... The focus of the paper though is going to be on Japanese ink painting in particular, the artists of the time, and the renowned Sesshu Toyo. ... In return, it brought about many great artists such as Josetsu, Shubun, Bunsei, Ikkyu, and Sesshu. ... He was the mentor to both Bunsei, and Sesshu. Shubun while still not achieving the status that Sesshu did; still is regarded as one of the two greatest masters of ink painting of the Muromachi period.
Now following in the footsteps of who was suppose to be his mentor (Shubun), Bunsei (active 1450 -1460) studied at the Shokoku-ji with Sesshu under Shubun. Although Sesshu went on to continue his career, it was believed that Bunsei didn’t last nearly as long in the art world. ...
Finally we have the master of landscape ink paintings from the Muromachi Dynasty, Sesshu Toyo (1420-1506). ...
At a very young age Sesshu was believed to be placed into the Hofuku-ji (a temple in Soja) in Iyama. ... The Hofuku-ji is supposedly the location of a legend pertaining to Sesshu. The story says that he was tied to a tree in punishment for some misdemeanor, and proceeded to draw a rat with this tears, and the rat came to life, and then chewed off the ropes of Sesshu to set him free (4). ...
Although the convoy of trade ships that Sesshu was leaving with didn’t depart on time, his ship did depart on time, and made it to China well before the rest of the convoy did. ... So it wasn’t uncommon at this point in time for artist like Sesshu to be able to survive on their own as professional artist. This is what let Sesshu travel so extensively, and provided him with the means to really take in the scenery on the Chinese landscapes. ... On these extensive journeys through China Sesshu studied and reviewed all of the artwork that he could get his hands on. Although it is noted that Sesshu didn’t see some of the greater works from the literati masters such as Shen Zhou.
When Sesshu was attending T’ient’ung it is recorded on his Haboku Landscape (figure 4. ... Sesshu while staying in China made a great number of sketches of Chinese landscapes; they were predominately country sides and rural areas that were the focus of his sketches.
It was in 1469 that Sesshu made his trip back home to province of Bungo. ... Sesshu in return attempted to meet all requests made, and it just wasn’t samurai but commoners as well. ... It was sometime later that Sesshu returned to Yamaguchi. It was at this time that Sesshu created his renounced Long Landscape Scrolls (figure 4. ... It was in the close to the turn of the century (1470s-80s), and Sesshu was still believed to be going on his customary trips on foot to different monasteries, and Buddhist temples.
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