Fukumaru Chikuzen (Fukuoka) 1891 & 1892 村尾憘太郎

These three postcards bear postmarks from Fukumaru, Chikuzen (筑前福丸), dated September 29, 1891, December 18, 1891, and January 12, 1892. The return address is listed as Fukumaru, Kurate-gun, Fukuoka-ken (福岡県鞍手郡福丸). The sender appears to have been someone with the surname Murao, though we are uncertain of his first name. Even the surname itself is questionable, as the first character of the red inked stamp is written in grass script "Mura" (村). 

We now believe this is 村尾憘太郎, an educator active in the late Meiji period, known primarily for his contributions to art education. He authored the 1891 textbook 『小学用画帖』 (Elementary School Drawing Textbook), one of the earliest Japanese manuals promoting Western-style observational drawing techniques over traditional copying methods. This work reflects the broader Meiji-era movement to modernize education by integrating Western pedagogical ideas, especially in art.

Postcards addressed to Maeda Yoshihiko from Kyushu dated 1891–1892 show Murao’s brief presence in Fukumaru, Fukuoka Prefecture. Given these few letters among hundreds mostly sent from the Kansai and Tokyo regions, it is likely Murao’s stay in Kyushu was temporary. His correspondence reveals a professional relationship with Maeda, alternating respectful terms of address such as 殿 and 先生.

Although little is documented about his later career or administrative roles, Murao’s early advocacy for art education reform places him among the educators helping Japan’s schools transition toward a modern curriculum that emphasized observation and practical skills in art. The rarity of the character 憘 in his name also makes him a distinctive figure for historical research.

1890 and 1891 Postal Cards from Maruyama of Sanuki Province

Postmarked May 28, 1890, and November 22, 1891, from Marugame, Sanuki (讃岐丸亀)—now Kagawa Prefecture—are two intriguing postal cards. They were sent by someone named Maruyama (full name unclear) of Marugame Street (讃岐丸亀通~内外) and addressed to Maeda Yoshihiko. Both cards have unreadable messages, leaving their purpose unknown.

One unusual detail is Maruyama’s description of Maeda’s address as "West Railroad Crossing" (踏切西~入). This precise phrasing is unlike anything we’ve encountered before in Maeda’s correspondence. It raises the possibility that he lived near a railroad crossing, though we can only speculate based on a Google Maps image of Maeda’s block today.

neighborhood of Shimo-Yamate-Dori (Kobe) where Maeda Yoshihiko lived

These small details, while puzzling, offer a glimpse into the practical and localized way people addressed mail during the Meiji era. They suggest a time when familiar landmarks guided deliveries instead of formalized street names. It’s a reminder of how differently communication and daily life were organized back then.

Roommate of Watanabe Bunzaburō at Goseda School Yamana Ukai (山名迂介)

The postmarks on this postal card indicate it was sent from Shitaya, Tokyo (東京下谷) on April 17, 1889, and delivered to Maeda Yoshihiko (前田吉彦) in Kobe on April 19. The return address is particularly noteworthy—it belonged to Watanabe Bunzaburō (渡辺文三郎), a western-style painter and pupil of Goseda Hōryū (五姓田芳柳). From our other postal card holdings, we know that Bunzaburō resided at #68 Naka-Okachimachi, Shitaya, Tokyo (東京下谷中御徒町68番) in 1889.

The sender is Yamana Ukai (山名迂介). Was he a short-term guest of Bunzaburō, or someone who lived there for an extended period? His message is unreadable, leaving us without further clues. Given that the card is addressed to Maeda Yoshihiko, another western-style painter, and was sent from Bunzaburō's address, it is plausible that the sender was also an artist.

Bunzaburō lived with his wife, Yūkō (幽香), the daughter of Goseda Hōryū, making it unlikely that the sender was a long-term resident—unless he was a member of their extended family. I also wonder if Bunzaburō and Yūkō had any children. Married in 1876, it’s reasonable to imagine the possibility of children in their home. However, there is no mention of their offspring in any available online sources, leaving their family life a mystery.

The absence of information about their children—or even confirmation of whether they had any—leaves a significant gap in understanding their household dynamic. Given Bunzaburō and Yūkō’s connection to prominent figures like Goseda Hōryū, one might expect traces of their private lives to have surfaced in historical records. Did history simply overlook them? Without these details, the context of their home life remains open to speculation.

Shukichi Kamiya: A Pioneer in Meiji Japan's Educational Reforms

These two postcards were sent by Kamiya Shukichi (神矢粛一) on January 5, 1889, and January 1, 1890, respectively. Both were postmarked at Toyo Oka in Tajima (但馬豊岡) and addressed to Maeda Yoshihiko in Kobe. Given that both men were regional educators, it is likely that Kamiya and Maeda knew each other personally and professionally.

Shukichi Kamiya (1849–1919) was an important figure in Japanese education, especially in the development of elementary schools during the Meiji period. Born in Oiso Village, in what is now Hyogo Prefecture, Kamiya dedicated his life to improving education and giving children the tools they needed to succeed in a rapidly changing world.

Kamiya began his career after graduating from Tokyo Normal School, one of Japan’s early institutions for training teachers. In 1878, he briefly served as the acting principal of Hyogo Normal School before taking on a key role as the first principal of Toyo-oka Elementary School. This school became a model for education in the area, thanks to Kamiya’s leadership and forward-thinking ideas.

One of Kamiya’s standout contributions was his focus on physical education. He believed that children needed to be strong and healthy to succeed in life. To support this, he introduced swimming lessons at schools and even helped set up swimming facilities, which was an innovative move at the time.

Kamiya also cared deeply about sharing knowledge in ways that children and teachers could easily understand. He wrote books like Shogaku Jintai Mondo (Questions and Answers on the Human Body for Elementary Students), which made science accessible and fun for young learners.

Beyond the classroom, Kamiya worked to improve the education system as a whole. He helped establish the Hyogo Educational Association and the Kobe Educational Society, bringing teachers together to share ideas and improve schools across the region. His efforts laid the groundwork for many of the advancements in education during that time.

Meiji Bijyutsu Kai (明治美術会) 1890 Address Change Notice

This postal card, addressed to Maeda Yoshihiko, is from the office of the Meiji Art Association (明治美術会事務所) and postmarked January 27, 1890, in Tokyo. It appears to notify members of the Association's change of address to: 2-1 Sanjikkenbori, Kyobashi-ku, Tokyo (東京市京橋区三十間堀二丁目一番地). From an older card in our possession, also sent by the Meiji Bijyutsu Kai (refer to the post dated September 26, 2024), we know the previous address was: 22 Kitaoka-cho, Hongo-ku, Tokyo (東京市本郷区北岡町二十二番地).

Meiji Bijyutsu Kai (明治美術会)

The Meiji Art Society, founded in 1889 in Tokyo, was a key institution in the development of modern Japanese art. Its primary goal was to promote Western-style painting (yōga) and integrate it with traditional Japanese artistic traditions. This came at a time when Japan was rapidly modernizing, and there was a strong desire to incorporate Western influences into many aspects of Japanese life, including art. The society provided a platform for artists to experiment with Western techniques and subjects, which had a profound impact on Japan’s artistic landscape.

However, over time, differences in artistic philosophy began to emerge within the society. Many members felt that the Meiji Art Society was becoming too focused on fully embracing Western styles, leaving behind Japan's traditional artistic heritage. This led to a divide among the members, and in 1896, a group of artists, dissatisfied with the direction the society was taking, formed a new organization called the Hakuba-kai, or White Horse Society.

The Hakuba-kai was founded by artists who believed in blending Western techniques with traditional Japanese methods, rather than adopting Western styles wholesale. They were committed to creating a distinctly Japanese art form that could modernize without completely abandoning the country’s artistic roots. This split marked a significant moment in the evolution of modern Japanese art, with Hakuba-kai members striving to find a balance between the new and the traditional.

Although the Meiji Art Society continued to influence the development of Western-style painting in Japan, the formation of the Hakuba-kai led to the rise of a new artistic movement known as Nihonga. Nihonga combined Western techniques with Japanese materials and aesthetics, becoming an important force in Japanese art during the late 19th and early 20th centuries. The Hakuba-kai, though short-lived, played a pivotal role in the creation of a new, uniquely Japanese art form that could be appreciated both within Japan and abroad.

The legacy of the Meiji Art Society and the subsequent formation of the Hakuba-kai helped shape the future of Japanese painting. The society’s efforts to promote Western influences laid the foundation for the development of modern Japanese art, while the Hakuba-kai’s insistence on preserving Japanese traditions ensured that the country’s artistic identity remained intact as it adapted to the changing times.

Ōgusa Genkichi 1891 Message to Maeda Yoshihiko

These two postcards were sent by Ōgusa Genkichi (大草愿吉) to Maeda Yoshihiko (前田吉彦). The first, dated January 1, 1891, bears a Kobe postmark and informs Maeda of Ōgusa's new address. The second postcard, postmarked Tokyo on August 2, 1891, lists his address as 3-1 Yurakucho, Koujimachi-ku, Tokyo (東京麹町区有楽町三丁目一番地).

No information about Ōgusa Genkichi could be found online. While speculative, it is possible that Ōgusa was a student of Maeda in Kobe and later moved to Tokyo to pursue further studies.

Unraveling Maeda Yoshihiko’s Artistic Influence and Connections

This blog and study are based largely on a remarkable collection of 300 postcards sent to Maeda Yoshihiko between 1886 and 1892. These postcards, which include correspondence from various historical figures and artists, provide valuable insight into Maeda’s relationships and influence within the art world. Many of the postcards were sent from the Bitchu region, Maeda’s birthplace, now part of modern-day Okayama.

A preliminary review of the collection has revealed correspondence from Itakura Katsusuke (板倉勝弼, 1846–1896), the last daimyo of the Bitchu Matsuyama Domain. Additionally, prominent Western-style painters such as Kawai Shinzo (河合新蔵, 1867–1936), Watanabe Bunzaburō (渡辺文三郎, 1853–1936), and Hiraki Masatsugu (平木政次, 1859–1943) are among the correspondents. As research progresses, it is expected more correspondents will be identified, offering deeper insights into Maeda’s network and the artistic circles he engaged with.

Early Life and Artistic Development

Maeda Yoshihiko, born Inazo in 1849 in Takahashi City, Okayama Prefecture, was a significant yet underappreciated figure in the early days of Western-style painting in Japan. As the third son of Maeda Chobei, a samurai in the Bitchu Matsuyama Domain, his early life was shaped by the strict social hierarchy of the samurai class. Despite these constraints, Maeda’s passion for art led him to bridge traditional Japanese painting and the emerging Western influence during the transformative Meiji era.

His formal art education began under Mano Tokkei (間野凸溪, 1821–1898), a teacher of Japanese painting from his home domain. This traditional training gave Maeda a strong foundation in Japanese techniques, but it was exposure to Western-style painting that would ultimately define his career.

In his early adulthood, Maeda moved to Kobe, where he encountered the works of Kimura Seizan (木村静山), a Western-style painter from Nagasaki who played a key role as the illustrator for Edward S. Morse’s Shell Mounds of Omori (1879). Viewing Seizan’s oil paintings left a lasting impression on Maeda and significantly influenced the trajectory of his own art. Largely self-taught in Western techniques—especially oil painting—Maeda had little access to formal training in this new style, which was rare in Japan at the time.

During his years in Kobe, Maeda lived at 6 Chōme Shimoyamate Dōri, placing him at the heart of the city’s evolving art scene. Here, he influenced students and fellow artists alike. He was particularly skilled in creating detailed, naturalistic sketches—often focusing on subjects from natural history, with a notable talent for insect painting, as recorded by Hiraki Masatsugu in his Review of the Western Painting World in the Early Meiji Era. Maeda’s dedication to art education extended to his production of numerous textbooks, shaping future generations of Japanese artists.

Teaching Career and Artistic Contributions

In May 1878, Maeda began teaching at Kobe Normal School (a precursor to Kobe University), primarily instructing pencil drawing. This discipline, focused on meticulous sketching, was central to art education during the Meiji period. Although the school did not yet offer instruction in oil painting, Maeda’s work was foundational in establishing art education in Kobe.

By 1881, Maeda exhibited one of his oil paintings, Sunset Scenery, at the Second Domestic Industrial Exposition—a major milestone. Later, he displayed Dance of Silence at the 1900 Kobe Art Association exhibition, cementing his role as a key figure in Kobe’s Western-style painting community.

Around 1894, Maeda moved to Myoraku-ji Temple in Ikeda, Kobe (兵庫県神戸市長田区池田寺町), where he adopted the name Gizen (蟻禅). Though partly motivated by financial reasons, he continued producing art, including Dance of Shizuka, an oil painting on gold leaf later shown at the first exhibition held by the Kobe Art Association’s Shinko Club.

Among his surviving works, Night View of Education (1884) stands out. Initially owned by Kobe Elementary School, it now resides in the Kobe City Museum and is considered one of the oldest surviving oil paintings in Hyogo Prefecture.

From 20 Yen to 60: The Value of Stability in Meiji-Era Education

When Maeda began teaching at Kobe Normal School in 1878, his monthly salary was just 20 yen—a modest sum reflecting his newcomer status. By 1884, however, his pay had tripled to 60 yen, placing him among the school’s highest-paid faculty. This progression wasn’t merely personal advancement; it reflects the broader challenges faced by Meiji-era education institutions.

Kobe Normal School, like many during Japan’s national transformation, suffered high teacher turnover due to low pay and difficult conditions. Few instructors remained long-term—Maeda was one of only two still on the roster after several years. This persistence, coupled with his substantial raise, underscores both his dedication and the school’s recognition of his value.

Originally trained in kenjutsu (traditional swordsmanship), Maeda’s career evolved into one at the crossroads of Japan’s cultural and educational modernization. Earning 60 yen per month gave him financial stability to focus on teaching, mentoring, and artistic development without the economic anxieties that forced many peers to leave. This institutional investment in experienced educators like Maeda was crucial during a period when both stability and expertise were scarce.

His salary journey symbolizes more than numbers: it tells the story of a committed teacher whose dedication helped shape Japan’s evolving education system and who was gradually recognized for his contributions.

Legacy and Recognition

Despite his significant contributions, Maeda Yoshihiko remains virtually unknown outside Japan. His works, rare and seldom exhibited, were not widely recognized during his lifetime. Even today, no Western literature addresses his life or art. In Japan, while he is acknowledged as a pioneer who played a crucial role in introducing and advancing Western-style painting during the Meiji era, his legacy remains overshadowed by more prominent contemporaries.

Maeda passed away in 1904, but his influence endures, especially in Kobe, where his works continue to be admired. His fusion of traditional Japanese artistry with Western techniques laid a foundation for generations of Japanese painters, marking him as an important yet overlooked figure in the history of Japanese art.

Kasai Akira - Mayor of Innami (Inami) Hyogo 1890 Letter

This postcard was sent by Kasai Akira (笠井彰) on March 19, 1890, from 2-7 Sadoharacho, Ichigaya, Ushigome-ku, Tokyo. Today, this area corresponds to the eastern side of Shinjuku.

Kasai Akira’s exact reason for being in Tokyo in 1890 remains unclear, but it’s likely tied to his emerging political career. He may have traveled to the capital to increase his influence within the changing political landscape of the Meiji period. While there’s a chance we may have the wrong Kasai Akira, given that the name is relatively common, we’re confident that this is the correct individual. For example, Maeda Yoshihiko didn’t seem to have many connections to people from Tokyo, except for those who had moved there from Okayama and Hyogo. Given that Inami, Hyogo, is near Kobe, the connection to Kasai’s background seems more plausible.

Kasai Akira (笠井彰) was appointed mayor of Inami-gun, Hyogo (兵庫県印南郡長) in August 1892, according to the Yamazaki-Go-Kai, a regional research bulletin from Hyogo Prefecture published on August 26, 2017 (see photo). Additionally, according to the Ministry of the Interior - Documents Related to Emperor Meiji's Official Affairs, a catalog of official records regarding the appointments and dismissals of government officials from the Meiji period, Kasai’s duties were officially terminated as per a document dated October 20, 1898 (see photo).

Sekiya Kiyokage - World’s First Professor of Seismology

 関谷清景 (地震学者) 明治24年の前田吉彦宛のはがき

These two postal cards were sent to Maeda Yoshihiko by Sekiya Kiyokage (Seikei). They were postmarked in Suma, Settsu (摂津須磨), which is today's Suma-ku, Kobe, on August 27, 1891, and August 30, 1891. He lists his return address as Zenshōji in Itayado Village, Yatabe District (八部郡板宿村禅昌寺). Since we cannot read his message to Maeda, we do not know whether Sekiya was writing about earthquakes, art, or another subject. It appears that he frequented Zenshōji Temple to recuperate from his recurring illness.

関谷清景 (Sekiya Seikei, also known as Kiyokage) was a pivotal figure in the early development of seismology. He was invited to serve as an assistant at the Tokyo University Earthquake Observation Station in April 1880, and by June of the following year, he had become an associate professor. Sekiya worked under the Scottish mechanical engineering professor, John Milne, who was instrumental in creating precise seismographs and recording seismic activity. This collaboration greatly influenced Sekiya, who, originally specializing in mechanical engineering, learned seismic observation and research techniques from Milne.

In March 1886, Sekiya became the world’s first professor of seismology at the University of Tokyo, marking a significant milestone in the academic establishment of the field. Despite seismology not yet being recognized as a standalone discipline, his lectures primarily attracted students from the civil and architectural engineering departments. He played a key role in forming Japan's first seismic observation network and contributed significantly to public education on earthquake preparedness by translating and publishing articles from the Seismological Society of Japan's journal.

Sekiya’s dedication to field research, even while suffering from tuberculosis, is notable. He conducted detailed investigations of major earthquakes, including the 1888 eruption of Mount Bandai and the 1889 Kumamoto earthquake, often at the expense of his health. In 1891, he became a key member of the Earthquake Prevention Research Committee and worked on compiling the "Great Japanese Earthquake Records," a project that continued posthumously under the University of Tokyo's Earthquake Research Institute.

Sekiya's relentless efforts and contributions to seismology, despite his deteriorating health, laid the foundation for future earthquake research in Japan. He passed away on January 8, 1896, in Suma, Kobe, but his legacy in the field of seismology endures.

Four Unknown Acquaintances of Maeda Yoshihiko 1889-1891

  前田吉彦の四人の謎の仲間 1889-1891

森本順一から前田吉彦宛の鉄道郵便 近所での火災

RPO Mail from Junichi Morimoto to Yoshihiko Maeda: Fire in the Neighborhood

Sent by Morimoto Junichi (森本順一) on May 5, 1890, from the Nagoya-Kobe rail post office (RPO), 鉄道郵便 名古屋神戸間 下り便, this card inquires whether there was a fire in Maeda Yoshihiko's neighborhood. Unfortunately, we have not been able to find out who Morimoto Junichi was.

前田弘䇿から前田吉彦宛の年賀状 (明治22年)

This card was postmarked on January 2, 1889, in Kaibara, Tanba (丹波 柏原). We are unfamiliar with the last character in 前田弘䇿 (䇿), as it is rarely used. Whether the character is written as 䇿 or the more common 策, we could find no references to Maeda Kōsaku (?) through search engines.

明治23年備中下原の小林虎五郎から前田吉彦宛のはがき

This postal card, postmarked at Shimohara, Bitchū (備中 下原 ) on January 1, 1890, was sent by Kobayashi Toragoro and addressed to Maeda Yoshihiko in Kobe. This is just a simple New Year's greeting card. 

明治24年備中の小林虎五郎から前田吉彦宛のはがき

This postal card, postmarked at Nariwa, Bitchū (備中 成羽) on November 6, 1891, was sent by Kobayashi Toragoro and addressed to Maeda Yoshihiko in Kobe. Unfortunately, we do not know who he was, and we are unable to read his message. An ink smudge resembling a fingerprint adds a unique charm to this card.

Six Unidentified Associates of Maeda Yoshihiko 1889-1891

 前田吉彦の六人の謎の仲間 1889-1891

明治22年和歌山の井上雅彦からのはがき

Both of these cards were sent by Inoue Masahiko from Wakayama, postmarked Kii Wakayama (紀伊 和歌山). They are dated January 1, 1889, and June 26, 1889. Unfortunately, we have not been able to determine his connection to Maeda Yoshihiko, nor have we found any additional information on Inoue Masahiko.

但馬国養父郡屋岡尋常小学校の田中芳郎

This New Year's greeting was sent to Maeda Yoshihiko by Tanaka Yoshiro (田中芳郎). The postmark is from Yoka, Tajima (但馬, 八鹿) and dated January 1, 1891. Tanaka's return address is listed as Yoka Elementary School in Yabu District, Tajima Province (present-day Hyogo Prefecture), suggesting that he was an educator. Unfortunately, we have not been able to find any additional information about him online.

明治 23・24年の年賀状、但馬村岡の玉河から神戸の前田吉彦 (洋画家)

Dated January 1, 1890 and  January 1, 1891, these postal cards were postmarked in Tajima Muraoka (但馬村岡) and sent by an individual named Tamagawa (玉河) from Tajima, Shitsumi-gun, Muraokacho (但馬七美郡村岡町). Unfortunately, the identity of Tamagawa remains unknown.

明治22年但馬出石町の島村から前田吉彦先生宛の年賀状

Both of these cards originate from Tajima, Izushicho (Hyogo). The first card, dated January 2, 1889, was addressed to Maeda Yoshihiko 殿 (dono, meaning "mister") by Shimamura Hide (島村秀?). The second card, dated January 1, 1890, was sent by Shimamura Hamasaburo (島村濱三郎?). This card is addressed to Maeda Yoshihiko 先生 (sensei, meaning "teacher"). Judging from the forms of address used, Shimamura Hide was likely older than Shimamura Hamasaburo and may have been Hamasaburo's father. However, this is merely conjecture, as we were unable to find any further information on these individuals.

1889 and 1891 Postal Cards Nagoya Postmarks Unknown Writer

きれいな字ですね。全く読めません。

Aside from Maeda Yoshihiko's name, the text on these postal cards remains indecipherable to us. The dates—August 23, 1889; August 5, 1891; and October 30, 1891—are all we can extract. The sender could very well be a historically significant figure, but unless someone steps forward to transcribe the content, their identity and intentions will remain a mystery.

These cards serve as a poignant reminder of the countless pieces of correspondence that, for lack of transcription or preservation efforts, are likely to fade into obscurity. Each of them represents a fragment of history—possibly invaluable—that might never be fully understood or appreciated.

1889 Lithograph and Copperplate Engraving Society of Osaka Meeting Notice

 

大阪銅石版画会議通知（1889年）鈴木蕾斉 - 鈴木年基

This postcard, mailed from Osaka on January 19, 1889, informs Maeda Yoshihiko about the first-ever meeting of a society dedicated to discussing techniques in lithography and copperplate engraving. The meeting was scheduled for January 22, which seems rather short notice unless Maeda had been informed earlier. Whether he attended remains unknown. The meeting was to be held at the Jiyutei Hotel (自由亭ホテル) in Nakanoshima, Osaka.

Little is known about this society's existence, as no additional information was found online. However, the card provides a partial list of its members, though some names are difficult to decipher due to illegibility.

若林耕 (Wakabayashi Kō) – Osaka photographer

～野仁三郎 (～no Jinzaburō)

葛城～風 (Katsuragi ～kaze, possibly 〇fū)

金沢義次 (Kanazawa Yoshiji, possibly Yoshitsugu)

中島～木 (Nakajima ～ki)

山本喜三郎 (Yamamoto Kisaburō)

～野佐兵衛 (～no Sahei)

水口龍之助 (Mizuguchi Ryunosuke)

宮川～介 (Miyagawa ～suke)

森川栄三郎 (Morikawa Eisaburō)

鈴木蕾斉 Suzuki Raisei? (Raisai?) 鈴木年基（すずき としもと), ukiyo-e artist and Western-style painter from Osaka

Hayashi Kisuke of Bitchu-Takahashi to Maeda Yoshihiko: Oil Paint Artist

 

備中高梁の林喜助から油画師の前田吉彦宛の３通のはがき

We have three cards here sent by Hayashi Kisuke of Takahashi, Bitchu, addressed to Maeda Yoshihiko of Kobe, a western-style painter. The card dated September 3, 1889, is addressed not only to Maeda but also to two others: Udagawa and Tabuchi. We don't know who they are at the moment, but we are continually discovering previously unknown individuals and updating our older posts as new information becomes available. On this particular card, Maeda is addressed as an Aburaeshi (油画師), or oil paint artist. Unfortunately, we are unable to read any of the message.

The card dated June 14, 1889, also includes the title Aburaeshi (油画師) in Maeda's address. There is a second name written on this card that has either been covered up with ink or perhaps is an artistic expression by the sender; we are unsure. Lastly, the card dated August 19, 1889, also has an unreadable message.

Postcard from Kadokawa Kisaburo of Kobe to Maeda Yoshihiko 1891

明治24年6月16日神戸の門川棄三郞から前田吉彦宛のはがき

The only postmark shows the date of June 16, 1891, which means it was sent locally in Kobe. It was sent by Kadowaki Kisaburo (門川棄三郞). He  was born in 1864, the third son of Miyawaki Seio from Hyōgo Prefecture. He was adopted by his uncle, Hajime, and in 1905, he inherited the family estate. After spending ten years in education, he joined the Japan Woolen Company and became its auditor, then became a contributing member of the Kobe Lead Pipe Manufacturing Company. 

This postcard is surely interesting and very rare because Maeda Yoshihiko's own address stamp, enclosed in an oval design "Kobe-shi, Shimoyamatedori 6-chome, 606," is stamped three times! I am sure he was just trying it out. See post dated September 12, 2024 for another example.

Masatsugu Hiraki (disciple of Goseda) to Yoshihiko Maeda 1890

平木政次 (五姓田芳柳の門人) から前田吉彦宛の年賀状

Postmarked at Shimōsa, Kemigawa (検見川下総) in today's Chiba Prefecture, on January 1, 1890, this New Year's greeting card was sent by Hiraki Masatsugu (平木政次), a renowned Western-style painter at the peak of his career to Maeda Yoshihiko (前田吉彦), Hiraki's mentor and teacher.

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.