Oriental Mystery: Chinese Ink Stick
AWARDS & ACHIEVEMENTS -29th International Young Designers' Exhibition: Silver medal in Graphic Design Category and Special Judges Prize -Interviewed by the successful graphic designer, Xiao Qing-yang -Included in "100 Cool Designs", published by Bookzone -Exhibited in "Design for Asia Awards, 2010" , Hong Kong
In order for more people to learn about the vanishing Eastern tradition of handmade ink sticks, I decided to create a set of cultural gifts for my senior graduation project, with the title "Oriental Mystery: Chinese Ink Stick ( 'Black Soil' as the Chinese title)". Through one of Taiwan's last handmade ink masters, Chen Jia-de, I hoped to showcase this vital cultural asset which is gradually being forgotten. I wanted to present ink sticks, the most important of the ‘Four Treasures of The Study’ (writing brush, ink stick, ink stone, and paper) in ancient China, to a wider audience as gifts which embody unique cultural elements.
As recorded in Shugu Shufa Zuan, "Xing Yi was the first creator of ink. Characters were formed from black soil, a mixture of soot and soil." Thus, I titled this project Black Soil. The invention of ink sticks was what enabled clear historical records in books, which is why these ink sticks were repackaged in six different book binding methods infused with a modern twist. "As one grinds ink, ink also grinds one down." In the past, people sought clarity of mind and spirit through grinding ink, grinding away their worries through this Zen-like philosophy. Cui Xi's Six Natural Principles were used to express six rhythms present in ink making, demonstrating an ideal attitude towards life. Handmade paper and Japanese handmade art paper were utilized as packaging materials, conveying a passion and insistence for handcrafted materials. My own artistic creations were incorporated on the interior of this packaging, demonstrating and expressing various ink forms through modern techniques. These elements synergized with the soul of the project, Master Chen's handmade ink sticks, to complete the overall design concept.
Book 1｜MASTER｜The first packaging method: Scroll Bound
At the start of continuing this culture and tradition, the principle of being "comfortable when alone" from the Six Natural Principles is used to illustrate Master Chen. When the scroll is unraveled, the photos and notes I kept throughout interviews during my senior year with Master Chen depict a pair of ink masters through unique black and white photos and ink colored images. The piece focuses on Master Chen, one of the few remaining ink masters in the nation. The body of the scroll hosted his most representative creation, Hand Molded Ink.
Book 2｜TOOLS｜The second packaging method: Thread Bound
Master Chen once stated that, "the suppleness of ink dough and firm mold are perfect representations of Ying and Yang". We will only find joy when we treat life and others with this degree of harmony. Thus, "treating others with sincerity" relates to vital tools found in ink making. In terms of graphical design, this form of packaging included an array of floral x-rays in inverse ink tones while Feisuo Ink was embedded in the middle of the book.
Book 3｜MATERIALS｜The third packaging method: Deckle-edged Bound
Materials were carefully selected so that each wonderful raw material was utilized in the most appropriate manner. This pure, simple texture is what spurred everything. "Clear minded when unoccupied" is a good analogy for the texture of ink sticks. In terms of graphical design, the gongbi technique was used to depict pure mountains and streams in detail. Baichuan Ink acted as the spine of this book.
Book 4｜STRENGTH｜The fourth packaging method: Whirlwind Bound
Ink must be kneaded in quick, strong motions during the creation process, akin to Master Chen's determined attitude. Strength is depicted through being "decisive in action". In terms of graphical design, rigid steel wires were bent into the form of Huang Ting-jian's calligraphic work, Song Feng He. The strength of ink's flexibility was depicted here, along with the strength of character demonstrated through calligraphy. Ganjiang Ink was incorporated at the bottom of this book.
Book 5｜TEMPERATURE｜The fifth packaging method: Pleat Bound
Careful regulation of environmental temperature is a key element in ink production. These seemingly simple motions were created through Master Chen's unchanging passion and his own skilled hands. "Remaining calm despite adversity" is a principle which draws parallels to this temperature regulation. Renowned work Lantingji Xu and an inkstone rubbing depicted the Master's unfaltering persistence. To reinvent the pleat-binding method, this book's pleats were irregularly shaped when opened up, revealing Chenjing Ink's hard, resilient form.
Book 6｜TIME｜The sixth packaging method: Palm-leaf Bound
Upon completion, good ink sticks must dry in the shade for a month or two, just as Master Chen has perfected his art over half a century, crafting ink with no thought of fame or fortune. He was finally recognized through the Folk Art Heritage Award, which is why we should conduct ourselves in a manner "unconcerned with success" in order to focus on what’s most important. The graphic design for this packaging included a paper cutout of Along the River During the Qingming Festival as an ink landscape. Master Chen's unspoken efforts shone through this carefully arranged contrast of light and shadow. Dongtian Ink served as the joyous finale to this collection.