A Glimpse into the Post-Meiji Networks of the Bitchū Elite 板倉勝弼

We recently came across a postal card that offers a rare look into the post-feudal connections of the former retainers and ruling class of the Bitchū Matsuyama Domain. The card was sent from 板倉勝弼 / 家扶, household of Itakura Katsusuke (1846–1896), the last daimyo of the domain. Dated September 25, 1889, and postmarked in Shitaya, Tokyo, it lists his return address as 3-chome, Yushima Tenjin-chō, Hongō Ward. The card is addressed jointly to Maeda Yoshihiko and Adachi Toshitsune (足立利庸), both of whom were associated with the Itakura clan.

Itakura Katsusuke: From Daimyo to Citizen

Itakura Katsusuke served as the final lord of the Bitchū Matsuyama Domain, later renamed Takahashi Domain in 1869. Like many former daimyo after the Meiji Restoration, he was stripped of his feudal title but permitted to retain a portion of his former holdings. He adapted to the new era by moving to Tokyo and taking on a civilian life under the kazoku peerage system. His presence in Tokyo, and his continued correspondence with former retainers like Maeda and Adachi, shows how the relationships forged under the han system often endured even after the social structure itself had been dismantled.

Katsusuke’s connection to his former retainers appears to have remained strong. This card, sent nearly two decades after the dissolution of his domain, demonstrates that he still maintained personal ties with those who had served under him—something not always visible in historical records but revealed here through everyday communication.

Adachi Toshitsune and His Role in Meiji Education

Born in 1853 in Nakanomachi, Takahashi (now part of Okayama Prefecture), Adachi Toshitsune was a samurai by birth and an educator by calling. He studied at the domain school Yūshūkan under Kamata Genkei and Kawada Ōkō, then went on to graduate from Tokyo Normal School. He returned to his home region and worked in elementary education across Okayama and Hyōgo prefectures for more than 40 years.

Adachi became a respected figure in local education, eventually serving as a circuit instructor, overseeing multiple schools—a role similar to what we now call a regional education supervisor. His contributions helped shape early Meiji-era education in the countryside, where trained teachers were still rare. In his later years, he lived in Suma, Hyōgo Prefecture. A poem he wrote at age 83 is preserved in the archives of Takahashi High School, and his writings are also found in local anthologies.

Shared Roots, Enduring Ties

Maeda Yoshihiko, another recipient of the card, was a Western-style painter and art educator based in Kobe. Like Adachi, he came from a former retainer family of the Itakura clan. The card illustrates how these men—once part of a feudal structure—carried those relationships well into the Meiji period. Though their professions had changed, they remained connected through personal bonds and shared history.

This single card helps confirm what we’ve suspected: the Itakura, Maeda, and Adachi families were not just historically connected—they actively stayed in touch, well into the 1880s. It’s a small but meaningful window into how former domain networks functioned behind the scenes in Meiji Japan.

Update: I’ve just uncovered something quite significant: Maeda Yoshihiko (前田吉彦) was married—information drawn directly from a primary source, our period postal card. The same card also reveals that his father, Maeda Chōbei (前田長兵衛), was still alive at the time, though in poor health. 

Thanks to a translator on Reddit, below is a reading of what Itakura Katsusuke (板倉勝弼, 1846–1896) wrote on September 25, 1889, followed by a refined English translation.

過日御差立之御郵書相達し拝誦 陳者御不幸ニ付御弔書之趣直チニ申上 尚御両人より御厚意御申越し相成候 御備へ物ハ作り花ニ而最早相済候故右ニ準スル代價何歟品物とモ思考候得共御都合之方可然と吉田君ニ計り御香奠として金五十銭奉供ス 扨モ御深情御感喜思召候 何れ追々御挨拶も可有之と奉存候得共御取込中不取敢御答迄 匆々不悉

九月廿五日投ス

再伸 御両君御親父母妻君之御大患ニ御憂意之趣幾重も御心事拝察候事ニ御座候 切角御自愛奉祈 ～奉希上候

I have received your kind letter the other day and have read it with gratitude.

Regarding the unfortunate news, please allow me to express my heartfelt condolences. I also sincerely thank you both for your thoughtful message.

As for the offering, since the arrangements have already been completed with artificial flowers, I considered providing a monetary equivalent or some item in its place. After consulting with Mr. Yoshida, I have respectfully offered 50 sen as an incense condolence gift.

Please accept this small token of appreciation for your deep kindness, which I sincerely cherish. I trust that I will be able to extend my greetings in due course, but for now, I wished to send this brief reply without delay amidst your busy circumstances.

Respectfully yours,

Sent on September 25

P.S.

I have heard, with much concern, about the serious illnesses of both your father and mother, as well as your wife. I can only imagine your sorrow and distress. Please take the utmost care of yourself — I earnestly pray for your well-being.

Yanai Kizō 柳井貴三 Shared Roots in Bitchū-Matsuyama

I’ve been examining a series of five Meiji-era postcards sent by Yanai Kizō (柳井貴三) to Maeda Yoshihiko, a Western-style painter and educator based in Kobe. These cards offer subtle but fascinating insights into their relationship—and into a shared regional history rooted in Bitchū-Matsuyama (present-day Takahashi City, Okayama Prefecture).

The Yanai family had served for generations as physicians to the Itakura clan, lords of the Bitchū-Matsuyama Domain. Kizō himself became a doctor and moved to Tokyo at the beginning of the Meiji era. Maeda’s family also came from this same domain, serving as retainers and samurai. It’s very likely their families knew each other under the old feudal structure.

Here’s a summary of the postcards:

Four were sent from Musashi Tokyo Ryōgoku:

August 3, 1889

January 4, 1890

August 11, 1891

October 13, 1891

Each of these cards includes a reference to 六要堂 (Rokuyōdō) alongside Maeda’s name and Kobe address. (We’ve discussed Rokuyōdō—possibly the name of Maeda’s studio or publishing imprint—in earlier posts.)

The earliest card in the series, sent on January 5, 1889, comes from Musashi Tokyo Kanda. It’s distinct in that Yanai addresses Maeda as 先生 (sensei)—a term of respect that may indicate a teacher-student relationship, professional admiration, or both. Interestingly, this honorific disappears from the later postcards. Did their relationship become more casual over time?

There are other quiet clues here too. The move from Kanda to Ryōgoku could reflect a change in Yanai’s residence or professional setting, possibly indicating career progress or relocation within Tokyo. These postcards don’t just document communication—they hint at enduring ties between two individuals whose lives bridged the world of feudal retainers and Meiji-era professionals.

If anyone has insights into Yanai Kizō’s medical career or the broader connections among former Bitchū-Matsuyama retainers during the Meiji period, I’d love to hear your thoughts. 

Note: Translator on Reddit was able to decipher Yanai's name.

Who was 谷鈴太郎 of 備作交誼会? Tani Suzutarō

This postcard was sent by Tani Suzutarō (谷鈴太郎), who lived at 神戸区阪本村五百二番地 on March 6, 1888 . It responds to an invitation to a kōgikai (交誼会), or friendship meeting, held on the 10th. Tani expresses appreciation for the invitation but explains that he was unable to attend due to official duties.

He also notes a likely clerical error: the age of a boy has been recorded incorrectly. He requests a correction, and also asks that his member number be updated in the March membership list.

Tani identifies the organization as the Bisaku Kōgikai (備作交誼会). “Bisaku” is an old and now-obsolete regional term that combined characters from Bizen (備前) and Mimasaka (美作), two former provinces that became part of Okayama Prefecture. While the exact use of “Bisaku” is rare even in Meiji-era records, the term appears here as a local or cultural reference—possibly indicating a gathering of people from that area now living elsewhere, such as Kobe.

The card reflects a network of individuals maintaining both personal and regional ties through polite, handwritten correspondence, even across distance and changing geographic terms.

Although we found records of several individuals from Takahashi, Okayama with the surname Tani—such as 谷三十郎 (Tani Sanjurō), 谷万太郎 (Tani Mantarō), 谷周平 (Tani Shūhei), and 谷資敬 (Tani Suketaka)—we do not know whether any of them are related to our 谷鈴太郎 (Tani Suzutarō).

高瀬好山 (Takase Kōzan) 1888 Japan Meiji Metalwork Artist

In 1888, a 1-sen postal card was sent to Maeda Yoshihiko, a Western-style painter and art educator based in Kobe. The sender expressed gratitude for a calling card, noting that a more formal letter of thanks would follow. The card was signed "高瀬" (Takase), accompanied by a red name seal bearing the same surname. This is Takase Kōzan (高瀬好山), a prominent artist known for his metalwork.

Born in 1869 in Kanazawa, Ishikawa Prefecture, Takase Kōzan began his career in the arts at the age of 14. In 1883, he joined a trading company in Kobe that dealt with ceramics for export. By 1887, he had transferred to the company's Kyoto branch, where he studied metalworking under the guidance of the second-generation metal artist, Tomiki Isuke (冨木伊助) .

Given Takase Kōzan's presence in Kobe in 1887 and his subsequent move to Kyoto, it's plausible that he had interactions with Maeda Yoshihiko, who was active in the Kobe art scene. The formal tone and careful handwriting of the 1888 postal card suggest that the sender was someone well-versed in classical brushwork, aligning with Takase's background.

森本清蔵の教育への貢献について

These three postcards were sent by Morimoto Seizō (森本清蔵) on January 1, 1889; September 10, 1889; and January 1, 1890. In them, he addresses Maeda using different titles—once as Aburaesh (油絵師, "oil painter") and once as Rokuyōdō (六要堂), possibly a name associated with Maeda’s studio or artistic persona. All were mailed from Tokyo while Morimoto was studying at Tokyo Higher Normal School.

Morimoto, a native of Hyōgo Prefecture, played a significant role in shaping Japan’s teacher training system during the Meiji and Taishō eras. He began his formal education at Kobe Normal School, graduating in 1885 (Meiji 18), and continued at Tokyo Higher Normal School, where he completed his studies in 1889 (Meiji 22)—a time when the institution stood at the forefront of pedagogical training in Japan.

After graduating, Morimoto embarked on a wide-ranging educational career. He taught and later became principal at Aichi Prefectural Normal School, held teaching posts in Tokushima, and went on to lead Fukuoka Prefectural Normal School. He also returned to his alma mater in Tokyo to teach, and later served as principal of Osaka Prefectural Normal School.

In 1904 (Meiji 37), Morimoto was appointed school inspector for Osaka Prefecture. Two years later, he joined the Ministry of Education as a national inspector. That same year, he was dispatched to Qing China to serve as an educational advisor in Fengtian Province—a notable international role during a period of growing Japanese influence in East Asia. After returning to Japan in 1908, he held principalships at Meirin Middle School in Aichi and Miyazaki Middle School in Miyazaki Prefecture.

Spanning local schools to national policy and even international outreach, Morimoto’s career reflected the evolving landscape of Japanese education in a period of rapid modernization. His leadership in normal schools and his involvement in policy helped lay the foundation for modern teacher training in Japan.

Rare New Year’s Postmark Error from Tokyo 1889 Morimoto Seizō

On January 1, 1889 (Meiji 22), 森本清蔵 (Morimoto Seizō)—an educator and graduate of both Kobe Normal School and Tokyo Higher Normal School—sent a postcard to Maeda Yoshihiko, a prominent Western-style painter based in Kobe. While seemingly a routine correspondence, this postcard bears a striking postmark error, offering a rare glimpse into the evolving postal system of Meiji-era Japan. In addition, a second name also appears on this card. It looks like 小林月新, but we are not 100%.

The Postmark Anomaly

The postmark, issued from 武蔵東京本郷 (Musashi Tokyo Hongō), displays the date as: 年ニ廿月一 (read right to left). Instead of placing the Meiji year (22) at the top, the month (January, 月一) appears first, followed by the year (廿二, 22)—a clear deviation from protocol. The correct format would have been: 月一年ニ廿. The mistake likely occurred due to New Year’s rush and human oversight.

The sender’s address—Ushigome-ku Yaraicho 26 banchi—and the recipient’s connection to Kobe’s artistic circles add further provenance value, making this postcard a fascinating artifact for postal historians and Meiji-era researchers.

Given the scarcity of such errors, this piece serves as a tangible reminder of a postal system in transition—one where tradition met innovation, occasionally with charming imperfections. 

Rare Artist: 増田松之 Masuda Matsuyuki - Pupil of Goseda Hōryū

This is a rare and fascinating postcard, postmarked November 13, 1889, in Kobe and sent by Masuda Matsuyuki to Maeda Yoshihiko in Hiroshima. It bears a scarce double-stamped Hiroshima postmark dated November 15, 1889. The card is addressed in care of 門山 (Kadoyama), whose given name remains undeciphered—for now. (See our February 5, 2025 post for a card sent by Kadoyama to Maeda.) We still do not know why Maeda was in Hiroshima at the time, nor the nature of his relationship with Kadoyama.

This is the only example authored by Masuda Matsuyuki within our collection of over 300 postcards addressed to Maeda Yoshihiko between 1887 and 1891. 

Masuda Matsuyuki (1862–1932, 増田松之) was a prominent yet little-known figure in the artistic and educational landscape of Meiji-era Japan. Although he played a meaningful role in shaping the early development of Western-style art education in Japan, his name remains almost entirely unknown outside the country, and even within Japan, he has received very limited scholarly attention. As both an artist and educator, Masuda worked at the intersection of traditional Japanese aesthetics and the rapidly expanding influence of Western art.

Masuda began his artistic training under Takahashi Yuichi, a pioneer of yōga (Western-style painting) in Japan, whose emphasis on realism and European techniques had a lasting impact. He later refined his practice under Goseda Hōryū (五姓田芳柳), further deepening his knowledge of Western painting methods. These formative experiences laid the foundation for Masuda’s dual focus on artistic creation and art education.

One of Masuda’s most important contributions was the publication of the Watercolor Painting Album (水彩画帖), a three-volume series produced in Osaka between 1892 and 1893 (Meiji 25–26). Printed in full color using lithography, these albums not only demonstrated his technical proficiency in watercolor but also served as instructional tools at a time when Japan was still developing its art education infrastructure. Copies are now preserved in institutions such as the National Diet Library and the Sakura Color Products Collection, underscoring their historical value as early examples of domestically produced art education materials.

Masuda’s influence extended into the classroom. Early in his career, he taught at Saitama Normal School, where he trained future teachers in drawing and painting—reflecting his belief that art had an essential place in modern education. In 1909, he joined Keio University, where he taught in both the Faculty of Commerce and Industry and the Ordinary Department (普通部), succeeding Nose Tsurujirō (能勢鶴次郎) and serving until 1919. His work there helped to shape Keio’s early art curriculum during a period when Western-style education was still evolving.

Masuda was also active in organizing public exhibitions. One notable example was a collaborative show of oil paintings and modern calligraphy held at Kobe Elementary School, co-organized with Maeda Yoshihiko and Nakajima Seikei as part of a meeting of the Academic Encouragement Association (学術奨励会). The exhibition, which included live demonstrations of calligraphy, reflected the cultural synthesis between Western and Japanese visual traditions—something Masuda both practiced and promoted.

His commitment to education extended to more regional efforts as well. Records suggest he taught at Kakegawa Middle School following its re-establishment in 1900 (Meiji 33), though details of his tenure remain scarce. Even so, his involvement highlights his ongoing dedication to art instruction beyond Japan’s major urban centers. At a time when educational reforms were reshaping the nation, Masuda’s familiarity with Western painting positioned him to help integrate these methods into Japan’s formal school system.

Though Masuda Matsuyuki remains an obscure figure, his contributions to art and education during the Meiji period were substantial. By producing accessible teaching materials, nurturing future educators, and helping to present modern art to the public, he participated in—and helped shape—the cultural modernization of Japan. His legacy, largely unrecognized outside Japan, deserves renewed attention as part of the broader story of Japan’s artistic transformation in the late 19th and early 20th centuries.

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. 

After 134 years, we finally have all three artists together again—Maeda Yoshihiko, Masuda Matsuyuki, and Nakajima Seikei. Without the discovery of this collection of postcards, this remarkable reunion might have been lost to history forever. While this find may seem like a minor footnote in the study of Meiji-era Western-style art, it holds the potential to connect the dots between related artists of the time, helping us piece together a puzzle that remains largely unsolved.

Two Unidentified Postcards Sent to Maeda Yoshihiko in March 1888

Because the senders' full names are illegible on these two cards postmarked in Kobe on March 5 and March 8, 1888, we are unable to identify them. At present, their handwriting also remains unrecognized, leaving us with another pair of unidentified postcards addressed to Maeda Yoshihiko.

Japanese Western-Style Painter Archive: Watanabe Bunzaburō (渡辺文三郎)

These seven postcards, all addressed to Maeda Yoshihiko (前田吉彦) in Kobe, represent an exceptionally rare surviving correspondence between Western-style painters of the Meiji period. As a prominent yōga (Western-style) artist himself, Maeda maintained professional ties with several key figures in Japan's evolving art world of the 1880s. These cards—likely the only such collection in existence—form an interconnected web of artistic exchange, each shedding light on the relationships, movements, and creative discussions among painters during this transformative era.

Watanabe alternated between multiple name variants in his correspondence: 渡辺文三郎 (Watanabe Bunzaburō), 渡辺文三 (Watanabe Bunzo), 渡辺薇三 (Watanabe Bizan). He also referenced other artists, including: 内田茂八 (Uchida Mohachi) and his school (内田茂八門), 山名迂介 / 山名迂助 (Yamana Usuke), 増田松之 (Masuda Matsuyuki).

Chronological Correspondence of Watanabe Bunzaburō

1. December 31, 1888

Sender’s Name: 渡辺文三郎 (Watanabe Bunzaburō)

Postmark: 下谷東京 (Shitaya, Tokyo)

Return Address: 東京下谷中御徒町3丁目68番地 (3-68 Naka-Okachimachi, Shitaya, Tokyo)

Content: A New Year’s greeting card, placing Watanabe in the vibrant cultural district near present-day Ueno Park—within walking distance of Asakusa, where Goseda Hōryū (五姓田芳柳) maintained his influential art studio. This strategic location connected Watanabe to Tokyo’s bustling ukiyo-e and Nihonga circles during the Meiji era’s artistic renaissance.

2. April 1889

Sender’s Name: 渡辺薇三 (Watanabe Bizan) – an artistic pseudonym

Return Address: 東京下谷中御徒町3丁目68番地 (3-68 Naka-Okachimachi, Shitaya, Tokyo)

Addressee: 六要堂 (Rokuyōdō—likely Maeda Yoshihiko’s art studio or school)

Content: Watanabe informs Maeda of shipping two artworks, apologizing for both the delay and his late reply. While the contents of these lost paintings remain unknown, this card provides insight into the professional networks and creative exchanges among Meiji-era artists.

3. May 29, 1889

Sender’s Name: 渡辺文三 (Watanabe Bunzo) – a rare informal variant

Postmark: 下谷東京 (Shitaya, Tokyo)

Return Address: 東京下谷中御徒町3丁目68番地 (3-68 Naka-Okachimachi, Shitaya, Tokyo)

Content: This card highlights Watanabe’s connection to Meiji-era Tokyo’s art scene, situated between Ueno Park (a developing cultural hub) and Asakusa, where Goseda Hōryū’s studio thrived. The informal signature suggests either personal familiarity with Maeda or the casual nature of the correspondence.

4. June 18, 1889

Sender’s Name: 渡辺文三 (Watanabe Bunzo)

Postmark: Shitaya, Tokyo

Return Address: 東京下谷区西町24番地 (24 Nishimachi, Shitaya-ku, Tokyo)

Content: Watanabe informs Maeda that Yamana Usuke (山名迂介), a pupil of Uchida Mohachi (内田茂八), will be staying at Uchida’s Osaka residence (大阪北区中之島7丁目…). He also mentions fellow artist Masuda Matsuyuki (増田松之) and another unnamed associate, though their purpose remains unspecified.

5. July 29, 1889

Sender’s Name: 渡辺文三郎 (Watanabe Bunzaburō)

Postmark: Shitaya, Tokyo

Return Address: 東京下谷区西町24番地 (24 Nishimachi, Shitaya-ku, Tokyo)

Addressees: Both 前田吉彦 (Maeda Yoshihiko) and 増田松之 (Masuda Matsuyuki, 1862–1932)

Significance: This dual-addressed card underscores Masuda’s role as a bridge between traditional and Western art pedagogy in Meiji Japan. Trained under Takahashi Yuichi (高橋由一, the father of Japanese oil painting) and later Goseda Hōryū, Masuda’s hybrid artistic approach (Western realism + ukiyo-e traditions) made him a key yet understudied figure. The card suggests active professional networks among second-generation yōga painters during Tokyo’s rapid modernization.

Summary of Key Insights

Artistic Networks: These postcards reveal a web of connections between Watanabe, Maeda, Masuda, Yamana, and Uchida, illustrating the collaborative nature of Meiji-era yōga circles

Name Variations: Watanabe’s use of different signatures (文三郎, 文三, 薇三) reflects either shifting artistic identities or contextual familiarity.

Geographical Significance: His addresses in Shitaya placed him near key cultural hubs (Ueno, Asakusa), facilitating interactions with major artists like Goseda Hōryū.

Lost Artworks & Pedagogy: Mentions of shipped paintings and school affiliations (e.g., Uchida Mohachi’s studio) hint at undocumented artistic exchanges and training methods.

This collection offers an unparalleled glimpse into the personal and professional dynamics of Japan’s Western-style painters during a pivotal era in art history.