Bô - StaffSigned: Rokujû-kashi-ô (64) Nantembô Tôjû
Seals: Tôjû, Zenshû noin, Nantembô (tp)
Technique: sumi on paper 136,5 x 49,5
Mounting: sand coloured silk
bone rollers, 199 x 71,7
Condition: very good
An extremely early diptiction of the bô as he painted this bô at the age of 64, but only started his paintiing career when he was already more than 65 years old.
道得南天棒道不得南天[棒] - Bô, Iieru [mo] nantembô iiezaru [mo] iiezaru [mo] nanten[bô]
If you speak, Nantenbô! (the nanten bô will hit you),
if you don't speak, Nantenbô! (the nanten bô will hit you too).
(Or: ‘To the enlightened it is a nanten staff, to the unenlightened it is (only) nanten.’ Berry.)
Some people consider these staff paintings Nantembô’s self-portraits, certainly they are his most famous icon.
Nantembô, Tôjû Zenchû, started painting when he was already more than 65 years old. Despite this relatively advanced age he was one of the most productive and important Zenga artists in the Meiji and Taishô era.
Keisuke (Nantembô)was born in the Shioda samurai family in Karatsu, Saga Prefecture in North-West Kyûshû. At the age of 7 he resolved to become a monk and at the age of 11 he began his training in the Yûkô-ji temple in Hirado where he received the name Nakahara Tôjû. Six years later he travelled to Kyôto to enter the Yamashiro Hachiman Daruma-dô and got trained at Empukuji temple. Most of his mature life he spent travelling and teaching. After meeting Yamaoka Tesshû (1836-1888) in 1885 they established a Zen training center at the Dorin-ji temple. Both men greatly influenced each other and Nantembô learned much of his style from Tesshû.
He became abbot of Zuigan-ji, Matsushima in 1891 and in 1902 abbot of Bairin-ji and Kaisei-ji. In 1908 Nantembô became 586th generation kanchô (Chief abbot) of the Myôshin-ji, but at the Kaisei-ji he spent the rest of his life.
In the West Nantembô is without any doubt the best-known 20th century Zen painter. He derived his name Nantembô from his bô (staff) cut from a 200-year-old Nanten tree. He used it to instruct his students.
Berry 2001 p. 176