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Skip to 0 minutes and 4 seconds In this video I will talk about the appearance of illustrated tetsuyōsō books. As I mentioned earlier, the first illustrated books to appear were in fukurotoji binding. Their popularity paved the way for tetsuyōsō-style illustrated books, which first emerged around the mid-17th century. As for why fukurotoji books were the first to appear, the likely reason is that they are the closest in terms of structure to scrolls. The images were added as you see, with the text continuing on the rear of the picture. In most cases, however, the images were painted on separate sheets and then pasted on pages deliberately left blank for the purpose. This method would later become standard for all types of binding, not just fukurotoji books.

Skip to 1 minute and 32 seconds Another genre of books to consider in relation to the appearance of illustrated multi-section books are these books which I have showed you when we talked about the placement of the title. The cover designs and style of inscription of some of them closely resemble those of illustrated tetsuyōsō and they appeared more or less at the same time, but they do not contain pictures, only text. These lavishly-made books were made for the daughters of wealthy families, such as those of provincial lords, for them to take with them when they moved to their new home when they married. That’s why specialists call them yomeiri-bon or trousseau books.

Skip to 2 minutes and 36 seconds Though we do not know for sure, it is very likely that these illustrated tetsuyōsō books were made for the same purpose, as part of a bride’s dowry. As for the reason for choosing the tetsuyōsō binding over fukurotoji binding in these books, I have already mentioned that there was a hierarchy of book formats, in which tetsuyōsō books occupied a higher place than fukurotoji books; so it makes sense that for something so special as a wedding gift, the more prestigious format would be chosen.

絵入り綴葉装の登場

17世紀中頃から登場するのが、より格の高い綴葉装の絵入り本です。それらは、非常に美しく高品質です。まずは以下のテキストを読み、次に、佐々木教授がこれらの説明をされている様子を、ビデオでご覧ください。

絵入り袋綴に遅れて17世紀中頃から登場するのが、袋綴よりも格の高い綴葉装の絵入り本です。冊子に絵を入れることに対する抵抗感を、絵入り袋綴本の普及が薄めた結果と見ることができるでしょう。また絵入り綴葉装の表紙を始めとする仕立てが、綴葉装の嫁入本と共通することからすると、これらも嫁入り本として製作されるようになったと考えられるのです。絵入袋綴本の特に横本のものが、文字や絵がやや稚拙な印象が強いのに対し、絵入り綴葉装は、料紙が上質であることはもちろんとして、文字も絵もより高い専門性が感じられるものが多く、高級な絵入り本であったことは確かであると思われます。この絵入り綴葉装の登場をもって、冊子には絵を入れないという慣例が完全に忘れさられたと断言してよいでしょう。

この絵入綴葉装は四半本が大半で、六半本は見かけることがありません。この2つの例、『文殊姫』(図1)と『たなばた』(図2)は、前者が 17.9×23.8cm、後者が 18.1×24.2cmと、綴葉装としては通常の大きさです。

Monjuhime 図1. 文殊姫
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Tanabata 図2. たなばた(雨わかみこ)
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また希な例ですが、八半のものや、更に小さなものも現存しており、それらもみな縦型本であることは共通しています。この本『源氏物語』(図3)は、17世紀の女性絵本作家として最近注目を集めている「居初(いそめ)つな」が文字も絵も書いたもので、4.6×6.0cmと大変小さなものです。居初つなは通常の大きさのものの他、小型のものも少なからず手がけていますが、これはその中でも取り分け小さなものとして注目できるものです。

Genji monogatari 図3. 源氏物語
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ビデオで紹介された書籍

Books on the table

1. 中しやう姫 2. ふんしやう 3. 源氏物語・花散里 4. 敦忠集

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古書から読み解く日本の文化: 和本の世界

Keio University