painter of the mid-Tokugawa period (1603–1867) who, together with Yosa Buson, established the bunjin-ga (Nan-ga), or literati, style of painting, which survives to this day in Japan. (The style had originated in China and was first called Nan-ga, or the Southern School, of Chinese art; it was closely related to scholarship and literature.)

The son of a farmer, Ike was taught calligraphy and the Chinese Classics from an early age and eventually became one of the leading calligraphers of the Tokugawa period. He first studied Nan-ga through an illustrated book of Chinese painting, Pa-chung hua-p'u (c. 1620), and was later influenced by such older Japanese Nan-ga painters as Ryū Rikyō and Gion Nankai, whom he first met about 1736 and 1752, respectively. Unlike most other bunjin-ga painters, who merely followed closely the style's models, he developed a more free and ample style, full of vitality and brightness.

Ike's works consist mostly of landscapes and portraits, usually on a larger scale than later bunjin-ga paintings. Among his representative large-scale works are the screen pictures “The Five Hundred Disciples of Buddha” and “The Western Lake,” both for the Mapuku Temple at Uji, and “Chinese Recluses in a Mountain” (a 10-screen work) of the Henjōkō Temple on Mount Kōya. He collaborated with Yosa Buson to work on illustrations for Jūben jūgichō (1771; “Ten Advantages and Ten Pleasures”), albums based on the poems of Li Li-weng of the early Ch'ing dynasty (1644–1911). Ike did the illustrations for the 10 advantages, while Buson did the 10 pleasures. Ike taught his wife, Gyokuran, painting, and she became a famous painter herself.