Back in the days when inkstone and inkstick were a necessity as writing tools in Asian culture, a wooden inkstone box was equipped with a complete set of writing tools, including an inkstone, brush, inkstick and water droplet. However, as times have changed, pencils and pens have become more accessible, therefore, fewer and fewer people carry an inkstone box in Japan today.  

In ancient China, the room or home office of a scholar was called a Bunbou (a study), and the four most important tools used by the scholar, which is the brush, inkstick, inkstone and paper, were called the Bunbou-Shihou (Four Treasures of the Study). In 2024, Kuretake came up with a new series called  BUNBOU-GOHOU (Five Treasures of the Study), including a glass pen, which originated in Japan, as an addition to the four treasures. 

Back in Yamato Province (present-day Nara Prefecture), it was once the political and cultural center of Japan. Although the capital has relocated, Nara remains a strong influence of Tang and Buddhist culture and the Sumi ink-making techniques have been passed down to the present day.

Kuretake was founded in 1902 as a Sumi ink manufacturer in Nara, Japan. They began developing calligraphy products based on the concept of bringing the best quality to daily life with the aim of not only passing on the art of Sumi ink-making but also broadening the greatness of Japanese craftsmanship throughout the world. 

Therefore, the BUNBOU-GOHOU set features a collection of writing tools that combines Japanese aesthetics with sophisticated designs suited for modern lifestyles.

With this set, you can now experience writing through your five senses from the grinding sound of the Sumi ink and the feel of the materials to the texture of the Washi paper through the brush tip.

 

BUNBOU-GOHOU (Five Treasures of the Study)
– Product Description

From inkstick, inkstone, brush, glass pen to wooden tray, each item is carefully handcrafted by artisans from strictly selected materials. Here are some of their features.

◾️Sumi Inkstick 

Kuretake Co.,Ltd.
Koboku “Sho-toku” (Vintage Inkstick)

Production: Engraved by Sumi ink artisan, Genshin Yonetani (Kuretake / Nara Prefecture) 

Size: 1.8 cho type (75mm × 20mm ×9mm)
Type / Ingredient: Pure pine soot ink / made from the soot of a pine tree with ultra-fine particles (Wakayama Prefecture)
Production year: 1989, deep winter (smoke collected in 1940)
Characteristics: Brownish ink shade with a gentle depth

The process of Sumi ink-making begins with the preparation of a wooden mold, in which Sumi ink balls made of soot, glue, and incense, are placed to dry.

The pearwood used for Sho-toku's wooden mold is pretty firm so that the ink does not warp from its original dimensions even when the mold absorbs the moisture from the ink balls, thus allowing the creation of precise designs.

◾️ Inkstone

Houkendou Corporation

Beautiful mortar-shaped inkstone and case

Production: Made by inkstone artisan, Takashi Aoyagi (Houkendou / Tokyo・Miyagi Prefecture)

Inkstone material: Gensho stone (made in Miyagi Prefecture)

                               ・Thin but durable

                               ・Excellent quality for grinding ink

Shape: Round

Feature of inkstone: Slightly curved, mortar-shaped

The difference between this inkstone and the conventional one is that it comes in a mortar shape, with the Bokudou (sumi hall or the rubbing part) curving slightly toward the center. This design allows the ink to gather in the center of the stone, making it easier for the glass pen to absorb the ink.

The Gensho stone used for the inkstone is produced in Miyagi Prefecture, one of the most famous inkstone manufacturing sites in Japan. It is durable, great for rubbing ink and producing beautiful ink shades. It is one of the most common materials used in Japanese inkstones.

To combine functionality and beauty of form into our modern lifestyle, inkstone artisans came up with one of the oldest and most ergonomic in the history of inkstone making, the round design.

Surface of the inkstone

◾️ Brush

Sugiura Seihitsujo   Toyohashi Brush

Production: Made by traditional craftsman, Yoshimitsu Sugiura (Sugiura Seihitsujo / Aichi Prefecture)

Bristle / Hair: Tail hair of weasel

Handle: Plum tree (made in Japan)

In most places, multiple craftsmen are involved in producing the bristles, however, Toyohashi brushes are handled by a single artisan.

The key component of a brush is the bristle and the main material used for creating Toyohashi brush is the sable hair, which is very difficult to obtain nowadays.

Bristles made of sable hair have a good grip and excellent ink absorption while allowing the brush to create smooth strokes. The elasticity and sharpness of the tip make it suitable not only for writing kana (Japanese syllabary) and kanji (Chinese characters) but also for painting, such as drawing rich, flowing lines.

The brush handle is made of Japanese plum tree branches, and the more you use it, the more beautiful and shiny the pattern of the bark will become. The unique curves of the branch will fit in your fingers and allow you to move around at ease which can be said to be a gift from nature!

◾️Glass pen

Glass Studio Kasho

Production: Made by Yoshitaka Tajima (Glass Studio Kasho / Fukui Prefecture)
Pen nib / Number of grooves: 10
Pen nib / Tip shape: Hemispherical 
Handle and brush holder: Cherry blossom (Mt. Yoshino / Nara Prefecture)

*The product is crafted from fallen cherry blossoms that were discarded during a typhoon in 2018, provided by Mt. Yoshino Conservation Association.

Logging wild cherry trees in Mt. Yoshino is prohibited except for preservation purposes.

  

The glass pen is a writing tool that originated in Japan in 1902 during the Meiji Era. It was created by a wind bell craftsman in Edo (present-day Tokyo). 

To use it, simply dip the nib into ink, while in fact, the nib filled with plenty of ink can last longer than you imagine. The secret of this functionality lies in capillary motion. The ink is drawn up through the grooves in the nib, allowing you to write without any dripping.

The number and shape of the grooves in the nib play a significant role in how long the ink lasts. A typical glass pen has 8 to 12 grooves, and the larger the number, the more the ink can be held. The standard design of 10 grooves is developed through trial and error, balancing both aesthetic beauty and the functional art of glassmaking.

Furthermore, the writing feel is deeply connected to the finishing and polishing process of the nib. It is carefully shaped into a hemispherical design, resulting in a smooth and fluid writing experience.

The amount of ink that falls from the nib varies depending on the angle at which the pen is held and the speed of writing, making it possible to draw bold and distinctive strokes.

◾️Washi Paper

Fukunishi Washi Honpo　Yoshino Washi　

Production: Made by traditional craftsman, Masayuki Fukunishi (Fukunishi Washi Honpo / Nara Prefecture)

Raw materials: Kozo (mulberry), white clay

Drying method: Under the sun (with a drying board)

Characteristics: Strong and flexible, good for preservation

Dosa sizing : None / raw 

Amount: 30 sheets

The materials for Fukunishi Washi Honpo's handmade washi paper are Kozo (mulberry) and Hakudo (white clay) that are cultivated in the fields of Yoshino.

The long and strong fibers of Kozo pulp combined with the mixture of white clay, enhance the paper’s translucency, insect repellency and anti-staining (anti-oxidation) properties, resulting in a paper that is both firm and flexible, making it ideal for preservation.

Traditionally, this type of washi paper is mainly used for Urauchi backing and restoration. However, it has recently gained popularity for a broader range of applications in calligraphy, crafts and fine arts.

Left: The back of the paper after applying ink. Other than the first strokes, which typically contain the most ink, there is minimal visible bleed. 

Right: The front of the paper. Visible long Kozo fibers are evenly spread.

The inheritance of the traditional production and methods, the cultivation of raw materials and the paper-making process are all conducted in Yoshino. 

During the drying process, the paper is placed on wooden boards and dried in the sun. This gradual drying leads to the fibers of the paper contracting, resulting in strong washi paper.

The BUNBO-GOHOU includes thick, postcard-size washi paper that effectively prevents color fading, 

even when used with painting techniques that involve a lot of water such as ink blotting and bleeding.

Therefore, we hope this carefully made Udagami paper by skilled craftsmen can bring you new inspiration!

◾️ Wooden Case

WOODWORK

A beautifully designed inkstone case and wooden tray that prioritizes practicality without compromising style

Production: Made by Masaya Fujimoto (WOODWORK / Tokyo)

Products: Inkstone case, wooden tray (the tray for displaying the set)

Material: Ash wood (inkstone case and tray)

Coating: Oil finish

The round case that holds the inkstone is designed to utilize the storage while ease of use during ink rubbing. Achieving a perfect fit for the stone requires the expertise of a skilled craftsman who understands the unique characteristics of wood.

The wooden tray for placing the tools is thoughtfully designed, combining aesthetics with practicality.  For instance, the grooves along the sides allow for easy lifting of the tray, providing a stylish design while ensuring stability. 

Moreover, the oil finishing on ash wood preserves the natural texture of the grain and the color deepens over time, enriching the overall appearance.

Other than the five items introduced above, a glass vessel and a glass bottle with a dropper are included in the set too.

The glass vessel can be used as a bokusho (ink well) to store freshly rubbed ink and the glass bottle can be filled with water for use with the dropper.

*Please note that the color, shape and size of products made of natural materials may vary from piece to piece. 

◾️Packaging and Other Accessories

The packaging for holding the set is made in Japan as well. 

Left: Double-layer Box (Wakayama Prefecture)
Right: Kokura Furoshiki Wrapping Cloth (Fukuoka Prefecture)

BUBOU-GOHOU comes in a double-layer box with an original logo while wrapped by a piece of Kokura Furoshiki wrapping cloth. 

Kokura-ori (or Kokura weave) was first created in what is now Kitakyushu City in Fukuoka Prefecture during the Edo period when cotton began to be widely used in Japan. The weaving style is highly valued in its durability, thickness and soft texture which was even found and documented in one of Tokugawa Ieyasu's heirlooms, demonstrating its importance. 

The sharp vertical stripes are derived from its unique weaving method.

This high-quality and sustainable Furoshiki wrapping cloth is designed to last for a long time.

How to Use・How to Store

◾️ Inkstone

【Rubbing inkstick with the instone】

For newly-purchased inkstone or the one that hasn't been used for a while, please soak it in water before use. 

① Add Water

Add a small amount of water to the hill (the flat part) using a water dropper. 

② Rub the Ink

Begin rubbing the inkstick in a circular motion or by moving the stick back and forth gently until you feel the ink thicken as it dissolves.

③ Add More Water.

Gradually add more water to the mixture. For thicker ink, it's best to add water a little at a time.

Repeat steps ① to ③ until you achieve your desired consistency.

You can use the brush directly on the ink on the inkstone, but if you have a lot of ink, use a larger brush than the inkstone, or want to draw it in light ink, or if you want to draw it with light ink. Please transfer the ink to the bowl or picture dish.

If you are polished for the first time, please refer to this video.
In addition, the basic information of inkstone is also posted in the special article of Sankei Inkstone and the Inkstone, so if you are interested, please take a look.

While you can dip your brush directly into the ink from the inkstone, it is advisable to transfer the ink to another vessel or plate if you plan to use a large amount. This is especially important if you're using a brush that is larger than the inkstone or if you need to adjust the shade of the ink.

For beginners, feel free to take a look at the following tutorial video on how to rub a Sumi inkstick. 

You may also refer to the articles below for more basic information on inkstones.

 

【How to Clean Your Inkstone and Inkstick／Things to Note】

Inkstones are designed to be durable and can last a long time with proper care. Below are some useful tips for handling your inkstones and inksticks, taking into account the unique characteristics of each tool.

・ Inkstone

Wash your inkstone immediately after use with room temperature or warm water and make sure there’s no ink remaining. Since the stone is very delicate and can be easily scratched, remember to remove the ink by gently rubbing the surface with your fingers or a soft material like a sponge, brush or cloth. 

Keeping the inkstone clean enhances the performance of the inkstick and allows for better ink production. After drying the inkstone, store it in a box or case to protect it.

• Inkstick

Wipe the wet inkstick with a paper towel or something similar to prevent the tip from cracking.

After that, place the stick on an inkstone and let it dry before putting it back in the case.

◾️ Brush

【How to Prepare a New Brush／How to Use】

A new brush is usually hardened with glue. Therefore, it is important to remove the glue and loosen the bristle before using it. There are a few ways to prep your brush so pick the one that best fits your needs.

What to prepare: A palette or a plate, lukewarm water and a soft cloth or paper.

・When Using Only the Tip of the Brush

If you only plan to draw or write in fine lines, it’s best to just loosen the tip of the brush. Keeping the rest of the bristles hardened will help you maintain a stable line.

The thickness of the characters and the style of writing will vary based on how much of the brush tip you loosen. When using a thin calligraphy brush for kana characters or small letters, it is common to remove the glue from just the tip of the bristles. However, the method can vary depending on the strokes you wish to create and the quality of the brush hair.
① Soak the brush in lukewarm water from the tip of the brush to about ⅓ of the way down.

②Carefully loosen the tip of the brush with your fingers little by little (only the part that you want to remove the glue).
③Place the brush tip on a piece of paper or cloth and wipe off the water while rotating it.

・When Using the Entire Bristle
If you plan to write or draw with a lot of ink, or depending on the quality of the hair and the purpose of use, you may loosen the whole bristle.

This is the most common way to prep a large brush: 
①Soak the brush tip in lukewarm water.

②While soaking it, carefully remove the glue with your fingers starting from the tip to the base of the bristle.

③Remember to remove the glue thoroughly including the inner part of the bristle.

④Wipe off the water with paper or cloth.

【How to Store／Things to Note】

・For Brushes that are Only Prepped at the Tip:

Gently place the tip of the brush on slightly damp paper and wipe off the ink while allowing the paper to absorb it.

Be careful to apply gentle pressure; too much force or excess water can remove the glue from the hardened part of the brush, causing the bristles to loosen and potentially damaging the brush tip.

・For the Brushes that are Fully Used

Wash the brush with lukewarm water before the ink hardens. It is best to rub from the base of the bristle with your fingers so that no ink remains.

Moreover, using pet shampoo will remove excessive ink too.

After drying the brush with a cloth, hang it from the handle and let the bristle face down.

*If you have the bristle facing up while drying, the moisture will accumulate at the base of the bristle, causing the handle to crack or splinter, especially if the handle is made of wood or bamboo.

◾️ Glass Pen

【How to Use a Glass Pen】

① Dip the pen from half to ⅔ of the tip in Western ink or Sumi ink.

② Hold the glass pen in the same way you hold a pen.

③ Tilt the nib at a 45-60 degree angle to the paper and write with the nib slightly laid down.

When using a large amount of ink, it’s best to use a container with some depth to make dipping easier. 

The amount of ink you put on the nib will determine the amount of writing you can do. If you accidentally apply too much ink, use a piece of paper to absorb the excess.

Please handle the glass pen with care, as it can break if dropped, hit against a hard object, or if too much pressure is applied while writing. When not in use, place the pen on a brush holder or tray, and keep it on a flat, stable surface.

【How to Clean a Glass Pen／Things to Note】

If you plan to change colors or to take a rest from writing, gently wipe off the ink with a soft cloth or paper before the ink hardens. 

Wash the pen in room temperature or lukewarm water, then remove the moisture with a cloth or paper after use before putting it back in the case. 

Please note that once the ink hardens, it will be very difficult to remove the ink from the grooves of the nib.

We hope you can expand your art practice even more deeply by using the Sumi ink, brush and glass pen from the Bunbou Gohou set, along with a variety of other papers and art materials!

For instance, you may find a new drawing style by using colored inksticks like Saikaboku, Saiboku or Shuboku on different types of paper.

At PIGMENT TOKYO, we offer two types of bamboo washi art paper: one for Suibokuga (Japanese ink painting), which is ideal for blotting and blurring; and the other for watercolor painting, which is pre-sized to prevent bleeding.

* A white ceramic inkstone is recommended for colored inksticks like Saikaboku, Saiboku or Shuboku.

Ceramic Round Ink Stone or Hakutouken (Ceramic Ink Stone) allows the ink to be more visible.