Records indicate that AKAMA Suzuri (Inkstones) were dedicated to Tsurugaoka Hachimangu Shrine at the beginning of the Kamakura period. By the mid-Edo period, they were widely sold throughout Japan.
During the time when the Mori clan ruled the domain, the mountains from which the raw materials for inkstones could be quarried were designated as "Otomeyama" (forbidden mountains), and entry was prohibited to the general public. When inkstones were needed as gifts for the sankin-kotai (alternate attendance) system, mining was only permitted by order of the feudal lord. Because of these circumstances, inkstones were a specialty product of the Choshu domain and were not easily obtained.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. The stone used shall be free from "stone defects," "cracks," "fissures," "sand," "crazing," or "splinters."

  2. Use "en-tate nomi" for "en-tate".

  3. After "rough carving" of "sea" and "age," perform "finish carving" by hand.

  4. When performing "decorative carving," first perform "hair carving," "relief carving," "hammer carving," or "openwork carving," and then perform "finishing carving."

  5. For polishing, use a whetstone.

  6. The finish shall be either waxed or lacquered.

   

  raw materials

  The raw material shall be Akama stone.

• Work scene

  Work scene

  The raw material for AKAMA Suzuri (Inkstones) is diabase tuff. It was formed from rock powder ejected by volcanic eruptions during the Cretaceous period, more than 60 million years ago, and has a reddish-purple color. Some pieces also contain layers of green mixed with the purple. The inkstone making process broadly involves "quarrying," "shaping," "carving," "polishing," and "finishing," and it is said that it takes at least 10 years to master the techniques of selecting the stone quality and carving. The exquisite decorative carvings unique to AKAMA Suzuri (Inkstones) are done by hand using chisels, and depict beautiful Japanese scenes such as flowers, birds, wind, and moon.

  Process 1: Quarrying

  The process of making an inkstone begins with the craftsman himself quarrying the raw stone. The quarry holes are 30 to 40 meters deep, and the height is such that one must crouch to enter. The Akama stone from the Iwataki area forms layers 10 meters thick, but only the stones in the layer of about 1 meter can be used as raw material. The craftsman identifies the layer, uses gunpowder to crack the rock, and then excavates the stone using electric drills and rock drills. The extracted stone is then split with a wedge-shaped chisel. After that, the stone is sorted to determine whether it is suitable for use as an inkstone.

  

  Step 2: Edge setting

  The inkstone is first carved from both sides with a large chisel to a uniform thickness, and then the bottom and sides are flattened using sand and water in a process called "jigiri." After determining the shape of the inkstone—round, square, or a natural shape (nomen)—the inner diameter is cut to a depth of about 3 mm, and the rim is erected. If carving is to be done, the rim is left thicker and larger accordingly.

  

  Step 3: Rough cutting

  The inkstone is made by roughly carving the inner diameter of the inkstone, including the sea (the depression where the ink collects), the slope, and the hill (the flat part where the ink is ground). The chisel handle is pressed against the shoulder, and the carving is done using the strength of the upper body. The hill has countless invisible, fine protrusions (hobou), which act like a grater. Akama stone has fine, consistent hobou, making it an excellent stone for making inkstones.

  

  Step 4: Finishing carving

  Akama stone is characterized by its beautiful color and resilience, making it ideal for carving. It is precisely because of Akama stone that unique decorative carvings can be created. Depending on the application, chisels ranging from 2 mm to 10 mm in width are skillfully used to create various decorative carvings by hand. These include "relief carving" which raises the shape, "openwork carving" which creates openwork between relief carvings, "hammered carving" which uses a chisel to bring out the natural texture of the stone, and "hair carving" which creates delicate lines like strands of hair. Some intricate decorative carvings can take several days to complete.

  

  工程5： 磨き

  Since the chisel marks are still clearly visible, first sharpen it with a whetstone to make it smooth, and then polish the surface to the fine details with sandpaper. However, if you polish it too much, it will become difficult to grind ink on it, so finally polish it with a sharpening stone to make it easier to grind ink. If it is for display purposes, polish it with even finer sandpaper. After this, apply lacquer to the surface, excluding the area where you will be grinding the ink.

  

   

   

• Close-up

  Close-up

  Polishing and carving the stone. AKAMA Suzuri (Inkstones) shine with the skill of master craftsmen.

  For those who enjoy calligraphy, the inkstone is one of the "Four Treasures of the Study," and is an essential tool. Among them, AKAMA Suzuri (Inkstones) are renowned as high-quality products with lavish decorations. We spoke with Yuriaki Shimoi, a leading expert on AKAMA Suzuri (Inkstones), about the craftsmanship that breathes life into natural stone.

   

  Luxurious carvings only possible with AKAMA Suzuri (Inkstones)

  Kusunoki-cho in Yamaguchi Prefecture is one of Japan's three major inkstone producing areas. The history of AKAMA Suzuri (Inkstones) is said to date back to the Kamakura period. Kusunoki-cho appears in that history during the Edo period. Stones quarried in Kusunoki-cho were shipped to Shimonoseki (Akamagaseki) and processed into inkstones. In the early Meiji era, Mr. Shimoi's grandfather started making inkstones in this area, and the practice spread until the Iwataki district of Kusunoki-cho became known as the home of AKAMA Suzuri (Inkstones).
  The soft, smooth surface of the stone, reminiscent of brown chocolate, exudes elegance and possesses a brilliance that cannot be simply dismissed as merely a writing tool. Akama stone has a fine texture and just the right amount of resilience. That is precisely why such exquisite carvings are possible.
  "Both my grandfather and father made simple inkstones. I wasn't so much interested in making inkstones as I was in creating various things with Akama stone, so I learned from craftsmen and painting teachers in Shimonoseki and started carving."

  

  Standard type inkstone

  The craftsman's skill extends from selecting the stone to carving and polishing.

  Even within the realm of inkstone making, the skill of selecting and quarrying the stone is just as important as the polishing and carving processes. Because the stone is layered, it must be quarried in the correct orientation. Furthermore, it is difficult to determine whether the quarried stone is suitable for making an inkstone or not. A lot of the stone that has been quarried ends up being wasted.
  "Even if you find a good stone, if you hesitate or waver at the moment of striking it with the chisel, you might ruin the stone." A select few stones are given life as inkstones through the skill of the craftsman.

  

  A luxuriously decorated inkstone typical of AKAMA Suzuri (Inkstones), and a unique inkstone with a lid.

  I want to convey the charm of Akama stone, which surpasses even that of inkstone.

  In today's busy world, with the widespread use of brush pens, ink, word processors, and computers, the time spent grinding ink on an inkstone can even seem like a luxury. Towards this new era, Mr. Shimoi is enthusiastic about developing new products, not only large, often expensive inkstones, but also miniature inkstones, inkstones that can be used as decorative objects, and paperweights.
  "It's a stone, yet it has a warmth and softness. I want everyone to know the charm of this stone. When I go to the mountain quarry, there are raw stones lying around everywhere, and even with stones that seem beyond repair, when I can utilize their natural form and bring out their beauty with my own power, I feel a desire to create something even better. That's the nature of a craftsman."

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  This is Mr. Shimoi's favorite chisel, which he spent about 10 years creating. Even now, he makes tools whenever he has free time. The unique shape, with a handle made from a tree branch he picked up in the mountains, is interesting. He says that persimmon wood is the easiest to use because it fits his body well. When you rest the handle on your shoulder, your weight is applied stably, making it easy to carve.
  These chisels are handmade by Mr. Shimoi. The handles are gouged out because kudzu vines have wrapped around the wood. There are large and small chisels made from tree branches, and the blade tips are subtly different as well.

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  Craftsman Profile

  ​Yuriaki Shimoi

  I've been involved in inkstone making for 48 years. I'm a third-generation inkstone craftsman in Kusunoki-cho, following in my grandfather's footsteps.

  

  Anecdotes

  A new form that brings out the beauty of Akama stone

  These chestnut-shaped paperweights have such a realistic texture that you might mistake them for real chestnuts and eat them by mistake. The larger one is a paperweight combined with ceramic. New ideas are constantly expanding, such as combining it with other materials. From the moment he entered this field, Mr. Shimoi felt that "if we make the most of the stone's properties, we can do something other than just make inkstones with Akama stone." He wondered if he could create works that would fit into modern living spaces, where traditional Japanese architecture is becoming less common, and that would make use of the stone's smooth surface and deep colors. With these thoughts in mind, he has created modern art pieces such as paperweights and objects. While utilizing the traditional techniques nurtured by the history of AKAMA Suzuri (Inkstones), he is also bringing out new charms. Mr. Shimoi is expanding his ideas richly without being bound by preconceived notions, while also incorporating the youthful sensibilities of his son, who will be his successor. The beauty of Akama stone will surely shine with a new brilliance in the future.

  This kappa inkstone has an undeniably charming kappa face. The plate on its head can be removed to use it as an inkstone, and with the lid on, it can also be enjoyed as a decorative piece. This is a work by Mr. Shimoi's son.

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