Matsui Genchū 松井元仲 (1752-1813)

About the work

The painting captures a whimsical yet majestic scene featuring a tiger with a playful smile, nestled among grass and bamboo in a mountainous setting in front of a cascading waterfall. The tiger, long an auspicious symbol of power throughout Asia, embodies strength and leadership. In East Asian art, a tiger in a bamboo grove often conveys the idea of a peaceful and harmonious society, strong leadership, and just governance. This is because the tiger is one of the few animals able to navigate the dense bamboo forest with ease.

In this particular artwork, the presence of water and the wind-swept bamboo at the top of the painting adds a deeper layer of symbolism, alluding to the classic combination of tiger and dragon representing the cosmos. Although the dragon is not directly depicted, the tentative gaze of the tiger and the element of water suggest its unseen presence. According to an old Chinese proverb, "Dragons bring the clouds," while "Tigers call forth the wind." The swirling wind in the painting seems to move through the bamboo, suggesting the presence of clouds and thus a dragon.

The tiger turns its head as if sensing the approaching turbulent weather, embodying the dynamic interplay between wind and rain, elements governed by the dragon and the tiger. Revered as the rulers of the cosmos and the natural world, the symbolic pairing of the tiger and dragon was believed to bring about the blessings of rain and peace.

In addition, the flying dragon and prowling tiger symbolize heaven and earth, reflecting the ancient Chinese concept of yin and yang. This philosophy posits that all things—male and female, stillness and movement, shade and sunshine, moon and sun—are defined and complemented by their opposites. In this painting, the dragon represents Yang and can be imagined to be on the right, while the tiger represents Yin and is placed on the left (the reason it looks to the right side, keeping an eye on its unseen counterpart). This arrangement secures the balance between Yin and Yang, thus ensuring a peaceful world, as echoed in the ancient Chinese divination text I-Ching.

In summary, this painting not only captures the beauty and power of the tiger but also weaves a rich tapestry of cultural symbolism, depicting the harmonious balance of the natural and cosmic forces through the interplay of the tiger, dragon, Yin and Yang, wind and water.

About the painter

Matsui Genchū (sometimes misspelled Genshū) was a Japanese painter born in 1752, the son of Matsui Yoshinori (1721-1782). He is known for his contributions to the art of tiger painting, a popular subject among Japanese artists during the Edo period.

Matsui Genchū's works are characterized by their dynamic and expressive depictions of tigers. One of his works, "Walking Tiger," is housed in the Minneapolis Institute of Art. This piece, created in the late 18th century, exemplifies his ability to use ink on paper to capture the essence of the tiger with large, expressive eyes and a uniquely whimsical smile. Another very similar work can be found in the 2015 Fuchū Art Museum Tōkyō exhibition catalog Dōbutsu kaiga no 250 nen. The features of these paintings reflect the Edo period practice in which artists, lacking the opportunity to observe real tigers, drew inspiration from domestic cats and other animals, resulting in stylized and imaginative portrayals.

Genchū's style is closely associated with the Nagasaki school, known for its detailed and expressive animal paintings. His works often feature the strong, fluid lines and vivid expressions that characterize this school. Despite the challenge of never having seen a live tiger, Genchū's ability to convey the power and grace of this particular animal remains highly regarded.

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