arrange them neatly, and press down any stray hairs.

    4.Use string to wring out any extra glue. Wrap the string once from the bottom up around the base of the brush tip. Hold the end of the string lightly with your right hand. Pulling the string too tightly will prevent the brush from rotating smoothly. While holding the brush between your thumb and index finger, rotate it in the counter-clockwise direction to wring out the excess glue. (Make sure the string stays straight towards you, and try to keep the brush handle as parallel to the string as possible for best results.)

    5.Rotate the brush in a clockwise direction, and straighten any twists or bends with your fingertips. Be careful not to pinch too hard, or the bristles will not form a fine point. Dry the brush away from direct sunlight. A large brush may take about four days to dry, while a small brush may take about three days.

    The step involving wringing out the glue with string may be a bit challenging, but once you get the hang of it, you can easily maintain your brushes at home. Please give it a try.

  • Let’s Try Sutra Copying! Places to Experience Sutra Copying in Tokyo, Kyoto, and Nara.

    Let’s Try Sutra Copying! Places to Experience Sutra Copying in Tokyo, Kyoto, and Nara.

    First, we recommend joining a sutra copying experience casually.

    There are many temples where you can experience sutra copying. It’s a great way to spend some leisurely time in between sightseeing.

    Cafes for Sutra Copying Besides Temples

    Recently, it seems that there are “temple” cafes where you can also experience sutra copying. On your days off, you can easily try sutra copying at a nearby cafe.

    Sutra Copying in Kyoto

    We will introduce places for sutra copying in Kyoto, a city filled with tourist attractions. (Information as of January 2017)

    Sanzenin Temple in Oohara, Kyoto

    Sanzenin is a Tendai sect temple located in Ohara, Sakyo Ward, Kyoto. It is also called Sanzenin Monzeki. The mountain’s name is Gyo-zan, and its main deity is the Medicine Buddha (Yakushi Nyorai) with founder Saicho. It is located in Ohara, a place once known as a retreat for nobles and Buddhist practitioners. Along with Shorenin Temple and Myohoin Temple, it is one of the three head temples of the Tendai sect.

    source:Wikipedia

    ■Address　
    540 Raigoin-cho, Ohara, Sakyo-ku, Kyoto City
    ■Opening Hours
    March to October, 9 AM to 5 PM (Gate closes at 5:30 PM);
    November, 8:30 AM to 5 PM (Gate closes at 5:30 PM);
    December to February, 9 AM to 4 PM (Gate closes at 4:30 PM)
    ■Admission Fee
    Adults 700 yen (600 yen for groups of 30 or more),
    Junior High School Students 400 yen (300 yen for groups of 30 or more),
    Elementary School Students 150 yen
    ■Sutra Copying Fee　1,000 yen
    Website
    http://www.sanzenin.or.jp/

    Daikaku-ji Temple, Former Saga Imperial Palace

    Daikaku-ji is a Shingon Buddhist temple located in Saga, Ukyo Ward, Kyoto. It is the head temple of the Shingon Risshu sect. The mountain name is Sagasan. The main deity is Mahavairocana, and the founder was Emperor Saga. It was once an imperial villa and later became a temple. It has a deep connection to Japanese political history, as it was where Emperor Uda conducted his cloistered rule.

    source:Wikipedia

    ■Address
    4 Saga-osawachou, Ukyo Ward, Kyoto, Kyoto Prefecture
    ■Opening Hours
    9 AM to 5 PM (Reception closes at 4:30 PM)
    ■Admission Fee
    Adults: 500 yen Elementary and Middle School Students: 300 yen
    ■Sutra Copying Fee
    Sutra Copying Offering: 1,000 yen Gyati (a shorter sutra) Copying Offering: 500 yen Copying the Sutras of Buddha Offering: 1,000 yen (in addition to the admission fee)
    Website
    https://www.daikakuji.or.jp/

    Tenryu-ji Temple

    Tenryu-ji (天龍寺), located in Susukinobabacho, Saga Tenryu-ji, Ukyo Ward, Kyoto, Kyoto Prefecture, is the head temple of the Rinzai Zen Tenryu-ji branch. The mountain’s name is Reigisan (霊亀山). The temple’s full name is Reigisan Tenryu Shiseizen-ji (霊亀山天龍資聖禅寺). Its principal deity is Shakyamuni Buddha, and it was founded by Ashikaga Takauji. The founding monk was Muso Soseki. Tenryu-ji is considered the foremost of the Kyoto Gozan temples and holds a significant place as a Zen temple connected to the Ashikaga shogunate and Emperor Kammu. It is registered as a UNESCO World Heritage Site as a cultural asset of ancient Kyoto.

    source:Wikipedia

    ■Address
    68 Susukinobabacho, Tenryu-ji, Saga, Ukyo Ward, Kyoto City, Kyoto Prefecture
    ■Opening Hours
    From 8:30 AM to 5:30 PM (Gate closes at 5:30 PM)
    *From October 21st to March 20th, the gate closes at 5:00 PM.
    ■Admission Fee

    Garden (Sogen Pond and Hyakka-en): High School Students and Above: 500 yen Elementary and Middle School Students: 300 yen Preschool Children: Free

    Hall Visits (Daikodo, Shoin, and Tahoden): Additional 100 yen on the above fees (Note: Some hall visits may be suspended during special events.)

    ■Sutra Copying Fee

    • 1,000 yen (Additional 600 yen for admission is required separately) *Sutra copying tools are not required.

    Website
    http://www.tenryuji.com/

    Hojyu-ji Temple

    Hojyu-ji (ほうじゅうじ) is a Buddhist temple of the Tendai sect located in Higashiyama Ward, Kyoto, Japan.

    source:Wikipedia

    ■Address
    655 Sanju-sangendo-mawarichou, Higashiyama Ward, Kyoto City, Kyoto Prefecture
    ■Opening Hours
    From 6:00 AM to 5:00 PM
    ■Admission Fee
    500 yen (Includes an informational brochure) *For those interested, matcha tea and sweets can be provided separately for an additional 500 yen.
    ■Sutra Copying
    1,500 yen (Includes both sutra copying and admission fees)
    Website
    http://www.jrtours.co.jp/kyoto_plan/enjoy/200806.html

    Bishamon Hall – Shorin-ji Temple

    Shorin-ji is a sub-temple of the To-ji Temple known for its blessings of victory and prosperity. The main deity is the “Bishamonten Standing Statue,” a wooden sculpture believed to be the work of the Heian period Buddhist sculptor Jochō, which was discovered inside the ceiling of To-ji Temple during the Edo period.

    ■Address
    15-795 Honmachi, Higashiyama Ward, Kyoto City
    ■Admission Fee
    • Adults: 800 yen (Includes an explanation of temple treasures)
    • Students (Elementary, Middle, High School): 500 yen (Groups of 8 or more)
    ■Sutra Copying Fee
    1,500 yen per person (Includes a 60-minute session with matcha tea and sweets)
    Website
    http://shourin-ji.org/

    Kennin-ji Temple

    Kennin-ji (建仁寺) is considered Kyoto’s oldest Zen temple. It is also renowned for owning numerous artworks and cultural treasures, including Tawaraya Sōtatsu’s “Wind and Thunder Gods” painting.

    source:Wikipedia

    ■Address
    5 Komatsu-cho, Higashiyama-ku, Kyoto City
    ■Admission Fee
    Adults 500 yen, Elementary and Middle School Students 500 yen
    ■Opening Hours
    10:00 AM to 4:30 PM (March 1 to October 31), 10:00 AM to 4:00 PM (November 1 to February 28), Closed from December 28 to December 31
    ■Sutra Copying Fee
    1,000 yen for a 45-minute session Website: Kennin-ji Temple
    Website
    http://www.kenninji.jp/index.php#/

    Sutra Copying Experience in Nara

    Here are some temples in Nara where you can experience sutra copying. Why not try sutra copying while visiting the World Heritage Sites in Nara?

    Todai-ji Temple

    Todai-ji Temple is a head temple of the Kegon sect and is famous for the “Great Buddha of Nara” (Rushanabutsu) as its principal deity.

    source:Wikipedia

    ■Address
    406-1 Zoshicho, Nara City, Nara Prefecture
    ■Admission Fee
    Adults and High School Students: 500 yen, Elementary School Students: 300 yen
    ■Sutra Copying Fee
    1,500 yen per person
    ■Reservation
    Contact the Todai-ji Temple Sutra Copying Office at 0742-22-5511 with your preferred date and time.
    Website
    http://www.todaiji.or.jp/contents/sutra/

    Yakushiji Temple

    Yakushiji Temple is the head temple of the Hosso sect and has been a UNESCO World Heritage Site since 1998.

    source:Wikipedia

    ■Address
    457 Nishinokyocho, Nara, Nara Prefecture
    ■Admission Fees (Excluding when Genjo Sanzo-in is closed)
    • Adults: 800 yen
    • Middle and High School Students: 500 yen
    • Elementary School Students: 200 yen
    ■Sutra Copying Reception Hours　　　
    • From 8:30 AM to 5:00 PM as needed
    ■Sutra Copying Fee
    • 2,000 yen per person (for the Heart Sutra)
    Website
    http://www.nara-yakushiji.com/

    Taima-dera

    Taima-dera Temple, located in Katsuragi City, Nara Prefecture, is a temple dating back to the 7th century. It is known for its faith in the “Taima Mandala,” which depicts the Western Pure Land, and the legend of Princess Nakatsuhime associated with the mandala.

    source:Wikipedia

    ■Address
    Taima 1263, Nakano-bo, Katsuragi City, Nara Prefecture
    ■Admission Fee (for entry to Nakano-bo)
    Adults: 500 yen Children: 250 yen
    ■Visiting Hours
    9:00 AM to 5:00 PM
    ■Sutra Copying Reception Hours
    　　　From 9:00 AM to 3:30 PM (ongoing)
    ■Sutra Copying Fee
    2,000 yen per person (subsequent visits may have different fees)
    Website
    http://www.taimadera.org/index.html/

    Sutra Copying Experience in Tokyo and Kamakura

    We’re introducing some temples in Tokyo and “temple cafes” where you can relax and enjoy your time.

    Naritasan Tokyo Betsuin Fukagawa Fudodo

    This temple belongs to the Shingon sect, Chisan school, and is located just a 3-minute walk from Monzen-Nakacho Station on the Tozai and Oedo subway lines. It’s well-known as Fukagawa Fudodo.

    source::Wikipedia

    ■Address
    1-17 Tomioka, Koto-ku, Tokyo
    ■Admission Fee
    ■Sutra Copying Reception Hours
    Daily from 9 AM to 2 PM (ongoing)
    ■Sutra Copying Reception Hours
     Daily from 9 AM to 2 PM (ongoing)
    ■Sutra Copying Fee
    Starts from 2,000 yen per person
    Website
    http://fukagawafudou.gr.jp/

    Yakushiji Tokyo Betsuin

    Yakushiji Tokyo Betsuin is a branch temple of Nara’s Yakushiji Temple, located on a quiet hill in Ikedayama, just a few minutes’ walk from JR Gotanda Station.

    ■Address
    5-15-17 Higashi-Gotanda
    ■Admission Fee
    Free
    ■Sutra Copying Reception Hours
    9 AM to 5 PM (ongoing)
    ■Sutra Copying Fee
    2,000 yen per person (Heart Sutra)
    Website
    http://www.yakushiji.or.jp/about/

    Temple Cafe in Daikanyama – Shingyo-ji

    Just a 2-minute walk from Daikanyama Station, this café is operated by the Jodo Shinshu Hongwanji-ha sect’s “Shingyo-ji” temple.

    ■Address
    1-33-15 EN Daikanyama Building 1F, Ebisu Nishi, Shibuya-ku, Tokyo
    ■Business Hours
    11:00 AM to 10:00 PM (Last order at 9:00 PM) Closed at the end of the year
    ■Sutra Copying Fee
    ¥1,500 per person
    Website
    http://tera-cafe.com/syakyo/index.html/

    Kamakura Otela Cafe

    “Kamakura Otela Cafe” is operated by Joreiji, a venerable Jodo Shinshu Buddhist temple with a rich history dating back to the Kamakura period, located in Yokosuka City.

    ■Address
    2F Ooji Building, 2-12-35 Komachi, Kamakura, Kanagawa Prefecture
    ■Business Hours
    11:00 AM to 7:00 PM Open every day (with occasional temporary closures)
    ■Sutra Copying Fee
    Petit Sutra Copying Set: ¥1,000 per person
    Website
    http://www.oteracafe.jp/oteramenu/index.html#petit/
  • Introducing Backing Methods and Special Backing Paper!

    Introducing Backing Methods and Special Backing Paper!

    We’ve received a new stock of special backing paper that allows for easy backing using just an iron and a spray bottle. Backing helps prevent wrinkles and sagging in your artworks, providing reinforcement. Have you ever created a piece of art that turned out beautifully but is just sitting there untouched? Well, if you back your well-done artworks, you can display them whenever you like. In this guide, we’ll introduce how to use backing paper, so please give it a try.

    What You’ll Need:

    • Backing Paper (For framing, we recommend thick paper; for scroll mounting, thin paper)
    • Iron
    • Spray bottle
    • Utility knife
    • A surface to use while spraying and ironing

    1. Stretch Your Artwork Flip your artwork over and evenly mist it with the spray bottle to ensure no unevenness. Allow it to dry until wrinkles are no longer present (about 10-15 minutes).

    2. Attach the Backing Paper With the artwork still facing down, move it to an ironing board. Prepare a piece of backing paper the same size as your artwork or slightly larger, ensuring the glossy side is facing the back of your artwork.

    ３．Iron It On Use a Teflon-coated iron set to medium to high heat (around 130 degrees Celsius). Starting from the center of the paper, gently press from the center towards the right and then from the center towards the left, ensuring there are no air bubbles or shifting. After one pass, iron again to prevent unevenness. Once finished, let it sit for about 5 minutes until the temperature cools down.

    ４．Finish It Up Trim any excess paper using a utility knife. If you plan to display your artwork, place it in a scroll mounting or a frame, and it’s ready! Note: If you don’t allow the artwork to dry properly after misting, it may lead to damage or poor adhesion. Be careful not to over-dry, as this can cause wrinkles. If warping or bending occurs after adhesion, apply weight using books or similar items. It should flatten out and look clean after about 3 hours.

     

    You can find a complete list of art materials here.

  • Introduction to Calligraphy Sets for Adults Starting Now

    Introduction to Calligraphy Sets for Adults Starting Now

    Recommended Calligraphy Sets for Adults

    January is a month filled with anticipation for new beginnings. It’s a time when many people are thinking about what new activities they want to pursue in the coming year. Perhaps this year, you’re considering starting calligraphy, trying your hand at penmanship, or writing beautiful letters with elegant characters. Calligraphy offers the opportunity to explore new creative ventures, and there are plenty of individuals looking to embark on this journey. If you’re one of them, we encourage you to consult with us at Shoyudo! Our online staff can introduce you to recommended products that will provide everything you need to start your calligraphy journey.

    Brushes

    One recommended brush for beginners is the “Unshu Chugokugo” brush. It’s a versatile brush that’s easy to handle for newcomers to calligraphy. With its balanced blend of firmness and softness, it’s well-suited for writing on traditional Japanese paper (hanshi) and can handle characters of various sizes, from two to six characters. So, whether you’re starting calligraphy for the first time or rediscovering your passion for it, we’re here to assist you in finding the right tools and materials to make your calligraphy experience a rewarding one.

    Ink

    “Japanese-Made 5-Star Safflower Ink 1.5 Sticks” This ink is made using extremely fine soot particles, making it suitable not only for calligraphy but also for sutra transcription! It’s a handy tool to have in your collection.

    Inkstone

    “Kakujo Shihira” This inkstone is produced in Ogatsu, one of Japan’s leading inkstone manufacturing regions. Its smooth texture and craftsmanship make it a perfect inkstone for adult calligraphy, slightly different from what you might have used as a student. We also recommend the standard size, Shigohei (available for 1,875 yen).

    Felt Underlay for Hanshi Paper

    The felt underlay adds a sense of luxury and volume. If you apply strong brush pressure, we recommend the larger size. This felt underlay is designed for Hanshi paper and has a thickness of 2mm.

    Paperweight for Bunchin Nickel Silver (Medium)

    For four-character compositions on Hanshi paper, we recommend the medium-sized paperweight.

    Brush Stand

    Other Items You Might Find Useful “Angilas Brush Stand – Medium” This brush stand is made of Mino-yaki ceramics. It exudes an air of sophistication and sets the mood for a focused and tense atmosphere. It’s just the right size to accommodate both large and small brushes.

    Water Dropper

    “Water Dropper – Small Plum Blossom Design” Water droppers are used to add water while grinding ink.

    Why not start with an adorable and affordable option? If you find calligraphy challenging to start on your own, consider looking for a nearby class where you can observe brush techniques and more. For those interested, Shoyudo has classes available in our Osaka and Kyoto stores that you can join starting from a single session. If you have any questions, please feel free to inquire.

     


  • I Want to Try It – About Premium Wool Brushes

    I Want to Try It – About Premium Wool Brushes

    What is a Premium Wool Brush?

    A wool brush, also known as a “羊毛筆” (yōmō fude) in Japanese, is a brush made entirely from goat hair. It is characterized by its soft bristles, good elasticity, and excellent ink absorption. Premium wool brushes are crafted using select goat hairs from within the goat’s coat. These brushes allow for creating gentle and nuanced calligraphy. When used with a short tip, they produce warm and full-bodied strokes, while with a long tip, they can create refined and elegant lines. Wool brushes are exceptionally soft, requiring skill to wield effectively. However, they offer an outstanding writing experience, making them recommended for those who wish to explore new calligraphy styles.

    ～Renowned Calligraphers and Wool Brushes～

    Wool brushes have been favored by many accomplished calligraphers. Figures like Ueda Sōkyū (上田桑鳩) and Teshima Yūkei (手島右卿) are known for their dedication, even creating their own original wool brushes. Wool brushes are essential for expressing the moment when the ink is applied to paper, showing the gradual spread of ink and the appearance of texture. Writing with a wool brush also demands an awareness of the brush’s core and the balance of characters, making it a valuable tool for learning calligraphy, be it for kanji or kana. We recommend trying various types of wool brushes if you aspire to delve deeply into the art of calligraphy.

    ～Price Comparison with Other Brands～

    At Shoyu Online, our wool brushes are offered at a lower price while maintaining high quality. This is achieved through our manufacturer’s unique sourcing of raw materials and production processes. When properly maintained through regular cleaning and other forms of maintenance, wool brushes are said to be lifelong tools. As you use them, the bristle tips gradually turn golden, enhancing their usability. We encourage you to give them a try.

    Exceptional Writing Experience! A Must-Try Favorite –
    「Shuhitudo  Saidonkouhou (秀筆堂　細嫩光鋒)」

    What is the Premium Wool Brush「Saidon kouhou」? The cost of wool brushes can vary depending on the part of the goat’s body from which the hairs are obtained. “Saidon kouhou” brushes come from the beard of young male goats raised in very limited regions downstream of the Yangtze River in China. These brushes are exceptionally expensive because only a tiny amount can be collected from each goat. At Shuhitudo, we meticulously select hairs that are both fine at the tip and have good springiness, with slightly transparent ends, to create our brushes.

     

    View the  Shuhitudo Saidon kouhou (秀筆堂　細嫩光鋒)  Collection Here: ＞＞Shuhitudo　Premium Wool Brush

    asy to Manage and Write Neatly – The Popular
    「Sakisuki Wool Brush Mujin (先梳羊毛筆 無尽)」

    What is the Sakisuki Wool Brushi? The cost of wool brushes can vary depending on the part of the goat’s body from which the hairs are obtained. “Saidon kouhou” brushes come from the beard of young male goats raised in very limited regions downstream of the Yangtze River in China. These brushes are exceptionally expensive because only a tiny amount can be collected from each goat. At Shuhitudo, we meticulously select hairs that are both fine at the tip and have good springiness, with slightly transparent ends, to create our brushes.

    View the  Sakisuki Wool Brushi Mujin (先梳羊毛筆 無尽) Collection Here: ＞＞Suhitudo Premium Wool Brush

  • Proper Storage and “Laying” of Calligraphy Paper

    Proper Storage and “Laying” of Calligraphy Paper

    Calligraphy paper plays a crucial role among the Four Treasures of the Study. It offers a wide range of textures and appearances depending on its thickness and production method. To preserve the quality of calligraphy paper and make the most of it for creating art, it’s important to follow proper storage practices.

    What is the correct way to store calligraphy paper?

    When it comes to the storage of calligraphy paper, it’s essential to be particularly cautious about direct sunlight and humidity.

    Recommended Storage Location

    Choose a place where direct sunlight does not shine, there is good ventilation, and humidity is minimal. Inside a paulownia box or on top of a chest of drawers is often considered suitable.

    Recommended Storage Methods

    Wrapping the calligraphy paper in newspaper or Japanese paper allows the paper to breathe and provides protection against direct sunlight. Placing a wooden lattice (sudoko) under the calligraphy paper for better ventilation and using moisture-absorbing agents or desiccants for humidity control can be effective. Additionally, adding moth repellent (such as mothballs for clothing) can help prevent insect damage. Be cautious about sealing the paper in materials like vinyl, as it can prevent the paper from breathing and may lead to stains.

    What Does it Mean to “Lay” the Paper?

    There is a saying that paper is generally better when it has aged for a few years rather than being freshly made. The ideal period for aging can vary, with some calligraphers suggesting a period of 10 years. It ultimately depends on the style of the artwork you wish to create and your personal preferences, so feel free to experiment to find the aging period that suits your taste.

    Benefits of Laying the Paper

    Aging paper allows excess moisture to escape and tightens the paper fibers, resulting in several benefits:

    ①Ink permeates the paper adequately, reducing bleeding.
    ②Ink color becomes more beautiful.
    ③Distressed effects (such as fading or wear) appear more attractive.
    ④The brush separates from the paper more smoothly, making it easier to write.

    Paper breathes in humidity and releases it, effectively eliminating gluey residues and moisture. Paper in this dried state is referred to as “aged paper.” Aged paper not only improves ink adhesion and color but also enhances the appearance of effects like bleeding and distress. While aging paper may sometimes lead to slight yellowing or “star” stains, with proper storage, these characteristics can be valued assets.

    It’s important to note that paper containing anti-bleeding agents or dyes (such as decorative paper, processed paper, and machine-made Japanese paper) does not benefit from aging. In fact, these papers can become rigid and prone to breakage during long-term storage.

     

    Paper Can Catch a “Cold” Too!?

    On the flip side, even if paper is adequately aged, incorrect storage methods can lead to issues like paper appearing white and speckled when ink is applied, a phenomenon akin to “paper catching a cold.” Depending on the aging method, it can even degrade paper quality. Therefore, exercising caution in paper storage is essential.

    In Conclusion

    Calligraphy paper is indispensable for creating artworks. By following proper storage methods, you can significantly enhance the quality of your creations. Experiment with aging your paper using the correct methods to fully appreciate the improved texture and attractive distressing effects.

    Additional Information:

    In recent years, the time between paper production and reaching customers has shortened by several months compared to the past. As a result, the natural drying period for paper has reduced. When paper arrives in your hands, it often hasn’t undergone the same extensive drying period as before, leading to incomplete control over bleeding. Consequently, many papers are treated with “anti-bleeding” agents. Keep in mind that these anti-bleeding effects intensify every few months, so aging paper excessively, as in the past, may transform it into a type of paper that doesn’t absorb ink at all.

    You can find the calligraphy paper introduced by Shoyu Online here.»

  • Cleaning and Grinding an Inkstone

    Cleaning and Grinding an Inkstone

    The inkstone, as a tool for grinding ink, has its origins dating back to the Yin Dynasty, around 2,000 years before the common era. It was introduced to Japan during the Asuka period. In ancient times, inkstones were crafted from various materials, including stone, clay, tiles, jade, and pottery. Over time, with the discovery of stone materials known as “Meikens,” and the skillful work of sculptors, inkstones evolved from utilitarian objects to items appreciated for their artistic value.

    Calligraphy is said to begin with the grinding of ink, so the process of grinding ink is highly regarded. It’s a practice of cleansing the heart and mind while using a clean and well-maintained inkstone.

    Failure to keep your inkstone clean can have detrimental effects. Accumulated ink can degrade the quality of ink and even produce unpleasant odors. Furthermore, the decay of encrusted ink can lead to issues during mounting processes.

    To maintain your inkstone, it’s essential to diligently clean it each time you use it. By doing so, you can keep it in pristine condition and enjoy its use for a long time. Here, we’ll introduce the proper care methods for your cherished “inkstone.”

     

    How to Clean an Inkstone

    １．Soak the inkstone in hot water for about 20 to 30 minutes.

    The glue, which is the main ingredient in ink, can be dissolved in hot water. The optimal temperature for dissolving the glue is around 70°C. Soaking the inkstone in water at about 70°C makes it easier to remove accumulated soot and glue residue, and it helps to clear any blockages.

    硯をお湯につけ置きする

    ２．Gently clean the inkstone with a soft material.

    To prevent scratching the inkstone, use a soft sponge or a toothbrush with soft bristles to gently and thoroughly rinse it with water. Pay special attention to areas around the edges and corners of the inkstone that may be hard to clean.

    やわらかい素材で硯を洗う

    ３．Remove excess moisture and allow it to air dry.

    After washing, use a cloth or similar material to remove excess moisture, and then let the inkstone air dry. Avoid rapid drying methods.

    硯を乾かす

    If the ink has hardened and is difficult to remove:

    When you need to remove stubbornly adhered ink, you can follow the same steps as mentioned above (1, 2, 3) for cleaning. If the ink stains still persist, try soaking the inkstone in hot water for a longer period and repeat the previous steps patiently.

    If you find it difficult to grind the ink:

    Some may have experienced difficulty in grinding ink, feeling that it’s not grinding well or not achieving the desired consistency. The process of grinding ink on the inkstone relies on the fine irregularities on the inkstone’s surface called “Hobo” (鋒鋩). These irregularities act like abrasive surfaces, aiding in the grinding process. However, over time, these irregularities can wear down, making it harder to grind ink.

    If you encounter difficulty in grinding ink, here are some methods to try:

    １．Clean the Inkstone Thoroughly:

    Even if the surface of the inkstone appears clean, there might be soot or glue residue clogging the Hobo’s irregularities, preventing proper grinding. To address this, soak the inkstone in water at around 70°C for 20 to 30 minutes, then gently and thoroughly wash it with a soft sponge or a toothbrush with soft bristles. This process may need to be repeated several times if it hasn’t been done before.

    ２．Check the Type of Ink:

    While it’s uncommon for Japanese ink (Sumi) to be difficult to grind, Chinese ink (Tosho) tends to be less easy to grind (resulting in a lighter black). If you are using Chinese ink and are having trouble grinding it to your liking, consider switching to Japanese ink as an alternative.

    ３．Resharpen the Inkstone (Hone the Hobo):

    If washing the inkstone and changing the type of ink do not yield satisfactory results, the final option is to resharpen the Hobo, a process known as “Metate” (目立て). This involves carefully re-sharpening the fine irregularities on the inkstone’s surface to restore its grinding efficiency. However, this is a delicate process and should be approached with caution. Please refer to detailed instructions for Metate for specific guidance.

    Metate is a skilled technique and should only be used as a last resort. Proceed with great care and, if unsure, seek guidance from experts in the field.

    Method for Resharpening the Inkstone (Honing)

    There are two main methods for resharpening the inkstone:
    １．Using a cream abrasive
    ２．Using a cream abrasive and waterproof sandpaper
    ３．Using a dedicated inkstone sharpening stone

    I’ll explain each method in order, but before that, let’s cover some preliminary information.

    High-quality inkstones typically do not experience significant wear from regular use. Therefore, it’s often unnecessary to resharpen a high-quality inkstone. In fact, attempting to resharpen an inkstone can, in some cases, alter its surface color or even lead to damage, as shown in the image below. It is generally recommended only as a last resort for those who are confident in their inkstone care and willing to take full responsibility.

    １．Using a cream abrasive

    For this method, you’ll use a well-known cream cleanser like “Jif.” Jif is an alkaline cream cleanser that combines surfactants to lift dirt and abrasive materials to remove stains. The abrasive used in Jif is natural calcite, which is softer than glass or stainless steel and won’t scratch the inkstone’s surface while effectively cleaning it.

    クリーム状の研磨剤を使用する

    The usage is quite simple. You soak the inkstone in water at around 70°C, which is said to be ideal for dissolving glue, for about 20 to 30 minutes. The heat from the water helps dissolve any glue that has adhered to the inkstone. After removing the inkstone from the water, apply Jif to a toothbrush and gently rub it in a circular motion as if you were grinding ink. (Be sure not to scrub too vigorously.) Make sure to rub not only the inkwell (hill) where you grind ink but also the corners and hard-to-reach places where ink tends to accumulate. By repeating this process all over the inkstone multiple times, the coarse particles of Jif’s abrasive will gradually become finer. So, be patient and make it clean.


    Once it’s clean, rinse the inkstone thoroughly with water at about 40°C and wipe away any excess moisture. Due to the surface being worn down by the Jif, the inkstone’s color may change to its original bright stone color, but don’t worry. It will naturally blend in as you continue to use and clean the inkstone.

    硯をジフでやさしくこする
    ジフ研磨後

    Here’s the state after Jif polishing.
    Please note that when you perform this polishing, the color of the inkstone will inevitably change as shown in the post-polishing image. If you prefer not to change the color of your inkstone, it’s advisable not to proceed with the honing.

    ２．Using a Cream Abrasive and Waterproof Sandpaper

    If the inkstone honed with Jif in the previous step feels like the irregularities (Hobo) are too pronounced, you can use waterproof sandpaper (refer to *Note 1 for the grit size) to fine-tune it.

    Start by thoroughly wetting the inkstone and then use waterproof sandpaper to polish the entire inkwell (hill) where you grind ink. This will help to remove excess parts around the Hobo while keeping the Hobo itself intact, improving the grinding experience.

    Cut the waterproof sandpaper into small pieces, fold them, and place them on your fingertip. Imagine making circular motions as you would when grinding ink, and rub the entire surface evenly. Rather than pressing the sandpaper onto the inkstone with force, apply gentle, even pressure across the surface. Keep in mind that waterproof sandpaper tends to clog quickly, so replace it a few times as you sense resistance to maintain consistent performance.

    耐水ペーパーを使用する

    (*Note 1) The grit size of the waterproof sandpaper may need to be adjusted based on the type of inkstone you have. Here are rough guidelines for the grit size of waterproof sandpaper:

    For Enden Inkstones: #2000 to #3000 For Keisyu Inkstones: #800 to #1000 For Romen Inkstones: #600 to #700 For Student Romen Inkstones: #400 to #500 *Note that the higher the number, the finer the grit. If you seek a finer polishing texture, you can use #3000 or #4000 waterproof sandpaper.


    As previously mentioned, it’s generally not necessary to hone a well-maintained inkstone. Honing should only be considered as a last resort, and it should be undertaken with self-responsibility, keeping in mind that it can change the inkstone’s appearance.

    耐水ペーパーの種類

    *Please note that when polishing, the color of the inkstone will inevitably change as shown in the post-polishing image. If you prefer not to change the color of your inkstone, it’s advisable not to proceed with the honing.

    ３．Using a Dedicated Inkstone Sharpening Stone

    One well-known method for honing an inkstone is to use a dedicated inkstone sharpening stone. These stones are typically made by cutting solidified layers of clay. However, since clay sharpening stones may contain ultra-fine impurities like metal, gravel, or glass, there is a possibility that they can scratch the inkstone when used.

    Now, let’s discuss how to use the sharpening stone on the inkstone. When using a clay sharpening stone, it’s essential to soak the inkstone in water beforehand and then gently apply the sharpening stone as if you were grinding ink.

    For the corners of the inkstone or hard-to-reach areas, consider breaking the sharpening stone into smaller pieces and using these fragments for sharpening.

    It’s crucial to understand that when applying the sharpening stone, the goal is not to correct the irregularities on the inkstone’s surface but rather to perform honing. Therefore, instead of exerting force while using the sharpening stone, apply gentle pressure similar to how you would when grinding ink.

    Once you’ve finished using the sharpening stone, thoroughly rinse the inkstone, and wipe away any excess moisture.

    Using the Sharpening Stone on Suitable and Unsuitable Inkstones

    Since clay sharpening stones are made from natural materials, there’s a possibility that the ultra-fine gravel contained in them can damage the inkstone. Therefore, if you’re wondering which inkstones are suitable for clay sharpening stone use, the honest answer is that “in general, it’s wise to avoid using clay sharpening stones on any inkstone.” Because clay sharpening stones are made from natural materials, it’s possible for the tiny gravel to damage the inkstone. If you absolutely need to use a clay sharpening stone, it’s recommended to do so only on an inkstone you can accept potential damage on.

    When Ink Doesn’t Grind Well Right After Purchase

    This is a phenomenon often observed with Chinese inkstones. Newly purchased inkstones are sometimes coated on the surface to maintain their visual appeal. However, these coated inkstones may not perform well when grinding ink, with the ink appearing resistant and sliding on the inkstone’s surface, sometimes even repelling water.

    In such cases, follow the instructions for “Cleaning the Inkstone.” Soak the inkstone in water at around 70°C for about 20 to 30 minutes, then gently clean it with a soft material, repeating this process several times. This will remove the coating, allowing the ink to grind effectively. (Since the coating on the inkstone is often made of wax, the ideal temperature for dissolving wax is similar to the temperature for dissolving glue, around 70°C.)

    If you still feel some discomfort even after multiple cleanings, simply continue using the inkstone for grinding ink and cleaning it as you would normally. Over time, the coating will naturally wear off, and the inkstone will return to its original grinding condition.

  • Sizes of Calligraphy Paper

    Sizes of Calligraphy Paper

    When you think of calligraphy paper, what comes to mind? In fact, there are numerous types and names for calligraphy paper sizes. They are already pre-cut to standard dimensions, so you can choose a paper size that suits your purpose. While the variety might seem confusing, it’s not difficult to select one based on your goals and intended use. We will now provide a clear introduction to calligraphy paper sizes.

    The basic size of calligraphy paper is “Yonshaku Gasen.”

    The most fundamental size in calligraphy paper is “Yonshaku Gasen” (四尺画仙), which has dimensions of approximately 69 × 136 cm. It is also known by other names such as “Zenshi” (全紙), “Shōgasen” (小画仙), and “Yonshaku Mono” (四尺物). Using “Yonshaku Gasen” as the base, it is often cut vertically in half to create the “Hansetsu” (半切) or “Jōfuku” (条幅) size. For works submitted to open exhibitions and contests, there are designated sizes according to each event’s rules. Please be aware that the specified size for these exhibitions refers to the dimensions when framed, so keep this in mind.

    At Shoyu Online, you can choose from various special-sized paper options.

    Representative Paper Sizes

    I have summarized the representative paper sizes and their names in a table from largest to smallest. Please refer to the diagram below for reference.

    No. size Pronunciation cm（width×height） Different Names
    1 2×8尺 2×8 Shaku Approximately60×240cm ２×８（Nihachi）
    2 尺八屏 Shaku happei Approximately53×234cm Chinese Standard Size
          Approximately53×228cm Japanese Standard Size
    3 六尺画仙 Rokushaku gasen Approximately96×180cm 大画仙（Daigasen）
    4 3×6尺 3×6 Shaku Approximately90×180cm 三六（Saburoku）
    5 2×6尺 2×6 Shaku Approximately60×180cm 二六（Niroku）
    6 五尺画仙 Goshaku gasen Approximately84×150cm 中画仙
    7 四尺画仙 Yonshaku gasen Approximately69×136cm 全紙（Zenshi）・小画仙（Shougasen）・四尺物（Yonshakumono）
    8 聯落ち Renochi Approximately53×136cm ―
    9 半切 Hansetu Approximately34.5×136cm ―
    10 八つ切 Yatugiri Approximately17.5×68cm ―
    11 全懐紙 Zenkaishi Approximately36.5×48.5cm ―
    12 半懐紙 Hankaishi Approximately24.5×36.5cm ―
    13 半紙 Hanshi Approximately24.3×33.4cm ―

    Common Paper Sizes and Names

    “Yonshaku Gasen” (四尺画仙)

    Dimensions: Approximately 69 × 136 cm. It is also known by other names such as “Zenshi” (全紙), “Shōgasen” (小画仙), and “Yonshaku Mono” (四尺物).

    “Hansetsu” (半切)

    Dimensions: 34.5 × 136 cm. Hansetsu is created by vertically cutting “Yonshaku Gasen” (Zenshi) in half. Traditionally, it has been the most commonly used size.

    “Renochi” (聯落ち)

    Dimensions: 53 × 136 cm. It is a size obtained by cutting “Zenshi” into 3/4 of its original width. For a paper size of 53 × 228 cm, often used in open exhibitions and sometimes referred to as “Renochi,” it’s important to note that the term “Renochi” has come to refer more to the “width of the paper” due to decreased use of the traditional “true Renochi.” In this context, “Renochi” is roughly equivalent to “53 cm width,” and it’s essential to confirm the length.

    “Shaku happei” (尺八屏)

    This is a Chinese standard size with dimensions of approximately 53 × 234 cm. The Japanese standard size is approximately 53 × 228 cm. There is a difference of about 6 cm in length between the two standards, but both are widely used for open exhibitions.

    “Ni-Hachi” (２×８)

    “Ni-Hachi” typically refers to the frame size used in open exhibitions, which is 2 shaku × 8 shaku, approximately 61 × 242 cm. It’s important to note that the size of open exhibitions refers to the dimensions when framed. If you intend to display your work with a mat showing and use the “Ni-Hachi” frame size, choose a slightly smaller 53 × 228 cm (1.75 shaku × 7.5 shaku) paper. If you plan to fill the frame entirely with your artwork without showing the mat, select a 60 × 240 cm paper.

    “Ni-Roku” (２×６)

    “Ni-Roku” refers to the frame size used in open exhibitions, which is 2 shaku × 6 shaku, approximately 60 × 180 cm. Similar to “Ni-Hachi,” “Ni-Roku” refers to the frame size for open exhibitions. If you intend to display your work with a mat showing and use the “Ni-Roku” frame size, choose a slightly smaller 53 × 170 cm (1.75 shaku × 5.5 shaku) paper. If you plan to fill the frame entirely with your artwork without showing the mat, select a 60 × 180 cm paper.

    You can purchase paper available at Shogu Online here>>

  • Caring for and Cleaning Brushes

    Caring for and Cleaning Brushes

    Taking care of your calligraphy tools is incredibly important. Good brushes can quickly deteriorate if not properly maintained on a daily basis. We’ll introduce you to the proper care methods, so whether you’re new to this or experienced, take a moment to review.

    How to Clean Brushes

    Calligraphy brushes come in various bristle types, sizes, and thicknesses, tailored for different purposes. Here, we’ll outline the cleaning process for two fundamental types: large and small brushes. If you’re interested in learning about how to prepare new brushes, we also have a separate guide for that.

    Cleaning a Large Brush

    ①Thoroughly rinse the base of the bristles under lukewarm water, gently massaging them to untangle any knots. You can use either running water or still water for this, but ensure the temperature is around 30 to 40°C (86 to 104°F).

     

    The bristles of a brush are not visible, but they extend deep into the base where they are inserted. If you can remove the ink that has penetrated into these hidden parts, the bristles are less likely to be damaged, and issues like bristle decay, shedding, or brush cracking are minimized. However, since it’s not possible to directly wash the inner parts, focus on gently massaging the base of the bristles. If you touch it, you might feel some stiffness or resistance. While it might seem like the ink isn’t coming off at first glance, it’s crucial to wash the brush repeatedly multiple times.

     

     

    Although you wash it over and over, ink will continue to come out. Please wash it persistently to remove the ink as much as possible.

    ②After finishing the washing, gently squeeze the bristles to remove excess water.

     

    ③ Use your fingers to tidy up the tip of the bristles. Additionally, you can use a brush comb to groom any damaged bristles, which will help the brush look neater after drying.

    ④ After finishing the washing, hang the brush on a brush hanger or similar tool to let it air dry naturally. If you start using the brush again before it’s completely dry, the bristle base will remain damp, which can lead to bristle decay. When the bristles decay, shedding and splitting are more likely to occur, and the bristles might even fall out entirely or crack, so please be cautious.

     

    Cleaning Small Brushes

    Small brushes are typically sold in a state called “gatame fude,” where the bristles are originally bound together with glue. Since only about one-third of the bristles are used for small brushes, there’s no need to wash them after use. Let’s perform maintenance without washing.

    ① Prepare absorbent paper such as unwanted hanshi paper or tissue paper to soak up moisture.

     

    ② Place a few drops of water onto the prepared paper.

     

    ③ Lay the tip of the brush on the dampened paper from step ② and gently wipe off the ink. While rotating the brush as if adjusting the tip by resting it on the paper, slowly and carefully wipe off the ink. Ink tends to accumulate at the boundary between the bristles that have been used and the ones that are still bound together, so be cautious while wiping to prevent the bound portion from coming apart. Finish when the ink becomes faint.

     

     

    ④Use your fingers to tidy up the tip of the bristles.

     

    ⑤After finishing the washing, hang the brush on a brush hanger or similar tool to let it air dry naturally.

     

    If the small brush becomes too split during maintenance…

    While performing repeated maintenance on small brushes, the bristles can become split all the way down to the base. When this happens, it becomes difficult to write small or thin characters using just the tip of the bristles. In such cases, it’s advisable to wash the entire bristle, and then either use it for other purposes or reapply “brush fixing glue” to solidify the bristles before use.

    Points to note when handling brushes:

    • After using or washing a brush, refrain from capping it as the bristles can deteriorate.
    • Avoid using detergents or other cleaning agents when washing the brush.
    • Handle the brush with care while washing.
    • After finishing washing, ensure the brush is completely dry before using it.
    • It’s advisable to allow the brush to rest intermittently during use.

    To extend the lifespan of your brush, it’s a good idea to have 2 to 3 favorite brushes on hand and rotate their usage. Proper maintenance and treating your cherished brushes with care will ensure their longevity.

  • Raw Materials and Types of Ink

    Raw Materials and Types of Ink

    Raw Materials of Ink

    Ink is made from three main raw materials: “soot” (煤), “nikawa” (膠), and “fragrance.” First, soot and dissolved gelatin are kneaded together, and then fragrance is added. The mixture is then placed into molds and dried to create solid ink.

    About Soot

    There are three types of soot: “oil soot,” “pine soot,” and “modified carbon soot.” The ink made from each type of soot is referred to as “oil soot ink,” “pine soot ink,” and “modified carbon soot ink,” respectively.

    ・Oil Soot: Soot produced by burning plant oils, such as rapeseed oil.

    ・Pine Soot: Soot produced by burning pine branches or bark.

    ・Modified Carbon Soot: Soot produced by burning mineral oil, carbon black, etc.

    煤

    About “nikawa” (膠)

     Nikawa is obtained by boiling and extracting proteins such as collagen from the skin, bones, and sinew (the intermediate tissue between the skin and flesh) of animals like cows, horses, and deer. After extraction, it is dried to form gelatin. When making ink, gelatin is melted in a water bath and used. In the ink production process, gelatin plays a role in solidifying the powdered soot, and in the ground ink, it stabilizes the soot on the paper’s surface.

    膠

    About Fragrance

    Fragrance is used to mask the distinctive odor of gelatin. Additionally, this fragrance has a secondary effect of calming the mind of the ink grinder.

    Dragon’s blood (龍脳) and musk (麝香) are representative fragrances used for this purpose.

    香料

    Types of Ink

    Ink is classified into “Oil Soot Ink,” “Pine Soot Ink,” and “Modified Carbon Soot Ink” based on the type of soot used.

    ■Oil Soot Ink

    To produce oil soot ink, vegetable oils such as rapeseed oil, sesame oil, tung oil, and camellia oil are placed in a clay vessel. A lampwick made of rush grass (いぐさ) is ignited, and the clay vessel is covered to collect the soot deposited inside. The soot in oil soot ink has fine and uniform particles. It is mixed with dissolved gelatin, kneaded together with fragrance, and then placed into molds and dried to create the ink.

    While the art of making ink was introduced to Japan from China, oil soot ink is believed to be a type of ink that Japan developed first. Even today, excellent oil soot ink continues to be produced.

    One of the manufacturers of oil soot ink is “Kobai-en” in Nara, which is the only place in Japan that produces oil soot ink through the traditional method of “collecting soot.”

    Note: The term “modified carbon soot ink” refers to the ink made from the modified carbon soot mentioned earlier in the text.

    Feature Article: “Dedicated to the Art of Ink Making – The Traditional Process at Kobai-en”＞＞

    ― Characteristics of Oil Soot Ink ―

    In contrast to pine soot ink, oil soot ink exhibits a glossy appearance when ground. In its concentrated form, it appears black, but in its diluted form, it takes on a reddish-brown hue.

    Oil soot ink is nearly free from impurities, and its particles are fine and uniform, making it well-suited for producing ink of normal to concentrated densities. The fine particles result in a smooth texture on the inkstone, and as the quality of the oil soot ink improves, this glossy appearance becomes more pronounced.

    Regarding ink color, the following characteristics are observed: [further details to be provided below].

      High-Quality Oil Soot Ink Poor-Quality Oil Soot Ink
    　Concentrated Ink　 A glossy and deep lacquer black with a sense of depth. Lacks the deep black luster, exhibiting a reddish or whitish brown ink color.
    　Diluted Ink

    A light brown with hints of purple or blue tones. It provides a fine gradation and three-dimensional effect.

    (The color may vary depending on the type of vegetable oil used.)

    		 Has a coarse texture with no three-dimensional effect.

    ■About Pine Soot Ink

    There are two types of pine soot ink: “Ikimatsu Pine Soot Ink” and “Ochimatsu Pine Soot Ink.” “Ikimatsu Pine Soot Ink” is made from the soot produced by scraping the bark of living pine trees, while “Ochimatsu Pine Soot Ink” is made from the soot produced by burning dried pine wood, which contains more pine resin. To collect the soot for pine soot ink, the part of the pine tree that exudes resin is cut into small pieces, dried, and then burned inside a room. The soot that settles on the walls and ceiling is collected for use. This soot is mixed with dissolved gelatin, kneaded together with fragrance, placed into molds, and dried to create the ink. This manufacturing process is the oldest method of ink production, originating from ancient China and later transmitted to Japan.

    Currently, with oil soot ink becoming the mainstream and the scarcity of high-quality pine, pine soot ink is treated as a precious commodity.

    ― Characteristics of Pine Soot Ink ―

    In contrast to oil soot ink, pine soot ink lacks a glossy appearance when ground and is said to transition from black to blue as it ages. The uneven particles of soot beautifully depict delicate gradations in diluted ink. In concentrated ink, it exhibits a subdued luster, while in diluted ink, it offers a transparent and exquisite hue. Pine soot ink is considered to have excellent effects when used as a background in the calligraphy of ancient brushes and ink paintings.

    ■Modified Carbon Soot Ink

    Modified carbon soot ink, also known as Western ink, is made from materials such as mineral oil and carbon black. It is commonly used in practical ink and affordable products. One of its characteristics is that it “darkens quickly” compared to pine soot ink and oil soot ink. However, it may be said that it lacks the natural charm of ink, which “shines in seven colors.”
    While modified carbon soot ink may be considered inferior to pine soot ink and oil soot ink, using it is recommended for preserving the longevity of brushes and inkstones.

     

    Popular Oil Soot Ink at Shoyu Online

    梅花墨

    1. 梅花墨 大 3.0丁型（古梅園）

    This is the finest oil soot ink made with rapeseed oil, featuring the finest particles. It has a substantial weight and appears pure black in concentrated form, while in diluted form, it contains a hint of light purple. It has excellent flow and is perfect for Chinese characters and kana works.

    View Product Page
    金神仙

    2. 金神仙 1.5丁型（古梅園）

    This is the finest rapeseed oil soot ink. In its concentrated form, it appears glossy and pure black, while in diluted form, it takes on a black hue with brown tones. It is suitable for Chinese character works, kana calligraphy, and sutra copying.

    View Product Page
    紅花墨

    3. 五星 紅花墨 5.0丁型（古梅園）

    This is oil soot ink made with rapeseed oil, known for its excellent flow. In its concentrated form, it exhibits a beautiful black color resembling ink, while in diluted form, it appears as a grayish hue.

    View Product Page

    Popular Blue Ink and Pine Soot Ink at Shoyu Online

    利久

    1. 利久 1.5丁型（日本製墨）

    This pine soot ink is created by blending vegetable-based indigo with our other ink, resulting in a pine soot ink with a more pronounced blue tint. It is a premium concentrated blue ink that has been carefully adjusted to suit the preferences of calligraphers and artists.

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    青龍胎

    2. 青龍胎 1.5丁型（墨運堂）

    It allows for layering without shining, offering the ability to freely express gradations and create artworks with depth and a sense of distance in the ink color. It is recommended for practicing e-tegami (Japanese picture letters) and sumi-e (ink wash painting).

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    蓬莱

    3. 蓬莱 2.0丁型（古梅園）

    Oil soot ink, developed through over 400 years of ink making, is used for blue ink and made solely from soot. In diluted form, it leans towards a grayish hue with a touch of blue, evoking a sense of weight and suitable for sumi-e (ink wash painting), haiga (haiku painting), and other art styles. 

    View Product Page

    Summary

    We have introduced the raw materials and types of ink. Ink is made from three main raw materials: “soot” (煤), “Nikawa” (膠), and “fragrance.” It is classified into “Oil Soot Ink,” “Pine Soot Ink,” and “Modified Carbon Soot Ink” based on the type of soot used. Each type of ink has its own characteristics, so please choose according to the artwork you want to create.

    Check out the “Ink” products available at Shoyu Online here»