A *Surishi* Carrying on the Legacy of Ukiyo-e that Flourished in Edo

Tucked away in a back alley of Arakawa Ward lies the Sekioka Woodblock Print Studio. Here, printers carry on traditional woodblock techniques, producing *senjafuda*, traditional and new *ukiyo-e*, and even researching original woodblocks from the Edo and Meiji periods.

Woodblock printing first arrived in Japan from the Asian continent during the Asuka and Nara periods, around the same time as Buddhism. Fast forward to the Edo period, when *ukiyo-e* artist Suzuki Harunobu created *nishiki-e*, the first full-color prints, by adding registration marks known as *kentō* to his woodblocks. This innovation allowed *ukiyo-e* to blossom into a vibrant and colorful staple of Edo's popular culture.

The secret to *ukiyo-e*'s explosive popularity in old Edo was its sophisticated division of labor.

The 'hanmoto' (publisher) was the producer, with a keen sense of the times, launching projects that would capture the public's imagination. Tsutaya Jūzaburō, the protagonist of the NHK Taiga drama `"Berabou"`, is a prime example. The *hanmoto*'s ideas were brought to life by star `eshi` (artists) like Katsushika Hokusai and Utagawa Hiroshige. Finally, the picture was given physical form with impeccable precision by the `horishi` (carvers) who carved the woodblocks, and the `surishi` (printers) who breathed soul into the washi paper.

“Counting from the Edo-period *surishi* Matsumura Senkichi, I'm the 7th generation. As for the Sekioka Woodblock Print Studio, my great-grandfather founded it, my grandfather Isao Sekioka succeeded him as the 2nd generation, my master Hidekatsu Kawashima was the 3rd, and I'm the 4th.”

Doted on by his *surishi* grandfather, Ogawa grew up surrounded by woodblock prints. He fondly recalls the fun he had making a print for a summer project in elementary school. But he didn't always plan on following in his grandfather's footsteps.

“After graduating from university, I got a job at a thrift shop, working in sales buying antiques and other items. When I talked to customers about my family business, they would tell me, 'That's a wonderful job.' When I was thinking about whether to stay at the company or take over the family business, I decided I wanted to preserve Sekioka's woodblock prints, so I chose to join the family business.”

He figured that if he was going to become an artisan, sooner was better than later. With newfound resolve, he quit his job and committed to the artisan's path.

Honing the Craft by Printing Hundreds of Sheets

Ogawa apprenticed under Hidekatsu Kawashima, the inheritor of the Sekioka Woodblock Print Studio and a designated Holder of Intangible Cultural Property by Arakawa City. Kawashima had worked under Ogawa's grandfather, Isao, and was someone Ogawa had known since he was a child.

“He was like family to me, so I felt a bit shy when I formally told him I wanted to become his apprentice,” Ogawa recalls.

Traditionally, a printer's apprenticeship often starts with menial tasks like cleaning, similar to a 'decchi' (apprentice). However, because his master, Kawashima, was elderly and Ogawa himself was older, having started his training after working a different job, he dove right into hands-on printing from the get-go.

“The number of prints you make is what truly defines a printer's skill. In the beginning, I just printed nonstop, about 200 to 300 sheets every day. That's actually on the low end. As I got more experienced, I could manage 400 to 500 sheets,” he says.

He demonstrated his polished technique for us at the studio. He mixes glue and pigment, applies it to the woodblock, and spreads the pigment with a brush. He then places washi paper on the block using 'kento' registration marks and presses it with a 'baren' (a disc-like tool). Repeating this process creates a vividly colored woodblock print.

“In a way, all you’re doing is just printing. It sounds simple, doesn't it? But the real challenge lies in maintaining the same quality every single time. I have to check that the registration marks don't shift and adjust the pigment's concentration to be uniform on the unique washi paper. The woodblocks are natural, so they warp with moisture. I have to print consistently under all these varying conditions.”

After printing, the sheets are laid out to dry. He also cuts the paper with a special cutting knife. The printer's job involves so many steps that it's said for every one carver, you need three printers.

Bringing 'Nosatsukai,' Edo-Period Trading Card Parties for 'Senjafuda,' into the Modern Era

Every printer has their own unique style. The Sekioka Woodblock Print Studio has always specialized in 'senjafuda' (votive slips).

'Senjafuda' originated from 'senja-mairi,' a pilgrimage practice where people would offer hand-drawn wooden slips at shrines to pray for things like family safety. As woodblock printing became more widespread, acquaintances began to exchange these slips with one another.

“In the Edo period, vividly colored, multi-block 'senjafuda' were created, much like ukiyo-e prints. Unlike ukiyo-e, 'senjafuda' didn't go through a publisher, so they feature a fascinating variety of designs tailored to individual tastes,” he explains.

In Edo, 'nosatsukai'—gatherings for exchanging 'senjafuda' much like trading cards—were also held. In fact, they still happen today in the Reiwa era. Last year, the national convention '納札大會' (Nosatsu Oogai) was held at Zojoji Temple for the first time in an incredible 104 years.

“The Sekioka Woodblock Print Studio printed the official 'senjafuda' for the event. It was a lively gathering with about 350 people, including Edo firefighters and Asakusa geishas. It's truly amazing to see a culture from the Edo period continuing to this day.”

Furthermore, the 'International Nosatsukai' was launched to introduce the charm of 'senjafuda' to the world. They plan to share this traditional Japanese culture online.

Acting Like a Publisher to Create the Future of Ukiyo-e

The Sekioka Woodblock Print Studio continues to actively participate in projects with various industries, leveraging its traditional woodblock printing techniques. These include a collaboration for THE YELLOW MONKEY's 35th anniversary special project, the ukiyo-e print "黄猿漢四人衆大首揃," and an original ukiyo-e for The Peninsula Tokyo hotel.

“I think one of the challenges is that works by artisans with incredible skills are expensive, which makes them feel out of reach for the average person. I want to bridge that gap. By using high-level techniques to create things that are more accessible and affordable, I hope to expand the base of people who love woodblock prints.”

Ogawa is also proactive about his own projects. He collaborated with artist Erika Ward to create contemporary-style 'senjafuda' with the theme of Japan's four seasons and convenience stores.

“With the industry itself in decline, I feel that I can't keep this going on my own. Printing traditional pictures is great, but that doesn't help nurture contemporary artists. I want to build a system where everyone involved can make a living by collaborating with various people.”

Moreover, Ogawa is currently planning projects for the future of ukiyo-e, such as supporting farmers who grow 'kozo' (paper mulberry), the raw material for washi paper, and planting 'yamazakura' (mountain cherry trees), which are used for woodblocks.

“To create a sustainable culture for ukiyo-e, we need to tackle a wide range of issues. I've come to believe that I need to step beyond the role of a printer and act more like a publisher.”

Ogawa's journey to connect the ukiyo-e of the Edo period with the present day continues.