Once a practical way to transcribe, calligraphy has evolved into a fine art. As the practice we recognize today spread across East Asia, countries like China, Japan, and Korea developed their own methods of creating high-quality calligraphy tools. Top-of-the-line brushes can cost $1,000, and quality ink sticks can reach multiple thousands of dollars. Add in inkstones and paper, and the investment can set you back $8,000. And while dedicated master craftsmen worry about the future of traditional calligraphy tools, younger calligraphers swear by the quality of these handmade items. So why are calligraphers willing to spend so much just to write?
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00:00Every strand of hair is meticulously inspected in this calligraphy brush.
00:07That's one reason it costs about $1,000.
00:12And if you combine it with top-of-the-line ink sticks, stones, and paper, calligraphy tools can set you back $8,000.
00:23So why would anyone spend so much just to write?
00:28That practice has just sort of grown into a brush-and-ink practice on paper,
00:33up into a more modern usage that is really sort of like a refined, high form of art.
00:42Here are the stories behind some of the priciest calligraphy tools,
00:46starting with solid ink sticks made in Japan.
00:52This is ink.
00:54Toshitsugu Okabe is kneading it until it's as soft as a rice cake.
00:59It's imperative for him to be as thorough as possible,
01:02because a well-kneaded mixture becomes high-quality calligraphy ink.
01:07It takes at least four years of aging before these solid ink sticks can be sold,
01:13and even longer for the most expensive ones.
01:16A 200-gram high-grade ink stick from this producer, Kobayen, costs over $1,000.
01:23And for some other brands, prices can reach almost $2,000.
01:28Meanwhile, almost double the amount of commercial liquid indie ink can go for less than $9.
01:34So why are solid ink sticks so sought-after, and why are they so expensive?
01:43It's January in Japan's narrow prefecture.
01:46Ink producer Kobayen has been making Japanese calligraphy ink for 450 years.
01:53This type of ink, also known as sumi, is traditionally sold in the form of handmade solid ink sticks.
02:01To use the dry ink stick, calligraphers rub it on an ink stone to mix it with water.
02:07Sumi ink is typically black, but it can also be tinted brown or blue.
02:13The ingredients are simple — soot, animal glue, and perfume.
02:19But the quality of these materials, and the time-intensive techniques required to collect and process them,
02:25have a large impact on the final price.
02:31It starts in this room, lit by 100 oil lamps.
02:36This workshop has four rooms like this, where artisans produce all the soot they require to make ink.
02:42Two workers are in charge of this stage, each overseeing two rooms and 200 oil lamps.
02:49They carefully manage the vegetable oil in the lamps, and gradually collect soot throughout the day.
02:55In Japan, this process is called catching smoke.
03:02Every day, artisans light all 400 lamps and cover each with a lid,
03:07the underside of which collects soot as the oil burns.
03:11But they can't just leave the lid in the same place for hours, because overheating it will prevent soot from accumulating.
03:19The flame must be off-center, and the artisans must rotate the lid every 20 minutes for two hours.
03:27The artisans scrape the soot off the top of the lid, they replenish the oil, and the process starts all over,
03:34for a total of five times a day for each lamp.
03:38These lamps contain rapeseed oil, the most common choice when producing high-grade ink sticks.
03:44Ink sticks made of soot from even more expensive oils, like polonia, camellia, or sesame, can easily cost up to four times as much.
03:55But artisans must also consider other details, like the containers that hold the oil, and the material of the wig.
04:03To ensure the quality of the soot, they use non-porous earthenware containers.
04:09Craftspeople in this workshop even weave the wicks themselves to exacting specifications.
04:33The fineness of the soot grains determines the final price.
04:52Then there's the binding agent, animal glue.
04:56Unlike most of its modern liquid ink counterparts, which use shellac, Sumi ink typically uses cattle glue.
05:03For the most expensive ink sticks, artisans sometimes mix in other types of glue, such as donkey, deer, and goat.
05:11Corbyn says this improves the ink's glossiness and texture.
05:17The company buys glue specially made for Sumi ink, which comes in a dry, board-like form.
05:24Artisans dissolve it by mixing it with 70 degrees Celsius water, which takes over an hour and a half.
05:31According to Corbyn, dissolving the glue slowly at a low temperature is key to producing quality ink.
05:53But animal glue can have a bad smell, so Sumi ink makers add fragrance like Borneol and musk to counteract it.
06:24The next step is to knead the soot, glue, and fragrance into a soft dough.
06:32The dough is kneaded every morning, by hand and foot.
06:40Toshitsugu takes care to knead it thoroughly so the soot and glue are evenly distributed.
06:47That way, the solid stick can eventually dissolve into homogenous liquid ink.
06:56Once he's properly kneaded the dough, Toshitsugu cuts it into balls and weighs them for consistency.
07:06Then he places the balls into moulds and uses a machine to press them into shape.
07:13Improperly kneaded dough results in ink sticks that don't produce rich colour.
07:43Corbyn makes about 6,000 of its smallest, highest-quality ink sticks a month.
07:54It employs a handful of artisans for this, and the ones tasked with kneading require the most experience.
08:02It takes five years to train as a Sumi ink craftsperson, but ten years before they're allowed to make high-quality ink.
08:12Corbyn produces almost 40,000 of its smallest Sumi ink sticks between October and April,
08:19when the cooler weather of winter ensures the glue can harden during shaping.
08:27But the work isn't done yet.
08:29Drying the ink sticks too quickly will cause them to crack, making them unsellable.
08:35So, artisans rely on a traditional technique using oak ash to slowly absorb moisture from the sticks over a long period of time.
08:44They start by covering the sticks in moist ashes.
08:48Each day, they swap yesterday's ashes with drier ones.
08:52They repeat this process for up to 40 days, until the ink sticks are about 70% dry.
09:05After, they hang the sticks with straw and air-dry them in-house for up to six months.
09:12Properly drying and maturing an ink stick takes at least four years.
09:17The longer the sticks dry and age, the better they perform and the more expensive they become.
09:24Corbyn itself has ink sticks that are hundreds of years old.
09:48Finally, artisans polish them and apply the finishing touches.
09:54Now, they're ready to be sold to calligraphers, like Sho Azakami.
10:00Calligraphers like Sho traditionally prefer ink sticks to liquid ink.
10:07Now, they're ready to be sold to calligraphers, like Sho Azakami.
10:13Calligraphers like Sho traditionally prefer ink sticks to liquid ink.
10:18But in order to write with a Sumi ink stick, he must first transform it into a liquid.
10:24This requires an ink stone and water.
10:27Sho adds a small amount of water and rubs the ink stick on the stone, breaking it apart.
10:33He mixes the two to make the liquid ink, adding more water or more dry ink, until he gets the consistency he needs.
11:03But not all Sumi inks provide him with the same writing experience.
11:34Ninety-five percent of Japan's Sumi ink is made here, in Nara Prefecture.
11:40Sumi ink production in Japan is said to have begun in the 7th century,
11:45when Chinese ink-making methods were introduced by monks.
11:49By the 14th century, Sumi ink use was flourishing in Japan.
11:54Though its primary use is for calligraphy, it's also often used for ink painting.
12:00And because Kobayen must age its ink sticks for several years before it can sell them,
12:05consistent production is necessary, or else its supply won't meet the demand.
12:10But that doesn't mean the company wants to ramp up its production.
12:31Kobayen strives to continue making calligraphy ink using the same techniques and of the same quality as its founders.
12:40Next, we explore the perfectly crafted calligraphy brush,
12:46a tool that translates the ink-stick maker's skill onto the paper.
12:51A high-quality brush gives a calligraphy ink its original quality,
12:56and allows the ink-stick maker to use it in a variety of ways.
13:02A tool that translates the ink-stick maker's skill onto the paper.
13:07A high-quality brush gives a calligrapher greater control over the ink,
13:11allowing them to showcase their mastery through precise lines and strokes.
13:18If a single hair is out of place on a high-end calligraphy brush, it must be removed.
13:24This intense attention to detail is part of why these brushes can cost over $1,000.
13:30You can find a beginner brush for less than $15, but for handmade brushes custom-designed
13:37for a master calligrapher, artisans spend months turning raw hair into a perfect brush
13:42tip.
13:43But what makes these brushes unique?
13:48And why are they so expensive?
13:54Calligraphy is a respected art form in Japan, and has been practiced for centuries.
14:00But today, there aren't many skilled brush makers left.
14:04Yoshiyuki Hata is a third-generation brush maker, and has been making calligraphy brushes
14:09since he was a teenager.
14:13His family's workshop in Kawajiri focuses on what they call no-compromise craftsmanship.
14:28Each brush tip is handmade by a single artisan.
14:33But making these brushes isn't easy.
14:36For a master calligrapher like Daizo Kaneko, small differences in a brush's hardness or
14:48ink retention can drastically affect the lines it can produce.
15:15The dozens of steps involved in brush making start with selecting the hair.
15:20Different types of hair have a big impact on the price of a brush.
15:24Yoshiyuki's specialty is one of the priciest – goat hair.
15:28This hair was collected 50 years ago, from the chest of Yangtze River Delta white goats.
15:35Hair from this specific breed of goat is classified as Type III hair, based on its size, luster,
15:41and elasticity.
15:43It's a highly sought-after hair for brush making because it's soft, yet durable, and
15:48retains ink well.
15:51But today, this type of hair is hard to find in large quantities, and can cost thousands
16:09of dollars per kilogram.
16:12Selecting high-quality hair is done entirely by eye, and it's one of the hardest skills
16:17for a new brush maker to learn.
16:36But this long process is just beginning.
16:40Once the hairs are chosen, they're boiled and combed to remove any fluff.
16:44This process separates straight, long hairs, which are ideal for brush making.
16:50One of the most time-consuming steps is aligning all of these hairs.
16:55This delicate work is key to making a uniform brush, but it's largely based on experience
17:02and instinct.
17:14Throughout the process, brush makers patiently remove any imperfect or damaged hairs.
18:02At this stage, Yoshiyuki's vision for a brush starts to take shape.
18:17After trimming, he wets the hair and combines different bundles to create a brush that is
18:22dense and durable.
18:27Then he dips the hair in Funori, an adhesive liquid made from seaweed, to hold the hairs
18:33together.
18:53The finished brush tip is almost unrecognizable from the raw hair.
18:57But the precise work isn't over yet.
19:02Once the hair dries, Yoshiyuki ties up the ends and burns each one with a hot iron, binding
19:07the hairs together.
19:10Any mistake here could ruin a month of work.
19:15Finally, it's time to assemble the brush.
19:21Like the brush tip, each handle is custom-made.
19:40This time-consuming process, along with the materials used, means these brushes can cost
19:46a hundred times more than a mass-produced brush.
19:50The price varies based on the size and type of brush.
19:53A larger brush requires more hair, which naturally increases the price.
19:59Hata Bunshindo brushes often cost around $1,300, but some brushes can cost a lot more.
20:15Despite the high price, these brushes are essential tools for calligraphers like Daizo.
20:21He followed in the footsteps of his father and grandfather, and has been practicing calligraphy
20:26for 20 years.
20:46Some brush makers mix natural and synthetic hair to make brushes more affordable, but
21:03Yoshiyuki remains committed to using only the highest-quality materials.
21:09Koso, Yoshiyuki's son, will be the workshop's fourth-generation brush maker.
21:34But like many traditional crafts, the future of brush making is unclear.
21:39Demand for handmade brushes is in decline.
21:43Some brush makers have started selling makeup brushes to bring in new customers.
21:47But the main concern for Yoshiyuki and his family is the lack of raw materials.
22:09Koso Hata is less optimistic about the future of calligraphy, but contemporary calligraphers
22:24like Vincent prefer to keep things traditional.
22:28The process of putting a handmade brush to hand-ground ink is a part of the meditative
22:33calligraphy experience.
22:36That sort of experience of having this relationship with this beautiful ink stick, beautiful ink
22:41stone, in turn, will affect that artist's energy as they're writing calligraphy.
22:45So I think all of these things play into one another in a way that's completely interconnected
22:50and just shares a really important and beautiful relationship through history.
22:54Kwon Hyuk-soo will spend hours sawing this natural red rock into the perfectly sized
23:08calligraphy ink stone.
23:21He sells his smaller ink stones for $750, but larger ones can cost more than $2,200.
23:31Some professional calligraphers prefer grinding their ink on an ink stone, even though they
23:36could use more affordable liquid ink.
23:40So what makes these ink stones so expensive, and why would calligraphers still use this
24:16The process of creating these expensive ink stones starts here, just 12 kilometers away
24:31from Hyuk-soo's workshop in Jincheon, South Korea.
24:35This is where he collects the red stone for his prized calligraphy ink stones.
24:50Hyuk-soo avoids stones that have been exposed to air, as they make for poor ink stones.
24:57It's important that the stone isn't cracked and the surface is as uniform as possible.
25:03The type of stone Hyuk-soo uses, Sangsanjasok, is only available here.
25:09When he finds a stone that meets all of his qualifications and is easy enough to lift,
25:15he heads back to his workshop in Jincheon.
25:20Now he can start the slow and grueling process of transforming it into a sellable ink stone.
25:31Hyuk-soo must first saw the stone into the size he desires.
25:36He does this the traditional way.
25:39No chainsaws or power tools, just physical force and a handsaw.
25:46To avoid injuring himself or damaging the stone, he secures it tightly.
25:58It's too hard to do alone, so Hyuk-soo's friend assists.
26:12They push and pull the saw until it's a little over an inch deep, where Hyuk-soo can begin
26:18to chip away at the parts he doesn't need.
26:25But manipulating this rock doesn't get any easier.
26:34Hyuk-soo's only tools are chisels, grinding stones, and brushes for dusting debris.
26:55He does every part of the process with his hands and shoulders.
27:09A beautiful ink stone is more valuable, so Hyuk-soo micromanages every step to make sure
27:17no flaws show up in the finished product.
27:21He flattens the bottom so it's perfectly level.
27:26Trying to fix it later will risk damaging the design he'll engrave into the other side.
27:34Most ink stones have three basic elements, a flat surface to rub the ink stick, a groove
27:41where the ink accumulates, and a border where artisans create designs.
27:46The flat grinding surface slopes into the collection pool, so the water and ground ink
27:52can flow easily.
27:54This shape is vital to the ink stone's functionality and value, so it must be perfected.
28:05After countless hours of chiseling and scraping, millimeter by millimeter, the surface is complete.
28:33Now it's time for the border.
28:36Today, Hyuk-soo is working on a relatively simple design, plum blossoms.
28:58He engraves every minute detail along the border.
29:04More intricate designs require more labor and time, so they're more expensive.
29:10But while the hardest part is done, Hyuk-soo says the ink stone is not yet worthy of a
29:16high price.
29:18That happens during polishing, which gives the ink stone its most important property,
29:23being smooth yet sharp.
29:26Hyuk-soo uses an abrasive stone and sandpaper to polish the ink stone.
29:32This creates an overall smooth look, but Hyuk-soo says the process also sharpens the outer layer
29:39of stone particles.
29:40That way, the stone can grind the ink stick into a fine powder.
29:49The sharpness of the stone particles directly impacts how well the ink stone performs, and
29:55in turn, its final value.
30:25Once he's satisfied with the result, Hyuk-soo applies lacquer for protection and longevity.
30:33The ink stone is now ready for sale and use by calligraphers.
30:45Vincent Chong is a contemporary calligraphy artist.
30:52They use ink stones and ink sticks for some of their work, even though liquid ink is popular
30:57with modern calligraphers due to its ease of use.
31:01The first thing that I think of is either the sound or the smell of grinding ink.
31:06Vincent says ink stones allow for a level of control that bottled ink can't offer.
31:14So using an ink stone allows you to really tailor the quality of the ink to exactly what
31:19you want to do, and it also just seems to work out better always.
31:26And whatever additional stuff is in a bottle of ink just isn't quite as nice on the paper.
31:32I think at this point you can sort of see that the laborious quality of this process
31:37creates some energetic or psychological feeling of preciousness with this little bead of ink
31:42that you've worked so diligently to produce, which I guess just makes, you know, just makes
31:48the experience feel more special.
31:51While Vincent isn't in the position to buy a multi-thousand dollar ink stone at the moment,
31:56it's something they aspire to.
31:58Yeah, I feel like it would give you this sort of energetic connection to another craftsperson,
32:02another artist.
32:04And in that regard, I think it just makes the experience a little more special, you know,
32:08because so much care has been taken on the part of that artisan just so that you can have this
32:14really special experience of your own, in your own art practice, of your own sort of
32:19creative, generative kind of practice.
32:26I guess that's a little bit scary to use something that's so precious, but I guess, I mean, it's
32:32funny because we're talking so specifically about rocks, and stones have been just around
32:37for such a long time, and humans have had this sort of fascination with them for such
32:41a long time, that treating them preciously feels really natural, but at the same time,
32:47you know, they have this life, and you should sort of allow them to engage with other parts
32:53of the physical world in a way that, I don't know, gives them the generosity that they
33:00deserve having been around so long.
33:11And make it invaluable to his work and craft.
33:41We don't have any moisture in here at all.
33:44It means that the stones don't absorb any water at all.
33:48Sangsanjasuk.
33:51Sangsanjasuk inkstones were considered a luxury product during the Joseon dynasty, which
33:57began around 1400, but production died down during the Japanese colonization of Korea
34:04in the 1910s.
34:06But Hyuk Soo, a third-generation master and one of four remaining inkstone artisans in
34:11Korea, is putting it back on the map.
34:35While much of the inkstone industry has been mechanized, Hyuk Soo believes the only way
35:03to keep Sangsanjasuk inkstones alive is by making them by hand.
35:08And for contemporary calligraphers like Vincent, this tradition is a constant source of inspiration
35:14as they make their own space in the long and continuing history of calligraphy.
35:21Being able to reconnect with the brush marks and thus sort of like the bodily gestures
35:27of artists of the past, I think, was restorative in a way that helped me feel connected
35:33to this artistic lineage and culture.
35:36Especially as queer and trans people, I feel like it feels so clear that our communities
35:42have been at the heart of artistic communities for all of human history, whether or not we've
35:48been erased, whether or not our stories have been passed down.
35:50So being able to sort of access those artists who maybe were queer or trans, but we just
36:01don't have those stories today.
36:03I think being able to access their work through calligraphy was sort of one of the things
36:08that drew me to the practice.
36:12Finally, calligraphers can't expect a flawless final piece without quality paper.
36:19China's Yuan paper, Japanese Washi paper, and Korea's Hanji paper are all designed
36:25to control ink absorption and withstand the test of time.
36:31This swampy mush is about to become some of the world's most expensive paper.
36:40At first, Hanji is barely visible, and once it emerges from this bath, it's delicate.
36:48But after it dries, Korean paper can last thousands of years.
36:54The most expensive version of a single sheet this size costs over $22.
37:01So what makes Hanji so long-lasting, and why is it so expensive?
37:12Kang Kapsok has been making Hanji for 45 years.
37:20The fibers he's washing were once the bark of a paper mulberry tree.
37:31Hanji is a versatile material that's prized within Korea.
37:38Today, it's used for everything from calligraphy to clothing.
37:43And because of its strength, institutions like the Library of Congress and the Louvre
37:48have used Hanji to restore centuries-old books.
37:53The secret to its strength are these long, web-like fibers
37:57and the traditional method of sheet forming.
38:01After boiling, bleaching, and painstakingly cleaning each fiber,
38:07it's time to head inside.
38:14Kang uses this machine to transform the tough fibers into a mushy pulp.
38:32Now, it's time to turn pulp into paper.
38:41Fibers flow across the bamboo frame and settle into transparent layers,
38:46almost invisible to the naked eye.
38:49But Kang sees what we can't.
38:53He knows the exact moment when a sheet is fully formed.
38:57After decades of papermaking, he's able to produce 350 sheets per day.
39:04The amount of fibers on a sheet and their direction
39:07determines the strength of the paper.
39:10Moving the frame in one direction aligns the grain.
39:14But the most expensive paper is made by agitating the fibers in multiple directions.
39:21This is slower, but it evenly distributes the fibers,
39:25yielding stronger paper.
39:27Each weight of paper requires a different amount of pulp,
39:31and Kang's experience is the key to getting good results.
39:42Careful sheet forming is important because the fiber structure
39:46determines how a paper holds up over time,
39:49especially if it's being folded.
39:51Kang says this process can take four years to learn.
39:56And he has to be careful, because at this stage, hanji is still delicate.
40:09He uses an automated pump to speed up the process,
40:12but it still requires close attention.
40:22Despite hanji's versatility, the ingredients are simple —
40:26water, fiber, and glue.
40:29Premium, conservation-grade hanji uses a natural glue made from hibiscus root,
40:35which disperses the fibers across a sheet.
40:39This type of hanji has a neutral pH,
40:42which is one of the requirements to be classified as permanent.
40:46In fact, one study found that hanji aged two to three times slower
40:51than paper from medieval Europe.
40:55For less expensive hanji, Kang uses a chemical glue.
41:00While Kang immerses himself in flowing water,
41:03the other side of the workshop is dedicated to the preservation of hibiscus roots.
41:09Kang uses a chemical glue made from hibiscus root,
41:13The other side of the workshop is dedicated to drying the freshly formed sheets.
41:19Yoon Chung-ae tears the crisp, clean hanji off a hot plate set to 88 degrees Celsius.
41:27She's been working with hanji for 40 years.
41:43She dries paper used for conservation at a lower temperature — around 40 to 50 degrees.
41:56After a lifetime of working with hanji,
41:59this process is the most time-consuming part of hanji drying.
42:03It takes a lot of time to dry the hanji,
42:05but it's a lot of fun to watch.
42:12Kang's passion for hibiscus has become muscle memory.
42:16Her horsehair brush is an extension of her hand,
42:20used to smooth out hanji without scratching it.
42:33This workshop used to be bustling with dozens of employees,
42:38but it's been downsized as demand has decreased.
42:54Artisans sell the most expensive hanji to institutions and museums that use it for conservation,
43:00like repairing pages in books or even fixing sculptures.
43:04But Kang says demand for this type of hanji isn't that high.
43:09It's also more expensive and labor-intensive to make,
43:13since he must beat the fibers by hand instead of pulverizing them in this machine.
43:19In Korea, hanji has been used for over a thousand years,
43:23but in the West, conservationists often train on washi paper from Japan.
43:29And while some Western institutions have recognized hanji's quality,
43:33widespread use abroad isn't common.
43:37Kang says he's stopped exporting hanji and only sells domestically.
43:42In recent years, the South Korean government has started initiatives to increase demand for hanji,
43:48but it will take time before artisans feel the benefits of these programs.
44:04I don't think hanji will be lost forever.
44:09But as a craftsman, there's a problem if I can't make money.
44:16I can't just make hanji and look at it. I have to sell it to make a living.
44:23Despite hanji's uncertain future,
44:26artisans like Kang continue to maintain this ancient craft,
44:31and many are working tirelessly to bring new uses and awareness,
44:35hopeful that the hanji industry can last as long as the paper itself.