近代日本古典籍複製領域中的出版商與印刷技術：以七條愷家族為中心

Publishers and Printing Technologies in the Reproduction of Classical Texts in Modern Japan: A Case Study of the ShichijōGai Family

本文以東京七條愷家族的印刷出版事業為中心，重點探討從明治年間到二戰結束前後，古籍複製領域的印刷技術演進。梳理不同時期、不同類型出版物常用的複製技術，並關注不同世代的學者與出版商在技術選擇與複製對象上的差異。
1923年關東大地震發生後，日本各界認識到保存古籍文物的緊迫性。與此同時，中日兩國文獻學、圖書館學日臻成熟，對如何複製古籍、保存文獻提出更高要求，不僅在視覺上追求圖版的高清細膩，也盡量保全如批註、用紙、裝幀等文本之外的一切信息。學者們還競相為所選典籍撰寫具有學術價值的解題，出版商的複製書目亦直接反映出相關學者的研究動態及學術關懷。此種風氣之下，珂羅版影印原書、附加解題冊的複製模式被逐漸確立，並為中日兩國學界與收藏界普遍接受。

This paper focuses on the printing and publishing enterprise of the ShichijōGai（七條愷）family in Tokyo, examining the evolution of reproduction techniques for classical texts from the Meiji period through the immediate postwar years. It outlines the primary methods employed in different periods and for various types of publications, and analyzes how successive generations of scholars and publishers made strategic choices regarding reproduction techniques and target texts.
Following the 1923 Great KantōEarthquake, awareness of the importance of preserving classical texts grew in Japan. Meanwhile, bibliographical and library sciences in China and Japan advanced, demanding higher standards for reproductions, not only in visual clarity but also in marginalia, paper quality, and binding. Scholars produced commentaries for selected texts, and publishers’catalogs reflected contemporary academic interests. A hybrid model combining collotype facsimiles with interpretive volumes gradually emerged and gained broad acceptance in scholarly and collecting circles.