410

Liste des auteursAndØ Takahiro 安藤隆弘 :Né en 1926. Spécialiste de la calligraphie japonaise. Professeur émérite de l’Université
Kawamura gakuen joshi daigaku (TØkyØ). Auteur d’une édition commentée du traité decalligraphie Juboku-shØ 入木抄 (TØkyØ, Nihon sh¨ji fuky¨ kyØkai, 1981).
Deguchi Hisanori 出口久徳 :Né en 1969. Spécialiste de la littérature médiévale japonaise. Professeur au lycée RikkyØ niizach¨gaku kØtØ gakkØ (TØkyØ). Co-auteur du Heike monogatari wo shiru jiten 平家物語を知る事
典 (Dictionnaire du Heike monogatari, TØkyØ, TØkyØdØ shuppan, 2005).
Inagaki Shin.ichi 稲垣進一 :Né en 1936. Spécialiste de l’histoire de l’ukiyo-e. Auteur d’Edo no asobi-e 江戸の 遊び絵 (Lesimages ludiques de l’époque d’Edo, TØkyØ, TØkyØ shoseki, 1988) et de Kuniyoshi no kyØga 国芳の狂画 (Les dessins satiriques de Kuniyoshi, TØkyØ, TØkyØ shoseki, 1991).
Iwakiri Shin.ichirØ 岩切信一郎 :Né en 1950. Spécialiste de la gravure et du livre de l’époque de Meiji. Professeur àl’Université TØkyØ bunka tanki daigaku. Auteur de Hashiguchi GoyØ no sØtei-bon 橋口五葉の装釘本 (Les livres illustrés par Hashiguchi GoyØ, TØkyØ, Ch¨sekisha, 1980).
Kobayashi Hiromitsu 小林宏光 :Né en 1947. Spécialiste de la gravure et de la peinture chinoises. Professeur à l’UniversitéSophia (TØkyØ). Auteur de Ch¨goku no hanga. TØ-dai kara Shin-dai made 中国の版画 — 唐代から清代まで (La gravure chinoise : des Tang au Qing, TØkyØ, TØshindØ, 1995).
Komiyama Hiroshi 小宮山博史 :Né en 1943. Concepteur de caractères et historien de la typographie japonaise. Directeur del’Institut de typographie SatØ (Yokohama). Auteur de plusieurs études sur les origines de latypographie japonaise moderne, dont « MinchØ-tai, Nihon he no denpa to kaikoku » 明朝体、日本への 伝播と改刻 (Les caractères de style Ming : leur diffusion et leur reproduction auJapon), in Hon to katsuji no rekishi jiten 本と活字の歴史事典 (Dictionnaire historique du livre
et de la typographie, TØkyØ, Kashiwa shobØ, 2000).
KondØ KØshi 近藤高史 :Né en 1934. Historien de la calligraphie de l’époque de Meiji. Auteur de Meiji, TaishØ, ShØwashodØ-shi nenpyØ. Fu ShodØ shuppan nenpyØ 明治・大正・昭和書道史年表 — 附・書道出版年表(Chronologie de l’histoire de la calligraphie pendant les ères Meiji, TaishØ et ShØwa, suivie
d’une liste des publications sur la calligraphie, TØkyØ, Mokujinsha, 1985) et de Meiji shodØ-shi
yawa 明治書道史夜話 (Propos sur l’histoire de la calligraphie à l’époque de Meiji, TØkyØ,ShinchØsha, 1991).

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Nagoya Akira 名児耶明 :Né en 1949. Historien de la calligraphie japonaise. Conservateur en chef du musée GotØ(TØkyØ). Auteur de Nihon shodØ-shi nenpyØ 日本書道史年表 (Chronologie de l’histoire de lacalligraphie japonaise, TØkyØ, Nigensha, 1999).
Oikawa Shigeru 及川茂 :Né en 1945. Spécialiste de Kawanabe KyØsai. Professeur à l’Université Nihon joshi daigaku(TØkyØ). Auteur de KyØsai no giga 暁斎の戯画 (Les dessins satiriques de KyØsai, TØkyØ, TØkyØshoseki, 1992) et de Saigo no ukiyoe-shi. Kawanabe KyØsai to hankotsu no bigaku 最後の浮世絵師— 河鍋暁斎と反骨の 美学 (Le dernier peintre d’ukiyo-e. Kawanabe KyØsai ou l’esthétique dela contestation, TØkyØ, Nippon hØsØ shuppan kyØkai, 1998).
Suzuki Toshiyuki 鈴木俊幸 :Né en 1956. Spécialiste de l’édition à l’époque d’Edo. Professeur à l’Université Ch¨Ø daigaku(TØkyØ). Auteur de Kinsei shoseki kenky¨ bunken mokuroku 近世書籍研究文献目録(Bibliographie des publications scientifiques sur le livre au Japon à l’époque pré-moderne,TØkyØ, Perikansha, 1997) et de Tsutaya J¨zaburØ 蔦屋重三郎 (Tsutaya J¨zaburØ, TØkyØ,Wakakusa shobØ, 1998).

From Brush to Type:Japanese Perspectives on Writing and Book History
ABSTRACTS

NAGOYA Akira
p. 25
The Calligraphic Style of Fujiwara no Teika and his Long-term Influence
Fujiwara no Teika (1162-1241) is considered one of the most important poets in Japanese
history. And yet, while his literary, philological and critical work has long drawn the attentionof specialists, the same is not true of the large body of his holograph manuscripts. This articletherefore attempts to describe the evolution of his calligraphic style and the genesis of hischaracteristic form, Teika-yØ, on the basis of the manuscripts themselves and also in the lightof his work as a copyist in the family workshop run by his father, Fujiwara no Shunzei (11141204). The article goes on to examine the long posthumous history of this style from the endof the medieval period onward: adopted by all those wishing to claim his inspiration– particularly his direct descendants – Teika-yØ has remained influential up to the present day,paradoxical indeed for a style whose creator considered it bereft of any aesthetic quality.
ANDº Takahiro
p. 53
Japanese Writing as Viewed by Portuguese Missionaries in the Late 16th Century:
the Vocabulario da Lingoa de Iapam
The Vocabulario da Lingoa de Iapam, which was published in Nagasaki in 1603 by Portuguese
Jesuits, was the first Japanese dictionary to be conceived by and for Westerners. The compilers
strove to be as comprehensive as possible (there are almost 33,000 entries), and as a result it is aunique source of information on late 16th-century Japanese language and society. This study
presents a list of terms (over 900) relating to books and writing, which have been classified
under a number of different categories for ease of analysis: the conception of the art of writing
as a “way”; the materials used in learning to write; the copying of Buddhist sutras; vocabulary
relating to study and learning; the sphere of literature and poetry; signs used in Japanesewriting; letter-writing; books and printing; and sayings and proverbs related to the art ofwriting. This list, and the definitions provided in an appendix, which are taken from the French
version of the dictionary, provide an idea of how the Portuguese missionaries perceived
Japanese written culture.
KONDº KØship. 103
The History of Character Engraving in Japan: from the 8th Century to the Modern AgeThis article paints a historical picture of the art of character engraving from the mid-8th
century up to modern times and attempts to draw up a balanced account of what is known
about the frequently anonymous craftsmen who engaged in the art. Xylographic reproduction,
which made large runs possible and considerably reduced the cost of reproducing texts andimages, was long confined to Buddhist monastic circles. With the first inroads of typography inthe late 16th century, from Europe and above all from Korea, a variety of publications
emerged, but the technique failed to take permanent root. Xylography retained its preeminence in the printing of texts in Japanese, and particularly in reproductions of calligraphicmodels. It was this that spurred the rise of famous engravers such as those in the Kimura Kahei
line, who were active from the late 18th until the early 20th centuries and continued to practise
their art even after typography had become the general norm.

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KOMIYAMA Hiroshi
p. 139The Creation and Dissemination of “Ming Style” Print Characters in the 19th Century:from Europe to Japan
This article examines the origin of the most widely-used typographic characters (katsuji) inJapan today, those in the minchØ-tai or “Ming dynasty style”. Contrary to their name, and to
the received ideas current in Japan, these print characters were not devised in China, Korea,or Japan, where xylographic printing was considered quite satisfactory. In fact it was the end
product of a long process originating with the boom in Chinese studies in 18th-century
Europe; and it continued throughout the 19th century, hand-in-hand with European andAmerican missionary activity in Asia, which exerted pressure to adapt typographic printing
techniques to suit the characteristics of Chinese writing and the thousands of signs that makeit up. This process culminated with the adoption of these “Ming style” characters in Japan in
the 1870s and the birth of the modern press, through which they achieved wide disseminationin the world of publishing.
KOBAYASHI Hiromitsu
p. 175Illustrations of the Novel The Water Margin (Shuihu zhuan): the Emergence of
Publishing and the Dissemination of Painting in the Late Ming Period
This article presents an analysis of various different illustrated versions of the great novel ofvernacular Chinese literature, The Water Margin (Shuihu zhuan), produced in the early 17th
century by a Hangzhou publisher, Rongyutang. Quite unlike the stereotypes of the genre, theprofessional illustrators and engravers responsible for these breathtaking productions in fact
showed great freedom in their representation of elements about which the actual narrative
furnished few details, drawing from manifold pictorial traditions to create landscapes in whichan attentive observer will detect elements of style inspired by the school of professional
painters of Zhejiang or the scholarly painters of the Wu school. It show how the dialogue
between engraving and old or contemporary painting assisted the spread of this art within thethen-flourishing urban culture of the late Ming period.
DEGUCHI Hisanori
p. 209Illustrations of the Gikei-ki (The Chronicle of Yoshitsune) in 17th-Century Printed Editions
Many editions of the Gikei-ki (The Chronicle of Yoshitsune), an anonymous work composedin the Middle Ages, were produced between 1615 and 1673 using both movable type andxylographic printing, some of them illustrated with numerous engravings. Considered aclassic, the actual text was not revised, but on the other hand the accompanying images wereregularly altered to keep pace with changes in readers' tastes. The illustrations produced fromthe Kan'ei era (1624-1643) onwards actually enriched the text with episodes not narrated
there. Editions from the Kanbun era (1661-1673) awarded pride of place to the character ofBenkei, the best-known of Yoshitsune's companions. Without ever altering the text, those
involved in the production of these new editions of the Gikei-ki thus used the illustrations as ameans of attracting a new readership.
INAGAKI Shin’ichi
p. 231
Writing Games in the Edo PeriodEver since the 8th century, with the progressive invention of systems of phonetic notation ofJapanese based on Chinese writing, writing in Japan has been a field for experimentation both
playful and formal. Initially a prerogative of the aristocratic society of the imperial capital,writing spread only very slowly, and it was not until the Edo period (1603-1868) that,
accompanying the spread of education and printed culture to the cities, and particularly Edo,
we find the appearance of the kind of writing games characteristic of urban culture. Thisarticle attempts to provide a panoramic view of these rich visual inventions which combined
text and image to successfully exploit every possible resource: “letter pictures” (moji-e),“cryptic calendars” (e-goyomi) or “graphic plays” (asobi-e), these works were most often
anonymous, but one can find examples signed by such artists as Hokusai or Hiroshige.
OIKAWA Shigeru
p. 261Illustrated Books in the Second Half of the 19th Century: the Example of the PainterKawanabe KyØsaiThis article presents an analysis of the books illustrated by the painter Kawanabe KyØsai(1831-1889), one of the last great masters of ukiyo-e, based on a sample of 160 titles publishedin the course of the half-century between 1855 and 1907. The work of KyØsai in this field isclassified in six categories: the first illustrated books; books on “opening up to westerncivilisation” (bunmei kaika) ; books against the westernization; books illustrated with comic
drawings; works of social satire; and drawing handbooks and albums. Examining this vast
body of pictures, the author shows KyØsai’s scathing view of his contemporaries and of theevolution of Japanese society in the second half of the 19th century. These works also reveal
the evolution in the role of the artist, from that of an entertainer to that of a painter engaged
with the society of his time.
SUZUKI Toshiyuki
p. 293The Spread of Books in the Edo Period
This article examines the modes of dissemination of books, which came into use in Japan fromthe 17th century on with the birth of commercial publishing, such as the bartering of books
among the publishers of KyØto, ºsaka and Edo. It demonstrates the extent to which– particularly in the case of works of entertainment – the modes of dissemination influenced
both the nature and the physical appearance of publications. The author further explains how
publishers and booksellers did not confine themselves to the production and sale of new printed
books but also dealt in manuscript books, books imported from China, and second-hand works,
and engaged in book lending, thus playing a crucial role in the dissemination of writtenknowledge in all forms. The last part of the article addresses the question of regional
dissemination of books in the 18th and 19th centuries, on the basis of a study of provincial retailbooksellers and the fees charged by book-lenders.
IWAKIRI Shin’ichirØp. 321
Physical Evolution of Books during the Meiji Period
Book printing and manufacture in Japan underwent profound changes in the course of theMeiji period (1868-1912). Typography gradually replaced xylography; thin books bound withdurable paper covers were replaced by thicker, bound volumes with hard backs. This essay
describes the complex developments that occurred over this period, at the beginning of which
traditional techniques and new processes coexisted. It places special emphasis on theappearance of two formats which were typical of the Meiji period, shiroku-ban and kiku-ban,used particularly for literary works and school textbooks. It also looks at the changes that took
place in the reproduction of book and journal illustrations, with the transition from xylography
to lithography, to line engraving, to zinc engraving and finally to photo-engraving.

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日本の文字文化・出版文化史 — 日仏共同研究論文集
編集者：クレール-碧子・ブリッセ、パスカル・グリオレ、クリストフ・マルケ、マリアンヌ・シモン-及川目次

序文 ： クリストフ・マルケ ...................................................................................... 9
第一章 毛筆から活字へ
名児耶明 /（訳）Ｍ. ヴィエイヤール-バロン書の世界 — 定家様 ： 現代までのその流れ ........................................................... 25
安藤隆弘 /（訳）Ｌ. メラン『日葡辞書』から見た日本の書道文化 ..................................................................... 53
近藤高史 /（訳）編集者、Ｍ. モラン
天平の木版印刷から明治の木村嘉平まで — 日本の木版印刷における刻工 ..... 103
小宮山博史 /（訳）Ｅ. ロズラン
１９世紀ヨーロッパ・中国での明朝体活字の開発と日本への伝播 .................. 139

第二章 テキストの図像化
小林宏光 /（訳）Ｅ. レッジェーリ-バウアー『水滸伝』挿絵をめぐって — 明末出版文化と絵画の大衆化 .............................. 175
出口久徳 /（訳）Ｃ.-A. ブリッセ
絵入版本『義経記』の挿絵をめぐって — 近世初期の出版をめぐる一考察 .... 209
稲垣進一 /（訳）Ｍ. シモン-及川
江戸時代の文字遊び ................................................................................................ 231
及川茂 /（訳）Ｍ. リュケン
河鍋暁斎の絵本 ........................................................................................................ 261

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第三章 本の流通と形態の変遷
鈴木俊幸 /（訳）Ｃ. マルケ
江戸時代の書籍流通 ................................................................................................ 293
岩切信一郎 /（訳）Ｅ. ロズラン
明治期の印刷と出版 — 文芸書装幀の変遷を中心に ........................................... 321

パスカル・グリオレ
むすびにかえて — 電流の時代 ............................................................................... 341
カラー図版 ................................................................................................................ 372
索引............................................................................................................................. 389
著者リスト ................................................................................................................ 410
英文要約 .................................................................................................................... 413
和文目次 ..................................................................................................................... 416