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 a variety of 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, which is 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. In addition, well-known 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 also among the correspondents. As research progresses, it is expected that more correspondents will be identified, providing deeper insights into Maeda's network and the artistic circles in which he was involved.
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, Maeda's early life was shaped by the rigid social structure of the samurai class. Despite this, his passion for art led him on a path that bridged traditional Japanese painting and the emerging influence of Western art during the Meiji era.
Maeda's childhood name, Inazo, was eventually replaced by Yoshihiko as he grew older. His formal art education began under Mano Tokkei (間野凸溪, 1821-1898), a teacher of Japanese painting from the same domain. This traditional training provided him with a strong foundation in Japanese artistic techniques, but it was his exposure to Western-style painting that would 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). The experience of viewing Seizan's oil paintings left a lasting impression on Maeda and significantly influenced the direction of his own artistic development. Largely self-taught in Western techniques, especially oil painting, Maeda faced a lack of formal training in this style, which was rare at the time.
In May 1878, Maeda began his teaching career at Kobe Normal School, which would later evolve into part of Kobe University. His primary role was to teach pencil drawing, a discipline focused on meticulous sketching that was central to art education in Japan during the Meiji period. While the school did not yet offer instruction in oil painting, Maeda's efforts were instrumental in shaping the early art education landscape in Kobe.
During his years in Kobe, Maeda resided at 6 Chōme Shimoyamate Dōri, a location that became his home for many years. This address in the heart of Kobe placed him at the center of the city's evolving art scene, where he continued to influence both students and fellow artists. Maeda was particularly known for his skill in creating detailed and naturalistic sketches. According to Hiraki Masatsugu's Review of the Western Painting World in the Early Meiji Era, Maeda's sketches often focused on subjects suited to natural history, with a notable talent for insect painting. His commitment to art education was further evident in his numerous textbooks, which helped shape the next generation of Japanese artists.
In 1881, Maeda exhibited one of his oil paintings, Sunset Scenery, at the Second Domestic Industrial Exposition, marking a significant milestone in his career. He would go on to exhibit another work, Dance of Silence, at the 1900 Kobe Art Association exhibition. These public displays of his oil paintings cemented his role as a key figure in the Western-style painting scene in Kobe.
Around 1894, Maeda relocated 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). While the reasons for this move were partly financial, Maeda continued to produce artwork, including the remarkable Dance of Shizuka, an oil painting on gold leaf, which was later exhibited at the first art exhibition held at the Shinko Club by the Kobe Art Association.
One of Maeda's most notable surviving works is Night View of Education (1884), which was initially owned by Kobe Elementary School and is now part of the Kobe City Museum's collection. This piece (see photo) is considered one of the oldest surviving oil paintings in Hyogo Prefecture.
Despite his contributions to the art world, Maeda remains relatively obscure both inside and outside Japan. His works, being rare, were not widely recognized during his lifetime, and even today, nothing has been written about him in the West. In Japan, while he is regarded as a pioneer who played a crucial role in introducing and advancing Western-style painting during the Meiji era, his legacy remains less prominent compared to that of other contemporaries.
Maeda Yoshihiko passed away in 1904, but his legacy continues, particularly in the Kobe area where his works are still admired. His blend of traditional Japanese art with Western techniques laid the groundwork for future generations of Japanese painters, making his contributions an important chapter in the history of Japanese art.
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