|13. Kawamura Bumpô (1779?-1821) & Eue Reishû (1758-1820)|
Tora, TigerSigned: Bumpô, Shi Reishû yôdai
Seals: Bumpô Senki, Eue Gen in, Hakka uji
Technique: sumi and pink on paper 115 x 28,8
Date: c. 1810
Mounting: brown damask and beige silk
bone rollers, 202,5 x 40,8
Condition: very good
Inscription reads: 彼食豕面足報納之勿有遺類如投鼻爾簭之。視世有讒蠹將逐逐虎朝耽奚。
He devours piglets from head to tail without leaving anything.
Throw him a muzzle and he will chew it.
Look at the world: is there no slander, no vermin to pursue you?
No tigers waiting for an opportunity? (HK)
This might refer to the saying koshi tantan, to watch for an opportunity to tackle one’s opponent [like a tiger lying in wait for its prey].
Reishû fell victim to the Kansei Reforms of the 1790s and was forced to give up his position of head of the Confucian academy of the Chikuzen domain
Bumpô lived in Kyoto where he studied under Gan Ku (1749-1835). Within the Kishi school he developed a style rather independent from his teacher, influenced by the Chinese school. He studied Chinese painting styles via the interpretations by Kanyôsai (=Tatabe Ryôtai 1719-1774), indirectly a pupil of Shen Nan-P'in.
At a certain point Bumpô’s fame was equal to that of Ganku, and similar to that of Rosetsu in relation to Õkyo. Bumpô was a skilful painter of landscapes and figures, and also a haiku poet.
"His true nature came out of the tip of his brush... Cheerfulness was always breaking in." (Hillier)
Hillier pp. 232-245
Roberts p. 10
Araki p. 230