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.
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