In the 1930s, as Japan’s print world entered the modern Shōwa era, a remarkable design book appeared in Kyoto. It was called Tansai Gafu (単彩画譜), often translated as Album of Monochrome Pictures. While largely overlooked outside rare-book circles, this series of woodblock-printed albums captures an extraordinary moment when traditional craft met modern aesthetics. Today, it is known through scattered dealer listings, a handful of auction records, and the curiosity of collectors.
A Series in Four Volumes
Tansai Gafu was not a single book, but a series published by the Kyoto firm Happō-dō (八宝堂) between 1934 and 1940. It ultimately comprised four volumes, each featuring bold woodblock designs printed in large orihon (accordion-fold) albums. The dimensions were substantial—about 37 × 25 cm—and each plate was given generous space as a full-page image1.
What makes the series unusual is that each volume was entrusted to a different artist or compiler, resulting in a set that feels collaborative yet distinct:
- Vol. 1 (1934) – Yoshida Tamaki and Kyōbashi Masuichi (京橋増市), 15 plates1.
- Vol. 2 (1934) – Kyōbashi Masuichi and Yoshida Tamaki (吉田玉城, often misread as Gyokujo), 12 plates2.
- Vol. 3 (c. 1934) – existence confirmed through dealer records, though artist attribution remains uncertain3.
- Vol. 4 (1940) – Honda Bansui (本田萬翠), 12 plates4.
I personally love this work. Tansai Gafu is an exploration of flora with the use of flat solid colors, with fauna elements like dragonflies, birds, and fish.
Each volume was woodblock-printed in rich colors on handmade washi, bound in folding album style with title labels, and housed in protective cases. Dealers and libraries consistently note the vibrancy of the pigments and the clarity of impressions5.
Visual Pairings
Vol. 1 (1934): Illustrations by Yoshida Tamaki, woodblocks by Kyōbashi Masuichi
You often see a spray of leaves or a blossom rendered with delicate line over a broad, saturated field—modern yet rooted in decorative tradition.
Tansai Gafu Vol. 1 — Illustrations: Yoshida Tamaki (吉田玉城) · Woodblocks: Kyōbashi Masuichi (京橋増市) · Publisher: Happō‑dō (Kyoto) · Format: orihon, ~37×25 cm · Plates: 15.
Source: https://www.bakumatsuya.com/shop-description.php?ID=1539281880&La=E2
Vol. 2 (1934): Illustrations by Kyōbashi Masuichi, woodblocks by Yoshida Tamaki
The listing confirms the role reversal relative to Vol. 1—Masuichi designs the plates, while Tamaki executes the blocks2. The result continues the series’ language of stylized nature set against bold, simplified grounds.
Tansai Gafu Vol. 2 — Illustrations: Kyōbashi Masuichi (京橋増市) · Woodblocks: Yoshida Tamaki (吉田玉城) · Publisher: Happō‑dō (Kyoto) · Format: orihon, ~37×25 cm · Plates: 12.
Source: https://www.bakumatsuya.com/shop-description.php?ID=1539336686&La=E3
Volume 3 (c. 1934): Kyōbashi Masuichi
A handful of plates identified as “Vol. 3” circulate on the secondary market, often labeled generically as “modern flower” designs. Attribution is less certain than for the other volumes.
Tansai Gafu Vol. 3 — Credits: not securely established in public listings · Publisher: Happō‑dō (Kyoto) · Format: orihon, ~37×25 cm · Plates: (unknown; individual sheets circulate).
Example sheet: https://www.ebay.com/itm/2259299633044
Vol. 4 (1934): Honda Bansui
Bansui’s contribution, published six years after the first releases, pushes the decorative, modernist direction—clean silhouettes, strong contrasts, and a confident, graphic sensibility.
Tansai Gafu Vol. 4 — Artist credit: Honda Bansui (本田萬翠) · Block credits: not specified in public listings · Publisher: Happō‑dō (Kyoto) · Format: orihon, ~37×25 cm · Plates: 12 · Date: Shōwa 15 (1940).
Example sheet: https://ukiyoesalon.com/products/1674?_pos=27&_sid=b861ccfd6&_ss=r 5
The Artists Behind the Work
Yoshida Tamaki (吉田玉城) — Illustrator for Vol. 1 and woodblock carver/printer for Vol. 2. (Note: Western listings sometimes misread 玉城 as “Gyokujo,” but Japanese authority forms support “Tamaki”.)
Kyōbashi Masuichi (京橋増市) — Woodblock carver/printer for Vol. 1 and illustrator for Vol. 2 and 3; also documented supervising related Kyoto design publications in the early 1930s.
Honda Bansui (本田萬翠) — Credited on Vol. 4 (1934); the block carver/printer isn’t identified in public records we accessed.
Happō‑dō (八宝堂 / 八寳堂) — Kyoto publisher specializing in high‑quality design books/portfolios, active in the 1930s8.
Translator’s Notes on Names
- Why 玉城 is read “Tamaki” (not “Gyokujo”)
玉 (tama/gyoku) + 城 (shiro/jō) can be read in several ways. In Japanese personal names, 玉城 is commonly read “Tamaki.” Western dealers sometimes default to on’yomi (“Gyoku‑jō”), but Japanese authority records list the artist/compiler as 吉田玉城＝Yoshida Tamaki. - Happō‑dō spelling variants
The publisher appears as 八宝堂 / 八寳堂 and sometimes 近藤八寳堂 (Kondō Happō‑dō) in colophons and dealer copy. These are orthographic variants of the same Kyoto publisher.
Happō-dō of Kyoto
The publisher Happō-dō (八宝堂 / 八寳堂) specialized in art and design books in the 1930s. Their output includes Kokuga Ōgi (c.1938), a lavish brocade portfolio of 50 plates in Neo-Rimpa and Art Deco style9. Tansai Gafu reflects this same orientation: high-quality woodblock craft, decorative abstraction, and a blend of Japanese and modern aesthetics.
Style and Aesthetic
The images in Tansai Gafu stand apart from ukiyo-e tradition. They are closer to modern design prints—flattened, bold, and experimental. Plates might show a spray of bamboo leaves against a flat field, an iris and fish suspended in space, or fruit reduced to pure form.
This synthesis reflects early Shōwa design: Japanese artists and publishers were engaging with Art Deco and modernism, while also reviving Rimpa traditions. Tansai Gafu stands as a rare woodblock embodiment of this dialogue.
Surviving Copies and Collectability
Today, Tansai Gafu is rare. Complete sets of all four volumes appear occasionally through antiquarian dealers, sometimes priced in the thousands of dollars. More commonly, single volumes or individual plates are sold to collectors of Japanese prints6.
Because so few institutional holdings exist, the series largely survives through the antiquarian trade—making it a perfect example of how fragile Japan’s design legacy can be. The National Diet Library’s “Patterns and Design Books” collection illustrates the type of work Tansai Gafu belongs to, though the album itself does not yet appear in digitized holdings10.
Why Tansai Gafu Matters
Although little-known, Tansai Gafu bridges craft and modernity. It shows that even in the 1930s, the woodblock was still a medium for innovation—not only nostalgia. Through Masuichi, Tamaki, and Bansui, we glimpse how artists adapted a centuries-old technique to the visual language of modern Japan.
Citations
- Bakumatsuya – Tansai Gafu Vol. 1 (description, specs, 1934).
- Bakumatsuya – Images/details for Tansai Gafu Vol. 1 by Kyōbashi Masuichi.
- Bakumatsuya listing for Tansai Gafu Vol. 2 attributed to Yoshida Tamaki.
- eBay listing – floral plate labeled “Tansai Gafu③.”
- Ukiyo-e Salon – Honda Banui
- Pinterest example of a Honda Bansui plate.
- RareBook.com – Tansai Gafu, 2-volume set, Kyoto: Happō-dō, 1934.
- Kosho.jp – 有職源氏鑑 (1932) published by Kondō Happō-dō, supervised by Kyōbashi Masuichi.
- AbeBooks – Kokuga Ōgi, Happō-dō, c.1938.
- National Diet Library (NDL) Image Bank – “Patterns and Design Books” collection (contextual).
While I make every attempt to research the artworks, artists, and publishers throughly, there may be cases where the right conclusions have not been drawn regarding dates or attributions. I welcome feedback on corrections, especially when supporting evidence is located.
Read more:
- 11 Things to Know About Collecting Japanese Woodblock Art
- How Mujō 無常 Inspires Zen Practice, Ukiyo-e Prints, and Modern Design
- Why Mu 無 is the Most Important Word in Zen and Japanese Art
- How Kare Sansui Gardens Reflect Japanese Aesthetics and Zen Philosophy
- Art Week Tokyo 2025: What to Expect and How to Navigate Japan’s Leading Contemporary Art Event
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