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.