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Xuan paper, originally denoting paper produced in Xuanzhou Prefecture, has evolved beyond its geographical origins to become a generic term for high-quality calligraphy and painting paper used throughout China. Based on raw materials, Xuan paper is primarily categorized into two types: bark-based paper (leather paper) and straw-based paper (cotton paper).
Bark-based paper is predominantly made from the inner bark of Pterocarpus indicus trees. It features a smooth, fine texture with a pure yet non-reflective white surface. Known for its durability and flexibility-tough without brittleness-it exhibits excellent ink absorption and is particularly suitable for both calligraphy and painting. This type represents the premium category among Anhui-produced Xuan papers.
Cotton paper, by contrast, uses rice straw as its primary raw material. It possesses higher translucency, a looser structure, and a soft tactile quality. While also effective for calligraphy, it tends to exhibit less tensile strength than bark-based varieties.
In practice, neither type relies solely on a single fiber source. The addition of rice straw fibers to bark-based paper enhances its softness and imparts a more supple, "fleshy" feel. Conversely, incorporating bark fibers into cotton paper improves its mechanical strength and structural integrity, providing essential resilience during use.
Further classification of Xuan paper is based on processing methods, yielding three main categories: raw (shengxuan), processed (shuxuan), and semi-processed (banshuxuan).
Raw Xuan paper undergoes no chemical treatment with alum or sizing agents. It exhibits superior ink diffusion properties, rapid response to brushwork, and exceptional expressive potential. As such, it is widely employed in freehand brush painting and dynamic calligraphic styles characterized by swift strokes.
Processed Xuan paper is treated with alum to reduce permeability and control ink spread. Most base papers used for this purpose are of the bark variety due to their lower risk of tearing during processing. Shuxuan is typically used in meticulous gongbi painting and small regular script calligraphy, where precision and controlled ink behavior are paramount.
Semi-processed Xuan paper occupies an intermediate position between raw and processed types. Its moderate absorbency makes it ideal for clerical script, seal script, and standard script calligraphy, balancing control with some degree of ink expressiveness.
Classification by thickness includes single-layer, double-layer, laminated, and triple-layer variants. Multi-layered forms enhance paper thickness and load-bearing capacity. For instance, "Jia Yi" and "San Ceng Yi" are constructed by bonding two or three sheets of single-layer Xuan paper, respectively.
Generally, thinner raw papers demonstrate greater ink penetration and produce more pronounced ink halos. However, these characteristics present challenges for beginners in controlling ink flow and brush pressure.
Common classifications of Xuan paper include:
(1) Raw Paper Types
Key varieties include Jia Gong, Yu Ban, Jing Pi, Dan Xuan, and Mian Lian. These unprocessed papers possess strong water absorption and permeability, enabling rich variations in ink tonality. They are especially effective in splash-ink and ink-accumulation techniques, achieving aesthetic effects such as "water-splashed ink seals" and deeply saturated, lustrous ink layers. Commonly used in freehand landscape painting, raw Xuan allows for spontaneous expression, though once applied, ink sets quickly and spreads rapidly, posing technical challenges for novice users.
a. Extra-Clean Bark Single-Layer Sheet
Suitable for both calligraphy and painting, this paper features distinct ink gradation, uniform absorption, clear tonal transitions, and vibrant color rendering. When handled, it produces a crisp but not rigid sound, combining firmness with suppleness. The surface appears white without glare, and upon close inspection reveals cloud-like fiber clusters and clearly visible帘纹 (screen patterns). It ranks among the finest grades of Xuan paper.
b. Clean Bark Single-Layer Sheet
Second only to the extra-clean variant, this paper contains slightly more rice straw content, resulting in a softer hand feel. Its performance and application are otherwise comparable to the premium grade, making it another high-quality option for artistic creation.
c. Luo Wen Xuan and Gui Wen Xuan
These thin bark-based papers derive their names from distinctive screen patterns resembling sieves ("Luo Wen") and turtle shells ("Gui Wen"). Despite their delicacy, they maintain adequate toughness and are suitable for both writing and painting, often utilized in rubbing production.
d. Cotton Single-Layer Sheet
Appropriate for both calligraphy and painting, cotton paper excels in calligraphic applications. Its soft, smooth texture gives a sensation of "flesh without bones." When shaken, it emits a faint, non-brittle sound. Ideal for expressive writing, it requires careful handling to avoid overpressure.
e. Cotton Tape Papers
This category includes Extra-Clean Cotton Tape, Clean Cotton Tape, and standard Cotton Tape-relatively thin papers. Leather-cotton blends are preferred for painting, while pure cotton tape offers a soft, clean, and impurity-free surface, commonly used in mounting. Thicker versions are referred to as "interlocking," while those of intermediate thickness are known as "material half."
(2) Processed Paper
During manufacturing, cooked Xuan paper is coated with alum and other substances, resulting in a harder surface and reduced water absorption. This prevents ink and pigment from spreading uncontrollably, making it well-suited for detailed gongbi painting rather than expressive ink-wash works. A notable drawback is the potential for "alum leakage" or cracking over extended storage periods. Many decorative papers-such as coral-patterned, mica-coated, cold gold, wine-dyed gold, waxed gold with ribbed designs, peach-pink tiger-skin-are derived through secondary processing of shuxuan.
Due to its low absorbency, raw Xuan responds strongly to diluted ink, which may bleed excessively. Conversely, concentrated ink performs better. Therefore, mastery of ink concentration is crucial when working with this medium.
(3) Semi-Processed Paper
Semi-processed Xuan is derived from raw paper through partial sizing. Its absorbency lies between that of raw and fully processed types. Yubanxuan belongs to this category.
Yubanxuan is meticulously crafted by adhering two sheets of calligraphy and painting paper together. It boasts a refined texture and balanced permeability, making it a rare and valuable paper. Suitable for small-scale freehand work, semi-meticulous painting, and slower-paced calligraphy, it offers both control and expressive nuance.
Another example is boiled and pounded clean bark paper, comparable in thickness to pure bark single-layer sheets. It emits a crisp but flexible sound when shaken, though its screen pattern is less distinct. Applicable in semi-meticulous and semi-freehand painting, it combines durability with moderate responsiveness.
Based on composition and fiber ratios, Xuan paper can be further grouped into three principal categories: cotton-material, clean-bark, and extra-clean-bark.
1. Cotton-Material Xuan Paper
Characterized by rice straw as the dominant fiber (with sandalwood bark content around 40%), this paper is relatively thin and lightweight. Soft in texture and highly absorbent, it suits general artistic purposes. However, due to its delicacy, excessive pressure should be avoided.
2. Pure Bark Xuan Paper
Comprising over 60% sandalwood bark with minor rice straw additions, this type is resilient, pliable, and well-suited for both writing and painting.
3. Extra-Clean Skin Xuan Paper ("Te Pi")
With sandalwood bark content exceeding 80%, this premium product achieved national recognition by winning the National Gold Quality Award in 1979. It absorbs ink evenly, conveys subtle tonal shifts, and retains visible stroke marks. Freehand brushwork on this paper displays clear layering and vivid coloring. It facilitates precise brush and ink control, especially beneficial for small-scale freehand sketches. In calligraphy, it yields bright, fade-resistant ink tones.
In general, the higher the proportion of bark fiber-particularly in "Te Pi" grades-the greater the paper's tensile strength and overall quality. Higher bark content correlates with richer ink layering, enhanced moisture retention, and improved resistance to repeated brushwork without surface degradation.
This distinction partly explains why cotton-based papers are more commonly used in calligraphy, while bark-based papers dominate in painting. While bark papers are certainly capable of supporting calligraphic work, cotton papers generally meet the functional requirements of most writing practices.
It is important to note that any paper lacking sandalwood bark fibers does not qualify as authentic Xuan paper. Calligraphy and painting papers produced without this key component, though inspired by traditional processes, fail to replicate the unique ink behavior and longevity of genuine Xuan paper. Currently, only a limited number of manufacturers disclose sandalwood bark content on official conformity certificates.
Moreover, authentic Xuan paper production demands stringent environmental conditions, particularly regarding water quality. Key raw materials-green sandalwood bark and Sha Tin rice straw-undergo extensive natural processing: repeated soaking, washing, steaming, sun-drying, and exposure to rain for natural bleaching. These are then converted into bark pulp and grass pulp, blended in specific proportions according to product specifications, and formed through labor-intensive steps including sheet formation, drying, and cutting. The entire process spans over two years and involves more than 100 discrete procedures. Consequently, genuine Xuan paper commands a higher price and is primarily reserved for the creation of significant artistic works.
Xuan paper is also classified by size, including four-foot, five-foot, six-foot, eight-foot, two-zhang, and six-zhang formats. Given that many individuals lack familiarity with traditional Chinese paper dimensions and their metric equivalents, understanding the conversion between these units and centimeters is essential. Historically, pricing in the Chinese art market has been based on area, measured in "square feet." Questions such as "What is the price per square foot of a certain artist's work?" reflect this convention. Due to the diversity of formats-hanging scrolls, handscrolls, albums-the industry employs standardized conversion factors between physical dimensions and calculated area. Mastery of these conversions benefits collectors, investors, and enthusiasts alike.
