{"id":3942,"date":"2023-05-02T13:16:07","date_gmt":"2023-05-02T18:16:07","guid":{"rendered":"http:\/\/diluo.digital.conncoll.edu\/Asianart\/?p=3942"},"modified":"2024-03-27T10:38:49","modified_gmt":"2024-03-27T15:38:49","slug":"sesshu-toyo-influences-of-the-revolutionary-japanese-painter","status":"publish","type":"post","link":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/exhibition\/sesshu-toyo-influences-of-the-revolutionary-japanese-painter\/","title":{"rendered":"Sessh\u016b T\u014dy\u014d: Influences of the Revolutionary Japanese Painter"},"content":{"rendered":"\n

Background<\/h2>\n\n\n\n

Born in 1420 to an important Samurai family in the Bitchu Province of western Honshu, Sessh\u016b came to be known as one of the greatest painters in Japanese history. He was raised as a Zen Buddhist, and at 11 years old he became a monk. While he was young, many people noticed how talented he was at art, and studied under other greats such as Tensho Shubun and Taik\u014d Shojetsu. Sessh\u016b\u2019s popularity especially rose after he returned to Japan after a two year trip to China, where he got to know brilliant Chinese painters and became influenced by the impressive landscapes. Upon his return to Japan, he traveled around for a while until settling down in Oita. Here he established his own studio and worked for the Otomo family. During this time, Sessh\u016b\u2019s fandom grew even more, and he solidified his place in Japanese history. <\/p>\n\n\n\n

Sessh\u016b worked primarily in sumi-e, which literally means \u201cpainting in Chinese ink.” The ink for these paintings are made by burning pine twigs. The soot is then collected and mixed with resin. It is then formed into a flat stick, which can then be dipped in water and painted with. One of Sessh\u016b\u2019s most famous types of work is \u201cHaboku-Sansui,\u201d which is a scroll ink painting of a landscape. Sessh\u016b only allowed himself to work with sumi-e ink, making most of his paintings all in shades of gray. What then becomes the most pronounced is his brush strokes, which vary in density and boldness. His works were also abstract, and white spaces and strokes were often left looking \u201cunfinished.\u201d With his own creativity and influences from his trip to China, Sessh\u016b pioneered a style of painting that in itself became associated with \u201cJapan-ness.\u201d Today, Sessh\u016b is incredibly revered, and his work has come to be known as quintessentially Japanese. This in itself explains \u201cJapan-ness\u201d even more. While Sessh\u016b\u2019s work includes influences from places other than Japan, this is what makes his art encompass \u201cJapan-ness\u201d even more because it reveals aspects of the historical and social climate at that time.<\/p>\n\n\n\n

Summary<\/h2>\n\n\n\n

The images shown below display the wide variety of styles in which Sessh\u016b T\u014dy\u014d worked with. While using just sumi-e ink, Sessh\u016b was able to create complex and thought-provoking paintings that when looked at closely, contain so much more than what the eye initially captures. Throughout all of Sess\u016b\u2019s works, his emotions are evident, and the viewer can see his commitment to the subject he cares about most, whether that be his faith, friends, or beautiful landscapes. Sessh\u016b was a pioneer in ink painting, and created in ways that no one had done before. In using influences from China and adapting them to create his own unique styles, Sessh\u016b redefined ink painting. Today, his work is instantly recognizable and revered. Every painting included below represents Sessh\u016b\u2019s influences and values, and shows just how thoughtful and passionate of an artist he really was.<\/p>\n\n\n\n

Paintings<\/h2>\n\n\n\n
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Figure 2: Sessh\u016b T\u014dy\u014d. \u201cWinter Landscape.\u201d Sumi-e ink. 1470. Muromachi. 47.7 x 30.2 cm. Tokyo National Museum, Japan. https:\/\/www.wikiart.org\/en\/sesshu-toyo\/landscape-1<\/a><\/figcaption><\/figure>\n\n\n\n

In the early years of his career, Sessh\u016b primarily painted religious scenes as he was surrounded by Zen masters and patrons who supported his work. In the 1450s, Sessh\u016b began to feel stuck and uninspired after spending years learning strictly Japanese techniques at home. He decided to broaden his horizons and travel to China. There, Sessh\u016b was introduced to vast landscapes that differed greatly from the ones back home in his native Japan. Sessh\u016b was greatly influenced by his trip to China, and this trip led him to create artwork that was totally unique and different compared to all of the other artwork done during the Muromachi period. Apart from being able to paint these vast landscapes, Sessh\u016b challenged himself to exclusively paint with sumi-e ink. It is incredible to look at this painting in particular, and see the varying shades of gray that Sessh\u016b was able to create with one black tone of ink. There is again a focus on depth in this painting, and the viewer can see as far back to the snowy peaks. There is also a house in the background, and as the viewer\u2019s eyes reach the foreground, a small person appears. It can be seen that the foreground includes much heavier and darker brushstrokes while the background of the painting is made from light, wispy strokes. The sky appears to have a darker color, maybe made out of a wash from a combination of both water and ink. It appears as if a storm is looming and there is a heavy feeling in the air. Once again, Sessh\u016b is able to incredibly portray an emotion or feeling from the use of a single medium.<\/p>\n\n\n\n

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Figure 4: Sessh\u016b T\u014dy\u014d. \u201cHaboku Sansui.\u201d Sumi-e ink. 1495. Muromachi. 111.5 x 75.8 cm. My\u014dshin-Ji Temple, Kyoto, Japan. https:\/\/www.wikiart.org\/en\/sesshu-toyo\/haboku-sansui-1495<\/a><\/figcaption><\/figure>\n\n\n\n

This more abstract style of painting that Sessh\u016b often did references back to the medium he uses, called literally \u201csplashed ink.\u201d Sessh\u016b learned this technique through his travels in China, where this style of painting originated. It is said that this style actually came from artists being drunk and splattering ink with materials such as rags, brushes, or even hair. Sessh\u016b was able to take this technique and make it his own, and soon after he adopted it, the style became popularized and moving forward can be seen in many other artist\u2019s works. Sessh\u016b followed a bit more of a regimented approach to this technique, and often he was depicting a landscape of some sort through his splashed ink pieces. It is interesting to compare this painting to Sessh\u016b\u2019s other styles of works. In his other works, there are extremely detailed features and brush strokes so intentional in size and weight. It is refreshing to see this side of Sessh\u016b\u2019s artwork, where he acts more freely with his brushstrokes and creates beautiful shapes and figures that can be traced to a background or can be accepted on their own for the non-obvious beauty within them. Still, the viewer can see slight details and nuances that make Sessh\u016b\u2019s work inherently Sessh\u016b.<\/p>\n\n\n\n

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Figure 1: Sessh\u016b T\u014dy\u014d. \u201cHuike Offering His Art to Bodhidharma.\u201d Sumi-e ink. 1496. Muromachi. 199.9 x 113.6 cm. Saineji Temple, Japan. https:\/\/www.wikiart.org\/en\/sesshu-toyo\/huike-offering-his-arm-to-bodhidharma-1496<\/a><\/figcaption><\/figure>\n\n\n\n

There is no doubt that Sessh\u016b T\u014dy\u014d\u2019s work embodies Buddhism and contains an immense amount of Zen Buddhist references. From his background, it is known that Sessh\u016b\u2019s religion was incredibly important to him, so he often showed his devotion through his own artwork. In this particular painting Huike, a disciple of the founder of Zen Buddhism, Bodhidharma, is seen asking Bodhidharma if he can in fact be his disciple. To further prove his commitment, Huike cuts off his own left hand and offers it to Bodhidharma. What is especially interesting to notice in this painting is the varying line widths that Sessh\u016b uses to illustrate this scene of extreme and complete devotion to one\u2019s religion. The faces of Huike and Bodhidharma, as well as Huike\u2019s cut off hand, stand out in this painting. They are so detailed and seem to be painted with the most delicate of brush strokes. The two men are also depicted in a much lighter tone than the rest of the painting. The rocks surrounding them appear to be very dark and bold, perhaps to represent some kind of metaphorical enclosure that faith provides. The expressions on both Huike and Bodhidharma\u2019s faces seem intense and pensive, further displaying the intensity one feels towards their religion. It can be seen that this subject matter was incredibly important to Sessh\u016b and played a large role in his life and throughout his artwork.<\/p>\n\n\n\n

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Figure 3: Sessh\u016b T\u014dy\u014d. \u201cAma-No-Hashidate.\u201d Sumi-e ink. 1501-1506. Muromachi. 90.2 x 169.5 cm. Kyoto National Museum, Japan. https:\/\/www.wikiart.org\/en\/sesshu-toyo\/view-of-ama-no-hashidate-1505<\/a><\/figcaption><\/figure>\n\n\n\n

Ama-No-Hashidate is regarded by many as one of Sessh\u016b\u2019s most impressive pieces, and it is certainly one of his best known. After traveling throughout China and painting Chinese landscapes, Sessh\u016b is now depicting his homeland of Japan. More specifically, this view includes Chionji Temple and the Seijoji Temples. In this marriage of both the religious and natural, two of Sessh\u016b\u2019s passions are displayed using small, minute brush strokes that show an astounding amount of detail. The depth in this painting is expansive and seems to go on forever, but the reason why this work is so fascinating is because of the particular view that is being depicted. It is unknown how Sessh\u016b was able to travel to this extremely high point which allowed him to capture this incredible view. Some say that this view can only be captured from a helicopter, making Sessh\u016b’s feat especially impressive. What is even more astonishing is that at this point, Sessh\u016b was already in his 80s, so the fact that he was able to climb to this point in order to create this piece of artwork shows his dedication to his craft.<\/p>\n\n\n\n

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Figure 5: Sessh\u016b T\u014dy\u014d. \u201cLandscape with the Praise of Bokush\u014d Sh\u016bsh\u014d and Ry\u014dan Keigo.\u201d Sumi-e ink. 1506. Muromachi. 118 x 35.5 cm. Privately owned. https:\/\/www.wikiart.org\/en\/sesshu-toyo\/landscape-2<\/a><\/figcaption><\/figure>\n\n\n\n

Later in his life, Sessh\u016b began painting on scrolls and adding poetry to his work. On these scrolls were often Sessh\u016b\u2019s signature landscapes, and included with them would be poetry, either describing the scene being depicted with it on the scroll, talking about Zen Buddhism, or remembering loved ones who had passed away. In this particular image, Sessh\u016b is remembering Bokush\u014d Sh\u016bsh\u014d and Ry\u014dan Keigo. Bokush\u014d Sh\u016bsh\u014d was Sessh\u016b\u2019s close friend, and in the poem he is praising him. Ry\u014dan Keigo was another well-known painter from the Muromachi period, and Sessh\u016b is admiring and praising his work. The landscape shown in this painting is detailed and beautiful just like his other landscapes, and again Sessh\u016b\u2019s incredible brush strokes and attention to detail is shown. In including poetry with his work, the viewer can see Sessh\u016b\u2019s deep and personal connection to his paintings. Sessh\u016b showed all of his emotions through his artwork, and this piece in particular referencing the people he admires most is a testament to Sessh\u016b\u2019s intentions and his works as a whole.<\/p>\n\n\n\n

Bibliography<\/h2>\n\n\n\n

Isozaki, Arata. Japan-Ness in Architecture<\/em>. Cambridge, Massachusetts: The MIT Press, 2011.<\/p>\n\n\n\n

Japacul. \u201cSessh\u016b’s Landscape Painting with Praise from Friends.\u201d Masterpieces of Japanese Culture<\/em>, 11 Feb. 2021, https:\/\/www.masterpiece-of-japanese-culture.com\/paintings\/sesshus-landscape-painting-with-praise-from-friends.<\/p>\n\n\n\n

Lippit, Yukio. \u201cOf Modes and Manners in Japanese Ink Painting: Sessh\u016b\u2019s \u2018Splashed Ink Landscape\u2019 of 1495.\u201d The Art Bulletin<\/em>, vol. 94, no. 1, 2012, pp. 50\u201377. JSTOR<\/em>, http:\/\/www.jstor.org\/stable\/23209211. Accessed 28 Apr. 2023.<\/p>\n\n\n\n

Mittman, Dr. Asa Simon, and Dr. Asa Simon Mittman. \u201cNature: Spotlight – Sesshu Toyo’s Winter Landscape.\u201d Smarthistory<\/em>, https:\/\/smarthistory.org\/theme-nature\/. <\/p>\n\n\n\n

\u201cSesshu Toyo – 11 Artworks – Painting.\u201d Www.wikiart.org<\/em>, https:\/\/www.wikiart.org\/en\/sesshu-toyo. <\/p>\n\n\n\n

\u201cSessh\u016b T\u014dy\u014d.\u201d \u96ea\u821f\u7b49\u694a Sessh\u016b T\u014dy\u014d (1420-1506)<\/em>, https:\/\/terebess.hu\/zen\/mesterek\/Sesshu.html.<\/p>\n\n\n\n

Toyo, Sesshu. \u201cHaboku Sansui, 1495 – Sesshu Toyo.\u201d Www.wikiart.org<\/em>, 1 Jan. 1495, https:\/\/www.wikiart.org\/en\/sesshu-toyo\/haboku-sansui-1495.<\/p>\n\n\n\n

\u201cWorks of Sesshu Toyo.\u201d Masterpieces of Japanese Culture<\/em>, 7 Dec. 2021, https:\/\/www.masterpiece-of-japanese-culture.com\/works-of-sesshu-toyo. <\/p>\n\n\n\n

\u00a0 -\u30c8\u30fc\u30cf\u30af- \u6771\u4eac\u56fd\u7acb\u535a\u7269\u9928. \u201cNational Treasure Gallery: Autumn and Winter Landscapes.\u201d Tokyo National Museum<\/em>, https:\/\/www.tnm.jp\/modules\/r_exhibition\/index.php?controller=item&id=4271&lang=en.<\/p>\n\n\n\n

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