黒田夘兵衛 大坂呉商社 油画師

We have a total of nine postal cards addressed to Maeda Yoshihiko from Kuroda Uhei (黒田夘兵衛) of Kure Shosha in Osaka (大坂呉商社). The eight cards are dated as follows: January 2, 1886; July 16, 1886; June 8, 1887; March 1, 1888; August 8, 1888; January 1, 1889; January 4, 1889; and July 25, 1890. Kuroda’s writing is remarkably neat and fills each card with small, precise cursive text. Unfortunately, as we have been unable to decipher the messages, much of the content remains a mystery. These exchanges reveal a significant relationship between the two, likely intertwining personal and business matters.

One particularly noteworthy detail is that Maeda was staying at Kuroda's residence on September 28, 1889. This is corroborated by a postal card addressed to both Kuroda and Maeda (refer to our post dated October 16, 2024) from Nakajima of Kobe. In this card, Nakajima discusses arranging a supply of "Kurahion chalk," a product possibly tied to their commercial dealings, suggesting the breadth of their collaborative activities.

One of the cards addresses Maeda as 油画師 (Aburaeshi, oil painter), a title used by several correspondents in his network. This indicates that by this period, Maeda had established himself as an oil painter, a relatively uncommon profession in Japan during the late 19th century. While Maeda primarily worked as an art teacher—teaching pencil drawings, a staple in government-supported schools—his involvement with oil painting underscores his engagement with a more specialized and avant-garde art form.

Oil painting, still a novelty in Japan at the time, faced resistance due to its expense and its status as a Western art medium. The Meiji era’s push toward modernization brought oil painting to Japan, but its acceptance remained limited, as traditional art forms like ukiyo-e and nihonga (Japanese-style painting) dominated the cultural landscape. Art education during this period largely emphasized practical skills, such as pencil and ink drawings, which were more accessible and aligned with the government’s goals of fostering education and discipline.

Sent from Osaka on January 5, 1890, this New Year's greeting card describes the daily activities of a parent throughout the day, creating a vivid picture of their routine. Quaint pictorial illustrations enhance the charm of the message, particularly the depiction of a woman with a child on her back, whom the writer refers to as a 乳母 (うば, uba, nanny).