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In 1468, at the age of 48, Sesshū embarked on a trip to Ming China to study contemporary modes and styles of landscape paintings. Though initially studying under the auspices of Tenshō Shūbun and Josetsu, the expedition and visits to vast regions and cities from Beijing and Ningbo helped expanded and developed the styles that would be utilized in Autumn and Winter Landscapes.
To create his monochrome paintings in diluted greys and black ink, Sesshū used black sumi, meaning charcoal or soot-based solid ink on paper or silk, thus following the art of sumi-e [8] Some of Sesshū's most acclaimed works include Winter Landscape (c. 1470s), Four Landscape Scrolls of the Seasons (c. 1420 – 1506) and, Birds and Flowers (c ...
Landscape by Sesshū is one of the most securely authenticated works of the Japanese Muromachi period artist Sesshū (1420–1506). It is an ink wash landscape (山水図) in the private collection of the Ōhara family in Kurashiki, Okayama Prefecture, Japan. The hanging scroll has been designated a National Treasure. [1] [2]
Haboku sansui (破墨山水図, haboku sansui-zu, Broken Ink Landscape) is a splashed-ink landscape painting on a hanging scroll. It was made by the Japanese artist Sesshū Tōyō in 1495, in the Muromachi period .
Splashed-ink Landscape (破墨山水, Haboku sansui) by Sesshū Tōyō, 1495 Sesshu's landscape in hatsuboku style. Haboku (破墨) and Hatsuboku (溌墨) are both painting techniques employed in suiboku (ink-wash painting) in China and Japan, as seen in landscape paintings, involving an abstract simplification of forms and freedom of brushwork.
Winter (Purvītis) Winter 1946; Winter at the Sognefjord; Winter in Union Square; Winter Landscape near Haarlem; Winter Landscape with a Bird Trap; Winter Landscape with Skaters; Winter Night in the Mountains; A Winter Scene with Skaters near a Castle; Winter View of the Hekelveld in Amsterdam
Sesshū Memorial Museum (益田市立雪舟の郷記念館, Masuda Shiritsu Sesshū no Sato Kinenkan) opened in Masuda, Shimane Prefecture, Japan, in 1990.Located next to the site of the Daiki-an (大喜庵), said to have been the site of Sesshū's death and burial, the museum stages exhibitions relating to the artist and to the history of Masuda.
The “unconsummated, intuited nature of the Splashed Ink Landscape has led many commentators to interpret Sesshu's painting as embodying or pictorializing the principles of Zen Buddhism.” [31] The unrestrained nature of this work speaks to the enlightened ideal of the Zen tradition, while maintaining the tropes of the suggested mountains ...