Temple Rubbings -- The Unusual Opportunity

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This is a business where a person with no art talent can
produce art!
Temple or gravestone rubbing is believed to have originated
with the ancient (300 BC) Chinese. It was an efficient method
of communicating the "written word" and a forerunner to the
printing press.
The Emperors had their laws, slogans and messages carved in
stone (that's easy for an Emperor to do) then transformed to
parchment by rubbing with colored wax or other permanent dye
material. Centuries later, pictures (stone and metal reliefs)
were carved expressly for this purpose and today several Asian
countries feature large temple rubbings commonly called batiks,
which is technically a misnomer.
The name batik more properly refers to designed fabric that is
coated with a wax, a design scratched or applied with a heated
tool, and dipped in dye. Since the dye only affects parts not
protected or by wax, the design remains when the wax is washed
out. A marbling effect can be achieved when the dye is allowed
(or forced) to seep into cracks in the wax caused by crumpling
when cooled.
Although carved stone and metals are the most popular subjects
for rubbing, virtually any solid relief surface can yield an
interesting rubbing product: medals, leaves, architectural
reliefs, cultural, historic, or commemorative plaques.
Most commercial rubbings come from church and courtyard reliefs.
Their attraction and value are enhanced by unusual materials,
novel rubbing techniques, impressive frames and by novel
innovations such as certificates of authenticity.
Perhaps the most interesting source for rubbings is old
graveyards -- in any country! The markers and design are not
only historical, they are often art works of a bygone age.
Temple rubbings and gravestone rubbings are essentially the
same. Generally, impressions of oriental designs are called
temple rubbings, while gravestone rubbings are usually from
markers and tombs. The two terms can be used interchangeably
in the business.
A major market for gravestone rubbings is descendants and
genealogical projects. Many family records include information
from old markers; some have photographs and/or rubbings of those
old markers.. Because some of the stone markers are in soft
material like limestone, the photographs may eventually be the
only legible record.
Gravestone rubbings from the tomb of an ancient relative might
be considered quite a prize -- and not for just for their
sentimental value.
The basic tools needed to begin the art of temple or gravestone
rubbings are:
A piece of dry sponge, foam plastic or
blackboard eraser and a soft brush to
prepare the surface that is to be rubbed.
Fabric or paper to place over the design
to reproduce it.
A rubbing marker, such as a commercial
lumber crayon, or large flat sided school
crayon to rub over the design.

Tape and twine to hold the fabric in place
--and perhaps a kneeling pad.
For the rubbing fabric, its is best to use white butcher paper
at first. It is expensive and will do for learning and can even
be saved and mounted.
To make your rubbings look their best, however, it is best to
feature an unusual or interesting fabric. One idea is to use
marbleized paper, another is to buy or make your own special
effect fabric; still another is wallpaper -- fabric or paper
with a nice texture.
The fabric and frame should be coordinated and both should
complement or contrast with the rubbing itself. A variation
is to use a light fabric for the actual rubbing, and contrasting
dark color and/or texture for a border within the frame.
Another idea for a marker is to make your own applicator. A pad
should be relatively flat, porous and about 4" across (although
others sizes might be used for special parts of the job).

One suggestion is to start with a cutout circle of 1/8" plywood,
about 3" in diameter. Glue a powder puff to one side and a handle
to the other, then cover with a piece of 1/4" thick foam rubber
(like wet suit material). Tie the foam material together on the
handle side to leave a smooth convex surface on the rubbing side.
This "tool" can be dipped in burnt umbra or other wet or dry
stain and ribbed in a light circular motion to produce a very
smooth, unstreaked reproduction of the relief.
Variations in rubbing pressure, staining material color and
consistency, size and shape of the pad, fabric and your rubbing
techniques will produce a wide variety of effects. Experiment
until you find the ones you want.
Frames can be purchased or custom made. If not covered with
glass, the finished rubbing should be sprayed with a protective
covering such as Gloss Finish, which is used to spray finished
charcoal drawings to prevent smearing (available at any art store).
The higher your asking price, the more important it is to
protect and "showcase" your finished rubbing "under glass."
To make your first temple rubbing, select your subject, and a
nice dry day. Clean the surface thoroughly with your sponge or
brush. Use a little vinegar to for stubborn moss spots (let it
dry before attempting to rub). Do not use anything harder or
you risk scoring the surface which can damage the subject and
lower the quality of your rubbing. Remove as much moss as
possible for the best representation.
Next, place the fabric over the design and tape (or tie) it
in place. Always use larger sheets fabric so there is plenty
of margin to tie or tape without touching any of the surface
that is to appear in your finished rubbing.
Peel off the paper from your crayon marker ( or dip your sponge
pad) and use the flat side of the marker to gently rub over the
raised portions of the design from the center outward all around
until you have a light representation of the design.
Reverse directions and work from the outside in, gradually
applying more and more pressure until you have just the amount
of color, contrast and design that you want.. Study your rubbing
form all angles and distances while it is still held firmly in
place. Darken desired areas and correct any errors BEFORE removing
the tape or ties. Once you move the fabric,, you are finished with
that impression!
It should be mentioned here that some "experts" deliberately move
their rubbing fabrics slightly during their process. They complete
the rubbing in the basic color then move the fabric slightly. The
next step is to go over the highlights with a contrasting color --
for a sort of highlight or 3-D effect.
Especially in a foreign country, always check with the proper
authorities before attempting any type of rubbing activity,
regardless of whether the object is on private, public or
religious property.
It is not only good manners, but it can save embarrassment and
possibly hard feelings. There could be religious, political,
family or cultural considerations as well as property rights.
It is impossible to predict what your temple and/or gravestone
rubbing might sell for (somewhere in the $10 to $1,000 range?).
The price you realize will depend on the quality of your work,
the subjects and their artistic appeal, as well as their frames
and the manner in which they are marketed. The highest prices
can be realized with glass covered creations in a attractive,
contrasting fabric bordered frames and presented in art gallery
fashion.
Tip: If your subjects are oriental, you might hire an oriental
person to sell market them.
Persons visiting or serving in overseas assignments have a
unique opportunity to find interesting and historical rubbing
subjects,. But, there are also plenty of "stateside"
opportunities as well.
Consider just one specialty: epitaphs. There are some pretty
curious examples in some of the old graveyards across the
country, including funny sayings, terse explanation of
occupant's downfall and not a few with major errors.
In the past, most markers were not carved by professionals
or scholars -- many were made by people who hardly could read
and knew very little about stone carving. Some have words or
letters missing or crammed in at the end of lines. Some even
have corrections -- IN STONE! There are some very interesting
(and valuable) collections out there -- patiently waiting for
an enterprising entrepreneur.
BUSINESS SOURCES
THE KELSEY CO.,Box 941, Meriden, CT 06450, 203/235-1695.
Printing and related materials and equipment; type, paper,
presses, wood and linoleum blocks, etc.,Old, reliable company.
DICK BLICK CENTRAL, Box 1267, Galesburg, IL 61407-1267,
800/477-8192. Wholesale art, sign, ceramic, sculpture
supplies. Old, reliable company.
EL DO PLASTICS, INC.,Box 451, El Dorado, AR 71730,
800/643-1556. Magnetic sign & engraver supplies; has sponge
rubber pads (called Davis Daubers). reliable company.
MEYERS PUBLISHING CO.,2135 Summer St.,Stamford, CT 06945,
203/356-1745. Publishes ART BUSINESS NEWS, trade magazine
for art and picture frame dealers.
FABRIC FINDERS, 125 Wold Rd.,Albany, NY 12205.
Wholesale fabrics (first quality and seconds).
JAPS, 126 7th Ave.,Hopkins, NM 55343. Picture framing
supplies; offers framing gide for $3; free catalog.
PICTURE ART INDUSTRIES, 2566 Stirling Rd.,Hollywood,
FL 33020, 305/921-6664. Wholesale framed pictures featuring
lithograph prints under glass; over 1,000 pieces.
COMMUNICATIONS CHANNELS, INC.,5266 Barfield Rd.,Atlanta,
GA 30328, 404/256-9800. Publishes ART MATERIAL TRADE NEWS,
"The Journal of all art, craft, engineering and drafting
supplies"
DOVER PUBLICATIONS, INC.,31 East 2nd St.,Mineola, NY 11051.
Discount books, clip art, stencils, etc.
QUILL CORPORATION, 100 Schelter Rd.,Lincolnshire, IL
60917-4700, 312/634-4800. Office supplies.
SWEDCO, Box 29, Mooresville, NC 28115. 3 line rubber stamps
and business cards.