When we published the post titled "1889 Lithograph and Copperplate Engraving Society of Osaka Meeting Notice" on December 7, 2024, we were unable to decipher Mizuguchi's first name from the postal card featured in that article. However, we have since discovered another card written by him, where his full name is clearly legible. This card, dated December 31, 1888, was addressed to Maeda Yoshihiko. It is a simple New Year’s greeting card, featuring Mizuguchi’s return address: 3 Chome Nakamachi, Osaka.
It is worth noting that, although our progress has been slower than we had hoped, previously unknown historical accounts of the Meiji art world are gradually coming together, much like a jigsaw puzzle. Pieces that once seemed disconnected or nonsensical are now fitting into place, forming a clearer picture over time.
When we first embarked on this project, we had little idea where it would lead. Our initial lack of knowledge about the Meiji period—its art, people, and related philatelic materials—presented a significant challenge. However, as the project unfolds and the pieces start to align, we find ourselves overcoming these obstacles.
Now, we can vividly imagine how vibrant life was during that era. We see the Meiji period in living color, with real people who thought, lived, and wrote in ways we are beginning to understand more deeply.
Mizoguchi Ryūnosuke - Mori Kinseki - and Copperplate Art
Copperplate engraving may not be the first technique that comes to mind when thinking about traditional Japanese art, but it played a significant role in Japan's printmaking history, especially during the late Edo and early Meiji periods. In Osaka, 水口龍之介 (Mizoguchi Ryūnosuke) was one of the key figures in the development of this craft. His work in copperplate engraving, particularly his involvement in creating official seals and his contributions to the engraving community, helped establish Osaka as a hub for this intricate art form.
By the late Edo period, Japan was being exposed to Western influences, and techniques such as copperplate engraving were introduced. This method allowed for highly detailed, precise prints, which were ideal for producing government documents, official seals, and academic works. As the country began to modernize, cities like Osaka, alongside Kyoto, became centers for refining these techniques. Mizoguchi, trained under the esteemed 玄々堂 (Gen-Gendo) school, quickly gained a reputation for his technical skill and precision. His early works in engraving 官札 (official certificates), which were used for authentication by the government, showcased his ability to handle complex and intricate designs with remarkable accuracy.
Mizoguchi’s contributions to the Osaka engraving scene went beyond his personal work. After gaining experience, he returned to Osaka, where he became instrumental in the establishment of the 銅版組合 (copperplate engraving guild), a professional network for engravers. This guild helped standardize techniques and establish best practices, raising the profile of copperplate engraving in the region. Mizoguchi’s leadership within this guild played a crucial role in developing Osaka into one of Japan's most important centers for copperplate printing.
Mizoguchi’s influence extended through collaborations with other prominent figures in Osaka’s engraving community. One such figure was 森琴石 (Mori Kinseki), a well-respected engraver who, like Mizoguchi, contributed significantly to the craft. Mori, originally from 摂津州有馬 (Settsu Province), had trained in Western-style painting before turning to copperplate engraving. Under his studio name 響泉堂 (Kyōsendō), he created some of the most technically advanced copperplate works of the Meiji period, including collaborations with Mizoguchi.
One of their most notable joint works was the 達爾頓氏生理学書図式 (Dalton’s Physiology Illustrations), published in 1878, which helped expand the reach of copperplate engraving for academic purposes. In addition, Mori produced some of the finest works in the field, including a copperplate series of illustrations based on the 康煕 (Kangxi) edition of Chinese works, showcasing the high level of craftsmanship achievable through the technique. These works remain some of the finest examples of copperplate engraving from the Meiji era, demonstrating not only technical proficiency but also an understanding of fine artistic composition.
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