Five Pioneers of Western-Style Painting in Meiji Japan 1891

Postmarked on March 20, 1891—though the date is partially obscured, we believe the year is correct based on other cards in this collection—this rare and unusual postal card was sent from Yamashiro, Kyoto, to Maeda Yoshihiko, a Western-style painter in Kobe. The message appears to express gratitude to Maeda for hosting the sender and their companions in Kobe. It also lists five prominent artists who attended the gathering. Given that Hikita’s name appears on the far left and we have another message written by him for comparison (see below), we are certain that Hikita was the author of this note.

Another card, dated May 22, 1891, from Yamashiro, Kyoto, features two senders: Hikita Keizō (疋田敬蔵) and Yamashita Kumata (山下久馬太). Yamashita, a lesser-known artist, is primarily recognized for his 1887 painting of the Garyū Pine, titled 臥竜松真写: 臥竜松在于備前和気郡大内村一ノ井氏庭中 (True Depiction of the Garyū Pine: The Garyū Pine Located in the Garden of the Ichii Family in Ōuchi Village, Wake District, Bizen). Beyond this work, Yamashita’s artistic influence is further evidenced by his role as a drawing instructor for Kojima Torajirō (児島虎次郎, 1881–1929), highlighting his involvement in the artistic community of the Meiji era.

The Meiji period (1868–1912) was a transformative era in Japanese history, marked by rapid modernization and the adoption of Western ideas and techniques. This cultural shift extended to the arts, where a group of visionary artists embraced Western-style painting, blending it with traditional Japanese aesthetics to create a new artistic identity. Among these trailblazers were Ōhira Hiromasa, Tamura Sōryū, Morizumi Isana, Koyama Sanzō, and Hikita Keizō. Each of these artists not only mastered Western techniques but also dedicated their lives to teaching and promoting this new art form, leaving an indelible mark on Japan’s artistic landscape.

Ōhira Hiromasa (大平廣正) : The Educator and Advocate

Ōhira Hiromasa (1858–1901) was a pioneering Western-style painter and art educator from Fukui Prefecture. After graduating from middle school, he began his career as an art teacher, but his passion for Western painting led him to Tokyo, where he studied under Honda Kinkichirō at the Shōgidō art school. Ōhira played a crucial role in the early Western-style art movement in Japan, co-founding the Meiji Art Society (Meiji Bijutsukai), the country’s first Western painting organization. His dedication to art education was evident in his teaching roles at institutions like Fukui Middle School and Fukui Girls' High School, where he nurtured the next generation of artists. Today, his works are preserved in the Fukui Prefectural Museum of Art, serving as a testament to his contributions to the evolution of Western-style art in Japan.

Tamura Sōryū (田村宗立): The Monk Who Bridged East and West

Tamura Sōryū (1846–1918), a Buddhist monk and artist, was instrumental in introducing Western-style painting to Kyoto. Born in Tanba Province, Tamura displayed artistic talent from a young age, studying traditional Nanga painting before transitioning to Western techniques. His fascination with realism led him to acquire a camera and study oil painting under European mentors, including British artist Charles Wirgman. Tamura’s influence extended beyond his own works; he taught at the Kyoto Prefectural School of Painting and later established the Meiji Art Institute, where he mentored emerging artists. His self-portrait, housed at the National Museum of Modern Art in Kyoto, exemplifies his mastery of Western realism. Tamura’s ability to blend Western techniques with traditional Japanese themes made him a pivotal figure in the evolution of modern Japanese painting.

Morizumi Isana (守住勇魚): The Innovator of Kyoto’s Art Scene

Morizumi Isana (1854–1927) was a key figure in introducing Western-style art to Japan. Born in Tokushima Prefecture, Isana began his artistic training under his father, a Sumiyoshi school painter, before moving to Tokyo to study Western techniques under Kunisawa Shinkurō and Italian painter Antonio Fontanesi. Isana co-founded the Jūichi-jikai (Eleven Members Society) to promote Western-style painting and later moved to Kyoto, where he taught at Doshisha University and the Kyoto Higher School of Art and Craft. His contributions to Kyoto’s textile industry, particularly his designs for Nishijin textiles, showcased his versatility. Isana’s works, such as "Male Nude" and "Landscape," are preserved at the Tokyo University of the Arts Museum, reflecting his enduring influence on Japan’s art scene. Morizumi Chikana (守住周魚), younger sister of Isana, was also a painter.

Koyama Sanzō (小山三造): The Lithographer and Exhibitor

Koyama Sanzō (1860–1927) was another prominent Western-style painter of the Meiji era. Born in Shizuoka Prefecture, Sanzō studied at the Kobu Art School in Tokyo before relocating to Kyoto, where he became a professor at the Kyoto Prefectural School of Painting. After resigning in 1881, he ventured into lithography, producing art reproductions and instructional materials. Sanzō was an active participant in the art community, organizing exhibitions with fellow artists like Morizumi Isana and Tamura Sōryū. His later years were spent in Fushimi, Kyoto, where he continued to innovate and contribute to the artistic dialogue of his time.

Hikita Keizō (疋田敬蔵): The Botanical Illustrator

Hikita Keizō (1851–?) was a Western-style painter and educator who studied under Antonio Fontanesi at the Kobu Bijutsu Gakko. In 1879, he founded the Meiji Art School to promote Western-style painting and later joined the Hokkaido Development Commission, where he showcased his talent with works like "Autumn Scenery of the Ishikari River." Hikita’s dedication to art education was evident in his teaching role at the Kyoto Prefectural Art School. After retiring, he focused on lithography, compiling his botanical illustrations into the "Keiran Gafu," a collection that remains a testament to his artistic vision and contribution to art literature.

A Collective Legacy

Together, Ōhira Hiromasa, Tamura Sōryū, Morizumi Isana, Koyama Sanzō, and Hikita Keizō represent the vanguard of Western-style painting in Meiji Japan. Their individual journeys—marked by a relentless pursuit of knowledge, a commitment to education, and a passion for innovation—collectively shaped the trajectory of Japanese art. By blending Western techniques with Japanese sensibilities, they created a unique artistic language that continues to inspire and influence artists today. Their legacy is not only preserved in their works but also in the countless students they mentored and the institutions they helped establish, ensuring that their contributions to Japan’s artistic heritage endure for generations to come.

Akimoto of Ryoueisha 両栄社 1889

This card was sent by an individual named 秋元 (Akimoto)—though we are unable to decipher his first name—from 摂津神戸兵庫 (Settsu Kobe Hyogo) on July 15, 1889. He lists his address as 兵庫 宮前町廿六番地 両栄社 (Hyogo Miyamae-cho 26-banchi Ryoueisha) and addresses the recipient, Maeda Yoshihiko, as 油絵師 (Aburaeshi, meaning "oil painter").

While Ryoueisha is likely the name of a business, we have been unable to determine its nature or purpose. Additionally, without knowing Akimoto's full name, further research into his identity has proven challenging.

Akihara Motoyuki of Maruyama Kyoto

These two cards are dated January 2, 1889, and February 15, 1891, and bear postmarks from Yamashiro Kyoto (山城京都). While we are not entirely certain of the sender's identity, we believe it to be 秋原本之 (Akihara Motoyuki) from Maruyama, Kyoto. Unfortunately, we have been unable to confirm his identity or find further information about him.  

Hirase Yoichiro (1859～1925) Renowned Japanese Malacologist 平瀬 與一郎

Although some correspondence of Hirase Yoichiro is preserved in the Smithsonian Collection, these letters are limited to the period between 1900 and 1923. Additionally, a few letters are found in the collection of John Read le Brockton Tomlin (see 2 photos of typewritten letters from their collection below), a prominent British malacologist, but these also date from the later years of Hirase's life. To date, no correspondence from his earlier years has been discovered outside of our collection, which includes six postal cards spanning 1889 to 1891: January 2, 1889; March 25, 1889; August 6, 1889; January 1, 1890; July 9, 1891; and August 5, 1891. These early correspondence provide valuable insights into Hirase's formative years as a malacologist and naturalist.

All six cards bear a postmark from 山城京都 (Yamashiro Kyōto). Four of them feature Hirase Yōichirō's personal red stamp, which includes his name and address: 平瀬與一郎, 京都烏丸通, 下長者町北 (Hirase Yōichirō, Kyōto Karasumaru-dōri, Shimochōja-machi Kita). Notably, Hirase occasionally uses the simplified character "与" instead of "與" when handwriting his name, appearing as 平瀬与一郎.

Hirase Yoichiro (平瀬 與一郎, 1859–1925) was a pioneering Japanese malacologist, naturalist, and renowned researcher specializing in shellfish. His groundbreaking contributions to the field of malacology earned him widespread recognition. Following in his footsteps, his son, Hirase Shintarō (平瀬 信太郎, 1884–1939), also became a distinguished malacologist, further solidifying the Hirase family's legacy in the study of mollusks. Hirase made substantial contributions to the understanding of Japanese shellfish during the Meiji and Taisho periods. His research was entirely self-funded, which eventually led to financial and physical exhaustion, preventing him from fully realizing his dream of cataloging all Japanese shellfish. Despite these challenges, Hirase's work laid the foundational knowledge for future Japanese malacologists.

Hirase dedicated much of his life to the study of mollusks, amassing an extensive collection of shells and identifying over 700 new species. His meticulous research significantly advanced malacology in Japan, a field that had previously been dominated by Western scholars. Recognizing the need for a platform to disseminate knowledge, he founded Kai Ryū Zasshi (Conchological Magazine) in 1907, Japan's first periodical dedicated to the study of mollusks. This publication not only facilitated scientific discourse but also encouraged Japanese researchers to contribute to the growing body of knowledge on marine life.

In 1913, Hirase established the Hirase Conchological Museum in Kyoto, which housed his vast collection and served as a hub for research and education. His dedication to collecting and classifying mollusks provided future generations with a wealth of knowledge and an invaluable resource for continued study. However, unlike many of his contemporaries who relied on institutional backing, Hirase funded his research entirely on his own. This placed an immense financial strain on him, as he covered the costs of expeditions, specimen preservation, and publication expenses out of pocket.

Artistic Contributions

While Hirase was a scientist at heart, his appreciation for the aesthetic beauty of shells was equally profound. His most notable artistic endeavor was Kaigara Dammen Zuan (貝殻断面図案), published in 1913. This woodblock-printed book showcased intricate cross-sectional designs of shells, revealing their natural symmetry and structure in a way that was both scientifically accurate and artistically compelling. The book, produced by the renowned Kyoto publisher Unsōdō, reflects a harmonious blend of traditional Japanese printmaking techniques and modern scientific illustration.

Hirase’s work in Shell Motifs highlights his ability to transform natural forms into mesmerizing artistic compositions. His renderings of shell interiors, with their delicate spirals and layered formations, resemble abstract art while maintaining their scientific integrity. The precision and elegance of these depictions suggest that Hirase viewed mollusks not only as subjects of study but also as objects of beauty. His artistic vision extended beyond mere documentation—he sought to capture the inherent patterns and complexity of marine life in a way that would inspire both scientists and artists alike.

Personal Sacrifices and Legacy

Despite his passion and dedication, Hirase’s self-funded research eventually took a toll on him. The financial burden of maintaining his collection, producing publications, and sustaining his museum led to significant hardship. As his resources dwindled, his ability to continue his work diminished. Coupled with the physical exhaustion of fieldwork and meticulous study, these challenges ultimately prevented him from fully realizing his dream of cataloging all Japanese shellfish. His museum, once a center for malacological research, eventually closed, and much of his collection was dispersed.

Famous 毛利 Mōri-Clan to Rokuyōdo Meiji 22 (1889)

These two postal cards were postmarked in 摂津大坂島ノ内 (Settsu Osaka Shimanouchi) on January 2, 1889, and February 22, 1889, respectively. Both cards feature a return address of 大坂南区 (Osaka Minami-ku). Interestingly, they are addressed to Maeda Yoshihiko at 六要堂 (Rokuyōdo). We’ve previously discussed the significance of the term “Rokuyōdo” in past posts, so if you’re curious about its meaning and historical context, we encourage you to refer to those earlier entries.

As for the sender, the name 毛利 (Mōri) stands out—a name of considerable historical importance in Japan. It’s worth noting that “Mōri” should not be confused with the similar-sounding “Mori.” The Mōri clan holds a prominent place in Japanese history, particularly during the Sengoku and Edo periods. Unfortunately, the sender’s given name on these cards is illegible, making it difficult to determine which branch of the Mōri clan he belonged to or what his connection might have been to the artist, Maeda Yoshihiko.

Maeda himself hailed from a samurai-class family, albeit one with a relatively low stipend. This adds an intriguing layer to the correspondence, as it hints at a possible relationship—personal, professional, or otherwise—between the sender and Maeda. 

1891 油画師 Maeda Yoshihiko

This postcard, sent from Settsu Kobe Hyogo (摂津神戸兵庫) and dated August 19, 1891, addresses Maeda as 油画師 (Aburaeshi), meaning "oil paint artist." Given the frequency with which this title appears on such cards, it is evident that Maeda had established himself as a prominent and well-recognized Western-style artist by the mid-1880s. Unfortunately, as is the case with many of these postcards, we are unable to identify the sender,斎藤貞一 (Saitō Teiichi),  nor can we decipher the message written on it. This lack of information leaves gaps in our understanding of the context and personal connections associated with these correspondences.

前田吉彦先生 明治24年

This postcard, bearing a postmark from August 24, 1891, was sent from 摂津大坂島ノ内 (Settsu Osaka Shimanouchi) and is addressed to Maeda Yoshihiko Sensei. The return address is listed as 大坂島ノ内 (Osaka Shimanouchi), indicating it was sent locally. As is typical with many early postal cards, the sender’s name is unreadable.

Yamada Kaidō (山田介堂) 1891 Nanga Painter

Postmarked December 4, 1891, at Yamashiro Kyoto (山城京都), this postal card was sent by Yamada Kaidō (山田介堂) while staying at the residence of Inoue Uhei (京都御車道今出川栄町井上宇兵衛宅). In the message, Yamada addresses Maeda Yoshihiko of Kobe as Seiyōgaka (西洋画家, Western-style painter), which is the first instance we have seen him referred to in this way. Most of the time, he was addressed as Aburaeshi (油画師, oil painter).

Yamada Kaidō (1869–1924) was a prominent Japanese painter active during the Meiji and Taishō periods, known for his contributions to Nanga (Southern School) painting and his influence on the Kyoto art scene. Born in Maruoka, Fukui Prefecture, he displayed an early interest in art and initially studied under Wang Yanzhang, a Chinese painter in Nagasaki, where he gained a foundation in Nanga techniques.

Seeking further refinement, he moved to Kyoto and trained under renowned artists such as Tanomura Chokunyū and Tomioka Tessai, while also studying under Hosoya Rissai in Akashi and Hirano Goga in Hita. His mastery of Nanga painting earned him recognition at the prestigious Bunten (Ministry of Education Art Exhibition), where he received multiple awards. In 1921, he co-founded the Nihon Nanga-in (Japan Nanga Institute) alongside fellow artists Tajika Chikuson and Ikeda Keisen, solidifying his status as a leading figure in the Nanga revival movement.

His works, often characterized by vibrant blue-green landscapes and poetic inscriptions, reflect a synthesis of traditional Chinese and Japanese aesthetics. Despite losing vision in one eye in his later years, he remained a dedicated artist, adopting the pseudonym "Sekigyokudōjin" (One-Eyed Jade Recluse) and continuing to produce remarkable works until his passing on September 17, 1924.

Today, his paintings are highly regarded in Japanese art circles, with pieces held in private collections and museums. His contributions to Nanga painting highlight his deep engagement with both Chinese and Japanese artistic traditions, ensuring his legacy endures through his works, which continue to inspire admiration among art historians and collectors alike.

明治24年前田吉彦の往復はがき

This card was postmarked on January 11, 1891, in Settsu Kobe Hyogo (摂津神戸兵庫) and was sent by Nakajima Yajiro? (中島(弥?)次郎). While we have featured several individuals with the surname Nakajima on this blog, it remains unclear whether this Nakajima or any others are related.

The card itself is a distinctive pink double postcard (往復はがき), a clever stationery format designed for prepaid return messages. It is likely that Maeda Yoshihiko initially sent this double card to Nakajima, who then separated it into two parts, using one half to reply. This ingenious method saved Nakajima 1 sen in postage, showcasing the practicality of such postal innovations during the era. The message from Nakajima appears poetic and reflective, suggesting a nostalgic journey? 

Masuda Matsuyuki 増田松之 from Watanabe Bunzaburō 渡辺文三郎 1889

On July 29, 1889, Watanabe Bunzaburō, husband of Yūkō (幽香), a prominent figure at the Goseda Art School, sent a postcard to Maeda Yoshihiko in Kobe. This postcard is also addressed to Masuda Matsuyuki, who was staying with Maeda at the time, underscores the close ties among artists and educators of the era. These relationships fostered collaborations that significantly enriched the artistic community. Watanabe appears to have been informing them of his new address.

Masuda Matsuyuki (1862–1932, 増田松之) was a prominent yet relatively under-researched figure in the artistic and educational landscape of Meiji-era Japan, not widely known in Japan or the West. As both an artist and educator, he navigated the complex intersection of Japan’s traditional culture and the growing influence of Western art. His contributions ranged from his own creative work to his influential roles in teaching and collaborating with other artists and intellectuals.

Masuda’s artistic training began with Takahashi Yuichi, widely regarded as a pioneer of Western-style oil painting in Japan. Yuichi’s innovative approach to incorporating realism and Western techniques had a lasting impact on Masuda, whose skills were further refined under the tutelage of Goseda Hōryū (五姓田芳柳). These formative years provided Masuda with a strong foundation in Western-style painting, setting the stage for his later work in both artistic and educational spheres.

One of Masuda’s most notable achievements was the publication of the Watercolor Painting Album (水彩画帖), a three-volume series created in Osaka in 1892–1893 (Meiji 25–26). Printed using multi-color lithography, this series showcased Masuda’s mastery of watercolor techniques and his ability to adapt them to an educational context. The albums, now preserved in institutions such as the National Diet Library and the Sakura Color Products Collection, were an important resource for disseminating Western artistic methods in Japan. By producing these volumes, Masuda not only contributed to the artistic field but also addressed the educational need for accessible teaching materials.

Masuda’s involvement in art education extended beyond publications. Early in his career, he served as an art instructor at Saitama Normal School, where he trained future educators in drawing and painting. His role as a teacher reflected his belief in art as a critical component of modern education. Masuda later joined the faculty at Keio University, where he worked in the Faculty of Commerce and Industry and the Ordinary Department (普通部). He succeeded Nose Tsurujirō (能勢鶴次郎) in 1909 and served until 1919. During his tenure, Masuda contributed significantly to the development of Keio’s art programs, balancing his work at the Ordinary Department with responsibilities in other areas of the university.

One such collaboration was the organization of an exhibition of oil paintings and modern calligraphy at Kobe Elementary School. This event, held in conjunction with a meeting of the Academic Encouragement Association (学術奨励会), was co-organized by Masuda, Maeda Yoshihiko, and Nakajima Seikei. The exhibition, which included an on-site calligraphy demonstration, reflected the intersection of traditional Japanese calligraphy and Western oil painting, offering the public a rare opportunity to engage with these evolving art forms.

Masuda’s work extended into other teaching roles as well. Records indicate that he was involved in teaching at Kakegawa Middle School following its re-establishment in 1900 (Meiji 33). While details about the exact timeline are unclear, this position further illustrates his commitment to advancing art education in regional settings. His career also intersected with broader educational reforms, as his expertise in Western art and painting techniques positioned him to influence Japan’s incorporation of these methods into formal curricula.

Through his artistic contributions, educational efforts, and collaborations, Masuda Matsuyuki emerged as a key figure in the cultural transformation of Meiji-era Japan. His ability to bridge the gap between traditional Japanese art and Western techniques exemplified the spirit of modernization that defined the period. By training the next generation of educators, creating accessible teaching materials, and participating in public exhibitions, Masuda left an enduring legacy in both art and education.

1890 Poetic Verse of Seasonal Change 田門義典

This postal card, dated May 27, 1890, was sent from Osaka. The address side features exquisite penmanship, making it exceptionally clear and easy to read. The sender explicitly addresses Maeda as 油絵師 (aburaeshi), meaning "oil painter."

However, the message side, while equally beautiful, is written in a highly personalized, freehand style typical of the period, which makes it challenging to decipher. Although "AI" interprets the sender's name as 田中昇也 (Tanaka Shōya), we believe it is more likely 田門義典 (Tamon Yoshinori), who lists his address as 大阪市東区 (Osaka-shi, Higashi-ku).

If the sender is indeed Tamon Yoshinori, he writes a poetic seasonal greeting that flows gracefully. While the "AI" translation may not be entirely accurate, it captures a lovely sentiment, so I include it here not for precision but for sheer enjoyment:

Suddenly, the heat has arrived.

The atmosphere has shifted, yet if all remains unchanged,

let us share a lighthearted conversation while we can.

Near the great bell, a refreshing breeze blows.

Together with a friend, I take up my brush

to capture the famous scenery.

I send you my warm regards.

Osaka Great Meiji Flood of 1885

Sent on January 15, 1886, from Osaka by Nakajima Tamajirou (中嶋玉二郎), he lists his address as 大坂北浜正栄館 (Osaka Kitahama Seieikan), a location that may have been a residence, business, or institution in the commercial district of Kitahama, Osaka.

Nakajima addresses Maeda with great respect, using the formal title 前田先生机下 ("Maeda Sensei, under your desk"), a phrase that conveys humility and deference. This suggests that Maeda held a position of authority or mentorship in Nakajima’s life, possibly as a teacher, mentor, or senior figure. The mention of 六要堂 (Rokuyōdō) once again appears, further emphasizing its significance in their correspondence. As we’ve discussed in previous posts, 六要堂 likely refers to an art studio, class, or cultural space associated with Maeda Yoshihiko.

In the message, Nakajima references a flood report published in the Asahi Shinbun (朝日新聞), one of Japan’s leading newspapers at the time. The Great Meiji Flood of 1885 (明治十八年の大水害)  had a profound impact on several regions in Japan, with Osaka being notably affected (see the photos of contemporary illustrations). The flood submerged most of Osaka city, impacting approximately 270,000 residents. It was one of several severe natural disasters during the Meiji period, shaping Japan’s approach to disaster prevention and infrastructure development.

Osaka Jinjō Chūgakkō 1889

This is a New Year’s greetings card postmarked on January 1, 1889, in Settsu, Osaka (摂津大坂). The return address is listed as Osaka Jinjō Chūgakkō (大阪尋常中学校), or Osaka Ordinary Middle School, an educational institution established during the Meiji period in Japan.

The card includes two sender names, but their exact readings are unclear. Our best guesses are 水空玄女 (Suikū Genjo) and 幸国亭一 (Kōkoku Teiichi), though they could also be 来田 (Kita) and 水宝 (Mizuho), or something entirely different. Given the return address and the context, it is likely that the senders were educators or otherwise connected to the school, and they may have known Maeda Yoshihiko through educational or professional links. 

油画師の前田吉彦先生 明治21年

This postcard, dated February 18, 1888, was sent from Osaka by someone named 秋山 (Akiyama) to 油画師 前田吉彦先生 (Abura-eshi Maeda Yoshihiko-sensei). The message begins with the usual polite greetings and a reference to the cold weather. Akiyama then requests permission to visit Maeda at his school, as the term 母校 (alma mater) appears in the text, suggesting a possible student-teacher relationship. Akiyama also asks for a reply. While it seems likely that Akiyama was once a student of Maeda, the lack of a full name makes it impossible to uncover further details about him.

九十銭の謎: 1891 Letter to Kadouchi

Dated May 7, 1891, this letter was sent from 摂津大坂 (Settsu Osaka). The sender listed their return address as 大坂南本町4丁目 (Osaka Minami Honmachi 4-chome). It was addressed to 門内 (Kadouchi), care of Maeda Yoshihiko. Unfortunately, the identity of both the sender and the recipient, Kadouchi, remains unknown. The content of the message appears to reference a payment of 九十銭 (90 sen) for an unspecified purpose. The context of the payment and the relationship between the parties involved are unclear.

1889 油絵師 Maeda Yoshihiko Red Ink Stamp 吉彦

This card is postmarked in 摂津大坂 (Settsu Osaka) and dated August 1, 1889. The sender’s name is illegible, but they address Maeda Yoshihiko as 油絵師 (abura-eshi), meaning "oil paint artist." This term appears frequently in the postal cards within this collection, suggesting it was a well-known title for Maeda.

The message seems to inquire about an upcoming meeting, with the writer asking Maeda about a specific matter. While the content is somewhat typical of the correspondence in this collection, what makes this card particularly interesting is the small, oval, red ink stamp bearing Maeda’s name, 吉彦 (Yoshihiko). This is the first instance we’ve encountered of such a stamp in this collection, and it may have been used by Maeda on his artworks.