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Sesshu Toyo

Landscape

Undated, Muromachi Period

Hanging Scroll, Ink and Light Color on Paper

  • Similar to Misho due to heavy ink tonality
  • Drawing focus into center by the road intertwining between rocks
  • It differs from many Zen and Buddhist painting because it shows people in the image.
  • The image has a great sense of depth by using a variation of hues. Darker on the bottom projecting the rocks forward, the middle is a medium tone, whereas the back almost represents the fade of an apparition giving the sense of depth.
  • There is more of a sense of the architectural structure
  • The human realm is incorporated into the larger, natural realm surrounding it
  • There is a connection between nature, space, and painting
  • Heavy ink tonalities
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Werid One with blotchy strokes

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Sesshu Toyo

Landscape (haboku technique)

** 1495**

  • *Hanging scroll, ink on paper
    * *But perhaps the most audacious work attributed with certainty to Sesshu Tōyō is a vertical scroll known as “Haboku-Sansui”. This landscape is painted with a technique known as “broken ink”, “splashed ink” or “spilled ink”, which creates works with a remarkable degree of abstraction of forms, as well as a characteristic freedom of brushwork. With his masterful use of ink, of which “Haboku-Sansui” is a stunning example, Sesshu was able to create a genuine Japanese style of painting that was continued by many other painters during the following centuries.

<!--EndFragment-->

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Ikkyu

Monk in a Landscape

Late-15th Century

Hanging Scroll, Ink on Paper

- The Zen monk Ikkyþ seldom painted landscapes, preferring instead such subjects as birds, orchids, prunus, and especially poems and Zen parables written in his powerful calligraphic brush manner. These bokuseki (ink traces) are revered in Japan because they reveal the spiritual character of this eccentric cleric’s life and thought.
Ikkyu led a solitary existence, avoiding sustained contact with Kyoto’s large monasteries. He despised the values espoused at such institutions, and openly condemned their distortion of fundamental religious principles. He particularly criticized the close relationships between some monks and the military and government officials of the time.
This modest-sized painting is typical of Ikkyu’s work. Noteworthy is Ikkyu’s dark sinewy writing style, which balances the more familiar landscape elements. Easily overlooked at first is the simply rendered figure

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Ise Shrine

-Shinto= nature. Is extremely important to this religion (native Japanese religion.

  • Example of traditional Japanese architecture
  • NO images in the shrine
  • Thickly fetched roof covering because of japans harsh weather
  • Granary style house (space underneath the house)
  • Every 20 years the shrine is rebuilt completely, to uphold its sacredness.
  • Inside of the shrine is absolutely nothing; it is bare
  • Forests = a mystical land they exist in
  • Rebuilt every 20 years
  • In the empty lot, they build a small replica while they build on the other side
  • Shinto
  • Strong, durable covering over the wooden structure

oDevelopment of this roofing style = Japan’s climate (wind & rain)

-Empty area underneath = granary structure

oSpace where you can keep rice and maintain a flow of air

-Lack of stone base (from China)

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5
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Horyuji (Temple of the Exalted Dharma),
southwest of Nara.
Originally built 607, rebuilt between 670 and 710.

- built 7th century under patronage of prince shotoku. Asuka period

-Chinese-style architecture looking to China for influence

  • Provided education, ad housed monastic elite.
  • Interaction between monastic and lay community
  • square stone platform base

- Center of Japanese culture and power from the Asuka period to the Nara to the Heian Period

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6
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Shariden (relic hall), Engakuji, Kamakura. 1293-98, Kamakura Period

  • All wooden structures, stone platform ) Japanese style, and curved roof
  • Shogunate: run by the shoguns

oWant to replace the monastic elite with shoguns (military leaders)

  • Curvature on the roof = innovation of Japanese architecture
  • Two temples competing for power within the Kamakura society
  • Increased power for the monastic community who have a purchase on the ideas and the popular feelings/ the relationship between the people and the military
  • Attracted to ideas of Chan/Zen Buddhism
  • Tatchu architecture
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Hondo (Main Hall),

Kenchoji, Kamakura, rebuilt 1814

-Wide eves , Fatched thick roof

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Hondo (Main Hall), Tofukuji, Kyoto, founded 1236

  • This temple is the head temple of the Tofukuji School of the Rinzai sect of Zen Buddhism. It was built in 1236 on the instructions of Kujo Michiie, the great statesman of the Kamakura period, who desired to build in Kyoto a temple complexes in Nara. Even its name, Tofukuji, is a combination of one chalacter from the names of each of these Nara temples. 
Its original buildings were burned but were rebuilt in the 15th century according to the original plans. About this time it flourished as one of the Five Great Temples of Kyoto. Its many compounds and sub-temples survived the ravages of war and fire until the late Meiji period when the Butsuden (Buddha hall) were burned. However, it even now retains the magnificent scale characteristic of a medieval Zen temple.
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Engakuji Sub-Shrine

Engakuji, Kamakura

Succession of masters who are commemorated by their students by having shrines built in memory of them
Shrines set up to remain in contact with their master
Form and function work together in the creation of founder statues
The idea of Chinzo comes into play

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10
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gold

A 
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Kinkaku-ji (Golden Pavillion)

Original structure 1397

Rebuilt in the 1950s

Rokuon-ji, Kyoto

- Sixth dynasty style architecture covered in gold leaf

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  • <!--[endif]-->Steep tiled roofs

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  • <!--[endif]-->Upheld by a simple bracket wooden system

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  • <!--[endif]-->Able to tell what the kondo is for due to the image displayed in the middle of it

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  • <!--[endif]-->Square base on large stone slab

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  • <!--[endif]-->Eaves come out at the ends

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Ginkaku (Silver Pavilion), Jishōji, Kyoto, 1483

  • A summer house(vacation home for Shogun)
  • Mix of Chinese and Japanese architecture. Tile roof= Chinese, slanted eves =Japanese
  • Fabricated look of a natural landscape
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Garden of Daisenin,

Daitokuji, Kyoto

Early 16th Century

The garden at Daisen-in (1509-1513) took a more literary approach than Ryōan-ji. There a “river” of white gravel represents a metaphorical journey through life; beginning with a dry waterfall in the mountains, passing through rapids and rocks, and ending in a tranquil sea of white gravel, with two gravel mountains.

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Garden of Zuiho-in, Daitokuji Zen Temple, early-16th Century, Kyoto

  • The enter focus of meditation
  • The small rocks represent water, large rocks represent landscape
  • The dry garden is a place set apart from the temple complex.
  • Meditation= relinquish self from mundane world

Not all dry gardens are separated from the main temple complex

  • Meant to perceive your existence to your relation to the dry landscape
  • Emphasizes going out, and entering into a different space than the temple
  • Connection between daily work and enlightenment

oRaking of the garden = daily monk work

§Part of the meditative process

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View of the “Dry Landscape” Garden of the Ryoanji. Momoyama Period, first

established c. 1500 , Kyoto

-Ryoanji is most famous for its karesansui (dry landscape) Zen rock garden, thought to date from the late 1400s. It is one of the most notable examples of the dry-garden style — some say it is the highest expression of Zen art and teachings and perhaps the single greatest masterpiece of Japanese culture. No one knows who laid out this simple garden, or precisely when, but it is today as it was yesterday, and tomorrow it will be as it is today.

  • The Zen garden is an austere arrangement of 15 rocks rests on a bed of white gravel, surrounded by low walls. The moss-covered boulders are placed so that, when looking at the garden from any angle, only 14 are visible at one time. In the Buddhist world the number 15 denotes completeness. So you must have a total view of the garden to make it a whole and meaningful experience, and yet, in the conditions of this world, that is not possible.
  • Unlike Stonehenge, the Pyramids, or Angkor Wat, Ryoanji can hardly impress you with technical achievement, religious imperative or sheer scale. Yet its quiet minimalism inspires contemplation and introspection.
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-the space of the room VS. space of the alcove to consume tea. The idea that the space to consume tea is its own space for this tradition to take place.

*emphasizing “new space”

  • within the alcove there is a landscape ink painting emphasizing the connection to earth, and all things natural. The paintings are selected based on the appropriatness of the occasion, including the season and the theme of the get together.
  • The conversations are supposed to be centered around the tea ceremony and zen ideas. It is not a time for gossip or casual random chit-chat.
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Ryoko-in Tea Room

Daitoku-ji Temple, Kyoto

-The Kan’in-no-seki tea room is located at Jukou temple on Daitokuji temple compounds. Build by Miyoshi Yoshitsugu in 1566.
This tea room features a three-Tatami-mat layout with a center pilar. Both the center pilar and the alcove pilar are made from the same red pine wood. The ceiling above the host is lowered to indicate the seperation between guests and host.
There are various stories which say that the great tea master Rikyu was very fond of this tea room and used it to meditate in. Rikyu and his family graves lie within the temple grounds.

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Title :Tea Bowl from Daitoku-ji Tea Ceremony Room

Daitoku-ji,

Location :Kyoto, Japan

  • Wabi – aesthetic term refers to the natural, unglazed ceramic, the cracks from the kiln. Its natural quality and its relation to earth.
  • The use of metal, wood, water, fire, and earth in a tea ceremony.
  • The tea ceremony is 100% earthly and natural
  • The original state of state of the natural original mind.
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Zen (1 decks)

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