Together with the far-reaching political and social changes following the Meiji Restoration of AD 1868, there were changes in the arts. In painting, the methods of training, the market and patrons, the spaces for display, as well as the actual appearance of the works – all underwent transformation. Nihonga, meaning literally ‘Japanese pictures,’ was a new term to refer to paintings on silk or paper in traditional mineral and vegetable pigments, as opposed to the Western practice of painting in oils on canvas.

In the former capital of Kyoto, the well-established painting ateliers remained strong. As a result, when the first government school for painting was opened there in 1880, there were few enrolments. Kyoto painters benefited from relatively stable sources of patronage and the continuing importance of the arts. They were also less troubled by often divisive political agendas than artists in Tokyo, the new capital.

The concept of 'Kyoto Nihonga' as distinct from Tokyo painting began to develop in the late Meiji era, and this regional rivalry intensified through competitive exhibitions. It was strongly rooted in the Maruyama and Shijô schools dating back to the late 18th century. These painters were known for their lyrical representations of nature, incorporating sketching from life, and elements of naturalistic shading and perspective.