These three cards are dated January 4, 1889; January 2, 1890; and May 30, 1890. All bear postmarks from Takahashi, Bitchu. The card dated January 2 was sent by 村井依継 (Murai Yoritsugu, government employee of Bitchu, Oda-ken, likely a former samurai). The May 30 card was sent by Adachi Toshitsune and addresses Maeda Yoshihiko as 油絵師 (abura-e-shi), while the January 4 card refers to him as 油画師 (abura-e-shi). The sender of the January 4 card is partially identified as 召ｘｘ郎.
So, what is the difference between 油画師 (abura-e-shi) and 油絵師 (abura-e-shi)? Both share the same reading and meaning but are written with different kanji. During the Meiji period, 油画師 was likely more commonly used in formal or academic contexts. Here's why:
The term 油画 (oil painting) was introduced alongside the Western painting tradition (洋画) during the Meiji period, as Japan rapidly adopted and adapted Western art styles. The kanji 画, seen in terms like 洋画 and 日本画, was associated with fine art and often appeared in formal settings such as academic discussions, exhibitions, and art institutions.
In contrast, while 油絵師 would have been understood, the kanji 絵 carried a slightly less formal connotation. It was traditionally tied to Japanese art forms like 絵巻 (picture scrolls) and 浮世絵 (woodblock prints). This term might not have been as widely used to describe artists working in the Western oil painting style during that time.
A Meiji-period individual would most likely use 油画師 in contexts related to Western art education, formal writings, or professional titles. 油絵師 may have been used more casually or gained popularity later as oil painting became more integrated into Japanese artistic practices.
No comments:
Post a Comment