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Chinese Calligraphy,
Abstract Art, Mind Painting
by Ngan Siu-Mui

Chapter 3
The Calligrapher's Tools:
Chinese brush, paper, ink and ink-stone

The four treasures

The Chinese brush, ink, paper and ink-stone are collectively known as “the 4 Treasures of the Room of Literature” (Chinese calligraphy). Good quality tools will generate more promising results, however engaging in calligraphy is not necessarily costly.

I. Chinese Brush

thepoint
Soft hair and hard hair brushes

It is made of animal hair, which may be soft, hard, or a mixture of the two. The soft hair of the sheep, the hard hair of the wolf, and the mixed hair of the leopard with the wolf’s, or that of the sheep and the wolf are all of good quality. Compared with hard hair, soft hair not only absorbs more ink, but is also slower in infusing ink. Generally, soft hair is the best material for writing. Although because of its softness, a beginner will find it difficult to control. He will eventually find it extremely helpful once he gets used to it. In fact, this is a very good training for strength regulation. If, however, a beginner is in the habit of using hard hair, the adaptation is difficult, once he changes to soft hair. However, mixed hair being neither too hard nor too soft, is also a good tool to start.

Proper size

The size of a Chinese brush depends on the character size. In general, a comparatively large brush should be used, so that the writing looks strong; consequently, a comparatively small one should not be used, otherwise the strokes will look weak. Thus, as a rule of thumb, character sizes between 3 and 5 cm2 can be written with a brush having a 2 cm tip in length. This may be used as a criterion in choosing the size of a brush. Note that the tip of a new brush usually contains some glue, which should be removed by soaking and rinsing in cold water.

Qualities of a good Chinese brush:
  1. The brush tip is pointed,
  2. The hair should be uniform in length,
  3. There is enough hair in the tip,
  4. The hair is pliable.

II. Ink

The ancients always had to grind the inkstick to make ink for writing. Nowadays, however, bottled ink of fine quality is readily available. If it is considered time consuming to grind the inkstick, bottled ink can be used instead. Although the effects of writing ink are less varied than those of painting, there are distinctions in its thickness, mildness, dryness and wetness. Generally, provided it does not adhere to the hair of the brush, thick ink is preferable to a light one. Thick ink is lustrous and lively. Light ink, on the other hand, can spread out too easily, changing the shapes of the strokes and lacking in vitality; but if properly controlled, amusing effects might be produced. In writing the seal, clerical and regular scripts, the ink should be thick, whereas in running and cursive, it must at times be thick, while at other times, thin.

III. Paper

In terms of results,” Suen” paper, made in China, is the best. To practice calligraphy however, the cheaper Chinese “grass” paper may be used instead. Glossy or finely textured paper does not absorb ink readily and is not suitable for use.

IV. Ink-stone (ink well)

To prepare the ink, add some clean water to an ink-stone. Then dip an inkstick into it, grinding it vertically in circular motions until the water becomes creamy. Do not grind too forcefully, or else the resultant ink will contain some undissolved particles. After usage, the ink-stone must be washed, otherwise the ink residues will stick to it, and removal is difficult. Moreover, the ink-stone then becomes uneven and when grinding ink again, the shades of the ink will be dull and dirty, since the old ink is now mixed in with the newly ground one.

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