Changes

Woodblocks were also better suited to the production of multiple editions, as a publisher could simply hold onto the blocks for a given book and reprint new copies later, never having to take apart the stereotype (the formatted, laid-out type blocks for a given page) and reassemble it for each page, or each work, as one would have to with moveable type. Finally, a third reason given for the popularity of woodblocks, and for the explosion of publishing in early modern Japan using woodblocks, was the relatively inexpensive entry cost for starting a publishing business. Rather than investing in a press (or multiple presses) and a collection of thousands of type blocks for individual characters, an entrepreneur could simply deal with one set of blocks at a time, hiring professional artisans (e.g. block-carvers and printers), or doing the work himself. The Japanese process of woodblock printing, furthermore, did not require any heavy, expensive, or technologically complex printing press, but rather was done largely by hand, using a tool called a ''[[baren]]'', made from [[lacquer]]ed disks covered in a thin sheet of bamboo,<ref>"Carving tools and baren for printing," Gallery labels at Santa Barbara Museum of Art, September 2012.</ref> to rub a piece of paper on top of an inked block.  

Woodblocks were also better suited to the production of multiple editions, as a publisher could simply hold onto the blocks for a given book and reprint new copies later, never having to take apart the stereotype (the formatted, laid-out type blocks for a given page) and reassemble it for each page, or each work, as one would have to with moveable type. Finally, a third reason given for the popularity of woodblocks, and for the explosion of publishing in early modern Japan using woodblocks, was the relatively inexpensive entry cost for starting a publishing business. Rather than investing in a press (or multiple presses) and a collection of thousands of type blocks for individual characters, an entrepreneur could simply deal with one set of blocks at a time, hiring professional artisans (e.g. block-carvers and printers), or doing the work himself. The Japanese process of woodblock printing, furthermore, did not require any heavy, expensive, or technologically complex printing press, but rather was done largely by hand, using a tool called a ''[[baren]]'', made from [[lacquer]]ed disks covered in a thin sheet of bamboo,<ref>"Carving tools and baren for printing," Gallery labels at Santa Barbara Museum of Art, September 2012.</ref> to rub a piece of paper on top of an inked block.  

[[Image:Ukiyoe-shop.jpg|right|thumb|450px|A recreation of an Edo period storefront selling ''ukiyo-e'' prints and books, at the Edo-Tokyo Museum.]]

[[Image:Ukiyoe-shop.jpg|right|thumb|450px|A recreation of an Edo period storefront selling ''ukiyo-e'' prints and books, at the Edo-Tokyo Museum.]]

The earliest publishing houses emerged in Kyoto around 1600; simply called ''hon'ya'' (bookstores) they engaged in both printing/publishing and retail.<ref name=ikegami286>Ikegami, 286.</ref> By around 1626, commercial publishing was more fully underway, woodblock printing had become definitively the predominant form, and use of moveable type had fallen away.<ref name=smith334/><ref name=ikegami292/> Publishing came to [[Osaka]] in the 1660s, and to Edo relatively late by comparison, but grew rapidly over the course of the 17th century, and by the year 1800 dramatically eclipsed the [[Kamigata|Kyoto-Osaka]] (combined) publishing industry. The first half of the 19th century saw the continued growth of publishing in the three major cities, as well as the emergence of commercial publishing operations in a number of provincial centers.<ref name=smith334/> Over the course of the entire Edo period, an estimated 3,757 publishing/bookstore operations were established in Japan, 1,530 of which went out of business before the end of the period.<ref>Ikegami, 295.</ref> The three major cities combined accounted for roughly 89% of publishing production; among the secondary or provincial centers of production, Nagoya was the most active, with roughly 104 independent publishers operating at one point or another (not simultaneously) in the Edo period. Other major publishing centers included Nagasaki, Wakayama, Ise, Hiroshima, Sendai, and Kanazawa.<ref>Over the course of the entire Edo period, it has been estimated there were 1,733 publishing firms in Kyoto, 1,652 in Edo, 1,253 in Osaka, 104 in Nagoya, 49 in Ise, 24 in Wakayama, 27 in Sendai, 24 in Kanazawa, 21 in Nagasaki, and 312 elsewhere. Smith. p342, citing Inoue Takaaki. ''Kinsei shorin hanmoto sôran'' 近世書林版元総覧. ''Nihon shoshigaku taikei 14'' 日本書誌学体系１４. Seishôdô Shoten, 1981. p6.</ref>

The earliest publishing houses emerged in Kyoto around 1600; simply called ''hon'ya'' (bookstores) they engaged in both printing/publishing and retail.<ref name=ikegami286>Ikegami, 286.</ref> By around 1626, commercial publishing was more fully underway, woodblock printing had become definitively the predominant form, and use of moveable type had fallen away.<ref name=smith334/><ref name=ikegami292/> Publishing came to [[Osaka]] in the 1660s, and to Edo relatively late by comparison, but grew rapidly over the course of the 17th century, and by the year 1800 dramatically eclipsed the [[Kamigata|Kyoto-Osaka]] (combined) publishing industry. The first half of the 19th century saw the continued growth of publishing in the three major cities, as well as the emergence of commercial publishing operations in a number of provincial centers.<ref name=smith334/> Over the course of the entire Edo period, an estimated 3,757 publishing/bookstore operations were established in Japan, 1,530 of which went out of business before the end of the period.<ref>Ikegami, 295.</ref> The three major cities combined accounted for roughly 89% of publishing production; among the secondary or provincial centers of production, Nagoya was the most active, with roughly 104 independent publishers operating at one point or another (not simultaneously) in the Edo period. Other major publishing centers included Nagasaki, Wakayama, Ise, Hiroshima, Sendai, and Kanazawa.<ref>Over the course of the entire Edo period, it has been estimated there were 1,733 publishing firms in Kyoto, 1,652 in Edo, 1,253 in Osaka, 104 in Nagoya, 49 in Ise, 24 in Wakayama, 27 in Sendai, 24 in Kanazawa, 21 in Nagasaki, and 312 elsewhere. Smith. p342, citing Inoue Takaaki. ''Kinsei shorin hanmoto sôran'' 近世書林版元総覧. ''Nihon shoshigaku taikei 14'' 日本書誌学体系１４. Seishôdô Shoten, 1981. p6.</ref>