Changes

Japan has, since the 18th century, continually been among the highest-publishing countries in the world. For lengthy periods of time, Japan published annually more individual titles<ref>That is, counting the number of different publications produced; the total number of physical copies printed and distributed is another matter, given that other countries, and other languages, have far more readers than Japan(ese).</ref> of books, magazines, and other bound materials than any other country on Earth.

Japan has, since the 18th century, continually been among the highest-publishing countries in the world. For lengthy periods of time, Japan published annually more individual titles<ref>That is, counting the number of different publications produced; the total number of physical copies printed and distributed is another matter, given that other countries, and other languages, have far more readers than Japan(ese).</ref> of books, magazines, and other bound materials than any other country on Earth.

Originally, cheaper and softer woods were used, and designs were cut more deeply, but the use of more expensive woods such as cherry, carved more shallowly into much thinner woodblocks was spurred by the popularity of prints by [[Suzuki Harunobu]] in the late 1760s in the new multicolor ''[[nishiki-e]]'' mode that he pioneered; by 1800 or so, materials and techniques previously used only for ''[[surimono]]'' and other much more expensive and exclusive publications came to be used more widely, and the costs of producing and buying works produced in this manner dropped dramatically.

Originally, cheaper and softer woods were used, and designs were cut more deeply, but the use of more expensive woods such as cherry, carved more shallowly into much thinner woodblocks was spurred by the popularity of prints by [[Suzuki Harunobu]] in the late 1760s in the new multicolor ''[[nishiki-e]]'' mode that he pioneered; by 1800 or so, materials and techniques previously used only for ''[[surimono]]'' and other much more expensive and exclusive publications came to be used more widely, and the costs of producing and buying works produced in this manner dropped dramatically.

Publishers owned the rights to reproduce works for which they owned the woodblocks. It was this possession of the woodblocks, known as ''zôhan'' (蔵版), whether physically or simply in name, by contract, that served as the rough equivalent to modern concepts of copyright, which were not introduced until the Meiji period. The idea of "intellectual property" as enforced today was not legally protected in any way at that time, and "artists," or, rather, illustrators hired by or otherwise working with publishers, had very little rights over reproduction of their works. In fact, publishers frequently repackaged illustrators' works, republishing them under new titles, sometimes mixed with illustrations from other publications, and sometimes cropped or otherwise altered; publishers also frequently sold woodblocks (or the ''zôhan'' rights to them) to other publishers, who might then reissue new editions.

Publishers owned the rights to reproduce works for which they owned the woodblocks. It was this possession of the woodblocks, known as ''zôhan'' (蔵版), whether physically or simply in name, by contract, that served as the rough equivalent to modern concepts of copyright, which were not introduced until the Meiji period. The idea of "intellectual property" as enforced today was not legally protected in any way at that time, and "artists," or, rather, illustrators hired by or otherwise working with publishers, had very little rights over reproduction of their works. In fact, publishers frequently repackaged illustrators' works, republishing them under new titles, sometimes mixed with illustrations from other publications, and sometimes cropped or otherwise altered; publishers also frequently sold woodblocks (or the ''zôhan'' rights to them) to other publishers, who might then reissue new editions.