The origin of the brush and the value of collection

Zishi is like a jade, and the far smoke is really cut.

Into my sick hand, Xuan Yun qiqi.

What is good in it, and I like it.

It is like a wax scorpion, and it is like a squid.

The drunk pen is full of heaven, and it is like a god.

Thank you, Zhong Shujun, with me.

This is the poem written by the Song Dynasty writer Wen Hao Su Shi, titled "Try Pen" (a "self-laugh").

In Su Shi's view, calligraphy is just a skill. My hobby of calligraphy is similar to the joy of playing with a brush. The discussion about the art of calligraphy is not the main purpose of this article. The "Zhongshu Jun" mentioned in Su Shi’s poem refers to the brush, which is the focus of this piece. This nickname comes from the "Mao Ying Chuan" by Tang Hanyu: “Ma Ying, Zhongshan, also. Sealed the city, tired of the book, called 'Zhongshujun.'”

Throughout history, poets have used the brush to express their feelings. Therefore, there are countless elegant names for the brush.

Nothing, no matter. In the Western Jin Dynasty writer Lu Ji’s "Wen Fu," it says: “Or indispensable, only the first thing.” Tang scholar Li Shan notes: “Meter, pen, book Qian Qiansu.”

Jade tube. Sui Chao Xue Daoheng wrote in “Beginners and Moss Paper”: “Today, the jade tube, the cloth word changed to the silver hook.”

Silver tube. In the Yuan Dynasty, Yuan Wei’s “Xue Taoyu” says: “The sacred palace tree snow has disappeared, and the silver tube is filled with green dots.”

Guan Chengzi. In the Tang Dynasty, Han Yu’s “Ma Ying Chuan” states: “The Emperor Qin made the ancestral sorrow (Meng Ti) to give him a soup, and the princes of the princes and the princes of the city.” The pen was made by Meng Ti, so it was called Guanchengzi. Huang Tingjian’s poem “The Play is Confucius’ Father” says: “There is no carnivorous phase in Guanchengzi, and Kong Wenxiong has a book of utterances.”

...

The Chinese brush is not only a writing instrument but also a cultural symbol. While ancient Egyptian reed pens and European feather pens have long faded from history, the Chinese brush continues to thrive, showing strong vitality.

The origin of the brush

According to the "Records of the Grand Historian," Emperor Qin Shi Huang ordered Meng Tian to help build the Great Wall against the Xiongnu and used rabbit hair from the mountains to make brushes. In the "History of the Museum," it is also recorded that the generals of the Qin Dynasty used foxes and rabbits as pillars. Meng Tian’s invention of the brush is widely accepted as the conclusion.

With the development of archaeology, some once-considered "conclusive" facts have been overturned. A burial site over 5,000 years old was discovered in Jiangzhai Village, Linyi, Shaanxi Province. Among the unearthed relics were concave sarcophagi, mortars, dyes, and ceramic water cups. From the patterns on the painted pottery, traces of brush strokes can be recognized, confirming that brushes or similar tools existed over 5,000 years ago. Brush-like symbols appeared in oracle bone inscriptions of the Shang Dynasty, resembling a pen.

In 1954, archaeologists found a well-preserved brush in a Warring States period tomb in Changsha, known as the "Changsha Pen." A complete set of writing tools was discovered, including copper knives, bamboo slips, and small bamboo tubes. Bamboo served as paper, copper knives scraped the bamboo, and the small bamboo tubes likely stored ink or pigment. This brush, preserved in a small bamboo tube, is the earliest known brush in China, described in the "Four Treasures and Printing" as "the earliest brush."

References to brushes in pre-Qin literature are common. Compared to the Warring States brush, the Qin brush had technological improvements, such as hollowing out the pen body. This helped maintain a rounded shape, making it more efficient for ink absorption and writing. This design is still used today, marking an important innovation in brush-making history.

The Han Dynasty saw great economic and cultural growth, and the invention of paper further improved the brush. Brushes were made from various materials, including rabbit hair, wool, deer hair, raccoon hair, and wolf hair. Techniques varied—some used rabbit hair, others wool, or a mix of different hairs. This led to brushes that were both hard and soft, known as the "both" style. At this time, the texture and decoration of the pen tube became increasingly important, with some adorned in gold and silver.

Tang Dynasty brushes were mainly made of rabbit hair, especially from Xuanzhou. Materials were carefully selected, and quality was superb. These brushes were highly valued by the government and the royal family, becoming annual tributes to the emperor. In Nara, Japan, there are bamboo pens, bamboo tubes, and ivory tubes, indicating the diversity and exquisite craftsmanship of Tang brushes.

In the Song Dynasty, the brush-making process returned to the styles before the Jin Dynasty, gradually becoming softer and more scattered. There were many famous brushes, such as those from Zhuge Gao and Xuancheng in Anhui. Su Shi once said, “But Zhuge Gaoneng, other scholars have their own form and no law, it is not as common as the pen, such as people learn Du Fu poetry, it is only vulgar.”

In the Yuan Dynasty, the reputation of Xuanzhou brushes was gradually replaced by Lake brushes (made in Huzhou and Jiaxing, Zhejiang). This was due to the shift of political, economic, and cultural centers during the Southern Song Dynasty. Additionally, Huzhou had a long tradition of brush-making, particularly in Shanzhen Town. According to legend, Wang Zhizhi’s disciple Sun Zhiyong, a famous calligrapher of the Sui Dynasty, visited the town and often worked with local craftsmen to refine brush-making techniques.

During the Yuan Dynasty, many famous brush-makers emerged in Wuxing, Zhejiang. They carved Chinese motifs and gained favor with the rulers, leading to the popularity of “puppet pens” and the growing fame of Lake brushes.

In the Ming and Qing Dynasties, brushes were not only practical but also highly decorative. The use of the brush as a tool reached its peak during this period.

The three major brush-producing regions in China

Brushes can be made from a wide range of materials, including rabbit hair, wool, goose feathers, duck feathers, chicken feathers, horse hair, deer hair, mane, raccoon hair, rat hair, tiger hair, wolf tail, fox fur, orangutan hair, and even human hair. Some materials have become rare or too labor-intensive, leading them to fade from use. Today, common brushes are primarily made from wool, wolf hair, and chicken feathers.

Brush production involves many complex steps, with some requiring over a hundred processes. Hair selection is particularly critical. For example, sheep and goat hair must be slaughtered in winter. Famous "Lake Pens" use goats from Nantong, Jiangsu, because the goats there have soft, flexible "Feng Ying" under their necks. This hair has less friction and allows each strand to maintain a "Feng Ying" tip, similar to wolf tail hair.

The most famous brushes in China are the Taicang brush from Huzhou and Henan, and the Houdian brush from Hebei.

Lake brushes are known for their flexibility and durability, earning them the title “British styling.” Originating from Shanyu Town, Wuxing County, Huzhou City, they have a rich history.

Located in Taicang Village, Pingle Town, Mengjin County, Henan Province, the village is named after an ancient granary. The history of Taicang brush-making dates back to the Qianlong period of the Qing Dynasty, reaching its peak in the late Qing and Republic of China eras. At that time, dozens of brush shops operated in the village, with notable names like Pan Youwen, Pan Yunsheng, and Pan Taisheng. These names became associated with their respective brushes, and two companies specialized in selling Taicang brushes in Xi’an. Known for sharpness, fullness, strong ink absorption, and smooth handling, Taicang brushes were popular in northern regions like Shaanxi, Shanxi, Gansu, and Inner Mongolia. They were essential for merchants and even used in Qing official documents.

Houdian brushes, produced in Houdian Village, Hengshui City, Hebei Province, are also renowned. Known as “Mengbi” in ancient times, they are characterized by long, firm tips, soft yet flexible strokes, and smooth ink flow. With over 270 varieties, the production involves more than 300 manual steps, ensuring high-quality results. Many famous artists and even the last emperor’s brother, Ai Xinjue Luo Fujie, praised Houdian brushes.

Today, there are over 200 types of brushes, categorized by materials into sheep, wolf, purple, and mixed types. Some brushes combine two animal hairs, like mountain rabbit and wool, while others use ratios like “seven purple three sheep” or “five purple five sheep.” Mixed brushes, such as purple and wolf, offer versatility for beginners learning calligraphy.

Brush sizes vary greatly, from massive “pen” brushes weighing tens of kilograms to tiny “guil pens.” Beginners often start with large characters and later move to smaller ones.

The value of brush collections is increasing

With a long history in China, brushes have played a significant role in cultural inheritance. Well-preserved brushes passed down through generations are rare. As society develops, brush-making technology improves, and perfect brushes have become valuable collectibles. Those used by famous calligraphers or historical figures carry even greater artistic value.

Therefore, brush collecting is not just about the brush itself, but also the pen tube.

In the Qing Dynasty, Tang Bingzhen wrote in "Wenfang Si Tu Tu Tu": “Han-made pens, carved with gold, decorated with harmony, beads, and jade-inscribed text. Ivory is extremely gorgeous.” The pen tube is the focus of brush collection. Since brushes are fragile and hard to store, appreciation focuses on the decorative pen tube. The Ming Dynasty’s “Dragon and Phoenix Pen” in the Forbidden City is a classic example, with intricate carvings of dragons, waves, and clouds.

Although brushes are made from various materials, bamboo is considered the most elegant and affordable option, widely loved. With the development of bamboo carving in the Ming and Qing dynasties, bamboo-engraved brushes became a key part of bamboo art. Carving landscapes, flowers, and figures on the outer walls of the brush showcases the artist’s talent. Due to the complexity of the technique, these brushes are rare and difficult to preserve.

In recent years, due to their cultural significance and rarity, bamboo-engraved brushes have attracted collectors. A Republican-era bamboo brush might sell for around 4,000 yuan, while Ming and Qing dynasty pieces could reach 10,000 yuan. In 2000, a Hanwha bamboo carving character sold for 70,500 yuan, and in 2004, a Hanweng bamboo flower brush sold for 608,000 yuan. In 2006, a Ming Wanli bamboo flower and bird brush sold for 990,000 yuan.

The most expensive brush at auction in China is the ivory openwork grape squirrel brush from Beijing Gutianyi Auction Co., Ltd. Its aged appearance is natural and appealing. The theme of grapes and squirrels was popular from the mid-Ming to mid-Qing dynasties, and this brush captures the essence beautifully, with detailed carvings of branches, leaves, fruit, and squirrels. It reflects typical Ming-style craftsmanship, with delicate and exquisite beauty that prevents cracking or deformation.

I’ve spoken about using traditional brushes and preserving culture, but I realized I’m currently typing this article on a keyboard, which makes me feel a bit uncertain. However, I believe calligraphy is China’s greatest abstract art. As long as the brush exists, Chinese culture will endure.

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