Unfortunately, we are unable to decipher any of the writing on this postcard. Unless another, more legible example of the sender’s handwriting comes to light, this card—sent from Osaka in 1889—will remain an unsolved mystery, its message lost to time.
This postcard bears a postmark from 摂津西ノ宮 (Settsu Nishinomiya) in Hyogo Prefecture and was sent by an individual named Morimoto—though his given name remains uncertain. The message appears to outline travel plans, but what makes this card particularly noteworthy is how Morimoto addresses Maeda Yoshihiko: using the suffix "君" (kun).
This choice of address suggests one of two possibilities:
A close personal friendship between Morimoto and Maeda, as "kun" is often used among peers or by superiors toward younger or subordinate males.
Morimoto held a higher social or professional status than Maeda, granting him the familiarity to use "kun."
This is only the second known instance of Maeda being addressed this way in correspondence. For the previous example, refer to our October 13, 2024 post.
The date is derived from the Kobe postmark, as the originating postmark is too faint and incomplete to decipher. The sender’s name, message, and return address are entirely illegible. However, as we continue examining this collection of postcards, we may encounter another from the same sender with identifiable details that could help clarify this one.
These two postcards offer rare and compelling insights into the network of Japanese artists during the Meiji period, subtly “knitting together” personal and professional relationships that have otherwise gone undocumented.
Yamana Ukai, April 17, 1889
Postmarked in Shitaya, Tokyo (下谷東京), this postcard represents one of only two known records of the elusive artist Yamana Ukai (山名迂介), a figure absent from formal art historical archives despite extensive research. Sent from the residence of Watanabe Bunzaburō at 3-68 Naka-Okachimachi, Shitaya, and addressed to Maeda Yoshihiko, the card contains a respectful reference to Watanabe as 渡辺老兄 (Watanabe Rōkei, “esteemed elder Watanabe”), suggesting a senior-junior or master-apprentice relationship. While this establishes Yamana’s association with Watanabe’s artistic circle, much of the card’s content remains undeciphered for now.
Yamana Ukai, February 7, 1889
The earlier of the two cards, postmarked in Osaka, lists the return address of Uchida Mohachi (内田茂八) at 7-chōme Nakanoshima, Kita-ku—indicating Yamana was staying there at the time. Remarkably, this card includes two references to Watanabe Yūkō (渡辺幽香), a talented female artist. Her name appears first as 幽香女史 (Yūkō Joshi), using the honorific joshi for educated or professional women (circled in red on the original), and again as 渡辺幽香, spaced in signature-like fashion at the bottom-left corner, implying direct involvement.
Uchida Mohachi was likely an artist in his own right with a number of pupils. In fact, Watanabe Bunzaburō refers to 内田茂八門—the school or artistic lineage of Uchida Mohachi—when discussing Yamana Ukai, reinforcing the impression that Yamana was part of Uchida’s circle as well.
Adding to the intrigue is the historical context: just two weeks prior to the Osaka postmark, the city hosted its first lithography and copperplate society meeting at the nearby Jiyūtei Hotel. Given Watanabe Yūkō’s known training in both techniques under Matsuda Rokuzan (松田緑山), and the proximity of Uchida’s address to the meeting site, it’s plausible—though speculative—that Uchida, Yamana, and Yūkō all attended. The double mention of Yūkō to Maeda Yoshihiko, who likely knew her reputation, raises further questions. Could this hint at collaborative work or a planned exhibition now lost to history?
This unexpected find not only revives Watanabe Yūkō’s faint historical presence but also offers a rare glimpse into the possible participation of women in early Meiji-era printmaking circles—a small but valuable clue in the broader reconstruction of women’s roles in Japanese art.
Watanabe Yūkō (渡辺 幽香, 1856 – 1942) was a pioneering Japanese artist of the Meiji period, known for her Western-style (yōga) paintings. Born into an artistic family in Edo (now Tokyo), she was the daughter of Goseda Hōryū (五姓田 芳柳, 1827–1892), a prominent painter, and the sister of Goseda Yoshimatsu (五姓田 義松, 1855–1915), also an accomplished artist. Her early exposure to art within her family significantly influenced her career.
Yūkō received her initial training in painting from her father and brother, immersing herself in the techniques of Western-style art. This familial mentorship was a common pathway for women artists of that era, as formal art education institutions were predominantly male-oriented. In 1869, Yūkō began a series of lithographs titled "Sun'in mankō" (寸陰蔓稿), depicting popular scenes of Japan. The following year, she created another series of pictures, showcasing her versatility and commitment to capturing Japanese culture through her art.
Yūkō's personal life was closely intertwined with her professional journey. She married Watanabe Bunzaburō (渡辺 文三郎, 1853–1936), a fellow painter who had also studied under her father. This union further solidified her connections within the art community and provided mutual support in their artistic endeavors.
Beyond her artistic achievements, Yūkō was dedicated to the advancement of women's education in Japan. She taught at the Gakushūin Women's Higher School (学習院女子高等科), an institution established to educate women of the nobility. Her role as an educator reflected her commitment to empowering women through education, aligning with the broader societal shifts of the Meiji era that sought to modernize and elevate the status of women.
Watanabe Yūkō's life and work exemplify the challenges and triumphs of female artists in Meiji Japan. Her ability to navigate the male-dominated art world, coupled with her dedication to education, underscores her significant contributions to Japanese art and society.
Yamashita Kumata (山下久馬太), a rare and lesser-known artist of the Meiji Period, graduated from the Kyoto Municipal School of Arts and Crafts in July 1886 (Meiji 19). This institution, established during a transformative era in Japanese history, was instrumental in shaping modern Japanese art by blending traditional techniques with Western influences. At a time when Japan was rapidly modernizing, the school aimed to cultivate a new generation of artists who could navigate the convergence of Eastern and Western artistic traditions. Yamashita, like many of his peers, was trained in both Eastern and Western painting styles, equipping him with the technical skills and conceptual understanding to contribute to Japan’s evolving art scene.
The Kyoto Municipal School of Arts and Crafts was part of a broader effort to preserve Japan’s cultural heritage while embracing Western artistic methods. Graduates from its Tōsō and Sōsō art departments were known for their dual expertise, a hallmark of Meiji-era artists. Yamashita’s education at this institution would have provided him with a strong foundation to engage with the dynamic artistic landscape of his time.
Two postal cards sent by Yamashita offer a glimpse into his life and work. The first, postmarked January 2, 1890, lists his return address as Kyoto Jinjō Shihan Gakkō (京都尋常師範学校), or Kyoto Normal School, a teacher training institution established in 1876 (Meiji 9) to address the need for qualified educators during Japan’s educational reforms. The second card, dated June 15, 1891, shows his address in Kyoto’s Kamikyō Ward (京都市上京区). Both cards bear the postmark “Yamashiro Kyoto” (山城京都). The 1891 card is addressed to Maeda Yoshihiko, identified as an oil painter (油画師, Aburaeshi), and appears to be a letter of inquiry related to art, specifically concerning the use and significance of colors.
NOTE: The third postcard displayed here, labeled as "sample," is included from a separate listing. It serves as evidence to demonstrate the connection between Yamashita Kumata (山下久馬太) and Hikita Keizō (疋田敬蔵), illustrating that the two were acquainted with each other.
The sole reference to Yamashita Kumata’s identity as an artist is a painting he created in 1887, titled 臥竜松真写: 臥竜松在于備前和気郡大内村一ノ井氏庭中 (True Depiction of the Garyū Pine: The Garyū Pine Located in the Garden of the Ichii Family in Ōuchi Village, Wake District, Bizen). Yamashita’s role in the artistic circles of the Meiji era is further highlighted by his close association with Hikita Keizō (疋田敬蔵), a Western-style painter and educator who studied under Antonio Fontanesi at the Kobu Bijutsu Gakko, as evidenced by our postal card dated May 22, 1891, from Yamashiro, Kyoto, which bears both of their names as senders.
This card not only confirms their acquaintance but also suggests a collaborative relationship, possibly extending to Maeda Yoshihiko, reflecting their shared artistic spirit. Additionally, Yamashita’s influence is underscored by his work as a drawing instructor for Kojima Torajirō (児島虎次郎, 1881–1929), further cementing his place within the creative networks of the time.
Postmarked on March 20, 1891—though the date is partially obscured, we believe the year is correct based on other cards in this collection—this rare and unusual postal card was sent from Yamashiro, Kyoto, to Maeda Yoshihiko, a Western-style painter in Kobe. The message appears to express gratitude to Maeda for hosting the sender and their companions in Kobe. It also lists five prominent artists who attended the gathering. Given that Hikita’s name appears on the far left and we have another message written by him for comparison (see below), we are certain that Hikita was the author of this note.
Another card, dated May 22, 1891, from Yamashiro, Kyoto, features two senders: Hikita Keizō (疋田敬蔵) and Yamashita Kumata (山下久馬太). Yamashita, a lesser-known artist, is primarily recognized for his 1887 painting of the Garyū Pine, titled 臥竜松真写: 臥竜松在于備前和気郡大内村一ノ井氏庭中 (True Depiction of the Garyū Pine: The Garyū Pine Located in the Garden of the Ichii Family in Ōuchi Village, Wake District, Bizen). Beyond this work, Yamashita’s artistic influence is further evidenced by his role as a drawing instructor for Kojima Torajirō (児島虎次郎, 1881–1929), highlighting his involvement in the artistic community of the Meiji era.
The Meiji period (1868–1912) was a transformative era in Japanese history, marked by rapid modernization and the adoption of Western ideas and techniques. This cultural shift extended to the arts, where a group of visionary artists embraced Western-style painting, blending it with traditional Japanese aesthetics to create a new artistic identity. Among these trailblazers were Ōhira Hiromasa, Tamura Sōryū, Morizumi Isana, Koyama Sanzō, and Hikita Keizō. Each of these artists not only mastered Western techniques but also dedicated their lives to teaching and promoting this new art form, leaving an indelible mark on Japan’s artistic landscape.
Ōhira Hiromasa (大平廣正) : The Educator and Advocate
Ōhira Hiromasa (1858–1901) was a pioneering Western-style painter and art educator from Fukui Prefecture. After graduating from middle school, he began his career as an art teacher, but his passion for Western painting led him to Tokyo, where he studied under Honda Kinkichirō at the Shōgidō art school. Ōhira played a crucial role in the early Western-style art movement in Japan, co-founding the Meiji Art Society (Meiji Bijutsukai), the country’s first Western painting organization. His dedication to art education was evident in his teaching roles at institutions like Fukui Middle School and Fukui Girls' High School, where he nurtured the next generation of artists. Today, his works are preserved in the Fukui Prefectural Museum of Art, serving as a testament to his contributions to the evolution of Western-style art in Japan.
Tamura Sōryū (田村宗立): The Monk Who Bridged East and West
Tamura Sōryū (1846–1918), a Buddhist monk and artist, was instrumental in introducing Western-style painting to Kyoto. Born in Tanba Province, Tamura displayed artistic talent from a young age, studying traditional Nanga painting before transitioning to Western techniques. His fascination with realism led him to acquire a camera and study oil painting under European mentors, including British artist Charles Wirgman. Tamura’s influence extended beyond his own works; he taught at the Kyoto Prefectural School of Painting and later established the Meiji Art Institute, where he mentored emerging artists. His self-portrait, housed at the National Museum of Modern Art in Kyoto, exemplifies his mastery of Western realism. Tamura’s ability to blend Western techniques with traditional Japanese themes made him a pivotal figure in the evolution of modern Japanese painting.
Morizumi Isana (守住勇魚): The Innovator of Kyoto’s Art Scene
Morizumi Isana (1854–1927) was a key figure in introducing Western-style art to Japan. Born in Tokushima Prefecture, Isana began his artistic training under his father, a Sumiyoshi school painter, before moving to Tokyo to study Western techniques under Kunisawa Shinkurō and Italian painter Antonio Fontanesi. Isana co-founded the Jūichi-jikai (Eleven Members Society) to promote Western-style painting and later moved to Kyoto, where he taught at Doshisha University and the Kyoto Higher School of Art and Craft. His contributions to Kyoto’s textile industry, particularly his designs for Nishijin textiles, showcased his versatility. Isana’s works, such as "Male Nude" and "Landscape," are preserved at the Tokyo University of the Arts Museum, reflecting his enduring influence on Japan’s art scene. Morizumi Chikana (守住周魚), younger sister of Isana, was also a painter.
Koyama Sanzō (小山三造): The Lithographer and Exhibitor
Koyama Sanzō (1860–1927) was another prominent Western-style painter of the Meiji era. Born in Shizuoka Prefecture, Sanzō studied at the Kobu Art School in Tokyo before relocating to Kyoto, where he became a professor at the Kyoto Prefectural School of Painting. After resigning in 1881, he ventured into lithography, producing art reproductions and instructional materials. Sanzō was an active participant in the art community, organizing exhibitions with fellow artists like Morizumi Isana and Tamura Sōryū. His later years were spent in Fushimi, Kyoto, where he continued to innovate and contribute to the artistic dialogue of his time.
Hikita Keizō (疋田敬蔵): The Botanical Illustrator
Hikita Keizō (1851–?) was a Western-style painter and educator who studied under Antonio Fontanesi at the Kobu Bijutsu Gakko. In 1879, he founded the Meiji Art School to promote Western-style painting and later joined the Hokkaido Development Commission, where he showcased his talent with works like "Autumn Scenery of the Ishikari River." Hikita’s dedication to art education was evident in his teaching role at the Kyoto Prefectural Art School. After retiring, he focused on lithography, compiling his botanical illustrations into the "Keiran Gafu," a collection that remains a testament to his artistic vision and contribution to art literature.
A Collective Legacy
Together, Ōhira Hiromasa, Tamura Sōryū, Morizumi Isana, Koyama Sanzō, and Hikita Keizō represent the vanguard of Western-style painting in Meiji Japan. Their individual journeys—marked by a relentless pursuit of knowledge, a commitment to education, and a passion for innovation—collectively shaped the trajectory of Japanese art. By blending Western techniques with Japanese sensibilities, they created a unique artistic language that continues to inspire and influence artists today. Their legacy is not only preserved in their works but also in the countless students they mentored and the institutions they helped establish, ensuring that their contributions to Japan’s artistic heritage endure for generations to come.
This card was sent by an individual named 秋元 (Akimoto)—though we are unable to decipher his first name—from 摂津神戸兵庫 (Settsu Kobe Hyogo) on July 15, 1889. He lists his address as 兵庫 宮前町廿六番地 両栄社 (Hyogo Miyamae-cho 26-banchi Ryoueisha) and addresses the recipient, Maeda Yoshihiko, as 油絵師 (Aburaeshi, meaning "oil painter").
While Ryoueisha is likely the name of a business, we have been unable to determine its nature or purpose. Additionally, without knowing Akimoto's full name, further research into his identity has proven challenging.
These two cards are dated January 2, 1889, and February 15, 1891, and bear postmarks from Yamashiro Kyoto (山城京都). While we are not entirely certain of the sender's identity, we believe it to be 秋原本之 (Akihara Motoyuki) from Maruyama, Kyoto. Unfortunately, we have been unable to confirm his identity or find further information about him.
Although some correspondence of Hirase Yoichiro is preserved in the Smithsonian Collection, these letters are limited to the period between 1900 and 1923. Additionally, a few letters are found in the collection of John Read le Brockton Tomlin (see 2 photos of typewritten letters from their collection below), a prominent British malacologist, but these also date from the later years of Hirase's life. To date, no correspondence from his earlier years has been discovered outside of our collection, which includes six postal cards spanning 1889 to 1891: January 2, 1889; March 25, 1889; August 6, 1889; January 1, 1890; July 9, 1891; and August 5, 1891. These early correspondence provide valuable insights into Hirase's formative years as a malacologist and naturalist.
.jpg "Hirase Yoichiro")
All six cards bear a postmark from 山城京都 (Yamashiro Kyōto). Four of them feature Hirase Yōichirō's personal red stamp, which includes his name and address: 平瀬與一郎, 京都烏丸通, 下長者町北 (Hirase Yōichirō, Kyōto Karasumaru-dōri, Shimochōja-machi Kita). Notably, Hirase occasionally uses the simplified character "与" instead of "與" when handwriting his name, appearing as 平瀬与一郎.
Hirase Yoichiro (平瀬 與一郎, 1859–1925) was a pioneering Japanese malacologist, naturalist, and renowned researcher specializing in shellfish. His groundbreaking contributions to the field of malacology earned him widespread recognition. Following in his footsteps, his son, Hirase Shintarō (平瀬 信太郎, 1884–1939), also became a distinguished malacologist, further solidifying the Hirase family's legacy in the study of mollusks. Hirase made substantial contributions to the understanding of Japanese shellfish during the Meiji and Taisho periods. His research was entirely self-funded, which eventually led to financial and physical exhaustion, preventing him from fully realizing his dream of cataloging all Japanese shellfish. Despite these challenges, Hirase's work laid the foundational knowledge for future Japanese malacologists.
Hirase dedicated much of his life to the study of mollusks, amassing an extensive collection of shells and identifying over 700 new species. His meticulous research significantly advanced malacology in Japan, a field that had previously been dominated by Western scholars. Recognizing the need for a platform to disseminate knowledge, he founded Kai Ryū Zasshi (Conchological Magazine) in 1907, Japan's first periodical dedicated to the study of mollusks. This publication not only facilitated scientific discourse but also encouraged Japanese researchers to contribute to the growing body of knowledge on marine life.
In 1913, Hirase established the Hirase Conchological Museum in Kyoto, which housed his vast collection and served as a hub for research and education. His dedication to collecting and classifying mollusks provided future generations with a wealth of knowledge and an invaluable resource for continued study. However, unlike many of his contemporaries who relied on institutional backing, Hirase funded his research entirely on his own. This placed an immense financial strain on him, as he covered the costs of expeditions, specimen preservation, and publication expenses out of pocket.
Artistic Contributions
While Hirase was a scientist at heart, his appreciation for the aesthetic beauty of shells was equally profound. His most notable artistic endeavor was Kaigara Dammen Zuan (貝殻断面図案), published in 1913. This woodblock-printed book showcased intricate cross-sectional designs of shells, revealing their natural symmetry and structure in a way that was both scientifically accurate and artistically compelling. The book, produced by the renowned Kyoto publisher Unsōdō, reflects a harmonious blend of traditional Japanese printmaking techniques and modern scientific illustration.
Hirase’s work in Shell Motifs highlights his ability to transform natural forms into mesmerizing artistic compositions. His renderings of shell interiors, with their delicate spirals and layered formations, resemble abstract art while maintaining their scientific integrity. The precision and elegance of these depictions suggest that Hirase viewed mollusks not only as subjects of study but also as objects of beauty. His artistic vision extended beyond mere documentation—he sought to capture the inherent patterns and complexity of marine life in a way that would inspire both scientists and artists alike.
Personal Sacrifices and Legacy
Despite his passion and dedication, Hirase’s self-funded research eventually took a toll on him. The financial burden of maintaining his collection, producing publications, and sustaining his museum led to significant hardship. As his resources dwindled, his ability to continue his work diminished. Coupled with the physical exhaustion of fieldwork and meticulous study, these challenges ultimately prevented him from fully realizing his dream of cataloging all Japanese shellfish. His museum, once a center for malacological research, eventually closed, and much of his collection was dispersed.
These two postal cards were postmarked in 摂津大坂島ノ内 (Settsu Osaka Shimanouchi) on January 2, 1889, and February 22, 1889, respectively. Both cards feature a return address of 大坂南区 (Osaka Minami-ku). Interestingly, they are addressed to Maeda Yoshihiko at 六要堂 (Rokuyōdo). We’ve previously discussed the significance of the term “Rokuyōdo” in past posts, so if you’re curious about its meaning and historical context, we encourage you to refer to those earlier entries.
As for the sender, the name 毛利 (Mōri) stands out—a name of considerable historical importance in Japan. It’s worth noting that “Mōri” should not be confused with the similar-sounding “Mori.” The Mōri clan holds a prominent place in Japanese history, particularly during the Sengoku and Edo periods. Unfortunately, the sender’s given name on these cards is illegible, making it difficult to determine which branch of the Mōri clan he belonged to or what his connection might have been to the artist, Maeda Yoshihiko.
Maeda himself hailed from a samurai-class family, albeit one with a relatively low stipend. This adds an intriguing layer to the correspondence, as it hints at a possible relationship—personal, professional, or otherwise—between the sender and Maeda.