Akiyama Kan’ichi (秋山貫一) Ukiyo Manga (浮世漫画) Artist

Among the many correspondents who sent postcards to painter and educator Maeda Yoshihiko during the Meiji period, Akiyama Kan’ichi (秋山貫一) stands out both in volume and content. Akiyama sent at least eight postcards to Maeda between 1888 and 1891, with postmarks from various cities including Osaka (February 18, 1888; August 24, 1891), Kobe (October 4, 1891), and Hiroshima (January 3, 1890; June 18, 1890; August 17, 1889; June 24, 1891; and September 2, 1891). Across many of these cards, Akiyama referred to Maeda as “先生” (sensei), affirming Maeda’s role as his former teacher. In one message, the word 母校 (alma mater) appears in the text, suggesting Akiyama was requesting permission to visit the school where Maeda had once taught him. These details point to a strong and enduring student-teacher relationship, characterized by respect and continued contact.

Akiyama was also active in the arts during this period. He is credited with producing a work titled Ukiyo Manga (浮世漫画), published in 1882 by Funai Seitarō, a Meiji-era publisher based in Kobe known for issuing later impressions of Edo-period illustrated books. Ukiyo Manga draws from earlier Japanese visual traditions, particularly the Hokusai Manga by Katsushika Hokusai. One illustration in Akiyama’s work features a frog reminiscent of those in Hokusai’s sketches, suggesting direct artistic influence. This positions Akiyama as an artist working within the lineage of Edo-period imagery while adapting it for the Meiji period’s evolving visual culture.

The fact that Akiyama sent multiple cards from Hiroshima between 1889 and 1891 places him within a wider professional and educational network tied to that city. Other correspondents to Maeda—such as Takai Hankyu, Kuwato Manabu, Ōtani Kenichi, and Tsutsumi Masami—also sent cards from Hiroshima, frequently listing 9 Chōme, Ōte-machi as their location. This address appears repeatedly and likely served as a government or educational facility. It was possibly well-known enough that senders often omitted street numbers, implying a central, easily recognized institution.

Although little else is known about Akiyama Kan’ichi’s broader career, his correspondence with Maeda, his artistic publication, and his association with civic life in Hiroshima suggest that he was both an artist and possibly an educator. His surviving postcards reflect the persistence of educational ties and professional respect, and they help map the artistic and institutional networks of Meiji-era Japan, with Maeda Yoshihiko at the center.

Note: with a help from a translator on Reddit, Akiyama's first name was recognized