Paper short abstract:

This paper investigates the artistic and commercial collaboration in the woodblock print series "Short Illustrated History of Great Japan". Considering its medium, the collective efforts of 1 artist, 5 publishers, 3 engravers, and 4 writers were vital for the publication of its 11 prints in 1879-80.

Paper long abstract:

This paper investigates the artistic and commercial collaboration that was crucial to making the woodblock print series entitled "Short Illustrated History of Great Japan" (大日本史略図会; dai nihonshi ryaku zue). Drawing on the talents of Tsukioka Yoshitoshi (月岡芳年) (1839-1892), one of the most celebrated woodblock prints artists of the Meiji period (1868-1912), this series has been identified to comprise of ten triptychs published in 1879-1880 involving three different publishers.

As woodblock prints are today remembered by the name of their designer, we are left to believe that they are the product of a single, autonomous artist. In reality, however, these prints are the result of the contributions of the so-called "ukiyo-e quartet" - as identified by Tijs Volker in 1949 - which, besides the artist, constituted out of the publisher, the engraver and printer. The neglect of their contributions is paradoxical, as it was the most vital part of the woodblock print production. Important studies have recognized the contribution of other members of the "ukiyo-e quartet" and have brought to our attention that the prints were part of a much bigger network, a network in which its audience - its consumer - also played a decisive role in the fate of the produced print. Therefore, this paper builds upon these previous publications that shed light on the many aspects of collaboration employed by Japanese woodblock prints.

Although previous studies have identified this series to comprise of ten triptychs, preliminary results suggests that at least eleven triptychs were published, whereas the number of publishers amounts to five. Such errors result from a lack of discussion in the previous literature of this series in general and of the collective efforts behind it in particular. Considering the limited scope of this series and the contributions made from agents beyond the "ukiyo-e quartet", such as writers composing their explanatory texts, this paper investigates the complex mode of partnership that was crucial to making this series. Through this case study, it aims to disclose the dynamic process of production, collaboration, and reception in Meiji period print culture.