The world of classical oriental art is rich and multifaceted, with its traditions deeply rooted in history. Among these, the Four Treasures of the Study - the inkbrush, inkstone, inkstick, and paper - stand as pillars of this artistic heritage. At Oriental Aesthetics, we are dedicated to exploring and preserving these elements, each of which plays a vital role in the art of calligraphy and painting...
Writing Traditions: The Historical Background of the Four Treasures
The world of classical oriental art is rich and multifaceted, with its traditions deeply rooted in history. Among these, the Four Treasures of the Study - the inkbrush, inkstone, inkstick, and paper - stand as pillars of this artistic heritage. At Oriental Aesthetics, we are dedicated to exploring and preserving these elements, each of which plays a vital role in the art of calligraphy and painting.
The history of the four treasures of the study
The four treasures of the study are the cultural treasures inherited from China for thousands of years and the basic support for the inheritance of Chinese painting and calligraphy culture. The core of the study is divided into pen, ink, paper and inkstone. Together with the pen, paper and inkstone, there are also auxiliary tools such as pen holder, pen holder, ink cartridge, arm rest, pen wash, book base, ink stone, inkstone holder, ink stone holder, ink stone holder, seal, roll and so on.
The four treasures of Wenfang can be divided into four periods in history: It is generally believed that the southern and northern dynasties are the origin of the name of the four treasures of Wenfang; In the Southern Tang Dynasty, there were four specific definitions of the four children in the Wenfang. The pen was Zhuge's brush, the ink was Li Tinggui's ink, the paper was Chengxintang paper, and the inkstone was Longwei inkstone. In the Song Dynasty, it also refers to Xuan brush, Hui ink, rice paper, She inkstone, Tao inkstone, Duaninkstone; After the Yuan Dynasty, affected by the war, Xuanbi gradually withdrew from the historical stage, and Hubi stood in the forefront of the pen step by step.
The Inkbrush: An Artist's Treasured Tool
The inkbrush, revered for its role in traditional calligraphy and painting, has a history that dates back thousands of years. Originating in China, it has evolved over centuries, with variations in materials and design reflecting different artistic needs and periods.The development of inkbrush can be traced back to the Western Zhou Dynasty, the smallest kind of brush was in the Spring and Autumn Period, and the brush was widely used in the Warring States Period. It is generally believed that Meng Tian invented the craft of making brush that has been handed down to us now. Meng Tian made brush with rabbit hair, also known as Zihao. Now there are four categories of brush brush: sheep, both, purple and Wolf. Bai Juyi once used this to describe the fine and complex process of pen making. After the Yuan Dynasty, Hubi replaced Xuanbi on the stage of history. Hubi stood out as a synonym for brush writing with its sharp, neat, round and healthy characteristics, and was known as "the crown of brush writing".
The development of the inkbrush throughout various dynasties is a narrative of both artistic ingenuity and cultural evolution. From the selection of materials to the brush's construction, every aspect of the inkbrush has been refined to enhance its utility and artistic expression.
The Inkstone: More Than a Mere Surface
The inkstone, essential for grinding ink, transcends its utilitarian purpose to become a symbol of the venerable tradition of ink making. Crafted from fine stone, the inkstone's quality and design are as crucial as its functionality. Each inkstone is a unique piece of art, often graced with intricate carvings and inscriptions that echo the philosophical and cultural ethos of its time.
Beyond its practical use in preparing ink for calligraphy and painting, the inkstone holds a symbolic significance. It represents the deep connection between the artist and their craft, a physical manifestation of the reverence and dedication inherent in the artistic process. The act of grinding ink on the inkstone is not just a preparatory step but a meditative ritual that bridges the artist to the ancient traditions of their forebears. In this way, the inkstone becomes more than just a tool; it is a cherished artifact that encapsulates the spirit of artistry and the enduring legacy of cultural and philosophical wisdom.
The Inkstick: Crafting Color and Texture
The inkstick is central to the art of calligraphy and painting, providing the very essence of color and texture. The impression of ink seems to be a little monotonous, but it is indispensable in ancient writing. With the help of this original material, the fantastic artistic conception of Chinese calligraphy and painting can be realized. The world of ink is not boring, but rich in content. As a consumable, ink can be as good as the beginning of the present, when very precious.Made from soot and animal glue, its composition and preparation are crucial for achieving the desired ink quality.The process of creating an inkstick and transforming it into ink is an art form in itself, reflecting the artist's mastery and understanding of their materials. This process is integral to artistic expression in oriental calligraphy and painting.
Paper: The Canvas of Creativity
Paper is one of the four great inventions of ancient China. Even in today's machine-made paper, some traditional handmade paper still reflects its irreplaceable role and radiates its unique brilliance. Ancient paper can still be seen in the ancient paintings and calligraphy that have been handed down. For a long time before the invention of paper, what did people use as a matter of record? According to literature and physical data, the earliest people used a knot to remember things, and when something happened, they tied a knot and solved it. Later, they carved inscriptions on tortoise shells and animal bones, so called "oracle bones". After the bronze was produced, inscriptions were cast on the bronze vessels, namely, "gold inscriptions" or "bell and Cauldron inscriptions". After that, the characters are written on the pieces of bamboo and wood cut, called "bamboo and wooden slips", such as the wider pieces of bamboo and wood are called "bamboo slips". At the same time, some are also written on silk woven products. Before the Qin Dynasty, in addition to the above-mentioned materials, writing was also found carved on stones, such as the famous "stone drum script".
The choice of paper is a critical decision in the artistic process, affecting how ink is absorbed and displayed. The interaction between paper and ink is a dance of elements, each influencing the other to create a harmonious composition.
In conclusion, the Four Treasures of the Study are not just tools but are embodiments of the rich heritage and enduring legacy of oriental art. At Oriental Aesthetics, we honor these treasures, recognizing their vital role in the continuum of artistic expression. Our commitment to preserving and promoting the understanding of these traditional elements is unwavering, as we continue to connect artists, collectors, and enthusiasts with the rich tapestry of classical oriental art.
