Matsubara Sangorō (1864–1946, 松原三五郎 ) Pioneer of Western-Style Painting

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.

Discoveries from the Maeda Yoshihiko Postcard Archive

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.

---

Western-Style Painters and Artists (Meiji Era)

• 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)

---

Art Societies and Groups Mentioned

• 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)

---

Other Notable Historical Figures

• 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.

Five Tokyo Postcards with Unreadable Sender Names

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.

Three cards were sent from the Nihonbashi and Koishikawa areas:

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.

Two Additional Cards from 備中松山藩士 杉忠三郎

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?

Koyama Shōtarō 小山正太郎 (1857–1916): Western-Style Painter

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.

稻原東工（Inahara Tōkō) Rare Lost to History Painter

 

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.

奥平清規 School Teacher

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. 

鈴木量平 備中松山藩出身の新選組隊士

Postal card sent to Maeda Yoshihiko on January 7, 1890, postmarked at Hongo, Tokyo by 鈴木量平 (Suzuki Ryōhei).

Suzuki Ryōhei: A Shinsengumi Retainer from Bitchū-Matsuyama

Suzuki Ryōhei (鈴木量平) was one of sixteen known Shinsengumi members from the Bitchū-Matsuyama Domain. Born in 1846 (Kōka 3) in Teppōmachi, a district within the domain’s castle town, Suzuki came from a samurai family that served under the Itakura clan. He held the position of go-chūkosho (御中小姓)—a mid-level page—attending directly to the domain’s lord, Itakura Katsusuke (板倉勝弼, 1846–1896).

Katsusuke, who became lord of Bitchū-Matsuyama in the waning years of the Tokugawa regime, inherited a domain in a period of profound upheaval. Though not a senior shogunal official like his predecessor Katsushige, he faced the chaos of the Boshin War and led a contingent of his retainers—among them Suzuki—into alignment with Tokugawa loyalist forces.

In 1868, as imperial troops pressed forward, Katsusuke and his close men, including Suzuki, left the domain and aligned themselves with the northern resistance. Suzuki’s role in this movement set the course for his eventual involvement with the Shinsengumi.

Japanese records such as the Bitchū Matsuyama Hanshi Rireki confirm Suzuki’s service directly under Katsusuke—a fact sometimes obscured in English-language sources, which have mistakenly linked him to Katsusuke’s uncle, Itakura Katsushige (板倉勝静). In reality, it was Katsusuke who led the remnants of the domain’s fighting force into exile and ultimately into the northern conflict.

As Katsusuke’s page, Suzuki would have had privileged access to the inner circles of the domain’s leadership during this turbulent time. When Katsusuke was captured and the resistance disbanded in mid-1869, loyal followers such as Suzuki continued to fight on.

In September 1868, Suzuki left Edo aboard the former shogunate warship Chōgei and disembarked in Sendai. There, around September 20, he formally joined the Shinsengumi—a reorganized unit preparing to defend the Tokugawa cause in Hokkaidō. He was 24 years old.

Once in Ezo (modern-day Hokkaidō), Suzuki was assigned to the First Division, Eastern Unit (Higashi-gumi ichiban). He participated in policing duties in Hakodate in early 1869, during the brief existence of the Republic of Ezo. In May, as imperial forces launched their final offensive, Suzuki rushed from his barracks at Shōmyōji to reinforce the garrison at Benten Daiba, the fortress at the tip of Hakodate Bay. On May 15, he surrendered alongside the last defenders of the Tokugawa cause.

Suzuki was interned at Yakuōin in Hirosaki and later transferred to Tokyo. There, he was handed over to his former domain, then under the new Meiji government’s control, and held at Saishōin in Shiba. He was released in January 1870. Though his official rank had been Heitaishe—a foot soldier—his role in the final campaign was shaped by a much deeper loyalty to his lord and domain.

Following his release, Suzuki appears to have resettled in Tokyo. Despite the collapse of the old world he served, he maintained ties with former comrades, including Maeda Yoshihiko, a fellow Itakura retainer who had rebuilt his life in Kobe as an art educator. Suzuki later sent Maeda a postcard—an understated yet poignant reminder of the enduring bonds among men who had once served the same cause. In this gesture, we glimpse the quiet persistence of identity and loyalty that continued even after the samurai class was formally dissolved.

Though Suzuki Ryōhei does not figure prominently in textbooks, his life reflects the broader experience of low-ranking samurai during Japan’s violent transition from shogunate to empire. From castle-town page to Shinsengumi fighter, from defeat to quiet civilian life, Suzuki’s story is a testament to the dignity, loss, and adaptability of a generation caught between eras.

Akiyama Kan’ichi (秋山貫一) Ukiyo Manga (浮世漫画) Artist

Among the many correspondents who sent postcards to painter and educator Maeda Yoshihiko during the Meiji period, Akiyama Kan’ichi (秋山貫一) stands out both in volume and content. Akiyama sent at least eight postcards to Maeda between 1888 and 1891, with postmarks from various cities including Osaka (February 18, 1888; August 24, 1891), Kobe (October 4, 1891), and Hiroshima (January 3, 1890; June 18, 1890; August 17, 1889; June 24, 1891; and September 2, 1891). Across many of these cards, Akiyama referred to Maeda as “先生” (sensei), affirming Maeda’s role as his former teacher. In one message, the word 母校 (alma mater) appears in the text, suggesting Akiyama was requesting permission to visit the school where Maeda had once taught him. These details point to a strong and enduring student-teacher relationship, characterized by respect and continued contact.

Akiyama was also active in the arts during this period. He is credited with producing a work titled Ukiyo Manga (浮世漫画), published in 1882 by Funai Seitarō, a Meiji-era publisher based in Kobe known for issuing later impressions of Edo-period illustrated books. Ukiyo Manga draws from earlier Japanese visual traditions, particularly the Hokusai Manga by Katsushika Hokusai. One illustration in Akiyama’s work features a frog reminiscent of those in Hokusai’s sketches, suggesting direct artistic influence. This positions Akiyama as an artist working within the lineage of Edo-period imagery while adapting it for the Meiji period’s evolving visual culture.

The fact that Akiyama sent multiple cards from Hiroshima between 1889 and 1891 places him within a wider professional and educational network tied to that city. Other correspondents to Maeda—such as Takai Hankyu, Kuwato Manabu, Ōtani Kenichi, and Tsutsumi Masami—also sent cards from Hiroshima, frequently listing 9 Chōme, Ōte-machi as their location. This address appears repeatedly and likely served as a government or educational facility. It was possibly well-known enough that senders often omitted street numbers, implying a central, easily recognized institution.

Although little else is known about Akiyama Kan’ichi’s broader career, his correspondence with Maeda, his artistic publication, and his association with civic life in Hiroshima suggest that he was both an artist and possibly an educator. His surviving postcards reflect the persistence of educational ties and professional respect, and they help map the artistic and institutional networks of Meiji-era Japan, with Maeda Yoshihiko at the center.

Note: with a help from a translator on Reddit, Akiyama's first name was recognized

A Glimpse into the Post-Meiji Networks of the Bitchū Elite 板倉勝弼

We recently came across a postal card that offers a rare look into the post-feudal connections of the former retainers and ruling class of the Bitchū Matsuyama Domain. The card was sent from 板倉勝弼 / 家扶, household of Itakura Katsusuke (1846–1896), the last daimyo of the domain. Dated September 25, 1889, and postmarked in Shitaya, Tokyo, it lists his return address as 3-chome, Yushima Tenjin-chō, Hongō Ward. The card is addressed jointly to Maeda Yoshihiko and Adachi Toshitsune (足立利庸), both of whom were associated with the Itakura clan.

Itakura Katsusuke: From Daimyo to Citizen

Itakura Katsusuke served as the final lord of the Bitchū Matsuyama Domain, later renamed Takahashi Domain in 1869. Like many former daimyo after the Meiji Restoration, he was stripped of his feudal title but permitted to retain a portion of his former holdings. He adapted to the new era by moving to Tokyo and taking on a civilian life under the kazoku peerage system. His presence in Tokyo, and his continued correspondence with former retainers like Maeda and Adachi, shows how the relationships forged under the han system often endured even after the social structure itself had been dismantled.

Katsusuke’s connection to his former retainers appears to have remained strong. This card, sent nearly two decades after the dissolution of his domain, demonstrates that he still maintained personal ties with those who had served under him—something not always visible in historical records but revealed here through everyday communication.

Adachi Toshitsune and His Role in Meiji Education

Born in 1853 in Nakanomachi, Takahashi (now part of Okayama Prefecture), Adachi Toshitsune was a samurai by birth and an educator by calling. He studied at the domain school Yūshūkan under Kamata Genkei and Kawada Ōkō, then went on to graduate from Tokyo Normal School. He returned to his home region and worked in elementary education across Okayama and Hyōgo prefectures for more than 40 years.

Adachi became a respected figure in local education, eventually serving as a circuit instructor, overseeing multiple schools—a role similar to what we now call a regional education supervisor. His contributions helped shape early Meiji-era education in the countryside, where trained teachers were still rare. In his later years, he lived in Suma, Hyōgo Prefecture. A poem he wrote at age 83 is preserved in the archives of Takahashi High School, and his writings are also found in local anthologies.

Shared Roots, Enduring Ties

Maeda Yoshihiko, another recipient of the card, was a Western-style painter and art educator based in Kobe. Like Adachi, he came from a former retainer family of the Itakura clan. The card illustrates how these men—once part of a feudal structure—carried those relationships well into the Meiji period. Though their professions had changed, they remained connected through personal bonds and shared history.

This single card helps confirm what we’ve suspected: the Itakura, Maeda, and Adachi families were not just historically connected—they actively stayed in touch, well into the 1880s. It’s a small but meaningful window into how former domain networks functioned behind the scenes in Meiji Japan.

Update: I’ve just uncovered something quite significant: Maeda Yoshihiko (前田吉彦) was married—information drawn directly from a primary source, our period postal card. The same card also reveals that his father, Maeda Chōbei (前田長兵衛), was still alive at the time, though in poor health. 

Thanks to a translator on Reddit, below is a reading of what Itakura Katsusuke (板倉勝弼, 1846–1896) wrote on September 25, 1889, followed by a refined English translation.

過日御差立之御郵書相達し拝誦 陳者御不幸ニ付御弔書之趣直チニ申上 尚御両人より御厚意御申越し相成候 御備へ物ハ作り花ニ而最早相済候故右ニ準スル代價何歟品物とモ思考候得共御都合之方可然と吉田君ニ計り御香奠として金五十銭奉供ス 扨モ御深情御感喜思召候 何れ追々御挨拶も可有之と奉存候得共御取込中不取敢御答迄 匆々不悉

九月廿五日投ス

再伸 御両君御親父母妻君之御大患ニ御憂意之趣幾重も御心事拝察候事ニ御座候 切角御自愛奉祈 ～奉希上候

I have received your kind letter the other day and have read it with gratitude.

Regarding the unfortunate news, please allow me to express my heartfelt condolences. I also sincerely thank you both for your thoughtful message.

As for the offering, since the arrangements have already been completed with artificial flowers, I considered providing a monetary equivalent or some item in its place. After consulting with Mr. Yoshida, I have respectfully offered 50 sen as an incense condolence gift.

Please accept this small token of appreciation for your deep kindness, which I sincerely cherish. I trust that I will be able to extend my greetings in due course, but for now, I wished to send this brief reply without delay amidst your busy circumstances.

Respectfully yours,

Sent on September 25

P.S.

I have heard, with much concern, about the serious illnesses of both your father and mother, as well as your wife. I can only imagine your sorrow and distress. Please take the utmost care of yourself — I earnestly pray for your well-being.

Yanai Kizō 柳井貴三 Shared Roots in Bitchū-Matsuyama

I’ve been examining a series of five Meiji-era postcards sent by Yanai Kizō (柳井貴三) to Maeda Yoshihiko, a Western-style painter and educator based in Kobe. These cards offer subtle but fascinating insights into their relationship—and into a shared regional history rooted in Bitchū-Matsuyama (present-day Takahashi City, Okayama Prefecture).

The Yanai family had served for generations as physicians to the Itakura clan, lords of the Bitchū-Matsuyama Domain. Kizō himself became a doctor and moved to Tokyo at the beginning of the Meiji era. Maeda’s family also came from this same domain, serving as retainers and samurai. It’s very likely their families knew each other under the old feudal structure.

Here’s a summary of the postcards:

Four were sent from Musashi Tokyo Ryōgoku:

August 3, 1889

January 4, 1890

August 11, 1891

October 13, 1891

Each of these cards includes a reference to 六要堂 (Rokuyōdō) alongside Maeda’s name and Kobe address. (We’ve discussed Rokuyōdō—possibly the name of Maeda’s studio or publishing imprint—in earlier posts.)

The earliest card in the series, sent on January 5, 1889, comes from Musashi Tokyo Kanda. It’s distinct in that Yanai addresses Maeda as 先生 (sensei)—a term of respect that may indicate a teacher-student relationship, professional admiration, or both. Interestingly, this honorific disappears from the later postcards. Did their relationship become more casual over time?

There are other quiet clues here too. The move from Kanda to Ryōgoku could reflect a change in Yanai’s residence or professional setting, possibly indicating career progress or relocation within Tokyo. These postcards don’t just document communication—they hint at enduring ties between two individuals whose lives bridged the world of feudal retainers and Meiji-era professionals.

If anyone has insights into Yanai Kizō’s medical career or the broader connections among former Bitchū-Matsuyama retainers during the Meiji period, I’d love to hear your thoughts. 

Note: Translator on Reddit was able to decipher Yanai's name.

Who was 谷鈴太郎 of 備作交誼会? Tani Suzutarō

This postcard was sent by Tani Suzutarō (谷鈴太郎), who lived at 神戸区阪本村五百二番地 on March 6, 1888 . It responds to an invitation to a kōgikai (交誼会), or friendship meeting, held on the 10th. Tani expresses appreciation for the invitation but explains that he was unable to attend due to official duties.

He also notes a likely clerical error: the age of a boy has been recorded incorrectly. He requests a correction, and also asks that his member number be updated in the March membership list.

Tani identifies the organization as the Bisaku Kōgikai (備作交誼会). “Bisaku” is an old and now-obsolete regional term that combined characters from Bizen (備前) and Mimasaka (美作), two former provinces that became part of Okayama Prefecture. While the exact use of “Bisaku” is rare even in Meiji-era records, the term appears here as a local or cultural reference—possibly indicating a gathering of people from that area now living elsewhere, such as Kobe.

The card reflects a network of individuals maintaining both personal and regional ties through polite, handwritten correspondence, even across distance and changing geographic terms.

Although we found records of several individuals from Takahashi, Okayama with the surname Tani—such as 谷三十郎 (Tani Sanjurō), 谷万太郎 (Tani Mantarō), 谷周平 (Tani Shūhei), and 谷資敬 (Tani Suketaka)—we do not know whether any of them are related to our 谷鈴太郎 (Tani Suzutarō).

高瀬好山 (Takase Kōzan) 1888 Japan Meiji Metalwork Artist

In 1888, a 1-sen postal card was sent to Maeda Yoshihiko, a Western-style painter and art educator based in Kobe. The sender expressed gratitude for a calling card, noting that a more formal letter of thanks would follow. The card was signed "高瀬" (Takase), accompanied by a red name seal bearing the same surname. This is Takase Kōzan (高瀬好山), a prominent artist known for his metalwork.

Born in 1869 in Kanazawa, Ishikawa Prefecture, Takase Kōzan began his career in the arts at the age of 14. In 1883, he joined a trading company in Kobe that dealt with ceramics for export. By 1887, he had transferred to the company's Kyoto branch, where he studied metalworking under the guidance of the second-generation metal artist, Tomiki Isuke (冨木伊助) .

Given Takase Kōzan's presence in Kobe in 1887 and his subsequent move to Kyoto, it's plausible that he had interactions with Maeda Yoshihiko, who was active in the Kobe art scene. The formal tone and careful handwriting of the 1888 postal card suggest that the sender was someone well-versed in classical brushwork, aligning with Takase's background.

森本清蔵の教育への貢献について

These three postcards were sent by Morimoto Seizō (森本清蔵) on January 1, 1889; September 10, 1889; and January 1, 1890. In them, he addresses Maeda using different titles—once as Aburaesh (油絵師, "oil painter") and once as Rokuyōdō (六要堂), possibly a name associated with Maeda’s studio or artistic persona. All were mailed from Tokyo while Morimoto was studying at Tokyo Higher Normal School.

Morimoto, a native of Hyōgo Prefecture, played a significant role in shaping Japan’s teacher training system during the Meiji and Taishō eras. He began his formal education at Kobe Normal School, graduating in 1885 (Meiji 18), and continued at Tokyo Higher Normal School, where he completed his studies in 1889 (Meiji 22)—a time when the institution stood at the forefront of pedagogical training in Japan.

After graduating, Morimoto embarked on a wide-ranging educational career. He taught and later became principal at Aichi Prefectural Normal School, held teaching posts in Tokushima, and went on to lead Fukuoka Prefectural Normal School. He also returned to his alma mater in Tokyo to teach, and later served as principal of Osaka Prefectural Normal School.

In 1904 (Meiji 37), Morimoto was appointed school inspector for Osaka Prefecture. Two years later, he joined the Ministry of Education as a national inspector. That same year, he was dispatched to Qing China to serve as an educational advisor in Fengtian Province—a notable international role during a period of growing Japanese influence in East Asia. After returning to Japan in 1908, he held principalships at Meirin Middle School in Aichi and Miyazaki Middle School in Miyazaki Prefecture.

Spanning local schools to national policy and even international outreach, Morimoto’s career reflected the evolving landscape of Japanese education in a period of rapid modernization. His leadership in normal schools and his involvement in policy helped lay the foundation for modern teacher training in Japan.

Rare New Year’s Postmark Error from Tokyo 1889 Morimoto Seizō

On January 1, 1889 (Meiji 22), 森本清蔵 (Morimoto Seizō)—an educator and graduate of both Kobe Normal School and Tokyo Higher Normal School—sent a postcard to Maeda Yoshihiko, a prominent Western-style painter based in Kobe. While seemingly a routine correspondence, this postcard bears a striking postmark error, offering a rare glimpse into the evolving postal system of Meiji-era Japan. In addition, a second name also appears on this card. It looks like 小林月新, but we are not 100%.

The Postmark Anomaly

The postmark, issued from 武蔵東京本郷 (Musashi Tokyo Hongō), displays the date as: 年ニ廿月一 (read right to left). Instead of placing the Meiji year (22) at the top, the month (January, 月一) appears first, followed by the year (廿二, 22)—a clear deviation from protocol. The correct format would have been: 月一年ニ廿. The mistake likely occurred due to New Year’s rush and human oversight.

The sender’s address—Ushigome-ku Yaraicho 26 banchi—and the recipient’s connection to Kobe’s artistic circles add further provenance value, making this postcard a fascinating artifact for postal historians and Meiji-era researchers.

Given the scarcity of such errors, this piece serves as a tangible reminder of a postal system in transition—one where tradition met innovation, occasionally with charming imperfections. 

Rare Artist: 増田松之 Masuda Matsuyuki - Pupil of Goseda Hōryū

This is a rare and fascinating postcard, postmarked November 13, 1889, in Kobe and sent by Masuda Matsuyuki to Maeda Yoshihiko in Hiroshima. It bears a scarce double-stamped Hiroshima postmark dated November 15, 1889. The card is addressed in care of 門山 (Kadoyama), whose given name remains undeciphered—for now. (See our February 5, 2025 post for a card sent by Kadoyama to Maeda.) We still do not know why Maeda was in Hiroshima at the time, nor the nature of his relationship with Kadoyama.

This is the only example authored by Masuda Matsuyuki within our collection of over 300 postcards addressed to Maeda Yoshihiko between 1887 and 1891. 

Masuda Matsuyuki (1862–1932, 増田松之) was a prominent yet little-known figure in the artistic and educational landscape of Meiji-era Japan. Although he played a meaningful role in shaping the early development of Western-style art education in Japan, his name remains almost entirely unknown outside the country, and even within Japan, he has received very limited scholarly attention. As both an artist and educator, Masuda worked at the intersection of traditional Japanese aesthetics and the rapidly expanding influence of Western art.

Masuda began his artistic training under Takahashi Yuichi, a pioneer of yōga (Western-style painting) in Japan, whose emphasis on realism and European techniques had a lasting impact. He later refined his practice under Goseda Hōryū (五姓田芳柳), further deepening his knowledge of Western painting methods. These formative experiences laid the foundation for Masuda’s dual focus on artistic creation and art education.

One of Masuda’s most important contributions was the publication of the Watercolor Painting Album (水彩画帖), a three-volume series produced in Osaka between 1892 and 1893 (Meiji 25–26). Printed in full color using lithography, these albums not only demonstrated his technical proficiency in watercolor but also served as instructional tools at a time when Japan was still developing its art education infrastructure. Copies are now preserved in institutions such as the National Diet Library and the Sakura Color Products Collection, underscoring their historical value as early examples of domestically produced art education materials.

Masuda’s influence extended into the classroom. Early in his career, he taught at Saitama Normal School, where he trained future teachers in drawing and painting—reflecting his belief that art had an essential place in modern education. In 1909, he joined Keio University, where he taught in both the Faculty of Commerce and Industry and the Ordinary Department (普通部), succeeding Nose Tsurujirō (能勢鶴次郎) and serving until 1919. His work there helped to shape Keio’s early art curriculum during a period when Western-style education was still evolving.

Masuda was also active in organizing public exhibitions. One notable example was a collaborative show of oil paintings and modern calligraphy held at Kobe Elementary School, co-organized with Maeda Yoshihiko and Nakajima Seikei as part of a meeting of the Academic Encouragement Association (学術奨励会). The exhibition, which included live demonstrations of calligraphy, reflected the cultural synthesis between Western and Japanese visual traditions—something Masuda both practiced and promoted.

His commitment to education extended to more regional efforts as well. Records suggest he taught at Kakegawa Middle School following its re-establishment in 1900 (Meiji 33), though details of his tenure remain scarce. Even so, his involvement highlights his ongoing dedication to art instruction beyond Japan’s major urban centers. At a time when educational reforms were reshaping the nation, Masuda’s familiarity with Western painting positioned him to help integrate these methods into Japan’s formal school system.

Though Masuda Matsuyuki remains an obscure figure, his contributions to art and education during the Meiji period were substantial. By producing accessible teaching materials, nurturing future educators, and helping to present modern art to the public, he participated in—and helped shape—the cultural modernization of Japan. His legacy, largely unrecognized outside Japan, deserves renewed attention as part of the broader story of Japan’s artistic transformation in the late 19th and early 20th centuries.

神戸油絵と書画の展観  1891 Kōbe Aburae to Shoga no Tenkan

February 10, 1891

"Exhibition of Oil Paintings and Calligraphy — On the occasion of the Academic Encouragement Association meeting to be held tomorrow, the 11th, at Kobe Elementary School, there will be an exhibition of oil paintings and modern calligraphy, along with an on-site calligraphy demonstration starting at noon. The event is organized by three individuals: Maeda Yoshihiko, Masuda Matsuyuki, and Nakajima Seikei. The exhibited works will remain open to public viewing until 3 p.m. the following day, the 12th."

"油絵と書画の展観―明１１日神戸尋常小学校内において学業奨励会の挙あるに際し　同日正午１２時より油絵と近世書画の展観ならびに席上揮毫を催すよし　此の発起人は前田吉彦、増田松之、中島静溪の三氏にて右油絵と書画は翌１２日午後３時迄縦覧を許しますと"

The above notice of exhibition was published on February 10, 1891 in 神戸又新日報  (こうべゆうしんにっぽう), Kobe newspaper, according to morikinseki.com. It is a comprehensive digital archive and research platform dedicated to Mori Kinseki (森琴石, 1843–1921), a prominent Meiji-era Japanese artist known for his contributions to Nanga (traditional Southern Chinese-style painting) and copperplate etching. The website serves as a critical resource for scholars, art enthusiasts, and historians, offering detailed insights into Mori’s life, works, and cultural influence.

The newspaper article confirms that Maeda Yoshihiko, Masuda Matsuyuki, and Nakajima Seikei collaborated closely, solidifying their bonds not only as fellow artists but also as personal friends. While this discovery illuminates their shared creative endeavors, Nakajima Seikei himself remains a historical enigma—his life and work seemingly erased by time. 

After 134 years, we finally have all three artists together again—Maeda Yoshihiko, Masuda Matsuyuki, and Nakajima Seikei. Without the discovery of this collection of postcards, this remarkable reunion might have been lost to history forever. While this find may seem like a minor footnote in the study of Meiji-era Western-style art, it holds the potential to connect the dots between related artists of the time, helping us piece together a puzzle that remains largely unsolved.

Two Unidentified Postcards Sent to Maeda Yoshihiko in March 1888

Because the senders' full names are illegible on these two cards postmarked in Kobe on March 5 and March 8, 1888, we are unable to identify them. At present, their handwriting also remains unrecognized, leaving us with another pair of unidentified postcards addressed to Maeda Yoshihiko.

Japanese Western-Style Painter Archive: Watanabe Bunzaburō (渡辺文三郎)

These seven postcards, all addressed to Maeda Yoshihiko (前田吉彦) in Kobe, represent an exceptionally rare surviving correspondence between Western-style painters of the Meiji period. As a prominent yōga (Western-style) artist himself, Maeda maintained professional ties with several key figures in Japan's evolving art world of the 1880s. These cards—likely the only such collection in existence—form an interconnected web of artistic exchange, each shedding light on the relationships, movements, and creative discussions among painters during this transformative era.

Watanabe alternated between multiple name variants in his correspondence: 渡辺文三郎 (Watanabe Bunzaburō), 渡辺文三 (Watanabe Bunzo), 渡辺薇三 (Watanabe Bizan). He also referenced other artists, including: 内田茂八 (Uchida Mohachi) and his school (内田茂八門), 山名迂介 / 山名迂助 (Yamana Usuke), 増田松之 (Masuda Matsuyuki).

Chronological Correspondence of Watanabe Bunzaburō

1. December 31, 1888

Sender’s Name: 渡辺文三郎 (Watanabe Bunzaburō)

Postmark: 下谷東京 (Shitaya, Tokyo)

Return Address: 東京下谷中御徒町3丁目68番地 (3-68 Naka-Okachimachi, Shitaya, Tokyo)

Content: A New Year’s greeting card, placing Watanabe in the vibrant cultural district near present-day Ueno Park—within walking distance of Asakusa, where Goseda Hōryū (五姓田芳柳) maintained his influential art studio. This strategic location connected Watanabe to Tokyo’s bustling ukiyo-e and Nihonga circles during the Meiji era’s artistic renaissance.

2. April 1889

Sender’s Name: 渡辺薇三 (Watanabe Bizan) – an artistic pseudonym

Return Address: 東京下谷中御徒町3丁目68番地 (3-68 Naka-Okachimachi, Shitaya, Tokyo)

Addressee: 六要堂 (Rokuyōdō—likely Maeda Yoshihiko’s art studio or school)

Content: Watanabe informs Maeda of shipping two artworks, apologizing for both the delay and his late reply. While the contents of these lost paintings remain unknown, this card provides insight into the professional networks and creative exchanges among Meiji-era artists.

3. May 29, 1889

Sender’s Name: 渡辺文三 (Watanabe Bunzo) – a rare informal variant

Postmark: 下谷東京 (Shitaya, Tokyo)

Return Address: 東京下谷中御徒町3丁目68番地 (3-68 Naka-Okachimachi, Shitaya, Tokyo)

Content: This card highlights Watanabe’s connection to Meiji-era Tokyo’s art scene, situated between Ueno Park (a developing cultural hub) and Asakusa, where Goseda Hōryū’s studio thrived. The informal signature suggests either personal familiarity with Maeda or the casual nature of the correspondence.

4. June 18, 1889

Sender’s Name: 渡辺文三 (Watanabe Bunzo)

Postmark: Shitaya, Tokyo

Return Address: 東京下谷区西町24番地 (24 Nishimachi, Shitaya-ku, Tokyo)

Content: Watanabe informs Maeda that Yamana Usuke (山名迂介), a pupil of Uchida Mohachi (内田茂八), will be staying at Uchida’s Osaka residence (大阪北区中之島7丁目…). He also mentions fellow artist Masuda Matsuyuki (増田松之) and another unnamed associate, though their purpose remains unspecified.

5. July 29, 1889

Sender’s Name: 渡辺文三郎 (Watanabe Bunzaburō)

Postmark: Shitaya, Tokyo

Return Address: 東京下谷区西町24番地 (24 Nishimachi, Shitaya-ku, Tokyo)

Addressees: Both 前田吉彦 (Maeda Yoshihiko) and 増田松之 (Masuda Matsuyuki, 1862–1932)

Significance: This dual-addressed card underscores Masuda’s role as a bridge between traditional and Western art pedagogy in Meiji Japan. Trained under Takahashi Yuichi (高橋由一, the father of Japanese oil painting) and later Goseda Hōryū, Masuda’s hybrid artistic approach (Western realism + ukiyo-e traditions) made him a key yet understudied figure. The card suggests active professional networks among second-generation yōga painters during Tokyo’s rapid modernization.

Summary of Key Insights

Artistic Networks: These postcards reveal a web of connections between Watanabe, Maeda, Masuda, Yamana, and Uchida, illustrating the collaborative nature of Meiji-era yōga circles

Name Variations: Watanabe’s use of different signatures (文三郎, 文三, 薇三) reflects either shifting artistic identities or contextual familiarity.

Geographical Significance: His addresses in Shitaya placed him near key cultural hubs (Ueno, Asakusa), facilitating interactions with major artists like Goseda Hōryū.

Lost Artworks & Pedagogy: Mentions of shipped paintings and school affiliations (e.g., Uchida Mohachi’s studio) hint at undocumented artistic exchanges and training methods.

This collection offers an unparalleled glimpse into the personal and professional dynamics of Japan’s Western-style painters during a pivotal era in art history.

宇治川山西 1889 摂津神戸

This 1889 postcard, sent locally in Kobe on August 5, is addressed to 前田吉彦先生 (Maeda Yoshihiko-sensei), with the familiar 六要堂 (Rokuyōdō) notation we’ve noted before. An intriguing feature is the unidentified character to the left of 生 (sensei), appearing almost as part of the kanji. Its purpose is unclear—possibly a personal mark or an obsolete abbreviation. The sender’s information, written right to left in the Meiji-era style, reads 宇治川山西 (Ujigawa Yamanishi), likely referencing the Uji River (or a local Kobe waterway) and possibly the surname Yamanishi, though this remains uncertain. The message appears to be a routine summer greeting, offering a glimpse into everyday social exchanges in late 19th-century Japan. 

Nakajima Seikei 中島静溪 Forgotten Meiji Artist 1889

When we first published our post on October 16, 2024, titled 1889年のはがき: 前田吉彦宛の美術用品の話, we were unable to determine Nakajima’s first name, leaving his identity uncertain. It was only later, upon identifying his connections not only to Maeda Yoshihiko but also to Masuda Matsuyuki, that a missing piece of the puzzle came into focus. He was one of three artists involved in the 1891 Art Exhibition, alongside Maeda Yoshihiko and Masuda Matsuyuki.

In this postal card, Nakajima refers to クラヒオン チョーク (kurahion chōku), a term that appears to be a transliteration of a foreign phrase, likely describing an art material used by Japanese painters during the Meiji era. クラヒオン (kurahion) is probably derived from the French word crayon, which can refer to a pencil, colored pencil, or various other drawing tools such as pastel sticks. チョーク (chōku) is the Japanese transliteration of “chalk”. 

Taken together, クラヒオン チョーク likely refers to a type of drawing medium akin to chalk crayons or pastel chalks. During the Meiji period, Japanese artists were increasingly introduced to Western art supplies and techniques, adopting a variety of tools such as crayons and chalks into their own practices. It’s worth noting that at the time, terminology for art materials in Japan had yet to be standardized. As a result, phonetic approximations of foreign words were commonly used, producing transliterations like “クラヒオン” for “crayon.”

神戸油絵と書画の展観  1891 Kōbe Aburae to Shoga no Tenkan

February 10, 1891

"Exhibition of Oil Paintings and Calligraphy — On the occasion of the Academic Encouragement Association meeting to be held tomorrow, the 11th, at Kobe Elementary School, there will be an exhibition of oil paintings and modern calligraphy, along with an on-site calligraphy demonstration starting at noon. The event is organized by three individuals: Maeda Yoshihiko, Masuda Matsuyuki, and Nakajima Seikei. The exhibited works will remain open to public viewing until 3 p.m. the following day, the 12th."

"油絵と書画の展観―明１１日神戸尋常小学校内において学業奨励会の挙あるに際し　同日正午１２時より油絵と近世書画の展観ならびに席上揮毫を催すよし　此の発起人は前田吉彦、増田松之、中島静溪の三氏にて右油絵と書画は翌１２日午後３時迄縦覧を許しますと"

The above notice of exhibition was published on February 10, 1891 in 神戸又新日報  (こうべゆうしんにっぽう), Kobe newspaper, according to morikinseki.com. It is a comprehensive digital archive and research platform dedicated to Mori Kinseki (森琴石, 1843–1921), a prominent Meiji-era Japanese artist known for his contributions to Nanga (traditional Southern Chinese-style painting) and copperplate etching. The website serves as a critical resource for scholars, art enthusiasts, and historians, offering detailed insights into Mori’s life, works, and cultural influence.

The newspaper article confirms that Maeda Yoshihiko, Masuda Matsuyuki, and Nakajima Seikei collaborated closely, solidifying their bonds not only as fellow artists but also as personal friends. While this discovery illuminates their shared creative endeavors, Nakajima Seikei himself remains a historical enigma—his life and work seemingly erased by time.

A Postcard from the Kawasaki Shipyard – Kobe, 1891 川崎造船所

This postcard, postmarked July 4, 1891, was sent from the Higashi Kawasaki-chō district of Kobe to Maeda Yoshihiko, addressed via Rokuyōdō at 6-chōme, Shimoyamate-dōri. The sender was Kawasaki Zōsenjo—known in English as Kawasaki Shipyard—which at the time was still in its early decades of operation. Its presence in Kobe would eventually become central to Japan’s growing naval industry.

Stamped in red ink is the name and address of the company, along with a note advertising its services: shipbuilding machinery and other equipment, available either newly manufactured or repaired according to customer needs. This sort of messaging gives a glimpse into the commercial tone of the period, and how major industrial firms were beginning to establish both infrastructure and customer relationships across Japan.

The Kawasaki Shipyard would go on to play a major role in modern Japanese shipbuilding. In the decades that followed, it produced many important vessels for the Imperial Japanese Navy, including battleships like Ise and Haruna, aircraft carriers such as Akagi and Kaga, and a range of large submarines. But in 1891, this card shows a company still positioning itself as a capable and reliable supplier of marine machinery.

The handwritten message on the reverse is formal and somewhat abbreviated, written in a flowing style that makes full transcription difficult. However, it contains the usual expressions of courtesy and acknowledgment—phrases suggesting that the sender was replying to or thanking Maeda for a previous letter or assistance. It’s polite, reserved, and businesslike, in keeping with correspondence between professionals.

As with other cards addressed to Maeda, this one ties into a small but growing body of documents that help flesh out his network and standing in Meiji-era Kobe. 

Red Stamp:

神戸市 東川崎町 (Kobe-shi, Higashi Kawasaki-chō)

造船機気其他諸器械 (Shipbuilding machinery and other equipment)

川崎造船所 (Kawasaki Shipyard)

新製〇繕 御好ニ応ズ (New and repaired items available to order)