Introduction

Kiba Meisho Zue, published in 1927 (Shōwa 2), is an "accordion fold" style book (orihon) featuring 48 color woodblock prints accompanied by poems and text on the adjoining page, as shown above. It presents a nostalgic look at the Fukagawa Kiba (深川木場) lumber yards—Upper Kiba (Kami-Kiba 上木場), Middle Kiba (Naka-Kiba 中木場), and Lower Kiba (Shimo-Kiba 下木場)—during the late Edo and early Meiji eras, incorporating poems, oral traditions and historical references.

The book was compiled by a committee of local businessmen, including Nagashima Gosuke (長島吾助), the first president of Tokyo Lumber Market, Ltd. (東京木材市場株式会社), founded in 1919. Their work was guided by Nakatani Renjirō (中谷錬次郎), described in the preface as "an esteemed elder of the industry." The woodblock prints were designed by the little-known artist Morita Kanjirō (森田寛次郎), who, according to the preface, "had a deep connection to this area and recreated scenes from memory." The book's publisher was Katō Shinjirō 加藤真次郎.  

In the pamphlet accompanying the book, the editorial committee notes that, "Although we aimed to reconstruct the actual circumstances of the Bakumatsu and early Meiji periods, the limitations of available materials mean that this book likely represents only a fraction of the full historical picture. We can only hope that scholars and readers will regard this effort with generosity."

The full book is in the collections of the National Diet Library, Call No. (NDL) 430-136 Bibliographic ID of National Diet Library 000000709823 Persistent ID (NDL) info:ndljp/pid/1684738; National Institute for Japanese Literature Call Number 37TGH/04914 (https://archives.nijl.ac.jp/G000000253300/data/13028) and the Cornell University Library Rare and Manuscript Collections (Non-Circulating) Asia Rare DS896.7.F84 K53 1927.

Fukagawa Kiba

Source: Original document in Japanese can be found at https://www.kcf.or.jp/cms/files/pdf/original/7995_資料館ノート03.pdf [accessed 2-16-25]

Museum Note No. 3

Published on August 16, 1996 (Heisei 8)
Fukagawa Kiba – Kōtō City Fukagawa Edo Museum

Kiba, known for its kakunori (log rolling) and kiyari (traditional lumbermen’s work songs) performed by kawanami (raft workers), was established during the era of Tokugawa Tsunayoshi (1646-1709), the 5th Shogun. It thrived as a center for lumber merchants throughout the Edo period.

1. The Origins of Kiba

When Tokugawa Ieyasu established the shogunate in Edo, he began the renovation and expansion of Edo Castle in Keichō 9 (1604). To secure large and high-quality timber for construction, the shogunate gathered lumber merchants from Suruga, Mikawa, Tōtōmi (parts of modern Aichi and Shizuoka), and Kii (modern Wakayama) to assist in the procurement and transport of timber.

After the renovation was completed, the shogunate granted licenses to successful merchants, who settled in Nihonbashi and Kanda, establishing shops and beginning their trade. However, the Great Meireki Fire (1657) caused significant damage, prompting the shogunate to relocate the lumber yards to Fukagawa Motokiba (around Saga, Eitai, and Fukuzumi) to mitigate fire risks. This location was chosen due to its proximity to Edo, sparse population, and convenient waterways.

At the time of this relocation, 21 lumberyards were established. However, in Genroku 12 (1699), the shogunate reclaimed the land and reallocated it after raising the ground level. As compensation, lumber merchants were given land in Fukagawa Tsukiji-cho (now Kiba, Hirano, and Miyoshi areas). Since the land was low-lying and difficult to reclaim independently, the merchants initially moved to Sarue, but after two years, this too was designated as shogunal property. Eventually, in Genroku 14 (1701), they were granted over 90,000 tsubo (approximately 30 hectares or 74 acres) in Fukagawa Tsukiji-cho. The merchants built embankments, dug canals, and constructed bridges at their own expense, establishing what became known as Fukagawa Kiba, which prospered as Edo’s largest lumber hub.

A record in the Gofunai Biko states: "In April of Genroku 14, fifteen lumber merchants were granted permission to construct residential and commercial plots on the reclaimed land." This division into 15 sections remained a defining characteristic of Kiba. In Shōtoku 3 (1713), Fukagawa came under town magistrate jurisdiction, making it officially part of Edo’s urban area.

2. The Development of Kiba

Initially, the main offices of lumber merchants remained in Nihonbashi, with only lumber storage facilities in Kiba. However, from the early Genroku era (1688-1704), businesses gradually moved to Fukagawa. By Genbun 4 (1739), a guild of 12 lumber wholesalers had been established, and they continued to operate in a cooperative structure.

The decision to relocate the lumberyards to Fukagawa was largely driven by the shogunate’s policies. The location’s brackish water, influenced by tidal movements, prevented insect infestations in the timber. Additionally, the extensive canal network made transportation efficient, and the area was relatively safe from fires, which were common in Edo. These factors made Kiba an indispensable lumber storage site for Edo, a major consumer of timber.

Lumber that was purchased and transported to Kiba was handled by kawanami (raft workers), who were responsible for delivering it to land-based transporters in Shiba, Kanda, and Asakusa. Using a long hook pole (nagakagi), they pushed, pulled, and turned logs with remarkable agility, a skill that evolved into kakunori (log balancing performances). This tradition became famous by the Tenpō era (1830-1844).

During the Edo period, many lumber merchants built grand mansions with elaborate gardens, making Kiba a scenic spot admired by Edo residents. Artists, including Utagawa Hiroshige, frequently depicted Kiba’s landscapes. Wealthy lumber merchants such as Kinokuniya Bunzaemon (1669-1734) and Naraya Mōzaemon (1695-1725) made fortunes during the Genroku building boom. Additionally, Kabuki actors like Ichikawa Danjūrō IV and VII built villas in Kiba, and Danjūrō VIII was born there.

3. Kiba in the Meiji Era and Beyond

Following the turbulence of the Meiji Restoration, lumber merchants formed the Tokyo Lumber Wholesalers’ Association in Meiji 4 (1871), reviving business in Kiba. However, the traditional relationships between wholesalers, intermediaries, and suppliers remained unchanged until around Meiji 30 (1897).

The late Meiji period saw the rise of modern lumber industries, weakening the wholesalers' dominance. The Great Kantō Earthquake (1923) devastated Kiba, destroying factories and timber supplies. Recovery was slow, and by Shōwa 8 (1933), the traditional structure of wholesalers and intermediaries had dissolved, leading to increased specialization.

However, with the intensification of World War II, the Timber Control Law (1942) forced many lumber merchants out of business. The long-established wholesaler and intermediary networks disbanded, marking the beginning of an era of government-regulated timber production and distribution.

4. The Birth of Shinkiba

During Japan’s postwar economic boom in the 1950s-60s, Kiba prospered but also faced new challenges. Concerns included:

• Ground subsidence

• Urbanization and land shortages

• Traffic congestion

• Environmental pollution

• Increased risk of flooding and timber losses during typhoons

In response, the Kiba Relocation and Development Council was established in 1958, and relocation plans commenced in 1972. By 1982, all lumber-related businesses had moved to Shinkiba, where operations continue today.*

*my note: This move aimed to improve access to maritime transportation routes, especially as Japan increasingly relied on imported timber. Following the relocation, the original Kiba area was redeveloped and transformed into Kiba Park, preserving the historical legacy of the district. At the time of the relocation Kiba was home to 560 lumber wholesalers and about 150 sawmills. 

Prints in the Collection

The 12 prints in this collection were removed from the book by the seller. While the right margins contain basic descriptive information about each scene, as transcribed and translated below, the accompanying text page that provided deeper context for each print, originally appearing opposite the image, a sample of which is  shown above, has been lost.