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Sesshū Tōyō was born in Akahama (now Sōja City), a settlement in Bitchū Province, which is now a part of the Okayama Prefecture, during the Muromachi period. [3] As a child, Sesshū entered the Buddhist community at the Hofukuji temple in Okayama, Japan. [5]
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.
The full hanging scroll of Broken Ink Landscape by Sesshū Tōyō, 1495, including dedicatory inscription by the artist, and six poems by Zen Buddhist monks.. Haboku sansui (破墨山水図, haboku sansui-zu, Broken Ink Landscape) is a splashed-ink landscape painting on a hanging scroll.
Landscape by Sesshū (), private collection; ink and light colour on paper; 118.0 centimetres (46.5 in) by 35.5 centimetres (14.0 in). Landscape by Sesshū is one of the most securely authenticated works of the Japanese Muromachi period artist Sesshū (1420–1506).
Sesshu Toyo's painting of Kanzan and Jittoku differs from others seen, as it is a bust length image of the two figures' faces. Sesshu Toyo pays great attention to rendering their emotions and mischievous glances, as they laugh together while Kanzan holds a blank scroll. Through this, he captures the essence of the two figures.
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.
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 ...
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