A History of Inkstones

Mi FuJun 2024

4.2

Word count: 4.2K words
Chapters: 30

Summary

Traditional Chinese thought and culture have a long history and are highly original, inventive, and literary. Early forms of thought are especially distinctive: religious theology, classical texts of Chinese medicine, ancient military strategy, Confucianism, Daoism, Buddhism and the Hundred Schools, feng shui and metaphysics, the Twenty-Four Histories, and local customs and geography—all are profound and extensive. This series, "Essential Classics of Chinese Traditional Culture: Original Texts," preserves the appearance of the original books, with emphasis on conserving and transmitting traditional Chinese thought and culture. By reading the literary essence left by ancient sages, readers can cultivate their temperament and subtly come to appreciate the classics of Chinese learning.

Editor's review

History of Inkstones is a monograph on inkstones by the Northern Song calligrapher and painter Mi Fu. Though brief among traditional catalogues of the scholar's studio, it has had a lasting influence. Taking the origins and grades of inkstone stone as its thread, the book describes the texture, color, grain, and handling qualities of stone inkstones from various regions, and also touches on inkstone making, connoisseurship, and authentication, reflecting Mi Fu's characteristic blunt evaluations and a painter-calligrapher's practical eye. Its value lies not in elaborating allusions but in offering workable criteria of judgment in an expert's voice—reading it is like hearing a master of brush and ink appraise inkstones face to face. This edition preserves the original appearance of the book and is suitable as a primary source for understanding traditional studio culture and the tradition of inkstone appreciation. It is best read alongside general knowledge of calligraphy and studio implements; one should not seek storytelling but rather attend to its empirical descriptions of stone and ink color. For general readers it is more like a concise connoisseur's notebook, to be dipped into while displaying inkstones or practicing copybook calligraphy, gradually savoring the ancients' fastidiousness and sense of propriety regarding objects.

Who it's for

A good fit for

Traditional culture enthusiasts interested in the Four Treasures of the Study and inkstone appreciation
Those studying calligraphy and painting who wish to understand the relationship between tool materials and ink color
Readers who collect or study ancient catalogues and texts

Not a good fit for

Readers expecting a systematic general history of inkstones or an illustrated encyclopedic catalogue
General readers who want only light, story-style books on Chinese learning

Reading tips

First read through the punctuated original text once, then use the annotations to sort out information on origins and grades.
Keep an inkstone or an inkstone illustration at hand for comparison, grounding the book's descriptions in actual observation.
Read alongside Mi Fu's other writings on calligraphy and painting to appreciate the consistency of his evaluative tone.

版权信息
提要
砚史
用品
玉砚
唐州方城县葛仙公岩石
温州华严尼寺岩石
端州岩石
歙砚婺源石
通逺军漞石砚
西都会圣宫砚
青州青石
成州栗亭石
潭州谷山砚
成州栗玉砚
归州緑石砚
夔州黟石砚
庐州青石砚
苏州褐黄石砚
建溪黯澹石
陶砚
吕砚
淄州砚
髙丽砚
青州藴玉石红丝石青石
虢州石
信州水晶砚
蔡州白砚
性品
样品

FAQ

What is History of Inkstones mainly about?

It mainly describes the origins, texture, color, and performance of inkstone stones from various regions, and also touches on inkstone forms and connoisseurial judgment. It is Mi Fu's evaluation of inkstones written in his capacity as a calligrapher and painter, concise in length and focused on practical experience.

Can I understand it without experience collecting inkstones?

You can grasp the gist. The book contains many technical terms, but its core is empirical judgment about stone and ink color; with annotations and photographs of actual inkstones, beginners can get started without prior collecting experience.

Is this book suitable as a calligraphy reference manual?

It leans more toward connoisseurship and evaluation and is not an operational manual. Calligraphy students can use it to understand the relationship between inkstone and ink, but specific purchasing and maintenance advice should still come from modern books on studio implements.

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About the author

Mi Fu Author · Chinese (Northern Song) · 1051–1107

Mi Fu (1051–1107), originally named Mi Fu (黻), courtesy name Yuanzhang, and known by the sobriquets Xiangyang Manshi and Haiyue Waishi, was a native of Taiyuan who later settled in Runzhou. A calligrapher, painter, and theorist of painting and calligraphy in the Northern Song dynasty, he is grouped with Su Shi, Huang Tingjian, and Cai Xiang as one of the “Four Masters of the Song.” His running script is especially celebrated for its firm, brisk brushwork and distinctive personal style. His writings cover calligraphy, painting, and inkstones: the Shushi and Huashi discuss the origins and evaluation of works across the dynasties, the Haiyue Mingyan sets out his views on calligraphy, and the Yanshi focuses on the material qualities and use of inkstones; other titles include the Baojin Yingguang Ji and the Baozhang Daifang Lu. Among his surviving works, the Shusu Tie and Tiaoxi Shitie are the best known. Mi Fu's creative practice and theory together had a lasting influence on later connoisseurship and the model-book tradition; public sources on the details of his life are limited.