Ryūsuitei Tanekiyo (text) / Koikawa Shōzan (ill.). The Fifty-Four Chapters of the Floating World of Genji (Ukiyo Genji Gojūshijō) [Part 1] / 3 vols., ehon, ca. 1861–1864.

Set of three hanshibon (半紙本) volumes: upper (上), middle (中), and lower (下), string-bound in the original fukurotoji (袋綴じ) format. Each volume has yellow wrappers; the title-slip is printed in red with calligraphy and a vignette, and pasted to the upper wrapper. The wrappers are decorated with woodblock-printed pine branches and Genji-mon crests in blue at the bottom.

Each double-page illustration is framed by a wide decorative border printed in blue with motifs of plum blossoms, bamboo leaves, pine branches, and Genji-mon crests. In addition to standard pigments, the illustrations employ black lacquer (urushi) and gold pigment (kindei). Each framed illustration incorporates an inset vignette in the form of a scroll depicting a scene from the classical Tale of Genji, identifiable by the Heian-period court costumes and hairstyles, with a yellow cartouche bearing the chapter title.

The illustrations are attributed to Koikawa Shōzan and are closely related in theme and composition to the Genji parodic tradition derived from Nise Murasaki inaka Genji 偽紫田舎源氏 (A Rustic Genji by a Fraudulent Murasaki). The work comprises erotic scenes structured around chapters and episodes of the Genji narrative, combining contemporary settings with classical references in the inset vignettes.

Collation

Vol. 1 (上之巻)

• p. 1: blank
• p. 2: title page with a fabric on rack and folding fan
• pp. 3–6: text with vignettes
• p. 7: single-page illustration
• pp. 8/9, 10/11, 12/13, 14/15: double-page illustrations
• pp. 16–19: four single-page illustrations
• pp. 20/21: double-page illustration
• p. 22: single-page illustration
• pp. 23–48: text
• pp. 49–50: blank

Total illustrations: 5 double-page, 6 single-page.

Vol. 2 (中之巻)

• p. 1: blank
• p. 2: illustrated title page with cherry blossoms and tray
• p. 3: single-page illustration
• pp. 4/5, 6/7: double-page illustrations
• pp. 8–9: two single-page illustrations
• pp. 10/11: double-page illustration
• pp. 12–14: three single-page illustrations (including one inserted between pp. 12 and 13)
• pp. 15–34: text
• pp. 35/36: blank (single leaf)

Total illustrations: 3 double-page, 6 single-page.

Vol. 3 (下之巻)

• p. 1: blank
• p. 2: illustrated title page with uchiwa fan
• p. 3: single-page illustration
• pp. 4/5: double-page illustration
• pp. 6–9: four single-page illustrations
• pp. 10/11, 12/13: double-page illustrations
• p. 14: single-page illustration
• pp. 15–32: text

Total illustrations: 3 double-page, 6 single-page.

Overall: 11 double-page illustrations and 18 single-page illustrations.

Note: The work is attributed to two contributors listed separately: the text to Ryūsuitei Tanekiyo 柳水亭種清 and the illustrations to Koikawa Shōzan 恋川笑山. The preface to vol. 1 is signed with the shared pseudonym Insuitei 淫水亭 (p. 7). Some scholars have argued that Ryūsuitei Tanekiyo and Koikawa Shōzan are the same person operating under separate literary and artistic identities; the combined signature Koikawa Insuitei Shōzan is attested in at least one other publication. The present work, in which both names appear together, constitutes additional evidence in support of this identification.

The complete work comprises six volumes in two parts. The second part (後編, vols. 4–6, chapters 28–54) is held at the International Research Center for Japanese Studies (Nichibunken), Kyoto, and recorded in CiNii Books. The first part (前編, vols. 1–3, chapters 1–27), represented by the present set, is not recorded in any library catalogue or union catalogue known to date and appears to be the only surviving copy.

References:
Shirakura Takahiko 白倉敬彦. Eiri shunga enpon mokuroku 絵入春画艶本目録. Tokyo: Heibonsha, 2007. (Shirakura 2007)
CiNii Books: https://ci.nii.ac.jp/ncid/BA8714911X (後編 only)