When we first published our post on October 16, 2024, titled 1889年のはがき: 前田吉彦宛の美術用品の話, we were unable to determine Nakajima’s first name, leaving his identity uncertain. It was only later, upon identifying his connections not only to Maeda Yoshihiko but also to Masuda Matsuyuki, that a missing piece of the puzzle came into focus. He was one of three artists involved in the 1891 Art Exhibition, alongside Maeda Yoshihiko and Masuda Matsuyuki.
In this postal card, Nakajima refers to クラヒオン チョーク (kurahion chōku), a term that appears to be a transliteration of a foreign phrase, likely describing an art material used by Japanese painters during the Meiji era. クラヒオン (kurahion) is probably derived from the French word crayon, which can refer to a pencil, colored pencil, or various other drawing tools such as pastel sticks. チョーク (chōku) is the Japanese transliteration of “chalk”.
Taken together, クラヒオン チョーク likely refers to a type of drawing medium akin to chalk crayons or pastel chalks. During the Meiji period, Japanese artists were increasingly introduced to Western art supplies and techniques, adopting a variety of tools such as crayons and chalks into their own practices. It’s worth noting that at the time, terminology for art materials in Japan had yet to be standardized. As a result, phonetic approximations of foreign words were commonly used, producing transliterations like “クラヒオン” for “crayon.”
神戸油絵と書画の展観 1891 Kōbe Aburae to Shoga no Tenkan
February 10, 1891
"Exhibition of Oil Paintings and Calligraphy — On the occasion of the Academic Encouragement Association meeting to be held tomorrow, the 11th, at Kobe Elementary School, there will be an exhibition of oil paintings and modern calligraphy, along with an on-site calligraphy demonstration starting at noon. The event is organized by three individuals: Maeda Yoshihiko, Masuda Matsuyuki, and Nakajima Seikei. The exhibited works will remain open to public viewing until 3 p.m. the following day, the 12th."
"油絵と書画の展観―明１１日神戸尋常小学校内において学業奨励会の挙あるに際し 同日正午１２時より油絵と近世書画の展観ならびに席上揮毫を催すよし 此の発起人は前田吉彦、増田松之、中島静溪の三氏にて右油絵と書画は翌１２日午後３時迄縦覧を許しますと"
The above notice of exhibition was published on February 10, 1891 in 神戸又新日報 (こうべゆうしんにっぽう), Kobe newspaper, according to morikinseki.com. It is a comprehensive digital archive and research platform dedicated to Mori Kinseki (森琴石, 1843–1921), a prominent Meiji-era Japanese artist known for his contributions to Nanga (traditional Southern Chinese-style painting) and copperplate etching. The website serves as a critical resource for scholars, art enthusiasts, and historians, offering detailed insights into Mori’s life, works, and cultural influence.
The newspaper article confirms that Maeda Yoshihiko, Masuda Matsuyuki, and Nakajima Seikei collaborated closely, solidifying their bonds not only as fellow artists but also as personal friends. While this discovery illuminates their shared creative endeavors, Nakajima Seikei himself remains a historical enigma—his life and work seemingly erased by time.
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