When people think of ukiyo-e, names like Katsushika Hokusai and Utagawa Hiroshige are famous worldwide. However, many of these masterpieces were actually brought to life by “hanmoto”—the print publishers, who acted as the producers of their era. Understanding their role gives ukiyo-e a new dimension and reveals connections to today’s publishing and media industries.

Who Were the Hanmoto?

Hanmoto were the driving force behind Edo-period publishing, overseeing planning, production, sales, and promotion. They were not only publishers in the modern sense, but also art directors and marketers. Hanmoto had a keen sense for what themes and artists would appeal to the public, and they sometimes took great risks to introduce new talents to the world.

The Big Three: Edo’s Leading Print Publishers

The leaders of ukiyo-e publishing were known as the “Three Great Hanmoto of Edo.”

First, there was Tsutaya Jūzaburō, who ran a shop called Kōshodō. He discovered and promoted innovative artists like Kitagawa Utamaro and Tōshūsai Sharaku, shaping the cultural scene of Edo. Tsutaya was a true trendsetter of his time.

Second was Nishimuraya Yohachi, whose shop, Eijudō, published Hokusai’s “Thirty-six Views of Mount Fuji.” Nishimuraya played a crucial role in making Hokusai’s name famous around the world, showing how collaboration between artist and publisher could elevate the value of art.

The third was Tsuraya Kiemon, who operated Senkakudō. He produced hits across a wide range of genres, from literature to ukiyo-e, supporting the diversity of Edo’s popular culture.

Hiroshige’s “The Fifty-three Stations of the Tōkaidō” and Hoeidō

Any ukiyo-e fan knows Utagawa Hiroshige’s “The Fifty-three Stations of the Tōkaidō.” This iconic series was made possible by the publisher Hoeidō, run by Takeuchi Magohachi.

Hanmoto: Their Work Resonates Today

Hanmoto were far more than “booksellers” or “printers.” They recognized artistic talent, assembled the right teams, invested capital, took risks, and excelled at marketing and branding. The small logos or shop names found in the corners of ukiyo-e prints are much like today’s brand logos or producer credits.

Why Should We Care About Hanmoto Now?

By learning about the “producers” behind ukiyo-e, we gain a more vivid sense of art history, business dynamics, and the everyday curiosity and life of Edo people.
Don’t just focus on the artists—explore the stories of the “invisible producers” who supported them, and you’ll discover a whole new side of Japanese art and culture.