高梁 (岡山県) 生まれの前田吉彦と辻の関係は？

These five postcards were sent by someone named Tsuji (辻). Unfortunately, we have not been able to decipher his given name or the content of his messages. All five were sent from Tokyo, with return addresses from two locations: Nihonbashi-ku (日本橋区) and Minamimaki-chō, Kyōbashi-ku (京橋区南槙町). One card refers to Maeda as an aburaeshi (油画師), or oil painter.

Postmarks are June 13, 1888; January 3, 1889; April 19, 1890; May 21, 1890; and May 28, 1890.

Since Maeda was originally from Takahashi in Bitchū, it’s possible that Tsuji was also from that region. He may even have been related to Tsuji Hichirōzaemon (辻 七郎左衛門, 1827–1888), a mid-ranking samurai official of the Bitchū-Matsuyama Domain. Born in 1827 (Bunsei 10) and passing away on September 12, 1888 (Meiji 21), Hichirōzaemon served under the honorary title toshiyori-yaku taigū (年寄役待遇, “senior advisor status”), receiving a stipend of 80 koku.

Originally named Tadasada (忠貞), he was commonly known as Shichirōzaemon (七郎左衛門) before later adopting the name Sayū (左右). He also used the artistic pseudonym Katan (華潭). Tsuji was an accomplished painter, particularly skilled in figurative and bird-and-flower (花鳥画) subjects, and was also a Chinese-style poet. His literary works appear in the anthology Takahashi Kokon Shisō (『高梁古今詞藻』). Among his writings is Kannan Jitsuroku (『艱難実録』), a firsthand account of Lord Itakura Katsukiyo’s experiences from the Battle of Toba-Fushimi (1868) to his surrender to imperial forces.

Tsuji was born in the Edo residence of the Matsudaira clan of Kuwana Domain (now in Mie Prefecture). He entered the service of Itakura Katsukiyo (板倉勝静) when Katsukiyo was adopted into the Itakura family from the Kuwana-Matsudaira line. As a close retainer, Tsuji held several important positions, including: attendant (近習), inspector (監察), temple and shrine administrator (寺社役), Edo liaison officer (江戸公用人), assistant councilor (参政助勤), chief administrator (元締), and chamberlain (側用人).

During the Boshin War (1868), he accompanied Itakura on the northeastern campaign. After Itakura’s surrender, Tsuji was imprisoned in the Shigehara Domain (重原藩), but was pardoned on December 23, 1869 (Meiji 2). He then relocated to Shigehara, where he became a professor at the domain school (養生館) and later served as chief administrator (大参事).

After the abolition of the domain system in 1871 (Meiji 4), Tsuji joined the new Meiji government as chief magistrate of Kamo District in Aichi Prefecture (愛知県加茂郡長).

We’ve already noted a connection between Maeda and Itakura Katsusuke (see our November 22, 2024 post), so it’s reasonable to assume that this Tsuji may have been within their shared circle. At present, we do not know which Tsuji sent the cards—but as we continue to explore this collection, we may yet uncover his identity.

Unreadable Osaka Postcard Dated August 8, 1889

Unfortunately, we are unable to decipher any of the writing on this postcard. Unless another, more legible example of the sender’s handwriting comes to light, this card—sent from Osaka in 1889—will remain an unsolved mystery, its message lost to time.

June 26, 1889 Morimoto of Nishinomiya Hyogo

This postcard bears a postmark from 摂津西ノ宮 (Settsu Nishinomiya) in Hyogo Prefecture and was sent by an individual named Morimoto—though his given name remains uncertain. The message appears to outline travel plans, but what makes this card particularly noteworthy is how Morimoto addresses Maeda Yoshihiko: using the suffix "君" (kun).

This choice of address suggests one of two possibilities:

A close personal friendship between Morimoto and Maeda, as "kun" is often used among peers or by superiors toward younger or subordinate males.

Morimoto held a higher social or professional status than Maeda, granting him the familiarity to use "kun."

This is only the second known instance of Maeda being addressed this way in correspondence. For the previous example, refer to our October 13, 2024 post.

Unreadable Postal Card to Maeda Yoshihiko – November 8, 1891

The date is derived from the Kobe postmark, as the originating postmark is too faint and incomplete to decipher. The sender’s name, message, and return address are entirely illegible. However, as we continue examining this collection of postcards, we may encounter another from the same sender with identifiable details that could help clarify this one.

Yamana Ukai (山名迂介) Uchida Mohachi (内田茂八) Watanabe Yūkō (渡辺幽香) Relations?

These two postcards offer rare and compelling insights into the network of Japanese artists during the Meiji period, subtly “knitting together” personal and professional relationships that have otherwise gone undocumented.

Yamana Ukai, April 17, 1889

Postmarked in Shitaya, Tokyo (下谷東京), this postcard represents one of only two known records of the elusive artist Yamana Ukai (山名迂介), a figure absent from formal art historical archives despite extensive research. Sent from the residence of Watanabe Bunzaburō at 3-68 Naka-Okachimachi, Shitaya, and addressed to Maeda Yoshihiko, the card contains a respectful reference to Watanabe as 渡辺老兄 (Watanabe Rōkei, “esteemed elder Watanabe”), suggesting a senior-junior or master-apprentice relationship. While this establishes Yamana’s association with Watanabe’s artistic circle, much of the card’s content remains undeciphered for now.

Yamana Ukai, February 7, 1889

The earlier of the two cards, postmarked in Osaka, lists the return address of Uchida Mohachi (内田茂八) at 7-chōme Nakanoshima, Kita-ku—indicating Yamana was staying there at the time. Remarkably, this card includes two references to Watanabe Yūkō (渡辺幽香), a talented female artist. Her name appears first as 幽香女史 (Yūkō Joshi), using the honorific joshi for educated or professional women (circled in red on the original), and again as 渡辺幽香, spaced in signature-like fashion at the bottom-left corner, implying direct involvement.

Uchida Mohachi was likely an artist in his own right with a number of pupils. In fact, Watanabe Bunzaburō refers to 内田茂八門—the school or artistic lineage of Uchida Mohachi—when discussing Yamana Ukai, reinforcing the impression that Yamana was part of Uchida’s circle as well.

Adding to the intrigue is the historical context: just two weeks prior to the Osaka postmark, the city hosted its first lithography and copperplate society meeting at the nearby Jiyūtei Hotel. Given Watanabe Yūkō’s known training in both techniques under Matsuda Rokuzan (松田緑山), and the proximity of Uchida’s address to the meeting site, it’s plausible—though speculative—that Uchida, Yamana, and Yūkō all attended. The double mention of Yūkō to Maeda Yoshihiko, who likely knew her reputation, raises further questions. Could this hint at collaborative work or a planned exhibition now lost to history?

This unexpected find not only revives Watanabe Yūkō’s faint historical presence but also offers a rare glimpse into the possible participation of women in early Meiji-era printmaking circles—a small but valuable clue in the broader reconstruction of women’s roles in Japanese art.

Watanabe Yūkō (渡辺 幽香, 1856 – 1942) was a pioneering Japanese artist of the Meiji period, known for her Western-style (yōga) paintings. Born into an artistic family in Edo (now Tokyo), she was the daughter of Goseda Hōryū (五姓田 芳柳, 1827–1892), a prominent painter, and the sister of Goseda Yoshimatsu (五姓田 義松, 1855–1915), also an accomplished artist. Her early exposure to art within her family significantly influenced her career. ​

Yūkō received her initial training in painting from her father and brother, immersing herself in the techniques of Western-style art. This familial mentorship was a common pathway for women artists of that era, as formal art education institutions were predominantly male-oriented. ​In 1869, Yūkō began a series of lithographs titled "Sun'in mankō" (寸陰蔓稿), depicting popular scenes of Japan. The following year, she created another series of pictures, showcasing her versatility and commitment to capturing Japanese culture through her art. ​

Yūkō's personal life was closely intertwined with her professional journey. She married Watanabe Bunzaburō (渡辺 文三郎, 1853–1936), a fellow painter who had also studied under her father. This union further solidified her connections within the art community and provided mutual support in their artistic endeavors. ​

Beyond her artistic achievements, Yūkō was dedicated to the advancement of women's education in Japan. She taught at the Gakushūin Women's Higher School (学習院女子高等科), an institution established to educate women of the nobility. Her role as an educator reflected her commitment to empowering women through education, aligning with the broader societal shifts of the Meiji era that sought to modernize and elevate the status of women. ​

Watanabe Yūkō's life and work exemplify the challenges and triumphs of female artists in Meiji Japan. Her ability to navigate the male-dominated art world, coupled with her dedication to education, underscores her significant contributions to Japanese art and society.

山下久馬太 Yamashita Kumata Rare Meiji Japanese Artist

Yamashita Kumata (山下久馬太), a rare and lesser-known artist of the Meiji Period, graduated from the Kyoto Municipal School of Arts and Crafts in July 1886 (Meiji 19). This institution, established during a transformative era in Japanese history, was instrumental in shaping modern Japanese art by blending traditional techniques with Western influences. At a time when Japan was rapidly modernizing, the school aimed to cultivate a new generation of artists who could navigate the convergence of Eastern and Western artistic traditions. Yamashita, like many of his peers, was trained in both Eastern and Western painting styles, equipping him with the technical skills and conceptual understanding to contribute to Japan’s evolving art scene.

The Kyoto Municipal School of Arts and Crafts was part of a broader effort to preserve Japan’s cultural heritage while embracing Western artistic methods. Graduates from its Tōsō and Sōsō art departments were known for their dual expertise, a hallmark of Meiji-era artists. Yamashita’s education at this institution would have provided him with a strong foundation to engage with the dynamic artistic landscape of his time.

Two postal cards sent by Yamashita offer a glimpse into his life and work. The first, postmarked January 2, 1890, lists his return address as Kyoto Jinjō Shihan Gakkō (京都尋常師範学校), or Kyoto Normal School, a teacher training institution established in 1876 (Meiji 9) to address the need for qualified educators during Japan’s educational reforms. The second card, dated June 15, 1891, shows his address in Kyoto’s Kamikyō Ward (京都市上京区). Both cards bear the postmark “Yamashiro Kyoto” (山城京都). The 1891 card is addressed to Maeda Yoshihiko, identified as an oil painter (油画師, Aburaeshi), and appears to be a letter of inquiry related to art, specifically concerning the use and significance of colors.

NOTE: The third postcard displayed here, labeled as "sample," is included from a separate listing. It serves as evidence to demonstrate the connection between Yamashita Kumata (山下久馬太) and Hikita Keizō (疋田敬蔵), illustrating that the two were acquainted with each other.

The sole reference to Yamashita Kumata’s identity as an artist is a painting he created in 1887, 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). Yamashita’s role in the artistic circles of the Meiji era is further highlighted by his close association with Hikita Keizō (疋田敬蔵), a Western-style painter and educator who studied under Antonio Fontanesi at the Kobu Bijutsu Gakko, as evidenced by our postal card dated May 22, 1891, from Yamashiro, Kyoto, which bears both of their names as senders. 

This card not only confirms their acquaintance but also suggests a collaborative relationship, possibly extending to Maeda Yoshihiko, reflecting their shared artistic spirit. Additionally, Yamashita’s influence is underscored by his work as a drawing instructor for Kojima Torajirō (児島虎次郎, 1881–1929), further cementing his place within the creative networks of the time.