Moy\u014d no hon<\/em>\u00a0<\/span>\u6a21\u69d8\u4e4b\u672c\u00a0<\/span>[Pattern book]\u2014part of the UBC Meiji at 150 collection\u2014contains twenty-one hand-painted designs for what we recognize today as\u00a0<\/span>tomesode<\/em>s \u7559\u8896 [literally, \u201ctrimmed sleeves\u201d], the most formal type of Japanese-style clothing for women. The\u00a0<\/span>tomesode\u00a0<\/em>is sewn in the shape of a\u00a0<\/span>kosode<\/em>\u00a0<\/span>\u5c0f\u8896 [literally, \u201csmall sleeves\u201d], which is the most common article of Japanese-style clothing, and which is better known today as the kimono. (The Japanese word \u201ckimono<\/em>\u00a0<\/span>\u7740\u7269\u201d originally meant merely \u201cclothing,\u201d but over the centuries it became\u2014both in Japan and abroad\u2014the word to denote a particular type of Japanese-style outfit involving a\u00a0<\/span>kosode<\/em>\u00a0<\/span>and other accoutrements.)<\/p>\r\n The book bears no publication information, suggesting that it is an\u00a0<\/span>unicum<\/em>\u00a0<\/span>created for a small circle of designers and clients. Based on comparison with similar pattern books from the Meiji period \u660e\u6cbb\u6642\u4ee3 (1868\u20131912), the item can tentatively be dated to the turn of the century. A bookplate states that it once belonged to an as-yet-unidentified Imao Collection\u2014whose plate and seal (Imao\u00a0<\/em>z<\/em>\u014dsho<\/em>\u00a0\u4eca\u5c3e\u8535\u66f8<\/a>) are registered in the ex-libris database compiled by the\u00a0<\/span>National Institute of Japanese Literature<\/a>, but without attribution\u00a0[<\/strong><\/span>Figure 1]<\/strong>. A sticker inside the back cover indicates that the book passed through the hands of the erstwhile Kyoto bookseller Yamamoto Bunkad\u014d \u5c71\u672c\u6587\u83ef\u5802\u00a0[<\/strong><\/span>Figure 2]<\/strong>.<\/p>\r\n \r\n\r\n[caption id=\"attachment_771\" align=\"alignleft\" width=\"200\"] Pattern books (called \u201chinagata bon\u00a0<\/span><\/em>\u96db\u5f62\u672c [model books],\u201d \u201chiinakata\u00a0<\/span><\/em>\u3072\u3044\u306a\u304b\u305f [models],\u201d \u201cish\u014d bon\u00a0<\/span><\/em>\u610f\u5320\u672c [design books],\u201d \u201czuan ch\u014d\u00a0<\/span><\/em>\u56f3\u6848\u5e16 [ideas-in-illustrations books],\u201d etc.) like this one functioned in the past as fashion magazines and catalogs. Browsing through such books, clothing designers could concoct ideas for new patterns, while prospective customers could imagine what sort of\u00a0<\/span>kosode<\/em>\u00a0<\/span>they might commission.<\/p>\r\n\r\n<\/div>\r\n The Edo period \u6c5f\u6238\u6642\u4ee3 (1603\u20131868) was the heyday of pattern books. In the wake of Japan\u2019s civil war, the seventeenth century saw the beginning of a long era of political stability. With this came an improvement of the social and economic infrastructure, which allowed the merchant class to flourish. It was during this period that the general population became cognizant of the concept of \u201cfashion\u201d and its concomitant commodities. Fabric sellers partnered with publishers to issue pattern books for circulation among potential clients from the warrior and merchant classes, and artists and designers launched their own clothing brands. Around 1800 the production of pattern books dipped for unknown reasons. But the Meiji period saw a resurgence in production. Thanks to the importation of new technologies (particularly synthetic dyes and techniques for their use) from the West that revived the textile and printing industries, pattern books once again circulated as sources of fashion inspiration. Handcrafted catalogs such as\u00a0<\/span>Moy\u014d no hon<\/em>, as well as the kimonos depicted within, were products of the newfound availability of such dyes.<\/p>\r\n During the Meiji period, sericulture became one of the most profitable sectors of foreign trade for Japan. While much top-grade silk fabric was exported to Europe, there was an ample supply for domestic consumption by the wealthy. Silk kimonos were luxury items not available to women of all classes. Hence\u00a0<\/span>Moy\u014d no hon<\/em>\u00a0<\/span>provides a glimpse into the ways in which wealthy women might have enjoyed kimono fashion in the Meiji era.<\/p>\r\n\r\n The style in which the\u00a0tomesodes<\/em> in this book are rendered is called \u201ctagasode\u00a0<\/span><\/em>\u8ab0\u304c\u8896.\u201d \u201cTagasode<\/em>\u201d literally means \u201cWhose sleeve?\u201d; and the word carries a romantic connotation that implies a longing for the owner of the\u00a0<\/span>kosode<\/em>. The concept of\u00a0<\/span>t<\/em>agasode<\/em>\u00a0<\/span>is believed to have its origins in a literary motif from classical Japanese poetry. An anonymous poem in the Spring section of the famous poetry anthology\u00a0<\/span>Kokin\u00a0<\/span><\/em>w<\/em>akash\u016b<\/em>\u00a0<\/span>\u53e4\u4eca\u548c\u6b4c\u96c6 [A collection of poems from ancient and modern Japan] (ca. 920) reads: \u201cIro yori mo ka koso aware to omouyure tagasode fureshi yado no ume zomo\u00a0<\/span><\/em>\u8272\u3088\u308a\u3082\u9999\u3053\u305d\u3042\u306f\u308c\u3068\u601d\u307b\u3086\u308c\u8ab0\u304c\u8896\u3075\u308c\u3057\u5bbf\u306e\u6885\u305e\u3082 [It is their fragrance rather than their color that affects me. I wonder whose sleeve might brush against these plums to carry away their scent].\u201d This evocative\u00a0<\/span>topos<\/em>\u00a0<\/span>evolved into a popular aesthetic motif in the decorative arts, from screens to writing boxes (see examples at the\u00a0<\/span>Metropolitan Museum of Art<\/a>). In such contexts\u00a0<\/span>kosode<\/em>s are shown folded casually and hung on clothing stands. There even exist\u00a0<\/span>kosode<\/em>s whose patterns show\u00a0<\/span>kosode<\/em>s hung in this\u00a0<\/span>tagasode<\/em>\u00a0<\/span>style.<\/p>\r\n This way of hanging the\u00a0<\/span>kosode<\/em>\u00a0<\/span>effectively reveals the lining, which is an important element of kimono fashion (see the vivid orange lining in\u00a0<\/span>Figures 3-5<\/strong>). The color of the lining needs to complement the color of the outer fabric, whether through strong affinity or sharp contrast. As such, the color of the lining says much about the kimono wearer\u2019s taste.<\/p>\r\n \r\n\r\n[caption id=\"attachment_256\" align=\"alignleft\" width=\"175\"] Kimono pattern books that use this\u00a0tagasode<\/em> style to showcase patterns are not uncommon. For instance, the first volume of\u00a0Onna shorei sh\u016b<\/em>\u00a0\u5973\u8af8\u793c\u96c6<\/a>\u00a0[An anthology of manners and etiquette for women] (1660)\u2014a guidebook for young women preparing for marriage\u2014shows\u00a0kosode<\/em>s in the\u00a0tagasode<\/em>\u00a0style to instruct readers in seasonally-appropriate patterns. A more recent example is\u00a0Jidai kosode hinagata by\u014dbu<\/em>\u00a0\u6642\u4ee3\u5c0f\u8896\u96db\u5f62\u5c4f\u98a8\u00a0[A collection of\u00a0<\/span>kosode<\/em>\u00a0patterns from the past] (compiled in 1939 by Nomura\u00a0Sh\u014djir\u014d \u91ce\u6751\u6b63\u6cbb\u90ce), a pictorial encyclopedia of\u00a0<\/span>kosode<\/em>s from previous centuries.<\/p>\r\n\r\n<\/div>\r\n The\u00a0<\/span>tagasode<\/em>\u00a0<\/span>style works well for the\u00a0<\/span>tomesode<\/em>s in this pattern book, because\u00a0<\/span>tomesode<\/em>s have patterns only below the torso; therefore, there is no need to show the sleeves or upper part. During the Meiji period the\u00a0<\/span>tomesode<\/em>\u00a0<\/span>assumed its function as a formal garment for women to wear when attending celebratory events such as weddings, and it was thus common to feature auspicious symbols that contributed to the making of a congratulatory atmosphere. Most of these auspicious symbols (kissh\u014d moy\u014d<\/em>\u00a0<\/span>\u5409\u7965\u6a21\u69d8), though fully embedded in Japanese culture, derive ultimately from China\u2014whence they were adopted during Japan\u2019s first-millennium steps toward nation-building.<\/p>\r\n\r\n Sh\u014d-chiku-bai<\/em>\u00a0\u677e\u7af9\u6885 [pine-bamboo-plum]: Known as the three friends of winter in Chinese culture, pine, bamboo, and plum symbolize perseverance and vitality because all three survive the harsh winter. This is one of the most common auspicious symbols in Japan, and the book contains four patterns that feature it\u00a0[<\/strong><\/span>Figure 6]<\/strong>.<\/span><\/p>\r\n\r\n<\/div>\r\n Matsu<\/em>\u00a0\u677e [pine tree]: As an evergreen tree, the pine symbolizes vitality and strength [<\/strong><\/span>Figure 7]<\/strong>.<\/span><\/p>\r\n\r\n Tanch\u014d-zuru<\/em>\u00a0\u4e39\u9802\u9db4 [red-crowned crane]: This particular type of crane symbolizes longevity in Chinese culture (an ancient Chinese text called\u00a0<\/span>Huainanzi<\/em>\u00a0\u6dee\u5357\u5b50 [A collection of philosophies] records that they live a thousand years). The motif is often paired with other auspicious symbols\u00a0[<\/strong><\/span>Figure 8]<\/strong>.<\/span><\/p>\r\n\r\n Botan ni ch\u014d\u00a0<\/em>\u7261\u4e39\u306b\u8776 [peony and butterfly]: The peony is considered the king of flowers in China because of its rich beauty and medicinal value (the root of the plant has long been used to treat convulsions). The flower also symbolizes elegance and sophistication. The butterfly symbolizes evolution, resurrection, and longevity, thanks to the transformations that it undergoes in the course of its life cycle.<\/p>\r\n\r\n<\/div>\r\n One pattern in the book exemplifies feminine elegance with peonies, butterflies, and a folding fan (a high-class motif due to its associations with court life) on soft pink fabric\u00a0[<\/strong>Figure 9]<\/strong>.<\/p>\r\n Nami chidori<\/em>\u00a0\u6ce2\u5343\u9ce5 [waves and plovers]: Birds (often plovers) soaring in formation over the waves symbolize a couple\u2019s bond to overcome obstacles in life. <\/span><\/p>\r\n In one pattern the beach is dotted with clams suggestive of the couple\u2019s inseparability (as each half of the bivalve has but one perfect match), making this\u00a0<\/span>tomesode<\/em>\u00a0especially suitable to be worn by a wedding guest\u00a0[<\/strong><\/span>Fig. 10, left]<\/strong>. <\/span>Another incorporates the pine-bamboo-plum and the crane into its design, wishing for a marital union as hardy as the plants and as long-lived as the crane\u00a0[<\/strong><\/span>Fig. 10, right]<\/strong>.<\/span><\/p>\r\n\r\n Hagi<\/em>\u00a0\u8429 [bush clover]: The\u00a0<\/span>hagi<\/em>\u00a0is one of the autumnal flowers that appear often in classical Japanese poetry. <\/span><\/p>\r\n\r\n<\/div>\r\n The design in the book also includes the\u00a0<\/span>nami chidori<\/em>\u00a0motif, which suggests that this\u00a0<\/span>tomesode<\/em>\u00a0would be suitable for wearing to an autumn wedding\u00a0[<\/strong><\/span>Figure 11]<\/strong>.<\/span><\/p>\r\n Misu<\/em>\u00a0\u5fa1\u7c3e [royal screen]:\u00a0<\/span>The\u00a0misu<\/em>\u00a0is a type of suspended blind used\u00a0for the sake of propriety at the royal court (for instance, to sequester the noblewomen, and to shield the nobles from the gaze of commoners in their employ).<\/p>\r\n <\/span>Due to its associations with court life, the motif as it appears on the formal garment exudes a sense of nobility and elegance. <\/span>The pattern with the\u00a0<\/span>misu<\/em>\u00a0motif in the book has a design with plums and chrysanthemums partially obscured by a haze\u2014an artistic gambit frequently used in paintings in pre-modern Japan\u00a0[<\/strong><\/span>Figure 12]<\/strong>.<\/span><\/p>\r\n\r\n Seasonal plants and flowers: An assemblage of plants and flowers can evoke a particular season. For example, the book includes a design with an autumn theme featuring Japanese silver grass and chrysanthemums (Page 10). Chrysanthemums and maple leaves are both evocative of autumn (Page 34; Page 36). Other designs fit multiple seasons. The combination of colored maple leaves and scattered cherry blossom petals with birds might be appropriate for attendees of autumn or spring weddings (Page 18). <\/span><\/p>\r\n \r\n\r\n[caption id=\"attachment_250\" align=\"alignright\" width=\"209\"] The combination of flowers from early summer (sweet flag) and autumn (bellflower, bush clover, Japanese silver grass, chrysanthemums) makes this design suitable for spring or autumn (Page 22). The sense and sensibility of seasonal motifs has always been very important in Japanese culture. It is considered fashionable to wear a kimono with botanical motifs marking the coming season, while it is seen as uncouth to wear a kimono with seasonal patterns after that season has passed.<\/span><\/p>\r\n\r\n<\/div>\r\n The most inclusive pattern in the book is the one with many of the aforementioned motifs alongside Mount Fuji\u00a0[<\/strong>![\"Detail](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/06\/Yoshimura-Logo-e1528133041650.jpg\"){kind=logo}
<\/a><\/a><\/p>\r\n\r\n\r\n
\r\n![\"The](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/09\/cover.jpg\")
<\/a> Figure 1.<\/strong> Front Cover Detail. Source: University of British Columbia Library, Rare Books and Special Collections (RBSC). Asian_Rare_06_no_L01_019_L. Page 1.[\/caption]\r\n\r\n[caption id=\"attachment_770\" align=\"alignleft\" width=\"200\"]![\"The](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/09\/backcover.jpg\")
<\/a> Figure 2.<\/strong> Back Cover Verso Detail. Source: UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 44.[\/caption]\r\n\r\nA Brief History of Pattern Books<\/strong><\/h3>\r\n
Tagasode<\/em><\/strong><\/h3>\r\n
![\"A](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/06\/p20.jpg\")
<\/a> Figure 3<\/strong>. Source: UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 20.[\/caption]\r\n\r\n[caption id=\"attachment_257\" align=\"alignleft\" width=\"175\"]![\"An](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/06\/p22-206x300.jpg\")
<\/a> Figure 4<\/strong>. Source: UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 22.[\/caption]\r\n\r\n[caption id=\"attachment_258\" align=\"alignleft\" width=\"175\"]![\"A](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/06\/p24.jpg\")
<\/a> Figure 5<\/strong>. Source: UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 24.[\/caption]\r\n\r\nMotifs<\/strong><\/h3>\r\n
Figure 6\u00a0\u2014\u00a0Sh\u014d-chiku-bai<\/em>\u00a0\u677e\u7af9\u6885 motif<\/strong><\/h5>\r\n[caption id=\"attachment_247\" align=\"alignleft\" width=\"125\"]
![\"A](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/06\/p2.jpg\")
<\/a> UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 2.[\/caption]\r\n\r\n[caption id=\"attachment_248\" align=\"alignleft\" width=\"125\"]![\"A](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/06\/p4.jpg\")
<\/a> UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 4.[\/caption]\r\n\r\n[caption id=\"attachment_256\" align=\"alignleft\" width=\"125\"]<\/a> UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 20.[\/caption]\r\n\r\n[caption id=\"attachment_259\" align=\"alignleft\" width=\"125\"]![\"A](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/06\/p26.jpg\")
<\/a> UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 26.[\/caption]\r\n\r\nFigure 7 \u2014\u00a0Matsu<\/em>\u00a0\u677e Motif<\/strong><\/h5>\r\n[caption id=\"attachment_249\" align=\"alignleft\" width=\"125\"]
![\"A](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/06\/p6-1.jpg\")
<\/a> UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 6.[\/caption]\r\n\r\n[caption id=\"attachment_260\" align=\"alignleft\" width=\"125\"]![\"A](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/06\/p28-1.jpg\")
<\/a> UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 28.[\/caption]\r\n\r\n[caption id=\"attachment_262\" align=\"alignleft\" width=\"125\"]![\"A](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/06\/p32-1.jpg\")
<\/a> UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 32.[\/caption]\r\n\r\n[caption id=\"attachment_267\" align=\"alignleft\" width=\"125\"]![\"A](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/06\/p42.jpg\")
<\/a> UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 42.[\/caption]\r\n\r\nFigure 8 \u2014\u00a0Tanch\u014d-zuru<\/em>\u00a0\u4e39\u9802\u9db4 Motif<\/strong><\/h5>\r\n[caption id=\"attachment_248\" align=\"alignleft\" width=\"125\"]
<\/a> UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 4.[\/caption]\r\n\r\n[caption id=\"attachment_259\" align=\"alignleft\" width=\"125\"]<\/a> UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 26.[\/caption]\r\n\r\n[caption id=\"attachment_262\" align=\"alignleft\" width=\"125\"]<\/a> UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 32.[\/caption]\r\n\r\n[caption id=\"attachment_267\" align=\"alignleft\" width=\"125\"]<\/a> UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 42.[\/caption]\r\n\r\nFigures 9 and 10 \u2014\u00a0Botan ni ch\u014d\u00a0<\/em>\u7261\u4e39\u306b\u8776 and\u00a0Nami chidori<\/em>\u00a0\u6ce2\u5343\u9ce5 Motifs<\/strong><\/h5>\r\n<\/div>\r\n\r\n[caption id=\"attachment_253\" align=\"alignleft\" width=\"175\"]
![\"A](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/06\/p14-1.jpg\")
<\/a> Figure 9.<\/strong>\u00a0UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 14.[\/caption]\r\n\r\n[caption id=\"attachment_254\" align=\"alignleft\" width=\"175\"]![\"A](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/06\/p16.jpg\")
<\/a> Figure 10.1.<\/strong> UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 16.[\/caption]\r\n\r\n[caption id=\"attachment_262\" align=\"alignleft\" width=\"175\"]<\/a> Figure 10.2.<\/strong> UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 32.[\/caption]\r\n\r\nFigures 11 and 12\u00a0\u2014\u00a0Hagi<\/em>\u00a0\u8429 and Misu<\/em>\u00a0\u5fa1\u7c3e Motifs<\/span><\/strong><\/h5>\r\n[caption id=\"attachment_252\" align=\"alignleft\" width=\"275\"]
![\"A](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/06\/p12.jpg\")
<\/a> Figure 11<\/strong>. Hagi<\/em> \u8429 Motif. Source: UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 12.[\/caption]\r\n\r\n[caption id=\"attachment_261\" align=\"alignleft\" width=\"275\"]![\"A](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/06\/p30.jpg\")
<\/a> Figure 12<\/strong>. Misu<\/em> \u5fa1\u7c3e Motif. Source: UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 30.[\/caption]\r\n\r\nFigure 13\u00a0\u2014 Seasonal Plants and Flowers Motif<\/strong><\/h5>\r\n[caption id=\"attachment_251\" align=\"alignleft\" width=\"125\"]
![\"A](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/06\/p10-1.jpg\")
<\/a> UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 10.[\/caption]\r\n\r\n[caption id=\"attachment_263\" align=\"alignleft\" width=\"125\"]![\"A](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/06\/p34.jpg\")
<\/a> UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 34.[\/caption]\r\n\r\n[caption id=\"attachment_264\" align=\"alignleft\" width=\"125\"]![\"A](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/06\/p36.jpg\")
<\/a> UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 36.[\/caption]\r\n\r\n[caption id=\"attachment_255\" align=\"alignleft\" width=\"125\"]![\"A](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/06\/p18-1.jpg\")
<\/a> UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 18.[\/caption]\r\n\r\n![\"This](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/06\/p8-209x300.jpg\")
<\/a> Figure 14<\/strong>. Several motifs with Mt. Fuji. Source: UBC Library, RBSC. Asian_Rare_06_no_L01_019_L. Page 8.[\/caption]\r\n