yearbookjapanЕжегодник ЯпонияYearbook Japan2687-14322687-1440Association of Japanologists and the Institute of Oriental Studies of the Russian Academy of Sciences10.55105/2687-1440-2025-54-148-175yearbookjapan-482Research ArticleКУЛЬТУРАCULTUREКонструкция и структура японской ксилографической книги периода Токугава (на примере издания «Хякунин иссю хитоёгатари» 1833 г.)The Construction and Structure of Japanese Woodblock Books of the Tokugawa Period (Based on the 1833 Edition of Hyakunin Isshu Hitoyogatari)https://orcid.org/0000-0003-3214-5610ТоропыгинаМ. В.ToropyginaM. V.

Торопыгина Мария Владимировна, кандидат филологических наук, старший научный сотрудник

107031, Москва, ул. Рождественка, д. 12

Toropygina, Maria V. PhD of Sciences (Philology), Senior researcher

12 Rozhdestvenka Street, Moscow, 107031

mtoropygina@hse.ruИнститут востоковедения РАНРоссияInstitute of Oriental Studies RASRussian Federation202515122025540148175Copyright © Торопыгина М.В., 20252025Торопыгина М.В.Toropygina M.V.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://www.yearbookjapan.ru/jour/article/view/482

Начиная с 1620-х гг. и до последней четверти XIX в. большинство издаваемых в Японии книг были ксилографическими, то есть печатались с деревянных блоков, на которых были выгравированы (в зеркальном отображении) книжные листы. По сравнению с современными книгами, ксилографические книги имели целый ряд особенностей. Книги брошюровались почти всегда «мешком»: листы, на которых текст был напечатан только с одной стороны, складывались пополам, собирались стопкой, и сшивались с обложкой, которая тоже представляла собой лист плотной бумаги. Для одного и того же знака каны могли использоваться разные варианты написания, зато часто было подписано чтение иероглифов. Название книги обычно обозначалось на небольшом узком листе бумаги, приклеенном на обложку. Особенное значение для ксилографической книги имеет каллиграфия – почерк, которым записан основной текст, предисловие, послесловие и другие элементы.

В эпоху Токугава многие авторы создавали не просто текст, а книгу целиком, то есть являлись одновременно и книжными дизайнерами. Одним из них был Одзаки Масаёси (1755–1827), автор произведения «Хякунин иссю хитоёгатари» («Вечерние истории о “Ста стихотворениях ста поэтов”»), изданного в Осака в 1833 г. Автор был известным каллиграфом, и создатели книги, издавшие произведение уже после смерти автора, сохранили его идеи относительно оформления и ориентировались на его почерк. В создании книги принял участие известный художник – Ооиси Матора (1792–1833), издательство заказало известным интеллектуалам предисловие, послесловие, эпиграф книги. В статье исследуется конструкция книги, способ подачи основного текста, элементы, окружающие основной текст – все то, что, по мысли литературоведа Жерара Женетта, дает возможность тексту стать книгой. В контексте общих сведений о ксилографической книге периода Токугава рассмотрены особенности книги «Хякунин иссю хитоёгатари»: печатный лист, брошюровка, способ записи текста, иллюстрации, предисловие, оглавление, эпиграф, послесловие, колофон.

From the 1620s until the last quarter of the 19th century, most books published in Japan were woodblock printed. In comparison to modern books, woodblock books had a number of specific features. Books were almost always bound in the same way, which is called fukurotoji (sheets printed only on one side were folded in half, collected in a pile, and sewn to the cover, which was also a sheet of thick paper). Variations of symbols could be used for the same kana character, but the reading of the kanji characters was often spelled out. The title of the book was usually indicated on a small narrow sheet of paper glued to the cover. Of particular importance for a woodblock printed book is calligraphy in which the main text, preface, afterword, and other elements are written. Many authors created not just a text, but a book, and were book designers. One of such designers was Ozaki Masayoshi (1755–1827), the author of the work Hyakunin Isshu Hitoyogatari (Evening Stories About “One Hundred Poems by One Hundred Poets”), published in Ōsaka in 1833.

Since the author was a famous calligrapher, the creators of the book, who published the work after the author’s death, preserved his ideas regarding the design and were guided by his handwriting. A well-known artist Ōishi Matora (1792–1833) took part in the creation of the book, and the publishing house commissioned famous intellectuals to write a preface, afterword, and epigraph for the book. The article examines the construction of the book, the way the main text is presented, the elements surrounding the main text, i.e., what, according to literary scholar Gérard Genette, enables a text to become a book. In the context of general information about woodblock printing of the Tokugawa period, the features of the book Hyakunin Isshu Hitoyogatari are considered: printed sheet, binding, method of writing the text, illustrations, preface, table of contents, epigraph, afterword, colophon.

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The authors declare that there are no conflicts of interest present.