In the late Edo period, the lord of the Yoshida domain, which ruled the area that is now Toyohashi City, hired craftsmen from Kyoto to make brushes for the domain, and encouraged lower-ranking samurai to take up brush making as a side job, which marked the beginning of brush making.
In the early Meiji era, brushes were made using the same water brush manufacturing method as today, an improvement on the core-wound brush, which formed the basis of TOYOHASHI Fude (Brushes). Currently, 375 brush makers are dedicated to brush making, carrying on the traditional techniques and methods.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. Use rice husk ash to start the fire and for rubbing the hair.

  2. After "combing," cut the hair into short pieces using a "dividing board" and scissors.

  3. The hair blending should be done by "kneading and mixing".

  4. For the "ojime" (a type of kimono), use hemp thread.

   

  raw materials

  1. The ears of grain shall be made of the hair of goats, horses, raccoons, weasels, deer, cats, flying squirrels, squirrels, or martens, or animal hair of equivalent material.

  2. The material of the shaft shall be bamboo or wood.

• Work scene

  Work scene

  The production process of TOYOHASHI Fude (Brushes) is divided into as many as 40 detailed steps, but here we will introduce the main flow.

  Step 1: Sorting

  The raw wool is sorted according to its intended use, based on factors such as length and quality of the tips. After that, the wool is boiled or blanched, dried, and any excess downy hair is removed with a metal comb.

  

  Step 2: Hair massage

  The raw wool is coated with ash made from burnt rice husks to remove animal fats. To improve ink absorption, it is wrapped in deer hide and rubbed vigorously.

  

  Step 3: Combing

  Align the ends of the hair and carefully comb it through with a metal comb to shape it.

  

  Step 4: Mix

  The most distinctive feature of Toyohashi brushes is the process of mixing the hairs at the very tip of the brush, called "life hairs," the hairs just below the tip, called "throat hairs," and the bottommost, elastic hairs, called "waist hairs," using water in this process. Each TOYOHASHI Fude (Brushes) tip, mixed by skilled craftsmen, has a uniform and consistent blend of life hairs, throat hairs, and waist hairs, and there is absolutely no shedding of the brush head.

  

  Step 5: Core setting and top pile application

  Divide the material into pieces the size of a single core, and insert them into a mold to create the core shape. Wrap the top fibers around the dried core.

  

  工程6： 仕上げ

  After inserting the bristles into the bamboo shaft, glue is applied to the bristles, and the shape of the bristles is adjusted by rotating the thread around them. The product name and artist's name are then engraved on the shaft to complete the process.

  

   

• Close-up

  Close-up

  The artist's individuality is evident here. TOYOHASHI Fude (Brushes) bring out originality through ink.

  TOYOHASHI Fude (Brushes) are praised by many calligraphers for their smooth writing feel, their ability to absorb ink well, their slow ink release, and their ability to blend with ink. Toyohashi brushes are said to account for nearly 80% of the national market share for high-quality brushes, and each TOYOHASHI Fude (Brushes) is made entirely by hand by skilled craftsmen. We spoke with Shinobu Sakakibara, a veteran brush maker with 50 years of experience TOYOHASHI Fude (Brushes), who says he can fulfill any customer request.

   

  It's like a rural zoo

  "It's about the size of a small country zoo," says Sakakibara. Of course, he doesn't actually keep animals, but the animal hair (called raw wool) that Sakakibara keeps on hand in his workshop includes at least 10 different kinds, from goats, horses, rabbits, raccoons, weasels, flying squirrels, badgers, and even swans. In the Edo and Meiji eras, these could be caught in abundance in the nearby mountains behind the house (note: goats were the only exception, as they were not native to Japan), but recently, 70% of it is imported from China. Since it's not always available when needed, he stocks up on a lot of good quality wool whenever he can get his hands on it.

  The variations of brushes are endless.

  TOYOHASHI Fude (Brushes) brushes, which account for 25 percent of the overall brush market share, are said to hold 70-80 percent of the national market share for high-end brushes, and many of their customers are professional calligraphers. Sakakibara's shop also supplies calligraphy specialty stores in Tokyo, and they receive a variety of orders through the store, such as "something softer, but with firm resilience" or "something with less ink-holding so that the bristles fade more easily." Sakakibara carefully selects materials to match each customer's order and creates original brushes. Sometimes, he gathers several strands at a time from bundles of raw hair, which can mean waiting for more than a year. It's a long process. "Types of brushes? I can't count them. There are infinitely many. That's why I have to have the skills to respond to any order at any time." He also makes brushes using waterfowl feathers and bundles of rush grass.

  

  A craftsman makes about 700 brushes a month.

  The brushes from Toyohashi are entirely handcrafted by a single artisan, from start to finish.

  The process of making TOYOHASHI Fude (Brushes) involves as many as 40 steps. Except for cutting the bamboo shaft, everything is done by hand. And one craftsman handles every single step from start to finish. This sets it apart from brushes from other regions. While other regions employ part-time workers and divide the work, this makes overall quality control impossible. Toyohashi brush craftsmen consistently supply high-quality brushes based on their own established quality standards.

  

  The 40 or so steps in the process are almost entirely done by hand by skilled craftsmen.

  You can't really know what a brush is until you try it.

  One phrase that Mr. Sakakibara has said many times is, "You can only truly appreciate a brush after you've used it." You can't try out a brush beforehand. You pay for it, fill it with ink, and use it to find out if it's a good brush or not; you can't return or exchange it. That's why you have to make good ones. Mr. Sakakibara says that you always have to make good ones. What constitutes a good brush varies from person to person, but Mr. Sakakibara's stance of creating the right brush for each individual user is uncompromising.

  Brushes used in calligraphy and ink painting

  I heard a rather useful tip from Mr. Sakakibara. Sumi-e (ink painting) has been experiencing a quiet boom recently, and it's usually done with a brush specifically designed for sumi-e. Sumi-e brushes are a little shorter than calligraphy brushes, but "you can just trim the tip of an old calligraphy brush. I've always said that each brush is different, but they're like cousins. It's fine to just enjoy it in a relaxed way like that." Apparently, there are many people who have both calligraphy and sumi-e as hobbies.
  "When they get a little better at calligraphy and start to get bored, they can try sumi-e (ink painting), and when they get a little better at sumi-e and start to get bored, they can go back to calligraphy. What I'm thinking about right now is how to get children to enjoy calligraphy more. For that, we need instructors. Today's young teachers aren't familiar with calligraphy, so we're thinking about various strategies, like having retired teachers who live in the community take on the role."
  With both of his sons also being brush makers, Mr. Sakakibara's unique ideas are likely to continue to emerge.

  

  The brushes made by Mr. Sakakibara are supplied to a famous stationery store in Tokyo.

  Craftsman Profile

  Shinobu Sakakibara

  Born in 1937 (Showa 12). After graduating from junior high school, he became an apprentice to a master at the age of 16 and has dedicated himself to this craft for nearly 50 years. Now, both of his sons are brush makers.

  

  Anecdotes

  Surprisingly easy – Ink painting

  Hearing that sumi-e (ink painting) is experiencing a quiet boom, I visited a culture center in Nagoya. The class being held that day was "Introduction to Sumi-e Painting" by Mr. Taido Mui. Participants lightly colored their drawings with paint after referencing examples. With the start of the new semester, there were 18 students tackling the day's assignment: cherry blossoms in full bloom and a three-story pagoda. According to Mr. Mui, drawing while referring to an example (sometimes by placing paper over the example and tracing it) is excellent for studying composition. The example helps you draw well, and the fact that you can finish one in about an hour is also appealing, making it perfect for beginners. One 70-year-old woman participating said, "I like that I can take it home and display it right away. My family also compliments it."

  • 

    Following the example, one piece can be completed in about an hour.

  • 

    The class proceeds smoothly and amicably, with the students receiving guidance from the teacher.

  • 

    Everyone was very serious when peering at Professor Takei's demonstration.