Also written 続画. A set of *ukiyo-e 浮世絵 prints with a continuous composition in a large pictorial format. The designs were so skillfully composed that each print was complete in itself, and at the same time kept its continuity with the other sheets. However, some of the late ukiyo-e prints produced in the 19th century no longer had this compositional interdependency.
The most common styles of tsuzukimono 続物 were sets of two or three lengthwise-placed *ōban 大判 sheets arranged horizontally. These sheets were called nimaitsuzuki 二枚続 and sanmaitsuzuki 三枚続 respectively. A set of four, five, six, seven, eight, nine, ten, or twelve sheets of the same format-size was also frequently produced. Sometimes three of the six sheets were arranged beneath the other three, or one of the four sheets was placed above the central sheet of the other three. Other varieties of tsuzukimono include the use of *chūban 中判 or *hosoban 細判 sheets in addition to the ōban, placed either lengthways or sideways, and arranged either side-by-side or end-to-end. Some authorities include *kakemono-e 掛物絵 under the heading, in which two ōban sheets were jointed end to end, but the others think that kakemono-e are different from tsuzukimono because of the lack of compositional independency of each sheet.
By using a different character, the term "tsuzuki-e," as added to the original title of the Fifty-Three Stations on the Tōkaidō *Tōkaidō gojūsantsugi 東海道五十三次 by Utagawa Hiroshige 歌川広重 (also known as Andō 安藤 Hiroshige, 1797-1858), seems to mean "a series of prints," and thus synonymous with the terms *soroimono 揃物 and *kumimono 組物.