The precise origins of Akama Suzuri are uncertain, although the craft is traditionally believed to date back to the early Kamakura period.

Ube City preserves a tradition that an inkstone presented by Minamoto no Yoritomo to Tsurugaoka Hachimangu in Kamakura in 1191 was an Akama inkstone, suggesting that production may already have begun by the late twelfth century.

This account, however, is best treated as part of the traditional history of Akama Suzuri. Documentary sources from the early Edo period contain the name Akama Suzuri, confirming that the term was already in use by that time.

The name derives from Akama-no-seki, the former name of present-day Shimonoseki, where the inkstones were historically produced. Production was initially centered in Shimonoseki, while quarrying later shifted toward the present Ube area during the eighteenth century. Shimonoseki and Ube subsequently developed as the two principal production areas.

During the Edo period, mountains containing Akama stone were controlled by the Choshu domain as restricted areas known as otome-yama. Quarrying was permitted only under domain authority, and Akama inkstones were used as prestigious gifts and presentation pieces.

By the late Edo period, many specialist inkstone makers were active in Akama, Asa, and surrounding areas, and the craft developed into one of the best-known products of the Choshu domain. Akama inkstones are also associated with figures of the late Edo period, including Yoshida Shoin.

Production expanded during the Meiji period as education and writing became more widespread. With subsequent changes in writing tools and daily life, however, the number of specialist inkstone makers declined.

On December 15, 1976, Akama Suzuri was designated as a Traditional Craft by the Japanese government. Today, traditional techniques of stone selection, carving, polishing, and finishing continue to be practiced in Shimonoseki and Ube.

1. 1: Quarrying and Selecting the Stone
   Akama Suzuri is made from reddish-purple Akama stone.
   
   Some artisans continue to enter underground quarries and examine the geological layers to extract stone suitable for inkstone making. The quarried stone is carefully inspected for flaws such as cracks, fractures, sandy inclusions, veins, and other defects.
   
   Each piece is selected according to its color, hardness, toughness, and fine texture, while considering the intended shape and use of the finished inkstone.
2. 2: Rough Shaping and Jigiri
   The selected stone is examined for its shape and thickness, and the overall form of the finished inkstone is determined.
   
   Some inkstones preserve the natural outline of the stone, while others are shaped into rectangular, oval, or other forms according to their intended use and design.
   
   Unnecessary sections are removed with saws and other stone-cutting tools to establish the approximate outline and thickness. This initial shaping process is traditionally known as jigiri.
3. 3: Forming the Rim
   A raised rim is formed around the edge of the inkstone, establishing the basic structure for the grinding surface and ink reservoir.
   
   Fuchitate, or forming the rim, is one of the nationally designated traditional techniques of Akama Suzuri. Chisels and other hand tools are used to shape the perimeter while carefully controlling its height and width.
   
   At this stage, the positions and proportions of the oka, or grinding surface, the umi, or ink reservoir, and the connecting section are established in preparation for rough carving.
4. 4: Rough Carving
   After the rim has been formed, the stone is rough-carved using large and small chisels.
   
   The main functional sections of the inkstone are established, including the oka, where the ink stick is ground, the umi, which holds the liquid ink, and the transition between them.
   
   The depth of the reservoir and the slope from the grinding surface into it are carefully shaped because they affect the flow of ink and the usability of the finished piece.
   
   At this stage, a small amount of material is intentionally left so that the final form can be refined during the next process.
5. 5: Fine Carving and Decorative Carving
   The roughly carved surface is refined using smaller chisels and carving tools.
   
   The grinding surface, ink reservoir, rim, and other sections are carefully shaped and smoothed to ensure that the inkstone functions properly.
   
   When decoration is added, nationally designated techniques such as kebori, ukashibori, tatakibori, and sukashibori may be used.
   
   Motifs such as plants, birds, and landscapes are carved while making use of the natural form and markings of the stone, adding depth and ornament to the finished piece.
6. 6: Polishing and Preparing the Grinding Surface
   The carved inkstone is carefully polished with whetstones.
   
   Chisel marks and minor irregularities are removed, and the rim, ink reservoir, and other surfaces are smoothed. Fine abrasive materials may also be used when necessary to refine the overall finish.
   
   The grinding surface is treated with a dressing stone to prepare the extremely fine texture known as hobo, which helps the ink stick release pigment when it is ground.
   
   Care is taken not to over-polish the surface, as this could reduce the effectiveness of the grinding texture.
7. 7: Waxing or Lacquer Finishing
   Finally, the surface is finished according to the intended use and design of the inkstone.
   
   Nationally designated traditional finishing methods include waxing and lacquer finishing.
   
   In waxing, a thin layer of wax is applied and polished to enhance the natural color and luster of the Akama stone.
   
   In lacquer finishing, lacquer is applied to selected areas while avoiding the functional grinding surface, helping protect the stone and refine its appearance.
   
   The shape, carving, polished surfaces, grinding area, and ink reservoir are inspected before the Akama Suzuri is completed.