Tetsugen Woodblocks: The Birthplace of Japan's Mincho Typeface and Manuscript Paper

In the quiet temple grounds of Hozoin, a sub-temple of Manpukuji in Uji, Kyoto, lies one of Japan's most remarkable yet overlooked cultural treasures. Approximately 60,000 wooden printing blocks, meticulously carved over 340 years ago, continue to tell a story of devotion, compassion, and innovation that shaped Japanese written culture as we know it today.

What is the Tetsugen-ban Issaikyo Hangi?

The Tetsugen-ban Issaikyo Hangi (鉄眼版一切経版木) is a collection of approximately 60,000 woodblocks used to print the entire Buddhist canon, known as Issaikyo or Daizokyo in Japanese. Of these, 48,275 blocks have been designated as an Important Cultural Property of Japan since 1957. The complete collection comprises 1,618 titles bound in 6,956 volumes, representing the most comprehensive compilation of Buddhist scriptures ever produced in Japan through woodblock printing.

Each woodblock measures approximately 26cm in height, 82cm in width, and 1.8cm in thickness, with 3cm borders on each side. The blocks are carved from wild cherry wood harvested in the Yoshino region of Nara Prefecture, chosen for its fine grain and durability. Both sides of each block are carved with Buddhist texts arranged in 20 columns of 10 characters each on both the left and right halves, totaling 800 characters per block face.

The Remarkable Story of Monk Tetsugen

Behind these woodblocks lies an extraordinary tale of human perseverance. Tetsugen Doko (1630-1682) was born in Kumamoto Prefecture and later became a disciple of Ingen Ryuki, the Chinese Zen master who founded the Obaku school of Zen Buddhism and established Manpukuji Temple. Tetsugen was deeply troubled that Japan, despite being a Buddhist nation, lacked a complete printed collection of Buddhist scriptures, which were typically laboriously copied by hand.

In 1664, Tetsugen conceived his ambitious plan to carve wooden printing blocks for the entire Buddhist canon. He traveled throughout Japan, delivering lectures on Buddhist teachings to raise funds for this monumental project. However, his path to completion would prove far from straightforward.

During his fundraising efforts, Tetsugen witnessed the devastating floods and famines that struck the Osaka region. Twice during the 17-year project, he selflessly donated all the funds he had collected to relief efforts for suffering civilians, famously declaring that publishing the scriptures was meant to help people, and so helping people directly served the same purpose. Each time, he started his fundraising from scratch.

Finally, in 1678, after 13 years of actual carving work and 17 years since his initial vow, the woodblocks were completed. Tetsugen passed away just four years later at age 53, having saved tens of thousands of lives through his humanitarian efforts. His funeral was attended by an estimated 100,000 mourners, a testament to his beloved status among the common people.

Why These Woodblocks Are Nationally Significant

The Tetsugen-ban Issaikyo Hangi holds immense cultural significance for several reasons that extend far beyond their religious importance.

First, these woodblocks are considered the origin of Japan's Mincho typeface (Ming-style font), the most widely used typeface in Japanese printing today. The blocks were carved based on the Ming Dynasty edition of the Buddhist canon that Ingen brought from China, introducing this elegant typeface to Japan. As printed scriptures spread to temples throughout the country, the Mincho typeface became standardized across Japanese publishing.

Second, the layout of these woodblocks established the format of Japan's traditional 400-character manuscript paper (genko yoshi). Each page features 20 characters per vertical line and 20 lines per page, a format that became the standard for Japanese writing and education. To this day, students throughout Japan write compositions on paper that follows this centuries-old format.

Third, the woodblocks represent one of the earliest examples of large-scale publishing in Japan. Over 2,000 copies of the complete canon were printed and distributed to temples of various Buddhist denominations, democratizing access to religious texts that had previously been available only through painstaking hand-copying.

Living Heritage: Printing Continues Today

What makes the Tetsugen woodblocks truly remarkable is that they remain functional. Unlike many historical artifacts preserved behind glass, these woodblocks continue to be used for traditional printing by skilled craftsmen. Visitors to Hozoin Temple may have the opportunity to witness master printers demonstrating the ancient technique, applying ink to the carved blocks and pressing paper to create prints exactly as monks did over three centuries ago.

The prints made from these original blocks are available for purchase, allowing visitors to take home a piece of living history. This continuation of traditional printing represents an unbroken link to Edo-period craftsmanship that few cultural properties anywhere in the world can claim.

Visiting Hozoin Temple

Hozoin Temple, where the woodblocks are stored in a modern climate-controlled repository building, is a sub-temple of Manpukuji, the head temple of the Obaku Zen school. The storage facility is not regularly open to the public, so visitors should check the temple's official website or contact them in advance for special viewing days.

A unique feature of Hozoin is its "Temple Soba" – a vegan ramen offered on select days (currently Thursday, Friday, and Saturday from 11:00-14:00, until sold out). The proceeds support the preservation of the Important Cultural Property, making it possible to contribute to cultural heritage protection while enjoying a delicious meal.

Exploring the Surrounding Area

A visit to Hozoin pairs perfectly with exploration of its parent temple, Manpukuji, whose three main halls (Hatto, Daiohoden, and Tennoden) were designated National Treasures in 2024. Unlike typical Japanese Buddhist temples, Manpukuji features Chinese Ming Dynasty architecture that creates an atmosphere of stepping into another country. Highlights include the distinctive fish-shaped wooden drum (kaipan) and the golden Hotei Buddha in the Tennoden.

Visitors can experience Fucha Ryori, traditional Chinese-style vegetarian cuisine brought to Japan by Ingen, at restaurants near the temple (reservation required). The town of Uji itself is famous for its green tea and the UNESCO World Heritage Site Byodoin Temple, making it possible to create a full day of cultural exploration.

The area around Obaku Station offers a peaceful alternative to the crowds at more famous Kyoto attractions, providing an authentic glimpse into the cultural exchange between China and Japan that has enriched both nations for centuries.