Sesshū

Sesshū (born 1420, Akahama, Bitchū province, Japan—died August 26, 1506, near Masuda, Iwami province) was an artist of the Muromachi period, one of the greatest masters of the Japanese art of sumi-e, or monochrome ink painting. Sesshū adapted Chinese models to Japanese artistic ideals and aesthetic sensibilities. He painted landscapes, Zen Buddhist pictures, and screens decorated with flowers and birds and other animals. His style is distinguished for its force and vehemence of brush stroke as well as by its intensity of conception.

Early life and career

In contrast to many of the masters of Japanese art about whose lives little is known, the biography and artistic career of Sesshū are recorded in detail. His family name was Oda; his original personal name is no longer known. In 1431, at the age of 10, he was enrolled at the local Zen temple, known as Hofuku Temple, where he received the name Tōyō, meaning “willowlike” (perhaps because he was slender and graceful). Zen Buddhist temples were the artistic and cultural centres of the period as well as the centres of spiritual life. As a young novice, therefore, Sesshū undoubtedly received not only religious guidance but also instruction in calligraphy and painting.

In about 1440 he left his native province for Kyōto, then the capital city and the intellectual and artistic focus of Japan. The young monk lived at Shōkoku Temple, a famous Zen temple adjacent to the Imperial Palace of the Ashikaga shoguns, who were great art patrons. Shūbun, the most famous Japanese painter of the day, was the overseer of the buildings and grounds at Shōkoku Temple. In addition to studying painting under Shūbun, Sesshū studied Buddhism under the famous Zen master Shurin Suto. Although there are no paintings that can be assigned with certainty to this early period of Sesshū’s career, it is believed that he must have worked in the style of Shūbun, who was profoundly influenced in both choice of subject matter and style by the Chinese painters of the Song period (960–1279). Song masters enjoyed great favour with the Japanese Zen painters, and their work was eagerly collected by Japanese connoisseurs and artists alike. The young Sesshū, therefore, must have had many opportunities to study masterpieces of Chinese painting.

After spending 20 years in Kyōto, Sesshū left the capital for Yamaguchi in the western part of the island of Honshu, a city that had become an important cultural centre under the Ōuchi clan. In Yamaguchi the artist became the chief priest of Unkoku Temple, and it was at this time, probably in 1466, that he began to call himself Sesshū (“Snow Boat”). It seems certain that one of the reasons Sesshū chose to move to Yamaguchi was his desire to go to China. Strategically located, this section of Japan was the staging point for many expeditions to the Asian mainland. The Ōuchi lords, in fact, had a trade permit that enabled them to conduct very profitable commercial transactions with China.

Journey to China

Sesshū succeeded in joining one of these Japanese trading missions as an art expert and landed in 1468 at Ningbo in southern China. He was to act as a “purchaser priest,” who would buy Chinese paintings for his patrons and would also study at the Chan (Chinese word for Zen) monasteries. Sesshū was disappointed with contemporary Chinese painting, which, under the Ming dynasty (1368–1644), had turned away from the spiritual and aesthetic ideas prevalent during the Song period. Nevertheless, the magnificent scenery of China, as well as the contact with the Chan monasteries, was a source of great inspiration to Sesshū, who often referred to these experiences in his later life.

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As a distinguished visitor from Japan, Sesshū was treated with great respect. He was honoured with the “First Seat” (that is, the seat next to the abbot in the famous Chan monastery of Mount Tiantong), which led him to sign several of his paintings “Occupant of the First Seat at Tiantong.” He also traveled to the Chinese capital of Beijing. A friend who accompanied him on this trip reported that Sesshū was invited to paint the walls of one of the halls of the Ministry of Rites at the Imperial Palace. It is not known whether this story is true or an exaggeration of some other invitation, but it does indicate in what high esteem this Japanese master was held by his Chinese contemporaries. What Sesshū’s painting of this period may have looked like is perhaps best exemplified by a set of four landscape scrolls in the Tokyo National Museum that are signed “Tōyō, Japanese Zen Priest,” a designation hardly necessary if they were painted in Japan.