{"id":1853,"date":"2026-07-03T15:30:32","date_gmt":"2026-07-03T06:30:32","guid":{"rendered":"https:\/\/www.yamada-shoten.com\/english\/blog\/?p=1853"},"modified":"2026-07-03T15:15:57","modified_gmt":"2026-07-03T06:15:57","slug":"new-arrival-one-hundred-noh-plays-pictures-of-noh-plays-and-a-great-mirror-of-noh-pictures-by-tsukioka-kogyo-along-with-a-comprehensive-collection-of-kyogen-paintings-by-yamaguchi-r","status":"publish","type":"post","link":"https:\/\/www.yamada-shoten.com\/english\/blog\/?p=1853","title":{"rendered":"New Arrival: “One Hundred Noh Plays”, “Pictures of Noh Plays” and “A Great Mirror of Noh Pictures” by Tsukioka Kogyo, along with “A Comprehensive Collection of Kyogen Paintings” by Yamaguchi Ryoshu"},"content":{"rendered":"

[News] 2026 The 61st annual Tanabata Auction<\/b>
\n\"2026<\/a><\/p>\n

The Tanabata Auction, organized by the Meiji Kotenkai, opens today.<\/p>\n

This year’s auction once again features an exceptional selection, including Shin-hanga works such as watercolors<\/a> and woodblock prints<\/a> by Kawase Hasui<\/strong> and woodblock prints by Yoshida Hiroshi<\/strong><\/a>. It also showcases Ukiyo-e, including Utagawa Kuniyoshi<\/strong>‘s The Sixty-nine Stations of the Kisokaido<\/em> (complete set)<\/a>, as well as the manuscript of Snow Country<\/em><\/a> by Kawabata Yasunari, literary manuscripts by Akutagawa Ryunosuke<\/a>, and materials related to Japan’s first feature-length color animated film, The Tale of the White Serpent<\/em><\/a>.<\/p>\n

We look forward to seeing you there.<\/p>\n

\u2192Click here for details<\/a><\/p>\n

\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Noh Plays \/ Ikkakusennin” by Tsukioka Kogyo<\/strong>\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Noh Plays \/ Michimori” by Tsukioka Kogyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Noh Plays \/ Ama” by Tsukioka Kogyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Noh Plays \/ Miidera” by Tsukioka Kogyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Pictures
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Pictures of Noh Plays, Part 2 \/ Table of contents” by Tsukioka Kogyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Pictures
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Pictures of Noh Plays \/ Seio’bo” by Tsukioka Kogyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Pictures
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Pictures of Noh Plays \/ Saoyama” by Tsukioka Kogyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Pictures
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Pictures of Noh Plays \/ Shakkyo” by Tsukioka Kogyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Pictures
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Pictures of Noh Plays \/ Yo’kihi” by Tsukioka Kogyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Pictures
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Pictures of Noh Plays \/ Naniwa” by Tsukioka Kogyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Pictures
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Pictures of Noh Plays \/ O’yashiro” by Tsukioka Kogyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Pictures
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Pictures of Noh Plays \/ Teika” by Tsukioka Kogyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Pictures
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Pictures of Noh Plays \/ Senzai, Sanbaso” by Tsukioka Kogyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"A
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“A Great Mirror of Noh Pictures \/ Kanawa” by Tsukioka Kogyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"A
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“A Great Mirror of Noh Pictures \/ Uchitomode” by Tsukioka Kogyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"A
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“A Great Mirror of Noh Pictures \/ Seiobo” by Tsukioka Kogyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"A
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“A Great Mirror of Noh Pictures \/ Rodaiko” by Tsukioka Kogyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"A
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“A Great Mirror of Noh Pictures \/ Oimatsu” by Tsukioka Kogyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"A
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“A Great Mirror of Noh Pictures \/ Yamanba” by Tsukioka Kogyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"A
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“A Great Mirror of Noh Pictures \/ Kotei” by Tsukioka Kogyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Kurikuma-shinmei” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Shid? h?gaku” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Yoneichi” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ The Dropped Gift” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Chinese Sumo Wrestling” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Nine times two equals eighteen” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ The God of Happiness” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Hanago” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ The Cowardly Bandits” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ The Glue Fight” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Fuzum?” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Busu” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Ts?en, The Tea Priest” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Sora-ude” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Ima-mairi” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ The Mirror” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ A Bandit and a Girl” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ An Umbrella Instead of a Fan” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ The Six Statues” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Fox Trapping” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ The Poet and the Ricecakes” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Igui, the Disappearing Boy” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Nabeyatsubachi” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Catching Plovers” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Naruko yaruko” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Horizontal Singing” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Futari daimyo” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Dontar?’s Method for Handling Women” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ The Melon Thief” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Shimizu” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ As?” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ A Priest and a Cook” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ The Stone God” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Unsuccessful Sickle Suicide” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ The Persimmon Thief” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Thunder” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Tied to a Stick” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ The Monkey-Skin Quiver” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ The Back-Straightening Prayer” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ Daikoku-Renga” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ The Flower Thief” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Roles by Kyogen-ga \/ The Fake Deva King” by Yamaguchi Ryoshu\t\t<\/a>\n\t<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

[News] 2026 The 61st annual Tanabata Auction The Tanabata Auction, organized by the Meiji Kotenkai, opens today. This year’s auction once again features an exceptional selection, including Shin-hanga works such as watercolors and woodblock prints by Kawase Hasui and woodblock prints by Yoshida Hiroshi. It also showcases Ukiyo-e, including Utagawa Kuniyoshi‘s The Sixty-nine Stations of […]<\/p>\n","protected":false},"author":1,"featured_media":1867,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-1853","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-new-arrivals"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/posts\/1853","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1853"}],"version-history":[{"count":13,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/posts\/1853\/revisions"}],"predecessor-version":[{"id":1866,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/posts\/1853\/revisions\/1866"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/media\/1867"}],"wp:attachment":[{"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1853"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1853"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1853"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}