These scrolls, leaves, and books included manuscripts dating back to the beginning of the fifth century A.D., as well as was what was then the earliest known example of printing, a block-printed scroll dated 868 A.D. In describing his discoveries in his book On Ancient Central-Asian Tracks, Stein related his excitement over the discovery of the manuscripts for their texts, yet he was strangely phlegmatic about the physical objects. His description of the physical condition of these manuscripts, some of them 1500 years old, was limited to "well made strong paper." It is strange how different people will be excited by different things; had I been in his place, it would have been the physical objects---the paper, the calligraphy, the printing---which would have drawn most of my attention. I relate this story only because I felt an excitement akin to Stein's when I opened a package of miniature books published by Cannabis Press. Although the complete oeuvre of Cannabis Press books would take up far less than 500 cubic feet, they comprise a treasure-trove of paper samples and texts on the history and art of paper. Asao Shimura, papermaker, author, and proprietor of Cannabis Press (formerly Bunseido Press), brings to us his experience gained from more than 15 years in the fields of traditional Japanese papermaking and indigo dyeing. Drawing upon this expertise, he has written and published books on these subjects and encouraged texts from his colleagues in the field of the history of paper and near-paper (meaning papyrus, tapa, and other materials which are not technically paper). The result is a collection of information in the form of four series of miniature books, each focusing on traditional papermaking. Physically, the Cannabis Press books are a marvel. For the most part, they are printed on Japanese mitsumata paper, bound in the traditional East Asian pouch binding format. The type is usually 6-point Century bold and bold italic on 7-point lines, a choice which allows good legibility despite the small format. Many of the books also contain illustrations, which are also printed letterpress. Finally, and most importantly, the books contain samples of the paper described in the text. These are the jewels in miniature presented by Mr. Shimura: traditional Japanese, Korean, Chinese, Nepalese, and western papers, exotics from Micronesia and Mexico, bark tapa from Samoa and Tonga, Egyptian papyrus, and even British parchment. These books are arranged into series, each of which is sold as a collection housed in a box of paulownia wood. Although small, the books and their samples not only represent superb technical achievements but are an important source of information as well. If my initial response to the Cannabis Press books was to admire them as physical objects, it would be impossible to ignore their texts; the information they transmit is of great value. The authors provide detailed technical data about paper and near-paper. Most of this information is culled directly from original sources, the result of the authors' visits to traditional papermakers. Rather than generalize about two dozen books or take the space to review each individually, I have chosen two as examples. Iroha-gami was published in 1980 as volume III of the Washi Series. Describing itself as a "paper alphabet," the book is an omnibus of papermaking history and techniques from Australia, China, Egypt, Korea, Mexico, Nepal, Thailand, Tonga, the U.S., and Japan. In a remarkably succinct manner, Mr. Shimura describes the techniques, molds, and fibers used in each tradition, documenting all with a two-page bibliography of eight references. The 48 samples are also all carefully documented: each is numbered and described in detail, including type, name, fiber content, and place of manufacture. Recently, Mr. Shimura has begun to publish books in larger formats, which are not part of a series. A recent, fine example of this new direction is Papermaking in Bhutan, by Yoshiro Imaeda (Kasama, Japan: Cannabis Press, 1988). The book is 10.5 x 15 cm. and was printed in 8- and 12-point Baskerville on kozo in an edition of 108 numbered copies. The author, a researcher in Paris and advisor to the National Library of Bhutan, Thimphu, describes from first-hand observation, and in great detail, the preparation of bast fiber and the forming and drying of paper. The work concludes with illustrations and five samples of Nepalese paper. As the literature of the history of papermaking grows, we cannot expect the Cannabis Press books to be the last word on any subject; nor should they be. Mr. Shimura is a pioneer whose work is to lead. He does so with enthusiasm and a great willingness to instruct, share, and inspire. His elegant library of books reflects that attitude. The books published to date will, I hope, be just the beginning. A Partial Bibliography of the Cannabis Press Cannabis Press Duntog Foundation #301 Ambuklao Rd., P.O. Box 254 Baguio City 2600 Philippines Note: the following is a list of the four main series of books published by the Cannabis Press. Other books, out of series or part of newly-published series, are not listed. Many books are still available from the publisher. 6p Series 7.5 x 5 cm 1. Aigamizome (Indigo Dyeing of Paper). 9 p. + 6 samples. 2. Papermaking in Korea, a Unique Korean Style of Papermaking at Shin Heung Ri. 13 p. + 5 samples. 3. Nagazshizuki and Tamezuki, Oriental and Western Methods of Papermaking. 18 p. + 8 samples. 4. Amate, Mexican Bark Paper. 9 p. + 3 samples. 5. Indigo Notes by Louise Cort. 14 p. + 4 samples. 6. Suminigashi, Ink Floating. 4 p. + 8 samples. 7. U.S. Papermakers '78. 20 p. + 11 samples. 8. Tapa, the Bark Paper of Samoa and Tonga by Bell and Brooks. 34 p. + 4 samples. Washi Series 1980 7.5 x 5 cm 128 copies (boxed edition) I. Goshu Gampi-shi from Naruko's Workshop, Mrs. Chika Naruko, Fifty Years' Experience Making Gampi Paper, Intangible Cultural Property by Shiga (Goshu) Prefecture. 16 p. + 8 samples. II. Early Chinese Papermaking, Experimental Hemp Papermaking Simulating the Later Han Dynasty Method. 18 p. + 8 samples. III. Iroha-gami, 48 Fine Handmade Papers, 16 from Australia, China, Egypt (Papyrus), Korea, Mexico (Amate), Nepal, Thailand, Tonga (Tapa), UK (parchment), USA and 32 from Japan. 26 p. + 48 samples. IV. Marumi Gampi Paper, Primitive Gampi Papermaking at Marumi's Mountain in Masuda, Shimane Prefecture, Japan. 10 p. + 8 samples. HMP Series 1981-82 7.5 x 5 cm 120 copies (boxed edition) 1. Hand Papermaking in Nepal by Elaine Koretsky. 2. White Hemp Papermaking in Fenxian County, Shaanxi Province, Northwest China by Pan Jixing. 3. The Making of Papyrus Revived Again in Egypt by Hassan Ragab. 4. Amate Making in San Pablito, Puebla, Mexico by Asao Shimura. 5. Papermaking in France and Switzerland by Asao Shimura. 6. Mitnan Paper in Israel by Aliza Thomas. J Series 1983-84 7.5 x 5 cm 330 copies (boxed edition) 1. Papermaking in Micronesia: Tropical Paper from Guam Plants by Barbara Moon Boertzel. 2. Washi Tour '83: An American Perpective by Trudy S. Guinee. 3. Shiroishi Shifu: Paper Fabric Having a 300-Year Tradition by Nobumitso Katakura. 4. Early Japanese Papermaking: Nagashizuki from Around AD 800 by Dr. Seishi Machida. 5. Cannabis Press: Experimental and Primitive Papermaking Through an Old-Fashioned Method by Asao Shimura. 6. Indigo Dyeing by the Natural Fermentation Method by Asao Shimura.
