Buson and Bashô

I'm reading Eri Yasuhara's "Buson's Bashô: The Embrace of Influence," in Eleanor Kerkham's Matsuo Bashô's Poetic Spaces. Yasuhara asks the question, to what extent did Bashô "influence" Buson? Essentially, what is the nature of Buson's reception of Bashô? She notes that while thinking about "influence" has not been fashionable in US/European literary studies for a long time, it still is of interest in Japan. She says: in Japanese scholarship, Buson is often taken at his word in calling for a return to Bashô's ideals, that the period after Bashô is usually viewed as a decadent one, and then she cites (in elegantly translated passages) Buson's statements about how he felt he measured up to his predecessor. Next, she says, "When we return to some of Buson's activities as a painter-poet, the 'use' of his predecessor takes on the quality of outright appropriation" (248). She then discusses the major haiga works in which Buson creates illustrated versions of Oku no hosomichi and Nozarashi kikô. The text has a very nice analysis of the "Pilgrim's Willow" painting, and concludes with a biography of Buson.