It is said that the origin of ink dates back to the early Heian period, when pine wood collected from the Suzuka Mountains was burned to extract soot, which was then hardened with animal glue to make ink.
During the Edo period, the number of people needing ink increased as daimyo family crests were established and private schools (terakoya) became widespread. Ink production also increased, partly due to the protection of feudal lords.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. The finishing touch for the "ink ball" is done by "scalloping".

  2. The molding shall be carried out by "mold molding," "loofah winding molding," "spatula pressing molding," or "hand molding."

  3. Drying shall be carried out by "ash replacement drying" and natural drying.

  4. The finishing touches shall be applied using either a "grain coat" or a "grain coat."

   

  raw materials

  1. Soot shall be collected from pine soot or from the smoke of rapeseed oil, sesame oil, camellia oil, or vegetable oils of equivalent quality.

  2. The glue shall be bovine glue, deer glue, or a material of equivalent quality.

• Work scene

  Work scene

  The origins of SUZUKA Zumi (Inksticks) are said to date back to the Enryaku era (around 780 AD), when it was made by burning thick pine trees that grew naturally in the Suzuka Mountains, collecting the soot produced by the burning of pine resin, and turning it into ink. SUZUKA Zumi (Inksticks) is known for its excellent luster and smooth texture, due to the suitable climate, water quality, and ink components. Along with Nara, it is known as one of Japan's two major ink-producing regions. Most of the process is done by hand, and because the glue spoils or does not harden easily in the summer, it is a demanding job concentrated in the cold winter months from October to April. Because the work is affected by temperature and humidity, the long-standing traditional techniques and the experience of the craftsmen are embodied in each and every stick of ink.

  Step 1: Dissolving the gelatin

  The raw materials for ink are soot, glue, and fragrance. The soot is made by burning pine trees in sesame oil or rapeseed oil and collecting the resulting residue. During the Edo period, Suzuka was part of the Kishu domain, so the ink was made from high-quality red pine from Wakayama. Although the supply of red pine soot has decreased, soot is still sourced from Wakayama. The glue is extracted from the marrow of animals; in the past, deer was the main source, but now cowhide is used. The glue is placed in a copper container called a tanpo, water is added, and it is heated in a water bath to create a syrup-like liquid, from which impurities are removed. After this, the soot and glue are mixed in a blender, and fragrances such as musk and borneol are added to mask the soot's distinctive odor.

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  Step 2: Sideburns (Sideburns)

  The ink balls, roughly mixed in a mixer, are now kneaded by hand. With all their might, they are stretched and kneaded, and then kneaded again while stepping on them with their heels. Thorough kneading ensures that the glue and soot are well mixed and that just the right amount of air is removed. Judging the right amount of kneading at this stage is where the craftsman's experience and intuition come into play.

  

  Step 3: Mold application

  Depending on the size of the ink stick to be made, the amount of ink is measured, shaped into a round, rod-like form (kudamae), and quickly placed into the ink mold. After applying pressure by pressing it down with a jack for 20 to 30 minutes, it is carefully removed from the mold.

  

  Step 4: Ash replacement and drying

  After shaping the ink stick with a plane or similar tool, it is dried. Once the ink is made into a product, it can last for hundreds of years, but before completion, it is very sensitive to sudden changes in ambient temperature and humidity, which can cause it to crack, warp, or grow mold. To gradually reduce the moisture content of the ink, it is first dried in wood ash for 5 to 30 days.

  

  Step 5: Drying

  After drying with ash, the pieces are woven together with straw and hung up to air dry naturally for two to six months.

  

  工程6： 仕上げ

  The ink is washed with water to remove dirt and then polished with seashells. Polishing with a shell that has been scraped gives it a glossy shine. Strangely, this kind of shine cannot be achieved with anything other than seashells. SUZUKA Zumi (Inksticks) is a craft that could only be born in Suzuka, a region blessed with nature, using pine trees from the mountains and seashells from the sea. Finally, it is painted and decorated, and then aged for about three years, or five to ten years for high-quality inks made with soot such as sesame oil, before it is completed.

  画像をクリックすると動画が再生されます

   

• Close-up

  Close-up

  SUZUKA Zumi (Inksticks) ball.

  SUZUKA Zumi (Inksticks) has been known as a source of high-quality ink since the Edo period. The ink-making process is almost entirely done by hand, and the ink relies on the experience and intuition of the craftsmen, as it responds to subtle changes in the environment. We spoke with Mr. Tadashi Ito, the third-generation owner of Shinseido Ink Shop, a young craftsman who is considered to have a promising future among SUZUKA Zumi (Inksticks) artisans.

   

  Ink is a living thing; the craftsman's experience and intuition are paramount.

  Because glue spoils easily and doesn't harden well in the summer, ink making is a harsh winter job, from October to April. The ratio of natural soot and glue cannot be the same every day. It is a delicate process affected by subtle changes in humidity and temperature, almost like handling a living thing. There is no manual for how long to knead the mixture; it largely depends on the intuition of an experienced craftsman.
  "On winter mornings, the air is dry and the temperature is low. Even if you add some moisture, it hardens in the wooden mold, and you can make good ink. But from noon onwards, the ink ball gradually hardens, and it takes more strength to knead it. You have to put air in and out with your hands, put in and out. You roll it around in your hands, and then put it in the mold when you find the perfect state. It's best when the glue is about the same temperature as your body and it has a shiny luster." The process of kneading the mixed ink ball all at once is like a battle. Covered in soot and sweat, he puts all his strength into it, sometimes even stepping on it with his feet as he kneads it. Mr. Ito faces the living ink ball as if he is taking on a challenge.

  

  They are so beautiful that it feels a shame to use them. Traditional techniques and artistic sensibilities are condensed into each and every one of them.

  To pass on Japan's proud culture

  In the busy lives of modern people, the habit of writing with ink tends to fade. It tends to be something only a select few, such as those who pursue calligraphy or ink painting as a hobby, or professional calligraphers, can enjoy. "Traditional crafts are a unique and proud part of Japanese culture. If we want to pass them on to the next generation, we need to create an environment where people can experience them in their daily lives. With ink, for example, we need to work with the education system to increase the amount of time dedicated to calligraphy in schools. We are also thinking about products that are suited to the present age, without being bound by tradition," says Ito, considering the future of tradition with a broad perspective. He is developing new products with youthful and innovative ideas, such as ink that can be ground in one minute, ink that can be enjoyed for its fragrance, and low-priced ink that can replicate the taste of aged ink.

  

  Ito kneads the ink ball with all his might.

  I want to create "ink that is just for you."

  However, they also place a strong emphasis on tradition. For example, they insist on using soot from vegetable oils such as rapeseed and sesame.
  "Vegetable oil burns with a small flame, so the soot particles are very fine. This fine-grained ink is heavy and soaks into the paper's weave, sinking deep into it, resulting in a deep black color. It also spreads well."
  By adjusting the amount of glue, the fineness of the soot, and how they are blended, ink suitable for different purposes such as kana calligraphy, kanji calligraphy, and ink painting is produced.
  "The ingredients for ink are the same everywhere. But because I insist on making it entirely by hand, without industrializing efficiency, I can meet the subtle needs of my customers. Some calligraphers and sumi-e painters only use the ink my father makes. Even when it comes to black ink, there's a shade that only my father can produce. I want to become a craftsman who is ordered by name. I aim to create ink that is tailored to your specific needs, just for you."

  

  Mr. Ito has 500 to 600 wooden molds. Even a single wooden mold will wear down after producing 2,000 to 3,000 sticks of ink.

  Craftsman Profile

  ​Itochu

  Born in 1964. After working as a salaried employee, he has been involved in ink making for 16 years. In the world of SUZUKA Zumi (Inksticks), where the number of young people is decreasing and succession is becoming difficult, he is a figure of great expectation. Executive Director of the Suzuka Ink Manufacturing Cooperative Association.

  

  Anecdotes

  Developing a new appeal for ink

  Mr. Ito is enthusiastic about developing various new types of ink, such as ink that can be ground in one minute. His "Sumi no Mori" (Forest of Ink) ink is particularly well-regarded. When ground thickly, it becomes almost black, but when ground thinly, it reveals color. Currently, there are eight color variations, and it is also possible to mix the colors together. With its traditional Japanese soft and calming colors, even people who do not practice calligraphy will feel like they can write tasteful characters. It is perfect for the currently popular picture postcards and ink paintings.

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    There are eight varieties: wisteria, ginkgo, birch, bamboo, maple, plum, dayflower, and lily. 2000 yen per stem.

  • 

    The rich, deep colors give it a wonderful texture. It makes you want to pick up a brush and start writing.