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[[Image:Noh-utaibon.jpg|right|thumb|320px|The cover of a [[Noh]] ''utaibon'' published in [[Tokyo]] in 1925, and bound in the traditional ''yotsume-toji'' manner.]]

[[Image:Noh-utaibon.jpg|right|thumb|320px|The cover of a [[Noh]] ''utaibon'' published in [[Tokyo]] in 1925, and bound in the traditional ''yotsume-toji'' manner.]]

Traditional Japanese books are bound in a variety of ways.

 

The term ''wahon'' is used to refer to Japanese books bound in a number of different formats, most typically the pouch-sewn form known as ''fukuro toji'' or ''yotsume toji'', described below. By contrast, books bound in the Western manner are known as ''yôsôbon'' (洋装本).

==Styles of Traditional Bookbinding==

==Styles of Traditional Bookbinding==

*The [[handscroll]] (J: 巻子本 ''kansubon'' or 巻物 ''makimono'') is perhaps the most traditional form of assembling sheets of paper (or silk) into a larger whole. Sheets or sections were arranged horizontally, pasted (or stitched, in the case of silk) to one another, end to end, and wrapped around a wooden dowel to form a scroll. Scrolls have the disadvantage over other forms of books (J: 冊子本, ''sasshibon'') of it being difficult to skim or skip forward to certain sections; whereas with a book one can simply flip the book open to a later section, a scroll has to be scrolled through from the beginning, a lengthy process. For this reason, along with the older history of the form (i.e. it being an older, more traditional form), and the association of scrolls as the format of imported Buddhist knowledge, scrolls came to often be the choice format for prestigious gifts, and treasures, to be kept and preserved, but not necessarily to be regularly opened or read.

*The [[handscroll]] (J: 巻子本 ''kansubon'' or 巻物 ''makimono'') is perhaps the most traditional form of assembling sheets of paper (or silk) into a larger whole. Sheets or sections were arranged horizontally, pasted (or stitched, in the case of silk) to one another, end to end, and wrapped around a wooden dowel to form a scroll. Scrolls have the disadvantage over other forms of books (J: 冊子本, ''sasshibon'') of it being difficult to skim or skip forward to certain sections; whereas with a book one can simply flip the book open to a later section, a scroll has to be scrolled through from the beginning, a lengthy process. For this reason, along with the older history of the form (i.e. it being an older, more traditional form), and the association of scrolls as the format of imported Buddhist knowledge, scrolls came to often be the choice format for prestigious gifts, and treasures, to be kept and preserved, but not necessarily to be regularly opened or read.

*Folding albums, called ''orihon'', are also called "accordion books." Sheets of paper are pasted together as in a scroll, and then folded to form a collection which can be opened either one page (one "opening") at a time, or, stretched out to reveal several openings at once. This form originated from scrolls being folded in the course of their use.

*Folding albums, called ''orihon'' (折本), are also called "accordion books." Sheets of paper are pasted together as in a scroll, and then folded to form a collection which can be opened either one page (one "opening") at a time, or, stretched out to reveal several openings at once. In the medieval period, it became common for readers to fold scrolls as they read them, essentially turning them into ''orihon'' if they were left folded rather than being re-rolled.

 

*''Fukurotoji'' (袋綴) or ''yotsumetoji'' (四目綴) binding, also known as "stitch" or "pouch" binding, is perhaps the most common, and the most commonly associated with traditional Japanese books. Pages are folded such that the fold becomes the outside edge of the page; in other words, the left page of one opening, and the right page of the next opening, are two halves of the same sheet of paper - the outer edge of the page is in fact the fold between the two. This space along the fold is known in Japanese as the ''hashira'' (柱, "pillar") or ''hanshin'' (版心, "heart of the printing block"), and often contains the title of the book, and the page number, printed right across the folded edge of what becomes the outer edge of a page of the book. The pages are then bound at their free-floating (non-folded) edges to form a spine, by poking holes through the pages and linking them with twisted pieces of paper called ''neji'' (螺子), or "screws." These hold the pages together to form the book. Covers are then affixed with string, stitched in a distinctive pattern around, usually, four holes. Taller books sometimes have five holes instead of four, and books bound in this way in China during the reign of the [[Kangxi Emperor]] (r. [[1661]]-[[1722]]), have six. This mode of binding was first invented in Korea.

*Butterfly binding (''detchôsô'' or ''kochôsô'') is somewhat similar to accordion binding, but involves pasting the pages together all at one end, forming a spine, such that the outer edges (at the left and right extreme of each opening) are individual and free. In such books, openings alternate between opening quite freely and easily (where merely folded), and opening less completely (where pages are pasted).

*Butterfly binding (''detchôsô'' 粘葉装 or ''kochôsô'' 胡蝶装) is somewhat similar to accordion binding, but involves pasting the pages together all at one end, forming a spine, such that the outer edges (at the left and right extreme of each opening) are individual and free. In such books, openings alternate between opening quite freely and easily (where merely folded), and opening less completely (where pages are pasted). Though extensively used in Japan to a certain extent, this method of binding was more common in China.

*Album binding, or ''gajôsô'', also known by several other names, is a form related to butterfly binding, but with pages being pasted together at the outer edge, away from the spine. This is a common format for Chinese albums, and is quite rare among Japanese examples earlier than the Edo period. Whereas butterfly-bound books often alternate content pages with blank ones (the result of each page being illustrated or inscribed on only one side), the album binding hides these unsightly blank sides, providing an uninterrupted experience. However, such albums are open, or loose, at the spine, being held together only by the pasted outer edges, and are thus quite fragile.

*Album binding, or ''gajôsô'' (画帖装), also known by several other names, is a form related to butterfly binding, but with pages being pasted together at the outer edge, away from the spine. This is a common format for Chinese albums, and is quite rare among Japanese examples earlier than the Edo period. Whereas butterfly-bound books often alternate content pages with blank ones (the result of each page being illustrated or inscribed on only one side), the album binding hides these unsightly blank sides, providing an uninterrupted experience. However, such albums are open, or loose, at the spine, being held together only by the pasted outer edges, and are thus quite fragile.

*''Fukurotoji'' or ''yotsumetoji'' binding, also known as "stitch" or "pouch" binding, is perhaps the most common, and the most commonly associated with traditional Japanese books. Pages are folded such that the fold becomes the outside edge of the page; in other words, the left page of one opening, and the right page of the next opening, are two halves of the same sheet of paper - the outer edge of the page is in fact the fold between the two. This is known in Japanese as the ''hashira'' ("pillar") or ''hanshin'' ("heart of the printing block"), and often contains the title of the book, and the page number, printed right across the folded edge of what becomes the outer edge of a page of the book. The pages are then bound at their free-floating (non-folded) edges to form a spine, by poking holes through the pages and linking them with twisted pieces of paper called ''neji'', or "screws." These hold the pages together to form the book. Covers are then affixed with string, stitched in a distinctive pattern around, usually, four holes. Taller books sometimes have five holes instead of four, and books bound in this way in China during the reign of the [[Kangxi Emperor]] (r. [[1661]]-[[1722]]), have six. Those bound using a flat cord instead of silk thread are called by the term ''yamato-toji'' (lit. "Japanese binding").

*''Retsujôsô'' (列帖装) or ''tetchôsô'' (綴葉装) binding, also known ironically as ''yamato toji'' (大和綴, lit. "Japanese binding") binding, is the closest of the traditional East Asian forms to standard Western modes of bookbinding. Like many other forms of Japanese bookbinding, it was invented in China. This form of binding involves nestling the folded leaves of paper into one another to form a series of packets or bundles, which are then sewn together to form a hard spine.

Traditionally, book covers, particularly on ''fukurotoji'' books, were made of simple paper, or paper lining a somewhat thicker piece of card-board made from recycled paper. These outer covers were often burnished with a material called ''dôsa'', made from alum and hide glue, which provided some protection for the books; covers were also often embossed, printed, painted, or burnished with simple patterns. These patterns were, sometimes, used exclusively by a single publisher, thus marking the book as having been produced by that publishing house. A paper slip known as a ''gedai'' ("outside title"), affixed to the front cover, often gives the title of the book, along with other information, such as the volume number within a series.  

Traditionally, book covers, particularly on ''fukurotoji'' books, were made of simple paper, or paper lining a somewhat thicker piece of card-board made from recycled paper. These outer covers were often burnished with a material called ''dôsa'', made from alum and hide glue, which provided some protection for the books; covers were also often embossed, printed, painted, or burnished with simple patterns. These patterns were, sometimes, used exclusively by a single publisher, thus marking the book as having been produced by that publishing house. A paper slip known as a ''gedai'' ("outside title"), affixed to the front cover, often gives the title of the book, along with other information, such as the volume number within a series.  

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===Book Sizes===

===Book Sizes===

Edo period paper came in several standard sizes; the size of books was, accordingly, standard.

[[File:Ryukyu-kaigo.JPG|right|thumb|500px|An opening from the c. [[1850]] book ''[[Ryukyu kaigo|Ryûkyû kaigo]]'', with illustrations by [[Hiroshige]] depicting a [[Ryukyuan embassy to Edo]]. The dimensions and horizontal format are typical of ''yokohon''.]]Edo period paper came in several standard sizes; the size of books was, accordingly, standard.

*''Ôbon'' ("large books"), roughly 10x7 in., and ''chûbon'' ("medium books"), which were roughly half that size, were made using Mino paper, which was roughly 10-13 x 13-17 inches in size.

*''Ôbon'' (大本, "large books"), roughly 10x7 in., and ''chûbon'' (中本, "medium books"), which are roughly half that size, were made using [[Mino paper]], which was roughly 10-13 x 13-17 inches in size.

*''Hanshi-bon'', roughly 9x6 inches in size, and ''kobon'' ("small books"), roughly 6x5", were made from Hanshi paper, roughly 9-10 x 13-14 inches wide.<ref>Kazuko Hioki, "History and Physical Characteristics of Printed Books in Early Modern Japan," presented at [http://historyofthejapanesebook.weebly.com/ Histories of the Japanese Book: Past, Present, Future] symposium, UC Santa Barbara, June 1 2013.</ref>

*''Hanshi-bon'' (半紙本, lit. "half paper books"), roughly 9x6 inches in size, and ''kobon'' (小本, "small books"), roughly 6x5", were made from paper roughly 9-10 x 13-14 inches wide.<ref>Kazuko Hioki, "History and Physical Characteristics of Printed Books in Early Modern Japan," presented at [http://historyofthejapanesebook.weebly.com/ Histories of the Japanese Book: Past, Present, Future] symposium, UC Santa Barbara, June 1 2013.</ref>

==Binding Styles in the Meiji Period==

==Binding Styles in the Meiji Period==

==References==

==References==

*Roger Keyes, ''Ehon: The Artist and the Book in Japan'', New York Public Library, 2006.

*Roger Keyes, ''Ehon: The Artist and the Book in Japan'', New York Public Library, 2006.

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