A Brief Discussion on the Relevant Knowledge of Collecting Paper for Calligraphy and Paintings

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Calligraphy and painting paper refers to the specialized artistic medium used in traditional Chinese brushwork and ink-based art. With a history spanning over 1,800 years, it represents a synthesis of Chinese culture, aesthetics, and scientific advancement. As Comrade Guo Moruo once stated, "Without it, Chinese calligraphy and painting cannot express the essence of artistic beauty." This discussion will explore the historical evolution of paper used in Chinese calligraphy and painting by examining the development of Chinese script, descriptions of paper by renowned historical calligraphers and painters, and advancements in papermaking technology.

Cai Lun pioneered the use of paper for writing contracts during the Eastern Han Dynasty. Approximately eighty years later (from 105 to 264 AD), Zuo Bo further refined this technique, producing a type of paper specifically suited for calligraphy.

The evolution of Chinese characters traces back to inscriptions on ancient pottery, oracle bones from the Shang Dynasty, stone drum inscriptions from the early Qin Dynasty, and bamboo slips and silk manuscripts from the Han Dynasty. It was not until the reign of Emperor He of the Eastern Han Dynasty (105 AD) that Cai Lun introduced plant fiber-based paper, laying the foundation for its widespread use in calligraphy and painting.

As an art form, calligraphy demands higher quality paper than that used for administrative or commercial purposes. To meet these requirements, papermakers dedicated themselves to refining production techniques. Around 185 AD, at the end of the Eastern Han Dynasty-approximately eighty years after Cai Lun's innovation-the calligrapher Zuo Bo inherited and improved upon Cai Lun's methods, creating what became known as Zuo Bo paper. This innovation marked a new era in the use of paper for artistic expression.

During the Jin, Northern and Southern Dynasties, and Sui Dynasties (266–618 AD), significant progress was made in the development of calligraphy and painting paper. This period witnessed the emergence of celebrated calligraphers such as Zhong Yao and Wang Xizhi. At that time, artists primarily used silk rather than paper for painting; for example, Gu Kaizhi's "Admonitions Scroll" and Zhan Ziqian's "Spring Outing" were both executed on silk. Therefore, the focus of paper evolution during this era centers on its application in calligraphic works.

Zhong Yao was renowned for his regular script, while Wang Xizhi excelled in running and cursive scripts. Their contributions established these styles as fundamental forms of Chinese calligraphy, setting enduring aesthetic standards. Since then, generations of calligraphers-including those in Japan-have followed Wang Xizhi's example, revering him as the "Sage of Calligraphy." Among his masterpieces is the "Preface to the Orchid Pavilion Collection," written during a gathering with friends using cocoon paper and mouse-hair brushes. Originally, the Orchid Pavilion Cocoon Paper was interred in the Zhaoling Mausoleum along with Emperor Taizong of the Tang Dynasty.

The materials and techniques involved in making cocoon paper have long intrigued scholars. Evidence suggests that cocoon paper evolved from the "tree skin" paper developed by Cai Lun, utilizing Castanopsis bark as its primary material. In summary, the Jin through Sui Dynasties saw notable improvements in the processing of natural-colored phloem pulp and the application of surface-coating technologies.

By the Tang and Five Dynasties periods (618–959 AD), the range of raw materials used in calligraphy paper production expanded significantly. These included hemp, Castanopsis bark, mulberry bark, rattan bark, and other fibrous materials. The names of various papers often reflected their source materials, appearance, or place of origin-such as hemp paper, fragrant paper (gezhi), gouteng paper, mulberry root paper, net paper, and cocoon paper.

The Tang Dynasty marked a golden age for calligraphy and painting paper. Notably, precisely processed sutra-copying paper and Chengxin Hall paper from the Southern Tang exemplified the flourishing state of papermaking during this era. Economically, politically, and culturally prosperous, the Tang Dynasty fostered the systematic study of calligraphy. Historical records indicate that the number of calligraphers during the Tang rivaled those of the Jin Dynasty. Calligraphy flourished through both inheritance and innovation, yielding numerous masterpieces and tributes from regional producers. Over 245 prominent calligraphers emerged during this period, many of whose works continue to serve as models for contemporary students.

In painting, historical accounts note that Wu Daozi (688–758 AD), revered as the "Painting Sage," was among the first to transition from silk to paper as a medium. His work "The Scroll of the Condor Heroes in Powder Form" was painted on paper, marking a pivotal shift in artistic practice. This change represented a major innovation in Tang Dynasty painting, breaking centuries-old traditions.

Moreover, tribute-grade paper produced during the Tang and Five Dynasties combined the finest qualities of phloem and fiber, gaining widespread recognition across China. Among these, sutra-copying paper and Chengxin Hall paper stood out as exemplary products, symbolizing the peak of calligraphy and painting paper craftsmanship. Thanks to large-scale production and efficient transportation networks, Chinese papermaking techniques spread beyond China's borders to Korea, Japan, Central Asia, Arabia, and even Cairo. Consequently, the Tang Dynasty not only witnessed a flourishing domestic paper industry but also achieved international acclaim for its superior calligraphy and painting papers.