今回の投稿で、前田吉彦宛に送られた約300通の明治時代の郵便葉書についての最初の調査がひと区切りとなります。これらの葉書は、当時の画家や教え子、知人などから前田に送られたもので、彼のまわりの人たちとのつながりや、当時のようすがうかがえる貴重な資料です。
これで全体の流れはまとめられましたが、葉書一通一通にはまだたくさんのことが書かれています。これからも時間をかけて少しずつ見直し、新しいことがわかればブログでお知らせしていくつもりです。
そのために、皆さんの力を貸していただけると大変うれしいです。
たとえば――
昔の日本語やくずし字が読める方
明治時代の絵や画家についてくわしい方
葉書に出てくる名前や場所、学校などについて知っている方
もし、読み間違いや情報のまちがいに気づいたり、もっとよい読み方や意味がわかる場合は、どうぞ教えてください。小さなことでも大歓迎です。
ここまで読んでくださった皆さま、本当にありがとうございました。今後もこの葉書の記録が、たくさんの方と一緒に深めていけたらと思っています。
Introduction to the Collection
This set of 18 postal cards, sent between 1888 and 1891, documents the correspondence of Kawai Shinzō (河合新造 / 河合新蔵, 1867–1936) during his formative years as an aspiring artist. Addressed to his teacher, Maeda Yoshihiko—a Western-style painter based in Kobe—the cards reflect Kawai’s close relationship with his mentor as well as his artistic growth. The earliest cards were sent from Osaka, where Kawai began his studies, and the later ones from Tokyo, following his move there in 1891 to continue his training under Goseda Yoshiryu and Koyama Shōtarō. Presented in chronological order, this correspondence not only offers rare insight into the student years of a future master of Japanese watercolor, but also illustrates the evolution of his personal identity, as seen in his alternating use of the names 新造 and 新蔵.
January 3, 1888 – Osaka
June 24, 1888 – Osaka
January 2, 1889 – Osaka
July 29, 1889 – Osaka
January 1, 1890 – Osaka
February 14, 1890 – Osaka
May 7, 1890 – Osaka
June 3, 1890 – Osaka
April 26, 1891 – Tokyo
August 4, 1891 – Tokyo
August 12, 1891 – Tokyo
August 20, 1891 – Tokyo
September 15, 1891 – Tokyo
September 27, 1891 – Tokyo
October 1, 1891 – Tokyo
October 24, 1891 – Tokyo
October 30, 1891 – Tokyo
November 23, 1891 – Tokyo
Kawai Shinzō (1867–1936) was a notable Japanese painter who played a significant role in the development of modern Japanese art, especially in the field of watercolor painting. He was influenced by both traditional Japanese techniques and Western methods, which he encountered during his studies abroad. His engagement with various art societies and exhibitions, along with his innovations in watercolor, secured his place in the history of Japanese art during the Meiji and Taishō periods. This post traces Kawai’s life, education, career, and artistic achievements, highlighting the key milestones that shaped his work.
Born on May 27, 1867, in Osaka during the Keiō era, Kawai began his artistic training in traditional Japanese painting. He studied under Suzuki Raisai and Maeda Yoshihiko, both of whom introduced him to Western-style techniques. This early exposure would leave a lasting impression on Kawai’s artistic direction.
In 1891, at age 24, he moved to Tokyo to further his studies. He trained at the studio of Goseda Yoshiryu (五姓田芳柳) and later with Koyama Shōtarō at Futōsha (不同舎). These mentors helped refine his oil painting skills while encouraging an emphasis on realism. During this period, Kawai became increasingly engaged with Tokyo’s evolving art scene, shaped by Japan’s broader modernization and openness to Western art.
A turning point came in 1900 when Kawai traveled to the United States with fellow artists such as Mitsutani Kunishirō and Kanokogi Takashirō. The following year, he moved to France to study at the Académie Julian and Académie Colarossi in Paris. These institutions provided a rigorous foundation in Western academic painting, including realism and impressionism.
While immersed in the Parisian avant-garde, Kawai remained rooted in Japanese aesthetics, often depicting traditional subjects such as landscapes and nature. After several years in Europe, he returned to Japan in 1904 and settled in Kyoto, continuing to balance modern and traditional approaches in his work.
Back in Japan, Kawai became active in the modern art scene. He joined the Pacific Painting Society (太平洋画会) in 1904 and exhibited at its third show. His involvement with such groups established him as part of the new generation of Japanese artists who blended Western methods with Japanese sensibilities.
In 1906, he co-founded the Japanese Watercolor Painting Research Institute (日本水彩画研究所) with artists like Ōshita Tōjirō. The institute played a key role in elevating watercolor as a respected medium in Japan. Kawai’s own work during this time demonstrated his refined ability to depict the subtleties of nature through watercolor.
He also participated in major government-sponsored exhibitions such as the Bunten (文展) and Teiten (帝展). In 1907, his piece Mori (Forest) was shown at the first Bunten, followed by Ryokuin (Green Shade) at the second in 1908. These exhibitions helped confirm his position as one of Japan’s foremost watercolor painters.
Kawai’s deep commitment to watercolor painting led him to co-found the Japanese Watercolor Painting Association (日本水彩画会) in 1913. That same year, he received third prize at the 7th Bunten for Poplar and Summer Oranges (ポプラーと夏蜜柑), a work that demonstrated his technical mastery and artistic sensitivity.
He remained active in official exhibitions, including the Imperial Exhibition (帝展), and was affiliated with the prestigious Second Division. These roles ensured his work continued to gain wide recognition during his lifetime.Kawai spent his later years in Murasakino, Kyoto, where he continued to paint until his death on February 15, 1936, at the age of 68. His contributions to watercolor painting and modern Japanese art remain influential.
A key figure in Japan’s watercolor movement, Kawai successfully integrated traditional Japanese themes with Western techniques. Through his art, participation in societies, and mentorship of younger artists, he helped shape the course of modern Japanese painting during a pivotal era of change.Kawai Shinzō’s life and career reflect the broader transition of Japanese art during the Meiji and Taishō periods—from classical forms to the incorporation of Western styles. His studies in France, his leadership in art societies, and his commitment to watercolor helped define a unique style that bridged two artistic traditions. His legacy endures in the history of Japanese art and continues to inspire new generations.
Note: Based on our review of available correspondence, it appears that Kawai Shinzō preferred the name 河合新造 over 河合新蔵, at least prior to gaining prominence as an artist.
These five cards are postmarked January 23, 1889; April 6, 1889; August 15, 1889; January 1, 1890; and May 2, 1890. Four were sent from Shimoya, Tokyo, and one from Shimōsa, Kemigawa (検見川下総), in what is now Chiba Prefecture.
Hiraki Masatsugu: A Pivotal Figure in the Evolution of Western-Style Painting in Japan
Hiraki Masatsugu (平木政次, 1859–1943) was a renowned Western-style painter who navigated the complexities of Japan's transition from the Edo period to the Meiji, Taisho, and Showa periods. His artistic career spanned several decades, and his contributions to the development of Western-style painting in Japan are considered significant. He was born in 1859, in the Edo residence of the Bitchu Matsuyama Domain, present-day Okayama Prefecture. His early life as the eldest son of Hiraki Masanori, a samurai of the Bitchu Matsuyama Domain, placed him within a traditional Japanese context that was gradually giving way to Western influences as the country began its modernization in the late 19th century.
Early Education and Mentorship
In 1873, at the age of 14, Hiraki moved to Yokohama, a city that was becoming a focal point for international trade and the influx of Western ideas following Japan's opening to the outside world in the 1850s. This relocation marked the beginning of Hiraki's exposure to Western-style painting, a domain that was increasingly gaining popularity among Japanese intellectuals and artists. It was here that he began studying under the prominent painter Goseda Horyu (五姓田芳柳, 1827–1892), a well-regarded figure in the Yokohama art community. Goseda, who had studied under Western-trained artists, was influential in introducing Hiraki to the techniques and methods of Western-style painting. In 1873, the two relocated to Asakusa, a district in Tokyo that was emerging as a hub for artistic and intellectual exchange during the early Meiji period.
This formative period under Goseda's tutelage played a critical role in Hiraki’s artistic development. As he absorbed Western techniques in painting, Hiraki's works began to reflect the blend of Japanese tradition and Western influence, which was a central theme in the works of many Meiji-era artists.
Relocation to Osaka and Lithography
By 1878, Hiraki followed his teacher to Osaka, where he expanded his artistic horizons. It was in Osaka that he became acquainted with Maeda Yoshihiko, a figure who would later play an important role in his artistic development. In the same year, Hiraki joined Matsuda Ryokuzan’s Gengendo studio, where he delved into the techniques of lithography, an important medium that facilitated the dissemination of art and ideas during this period of modernization. Lithography provided Hiraki with a new avenue for artistic expression, allowing him to produce works that were accessible to a broader audience, which was crucial in an era where Western ideas were rapidly permeating the social and cultural fabric of Japan.
Career at the Education Museum
By 1880, Hiraki had secured a position as an artist at the Education Museum (now known as the National Museum of Nature and Science). In this role, Hiraki was tasked with drawing accurate representations of plants, animals, and other specimens, which were intended to support the burgeoning scientific community in Japan. His time at the Education Museum allowed him to hone his skills in realistic rendering, and these experiences would later influence his Western-style works, as he increasingly sought to capture the natural world with the precision and techniques of European academic painting.
Exhibitions and Recognition
Hiraki’s early works began to gain attention at national exhibitions. His painting "View of Mount Fuji from Kudan Shokonsha Shrine" was exhibited at the First Domestic Industrial Exposition in 1877, and his painting "By the Banks of Shinobazu Pond" was showcased at the Second Domestic Industrial Exposition in 1881. These exhibitions were crucial for promoting Western-style art in Japan, and Hiraki’s participation marked him as one of the key figures in the early movement toward adopting and adapting Western artistic practices.
In 1889, Hiraki joined the Meiji Art Association (明治美術会), an important group of artists committed to Western-style painting, and later became a technical assistant at the Faculty of Science at the Imperial University of Tokyo. His work was frequently displayed at major exhibitions, and his reputation as a leading artist continued to grow.
Contribution to the Bunten Exhibition
Hiraki’s artistic journey reached a significant milestone when he participated in the first Bunten Exhibition in 1907, an event that was part of the government's efforts to foster a modern national identity through art. His submission, titled "Remaining Snow," was well-received and further cemented his standing within the art community. The Bunten, which became a major annual event, provided a platform for artists to showcase their work while adhering to state-sponsored ideals of art, which combined elements of Western techniques with Japanese subject matter.
Later Years and Legacy
As the 20th century progressed, Hiraki’s reflections on the evolution of Western-style painting in Japan became increasingly significant. In 1936, he published "Retrospective of the Western Painting World in the Early Meiji Era" (明治初期西洋画界回顧), a detailed account of his experiences and observations of the dramatic shifts in the Japanese art scene during the Meiji period. The work, serialized in the magazine Ecchingu, provided a chronological narrative of the formative years of Western-style painting in Japan, offering an insider's view of the early artistic transformations that reshaped the nation's visual culture. This publication not only contributed to the historical documentation of the period but also highlighted Hiraki’s own central role in bridging the traditional with the modern.
Hiraki Masatsugu’s career was not merely a personal journey of artistic development; it was also a reflection of the larger cultural and political changes occurring in Japan during a time of intense transformation. His works represent the intersection of Japanese tradition and Western influence, and his ability to adapt Western techniques to Japanese subjects helped lay the groundwork for the future of modern Japanese painting.
Hiraki passed away in 1943 at the age of 85, leaving behind a substantial legacy that continued to influence future generations of artists. His life and work remain a testament to the ways in which art can both reflect and shape the broader historical currents of a nation. Through his paintings and writings, Hiraki helped document a pivotal era in Japanese art history, one that saw the introduction of Western artistic practices and their integration into the traditional Japanese artistic canon.
In conclusion, Hiraki Masatsugu's contributions to Western-style painting in Japan are invaluable, not only for their artistic merit but also for their historical significance. His career encapsulates the Meiji era’s artistic revolution, a period when Japan actively sought to modernize by embracing and adapting Western ideas while maintaining its unique cultural identity. Through his participation in exhibitions, his role as a teacher and mentor, and his reflective writings, Hiraki played an essential role in shaping the trajectory of Japanese art during a crucial period of cultural exchange and transformation.
This postal card has a postmark of 備前岡山 (Bizen, Okayama) and is dated January 1, 1890 with Matsubara's square ink stamp on reverse bottom.
Born in 1864 in Okayama City, Matsubara Sangorō was one of the key figures who helped shape the early development of Western-style painting in Japan during the Meiji and Taishō periods. His journey began at the Okayama Prefectural Normal School, where he studied under the painter Hirano Yūya. Although he left before graduating, his passion for Western art led him to Tokyo in 1880, where he furthered his training under influential artists such as the German-born Wargmann and Watanabe Bunzaburō.
Returning to Okayama in 1884, Matsubara became a drawing teacher at local schools, but he didn’t stop there. In 1885, he founded the Tensai Gakusha, a private art school dedicated to teaching Western painting techniques. His commitment to nurturing young talent would be a defining feature of his career. When he moved to Osaka in 1890, he brought his school with him and continued teaching at several institutions, including the Osaka Normal School and the military academy.
Matsubara’s influence extended beyond teaching. He helped establish the Kansai Bijutsukai (Kansai Art Association), which aimed to promote Western-style painting in western Japan. The association’s move to Kyoto and Matsubara’s role as a committee member cemented his status as an important figure in the Kansai art scene. After leaving formal teaching in 1904, he renamed his school Tensai Gajuku and continued mentoring artists until 1925. Among his students were Mitsutani Kunishirō, Kanokogi Tōrō, and Ikeda Yōson, who themselves became respected painters.
Beyond his classroom work, Matsubara authored several art textbooks that helped shape art education throughout Japan. His own artworks show a strong command of Western realism, skillfully adapted to Japanese sensibilities. While specific pieces of his work are mostly held in Japanese collections such as the Kurashiki City Art Museum, his artistic legacy remains vital.
Despite these contributions, Matsubara Sangorō remains relatively unknown outside Japan. Language barriers, limited international exhibitions, and a Western art market that often overlooks traditional Japanese painters all contribute to his low profile abroad. His deep involvement in Japanese art education during a time of rapid cultural change also meant his influence was primarily domestic.
Matsubara Sangorō’s life and work highlight an important chapter in Japan’s art history — one where Western and Japanese styles intertwined, and where dedicated educators laid the foundation for generations to come. His story deserves wider recognition, and his legacy continues to inspire both artists and art lovers in Japan today.
Based on the analysis of approximately 300 Meiji-era postal cards addressed to or involving Maeda Yoshihiko (a Western-style painter and educator based in Kobe), the following notable individuals have been identified.
Koyama Shōtarō (小山正太郎)
Nakajima Seikei (中島静溪)
Koyama Sanzō (小山三造)
Watanabe Bunzaburō (渡辺文三郎)
Watanabe Yūkō (渡辺幽香)
Masuda Matsuyuki (増田松之)
Morizumi Isana (守住勇魚)
Hikita Keizō (疋田敬蔵)
Hiraki Masatsugu (平木政次)
Yamada Kaidō (山田介堂)
Yamashita Kumata (山下久馬太)
Inahara Tōkō (稻原東工)
Yamana Ukai (山名迂介)
Takase Kōzan (高瀬好山)
Akiyama Kan’ichi (秋山貫一)
Koichirō Naganuma (永沼小一郎)
Tamura Sōryū (田村宗立)
Mizuguchi Ryūnosuke (水口龍之助)
Tsuji Chōzaemon (辻長左衛門)
Fujii Tadahiro (藤井忠弘)
Ōhira Hiromasa (大平廣正)
Meiji Bijutsu Kai (明治美術会)
Osaka Lithograph and Copperplate Engraving Society
(大阪銅石版画会議通知, 1889)
Yokochi Ishitārō (横地石太郎) – Archaeologist
Suzuki Ryōhei (鈴木量平) – One of 16 known Shinsengumi members from Bitchū-Matsuyama
Itakura Nobunao (板倉信古, 1846–1912) – Member of the Bitchū-Matsuyama daimyo family
Itakura Katsusuke household (板倉勝弼 / 家扶) – Last daimyo of Bitchū-Matsuyama
Yanai Kizō (柳井貴三) – Physician serving the Itakura clan
Motoyama Hikoichi (本山彦一) – Journalist
Sekiya Seikei (Kiyokage) (関谷清景) – Seismologist
Hirase Yoichirō (平瀬與一郎) – Malacologist
Akagi Kyutarō (赤木久太郎) – Haiku writer
This list continues to grow as more postcards are studied, providing valuable insights into the networks and relationships of Meiji-era cultural figures surrounding Maeda Yoshihiko.
This lot contains five postcards sent from various parts of Tokyo by individuals whose identities remain unclear. Despite their anonymity, these cards offer a few valuable details — including a rare confirmation of Maeda Yoshihiko’s marital status.
One, postmarked September 28, 1889, was sent by a person signed as 小◯正◯, with a return address listed as 東京日本橋区◯◯町三丁目六番地 (Tokyo Nihonbashi-ku, ◯◯chō 3-chome 6-banchi).
Another, dated November 16, 1891, was signed 正◯◯三郎 and gives only a partial return address: 東京日本橋区 (Tokyo Nihonbashi-ku).
A third, postmarked 武蔵東京小石川 (Musashi Tokyo Koishikawa) on January 7, 1889, was sent by 吉田◯郎 (Yoshida —rō), whose address appears as 東京小石川◯◯町四十番地 (Tokyo Koishikawa ◯◯chō, No. 40).
Two additional cards come from senders in Shiba and Iidamachi:
A card postmarked 武蔵東京芝口 (Musashi Tokyo Shibaguchi) on September 15, 1889 was sent from 東京市芝区白金 (Tokyo City, Shiba-ku, Shirogane). The sender, unnamed, addresses Maeda as 先生 (sensei) and notably refers to his wife as 奥様 (okusama) — providing the first concrete evidence that Maeda was married. This is a key detail, as no reference to his wife appears in any known public records. A second mention of Maeda’s wife appears in a card from Itakura Katsusuke (see entry dated May 28, 2025).
A fifth card, postmarked 武蔵東京飯田町 (Musashi Tokyo Iidamachi) on September 23, 1891, also addresses Maeda as 先生, but offers no return address or identifying information.
Due to the fragmentary nature of the names and addresses on these cards, further investigation into the senders’ identities is unlikely to yield meaningful results at this time. Nevertheless, the incidental references within them help illuminate otherwise undocumented aspects of Maeda’s personal life.
These two postcards are a new discovery within this collection. For reference, see the post dated November 28, 2024, which features four other postcards sent by Sugi Chūzaburō (杉忠三郎): https://maeda-yoshihiko.blogspot.com/2024/11/60.html
Both cards were sent by Sugi Chūzaburō to Maeda while Maeda was visiting Hiroshima, addressed to 広島市細工町 高坂方 (Hiroshima-shi, Saikumachi, c/o Kōsaka). It remains unclear why Sugi sent two postcards on the same day. Both bear Tokyo postmarks dated December 17, 1889, and list Sugi’s return address as 東京本郷区森川町一番地 吉川方 (Tokyo, Hongo-ku, Morikawa-chō 1 banchi, c/o Yoshikawa).
The mystery continues: What was Maeda doing in Hiroshima? And why was Sugi in Tokyo?
A surviving postcard from Koyama Shōtarō to fellow artist Maeda Yoshihiko offers a rare personal glimpse into the interconnected world of Meiji-era painters. Sent from Koyama’s art school, Fudō-sha, in Tokyo’s Hongō district, it is postmarked 武蔵東京本郷 (Musashi Tokyo Hongo) and addressed from 東京本郷駒込千駄木町十三番地 (Tokyo Hongo Komagome Sendagichō 13-banchi), bearing the name 小山正太郎 (Koyama Shōtarō). The card reflects the active correspondence and collaborative spirit among artists shaping modern Japanese art.
Born in 1857 in Nagaoka, Niigata Prefecture, Koyama moved to Tokyo as a young man to study art. He began his formal training under Kawakami Tōgai and later studied oil painting at the Kōbu Bijutsu Gakkō under Antonio Fontanesi, an Italian painter whose realist approach and Barbizon School influences left a lasting mark on Koyama’s style.
After Fontanesi’s departure in 1878, Koyama helped form the Jūichijikai (“Association of the Eleventh”) to continue promoting Western-style painting independently. He later established Fudō-sha ("Diversity Society") in Hongō, a private art school that emphasized openness to various styles. It became a formative institution for students such as Yoshida Hiroshi, Aoki Shigeru, Nakamura Fusetsu, and Kanokogi Takeshirō.
In 1889, Koyama co-founded the Meiji Bijutsukai (Meiji Art Association) with Asai Chū and Matsuoka Hisashi, helping to solidify the place of yōga in Japan’s art scene. He also served as a war artist during the First Sino-Japanese War, producing works like a panoramic depiction of the Battle of Pyongyang.
Though his own works—often painted in a somber academic palette—were relatively few, Koyama’s influence as a teacher and advocate of Western-style painting was profound. His dedication to integrating Western techniques and mentoring the next generation of artists cements his legacy as a foundational figure in modern Japanese art.
This card is postmarked Yamashiro, Kyoto (山城京都) and dated February 15, 1891. Inahara appears to have been staying with someone named Isaki (井崎) and gives his return address as Maruyama 14-banchi. The message mentions a Nakashima (中島), but as this blog has already cataloged four or five individuals by that name, it’s unclear which one is being referred to here.
稻原東工 was a Japanese painter active in the late Meiji period, known primarily as an instructor in Western painting techniques, especially watercolor and oil painting. His name appears in multiple early 20th-century art reference works, including Taishō Gaka Retsuden: Meiji Gashi and Kokon Shogaka Meikan, in the context of his role as a mentor.
Though details of his own artwork remain sparse in historical records, his influence is evident through his pupils. Several artists, notably those active in realist and hybrid Japanese-Western styles, are documented to have studied under him in their formative years. His co-instructor is often listed as Fujii Kunisue (藤井邦季), suggesting a collaborative or parallel role in guiding young painters in Western media.
Inahara Tōkō’s teaching legacy places him among the important yet lesser-known figures who helped bridge Japanese art with imported Western techniques during the Meiji era, a time of cultural transformation and experimentation. His impact is preserved indirectly through the accomplishments of the artists he trained.
This postcard was sent by 奥平清規 (Okudaira Kiyonori) and bears a postmark from Musashi Tokyo Mita (武蔵東京三田). He lists his return address as 48 Kitamachi, Takanawa, Shiba Ward, Tokyo City (東京市芝区高輪北町四十八番地). At the time, Okudaira was working as an assistant teacher at a regular middle school (尋常中学校助教諭)—possibly Tokyo Prefectural First Middle School (東京府立第一中学校)—and concurrently at a teacher training school (尋常師範学校助教諭), likely the Tokyo Normal School (東京師範学校). He may have been a former student of Maeda.