Toyohashi Brushes An adjunct to artistry Toyohashi brushes absorb ink well, release ink gently, allow excellent ink control, are smooth against the paper--calligraphers and artists value the quality of these excellent brushes. Toyohashi brushes comprise 80 percent of Japan's quality brush production. Toyohashi's highly skilled craftsmen meet the orders and custom demands of Japan's artistic community. We interviewed Mr Shinobu Sakakibara, a craftsman with 50 years experience making brushes. Like a rural zoo "This is rather like a little country zoo," said Mr Sakakibara. Of course, Mr Sakakibara does not raise and keep zoo animals, but in his workshop, the hair of goat, cow, rabbit, tanuki (badger dog), marten, flying squirrel, badger, and swan feathers are all to be found--more than ten types. Up until the 20th century, all kinds of animals were to be found in the local mountains. (Only goat, which is not a wild animal in Japan, was not to be found.) Recently, 70 percent of the animal hair used in brushes is imported from China. Such hair imports are not regular, so brushmakers must keep large stocks of the desired hairs when they come available. No limit A single craftsman produces about 700 brushes a month. Toyohashi produces about 25 percent of the Japan's total brush production, but makes between 70 and 80 percent of the country's high-quality brushes. Purchasers of Toyohashi brushes are largely professional calligraphers. The brushes made at Mr Sakakibara's workshop are mainly sold through a professional calligraphy supply house in Tokyo and are made to the order of individual clients through this outlet. Customers state that "Theses brushes are soft yet firm," and, the tips of the brushes create strong, dry lines and do not hold excess ink," and the like. Mr Sakakibara chooses the materials for brushes to meet the needs of customers. Sometimes just finding the right kind of hairs for a special brush among his immense collection may take a year. Brushmaking is not work for short tempers--nor can customers afford to be impatient. When asked about the number of different brushes, he replied, "There is no limit to the number of brushes, and this work has no end. At the same time, I must have the skill and technique to fill any order that comes." Brushes are also made of waterfowl feathers and from bundles of reeds. One craftsperson, one brush The 40 steps of making a brush are all handwork. If the process of brushmaking at Toyohashi is broken down into component steps, they will number about 40. Other than cutting the bamboo sheath/handle, all the steps are done by hand. And one craftsperson does all the steps from beginning to end. In this respect, the craft at Toyohashi is different from other brushmaking areas, where various steps of the process are distributed among craftspeople and even part-time employees. With such division of work, quality control is not possible. Toyohashi brushmakers keep a collection of fine brush prototypes at hand; this allows them to maintain a stable production of high-quality brushes. Proof in the usage Mr Sakakibara often states, "Only when you use a brush can you know its quality. There is no test to check the quality of a new brush. The customer pays money, fills the brush with ink, and uses it; only then will he/she know if it is good or not. Brushes are not returnable or exchangeable. So I must make good brushes. Always." A good brush will change according to its user, and a craftsperson must make brushes that a user will always rely on as good. Mr Sakakibara does not compromise. Calligraphy and painting brushes Mr Sakakibara's brushes are sold by a famous Tokyo store. Mr Sakakibara gave some good suggestions. Recently ink painting has become something of a quiet fashion. Ink painting brushes are different from calligraphy brushes in that they are shorter. "If you trim off the end of old calligraphy brushes, they can be used for ink painting. No two calligraphy brushes are quite the same--something like cousins, not siblings. Therefore, brushes should be used in a relaxed manner, without stress." Recently people have become interested in both calligraphy and ink painting. "If one becomes proficient at calligraphy and gets bored, then ink painting offers a challenge. When that person gets good at ink painting and looses interest in it, then returning to calligraphy becomes a new challenge." "I would like young people to get more pleasure from calligraphy. A master of the art is necessary for this to happen. Today's young calligraphy teachers do not have the intimate experience necessary. An older teacher who has retired to the country would be ideal to inspire young people. We [brushmakers] are brainstorming about how to expand our market." Two of Mr Sakakibara's sons are brushmakers, and he is constantly coming up with new ideas. Profile Shinobu Sakakibara Born 1937. Became apprenticed at 16, upon graduation from middle school. Has made brushes for over 50 years. Two sons are also brushmakers.