In the realm of calligraphic tools, the writing brush holds a unique and esteemed position within the rich heritage of China. It stands proudly as one of the four treasures of study, a quartet that also includes paper, ink, and ink stone.
The history of the Chinese brush extends deep into the annals of China’s past, tracing its origins back to a legendary figure named Meng Tian (? – 210 BC), a general who served under the First Emperor of the Qin Dynasty (221-206 BC). However, evidence of tools resembling brushes can be found in primitive painted pottery, where visible stains and brush marks grace certain areas. This intriguing evidence hints at the possibility that brushes may have predated the development of written language itself. Indeed, the lineage of the Chinese brush stretches back at least 6,000 years.
What is an Xuan Brush?
Xuan brushes, known as “宣笔 Xuān bǐ” in Chinese, rank among the most renowned types of Chinese brushes, cherished for both calligraphy and Chinese painting. These brushes derive their name from their place of origin, Xuan Cheng, the very region famed for producing Xuan paper. It is only natural that these two treasures are often paired together. The legacy of Xuan brushes can be traced back to at least 23 BC, and they were presented as tributes to imperial courts as early as the Tang dynasty.
Similar to all Chinese brushes, Xuan brushes boast a fine tip and a sturdy middle section capable of holding ink. This unique design empowers master artists to craft a diverse array of strokes and textures using a single brush.
Materials
A crucial component of any brush is its hair, and Xuan brushes adhere to strict standards when it comes to selecting and sourcing these materials. The primary requirement for brush hairs is that they must be sourced from animals. Different types of hair offer distinct effects and are thus employed for various artistic purposes.
- 羊毫 Yang Hao (Wool brush): Wool brushes, fashioned from soft and absorbent goat hair, have garnered widespread popularity. They possess the ability to hold copious amounts of ink, especially premium wool brushes crafted from aged hair, which becomes even more absorbent. These brushes are esteemed for their ease of use, durability, and convenience in painting and calligraphy. They excel in rendering subjects such as flowers, leaves, water, and animals. However, they do require a deft wrist and strength to control, making them more challenging for beginners.
- 狼毫 Lang Hao (Wolf brush, Weasel hair): Wolf brushes, also known as weasel hair brushes, utilize hair from the “Yellow mouse wolf,” a local term for the Siberian weasel. Premium Dong Lang Hao “Winter Wolf” brushes are made from the exceptionally thick hairs produced during the cold winters in provinces like Liao Ning, Ji Ling, and Heilongjiang in Northeast China. Weasel hair strikes a balance between stiffness and flexibility, making it a preferred choice for detailed work and regular script calligraphy (楷书 Kaishu). It exhibits a lower ink absorption rate than wool, offering strong and flexible performance, particularly in achieving dry effects and ‘bone’ effects.
- 兼毫 Jian Hao (Combination brush): The combination brush, as its name suggests, combines the stiffness of a wolf brush (weasel hair) with the softness and ink-holding capacity of a wool brush (goat hair). With a core comprising 60-65% weasel hair and an outer layer of 35-40% goat hair, this brush enjoys popularity among both painters and calligraphers.
- 貂毫 Diao Hao (Marten brush): Marten hair, though sharp and soft, comes with a drawback—brittleness. Despite its elegance and clean effect when used with ink, martens’ hair has a limited lifespan, making it less practical in the long run.
- 獾毫 Huan Hao (Badger brush): Badger brushes feature coarse hair that readily absorbs ink. They are versatile, and suitable for both smooth writing and achieving various effects. These brushes are sometimes referred to by their Chinese name,
- “石獾 Shi Huan” or, occasionally, “Water Badger,” which are local names for the crab-eating mongoose (Herpestes urva) commonly found in Southeast Asia.
- 紫毫 Zi Hao (Black rabbit brush): Black rabbit brushes employ two types of hair: Shuang Bai hair, which is white hair from the rabbit’s back and neck area, and Zi Hao, or sword hair, which is black-purple in color. Zi Hao, being longer than standard rabbit hair, is robust and flexible, elevating it to the premium tier of brush hair. This rare and valuable material is ideal for crafting large brushes known as Da Lían Bi, endowing them with strength, flexibility, and ease of control. A pure Zi Hao black rabbit hair brush possesses soft, bulbous qualities. When blended with white rabbit hair, it retains strength and sharpness.
- The most sought-after rabbit hair is harvested from September to January when the hair reaches the desired thickness without being overly hard or soft. Northern Chinese rabbit hair is sturdy and firm, while hair from the south is softer. Combining the hard rabbit hair from the North for the brush’s core, the soft hair from the South for the outer part of the core, and the very soft white Shuang Bai hair for the exterior creates a brush that capitalizes on each type of hair’s strengths while mitigating any weaknesses.
In the Tang dynasty, the poet Bai Juyi penned a poem extolling the virtues of the “Black rabbit hair brush.” He described it as “as sharp as a needle, as sharp as a knife,” and noted its scarcity and value, comparing it to gold when presented to the emperor.
Since black rabbit hair is a precious resource, a combination weasel/wool brush is often used as a viable alternative. In English, it’s worth noting that the term “hare” might be more appropriate than “rabbit,” but for clarity’s sake, we predominantly use “rabbit” when referring to the brush’s hair.
Additional Brush Types:
While the previously mentioned brush materials are the most common and popular for high-quality brushes, it’s essential to acknowledge that historically, various other animal hairs, including cat hair, horse hair, and bird feathers, have been utilized for brush-making. Some regions in China even have a tradition of using newborn baby’s hair to create brushes, although these are primarily considered collector’s items rather than practical artist’s tools due to the softness and thinness of baby hair.
Shaft: The shaft of a Xuan brush is typically constructed from wood or bamboo, although other materials such as jade, ceramic, ivory, bone, glass, or hardwood like Guibourtia (sometimes mistakenly called African Rosewood) have historically been used. Inkston brushes, for example, feature bamboo or wood shafts.
Brush Selection:
The ideal Xuan brush embodies the four virtues: sharpness, neatness, roundness, and flexibility.
- Sharpness: A brush should exhibit a sharp tip for detailed drawing and writing. A simple test involves moistening the brush; a good brush should still form a sharp point when wet.
- Neatness: When the brush hairs are opened, they should form a tidy edge. Neat hairs ensure even ink distribution on paper. This can be challenging to assess with a new brush since the hairs are glued to a point until first use.
- Roundness: The end of the brush pen body should be cylindrical, with the hairs tightly and evenly packed inside the penholder. This provides the necessary tension to maintain shape during writing. If the hair is insufficiently packed, the brush may feel weak and challenging to control.
- Flexibility: Striking the right balance between softness and stiffness is crucial. The tip of the brush should be flexible to ensure smooth and fluid writing or drawing while retaining enough stiffness for control. Wolf hair and wool are known for their flexibility and springiness, bending easily during painting and rebounding to their original form when the brush is lifted. This characteristic allows for the creation of strong effects while writing or painting.
These four virtues, known as “the four virtues of the brush” in Chinese, should guide the selection of a brush. Ultimately, the brush’s quality directly influences the quality of the artwork produced.
Care Instructions:
Before using a new brush, it should be rinsed in warm water until it softens. If the hairs are out of place, gently straighten them while the brush is soft. Remove excess water before painting, either by blotting with absorbent paper or allowing the brush to hang for ten minutes after rinsing, allowing it to dry and naturally straighten.
After use, rinse the brush with water and leave it to dry. Avoid using solvents and direct sunlight. Ideally, use a brush stand to hang the pen for drying while maintaining its shape. If a stand is unavailable, find a dry place for storage. Do not store the brush in a jar, water, or direct sunlight. It’s essential not to replace the cap after use; let the brush dry naturally.
Lastly, do not lick or put the brush in your mouth, as this can be detrimental to both the brush and potentially toxic if certain paints are involved.
First Use:
Before using a new brush for the first time, it’s crucial to rinse off any storage glue. Soak the brush in clean warm water and gently rub and open the hairs to remove the glue. If some glue remains, don’t fret—approximately 50% removal is sufficient to get the brush moving and ready for use. The rest will gradually dissolve with regular use and rinsing.
The Chinese brush, a treasure deeply rooted in Chinese culture and artistry, offers a world of possibilities for both calligraphy and painting. Its rich history, meticulous craftsmanship, and variety of materials make it an essential tool for artists and enthusiasts alike. Whether crafting detailed characters or intricate landscapes, the Chinese brush is a versatile and timeless instrument that continues to inspire creativity and expression.