Passing along the Edo culture; using it in modern ways; and making a connection to the future

Edo Woodblock Printing Takahashi Kobo Yukiko Takahashi

Katsushika Hokusai is the ukiyo-e artist known for the famous woodblock print “Great Wave off Kanagawa”. The year 2021 marked the 260th anniversary of his birth. Therefore, many art exhibitions related to Hokusai were held in 2021 in various places in Tokyo, and they attracted a lot of people. In fact, exhibitions of woodblock print by Utamaro, Sharaku, Hiroshige, and other ukiyo-e artists have always attracted crowds. Ukiyo-e, which literally means pictures of a floating world, is a Japanese art movement that flourished in the Tokugawa era. Its woodblock prints depict the world in vivid colors, and it holds a unique position in the history of Japanese art. To this day it’s still a popular traditional craft both in Japan and abroad. And in Tokyo there’s a studio that still produces ukiyo-e, using the same methods that were used in the Edo period.

I was born and raised in a craftsperson’s house. So naturally I fell in love with the craft

In the Edo era, groups of artisans divided the work that went into producing woodblock prints. A painter drew the original image; an engraver carved the woodblock; and then a printer applied paint to the woodblock, and printed the image onto Japanese paper. The Takahashi family is a family of painters, and Takahashi Kobo, their atelier, was founded in the Ansei era. Ms. Takahashi, the sixth representative director of the Takahashi Kobo, smiled softly as she spoke.
“I was born into a family of traditional craftspeople. So I admired the way craftspeople worked, their art, and their culture. But I longed for the stability of employment with a company, so I didn’t want to become a craftswoman myself.”
How is it then that she was destined to become a craftsperson and the sixth representative director of the atelier?
“When I was a high school student,” Ms. Takahashi said, “my father asked me to design a fan. So I did. That experience taught me that I like to design. Before that, I used to think that craftspeople have a hard life. But when I actually tried it, I began to understand how fun it was. Eventually, I was entrusted with the position of publisher, which has existed since the fourth generation of the atelier. I found that job interesting.”
“Publisher” is also known as “publishing producer” today in Japan. Its purpose is to unite artisans such as painters, engravers, and printers, to plan production, and then to release products to the world.

As a publisher, I have the opportunity of talking about Edo woodblock prints to people both in Japan and abroad

However, when Ms. Takahashi took over the company as the sixth representative director, Edo woodblock prints were barely surviving. Therefore, she founded a nonprofit organization to preserve the tradition. In the midst of all that, the Ministry of Foreign Affairs offered her a job promoting Japanese traditional culture overseas. She gave lectures, demonstrations, and workshops in Asia, America, and Europe. In addition, the Ministry of Economy, Trade, and Industry offered her a job conducting market research for museum stores in various countries. That’s how she was able to forge connections with museums and curators overseas.
“As a publishing producer, I know the skills and methods of all the craftspeople involved. Also, I am able to talk about the history and current situation of woodblock prints, since I worked as the president of a woodblock print cooperative. In fact, I participated in various lectures and events. That was why jobs of such honor were offered to me.”

Reprinting ukiyo-e, and collaborating with today’s artists

The Edo woodblock print is not limited to reprinting ukiyo-e from the Edo period. Ms. Takahashi displays in her studio framed woodblock prints by Hokusai, together with architectural drawings, and even Ultraman (a Japanese fictional superhero).
“The reprinting of ukiyo-e is important in order to pass along the techniques,” she said. “However, when ukiyo-e was first created, it wasn’t a traditional craft; nor was it a work of art. It was more like photographic portraits of actors or geisha, or photographs advertising travel destination. So, just as then ukiyo-e captured visually the world of its time, I feel that we should now use traditional techniques to create something that fits our modern sensibilities and times.”

The studio gallery space is lined with random objects, such as insoles, sticky notes, fans, and masu (square wooden cups).

The studio gallery space is lined with random objects, such as insoles, sticky notes, fans, and masu (square wooden cups).

Her dream expands further through training other craftspeople

In order to pass along the tradition, it is important to train other craftspeople. Also, it is essential to let people know about the charm of Edo woodblock prints, and to give them a chance to experience it at workshops and other events.
Ms. Takahashi said, “Our training starts with teaching how to express greetings, and just the common sense you need to be a good member of society. Then, if an apprentice wants to learn more techniques after our training, we can send them to another craftsperson. So far, four people have finished our training, and have become independent craftspeople. Now I want to give them various jobs to build on and improve their skills.”
Currently, Ms. Takahashi is busy reprinting the artwork of Yoshitoshi Tsukioka (the last ukiyo-e artist), reproducing the sketches of Kengo Kuma (a famous artist) in woodblock prints, and working on other projects for the Bunkyo ward. Next year she will take on major projects from the Tokyo Metropolitan Government and the Japanese Government. Still, there are things she would like to do as a publisher, too.
“When I have a little more time to myself, I would like to create miniature books and picture books. The cover of a miniature book I found in Hungary was made of ceramic. I would like to create miniature books with covers made from Japanese traditional ceramics, and pages printed with Edo woodblocks. And of course, I would like to create picture books with vivid colors just like ukiyo-e.”
Ms. Takahashi collaborates with today’s successful artists while working with 160-year-old technology. Moreover, she is interested in adopting digital technology. Just as Hokusai loved new things, it seems that Edo woodblock prints will continue to expand their world by incorporating novel things.

Continuing to work not only as a craftsperson, but also as an artist

A printing artist at work on the second floor of the studio. The work proceeds silently, at a good pace, but with precision and confidence.A printing artist at work on the second floor of the studio. The work proceeds silently, at a good pace, but with precision and confidence.

On the second floor of the studio, Mr. Noriyasu Soda was working quietly. Mr. Soda studied sculpture at university, and then he worked as a lacquer artist. But he entered into the world of woodblock printing when he was offered a part-time job in the studio. I asked him what the difficult aspects of printing work are.
“First of all, the woodblocks we use are made of wood, so they stretch and shrink depending on the season and the humidity. The paper is handmade washi, so the condition of the paper changes a little, depending on the season and on the washi craftsperson. Not all washi is the same. However, as a woodblock print craftsperson, I am required to produce the same result and the same quality for every single piece. We have to constantly check the printing conditions, and adjust the colors in the details, as we proceed.”
In order to complete a single piece of artwork, they generally print about ten times, changing woodblocks for each color.

Mr. Soda said, “The way the paint is applied to the woodblock, and how it is printed, brings out the shimmer, color shading, and graduation. Using the same printing block, I start with a solid layer of paint, and then I add tone to it.”
The more colors they use, the more steps they have to take, so the more time it takes. Woodblock prints are difficult to mass-produce, but the results are vivid and fascinating. That’s why it has value, and is an important art that must be passed along to future generations.
(Interviewed on August 25, 2021)

Paints, printing baren (for burnishing), and brushes to support the craftsperson’s work.

Paints, printing baren (for burnishing), and brushes to support the craftsperson’s work.


Edo Woodblock Printing Takahashi Kobo Yukiko Takahashi

Founded in the Ansei era. The Takahashi family passes down the techniques of Edo woodblock printing from generation to generation of craftspeople and publishers. Ms. Yukiko Takahashi was appointed as the sixth representative director in 2009. In her capacity as a publisher, and to prepare for the inheritance of the traditional techniques involved, she produces various woodblock print products and events; and she also holds lectures, demonstrations, and exhibitions overseas to promote Japanese culture. She is the president of the Tokyo Traditional Woodblock Printing Association, and she also works actively in various other traditional techniques and crafts associations.


Noriyasu Soda

Noriyasu Soda

Mr. Soda studied sculpture at Tokyo Zokei University. After graduating from university, he worked as a lacquer artist, restored crafts, and supported overseas artists. He entered into the world of Edo woodblock printing about ten years ago. Today he continues to work as an artist, and participates in group exhibitions. In addition, he teaches at university as a professor.

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