For aesthetic reasons, the typeface of the Saga-bon, like that of traditional handwritten books, adopted the renmen-tai ( ja), in which several characters are written in succession with smooth brush strokes. These books, now known as Kōetsu Books, Suminokura Books, or Saga Books ( 嵯峨本, Saga-bon), are considered the first and finest printed reproductions of many of these classic tales the Saga Book of the Tales of Ise ( Ise monogatari), printed in 1608, is especially renowned. At their studio in Saga, Kyoto, the pair created a number of woodblock versions of the Japanese classics, both text and images, essentially converting emaki (handscrolls) to printed books, and reproducing them for wider consumption. The great pioneers in applying the movable type printing press to the creation of artistic books, and in preceding mass production for general consumption, were Honami Kōetsu and Suminokura Soan. In 1605, books using a domestic copper movable type printing press began to be published, but copper type did not become mainstream after Ieyasu died in 1616. Ieyasu supervised the production of 100,000 types, which were used to print many political and historical books. Tokugawa Ieyasu established a printing school at Enko-ji in Kyoto and started publishing books using a domestic wooden movable type printing press instead of metal from 1599. An edition of the Confucian Analects was printed in 1598, using a Korean moveable type printing press, at the order of Emperor Go-Yōzei. The printing press seized from Korea by Toyotomi Hideyoshi's forces in 1593 was also in use at the same time as the printing press from Europe. However, the use of the western printing press was discontinued after the ban on Christianity in 1614. The Saga-bon is one of the earliest works produced on a movable type press in Japan.Ī Western-style movable type printing-press was brought to Japan by the Tenshō embassy in 1590, and was first used for printing in Kazusa, Nagasaki in 1591. Early Edo period Saga-bon ( 嵯峨本, Saga Books): libretto for the Noh play Katsuragi by Hon'ami Kōetsu. In the Kamakura period from the 12th century to the 13th century, many books were printed and published by woodblock printing at Buddhist temples in Kyoto and Kamakura. However, an important set of fans of the late Heian period (12th century), containing painted images and Buddhist sutras, reveal from loss of paint that the underdrawing for the paintings was printed from blocks. For centuries, printing was mainly restricted to the Buddhist sphere, as it was too expensive for mass production, and did not have a receptive, literate public as a market. īy the eleventh century, Buddhist temples in Japan produced printed books of sutras, mandalas, and other Buddhist texts and images. These are the earliest examples of woodblock printing known, or documented, from Japan. These were distributed to temples around the country as thanks for the suppression of the Emi Rebellion of 764. In 764 the Empress Kōken commissioned one million small wooden pagodas, each containing a small woodblock scroll printed with a Buddhist text ( Hyakumantō Darani). Woodblock printing was invented in China under the Tang Dynasty, and eventually migrated to Japan in the late 700s, where it was first used to reproduce foreign literature. The Japanese water-based inks provide a wide range of vivid colors, glazes, and transparency. Widely adopted in Japan during the Edo period (1603–1868) and similar to woodcut in Western printmaking in some regards, the mokuhanga technique differs in that it uses water-based inks-as opposed to western woodcut, which typically uses oil-based inks. Woodblock printing in Japan ( 木版画, mokuhanga) is a technique best known for its use in the ukiyo-e artistic genre of single sheets, but it was also used for printing books in the same period. Ancient technique for reproducing images or text The Great Wave off Kanagawa ( 神奈川沖浪裏, Kanagawa-oki nami-ura) print by Hokusai
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