ASIA212Varley

Rocks were thought to be especially favored abodes of

Info iconThis preview shows page 1. Sign up to view the full content.

View Full Document Right Arrow Icon
This is the end of the preview. Sign up to access the rest of the document.

Unformatted text preview: ctive based on depth. “Winter Landscape” (fig. 37) illustrates the major new features of Sesshû’s art. Although the scene leads to mountains in the distant background, there is no sense of great depth; and the mountains themselves are not even three-dimensional, but resemble flat cutouts propped against the back of the picture. The most startling part of the winter landscape, however, is its top center, where a jagged black line appears like a tear in the picture and, next to it, there is an abstract mosaic of surfaces that looks startlingly like the work of a modern cubist painter. By Sesshû’s time, it had become standard practice for artists to sign or affix their personal seals to all of their works. Hence, there is little doubt about the authenticity of the many paintings of his that have been Fig. 37 “Winter Landscape” by Sesshû (Tokyo National Museum) 134 The Canons of Medieval Taste preserved. One of Sesshû’s most famous pieces, still owned by the successor family to the Òuchi in Yamaguchi, is a horizontal landscape scroll some fifty-two feet in length and sixteen inches in height known as the “Long Landscape Scroll.” It directs the viewer, as he runs his eyes from right to left, through an ever-shifting but integrated series of landscape settings and changing seasons. Sesshû’s special love for the axlike, angular strokes of the standing style of brushwork is particularly evident in this scroll. We can also observe in it—in addition to the inclination, as in the “Winter Landscape,” to flatten surfaces—a liking for the decorative placement of objects in a manner that was to become increasingly marked among Japanese painters from the sixteenth century on. Another outstanding painting by Sesshû is the hanging scroll or kakemono that depicts Ama-no-Hashidate, a bay on the Japan Sea coast to the northeast of Kyoto (fig. 38). Sesshû’s use of a soft style to reproduce this lovely setting of mountains, water, and an unusual pine-covered sandbar extending nearly across the m...
View Full Document

This note was uploaded on 02/08/2013 for the course ANTH 142 taught by Professor Hans during the Spring '13 term at UBC.

Ask a homework question - tutors are online