Once a practical way to transcribe, calligraphy has evolved into a fine art. As the practice we recognize today spread across East Asia, countries like China, Japan, and Korea developed their own methods of creating high-quality calligraphy tools. Top-of-the-line brushes can cost $1,000, and quality ink sticks can reach multiple thousands of dollars. Add in inkstones and paper, and the investment can set you back $8,000. And while dedicated master craftsmen worry about the future of traditional calligraphy tools, younger calligraphers swear by the quality of these handmade items. So why are calligraphers willing to spend so much just to write?
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00:00Every strand of hair is meticulously inspected in this calligraphy brush.
00:07That's one reason it costs about $1,000.
00:12And if you combine it with top-of-the-line ink sticks, stones, and paper, calligraphy tools can set you back $8,000.
00:23So why would anyone spend so much just to write?
00:28That practice has just sort of grown into a brush-and-ink practice on paper,
00:33up into a more modern usage that is really sort of like a refined, high form of art.
00:42Here are the stories behind some of the priciest calligraphy tools,
00:46starting with solid ink sticks made in Japan.
00:52This is ink.
00:54Toshitsugu Okabe is kneading it until it's as soft as a rice cake.
00:59It's imperative for him to be as thorough as possible,
01:02because a well-kneaded mixture becomes high-quality calligraphy ink.
01:07It takes at least four years of aging before these solid ink sticks can be sold,
01:13and even longer for the most expensive ones.
01:16A 200-gram high-grade ink stick from this producer, Kobayen, costs over $1,000.
01:23And for some other brands, prices can reach almost $2,000.
01:28Meanwhile, almost double the amount of commercial liquid indie ink can go for less than $9.
01:34So why are solid ink sticks so sought-after, and why are they so expensive?
01:43It's January in Japan's narrow prefecture.
01:46Ink producer Kobayen has been making Japanese calligraphy ink for 450 years.
01:53This type of ink, also known as sumi, is traditionally sold in the form of handmade solid ink sticks.
02:01To use the dry ink stick, calligraphers rub it on an ink stone to mix it with water.
02:07Sumi ink is typically black, but it can also be tinted brown or blue.
02:13The ingredients are simple — soot, animal glue, and perfume.
02:19But the quality of these materials, and the time-intensive techniques required to collect and process them,
02:25have a large impact on the final price.
02:31It starts in this room, lit by 100 oil lamps.
02:36This workshop has four rooms like this, where artisans produce all the soot they require to make ink.
02:42Two workers are in charge of this stage, each overseeing two rooms and 200 oil lamps.
02:49They carefully manage the vegetable oil in the lamps, and gradually collect soot throughout the day.
02:55In Japan, this process is called catching smoke.
03:02Every day, artisans light all 400 lamps and cover each with a lid,
03:07the underside of which collects soot as the oil burns.
03:11But they can't just leave the lid in the same place for hours, because overheating it will prevent soot from accumulating.
03:19The flame must be off-center, and the artisans must rotate the lid every 20 minutes for two hours.
03:27The artisans scrape the soot off the top of the lid, they replenish the oil, and the process starts all over,
03:34for a total of five times a day for each lamp.
03:38These lamps contain rapeseed oil, the most common choice when producing high-grade ink sticks.
03:44Ink sticks made of soot from even more expensive oils, like polonia, camellia, or sesame, can easily cost up to four times as much.
03:55But artisans must also consider other details, like the containers that hold the oil, and the material of the wig.
04:03To ensure the quality of the soot, they use non-porous earthenware containers.
04:09Craftspeople in this workshop even weave the wicks themselves to exacting specifications.
04:33The fineness of the soot grains determines the final price.
04:52Then there's the binding agent, animal glue.
04:56Unlike most of its modern liquid ink counterparts, which use shellac, Sumi ink typically uses cattle glue.
05:03For the most expensive ink sticks, artisans sometimes mix in other types of glue, such as donkey, deer, and goat.
05:11Corbyn says this improves the ink's glossiness and texture.
05:17The company buys glue specially made for Sumi ink, which comes in a dry, board-like form.
05:24Artisans dissolve it by mixing it with 70 degrees Celsius water, which takes over an hour and a half.
05:31According to Corbyn, dissolving the glue slowly at a low temperature is key to producing quality ink.
05:53But animal glue can have a bad smell, so Sumi ink makers add fragrance like Borneol and musk to counteract it.
06:24The next step is to knead the soot, glue, and fragrance into a soft dough.
06:32The dough is kneaded every morning, by hand and foot.
06:40Toshitsugu takes care to knead it thoroughly so the soot and glue are evenly distributed.
06:47That way, the solid stick can eventually dissolve into homogenous liquid ink.
06:56Once he's properly kneaded the dough, Toshitsugu cuts it into balls and weighs them for consistency.
07:06Then he places the balls into moulds and uses a machine to press them into shape.
07:13Improperly kneaded dough results in ink sticks that don't produce rich colour.
07:43Corbyn makes about 6,000 of its smallest, highest-quality ink sticks a month.
07:54It employs a handful of artisans for this, and the ones tasked with kneading require the most experience.
08:02It takes five years to train as a Sumi ink craftsperson, but ten years before they're allowed to make high-quality ink.
08:12Corbyn produces almost 40,000 of its smallest Sumi ink sticks between October and April,
08:19when the cooler weather of winter ensures the glue can harden during shaping.
08:27But the work isn't done yet.
08:29Drying the ink sticks too quickly will cause them to crack, making them unsellable.
08:35So, artisans rely on a traditional technique using oak ash to slowly absorb moisture from the sticks over a long period of time.
08:44They start by covering the sticks in moist ashes.
08:48Each day, they swap yesterday's ashes with drier ones.
08:52They repeat this process for up to 40 days, until the ink sticks are about 70% dry.
09:05After, they hang the sticks with straw and air-dry them in-house for up to six months.
09:12Properly drying and maturing an ink stick takes at least four years.
09:17The longer the sticks dry and age, the better they perform and the more expensive they become.
09:24Corbyn itself has ink sticks that are hundreds of years old.
09:48Finally, artisans polish them and apply the finishing touches.
09:54Now, they're ready to be sold to calligraphers, like Sho Azakami.
10:00Calligraphers like Sho traditionally prefer ink sticks to liquid ink.
10:07Now, they're ready to be sold to calligraphers, like Sho Azakami.
10:13Calligraphers like Sho traditionally prefer ink sticks to liquid ink.
10:18But in order to write with a Sumi ink stick, he must first transform it into a liquid.
10:24This requires an ink stone and water.
10:27Sho adds a small amount of water and rubs the ink stick on the stone, breaking it apart.
10:33He mixes the two to make the liquid ink, adding more water or more dry ink, until he gets the consistency he needs.
11:03But not all Sumi inks provide him with the same writing experience.
11:34Ninety-five percent of Japan's Sumi ink is made here, in Nara Prefecture.
11:40Sumi ink production in Japan is said to have begun in the 7th century,
11:45when Chinese ink-making methods were introduced by monks.
11:49By the 14th century, Sumi ink use was flourishing in Japan.
11:54Though its primary use is for calligraphy, it's also often used for ink painting.
12:00And because Kobayen must age its ink sticks for several years before it can sell them,
12:05consistent production is necessary, or else its supply won't meet the demand.
12:10But that doesn't mean the company wants to ramp up its production.
12:31Kobayen strives to continue making calligraphy ink using the same techniques and of the same quality as its founders.
12:40Next, we explore the perfectly crafted calligraphy brush,
12:46a tool that translates the ink-stick maker's skill onto the paper.
12:51A high-quality brush gives a calligraphy ink its original quality,
12:56and allows the ink-stick maker to use it in a variety of ways.
13:01If a single hair is out of place on a high-end calligraphy brush, it must be removed.
13:07This intense attention to detail is part of why these brushes can cost over $1,000.
13:14You can find a beginner brush for less than $15,
13:18but for handmade brushes custom-designed for a master calligrapher,
13:23artisans spend months turning raw hair into a perfect brushstroke.
13:28The brush is made of a high-quality, high-strength, high-strength,
13:33high-strength, high-strength, high-strength, high-strength,
13:38high-strength, high-strength, high-strength,
13:42and high-strength, high-strength, high-strength,
13:46high-strength, high-strength.
13:49Calligraphy is a respected art form in Japan,
13:56and has been practiced for centuries.
13:59But today, there aren't many skilled brushmakers left.
14:04Yoshiyuki Hata is a third-generation brushmaker,
14:08and has been making calligraphy brushes since he was a teenager.
14:22His family's workshop in Kabajiri focuses on what they call
14:26no-compromise craftsmanship.
14:28Each brush tip is handmade by a single artisan.
14:32But making these brushes isn't easy.
14:38For a master calligrapher like Daizo Kaneko,
14:41small differences in a brush's hardness or ink retention
14:45can drastically affect the lines it can produce.
15:08The dozens of steps involved in brush making
15:17start with selecting the hair.
15:19Different types of hair have a big impact
15:22on the price of a brush.
15:24Yoshiyuki's specialty is one of the priciest, goat hair.
15:28This hair was collected 50 years ago
15:31from the chest of Yangtze River Delta white goats.
15:34Hair from this specific breed of goat
15:36is classified as Type III hair
15:39based on its size, luster, and elasticity.
15:43It's a highly sought-after hair for brush making
15:45because it's soft yet durable and retains ink well.
16:04But today, this type of hair
16:05is hard to find in large quantities
16:08and can cost thousands of dollars per kilogram.
16:12Selecting high-quality hair is done entirely by eye,
16:16and it's one of the hardest skills
16:17for a new brush maker to learn.
16:36But this long process is just beginning.
16:40Once the hairs are chosen,
16:41they're boiled and combed to remove any fluff.
16:44This process separates straight, long hairs,
16:47which are ideal for brush making.
16:50One of the most time-consuming steps
16:52is aligning all of these hairs.
16:55This delicate work is key to making a uniform brush,
16:59but it's largely based on experience and instinct.
17:06The result is a perfect result.
17:14Throughout the process, brush makers patiently remove
17:17any imperfect or damaged hairs.
17:35If you don't remove the imperfections,
17:37the brush will crack when you write,
17:39and you won't get good lines.
17:48I started making brushes
17:51when I was a kid,
17:53because my workshop was a playground.
17:58I have about 200 patterns in my head.
18:03I use my eyes, hands, and intuition.
18:10At this stage, Yoshiyuki's vision for a brush
18:13starts to take shape.
18:16After trimming, he wets the hair
18:18and combines different bundles
18:20to create a brush that is dense and durable.
18:26Then he dips the hair in funori,
18:28an adhesive liquid made from seaweed,
18:31to hold the hairs together.
18:52The finished brush tip is almost unrecognizable
18:54from the raw hair,
18:56but the precise work isn't over yet.
19:01Once the hair dries, Yoshiyuki ties up the ends
19:04and burns each one with a hot iron,
19:07binding the hairs together.
19:10Any mistake here could ruin a month of work.
19:17Finally, it's time to assemble the brush.
19:20Like the brush tip, each handle is custom-made.
19:32The thickness of the brushes
19:34depends on the thickness of the brush.
19:39This time-consuming process,
19:41along with the materials used,
19:43means these brushes can cost
19:45100 times more than a mass-produced brush.
19:48The price varies based on the size and type of brush.
19:52A larger brush requires more hair,
19:54which naturally increases the price.
19:57Hata Bunshindo brushes often cost
20:00around $1,300,
20:02but some brushes can cost a lot more.
20:14Despite the high price,
20:16these brushes are essential tools
20:18for calligraphers like Daizo.
20:20He followed in the footsteps of his father and grandfather
20:23and has been practicing calligraphy for 20 years.
20:30When I combine brushes with other materials,
20:33the work becomes more vivid.
20:37When I want to express something gently,
20:40I choose a soft brush.
20:43When I want to express something precisely,
20:46I choose a shorter brush.
20:49It's a lot of fun to find a brush that suits me.
20:55Some brushmakers mix natural and synthetic hair
20:58to make brushes more affordable,
21:00but Yoshiyuki remains committed
21:02to using only the highest-quality materials.
21:06Kozo, Yoshiyuki's son,
21:08will be the workshop's fourth-generation brushmaker.
21:25But like many traditional crafts,
21:27the future of brushmaking is unclear.
21:30Demand for handmade brushes is in decline.
21:33Some brushmakers have started selling makeup brushes
21:36to bring in new customers.
21:38But the main concern for Yoshiyuki and his family
21:41is the lack of raw materials.
21:54I'm most concerned about the raw materials
21:57that will come out of the brushes
21:59and whether they will be of good quality.
22:03The number of people who make brushes
22:06and the population of the calligraphy industry
22:09is declining,
22:11but that will always be a challenge
22:14for me as a craftsman.
22:18Kozo Hata is less optimistic
22:20about the future of calligraphy,
22:22but contemporary calligraphers like Vincent
22:25prefer to keep things traditional.
22:27The process of putting a handmade brush
22:30to hand-ground ink
22:32is a part of the meditative calligraphy experience.
22:35That sort of experience of having this relationship
22:38with this beautiful ink stick, beautiful ink stone,
22:41in turn will affect that artist's energy
22:43as they're writing calligraphy.
22:45So I think all of these things play into one another
22:48in a way that's completely interconnected
22:50and just shares a really important
22:52and beautiful relationship through history.
23:00Kwon Hyuk-soo will spend hours
23:03sawing this natural red rock
23:06into the perfectly sized calligraphy ink stone.
23:20He sells his smaller ink stones for $750,
23:24but larger ones can cost more than $2,200.
23:30Some professional calligraphers
23:32prefer grinding their ink on an ink stone
23:34even though they could use more affordable liquid ink.
23:39So what makes these ink stones so expensive
23:42and why would calligraphers still use this ancient method?
23:51The sound of the ink stone
23:55When you listen to the sound,
23:58it sounds a little bit dull.
24:01It's a little bit dry.
24:03But this is a new stone that I just dug up.
24:06If you tap on it,
24:11it's clear.
24:13It's not a dry sound.
24:15It's a clear sound.
24:17This is a good stone.
24:20It's a good stone to use as a stone.
24:23The process of creating these expensive ink stones
24:27starts here, just 12 kilometers away
24:30from Hyuk-soo's workshop in Jincheon, South Korea.
24:34This is where he collects the red stone
24:37for his prized calligraphy ink stones.
24:42This is a good stone, but it's too big.
24:45I really want to take it.
24:48Hyuk-soo avoids stones that have been exposed to air
24:52as they make for poor ink stones.
24:55It's important that the stone isn't cracked
24:58and the surface is as uniform as possible.
25:01The type of stone Hyuk-soo uses,
25:04Sangsanjasok, is only available here.
25:07When he finds a stone that meets all of his qualifications
25:12and is easy enough to lift,
25:14he heads back to his workshop in Jincheon.
25:19Now he can start the slow and grueling process
25:23of transforming it into a sellable ink stone.
25:31Hyuk-soo must first saw the stone into the size he desires.
25:35He does this the traditional way.
25:38No chainsaws or power tools,
25:40just physical force and a handsaw.
25:45To avoid injuring himself or damaging the stone,
25:48he secures it tightly.
25:57It's too hard to do alone,
25:59so Hyuk-soo's friend assists.
26:11They push and pull the saw
26:14until it's a little over an inch deep,
26:16where Hyuk-soo can begin to chip away
26:19at the parts he doesn't need.
26:24But manipulating this rock doesn't get any easier.
26:33Hyuk-soo's only tools are chisels,
26:36grinding stones and brushes for dusting debris.
26:41He does every part of the process
26:44with his hands and shoulders.
26:48A beautiful ink stone
26:50that can be used for a long time.
26:55Hyuk-soo's hands and shoulders
26:58are the tools he needs to make a living.
27:03Hyuk-soo's hands and shoulders
27:06are the tools he needs to make a living.
27:10Each ink stone is more valuable,
27:12so Hyuk-soo micromanages every step
27:15to make sure no flaws show up in the finished product.
27:21He flattens the bottom so it's perfectly level.
27:25Trying to fix it later
27:27will risk damaging the design
27:29he'll engrave into the other side.
27:34Most ink stones have three basic elements.
27:37A flat surface to rub the ink stick,
27:39a groove where the ink accumulates,
27:41and a border where artisans create designs.
27:46The flat grinding surface slopes into the collection pool
27:49so the water and ground ink can flow easily.
27:53This shape is vital to the ink stone's functionality
27:56and value, so it must be perfected.
28:10After countless hours of chiseling and scraping,
28:14millimeter by millimeter,
28:16the surface is complete.
28:20Now, it's time for the border.
28:23Today, Hyuk-soo is working on a relatively new design.
28:28The border will be engraved
28:30into the final product.
28:33Hyuk-soo's hands and shoulders
28:35are the tools he needs to make a living.
28:39A relatively simple design,
28:41plum blossoms.
28:58He engraves every minute detail along the border.
29:03More intricate designs require more labor and time,
29:07so they're more expensive.
29:10But while the hardest part is done,
29:12Hyuk-soo says the ink stone
29:14is not yet worthy of a high price.
29:17That happens during polishing,
29:19which gives the ink stone
29:21its most important property,
29:23being smooth yet sharp.
29:26Hyuk-soo uses an abrasive stone
29:28and sandpaper to polish the ink stone.
29:31This creates an overall smooth look,
29:34but Hyuk-soo says the process
29:36also sharpens the outer layer
29:38of stone particles.
29:41That way, the stone can grind the ink stick
29:43into a fine powder.
29:49The sharpness of the stone particles
29:51directly impacts how well the ink stone performs,
29:54and in turn, its final value.
30:07Once he's satisfied with the result,
30:09Hyuk-soo applies lacquer
30:11for protection and longevity.
30:15The ink stone is now ready
30:17for sale and use.
30:20Hyuk-soo says the ink stone
30:22is the most important part
30:24of his life,
30:26and that's why he's so passionate about it.
30:30Hyuk-soo says the ink stone
30:32is the most important part
30:34of his life,
30:36and that's why he's so passionate about it.
30:44Vincent Chong is a contemporary
30:46calligraphy artist.
30:52They use ink stones and ink sticks
30:54for some of their work,
30:56even though liquid ink is popular
30:58with modern calligraphers
31:00due to its ease of use.
31:02What matters is either the sound
31:04or the smell of grinding ink.
31:07Vincent says ink stones allow
31:09for a level of control
31:11that bottled ink can't offer.
31:14So using an ink stone
31:16allows you to really tailor
31:18the quality of the ink
31:20to exactly what you want to do,
31:22and it also just seems to work out
31:24better always.
31:26And whatever additional stuff
31:28is in a bottle of ink
31:30is nice on the paper.
31:32I think at this point you can sort of see
31:34that the laborious quality of this process
31:36creates some energetic
31:38or psychological feeling
31:40of preciousness with this little bead of ink
31:42that you've worked so diligently
31:44to produce, which I guess
31:46just makes the experience
31:48feel more special.
31:50While Vincent isn't
31:52in the position to buy a multi-thousand
31:54dollar ink stone at the moment,
31:56it's something they aspire to.
31:58Yeah, I feel like it would give you this sort of
32:00energetic connection to another craftsperson,
32:02another artist, and in that regard
32:04I think it just makes the experience
32:06a little more special, you know,
32:08because so much care has been taken
32:10on the part of that artisan
32:12just so that you can have this really
32:14special experience
32:16of your own, in your own art practice,
32:18of your own sort of creative, generative
32:20kind of practice.
32:23I guess that's a little bit scary
32:25to use something that's so precious,
32:27but I guess, I mean, it's funny
32:29because we're talking so specifically
32:31about rocks, and stones have been
32:33just around for such a long time,
32:35and humans have had this sort of fascination
32:37with them for such a long time,
32:39that treating them preciously
32:41feels really natural,
32:43but at the same time, you know,
32:45they have this life,
32:47and you should sort of allow them
32:49to, you know,
32:51allow them to engage with other parts
32:53of the physical world
32:55in a way that, I don't know,
32:57gives them the generosity
32:59that they deserve, having been around
33:01so long.
33:03Hyuk-soo similarly admires
33:05the preciousness of the stones.
33:07He appreciates the properties
33:09of Sang-sun Ja-seok
33:11that make it invaluable
33:13to his work and craft.
33:21This...
33:25I got this from the water.
33:27You don't know how long
33:29it's been in the water.
33:31Whether it's been a month,
33:33or a year.
33:39Can you see it?
33:41There's not a single drop of water
33:43here.
33:45It means that the stones
33:47never absorb water.
33:50Sang-sun Ja-seok inkstones
33:52were considered a luxury product
33:54during the Joseon dynasty,
33:56which began around 1400,
33:58but production died down
34:00during the Japanese colonization
34:02of Korea in the 1910s.
34:04But Hyuk-soo,
34:06a third-generation master
34:08and one of four remaining
34:10inkstone artisans in Korea,
34:12is putting it back on the map.
34:19After Hyuk-soo passed away,
34:21Sang-sun Ja-seok inkstones
34:23disappeared.
34:25At that time,
34:27I thought that
34:29there was nothing
34:31I could do about it.
34:33But as I got older,
34:35I had to quit my job.
34:37But my wife
34:39helped me
34:41during the war,
34:43and that's how
34:45I got to where I am today.
34:47It's a shame that
34:49these precious stones
34:51have lost their names,
34:53but I'm proud
34:55that I'm still wearing them.
34:57While much of the inkstone industry
34:59has been mechanized,
35:01Hyuk-soo believes the only way
35:03to keep Sang-sun Ja-seok inkstones alive
35:05is by making them by hand.
35:07And for contemporary
35:09calligraphers like Vincent,
35:11this tradition is a constant
35:13source of inspiration
35:15for their own space
35:17in the long and continuing history
35:19of calligraphy.
35:21Being able to reconnect
35:23with the brush marks
35:25and thus the bodily gestures
35:27of artists of the past
35:29I think was restorative
35:31in a way that helped me feel connected
35:33to this artistic lineage and culture.
35:35Especially as queer and trans people,
35:37I feel like it feels
35:39so clear that
35:41our communities have been
35:43sort of artistic communities
35:45for all of human history.
35:47Whether or not we've been erased,
35:49whether or not our stories have been passed down.
35:51So being able to access
35:53those artists who
35:55maybe
35:57were queer or trans
35:59but we just don't have those stories
36:01today.
36:03I think being able to access
36:05their work through calligraphy
36:07was one of the things that drew me to the practice.
36:09Finally,
36:11calligraphers can't expect
36:13a flawless final piece
36:15without quality paper.
36:17China's Yuan paper,
36:19Japanese Washi paper
36:21and Korea's Hanji paper
36:23are all designed to control
36:25ink absorption and withstand
36:27the test of time.
36:31This swampy mush
36:33is about to become
36:35some of the world's most expensive
36:37paper.
36:39At first,
36:41Hanji is barely visible
36:43and once it emerges from this bath,
36:45it's delicate.
36:47But after it dries,
36:49Korean paper can last
36:51thousands of years.
36:53The most expensive version
36:55of a single sheet this size
36:57costs over $22.
36:59So,
37:01what makes Hanji so long-lasting?
37:03And why is it so expensive?
37:05Kang Kapsok
37:07has been making Hanji
37:09for 45 years.
37:15The fibers he's washing
37:17were once the bark
37:19of a paper mulberry tree.
37:31Hanji is a versatile paper
37:33Hanji is a versatile material
37:35that's prized within Korea.
37:37Today,
37:39it's used for everything
37:41from calligraphy to clothing.
37:43And because of its strength,
37:45institutions like the Library of Congress
37:47and the Louvre have used Hanji
37:49to restore centuries-old books.
37:53The secret to its strength
37:55are these long, web-like fibers
37:57and the traditional method
37:59of sheet forming.
38:01After boiling, bleaching,
38:03and painstakingly cleaning
38:05each fiber,
38:07it's time to head inside.
38:13Kang uses this machine
38:15to transform the tough fibers
38:17into a mushy pulp.
38:31Now,
38:33it's time to turn pulp
38:35into paper.
38:41Fibers flow across the bamboo frame
38:43and settle into transparent layers,
38:45almost invisible
38:47to the naked eye.
38:49But Kang sees what we can't.
38:53He knows the exact moment
38:55when a sheet is fully formed.
38:57After decades of papermaking,
38:59he's able to produce
39:01350 sheets per day.
39:03The amount of fibers
39:05on a sheet and their direction
39:07determines the strength
39:09of the paper.
39:11Moving the frame in one direction
39:13aligns the grain.
39:15But the most expensive paper
39:17is made by agitating the fibers
39:19in multiple directions.
39:21This is slower,
39:23but it evenly distributes the fibers,
39:25yielding stronger paper.
39:27Each weight of paper
39:29requires a different amount
39:31of pulp, and Kang's experience
39:33is the key to getting good results.
39:43Careful sheet forming is important
39:45because the fiber structure determines
39:47how a paper holds up over time,
39:49especially if it's being
39:51folded.
39:53Kang says this process can take
39:55four years to learn.
39:57And he has to be careful
39:59because at this stage,
40:01hanji is still delicate.
40:11He uses an automated pump
40:13to speed up the process,
40:15but it still requires close attention.
40:25Despite
40:27hanji's versatility,
40:29the ingredients are simple
40:31water, fiber,
40:33and glue.
40:35Premium conservation-grade hanji
40:37uses a natural glue
40:39made from hibiscus root,
40:41which disperses the fibers
40:43across a sheet.
40:45This type of hanji has a neutral pH,
40:47which is one of the requirements
40:49to be classified as permanent paper.
40:51And it's ideal
40:53for restoring old documents.
40:55In fact, one study
40:57found that hanji aged
40:59two to three times slower than paper
41:01from medieval Europe.
41:03For less expensive
41:05hanji, Kang uses
41:07a chemical glue.
41:09While Kang immerses himself
41:11in flowing water, the other
41:13side of the workshop is dedicated
41:15to drying the freshly formed
41:17sheets.
41:19Yoon Chung-ae tears the
41:21crisp, clean hanji
41:23off a hot plate set to 88 degrees
41:25Celsius.
41:27She's been working with hanji
41:29for 40 years.
41:51She dries paper
41:53used for conservation
41:55at a lower temperature,
41:57around 40 to 50 degrees.
42:03After a lifetime
42:05of working with hanji,
42:07this process has become
42:09muscle memory.
42:11Her horsehair brush
42:13is an extension of her hand,
42:15used to smooth out hanji
42:17without scratching it.
42:19This workshop
42:21used to be bustling
42:23with dozens of employees.
42:25But Kang says he's had
42:27to downsize as demand
42:29has decreased.
42:49Artisans sell
42:51the most expensive hanji
42:53to institutions and museums
42:55that use it for conservation,
42:57like repairing pages in books
42:59or even fixing sculptures.
43:01But Kang says demand
43:03for this type of hanji
43:05isn't that high.
43:07It's also more expensive
43:09and labor-intensive to make,
43:11since he must beat the fibers by hand
43:13instead of pulverizing them
43:15in this machine.
43:17In Korea,
43:19hanji has been used
43:21for over a thousand years.
43:23But in the West,
43:25conservationists often train
43:27on washi paper from Japan.
43:29And while some Western institutions
43:31have recognized hanji's quality,
43:33widespread use abroad
43:35isn't common.
43:37Kang says he's stopped exporting hanji
43:39and only sells domestically.
43:41In recent years,
43:43the South Korean government
43:45has started initiatives
43:47to increase demand for hanji,
43:49but it will take time
43:51before artisans feel the benefits
43:53of these programs.
44:15Despite hanji's uncertain future,
44:17artisans like Kang
44:19continue to maintain
44:21this ancient craft.
44:23And many are working tirelessly
44:25to bring new uses and awareness,
44:27hopeful that the hanji industry
44:29can last as long
44:31as the paper itself.
44:45www.kanghanji.com