Chinese ink differs significantly from western ink in composition and ability to last. It does not fade when exposed to light. Ancient pictures and calligraphy retain their quality after centuries of being on display because of this. The proper use of Chinese ink, followed for centuries by Chinese artists and calligraphers, combines the use of ink sticks, ink stone, proper brushes and the right paper. The quality of ink made from an ink stick ground on ink stone is superior to liquid paint, giving homogeneous, luminous ink with an oily shine.
Make the ink. Pour a small amount of water in the ink stone and press the ink stick against it in circular motions. The ink becomes progressively blacker and thicker. Add a small amount of water if the ink becomes too thick to manipulate comfortably. Drip one drop of ink from the stick onto the rim of a white saucer. When the ink does not run down the saucer, it is ready to use.
Choose the correct paper for use with the ink. Chinese ink is typically used on rice paper or silk. Ancient paper was made from different materials, such as pulp and bark. Modern paper is generally machine-made and is classified according to weight and size. Rough-surface paper absorbs ink quickly. Smooth-surface paper resists ink. Both produce very different results. Before painting on silk, it must be treated with alum and glue, making it less absorbent than paper. Paper shows brush strokes better than silk.
Use brushes specifically made for Chinese ink. Though these brushes are similar to brushes used for western watercolor painting, they have a finer tip for dealing with a wide range of subjects and for producing variations in line that is required by different styles. These brushes are made to regain shape after each movement of pushing and bending. A good brush should have a fine tip that comes easily to a point. The long hairs that make up the brush tip should all have the same length and stay evenly together. No separate hairs should stick out. The brush must be resilient and able to react immediately to the pressure exerted by the artist or calligrapher. The body of the brush should be full and round. Use a softer brush for flower, leaf and bamboo painting. Landscapes and mountains respond well to the use of stiffer brushes.
