Imre Jakabffy (szerk.): Ars Decorativa 8. (Budapest, 1984)

CHIA-JEN KECSKÉS, Lily: Art and connoisseurship of the ink

to surround themselves with beautiful things; there can be no doubt, however, that it originated from magic considerations."

18 He further stated that theories about yang-sheng (nurturing life) had determined form and substance of these writing accessories, which in turn had created an ,,aura that strengthens the vitality of the man who is in constant tough with them and thus lengthens his life and increases his potency"

19 Ink was also a symbol of social status, literary refinement, and aesthetic taste. A total of 448 famous inkmakers are listed in Lu Yu's Mo-shih (History of Ink) and Ma San-heng's Mochih (Records of Ink) from the earliest time to 1637. The number, comparing to that of a handful known sculptors or other craftsmen up till the ninteenth century in China, indicates the great popularity of ink and respect for inkmakers. It also tells the multiple talents of Chinese scholars and artists. Already in Chou dynasty (1027— 256 B. C.) a Chinese noble man was expected to be proficient in ceremonial rites, music, archery, chariot driving, writing and oratory. By the Sung dynasty the wen-jen (literati) were engaged in poetry, painting, calligraphy and music, three of which were related to writing or painting with ink. Very often an accomplished scholar, poet, painter or calligrapher was at the same time an inkmaker or collector. A man of knowledge often made great efforts to recognize good quality inks before acquisition. Ink made of pure pine soot was always believed to be of the best quality. But in later centuries collectors also collected lampblack ink cakes. Their taste may differ. Some preferred ink with fragrance, other the shining color, or the exquisite form. An ink appraiser also tried to identify the designer, the woodcutter and the contributor of the calliJl a 1 6) CYLINDRICAL INK BOX made of carton with a scroll attached to it. The simple painting of orchid is accompanied by the collector's calligraph and his signature, Wen-k'uei. The poem, an eulogy of the quality of ink apparently is from a different hand. Inv.-Nr 58.46. graphy in order to decide the value of the ink. The durability was also one of the criteria for good ink. Before writing one must learn how to grind ink on an inkslab, as improper grinding may cause damage to the ink. The rubbing should be a slower motion. The liquid should not stay too long on the slab, it could gather dust and ruin the quality of ink. The appreciation for ink both for its technical and aesthetic values has persisted in the course of its development. Poets have found inspiration from ink; painters substituted ink for colors, using ink as if it were five colors. Even after the mass production of ink eventually led to the decline of ink quality, one still finds many Chinese with nostalgic feelings towards fine ink and things related to ink. They would still fully understand Li Po's uplifted feeling after receiving an ink cake from a friend. They would also join in 151