THE PAINTER'S TOOLS
Handmade paper, writing brushes, inksticks, and inkstones have long been the tools of the Korean painter and calligrapher. Not only are these tools essential to traditional painting and calligraphy, but through their long history they have also come to possess special meaning for the Korean people.
In traditional society, these four tools were called “the scholar’s four friends” or “the scholar’s four treasures,” a sign of the respect accorded them as the essential companions of the literati class. In the context of the Confucian value system upon which the Joseon Dynasty (1392-1910) was based, the social status of the literati was second only to that of the monarch. It was the literati’s refinement that set them apart from other classes, and “the scholar’s four friends” were the symbols of this scholarly cultivation. Paper, brushes, ink, and inkstones were more than tools for artistic expression; they were symbols of lofty scholarly ethics, necessities for any Korean intellectual, and, in many cases, ostentatious status symbols.
The term hanji, or traditional Korean paper, refers to paper made by hand, generally out of the bark of mulberry trees native to the Korean peninsula, which is distinct from traditional Chinese paper or Japanese paper.
Hanji best expresses the Korean view of nature. When Oriental red coloring is applied to Korean paper, it does not merely sit on top of the paper; the white paper and red coloring are, in fact, united to become pink paper. This reveals Eastern harmony, or agreement, in a very material sense.
BRUSHES
The Korean use and basic conception of the brush are different from those of Western culture. For example, a wide variety of brushes, ranging in size, shape and texture, are used in Western oil painting, each expressing a distinct feeling. An Oriental brush, however, can express a broad range of emotions depending on the way it is used. An oil paint brush cannot imitate the way a single touch of an Oriental brush changes shading or color. The artist grips the top of the brush, and only the very tip of the brush touches the surface of the paper. The rest of the brush serves to transmit the artist’s energy to the paper.
INK
Koreans often say ink should be as clear and pure as a child’s eyes. The best ink is made by placing a small amount of water in the inkstone well and rubbing the inkstick slowly back and forth for a long time. One should only make as much ink as one will use in one sitting. Of course, the amount of water added depends on how the ink is to be used. More water is needed for ink used in shading.
INKSTONES
The role of the inkstone is very much like that of the ink. In fact, the inkstone was and still is the subject of much discussion among painters and calligraphers, who view it as an important tool and symbol of their work. A fine inkstone reflects the character of its owner.
