Antique Japanese books
This section presents authentic Japanese books from the 18th–19th centuries, produced using traditional woodblock printing. The selection includes single volumes and complete sets of literary, historical, and popular works from the Edo and Meiji periods, illustrated by artists of various schools. The books are treated as historical artifacts, with attention given to their textual content, publishing context, and cultural role, as well as to authenticity and preservation without later intervention.
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Zōho Shoshū Butsuzō Zui — Illustrated Encyclopedia of Buddhist Iconography
Zōho Shoshū Butsuzō Zui — Illustrated Encyclopedia of Buddhist Iconography
増補諸宗佛像圖彙 — Japan, Edo Period. First published in 1690; expanded five-volume edition of 1783. Illustrations by Tosa Hidenobu (Ki no Hidenobu).
Zōho Shoshū Butsuzō Zui ("Expanded Illustrated Compendium of Buddhist Images of Various Schools") is a Japanese encyclopedia of religious iconography, bringing together representations of Buddhist deities, historical figures, members of different religious traditions, and ritual objects.
The original three-volume Butsuzō Zui was published in 1690, during the Genroku era. In 1783, the artist Tosa Hidenobu (土佐秀信, also 紀秀信) prepared a substantially expanded edition organized into five volumes. This edition contains 826 illustrated entries. Subsequent woodblock-printed editions are documented for 1792, 1796, and 1832.
The encyclopedia was conceived as a systematic visual reference. Each illustration is accompanied by the name of its subject and, in many cases, brief information about its origins, religious function, iconographic attributes, and associated traditions.
The five volumes include Buddhas and bodhisattvas; Myōō, the wrathful protectors of Buddhist teachings; heavenly deities; the Twelve Divine Generals of Yakushi Nyorai; the Thirty Buddhas of the monthly calendar; Shinto deities; the Ten Kings of the Afterlife; arhats; Buddhist patriarchs; and historical religious figures.
Among the illustrations are various representations of Shakyamuni Buddha, the nine forms of Amitabha, the Chinese Buddhist master Fu Dashi with his two sons, and Prince Shōtoku, who played an important role in the early history of Japanese Buddhism. The final part of the encyclopedia also includes figures associated with different Buddhist schools, their religious traditions, and illustrations of ritual implements.
One important feature of Butsuzō Zui is its presentation of Buddhist and Shinto iconography within a single reference work. The encyclopedia documents the religious culture of Edo-period Japan, when Buddhist and indigenous religious traditions were closely interconnected and images of deities were used in temple practice, religious education, and artistic workshops.
All illustrations were produced using traditional woodblock printing, with images and text printed from carved wooden blocks onto Japanese paper. Surviving copies make it possible to trace the publication history of the work throughout the 18th and 19th centuries, from the expanded edition of 1783 to numerous subsequent impressions, some printed using earlier woodblocks.
The five-volume encyclopedia is an important historical source for the study of Japanese Buddhism, religious iconography, and the history of Japanese illustrated books.
The Copy in the Riga Gallery of Japanese Art Collection
The gallery's collection includes three consecutive volumes — II, III, and IV — from the expanded five-volume edition. All three volumes are complete, containing 21, 24, and 19 folded leaves respectively.
The rear endpaper of Volume III preserves a printed publisher's advertisement for Chazan-ō Fude no Susabi, a Japanese work published in 1857. Volume IV contains a handwritten inscription dated 1863.
The books are original Edo-period woodblock-printed editions, provisionally attributed to the late 18th century. The exact printing and publisher of this particular set have not yet been established.
増補諸宗佛像圖彙 — Japan, Edo Period. First published in 1690; expanded five-volume edition of 1783. Illustrations by Tosa Hidenobu (Ki no Hidenobu).
Zōho Shoshū Butsuzō Zui ("Expanded Illustrated Compendium of Buddhist Images of Various Schools") is a Japanese encyclopedia of religious iconography, bringing together representations of Buddhist deities, historical figures, members of different religious traditions, and ritual objects.
The original three-volume Butsuzō Zui was published in 1690, during the Genroku era. In 1783, the artist Tosa Hidenobu (土佐秀信, also 紀秀信) prepared a substantially expanded edition organized into five volumes. This edition contains 826 illustrated entries. Subsequent woodblock-printed editions are documented for 1792, 1796, and 1832.
The encyclopedia was conceived as a systematic visual reference. Each illustration is accompanied by the name of its subject and, in many cases, brief information about its origins, religious function, iconographic attributes, and associated traditions.
The five volumes include Buddhas and bodhisattvas; Myōō, the wrathful protectors of Buddhist teachings; heavenly deities; the Twelve Divine Generals of Yakushi Nyorai; the Thirty Buddhas of the monthly calendar; Shinto deities; the Ten Kings of the Afterlife; arhats; Buddhist patriarchs; and historical religious figures.
Among the illustrations are various representations of Shakyamuni Buddha, the nine forms of Amitabha, the Chinese Buddhist master Fu Dashi with his two sons, and Prince Shōtoku, who played an important role in the early history of Japanese Buddhism. The final part of the encyclopedia also includes figures associated with different Buddhist schools, their religious traditions, and illustrations of ritual implements.
One important feature of Butsuzō Zui is its presentation of Buddhist and Shinto iconography within a single reference work. The encyclopedia documents the religious culture of Edo-period Japan, when Buddhist and indigenous religious traditions were closely interconnected and images of deities were used in temple practice, religious education, and artistic workshops.
All illustrations were produced using traditional woodblock printing, with images and text printed from carved wooden blocks onto Japanese paper. Surviving copies make it possible to trace the publication history of the work throughout the 18th and 19th centuries, from the expanded edition of 1783 to numerous subsequent impressions, some printed using earlier woodblocks.
The five-volume encyclopedia is an important historical source for the study of Japanese Buddhism, religious iconography, and the history of Japanese illustrated books.
The Copy in the Riga Gallery of Japanese Art Collection
The gallery's collection includes three consecutive volumes — II, III, and IV — from the expanded five-volume edition. All three volumes are complete, containing 21, 24, and 19 folded leaves respectively.
The rear endpaper of Volume III preserves a printed publisher's advertisement for Chazan-ō Fude no Susabi, a Japanese work published in 1857. Volume IV contains a handwritten inscription dated 1863.
The books are original Edo-period woodblock-printed editions, provisionally attributed to the late 18th century. The exact printing and publisher of this particular set have not yet been established.
Zōho Shoshū Butsuzō Zui — Illustrated Encyclopedia of Buddhist Iconography Vol. II
Antique Japanese illustrated woodblock book, Edo period, ninjobon, 1848–1854, Santō Kyōden, Toyokuni, Utagawa Kunisada
“Haru no fumikakushi no sōshi” — “Spring Secret Letters”
Antique Japanese illustrated book produced using traditional woodblock printing.
Single volume from the series Haru no fumikakushi no sōshi.
Illustrated Japanese book printed from carved wooden blocks on traditional paper.
Period: Edo period, 1848–1854
Technique: woodblock print
Format: illustrated book, single volume
Author
The work was written by Santō Kyōden, a prominent writer of popular urban literature and a key figure in the development of the ninjobon genre during the Edo period.
Illustrations
The book contains woodblock-printed illustrations by Toyokuni and Utagawa Kunisada, artists of the Utagawa school.
Significance
Haru no fumikakushi no sōshi represents Edo-period popular illustrated literature and provides material for the study of commercial publishing, reading culture, and visual narrative traditions of nineteenth-century Japan.
Antique Japanese illustrated book produced using traditional woodblock printing.
Single volume from the series Haru no fumikakushi no sōshi.
Illustrated Japanese book printed from carved wooden blocks on traditional paper.
Period: Edo period, 1848–1854
Technique: woodblock print
Format: illustrated book, single volume
Author
The work was written by Santō Kyōden, a prominent writer of popular urban literature and a key figure in the development of the ninjobon genre during the Edo period.
Illustrations
The book contains woodblock-printed illustrations by Toyokuni and Utagawa Kunisada, artists of the Utagawa school.
Significance
Haru no fumikakushi no sōshi represents Edo-period popular illustrated literature and provides material for the study of commercial publishing, reading culture, and visual narrative traditions of nineteenth-century Japan.
Antique Edo Japanese illustrated woodblock book, 1833-1835, Tamenaga Shunsui, Utagawa Kuninao, set of 12 volumes
“Shunshoku Tatsumi-zono” — “Spring Colors of the Tatsumi Quarter”.
An illustrated book from the late Edo period, produced using traditional Japanese woodblock printing. The work belongs to the ninjobon genre, a form of popular urban prose of the first half of the nineteenth century focused on human emotions, social relationships, and romantic narratives.
The book is a multi-volume novel printed from carved wooden blocks. Text and images were produced as part of a single publishing project. The volumes contain a substantial number of illustrations, including color woodblock prints, characteristic of well-produced urban publications of the Edo period.
In terms of subject matter, the work is closely connected to the cultural sphere of shunga, sharing an interest in intimacy, physicality, and everyday life within the pleasure quarters. However, it is not a shunga album. Sensual themes are conveyed through narrative development and sequential storytelling rather than through autonomous erotic images, reflecting the literary dimension of the same cultural environment in which shunga existed.
The set consists of 12 individual volumes and is complete. The original series was issued in this format. Loss of individual volumes is common for Edo-period books that circulated in everyday use, which makes complete sets considerably less common.
Author
Tamenaga Shunsui (1790–1844) was a professional writer active in the late Edo period and one of the key figures of the ninjobon genre. His works were published in serialized form and aimed at a broad urban readership, occupying a stable position within the commercial publishing environment of the first half of the nineteenth century.
Illustrator
Utagawa Kuninao was a book illustrator of the Utagawa school, working primarily in the field of illustrated fiction and popular prose. His graphic style was adapted to the requirements of woodblock-printed books and follows the conventions of Edo-period book illustration.
Historical significance
The book represents a characteristic example of Edo-period popular illustrated literature. Such works played an important role in shaping literary taste and visual culture among the urban population of Japan in the first half of the nineteenth century and are valuable sources for the study of publishing and reading practices of the period.
An illustrated book from the late Edo period, produced using traditional Japanese woodblock printing. The work belongs to the ninjobon genre, a form of popular urban prose of the first half of the nineteenth century focused on human emotions, social relationships, and romantic narratives.
The book is a multi-volume novel printed from carved wooden blocks. Text and images were produced as part of a single publishing project. The volumes contain a substantial number of illustrations, including color woodblock prints, characteristic of well-produced urban publications of the Edo period.
In terms of subject matter, the work is closely connected to the cultural sphere of shunga, sharing an interest in intimacy, physicality, and everyday life within the pleasure quarters. However, it is not a shunga album. Sensual themes are conveyed through narrative development and sequential storytelling rather than through autonomous erotic images, reflecting the literary dimension of the same cultural environment in which shunga existed.
The set consists of 12 individual volumes and is complete. The original series was issued in this format. Loss of individual volumes is common for Edo-period books that circulated in everyday use, which makes complete sets considerably less common.
Author
Tamenaga Shunsui (1790–1844) was a professional writer active in the late Edo period and one of the key figures of the ninjobon genre. His works were published in serialized form and aimed at a broad urban readership, occupying a stable position within the commercial publishing environment of the first half of the nineteenth century.
Illustrator
Utagawa Kuninao was a book illustrator of the Utagawa school, working primarily in the field of illustrated fiction and popular prose. His graphic style was adapted to the requirements of woodblock-printed books and follows the conventions of Edo-period book illustration.
Historical significance
The book represents a characteristic example of Edo-period popular illustrated literature. Such works played an important role in shaping literary taste and visual culture among the urban population of Japan in the first half of the nineteenth century and are valuable sources for the study of publishing and reading practices of the period.
Antique Edo Japanese illustrated woodblock book, Tenpo period, 1832–1833, Shotei Kinsui, Teisai Sencho, set of 8 volumes
“Ukiyo shingata koi no hanagatami” (“A new-style ukiyo collection of love stories”)
An illustrated book from the late Edo period, produced using traditional Japanese woodblock printing. The work belongs to the ninjobon genre, a form of popular prose of the first half of the nineteenth century focused on human emotions, social relationships, and romantic narratives.
“Ukiyo shingata koi no hanagatami” is a multi-volume novel printed from carved wooden blocks. Text and images were produced as part of a single publishing project. The volumes contain a substantial number of illustrations, including color woodblock prints, characteristic of well-produced urban publications of the Edo period.
The set consists of 8 individual volumes. The original series comprised 9 volumes; the present set is incomplete. Loss of individual volumes is common for Edo-period books that circulated in everyday use.
Author
Shotei Kinsui was a professional writer active in the late Edo period, working primarily in the yomihon and ninjobon genres. His works were issued in serialized form and intended for a broad urban readership. He occupied a stable position within the commercial publishing environment of the early nineteenth century.
Illustrator
Teisai Sencho was an Edo-period book illustrator active approximately from the 1830s to the 1850s. He worked within the ukiyo-e tradition and specialized in illustrations for printed books and popular fiction. He is recorded as a pupil of Ikeda Eisen, a leading master of bijin-ga in the first half of the nineteenth century. His style reflects this artistic lineage and was adapted to the format of woodblock-printed book illustration.
Historical significance
The work represents a characteristic example of Edo-period popular illustrated literature. Such books played an important role in shaping literary taste and visual culture among the urban population of Japan in the first half of the nineteenth century.
An illustrated book from the late Edo period, produced using traditional Japanese woodblock printing. The work belongs to the ninjobon genre, a form of popular prose of the first half of the nineteenth century focused on human emotions, social relationships, and romantic narratives.
“Ukiyo shingata koi no hanagatami” is a multi-volume novel printed from carved wooden blocks. Text and images were produced as part of a single publishing project. The volumes contain a substantial number of illustrations, including color woodblock prints, characteristic of well-produced urban publications of the Edo period.
The set consists of 8 individual volumes. The original series comprised 9 volumes; the present set is incomplete. Loss of individual volumes is common for Edo-period books that circulated in everyday use.
Author
Shotei Kinsui was a professional writer active in the late Edo period, working primarily in the yomihon and ninjobon genres. His works were issued in serialized form and intended for a broad urban readership. He occupied a stable position within the commercial publishing environment of the early nineteenth century.
Illustrator
Teisai Sencho was an Edo-period book illustrator active approximately from the 1830s to the 1850s. He worked within the ukiyo-e tradition and specialized in illustrations for printed books and popular fiction. He is recorded as a pupil of Ikeda Eisen, a leading master of bijin-ga in the first half of the nineteenth century. His style reflects this artistic lineage and was adapted to the format of woodblock-printed book illustration.
Historical significance
The work represents a characteristic example of Edo-period popular illustrated literature. Such books played an important role in shaping literary taste and visual culture among the urban population of Japan in the first half of the nineteenth century.
Antique Japanese illustrated woodblock book, late Edo period, Ryūsuitei Tanekiyo, Matsukawa Hanzan, vol. VI, complete set of 10 books
“Ehon Toyotomi Kunkōki” (Illustrated Chronicle of the Merits of Toyotomi) is an illustrated military chronicle of the late Edo period, devoted to the deeds of Toyotomi Hideyoshi and issued as a serialized book publication for a broad nineteenth-century readership.
About the historical figure.
Toyotomi Hideyoshi was one of the most significant political and military leaders of late sixteenth-century Japan, completing the unification of the country after the age of civil wars. Rising from a humble background to become the de facto ruler of Japan, he is remembered for major military campaigns, administrative reforms, and the establishment of a stable system of governance that shaped the subsequent development of the Japanese state.
Historical and cultural significance.
The book belongs to the corpus of popular historical chronicles of the late Edo period that shaped public perceptions of Sengoku-era heroes and their exploits. Such publications played an important role in transmitting historical memory by combining narrative text with extensive visual material, making military history accessible to a wide audience. The edition is notable for its large number of woodblock-printed illustrations; alongside monochrome prints, the set also includes color woodblock images.
This listing represents the sixth volume (VI), complete set of 10 books.
Text author: Ryūsuitei Tanekiyo.
Illustrator: Matsukawa Hanzan.
Date of publication: Ansei 4 – Bunkyū 3 (1857–1863).
Printing technique: woodblock print.
Language: Japanese.
Format: traditional Japanese stitched booklets.
The volume constitutes an independent publishing unit within the series and is complete within the sixth volume. The illustrations are conceived for sequential reading as part of the book format rather than for separate display.
About the historical figure.
Toyotomi Hideyoshi was one of the most significant political and military leaders of late sixteenth-century Japan, completing the unification of the country after the age of civil wars. Rising from a humble background to become the de facto ruler of Japan, he is remembered for major military campaigns, administrative reforms, and the establishment of a stable system of governance that shaped the subsequent development of the Japanese state.
Historical and cultural significance.
The book belongs to the corpus of popular historical chronicles of the late Edo period that shaped public perceptions of Sengoku-era heroes and their exploits. Such publications played an important role in transmitting historical memory by combining narrative text with extensive visual material, making military history accessible to a wide audience. The edition is notable for its large number of woodblock-printed illustrations; alongside monochrome prints, the set also includes color woodblock images.
This listing represents the sixth volume (VI), complete set of 10 books.
Text author: Ryūsuitei Tanekiyo.
Illustrator: Matsukawa Hanzan.
Date of publication: Ansei 4 – Bunkyū 3 (1857–1863).
Printing technique: woodblock print.
Language: Japanese.
Format: traditional Japanese stitched booklets.
The volume constitutes an independent publishing unit within the series and is complete within the sixth volume. The illustrations are conceived for sequential reading as part of the book format rather than for separate display.
Antique Edo Japanese woodblock book, illustrated, Shōtei Kinsui, Utagawa Kunimaro, single volume
“The Moon Over the Harbor”
Original Japanese woodblock printed book from the late Edo period.
Genre: ninjobon.
Single volume from a multi-volume work; offered individually.
Printed from carved woodblocks.
About the author
Shōtei Kinsui was one of the key writers of the ninjobon genre in late Edo Japan. His works occupy a stable position within the corpus of nineteenth-century urban popular literature and are recorded in major academic and library collections. Kinsui is regarded by scholars as an important figure in the literary landscape of his time.
About the illustrator
Utagawa Kunimaro was an artist of the Utagawa school, active in the mid-nineteenth century. He is best known as a master of book illustration and woodblock printing, representing the publishing tradition of ukiyo-e. His works are preserved in museum and research collections as characteristic examples of Edo-period book graphics.
Genre and historical significance
Ninjobon is a major genre of late Edo popular prose, produced for a wide urban readership and published as illustrated woodblock-printed books. Such works are important historical sources for the study of reading culture, publishing practices, and the visual environment of nineteenth-century Japan. Original ninjobon volumes are valued as authentic documents of Edo-period literary and printing culture.
Original Japanese woodblock printed book from the late Edo period.
Genre: ninjobon.
Single volume from a multi-volume work; offered individually.
Printed from carved woodblocks.
About the author
Shōtei Kinsui was one of the key writers of the ninjobon genre in late Edo Japan. His works occupy a stable position within the corpus of nineteenth-century urban popular literature and are recorded in major academic and library collections. Kinsui is regarded by scholars as an important figure in the literary landscape of his time.
About the illustrator
Utagawa Kunimaro was an artist of the Utagawa school, active in the mid-nineteenth century. He is best known as a master of book illustration and woodblock printing, representing the publishing tradition of ukiyo-e. His works are preserved in museum and research collections as characteristic examples of Edo-period book graphics.
Genre and historical significance
Ninjobon is a major genre of late Edo popular prose, produced for a wide urban readership and published as illustrated woodblock-printed books. Such works are important historical sources for the study of reading culture, publishing practices, and the visual environment of nineteenth-century Japan. Original ninjobon volumes are valued as authentic documents of Edo-period literary and printing culture.
Antique Edo Japanese woodblock book, illustrated, Ryukatei Tanekazu, Utagawa Kunisada, single volume
Shiranui monogatari — “Tale of Shiranui (the mysterious fire)”
Antique Japanese illustrated book produced using traditional woodblock printing.
Single volume from the series Shiranui monogatari.
Illustrated gokan-format book printed from carved wooden blocks on traditional paper.
Period: Edo period
Technique: woodblock print
Format: illustrated gokan book, single volume
Author
The series Shiranui monogatari was initiated by the writer Ryukatei Tanekazu and conceived as a long serial work, later continued by other authors in accordance with Edo-period publishing practice.
Illustrator
The series was illustrated by Utagawa Kunisada, also known as Toyokuni III, a leading artist of the Utagawa school and one of the most prominent masters of nineteenth-century Japanese book illustration.
Significance
Shiranui monogatari is regarded as one of the most extensive works of the gokan genre and represents an important source for the study of popular literary and visual culture of the Edo period. The series is known for dramatic narrative themes, including revenge, supernatural elements, and moral conflict, characteristic of popular literature of its time.
Antique Japanese illustrated book produced using traditional woodblock printing.
Single volume from the series Shiranui monogatari.
Illustrated gokan-format book printed from carved wooden blocks on traditional paper.
Period: Edo period
Technique: woodblock print
Format: illustrated gokan book, single volume
Author
The series Shiranui monogatari was initiated by the writer Ryukatei Tanekazu and conceived as a long serial work, later continued by other authors in accordance with Edo-period publishing practice.
Illustrator
The series was illustrated by Utagawa Kunisada, also known as Toyokuni III, a leading artist of the Utagawa school and one of the most prominent masters of nineteenth-century Japanese book illustration.
Significance
Shiranui monogatari is regarded as one of the most extensive works of the gokan genre and represents an important source for the study of popular literary and visual culture of the Edo period. The series is known for dramatic narrative themes, including revenge, supernatural elements, and moral conflict, characteristic of popular literature of its time.
Antique Edo Japanese woodblock book Shunshoku minato no hana - Spring Flowers of the Harbor, set 15
"Shunshoku minato no hana"
"Spring Flowers of the Harbor"
A classical late-Edo literary work belonging to the tradition of ninjōbon, an important genre of urban sentimental prose in 19th-century Japan.
Complete set of 15 stitched volumes.
Author: Tamenaga Shunsui (1790–1843).
Illustrations: Utagawa Kunimaro, Baiji.
Dating: Tenpō 12 (1841), dated according to the preface.
Printing technique: woodblock print.
This work is documented in major Japanese academic and university library collections and is regarded as a representative example of Edo-period ninjōbon. It was reprinted in the 20th century as part of corpus editions of classical Japanese literature.
"Spring Flowers of the Harbor"
A classical late-Edo literary work belonging to the tradition of ninjōbon, an important genre of urban sentimental prose in 19th-century Japan.
Complete set of 15 stitched volumes.
Author: Tamenaga Shunsui (1790–1843).
Illustrations: Utagawa Kunimaro, Baiji.
Dating: Tenpō 12 (1841), dated according to the preface.
Printing technique: woodblock print.
This work is documented in major Japanese academic and university library collections and is regarded as a representative example of Edo-period ninjōbon. It was reprinted in the 20th century as part of corpus editions of classical Japanese literature.
Antique Japanese woodblock book, practice painting album by Takeuchi Seihō, Meiji period, 12 woodblock prints
Japanese printed practice painting album consisting of 12 woodblock-printed plates bound as a single volume. The album is attributed to Takeuchi Seihō (1864–1942), one of the leading Japanese painters of the late Meiji period and an important figure in the development of modern Japanese painting.
This publication belongs to the series commonly known as Seihō shūga-chō (practice drawing albums), issued during the Meiji period as instructional material for studying traditional motifs such as plants, animals, birds, and natural forms. The album was intended for copying and visual study rather than for literary reading.
The volume is printed using traditional woodblock techniques. It is not a manuscript and not a modern reproduction. A publisher’s stamp on the reverse indicates the volume number (vol. 4) and a Tokyo distribution address in the Kanda area. No explicit publication date is stated in the book.
Meiji period (late 19th – early 20th century)
Takeuchi Seihō
Single volume (vol. 4)
12 woodblock prints
Size (approx.): 18 × 25 × 0.5 cm.
This publication belongs to the series commonly known as Seihō shūga-chō (practice drawing albums), issued during the Meiji period as instructional material for studying traditional motifs such as plants, animals, birds, and natural forms. The album was intended for copying and visual study rather than for literary reading.
The volume is printed using traditional woodblock techniques. It is not a manuscript and not a modern reproduction. A publisher’s stamp on the reverse indicates the volume number (vol. 4) and a Tokyo distribution address in the Kanda area. No explicit publication date is stated in the book.
Meiji period (late 19th – early 20th century)
Takeuchi Seihō
Single volume (vol. 4)
12 woodblock prints
Size (approx.): 18 × 25 × 0.5 cm.
Calligraphic canon of Japanese poetry, Vintage Japanese folding book set, Shōwa period, 1931, 5 volumes
A canonical text of Japanese poetic tradition, which for centuries served as a reference for language, calligraphy, and aesthetic thought.
Japanese book set.
Title: Kokin Wakashū preface (kana preface).
Calligraphy model attributed to Katō Chikage (Tachibana Chikage).
Shōwa period, 1931.
Five separate folding-book volumes (orihon format), complete set, with original cloth storage case.
This five-volume set represents a classical calligraphy model of the kana preface to Kokin Wakashū, traditionally used for the study and transmission of Japanese kana script.
The orihon (folding book) format allowed the text to be fully opened and laid flat, making it suitable for calligraphic practice and close visual reference rather than conventional reading.
The multi-volume structure and original storage case reflect its intended use as a sustained study set rather than a single bound book.
Japanese book set.
Title: Kokin Wakashū preface (kana preface).
Calligraphy model attributed to Katō Chikage (Tachibana Chikage).
Shōwa period, 1931.
Five separate folding-book volumes (orihon format), complete set, with original cloth storage case.
This five-volume set represents a classical calligraphy model of the kana preface to Kokin Wakashū, traditionally used for the study and transmission of Japanese kana script.
The orihon (folding book) format allowed the text to be fully opened and laid flat, making it suitable for calligraphic practice and close visual reference rather than conventional reading.
The multi-volume structure and original storage case reflect its intended use as a sustained study set rather than a single bound book.
Antique Japanese woodblock book, practice painting album by Takeuchi Seihō, Meiji period, 12 woodblock prints
Japanese printed practice painting album consisting of 12 woodblock-printed plates bound as a single volume. The album is attributed to Takeuchi Seihō (1864–1942), one of the leading Japanese painters of the late Meiji period and an important figure in the development of modern Japanese painting.
This publication belongs to the series commonly known as Seihō shūga-chō (practice drawing albums), issued during the Meiji period as instructional material for studying traditional motifs such as plants, animals, birds, and natural forms. The album was intended for copying and visual study rather than for literary reading.
The volume is printed using traditional woodblock techniques. It is not a manuscript and not a modern reproduction. A publisher’s stamp on the reverse indicates the volume number (vol. 4) and a Tokyo distribution address in the Kanda area. No explicit publication date is stated in the book.
Meiji period (late 19th – early 20th century)
Takeuchi Seihō
Single volume (vol. 3)
12 woodblock prints
Size (approx.): 18 × 25 × 0.5 cm.
This publication belongs to the series commonly known as Seihō shūga-chō (practice drawing albums), issued during the Meiji period as instructional material for studying traditional motifs such as plants, animals, birds, and natural forms. The album was intended for copying and visual study rather than for literary reading.
The volume is printed using traditional woodblock techniques. It is not a manuscript and not a modern reproduction. A publisher’s stamp on the reverse indicates the volume number (vol. 4) and a Tokyo distribution address in the Kanda area. No explicit publication date is stated in the book.
Meiji period (late 19th – early 20th century)
Takeuchi Seihō
Single volume (vol. 3)
12 woodblock prints
Size (approx.): 18 × 25 × 0.5 cm.
Antique Japanese ikebana instructional book, Meiji period, 1911
Japanese ikebana instructional book issued for internal use within a traditional flower arrangement school. Educational publication with explanatory text and instructional illustrations.
This volume contains more than 70 illustrations demonstrating composition structures, spatial balance, and arrangement methods, including examples using suspended vessels.
Meiji period, 1911.
This volume contains more than 70 illustrations demonstrating composition structures, spatial balance, and arrangement methods, including examples using suspended vessels.
Meiji period, 1911.
Japanese antique illustrated woodblock book, moral education reader, Meiji period, 1882
An antique Japanese wahon book with stitched binding, published during the Meiji period.
An individual volume VI from the series Shūshin setsuyaku, an educational moral reader used in Japanese schools in the late 19th century.
Vertical printed text with woodblock-printed illustrations.
The compiler is listed in the colophon as Kido Rin; the series was issued in several printings between 1879 and 1882.
Note
The Shūshin setsuyaku series is recorded in Japanese library and university archives as an illustrated educational publication associated with Kawanabe Kyōsai.
An individual volume VI from the series Shūshin setsuyaku, an educational moral reader used in Japanese schools in the late 19th century.
Vertical printed text with woodblock-printed illustrations.
The compiler is listed in the colophon as Kido Rin; the series was issued in several printings between 1879 and 1882.
Note
The Shūshin setsuyaku series is recorded in Japanese library and university archives as an illustrated educational publication associated with Kawanabe Kyōsai.
Japanese antique illustrated woodblock book, Kawanabe Kyosai illustrations, Meiji period
Original Japanese woodblock-printed handbook from the Meiji period (1880s), preserved in its traditional fukuro-toji binding.
The volume presents a structured overview of civic and everyday life in Tokyo of the time. It includes calendar divisions, seasonal references, public institutional information, and other practical materials characteristic of urban handbooks of the late 19th century.
Several woodblock illustrations appear within the text; these plates are attributed to Kawanabe Kyosai, signed under one of his art names.
The volume presents a structured overview of civic and everyday life in Tokyo of the time. It includes calendar divisions, seasonal references, public institutional information, and other practical materials characteristic of urban handbooks of the late 19th century.
Several woodblock illustrations appear within the text; these plates are attributed to Kawanabe Kyosai, signed under one of his art names.