The invention of the inkstone, which is used along with water to grind hard inksticks into liquid ink, was a milestone in the development of China's literary culture. The inkstone became an indispensable tool of every scholar and calligrapher in China, and ultimately itself became an item of artistic appreciation. The invention of the inkstone, which is used along with water to grind hard inksticks into liquid ink, was a milestone in the development of China's literary culture. The inkstone became an indispensable tool of every scholar and calligrapher in China, and ultimately itself became an item of artistic appreciation.

Today, Chinese calligraphers still grind ink in much the same manner as was done several millennia ago, and antique collectors throughout Asia pay hefty prices for valuable old specimens. Ballpoint pens and computers have yet to relegate the inkstone to the same fate as the stone tools of China's early ancestors. Today, Chinese calligraphers still grind ink in much the same manner as was done several millennia ago, and antique collectors throughout Asia pay hefty prices for valuable old specimens. Ballpoint pens and computers have yet to relegate the inkstone to the same fate as the stone tools of China's early ancestors.

The inkstone, together with the inkstick, writing brush, and paper, are collectively known as the "four treasures of the scholar's study.'? The development and us_ of the inkstone is closely related to the other three, esp_cially the inkstick. Writing ink in China was not manufactured in liquid form from plant dyes, as was common in (kcidental countries. Instead, the soot from burning pine logs was col}eeted over a screen, mixed with a natural resin, and then hung to dry. The hardened inkstick, which could vary in size and shape depending on the moldThe inkstone, together with the inkstick, writing brush, and paper, are collectively known as the "four treasures of the scholar's study.'? The development and us_ of the inkstone is closely related to the other three, esp_cially the inkstick. Writing ink in China was not manufactured in liquid form from plant dyes, as was common in (kcidental countries. Instead, the soot from burning pine logs was col}eeted over a screen, mixed with a natural resin, and then hung to dry. The hardened inkstick, which could vary in size and shape depending on the mold used prior to drying, was then ready for use, awaiting a calligrapher to grind it on an inkstone's abrasive surface.

Practically speaking, an inkstone should possess certain qualities. Beyond the aesthetic appeal of the stone's shape itself, there are several other important criteria. The first concerns effectiveness. Since inksticks do not dissolve upon contact with water, they need to be ground upon a suffficiently abrasive surface. An attempt to grind ink on a poor inkstone can be as fruitful as trying to squeeze water from a stone. Yet if the surface is too abrasive, it can easily damage the delicate animal hairs of the writing brush when it is drawn through the ink. The best stone will provide the proper degree of abrasiveness, nothing more and nothing less. Practically speaking, an inkstone should possess certain qualities. Beyond the aesthetic appeal of the stone's shape itself, there are several other important criteria. The first concerns effectiveness. Since inksticks do not dissolve upon contact with water, they need to be ground upon a suffficiently abrasive surface. An attempt to grind ink on a poor inkstone can be as fruitful as trying to squeeze water from a stone. Yet if the surface is too abrasive, it can easily damage the delicate animal hairs of the writing brush when it is drawn through the ink. The best stone will provide the proper degree of abrasiveness, nothing more and nothing less.

It is equally important that once the ink is ground, it does not evaporate quickly from the surface of the stone. It is not unusual to see an experienced calligrapher blowing lightly on the surface of an inkstone, much as one would do before cleaning a camera lens, in order to test its quality. The longer the condensed breath remains visible on the stone's surface, the better it is. If such a method seems somewhat less than scientific, it nevertheless is one still used today. In fact, although the inkstone has undergone several changes over the centuries, the basic practical evaluations of its quality remain unchanged.It is equally important that once the ink is ground, it does not evaporate quickly from the surface of the stone. It is not unusual to see an experienced calligrapher blowing lightly on the surface of an inkstone, much as one would do before cleaning a camera lens, in order to test its quality. The longer the condensed breath remains visible on the stone's surface, the better it is. If such a method seems somewhat less than scientific, it nevertheless is one still used today. In fact, although the inkstone has undergone several changes over the centuries, the basic practical evaluations of its quality remain unchanged.

In an attempt to satisfy both practical needs and aesthetic tastes of calligraphers and collectors over the years, many different materials besides stone were used in the manufacture of inkstones, including ceramic, jade, lacquerware, bronze, and iron. However, stone and ceramic were the common material of choice, being most suitable for the practical task of grinding ink. Inkstones made of jade and lacquerware often were aesthetically pleasing, but not sufficiently abrasive.In an attempt to satisfy both practical needs and aesthetic tastes of calligraphers and collectors over the years, many different materials besides stone were used in the manufacture of inkstones, including ceramic, jade, lacquerware, bronze, and iron. However, stone and ceramic were the common material of choice, being most suitable for the practical task of grinding ink. Inkstones made of jade and lacquerware often were aesthetically pleasing, but not sufficiently abrasive.