Traditional Japanese Writing Tools and Brushmaking | Timeless Craftsmanship of Japan

 

1. Kumano brushes

Kumano brushes, or Kumano fude in Japanese, come from Kumano, a city in Hiroshima Prefecture. This region is known for producing some of the best handmade brushes in Japan. These brushes are used for calligraphy, painting, and even makeup.

The brush tips are crafted from different animal hairs, including goat, horse, weasel, deer, Japanese raccoon dog, and sometimes cat. Each hair type has its own texture and strength. Brush makers choose and blend them carefully to make sure the tip has the right balance between softness and firmness.

What makes Kumano brushes stand out is how the tip is formed. Instead of cutting the ends flat, makers shape them slowly using a wooden mold. This helps the brush hold its natural shape and keeps the bristles smooth. Authentic Kumano brushes are only made in Kumano using old-school techniques. For example, artisans still use rice husk ash to clean out oils from the hairs and bind them by hand with linen thread.

Making a single brush involves over 70 different steps. Most of those steps are done by hand. It takes years of hands-on training just to learn how to select the right hair and put the parts together. That's why Kumano has been putting time and effort into teaching younger generations so the skills don’t disappear.

A Tradition That Started in the Edo Period

The history of Kumano brushes goes back to the end of the Edo period, which lasted from 1603 to 1868. Back then, Kumano was mostly a farming town. But since there wasn’t much flat land for crops, people took up side jobs in the winter. Many of them traveled to places like Nara and Kishu to work and sell things like brushes and ink.

The real brush-making tradition began when three key figures picked up the skill in the mid-1800s. Tameji Sasaki learned brush-making in Arima in 1835. A few years later, in 1846, Tsuneta Otomaru picked up the craft. That same year, Jihei Inoue trained under a brush master in Hiroshima. These three men brought their knowledge back to Kumano and passed it on. That started a strong local industry, with support from the Hiroshima domain government.

During the Meiji period, which started in 1868, Japan introduced a public school system. This created a huge demand for calligraphy tools, so Kumano’s brush production took off. But during World War II, brush production had to stop. After the war, calligraphy wasn’t taught in schools anymore, so brush makers began producing art and cosmetic brushes to stay in business.

By 1958, calligraphy returned to school curriculums, and demand for Kumano brushes bounced back. In 1975, they were officially named a traditional Japanese craft. Later in 2004, they earned collective trademark status. Today, Kumano makes around 80 percent of all brushes sold in Japan.

The legacy of Kumano brush-making is still going strong. It’s a craft that blends precision, skill, and tradition, with each brush telling its own story through the hands that made it.

How Kumano Brushes Are Made: Step-by-Step Brushmaking Process in Traditional Japanese Craft

Choosing the Hair

It all starts with raw animal hair. Makers sort through it by hand and pick only the cleanest, strongest strands. The amount of hair chosen depends on what kind of brush they’re making and how thick or fine it needs to be.

Cleaning with Heat

Next, they sprinkle rice husk ash over the hair. Then they press it with a hot iron. After that, the hair gets rolled tightly inside a piece of buckskin leather. This step helps rub out natural oils and smooth the surface.

Combing and Lining Up

Once cleaned, the hair is taken out and combed. This removes short strands or ones that aren’t straight. The hair is then stacked and lined up in even rows, ready for the next step.

Removing Flaws

Brushmakers check each batch and pull out any split, frizzy, or damaged hairs. They use a sharp little knife called a hanzashi to do this part.

Trimming the Length

After sorting, the hairs are trimmed to the length needed for that specific brush size and shape.

Adding Glue

The cut hair is spread out and mixed with glue. This helps bind the strands together and prepare them to hold a shape.

Making the Core

The mixed hair is packed into a small wooden mold called a koma. The tip is shaped into a sharp point. This becomes the center core of the brush, which determines how it will write or paint.

Wrapping with Finer Hair

To make the outside look cleaner and perform better, they wrap a layer of even finer hair around the core. The whole bundle is then left to dry so it holds its form.

Binding with Thread and Heat

A linen thread is wrapped around the base of the brush tip. A heated iron is pressed to it, which strengthens the hair using the natural protein. This also helps shape the final form of the brush head.

Picking the Right Handle

The next step is choosing a handle. It has to fit the brush head in both size and style.

Straightening the Handle

If the handle has any bends or twists, it’s warmed over a fire, then pressed into a tool that straightens it out.

Cutting the Handle to Length

Once straight, the handle is measured and cut to match the final brush length.

Adding the Cap

A cap made from either wood or celluloid is glued to the end of the handle. This adds balance and gives the brush a clean finish.

Shaping the Cap with a Lathe

After attaching the cap, it gets shaped using a lathe. The cap is shaved down to match the handle perfectly.

Polishing the Handle

The handle is polished first with water. Then it’s waxed to give it a smooth, shiny surface.

Inserting the Cord

Using a small pointed tool, a hole is made at the end of the cap. A cord is threaded through the hole so the brush can be hung up or carried.

Shaping the Grip Holder

The grip holder is the part that connects the brush head to the handle. It’s shaped on a lathe to match the curves of the handle. The brushmaker uses a knife to carve it down until the fit is perfect.

Fitting the Grip Holder

Glue is added to the handle, and the grip holder is pressed on tightly using a scraping tool to seal the parts together.

Attaching the Brush Head

The inside of the grip holder is smoothed out. Then it’s filled with glue before the brush head is inserted. The glue holds everything tightly in place.

Final Adjustments

Once the head is in place, more glue paste is applied to firm it up. Extra glue is wiped off using linen thread. After a few last shape adjustments, the whole brush is left to dry fully.

Adding the Maker’s Mark

To finish, the artisan’s name or brand is engraved into the handle using a chisel. Colored pigment is rubbed into the carving to make the mark stand out.

That’s the full process. Each Kumano brush is shaped by hand, one careful step at a time, using skills passed down for generations.

 

2. Ogatsu inkstone

Ogatsu inkstones, known in Japan as Ogatsu suzuri, are still made by hand in Ishinomaki, Miyagi. This area used to be called Ogatsu before it merged into the larger city. Skilled artisans there continue to carve and polish every inkstone by hand, one piece at a time.

What makes Ogatsu inkstones stand out is their deep, smoky black stone and the natural patterns that run through each one. These inkstones aren’t just beautiful. They’re also reliable tools for grinding solid ink. They create a smooth, rich ink that flows well on paper.

The stone used to make these is a dense black slate. It's tough, holds up under pressure, and doesn’t soak up much water. That’s why it’s been used for things like roof tiles and building stone. More recently, people have started using this same slate for serving dishes and other types of tableware.

Production of Ogatsu inkstones hit a pause after the 2011 Tohoku earthquake and tsunami. The disaster damaged a lot of the region. But the techniques and the stone itself weren’t lost. The work started up again soon after, and the craft helped bring some life back into the area during rebuilding.

Ogatsu inkstones have a long past. They go back to the Muromachi period, which lasted from 1336 to 1573. One book from 1396 mentions a place called suzuri hama, or “inkstone beach,” which hints that inkstones were already made there. While we can’t say for sure, it’s likely the craft was active then.

There’s a story from the Edo period about a powerful lord named Masamune Date, who ruled the Sendai domain. He was given an Ogatsu inkstone and loved it. In fact, an inkstone was found in his grave, so it seems it was something he valued deeply. His son also supported the craftsmen, bringing them under the protection of the Sendai domain. Even the stone quarries were guarded. Thanks to this support and the area’s good slate, the inkstone business thrived.

A book called Honai Fudoki, which describes local climate and traditions, called Ogatsu inkstones a specialty of the region. People across Japan saw them as high-quality items. In 1985, Ogatsu inkstone was officially recognized as a Traditional Japanese Craft. The methods used to make them, passed down over centuries, are still alive today.

These inkstones are more than writing tools. They carry history, craft, and culture in every smooth black surface.

How Ogatsu Inkstones Are Made: Step-by-Step Craftsmanship

Cutting the Stone and Smoothing the Surface

Every Ogatsu inkstone starts with a chunk of black slate pulled from an open-cut quarry. That rough stone is cut into a smaller slab, shaped to match the final size of the inkstone. After that, the surface gets scrubbed smooth with river sand and water. This first polish removes any rough patches. Then, the craftsman outlines the shape around the edges and begins carving the border. They use special tools called hori nomi and komaru nomi, both types of fine chisels used to get clean, curved edges.

Each inkstone has two main parts inside. One part is a deep pool for the ink. In Japanese, this section is often called the sea. The second part is a flat area where the solid ink stick gets rubbed. That area is called the hill. Over time, artisans have used more poetic names. The ink pool has been called kenkai, bokuchi, gensho, suichi, and ike - all words linked to water. The flat side is often referred to as riku, bokudo, or ink path, all suggesting land or foundation.

Shaping the Form with Rough Carving

Next comes the rough carving. This is when the shape really begins to take form. The deep ink pool and flat bank are cut out more fully. A large, heavy chisel called kuri nomi is used. It takes a lot of force and full-body effort to handle. During this stage, any decorative details carved into the edges are added.

Refining the Ink Pool

Once the general shape is done, the ink pool gets carved out properly. It has to be the right depth and slope. The incline from the bank down into the pool needs to be smooth and natural. That slope lets ink flow down easily as you grind it. Traditionally, the ink pool takes up about one-third of the inkstone’s surface area. Its deepest part reaches around two-thirds of the full thickness. Craftsmen use their hands, not just tools, to test the shape, feel the depth, and make sure everything is balanced.

Polishing the Surface

Then comes polishing. This is a slow, detailed process where the surface is finished until it’s smooth and shaped right. It’s done in stages: inner, outer, and final polish. Each stage uses a different whetstone and waterproof paper to make sure the result is even and clean.

Flattening the Base

The bottom of the inkstone needs to sit flat. This step levels it completely. A smooth, stable base keeps the inkstone from rocking while being used. Without a level bottom, it wouldn't work well.

Final Touches and Finishes

There are three main ways to finish an Ogatsu inkstone. The first is a high-gloss lacquer finish. It gives the surface a polished, shiny look. The second is a matte fired finish. That one starts with a lacquer coating, then the stone is fired to tone down the shine and create a soft, dry surface. The third option uses an ink-based coating instead of lacquer. All three finishes help protect the inkstone and give it a longer life. Which one you choose depends on the look and feel you prefer.

3. Akama inkstone

Akama inkstone, or Akama suzuri in Japanese, comes from Yamaguchi Prefecture, mainly around Shimonoseki and Ube. These inkstones are carved from a local stone called Akama, which is known for being perfect for grinding ink. Artists and calligraphers like it because it gives smooth, rich ink with clean color and great texture.

The Stone Behind the Craft

The Akama stone is packed with quartz and iron. These minerals help the ink rub evenly and consistently. The stone is also sticky in texture, which makes it easier to carve. That stickiness lets artisans create different kinds of inkstones. Some are simple and rough, others have detailed carvings or come with fitted lids. Each style serves both beauty and function.

Skilled Hands Start Underground

What sets Akama inkstone apart isn't just the stone. It's also the people who shape it. These artisans don’t just carve the stone, they go underground to get it. Akama stone can't be mined from the surface. It dries out too fast. So the work has to be done below ground, which calls for real mining skill. That means using tools, handling explosives, and knowing how to pick out good rock. It takes about ten years of hard work to learn how to do that right.

Where Craft Meets History

Akama inkstone has been around for over 800 years. It dates back to the Kamakura period, between 1185 and 1333. Japan’s first shogun, Minamoto no Yoritomo, gave some to the Tsurugaoka Hachimangu Shrine in Kamakura. They're still there.

Later, during the Edo period from 1603 to 1868, the Choshu domain put limits on mining the Akama stone. That made the inkstones harder to get, which raised their value. They were often given as gifts to feudal lords. In the Meiji period, as more people learned to read and write, inkstone use shot up. This boosted production, and at one point there were a few hundred Akama inkstone makers at work.

Still Alive, Though Fewer Remain

Even now, the tradition hasn’t died. There are fewer craftsmen today, but those who remain still follow the same methods passed down for centuries. They keep the history alive, one stone at a time.

Akama inkstone isn’t just a tool for grinding ink. It’s a mix of art, history, and serious skill. Whether it’s carved plain or fancy, with or without a lid, each piece carries centuries of craftsmanship and culture.

How Akama Inkstones Are Made

Quarrying the Akama Stone

It starts underground. Artisans mine the Akama stone from deep quarries. There are four types of this stone, including the well-known reddish kind called shiunseki. The stone bed runs about ten meters thick, but only the top meter is good enough to make inkstones.

Miners use electric drills or explosives to break up the stone. After that, the raw stone is moved into a dark, humid room. This keeps it from drying out too fast and helps preserve its quality. Once it’s ready, the stone is shaped into plates using a hammer and a special tool called a wariya.

Forming the Ink Bank

Next comes shaping the basic form. Each inkstone has two key areas: a shallow, flat side where the inkstick is rubbed, and a deeper part where the ink collects. To get this shape, artisans use a circular saw to cut the stone into round or rectangular blocks. Then they hollow out the center about three millimeters deep.

At this point, a small chisel is used to fine-tune the shape. Both the front and back of the stone are trimmed with a larger chisel. The flat surface is smoothed using sand or water. After rough shaping, the spot for the ink pool and rubbing area is clearly marked.

Cutting the Bank and Pool

The next step is rough carving. The artisan begins cutting the ink pool and rubbing area with a large chisel. This part takes force. The chisel’s handle rests on the artisan’s shoulder, and they push down with their upper body to carve into the stone.

Detail Carving and Engraving

If the inkstone has designs or a lid, this is when the detailed carving begins. Traditional Japanese methods are used to create patterns. One is ukashi bori, which raises designs above the surface. Another is ke bori, used to cut fine, hair-like lines. Tataki bori brings out the natural texture of the stone. All these are done using a special chisel called a tagine.

Some designs take weeks to finish. Inside the inkstone, artisans use seven or eight different small chisels. Carving the tight spot between the ink pool and the rubbing area is the hardest part. Chisel widths range from two to ten millimeters, depending on the area.

Polishing and Finishing

After carving, the surface is polished. First, rough whetstones remove tool marks. Then sandpaper gives it a smooth finish. But it’s not polished too much. If the surface gets too slick, it won’t hold ink properly. That’s why the final touch is done with a medate stone to keep the right balance.

Last, Japanese lacquer is brushed on every part except the ink pool and rubbing area. This protects the stone from damage and helps it last longer.

 

4. Unshu abacus

In the quiet town of Okuizumo, tucked inside Shimane Prefecture, artisans are still making Unshu soroban by hand. These Japanese abacuses aren’t just for show. They’re real tools, used for quick math with nothing but fingers and beads. And even now, kids learn arithmetic with them. Older folks use them too, as a way to keep their minds sharp and active.

Natural Craftsmanship from Local Materials

Making a Unshu abacus takes time, skill, and all-natural materials. The beads are usually carved from witch hazel trees grown in Kagoshima or from birch trees found in Tochigi, Gunma, Saitama, or Iwate. The frames come from ebony, black ebony, or a strong type of layered plywood built to last. The rods that hold everything together are made from bamboo, sometimes treated with smoke to give them a deep color.

Precision in Every Part

What really sets the Unshu abacus apart is how it feels. The beads move fast, glide smoothly, and make a crisp clicking sound when they hit each other. The shape of each bead, the size of the holes, and the space between the rods are all made with precision. This attention to detail is what gives it that easy, almost sticky grip that helps your fingers glide across without slipping. Each one is built to perform with both accuracy and ease.

Types and Long-Term Care

There are three main types of Unshu abacuses: portable ones for quick use, academic ones for learning, and larger ones used by merchants or shops. No matter the type, these are made to last. You just need to wipe them down with a dry cloth now and then. Like most wooden tools, they can’t handle heat or humidity, so keep them in a cool, dry place, away from direct sun. If water gets into the wood, it may be too damaged to fix.

History Rooted in Wood and Steel

The story goes back to 1832, when a local carpenter named Kichigoro Murakami made the first Unshu abacus. He lived in Nita, which is now part of Okuizumo, and based his design on abacuses from Hiroshima. He used oak, Japanese apricot wood, and smoke-stained bamboo from the region. This part of Japan also produced tamahagane, a type of steel made from black sand that’s used for making swords. That access to quality wood and metal tools helped the local abacus craft grow strong.

Things changed after World War II. Machines made it easier to build more abacuses, faster. Production scaled up, and more people across Japan started using them.

Still Useful Today

Sure, calculators and computers do most of the math now. But the abacus hasn’t disappeared. It’s still used to teach kids how numbers work in a real, hands-on way. For older people, using one can help with focus and memory. Moving the beads actually lights up different parts of the brain. Some say it’s great for keeping your thinking clear and your mind quick.

Lately, people in Japan are starting to see the value of the abacus again. It’s not just a math tool or a teaching aid. It’s a part of the culture. And thanks to the careful hands of craftspeople in Okuizumo, the Unshu soroban still lives on.

How Unshu Abacuses Are Made: The Full Crafting Process

Shaping the Beads

The process starts by choosing the right wood for the beads. The timber must be solid but still feel smooth to the touch. Ebony, rosewood, and Japanese boxwood are the main choices. These woods are dried thoroughly before anything begins. That drying step is key. It keeps the wood stable so the final product doesn’t crack or warp.

Once the wood is ready, it’s sliced into blocks using a machine. Then the blocks are carved into bead shapes. This takes real skill. The surface has to be even and round so the beads move easily across the rods. After shaping, each bead is carefully polished until the surface is clean and smooth. The grain still shows, but it feels soft and easy to handle.

Making the Rods

The rods hold the beads in place and let them slide back and forth without sticking. Most rods are made from Japanese timber bamboo. Higher-end versions use bamboo that’s been darkened with smoke. That smoked bamboo is tougher and gives a more finished look.

The bamboo is cut down to the right size. Then it’s split into small, even pieces. After that, each piece is smoothed out and shaped to fit the beads perfectly. A fine polish at the end makes sure the beads can glide across without friction.

Building the Frame

The frame is what gives the abacus its shape and structure. Most frames are made from dense, imported ebony or reinforced plywood. The wood is cut roughly to size first. Then it’s shaped more precisely.

One key part of the frame is a wooden crossbeam called a hari. This beam runs across the middle and separates the upper and lower halves. It also supports the rods and makes the frame stronger. To make the hari, workers drill holes through the wood, then plane and polish it until it’s smooth. After that, they carve grooves on both sides. These grooves are later filled with white celluloid for a clean look and added strength.

Drilling and Assembly

Next, the top and bottom frame pieces are drilled with holes for the rods. All parts of the frame, including the sides, are sanded and smoothed to a clean finish. Then, more holes are drilled to add support rods and a thicker center axle. The backboards are also shaped and fitted. Grooves are carved to hold them, and mortises are drilled into the beams. The white celluloid is added to the grooves during this step.

Before putting everything together, the makers test-fit each part. They assemble the full frame once without glue, checking that every hole, joint, and edge lines up. After that, they take it apart, slide the beads onto the rods, and do the final build.

One unique part of the Unshu method is how the joints are reinforced. Small holes are drilled at key spots in the frame. Then, aluminum wire pins are inserted to lock the joints tight. This gives the frame more durability without making it bulky.

When the assembly is done, the abacus gets a final round of sanding and polishing. This last step brings out the grain of the wood and smooths the surface for long use. The finished product is strong, precise, and beautiful, showing the natural lines of the wood and the careful hands that made it.

 

5. Banshu abacus

The Banshu abacus, or Banshu soroban in Japanese, is made in Ono, a city in Hyogo Prefecture. This area has warm weather and lots of farmland. Farmers there started making abacuses during the slow months when they weren’t working in the fields. That’s how the tradition began.

Abacuses in Japan are used for math. They’re simple tools with beads on rods that you move with your fingers to do calculations. It’s a hands-on way to learn arithmetic. The production of these abacuses involves a long process with multiple steps. Over time, Ono became known for its craftsmanship, making the Banshu abacus one of the top traditional crafts from Hyogo.

How the Craft Took Root in Japan

The Banshu abacus has roots in the Otsu abacus. That one came from Nagasaki after being introduced from China during the late Muromachi period, sometime between 1336 and 1573. The tool made its way to Otsu in Shiga Prefecture. Otsu is located near Kyoto and Osaka, both of which were big trading centers. Because of its location, Otsu became a busy place for making and selling abacuses.

Then, in 1580, when feudal lord Hideyoshi Toyotomi took over Miki Castle near Ono, some of the people in that area fled to Otsu. While there, they learned how to make abacuses. When they came back to Hyogo, they brought those skills with them. That’s when local abacus production really started in what is now Ono.

Abacus Use in Schools and Shops

During the Edo period, from 1603 to 1868, temple schools called terakoya began teaching kids how to read, write, and do math. The abacus became a core part of math education. As the schools spread, so did the popularity of the abacus. By the end of the Edo period, Ono had eight major wholesalers and over two hundred smaller workshops making abacuses.

As more merchants and students used them, production grew. Makers even started offering abacuses in different shapes and colors to get kids interested in learning. Even though calculators and computers are everywhere now, abacuses are still used for teaching math, both at home and in classrooms.

How Banshu Abacuses Became a Local Industry

After Japan’s win in the first Sino-Japanese War in the late 1800s, people in Ono built machines to produce abacus beads faster. This made it possible to mass-produce abacuses for the first time. Then, after World War II, the Japanese government passed the School Education Law, which promised nine years of free schooling. As more kids went to school, the demand for abacuses rose again.

Even though modern tech has taken over a lot of math tasks, Banshu abacus production never stopped. The city of Ono still makes over 530,000 abacuses every year. This traditional tool is more than just a piece of history. It’s still used, still made by skilled hands, and still teaching people how to calculate.

How Banshu Abacuses Are Made: Traditional Craftsmanship from Start to Finish

Shaping the Frame

The first step is building the frame. Craftsmen use either accumulate timber or hardwoods like ebony, usually imported from Africa or Indonesia. The wood is split into large slabs, then cut down into smaller blocks. These pieces are then planed and trimmed to the exact shape and size needed for the abacus frame.

Crafting the Beads

Making the beads is the most detailed part. It takes more than a hundred steps and is handled by expert artisans. The process starts with tamakezuri, which means shaping the dried wood into beads. Most beads are made from boxwood, a dense, tough wood that's so hard it can snap an axe. High-end abacuses also use ebony or red sandalwood. There’s also a newer method that shapes the beads from long, round bars of wood for a cleaner finish.

Cutting the Rods

The rods that hold the beads are made from Japanese timber bamboo. For higher-grade abacuses, craftsmen use smoked bamboo. The bamboo is cut to length, split, and then shaped into smooth, round rods. Each rod has to be consistent in size to make sure the beads slide correctly during use.

Breaking Up the Process

The production of Banshu abacuses is split up into parts. One person makes the frame, another does the beads, and someone else handles the rods. Every piece is crafted separately, then passed along for final assembly. This keeps the quality high and the work specialized.

Processing the Frame

Once the frame boards are shaped, they’re planed smooth. Then, holes are drilled for the rods, and grooves are carved for the backboard. A beam fits between the top and bottom boards, and holes are added here, too. Celluloid string is laid into the grooves to hold the pieces tight. The bamboo axles are trimmed and shaped to size. Before everything gets locked in, the pieces are dry-fit to check for alignment and make adjustments.

Threading the Beads

Next, the rods are fitted into the beam, and the beads are threaded onto them. This is done carefully to make sure every bead sits right and slides smoothly.

Final Assembly

After the beads are in place, the bottom and right-side frames are attached. Then the backboard and back rod are added. The pieces are lined up in a specific order to make sure the abacus is balanced and solid.

Securing with Joint Holes

Three different kinds of joint holes are made: medake dome, urabo dome, and sumi dome. These are drilled into the top and bottom frames. Thin aluminum wire is then pushed through the holes and clipped off. This step secures everything together and makes sure the frame, rods, and back pieces stay tight for the long haul.

Polishing the Finish

Last comes the polish. The outer frame, where people grip the abacus, is polished smooth. Any sharp wire tips are scraped down. Craftsmen use sandpaper or leaves from the muku tree to give the wood a soft shine. This final step not only makes the abacus look clean, but also gives it a smooth, comfortable feel when in use.

 

6. Nara brushes

Nara brushes, known in Japanese as Nara fude, come from the Nara and Yamatokoriyama areas in Nara Prefecture. Nara is where brush making in Japan first began. Some of the oldest brushes in the country are still preserved there. These are seventeen Tenpyo-era brushes that once belonged to Emperor Shomu, who ruled from 701 to 756. They’re stored today in the Shosoin Repository.

What Makes Nara Brushes Unique

Nara brushes aren’t made with just one type of animal hair. They’re made by blending ten or more kinds. This mix is done through a traditional method called nerimaze hou, which involves carefully combining hairs with different textures and lengths. You’ll find hair from animals like squirrels, flying squirrels, weasels, raccoon dogs, sheep, horses, deer, and rabbits.

But the real skill lies in how that hair is chosen and used. Artisans don’t just care about the animal. They look at the exact part of the body the hair came from, and even the season it was harvested. These small details all change the feel and quality of the final brush.

Each type of hair gets checked by hand. The brush makers study its texture, shape, and strength. Then they adjust and rebalance the mixture so that everything is evenly spread. During the mixing process, every strand of hair is soaked in water to harden it. After that, the craftspeople decide how much of each kind to use, based on how the hairs behave.

Once the mix is just right, the tip of the brush is shaped. The finished brush isn’t just useful. It also looks beautiful.

Where Brush Making Began

Brushes go way back. They were first made in China more than 2300 years ago. One of the earliest known brushes was made from animal hair and offered to the first Emperor of Qin, who lived from 259 BCE to 210 BCE. Brushes came to Japan during the Asuka period, sometime between 592 and 710. When Chinese ideas and tools started coming into Japan, brushes were part of that wave.

How Nara Became Japan’s Brush Capital

Nara's brush-making tradition officially began in 806 CE. That year, Kukai, a Buddhist monk and master calligrapher, came back from China. He had studied there during the Tang dynasty. He returned with the techniques used to make brushes and taught them to a man named Kiyokawa Sakanai in Nara.

Nara was a learning hub at the time. Many monks and scholars studied there, so the brushes quickly spread among them. As writing in kana script developed, people needed finer brushes to draw smooth, curved lines. That demand helped shape the craft into what it is today.

Brush artisans in Nara worked hard to pull the best out of every type of hair. They built a deep tradition around it. The result is the modern Nara brush, which still reflects that same careful skill.

How Nara Brushes Are Made: The Full Process

Sorting and Separating the Hairs

The process starts by sorting the animal hairs. They’re grouped by thickness, length, and softness. Each group is set aside for a different part of the brush: the tip, the throat, the stomach, and the half top. Softer hairs are saved for the parts closer to the half top, while stiffer hairs are used near the base. Around ten different types of hair are selected to create the right mix. This blend helps the brush absorb ink well and gives it both flexibility and firmness.

Combing and Blending

Next, the hairs are combed. This clears out loose fluff and helps get rid of any tangles near the roots. Once combed, the hairs are laid flat on a board. From there, they’re blended together carefully to ensure they’re fully mixed.

Rolling and Twisting the Hair

The hair is then treated with ash from burned rice husks. After that, it’s warmed over a charcoal fire. While warm, the hairs are twisted tight. This twisting helps remove any leftover oil. Then, the hair is rolled inside soft buckskin. After rolling, artisans use their fingertips to straighten the hairs and gently pull out any strands that don’t line up.

Cleaning Up the Tips

Once the hairs are straightened, they’re placed on a small metal plate. A hand-held board is tapped against the tips to help them settle into place. The patting makes the tips vibrate, which helps them align. Any frizzy or puffed hairs are picked off by hand using a small blade with no edge.

Flattening the Hair

The hairs are soaked in water and flattened. This helps them stay straight and uniform after all the shaping work is done.

Shaping Each Section

The hairs are then cut into specific lengths. Long hairs and short ones are combined to create a smooth transition in the brush tip. This shaping step defines the final structure of the brush head.

Blending the Hairs Again

After shaping, the hairs are mixed again. This time, the goal is precision. Any strands with poor tips are removed to make sure only the best remain.

Creating the Core

The trimmed and blended hairs are then mixed with funori, a natural glue. This mix forms the brush core. The glued hairs are packed into a small cylindrical tool called a koma, which sets the thickness. They are then left to dry in open air.

Wrapping the Outer Layer

Once the core is dry, fine outer hairs are carefully spread and wrapped around it. This wrap adds quality and structure to the brush tip. After wrapping, the whole piece is dried again.

Tying and Setting the Tip

When dry, the brush head is tied with linen thread to hold it together. A hot iron is pressed at the base of the tip. This heats the glue and locks everything in place. The brush head is now formed.

Attaching the Brush Head

The wooden or bamboo holder is adjusted by hand using a small knife. The hole in the holder is carved to match the thickness of the brush head. Once it fits, the head is glued in tight.

Final Shaping and Drying

To finish, the brush head is dipped into more funori. A linen thread is wrapped around the tip to squeeze out extra glue. The tip is shaped one last time and left to dry completely. This seals the entire form and finishes the brush.

This long, detailed process is what gives Nara brushes their high quality, balance, and smooth control. Every step matters. Every brush is made with care.

 

7. Suzuka inksticks

Suzuka inksticks, known in Japanese as Suzuka sumi, come from Suzuka city in Mie Prefecture. This is the only inkstick recognized as an official Traditional Japanese Craft. Right now, there's only one company still making it: Shinseido.

Suzuka's natural setting plays a big part in the ink's quality. The ink is made mostly from pine trees that grow in the mountains nearby. Those trees thrive in just the right climate to produce top-grade inksticks. Over time, the production process has improved to meet demand, but it still sticks to its roots. Artists, calligraphers, and craftsmen all value Suzuka ink for its rich texture and smooth flow. It also works well as a dye and as a tool for carving or coloring handmade goods.

The main binder in Suzuka inksticks is a thick animal glue called nikawa. This glue is natural, and because of it, the ink deepens in color as it ages. The sticks are left to mature in storage before they’re used. That aging process boosts the color, giving the ink a fuller, darker tone. Shinseido was also the first to create colored inksticks using this method. Today, they offer a wide range of vibrant colors, not just the traditional black.

Experts believe Suzuka inksticks have been around since the early Heian period, sometime between 794 and 1185 CE. Back then, people would burn pine resin from the Suzuka Mountains and collect the soot. That soot was mixed with nikawa to form the inksticks. The region has excellent pine trees and soft, slightly acidic water, both of which help create smooth, consistent ink.

In the Edo period, from 1603 to 1868 CE, ink use grew in everyday life. Families of samurai lords had their own crests, which were painted on formal clothing. Men wore kamishimo, and women wore komon, both decorated using high-quality ink. Around the same time, temple schools spread across Japan. Kids needed ink for writing, so demand rose fast.

The Tokugawa domain's Kishu branch supported the craft, helping it grow. Thanks to that, the traditional methods were preserved. They're still used today. Suzuka makers now offer a wide range of ink types. Yuenboku is one example. It’s made from lamp soot and gives off a bold, glossy black. Another, shouenboku, is made from pine soot and comes in shades from pure black to soft gray-blue. And then there are the colorful types, called irozumi, designed for artwork and decoration.

Suzuka inksticks carry hundreds of years of tradition. Their deep blacks, subtle tones, and vivid colors are the result of a craft passed down and refined through generations.

How Suzuka Inksticks Are Made: A Look Inside the Traditional Process

Making the Glue

Suzuka inksticks start with just a few natural ingredients: soot, nikawa glue, and a light fragrance. The glue is made by boiling bones and hides from deer or cattle until it turns into a thick jelly. To get the soot, artisans burn pine wood, bamboo, and oil from canola or sesame. The soot builds up inside a lamp, and that’s what they collect.

This process only happens from October to April. Glue spoils easily in heat or humidity, so the work is done in cooler months. Every morning, the glue is heated with water until it thickens. That thick solution gets strained through a sieve, then mixed with soot. Before the blend is ready, a natural scent like musk or borneol camphor is added.

Kneading the Mixture

Once the glue and soot are combined, the mix turns into a dough-like paste. Artisans knead it by hand and foot, pressing hard to push out air and mix everything evenly. This part takes strength and care. When it’s done right, the dough turns into a smooth, black lump called sumidama.

Shaping the Inksticks

The sumidama gets rolled into even bars and warmed by hand until it feels soft, like a child’s ear. That’s the goal. Then, while it’s still warm, the bars are quickly pressed into wooden molds. These molds come in many shapes and sizes. Each piece is weighed on old-style scales to keep things exact.

Getting the texture and moisture just right takes years to learn. If it’s too dry or too wet, the ink won’t come out smooth later. After being pressed in a vise for about twenty to thirty minutes, the inksticks are taken out of the mold.

Drying with Ashes

Now they have to dry, and this step is tricky. The inksticks are fragile. If they dry too fast, they crack. If the air is too damp, they can grow mold. First, the inksticks are placed inside a wooden box, resting on a bed of ash and washi paper. More ash is piled on top to keep things steady. The ash is swapped out daily. Depending on the air and moisture, this drying stage takes five to thirty days.

Straw Drying

Next, several inksticks are tied together with straw and hung up to dry again. This phase lasts anywhere from two to six months. The drying time depends on the weather and room conditions. It’s up to the artisan to judge when the inksticks are ready. Their skill plays a big part in how the final ink turns out.

Final Touches and Aging

Once fully dry, the inksticks are brushed off with a flat tool to remove dust. Then, they’re polished by hand using the smooth surface of a clamshell. Some are painted or decorated, depending on the type. After that, they still need to age.

Most inksticks are stored away for at least three years before use. The ones made with sesame oil need even longer. Some are aged five to ten years before they’re considered ready.

This long, careful process is what gives Suzuka inksticks their deep color, smooth flow, and timeless quality. Every step is done by hand, with patience and precision, the same way it’s been done for centuries.

 

8. Toyohashi brushes

Toyohashi brushes come from the area around Toyohashi City in Aichi Prefecture. These brushes are known for their high quality. Many calligraphers across Japan prefer them. But they’re not just for writing. Artists and craftsmen use them for makeup, traditional painting, and other crafts. There are more than one hundred types, each designed for different uses.

Toyohashi is the second biggest brush-making region in Japan, right after Kumano in Hiroshima. Every year, about 1.8 million Toyohashi brushes are made. Most of the high-end calligraphy brush market in Japan is made up of these. Around seventy percent of top-tier brush sales come from Toyohashi.

Why the Brushes Work So Well

These brushes write smoothly and take in ink easily. That’s not by accident. It comes from the way the brush hairs are chosen and blended. The hairs are sorted one by one, based on how long, thick, or firm they are, and how much they bend. After that, they’re soaked in water, then combed and mixed together. This process helps the brush hold ink properly and release it evenly when you write or paint.

Where It All Started

The story begins in 1804. Back then, the Yoshida domain, which is now Toyohashi City, was low on funds. To help fix that, the domain lord brought in a brush maker from Kyoto. Samurai from the lower ranks, who needed extra income, were trained to make brushes. It became a way for them to earn money while keeping busy.

The local setting helped. Toyohashi is close to the mountains, so it was easy to gather animal hairs like weasel and raccoon dog, which are good for brushes. Plus, Toyohashi was one of the fifty-three post towns along the Tokaido Highway. That meant travelers passed through often, and the brushes spread across Japan as people bought them and took them elsewhere.

How the Craft Evolved

In the early Meiji era, around the late 1800s, a man named Jirokichi Haga improved how brushes were made. He started making a new type of brush called a suihitsu, which didn’t have paper wrapped around the center like older brushes did. These were better for calligraphy. His student, Jusaku Sano, pushed the craft even further. He refined the brush shape and helped set the standard for the Toyohashi brushes used today.

After World War II, Japan had a baby boom, and schools brought calligraphy back into the curriculum. That change helped boost demand. Toyohashi brushes became even more popular. In 1976, the Japanese government officially recognized them as a traditional craft.

Toyohashi Brushes Today

Now, Toyohashi brushes are still made using the same careful steps. Craftsmen focus on every detail. They check every strand of hair and handle each phase by hand. The process stays true to the roots, but the brushes continue to meet the needs of artists and writers today.

People trust them because of the quality. Whether you're writing kanji, painting a scroll, or applying makeup, these brushes deliver. That’s why Toyohashi remains one of the top names in Japanese brushmaking.

How Toyohashi Brushes Are Made

Step One: Hair Selection

The first part of the process is picking the right hair. Each strand gets checked for quality and length. The type of hair used depends on what the brush is for. After sorting, the hair is cleaned. Some types are boiled. Others are soaked in warm water. The water temperature changes depending on the kind of hair. Once clean, the hair is dried. A metal comb is used to strip out any weak or useless strands.

Step Two: Rolling the Hair

Next, the hair is treated to get rid of oil. This helps the brush soak up ink better later on. The bundles are rolled with rice husk ash inside a piece of buckskin. Once rolled, the tips are straightened and divided into three groups. Some hairs go to the tip of the brush. Others are saved for the middle or the base. Every part has a purpose.

Step Three: Combing the Bundles

Now, it’s time to comb the hair again. A special metal comb is used to smooth out the bundles. This shapes the brush head and lines everything up. It's a slow process, but it's what gives the brush its form.

Step Four: Blending the Hair

After that, hairs from the top, middle, and base sections are soaked in water and mixed together. The goal is to blend them evenly so the brush ends up soft, flexible, and able to hold ink without dripping. Skilled brush makers do this by hand. Their experience lets them mix the core hair without losing any strands.

Step Five: Making the Core

The inner part of the brush, or the core, comes next. Any low-quality hairs are pulled out to make sure the tip won’t split while writing. The good hairs are shaped into a round bundle, then placed in a mold. Once it dries, a smooth outer layer of fine hairs is wrapped around it. This outer layer is what gives the brush its sharp lines and smooth flow.

Step Six: Final Assembly

In the last step, the brush head is dipped in glue to harden it. Then, linen thread is wrapped around the base to keep it tight and adjust the shape. After that, the head is glued into a bamboo handle and left out in the sun to dry. When it’s done, the maker carves their name or the product name into the handle.

Each brush is made with care, one step at a time. The process is hands-on from start to finish. Every small move matters. That’s what keeps Toyohashi brushes sharp, reliable, and trusted by people who know what quality feels like.

 

9. Kawajiri brushes

Kawajiri Brushes, known in Japan as Kawajiri Fude, come from a small coastal town called Kawajiri. It's part of Kure, a city in Hiroshima Prefecture. The town sits between Mount Noro and the calm waters of the Seto Inland Sea. The area has rich greenery and a mild climate, which makes it perfect for brush making.

For generations, people across Japan have trusted Kawajiri Brushes for their top quality. At first, they were mostly used for Japanese calligraphy. But over time, makers expanded into paint and makeup brushes to meet new demand.

What sets Kawajiri Brushes apart is how they’re made. The process uses a special hair blending method called neri maze. It’s a detailed technique that only skilled artisans can do. From start to finish, a single craftsman handles every step. Each brush is made entirely by hand. Because of this, they can’t be mass-produced. The work is slow and labor-heavy, but the result is unmatched quality.

The tips of these brushes are soft, smooth, and shaped with exact precision. That’s why so many calligraphers and traditional Japanese painters choose them. Artists and professionals who care about quality continue to rely on Kawajiri brushes today.

How Kawajiri Brush Making Started

The roots of Kawajiri’s brush industry go back to the late Edo period. In 1838, a brush seller named Sanzo Kikutani traveled to Arima in what is now Hyogo Prefecture. He went there to buy calligraphy brushes to sell back home in the Kure area. His idea worked. The demand was strong, especially among local schools and tutors.

Seeing the potential, he suggested that local farmers take up brush making during the winter months when there wasn’t much farm work. That suggestion grew into something bigger. In 1850, Yaekichi Ueno brought experienced brush makers from Izumo, and that marked the start of Kawajiri’s own brush production.

Brush making grew slowly at first, but by the end of the Meiji period, it was a full industry. It really took off in the early Showa period. However, things took a hit during World War II. Many craftsmen were drafted, and production dropped.

After the war, as Japan's economy recovered, so did the brush industry. The process of making and selling the brushes was modernized, but the handmade tradition stayed strong.

Now, Kawajiri is one of Japan’s top brush producers. The town makes about 20 percent of the country’s entire supply every year. Despite all the changes over time, the focus on careful craft and quality has never gone away.

How Kawajiri Brushes Are Made: Step-by-Step Craftsmanship

Choosing the Hair

The first step in making a Kawajiri brush is picking the right animal hair. Traditional options include goat, weasel, horse, and raccoon dog. Every hair strand is checked by hand. Artisans use a special knife called a hansashi to remove any bent or twisted hairs. They look for hairs that are smooth, shiny, and springy. But it’s not just about what looks good. The feel and texture of the hair change depending on the day’s temperature and humidity. It takes years of hands-on work to learn how to judge quality under changing conditions. Once the best hairs are chosen and sorted, they’re ready for the next step.

Sorting the Hair

Next, the hair gets divided into five groups based on where it will be used in the brush. Craftsmen match hairs by length and softness while imagining how the finished brush will perform. Each type of hair has a job to do in the brush, so this step matters a lot.

Cleaning and Removing Fluff

After sorting, the hairs are boiled and dried completely. Then, they get combed again and again with a metal comb. This gets rid of the fluff near the roots that can mess with the brush’s performance. Clean, smooth hair is key for creating a brush that works well.

Removing Oils with Heat

To get rid of natural oils in the hair, the craftsmen sprinkle rice husk ash over it. Then they heat the hair with a flat iron called a hinoshi. This heat helps remove curls, too. While it’s still warm, the hair gets rolled in buckskin and gently rubbed. That pulls out the oils without damaging the strands.

Aligning the Tips

After the hair is combed again, the tips need to be made even. The workers use a metal tool called a yosegane for this. The hair sits on a curved metal plate, and a second plate is tapped against it. The light tapping makes the strands vibrate into place. This takes time and patience. They repeat the process many times until every tip is perfectly aligned.

Picking Out Damaged Hairs

After the tips are set, the next step is checking again for flawed hairs. Any broken, reversed, or rough strands get pulled out by hand. It might look simple, but this job calls for sharp eyes and steady fingers. Only the best hairs stay. This step gets repeated again and again as the brush takes shape.

Cutting to Length

Once the good hairs are ready, they’re cut to match the exact length needed for each part of the brush. The roots are lined up on a wooden block called a sungi. Then they’re trimmed with scissors. This process isn’t done just once. They keep trimming and adjusting until every bunch of hair is the right size.

Final Adjustments

Now the hairs are sorted once more by length. They’re lined up carefully and tied together. Any rough or off hairs that slipped through are cut out with the hansashi knife. This step makes sure the core of the brush is smooth and balanced.

Flattening the Hair Bundles

After tying, the hair bundles get soaked in water. That makes the hairs flexible and easier to handle. One more check is done to spot any flawed strands. Then the wedge-shaped bundle is loosened and spread flat across a glass surface. Each bundle, sorted by length, gets flattened this way before moving forward in the process.

Every step in this process is slow, careful, and done by hand. That’s why Kawajiri brushes are known for their precision and long-lasting quality.

Hair Mixing: Creating a Seamless Brush Tip

Hair mixing is done to blend different lengths of hair into one smooth, consistent bundle. Each set of hair is flattened, then rolled up from one end using a hansashi knife. Then it’s spread out flat again. This is repeated over and over for each hair group. After that, the hair gets combed again to pull out any weak or flawed strands.

Once every batch is worked and cleaned, all the lengths are stacked together and flattened as one unit. Then they’re mixed again. This step is repeated until the blend feels completely even, with no rough spots. It takes serious skill to get right. But it’s what gives high-end brushes their smooth, even strokes. When the hair is mixed properly, the tips don’t split during use, and the brush moves cleanly over the surface.

Core Making: Shaping the Heart of the Brush

After mixing, the hair is soaked with a natural glue made from seaweed, called funori. Then the damp hair is spread flat and split into small bunches for individual brushes. These are shaped using a metal tool called a koma, which adjusts the size of the brush core. This is all done by hand, but the margin for error is nearly zero. Even a 0.001 gram difference can matter.

Before drying, the hair is checked one more time to get rid of any poor-quality strands. Then the cleaned and sized core is placed on a sieve to dry slowly in the air.

Wrapping with Uwage: Final Outer Layer

Once the core is ready, a thin outer layer of higher-grade hair is wrapped around it. This outer hair is called uwage, and it also gets the full mixing treatment first. After wrapping, the core and uwage go back through the koma again to shape the full brush head. Then it's set aside to dry naturally once more.

Thread Tying: Locking It In

When the brush head is dry, the base is tightly wrapped with linen thread. The thread is soaked in water first, so it holds better. This keeps the hairs in place and gives the brush a firm structure.

Tightening with Heat

A heated iron is pressed onto the root of the brush head. This seals everything and helps hold the shape. It also prevents loose hairs. After this, the brush head is finished.

Fitting the Brush Head to the Handle

Now the head is ready to be attached to a handle, usually made from bamboo or wood. The handle, called hikkan, is placed on a block called kurikomi dai. It’s rolled by hand while a knife scrapes the inside evenly so the head fits snugly.

The brush head is glued into the handle. At this stage, the piece is called a sabaki fude, which means it’s assembled but not quite finished.

Removing Excess Glue

To make the brush stronger, the head gets soaked in more funori. Then the extra glue is cleaned off. The head is combed out again. A linen thread is wrapped around it, and the handle is spun to squeeze out any leftover glue. This step keeps the brush clean and ready to use.

Engraving the Maker’s Name

The craftsman’s name is carved into the handle. The carving usually follows the reverse stroke order of how the name would be written with a brush. This mark shows who made it and stands for quality and care.

Final Completion

Each Kawajiri brush goes through many careful steps. Every part is done by hand. It’s a long process, but that’s what gives each brush its strength, balance, and precision. This level of detail is why these brushes are trusted by artists, calligraphers, and serious professionals across Japan and beyond.

 

10. Nara Ink

Nara ink, or Nara sumi, is a type of traditional Japanese ink that’s been made by hand in Nara for centuries. It’s one of the oldest forms of sumi ink still around. After Suzuka sumi from Mie, it was the second ink to be officially recognized as a traditional Japanese craft.

What Nara Ink Is Made From

There are two main types of sumi ink. One uses pine resin, and the other comes from burning plant-based oils like rapeseed, sesame, or paulownia. Nara ink belongs to the second group. That detail matters, because the kind of oil used affects the quality and texture of the finished ink.

How Nara Sumi Is Made by Hand

Making Nara sumi takes skill, patience, and years of practice. Machines can’t be used at any step. Every part of the process is done by hand. The ink is shaped either by hand or with molds made from wood or dried loofah. These molds give Nara ink its unique shapes, which you won’t find with other inks.

Where Nara Ink Came From

The story of Nara sumi starts more than a thousand years ago. According to early records in the Nihon Shoki, ink was first brought to Japan from China and Korea in 610 CE. Later, in 806 CE, a Buddhist monk named Kukai traveled to Tang China. He came back with more knowledge, including how to make ink and brushes. He began producing ink at Kofukuji Temple in Nara, and that’s considered the beginning of Nara sumi.

Ink and Religion in Nara’s Past

During the Heian period, between 794 and 1185 CE, ink was made all over Japan. Over time, though, production started to slow down. But Nara kept going, especially in its temples and shrines. Kofukuji Temple became a center for sumi production. That temple had close ties to the powerful Fujiwara family, and all the ink used to copy Buddhist texts was made right there. Ink makers gathered around the temple, and it became a hub for high-volume production.

Nara Ink During Japan’s Unification

The popularity of Nara sumi grew even more during the time of Nobunaga Oda and Hideyoshi Toyotomi. Before this period, ink was mostly made for temples and shrines. But once Oda unified the country, those religious groups lost a lot of their power. At the same time, new rules allowed open markets and let craftsmen start their own shops. This helped ink makers go independent.

Between 1573 and 1593, a man named Dochin Matsui founded the Kobaien ink shop in Nara. It became one of the first ink businesses in the area. By the middle of the Edo period, around forty different ink shops had opened across the old streets of Nara.

Nara Ink Today

There were ups and downs over the years, but Nara’s ink tradition never disappeared. The ink made in Nara is still some of the best in Japan. In fact, about ninety percent of all sumi ink produced in the country today comes from Nara. It’s still made by hand, the way it has been for centuries. The work is slow and detailed, but the result is always worth it.

How Nara Ink Is Made: Step-by-Step Process

Melting the Glue

The process starts by melting animal glue. This glue gets placed in a container with some water, then set into a pot of boiling water. It melts slowly in this water bath. This step makes the glue soft and ready to mix.

Mixing the Soot

Once the glue is melted, it gets mixed with soot. The glue, soot, and a bit of fragrance are put into a machine that stirs them together. At this point, the mix is still rough. It’s soft, kind of like mochi. After this rough mix, the ink gets taken out and worked by hand on a board. Then the final kneading is done by foot, pressing the mix until the texture is just right.

Shaping the Ink

Next, the ink is torn into smaller pieces. Each piece is weighed to make sure they’re all the same size. Then each one gets kneaded again before it goes into a mold. Inside the mold, the ink is pressed into its final shape.

Drying the Ink Carefully

Now comes the drying. First, a sheet of paper is laid out and covered with charcoal. The shaped ink pieces are placed on top. Another sheet of paper goes over the ink, and more charcoal is added. This part has to be done carefully. If the ink dries too fast, it can crack. So the charcoal is changed out little by little with dry charcoal to control the drying speed. This first stage takes about a week to three weeks.

When the ink firms up a bit, each piece is wrapped in straw and hung from the ceiling. This hanging stage lasts about one to three months, giving the ink time to fully dry from the inside out.

Cleaning and Polishing

Once dry, the ink is washed to get rid of leftover charcoal and straw. After that, it gets coated. There are two types of finishes. One is matte and smooth. The other is glossy, which is done by polishing the ink with clamshells.

One More Drying Phase

After polishing, the ink pieces are laid on wooden racks. These racks get stacked up and kept in a drying room for about a month. This final dry helps set the polish and shape.

Final Touches

Last, the surface of the ink is decorated. Letters and designs are colored in. Then each piece is boxed, wrapped, and ready to go. This is when the ink is fully complete.