Four Ink and Brush Catalogs

Author: Ye Gongchuo, Zhang Jiebo, Zhang Zigao, Yin Runsheng
Country: Mainland China
Publisher:
Publishing Date: 2006-04-01
Features: Ink is one of the unique "Four Treasures of the Study" in China. It emerged in the early 10th century during the Five Dynasties period due to the need for cultural exchange. Over time, skilled artisans emerged, and the quality of ink became increasingly refined. Moreover, because scholars and officials not only used ink but also participated in its design, production, and collection, ancient ink became both a cultural tool and an extremely precious cultural artifact. It carries profound meaning, exhibits exquisite craftsmanship, and embodies perfect, elegant artistry. Recently, I have gained new insights into ink: it possesses a near-magical charm that captivates people, or one might call it "those who are close to ink are captivated by it." Su Shi's poetic descriptions of "ink obsession" refer to the "ink-filled rooms" of ink enthusiasts, and similar figures have appeared throughout history. The reprinting of this book across centuries is also a testament to the charm of ink. The four authors of this book, despite their vastly different backgrounds, experiences, and professions, were strangers who came together through their shared passion for ink, forming a close bond and working in perfect harmony—a reflection of ink's magical allure.
The past is like smoke, yet the memories of the four authors' expressions, laughter, and demeanor remain vivid. From the 1950s to the 1960s, they would gather two or three times a month to discuss ink, admire its wonders, and analyze its mysteries. Beyond observing physical specimens, they referred to historical records and ink catalogues, meticulously studying and exchanging opinions. Though each had their own unique perspectives, they respected one another deeply and shared a profound friendship.
Recalling those times, the publication of A Catalogue of Ink by Four Collectors was no small feat, involving the planning of its format and funding, as well as the entire editing and publishing process. Yet, the work was completed in an exceptionally harmonious atmosphere, demonstrating their shared purpose. Their unity lay in cherishing the cultural heritage of their homeland, sharing a patriotic fervor, and aspiring to carry the responsibilities of their era, bridging the past and the future. Their alignment in values stemmed from dedicating their passions and efforts to their country and future generations.
Today, the art of collecting cultural relics has become commercialized. Reprinting this book is not only a solace and tribute to the spirits of the four authors but also a valuable reference for those who follow in the ink world.
Ink is one of the unique "Four Treasures of the Study" in China. It emerged in the early 10th century during the Five Dynasties period due to the need for cultural exchange. Over time, skilled artisans emerged, and the quality of ink became increasingly refined. Moreover, because scholars and officials not only used ink but also participated in its design, production, and collection, ancient ink became both a cultural tool and an extremely precious cultural artifact. It carries profound meaning, exhibits exquisite craftsmanship, and embodies perfect, elegant artistry. Recently, I have gained new insights into ink: it possesses a near-magical charm that captivates people, or one might call it "those who are close to ink are captivated by it." Su Shi's poetic descriptions of "ink obsession" refer to the "ink-filled rooms" of ink enthusiasts, and similar figures have appeared throughout history. The reprinting of this book across centuries is also a testament to the charm of ink. The four authors of this book, despite their vastly different backgrounds, experiences, and professions, were strangers who came together through their shared passion for ink, forming a close bond and working in perfect harmony—a reflection of ink's magical allure.
The past is like smoke, yet the memories of the four authors' expressions, laughter, and demeanor remain vivid. From the 1950s to the 1960s, they would gather two or three times a month to discuss ink, admire its wonders, and analyze its mysteries. Beyond observing physical specimens, they referred to historical records and ink catalogues, meticulously studying and exchanging opinions. Though each had their own unique perspectives, they respected one another deeply and shared a profound friendship.
Recalling those times, the publication of A Catalogue of Ink by Four Collectors was no small feat, involving the planning of its format and funding, as well as the entire editing and publishing process. Yet, the work was completed in an exceptionally harmonious atmosphere, demonstrating their shared purpose. Their unity lay in cherishing the cultural heritage of their homeland, sharing a patriotic fervor, and aspiring to carry the responsibilities of their era, bridging the past and the future. Their alignment in values stemmed from dedicating their passions and efforts to their country and future generations.
Today, the art of collecting cultural relics has become commercialized. Reprinting this book is not only a solace and tribute to the spirits of the four authors but also a valuable reference for those who follow in the ink world.