Hozan Nagura

Circular Inkstone

  • Inkstone carving
  • Presented in 2004
  • H 3.3 x W 24.5 x D 24.5 cm
  • $6,289

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Stone material is made by hundreds of millions of years of sedimentation, elevation and sinking. Energy from the sun, land, sea, and mountains, trails of light, waves and the wind, and adoration towards space are in the base of my artwork. By making the border line of the bokudo ( the flat surfaced part where the ink stick is rubbed on) and the bokuchi (where the liquid ink and water is stored) indistinct, the ink can be made more smoothly. At the same time, a little ocean and land space is created in the small ink stone, inflaming one's imagination within the round shape. The double-lined rims that prevent the liquid ink from spilling express delicacy and dignity.

Category Inkstone carving
Year Presented 2004
Dimensions H 3.3 x W 24.5 x D 24.5 cm
Materials Homei Stone (Aichi Prefecture, Horaiji Mountain)
Exhibition The 51st Japan Traditional Kōgei Exhibition

  • Inkstone carving

    Inkstones are used in brush calligraphy to grind the ink for writing characters. Inkstones are highly valued writing tools, and the process of ink grinding is regarded as a calming practice preceding calligraphic activities. First, the rough shape of the inkstone is cut out of the base rock. Next, a long-handled chisel is used to cut a flat surface where the ink will be ground and a well where the ink will gather. The final form is coated with a finish of wax or lacquer. Popular varieties of stone include Amehata slate (amehataishi) from Yamanashi prefecture, akamaishi schalstein from Yamaguchi prefecture, and hōmeiseki shale and slate from Aichi prefecture.

Hozan Nagura

photo Hozan Nagura

As stone materials I use kimpo-seki, engan-seki, and homei-seki, collected around Kadoya, and the suzuri (ink stone) made of these three types of stone are called “Horaiji Suzuri.”  Not only do I want to improve and cultivate the techniques handed down by my predecessors, and pass them on to the next generation, but I also want to develop suzuri from a simple calligraphy utensil to a work of art as a “vessel imbued with heart” that expresses the spirit and aesthetic sense of the Japanese people. I do not want to just follow a Chinese style, rather I aim to elevate the value of suzuri toward a new cultural and artistic domain of Japanese style; with this hope, I carry out my day-to-day production.