黒田夘兵衛 大坂呉商社 油画師

We have a total of nine postal cards addressed to Maeda Yoshihiko from Kuroda Uhei (黒田夘兵衛) of Kure Shosha in Osaka (大坂呉商社). The eight cards are dated as follows: January 2, 1886; July 16, 1886; June 8, 1887; March 1, 1888; August 8, 1888; January 1, 1889; January 4, 1889; and July 25, 1890. Kuroda’s writing is remarkably neat and fills each card with small, precise cursive text. Unfortunately, as we have been unable to decipher the messages, much of the content remains a mystery. These exchanges reveal a significant relationship between the two, likely intertwining personal and business matters.

One particularly noteworthy detail is that Maeda was staying at Kuroda's residence on September 28, 1889. This is corroborated by a postal card addressed to both Kuroda and Maeda (refer to our post dated October 16, 2024) from Nakajima of Kobe. In this card, Nakajima discusses arranging a supply of "Kurahion chalk," a product possibly tied to their commercial dealings, suggesting the breadth of their collaborative activities.

One of the cards addresses Maeda as 油画師 (Aburaeshi, oil painter), a title used by several correspondents in his network. This indicates that by this period, Maeda had established himself as an oil painter, a relatively uncommon profession in Japan during the late 19th century. While Maeda primarily worked as an art teacher—teaching pencil drawings, a staple in government-supported schools—his involvement with oil painting underscores his engagement with a more specialized and avant-garde art form.

Oil painting, still a novelty in Japan at the time, faced resistance due to its expense and its status as a Western art medium. The Meiji era’s push toward modernization brought oil painting to Japan, but its acceptance remained limited, as traditional art forms like ukiyo-e and nihonga (Japanese-style painting) dominated the cultural landscape. Art education during this period largely emphasized practical skills, such as pencil and ink drawings, which were more accessible and aligned with the government’s goals of fostering education and discipline.

Sent from Osaka on January 5, 1890, this New Year's greeting card describes the daily activities of a parent throughout the day, creating a vivid picture of their routine. Quaint pictorial illustrations enhance the charm of the message, particularly the depiction of a woman with a child on her back, whom the writer refers to as a 乳母 (うば, uba, nanny).

Honda Sada (本田貞) of Mihara, Bingo Province 1891

This postcard, postmarked December 1, 1891, stands out as the only one among over 300 cards addressed to Maeda Yoshihiko from Bingo Province (now part of Hiroshima Prefecture). This rarity suggests that the sender, Honda Sada, was either not closely acquainted with Maeda or was visiting Bingo from another region. It is also possible that Honda corresponded with Maeda from other locations, but we have yet to uncover additional postcards from him in this collection.

The sender's partial return address reads 備後国ｘｘｘ郡三原町大字大ｘｘｘ, though some portions remain unclear. Honda signed his name as 本田貞, but it is possible that he omitted an additional character for reasons unknown. Despite our efforts, we were unable to locate any online records or references to him, leaving his identity and background a mystery.

備中高梁の油画師 Maeda Yoshihiko

These three cards are dated January 4, 1889; January 2, 1890; and May 30, 1890. All bear postmarks from Takahashi, Bitchu. The card dated January 2 was sent by 村井依継 (Murai Yoritsugu, government employee of Bitchu, Oda-ken, likely a former samurai). The May 30 card was sent by Adachi Toshitsune and addresses Maeda Yoshihiko as 油絵師 (abura-e-shi), while the January 4 card refers to him as 油画師 (abura-e-shi). The sender of the January 4 card is partially identified as 召ｘｘ郎.

So, what is the difference between 油画師 (abura-e-shi) and 油絵師 (abura-e-shi)? Both share the same reading and meaning but are written with different kanji. During the Meiji period, 油画師 was likely more commonly used in formal or academic contexts. Here's why:

The term 油画 (oil painting) was introduced alongside the Western painting tradition (洋画) during the Meiji period, as Japan rapidly adopted and adapted Western art styles. The kanji 画, seen in terms like 洋画 and 日本画, was associated with fine art and often appeared in formal settings such as academic discussions, exhibitions, and art institutions.

In contrast, while 油絵師 would have been understood, the kanji 絵 carried a slightly less formal connotation. It was traditionally tied to Japanese art forms like 絵巻 (picture scrolls) and 浮世絵 (woodblock prints). This term might not have been as widely used to describe artists working in the Western oil painting style during that time.

A Meiji-period individual would most likely use 油画師 in contexts related to Western art education, formal writings, or professional titles. 油絵師 may have been used more casually or gained popularity later as oil painting became more integrated into Japanese artistic practices.

Gojo Nara - Kuriyama to 油絵師 前田吉彦

The Kuriyama Family Residence, located in Gojo City, is Japan’s oldest private home with a confirmed construction date. It’s not just an old building—it’s a link to the lives of Edo-period merchants. Two fascinating greeting cards, mailed from Nara, Yamato by Kuriyama (栗山) of Gojo (五条) in 1889 and 1890, offer a personal glimpse into this family’s story. The 1889 card, addressed to Maeda Yoshihiko and referring to him as "aburaeshi" (油絵師, oil paint artist), hints at the connections and prominence of the Kuriyama family. Although Kuriyama’s first name is illegible, he was undoubtedly one of the wealthy Kuriyamas, prominent merchants of Nara.

The Kuriyama family were key players in Gojo’s growth as a trade hub, bridging the gap between rural producers and urban markets. Their influence extended beyond commerce, as evidenced by their connections reflected in these postcards. These cards offer a rare glimpse into the social networks and relationships of a prominent merchant family from over a century ago. 

六要画 油絵師 前田吉彦 明治22年

These two postcards present a real mystery. The one on the right, postmarked January 7, 1890, from Tokuyama, Suō (周防徳山) — now part of Yamaguchi Prefecture — has a return address of Tsuno-gun, Suō, Yamaguchi Prefecture (山口県周防国都濃郡). It was sent by someone named Miyoshi Miyo (三吉ミヨ), a name that sounds like it could belong to a woman, though determining gender from names alone can be tricky. The postcard addresses Maeda Yoshihiko as 油絵師 (aburaeshi, "oil painter"), which appears to have been a common practice, as there are quite a number of similar postcards in our collection.

After searching combinations of terms such as "Miyoshi," "Tokuyama," "Yamaguchi," "Meiji," and "Artist," I found an artist named Ōba Gakusen (大庭学僊), born in Tokuyama in 1820, whose birth name was Miyoshi Yuriyoshi (三吉百合吉). While it's unclear how "Miyoshi Miyo" might be related to this artist, it's not uncommon for artists of that era to use multiple names. It's possible that our "Miyoshi Miyo" is, in fact, Miyoshi Yuriyoshi.

The postcard on the left was postmarked January 3, 1889, from Sumoto, Awaji (淡路洲本), now part of Hyogo Prefecture. The sender's name and address are illegible. The postcard addresses Maeda as 六要画 前田吉彦 (Rokuyōga Maeda Yoshihiko), suggesting that Maeda Yoshihiko was recognized as an artist whose work reflected the principles of the Six Essentials of Painting (六要画). The sender may have used this term to emphasize Maeda's connection to classical artistic ideals, even though he was known for his Western-style painting. It could imply that Maeda's works were viewed as embodying the spirit of these traditional principles in some way.

Yokochi Ishitārō - Distinguished Educator and Archaeologist 1890

This New Year's greeting card was sent by Yokochi Ishitārō (横地石太郎) to Maeda Yoshihiko. It is postmarked in Kagoshima, Satsuma (薩摩鹿児島), and dated January 4, 1890. Yokochi's return address is listed as Kagoshima Junior High School (鹿児島高等中学造士館).

Yokochi Ishitārō (1860 – 1944) was a Japanese educator and archaeologist. Born in Kanazawa, Ishikawa Prefecture, into a samurai family, he later became a prominent figure in Japan's educational and academic circles. After graduating from the University of Tokyo with a degree in applied chemistry, Yokochi worked as a teacher and principal at various schools across Japan, including in Kobe, Kyoto, and Kagoshima. He was appointed as the principal of several schools in Fukushima and Ehime Prefectures, contributing to educational reforms. Ultimately, he became the head of Yamaguchi Higher Commercial School, where he continued his work until his retirement in 1924.

Although Yokochi’s academic background was in physical chemistry, he had a wide-ranging interest in other fields, particularly archaeology, astronomy, and geology. His contributions to archaeology were especially significant in Ehime Prefecture, where he conducted excavations and published several academic papers. His interest in archaeology extended beyond his professional work; he was deeply involved in the preservation of cultural heritage and conducted research on ancient burial mounds and artifacts, publishing his findings in various academic journals.

Hisada Michi 久田道 Echigo Niigata

The two postcards featured here are customary New Year’s greetings, postmarked January 2, 1889, and January 1, 1890, from Echigo Niigata (越後新潟). The sender, identified as Hisada Michi, provided a return address listed as Niigata-shi (新潟市), though his full address remains indecipherable. Despite this small glimpse into his identity, there is no additional correspondence from Michi to Maeda Yoshihiko, suggesting their connection may have been distant, marked only by the tradition of exchanging New Year’s greetings.

Customary in Japan, New Year postcards are a way to convey good wishes and maintain social ties, even among acquaintances. The lack of further correspondence hints that Michi and Maeda’s relationship might not have extended beyond formal gestures of courtesy. Unfortunately, efforts to uncover more about Hisada Michi have yielded no further insights, leaving him a fleeting figure in the historical narrative tied only to these thoughtful, ephemeral greetings.

Kikui Kamejiro 菊井亀次郎 Bizen Oil Paint Artist 油絵氏 Kobe

These two postcards, postmarked in Bizen on January 4, 1890, and July 30, 1891, were sent by Kikui Kamejiro (菊井亀次郎), who provided his return address as Taiji, Iwabuson, Iwanashi-gun, Bizen (備前磐梨郡石生村大字). Notably, Kikui addressed the recipient, Maeda Yoshihiko, as "oil paint artist" (Abura-Eshi, 油絵氏). This title appears frequently on other postcards sent to Maeda around 1890, indicating his established reputation as a skilled practitioner of oil painting. Such consistent recognition underscores Maeda’s prominence in the artistic circles of the time. Unfortunately, as is often the case with many other postal cards in this collection, we have been unable to uncover who Kikui Kamejiro was in a historical context.

Who Was Kobori Kazunosuke (小堀数之助) of Takahashi, Bitchu?

 

In the late 19th century, small acts like sending a letter or a postcard could carry big stories. One such story is that of Kobori Kazunosuke, a traveler whose postcards from 1888 to 1892 give us a glimpse into a life full of movement and connections. His journey is closely tied to Maeda Yoshihiko, an artist and art teacher in Kobe, who lived at a time when Japan was changing rapidly during the Meiji era.

Kobori Kazunosuke’s story comes to life through six postcards he sent to Maeda Yoshihiko in Kobe. Each one, with its postmark and date, shows us a man who was constantly on the move:

Bitchu, Takahashi (Okayama): November 5, 1888

Bitchu, Minagi (Okayama): July 14, 1889

Bitchu, Tamashima: July 15, 1890

Bizen, Okayama: June 21, 1890

Settsu, Osaka: August 23, 1891

Settsu, Osaka: January 18, 1892

From the quiet towns of Okayama to the bustling streets of Osaka, Kobori left traces of his journey. But why was he traveling so much? Was he a merchant, an official, or something else? The postcards don’t give us all the answers, but they spark our imagination.

At the center of this story is Maeda Yoshihiko, an artist and teacher living in Kobe. Born in 1849 in Takahashi, Bitchu, Maeda came from a low-ranking samurai family. His upbringing taught him discipline and a love for the arts, which he carried into his work as Japan modernized.

Maeda and Kobori’s connection likely started in their hometown. Maybe they were childhood friends, or their families were close. Whatever the reason, their bond was strong enough for Kobori to turn to Maeda for help when he traveled. Maeda was more than just a friend; he was someone who understood the importance of keeping old connections alive in a changing world.

The postcards reveal bits and pieces about Kobori’s life. In July 1889, a card from Kumoi (雲井) was sent to Kobori, care of Maeda in Kobe. This shows that Kobori stayed with Maeda during his travels. Another postcard, sent in January 1889 from Bitchu, Takahashi, came from another Kobori, though their full name is unclear. Could this have been a relative? A brother, cousin, or even his father? It’s clear that the Kobori family and Maeda shared a close relationship.

These postcards were exchanged during a time when Japan was changing fast. The Meiji Restoration brought in Western ideas and technologies, but also the challenge of preserving traditional values. Kobori’s travels suggest he might have been working in trade or administration, roles that required navigating this new world. Meanwhile, Maeda used his art and teaching to help others appreciate both Japan’s traditions and its modern future.

Kobori Kazunosuke’s story remains incomplete, told only through fragments. Yet these fragments—the places he visited, the people he wrote to—show a man deeply tied to his roots, yet eager to explore the wider world. His friendship with Maeda Yoshihiko shows how trust and connections could thrive even in times of great change.

Newly Discovered Ink Drawing Dated 1890 by Kawai Shinzo

This photo and post were first shared on September 15, 2024, when we knew almost nothing about these postcards or how to interpret their contents. Since then, we’ve been piecing together the story, one fragment at a time. Progress has been slow—like assembling a 1,000-piece puzzle with only a few pieces in place. With continued effort and a little luck, we hope to uncover more. For now, we’re pleased to share that we’ve identified the sender of this postcard.

*From our review of the available correspondence, it appears that Kawai Shinzo preferred using the name 河合新造 rather than 河合新蔵, at least prior to his emergence as a prominent artist.

*This 1926 woodblock print by Yoshida Hiroshi (1876-1950) shows Kawai Shinzo's two daughters.

This postal card bears the postmark of Osaka, dated January 1, 1890. It was sent from Minami-Honmachi, Osaka (大阪 南本町１丁目) by  Kawai Shinzo (河合新蔵, 1867–1936) prior to his rise to prominence as a Western-style painter, while he was still studying under the guidance of Maeda Yoshihiko (前田吉彦) in Kobe.

There are many watercolor paintings by Kawai, with the majority featuring landscapes, making his works relatively accessible. However, we have not been able to locate any of his ink drawings online or find references to such works. As we are merely scratching the surface of Japanese art—a field in which our knowledge is very limited—our observations should be taken as preliminary. Our aim is simply to share previously unpublished material and provide readers with insights using the resources available to us.

Kawai Shinzō (1867–1936) was a distinguished Japanese painter whose career spanned a transformative era in Japanese art history. Born in Osaka, he demonstrated an early aptitude for painting and studied under Maeda Yoshihiko, a respected figure in Western-style art who taught pencil drawing at the Kobe School. Under Maeda’s tutelage, Kawai developed his skills in Western-style techniques, which influenced his artistic approach.

In 1891, Kawai moved to Tokyo, where he joined the Goseda school, a prominent art school for Western-style painting. This decision would prove pivotal to his artistic development. At the time, Tokyo was a vibrant hub of cultural and artistic innovation, attracting some of the most talented and ambitious artists in Japan. The city provided Kawai with access to new ideas, techniques, and artistic movements, including the growing influence of Western art. This exposure allowed him to expand his creative repertoire, blending traditional Japanese aesthetics with elements of Yōga (Western-style painting).

Throughout his career, Kawai's works often depicted natural landscapes, showcasing his exceptional skill in watercolor. He used the medium to capture subtle nuances of light and atmosphere, exemplifying his ability to blend Western techniques with Japanese sensibilities into harmonious and evocative compositions.

Below is what was published on September 15, 2024.

前田吉彦 神戸美術先生 1890年のオリジナルアート付き年賀状

この1890年の年賀状（明治23年1月1日）は、大阪から作者不明のアーティストによって送られました。作品には、凛々しい馬に乗って微笑む男が描かれており、彼は日の出の旗を掲げ、背景には城が見えます。描画のシンプルさがそのインパクトを高めています。1890年が午年であったため、この作品に描かれた勇ましい馬には象徴的な意味が込められているのでしょう。

よく見ると、男の服にいくつかの文字があり、城のすぐ下にはアーティストのサインらしきものがあります。これらの文字ははっきりとはしていません。その為、この芸術的なはがきの送信者は不明です。どなたかこの送信者を特定できる読者がいるかもしれません。

New Year's Card from 1890 with Original Artwork Addressed to Maeda Yoshihiko, Western-Style Painter

This New Year's card from 1890 (Meiji 23, January 1st) was sent from Osaka by an unknown artist. The artwork depicts a smiling man riding a gallant horse, holding a rising sun flag, with a castle visible in the background. The simplicity of the drawing enhances its impact. Since 1890 was the Year of the Horse, the brave horse depicted in the artwork likely holds symbolic meaning.

Upon closer inspection, there are some characters on the man's clothing, and what appears to be the artist's signature just below the castle. However, these characters are not clear, making it difficult to identify the sender of this artistic postcard. Perhaps a reader might be able to identify the sender.