Mature years and works of Sesshū

Having been honoured at the imperial court in Beijing and at the most celebrated Chan monastery in China, Sesshū was at the height of his career. In 1469 he returned to Japan, where his fame had greatly increased. It is believed that he first went back to Yamaguchi but eventually (probably in 1476) built a charming rustic retreat across the strait, near Ōita, in Bungo province. He called his new house and studio Tenkai Zuga-rō (“Heaven-Created Painting Pavilion”) as a tribute to the peace and beauty of the setting. Sesshū painted some of his most outstanding works here and received many visitors who wished to hear about his trip to China or to study painting under him.

After many trips through northern Kyushu and other sections of Japan, Sesshū again returned to Yamaguchi in 1486 and rebuilt his studio. It is not certain whether or not he also lived in Iwami, as some sources suggest. Several temples claim the honour of being his burial site.

A large body of work has been assigned to Sesshū, but the question of authenticity is particularly vexing. Some of the paintings usually attributed to him are accepted without question on the basis of their outstanding quality, provenance, or inscriptions. Many others bearing his seal and signature are merely assigned to him because of their style and may be school pieces produced by his numerous followers. The largest group of authentic Sesshū scrolls is in the Tokyo National Museum, which has, in addition to four early landscapes believed to have been painted in China, three of the major works of his maturity. Two of them are hanging scrolls (kakemono) representing autumn and winter. The third is a landscape painted in the haboku, or splashed-ink technique, and therefore usually referred to as the “Haboku-sansui” scroll (formally titled Landscape). Painted in 1495, this work was given by Sesshū to his pupil Sōen when he returned to Kamakura after studying under the master.

The so-called “Long Landscape Scroll,” or “Sansui chōkan” (formally titled Landscape of Four Seasons, 1486), is generally considered Sesshū’s masterpiece and is often regarded as the greatest Japanese ink painting. Depicting the four seasons, beginning with spring and ending with winter, it extends more than 50 feet (15 metres). Though based in both theme and style on Chinese models, it nevertheless is Japanese in character. It has heavier lines, sharper contrasts of dark and light tones, and a flatter effect of space than are customary in Song painting. Almost equally outstanding is another horizontal landscape scroll, in the Asano Collection, Odawara. Believed to be somewhat earlier in date, the inscription says that it was painted in 1474 at the request of Sesshū’s pupil Tōetsu. Its style is far freer and more subtle. A very different kind of landscape painting is the View of Amanohashidate scroll (c. 1501–07), in the Kyōto National Museum. Much more detailed and realistic, it is almost like a topographic view of a particular place.

In addition to these landscapes, Sesshū painted a large number of Buddhist pictures that were often directly inspired by Zen teachings. The most famous of these is the scroll dated 1496 showing Bodhidharma and Hui K’o. Painted in heavy, vigorous lines, it reveals how Hui K’o cut off his arm in order to demonstrate his seriousness to Bodhidharma, the founder of Zen Buddhism who is called Daruma in Japan.

Sesshū also painted decorative screens. Perhaps the best of the ones attributed to him is the pair of six-fold screens showing birds and flowers in the Kosaka Collection in Tokyo. Painted in a realistic yet decorative manner, with slight additions of colour, they reveal yet another aspect of the artist’s genius. In contrast to the landscapes and Zen pictures that are inspired by the paintings of Song China, these pictorial compositions are closer to the type of decorative painting that flourished in China during the Ming period.

While his most-celebrated works are all in Japan, other pictures attributed to Sesshū are located in the West, especially in collections in the United States. The Museum of Fine Arts, Boston, for example, has seven paintings attributed to him, but the only one that is at all likely to be by Sesshū himself is a pair of screens depicting falcons and monkeys, which has Sesshū’s seal and signature as well as an inscription saying it was painted during the artist’s 72nd year. Other works that may be authentic are found in the Cleveland Museum of Art and the Seattle Art Museum. The great bulk, however, of the many scrolls traditionally attributed to Sesshū both in Japan and in the West are generally considered to be school pieces or copies inspired by the work of the master.