Edo Mokuhanga Tsukioka Yoshitoshi, “One Hundred Views of the Moon”: “The joy is in the evening flower—the cool man of the evening, and the woman with the lid.” — product view
A woman seated with a book beside the framed Yoshitoshi print of a couple beneath a moonflower trellis.
A woman looking closely at the framed Yoshitoshi print of a couple beneath a moonflower trellis on a wooden table.
The framed Yoshitoshi summer evening print above a wooden cabinet beside a small vase, books, and a bowl.
The framed Yoshitoshi summer evening print displayed on a pale stone console with a vase, books, a bowl, and a stone box.
The framed Yoshitoshi summer evening print beside a reading chair and a lit table lamp, with a book and bowl below.
Edo Mokuhanga Tsukioka Yoshitoshi, “One Hundred Views of the Moon”: “The joy is in the evening flower—the cool man of the evening, and the woman with the lid.” — product view
A woman seated with a book beside the framed Yoshitoshi print of a couple beneath a moonflower trellis.
A woman looking closely at the framed Yoshitoshi print of a couple beneath a moonflower trellis on a wooden table.
The framed Yoshitoshi summer evening print above a wooden cabinet beside a small vase, books, and a bowl.
The framed Yoshitoshi summer evening print displayed on a pale stone console with a vase, books, a bowl, and a stone box.
The framed Yoshitoshi summer evening print beside a reading chair and a lit table lamp, with a book and bowl below.
Takahashi Kobo Co., Ltd. SKU: BJ_P_00086

Edo Mokuhanga Tsukioka Yoshitoshi, “One Hundred Views of the Moon”: “The joy is in the evening flower—the cool man of the evening, and the woman with the lid.”

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Product Details

PRODUCT DETAILS

A summer moon, held in quiet color

This traditional hand-printed Edo Mokuhanga presents one of Tsukioka Yoshitoshi’s One Hundred Views of the Moon. Beneath a moonflower trellis, a couple and baby share the cool of a summer evening. Muted blue-gray, soft green, pink, and indigo reward a close look across the textured Echizen hosho washi.

USE & APPRECIATION

A summer evening scene at home

A quiet companion to a book

Pause over a book with the summer scene nearby. The couple and baby beneath trailing leaves offer a quiet moment to return to, bringing the intimacy of an everyday gesture into your own reading corner.

A woman seated with a book beside the framed Yoshitoshi print of a couple beneath a moonflower trellis.

Follow the leaves and figures closely

Take a closer look at the leaves above the seated figures. The hand-printed lines and restrained colors on washi give the scene a gentle rhythm, inviting you to enjoy both the family moment and the craft that carries it.

A woman looking closely at the framed Yoshitoshi print of a couple beneath a moonflower trellis on a wooden table.

A soft palette above warm wood

Let the print introduce soft color above warm wood. Pale blue, green, and touches of pink sit naturally with simple surroundings, making the family scene a welcoming focus without overwhelming the room.

The framed Yoshitoshi summer evening print above a wooden cabinet beside a small vase, books, and a bowl.

Let the image stand above pale stone

Give the image space above a pale stone surface, away from direct sun. Its delicate palette remains easy to follow against a restrained background, encouraging a slower look at the figures beneath the trellis.

The framed Yoshitoshi summer evening print displayed on a pale stone console with a vase, books, a bowl, and a stone box.

Return to the summer scene in the evening

Return to the summer scene as your own evening settles. The family beneath the moonflower leaves offers a small moment of companionship, making the print feel at home beside a chair, a book, and gentle lamplight.

The framed Yoshitoshi summer evening print beside a reading chair and a lit table lamp, with a book and bowl below.

OBJECT PASSPORT / CARE & USE

Care & Handling

Care summary for the Edo Mokuhanga print: do not wash or use adhesives, limit light and heat, store flat with acid-free materials, and handle with clean dry hands or cotton gloves.

Handle the unframed print as little as possible. Avoid moisture and large changes in temperature or humidity. For framing, use acid-free matting and consider UV-filtering glazing; consult a paper conservator for cleaning or repair.

OBJECT PASSPORT

Product details

Dimensions
225 × 330 (335 × 480) mm
Material
Washi (Echizen kizuki hosho)
Product weight
133 g
Origin
Japan

The scene shows a couple cooling themselves beneath a moonflower trellis on a summer night, with the woman holding a baby. In the title, teterā refers to the man’s knee-length undergarment, while futano refers to the woman’s waist slip.
Craft Heritage

CRAFT HERITAGE

Craft Heritage

Edo Mokuhanga developed from early monochrome prints that were colored by hand in styles known as tan-e, beni-e, and urushi-e. Printers later began using separate woodblocks for color, producing two- and three-color beni-zuri-e prints.

By 1765, gold, silver, and intermediate tones could also be printed from woodblocks, establishing the multicolor format. The carving and printing techniques developed during the Edo period have been refined and passed down to the present day.
How It’s Made

TRADITIONAL CRAFT PROCESS

How It’s Made

About the Making Process

Edo Mokuhanga is created through the coordinated work of a carver and a printer.
The carver cuts the design into natural cherry blocks.
The printer aligns handmade washi to the registration marks, applies pigment, and rubs the back of the paper with a baren.
The depth of the carving and the amount of pigment both affect the result, requiring precise adjustments from each specialist.
Multicolor works are built up one block at a time and may require more than 30 impressions.

1. Carving
  • The outlines of the original drawing are transferred to the key block and carved along the ink lines with a small knife. Nonprinting areas are cleared with chisels.
  • Two registration marks, kagi-kento and hikitsuke-kento, are carved into the block to ensure that the paper is positioned consistently.
  • Using a proof from the key block as a guide, the area required for each color is carved with knives or chisels on a separate color block. Cherry is used for the printing blocks.
2. Printing
  • A small, broom-shaped tool called a tokibo transfers pigment to the block, and a brush spreads it evenly. Handmade hosho washi is positioned against the registration marks.
  • A baren is rubbed firmly over the back of the paper, pressing the pigment deep into its fibers.
  • The color blocks are printed in sequence from lighter to darker colors. Some works require more than 30 separate impressions.
  • The printer adjusts the amount of pigment applied to the block in response to changes in temperature and humidity.
Meet the Maker

MEET THE MAKER

Meet the Maker

MAKER · BUNKYO, TOKYO

Color, Registered by Hand

At Takahashi Kobo, Edo woodblock printing is not treated as a historical image separated from its making. It remains a coordinated practice in which an artist's design, a carver's blocks, a printer's hand, and a publisher's direction meet on washi.

Yukiko Takahashi, sixth-generation representative of Takahashi Kobo, seated in the workshop.
Yukiko Takahashi, Sixth Generation

Takahashi Kobo was founded during Japan's Ansei era, between 1855 and 1860. The Takahashi family inherited the work of printers, and from the fourth generation also assumed the role of publisher—the person responsible for planning a work and coordinating the specialists who bring it into being.

Sixth-generation representative Yukiko Takahashi learned printing from her father before taking charge of the workshop. Her work extends from the reproduction of ukiyo-e to collaborations with contemporary artists, designers, architects, and animators. The workshop also develops projects that combine the transmission of technique with the training of younger craftspeople.

Many Hands, One Impression

Edo woodblock printing depends on a division of labor. An artist supplies the image. A carver separates its colors and cuts the required cherry-wood blocks. A printer places pigment on each block and transfers the layers to washi. A publisher directs the sequence and holds the complete work together.

The printer aligns the paper to registration marks called kentō and generally works from lighter areas toward deeper ones. Moisture in the paper, the balance of water, pigment, and paste, the pressure and movement of the baren, and the timing of each impression determine whether the colors meet cleanly and how the surface appears. Woodblock printing techniques include bokashi, which creates gradation through controlled handling of pigment on the block, and karazuri and kimedashi, which create relief in the paper without printed color. Alongside the layering of colors, this craft preserves a range of ways to work with the texture of washi.

A Tradition Made Useful Again

The workshop continues to reproduce historic prints, but it also develops new ways for woodblock culture to be encountered through contemporary images and objects. That activity is not a departure from the tradition's structure. Edo prints were themselves products of collaboration, publishing, and the visual culture of their time. Takahashi Kobo carries that structure forward by asking what should be printed now, who should be involved, and how the craft can remain intelligible to a new audience.
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