| Summary: | 碩士 === 中國文化大學 === 藝術研究所 === 90 === Abstract
The Japanese painter Sesshu (1420-1506) was the central figure in the art world during the muromachi period of Japan, and is also considered the representative artist in the history of art exchange between Japan and China.
Through the exploration of Sesshu’s works, we are able to see the interest the Japanese have possessed for Chinese culture since ancient times, an interest which became an integral part of Japanese education. However, in the development of painting in Japan, this influence from Chinese culture was unidirectional; Japanese culture was never exported back to China.
During the early period of development of Japanese ink painting, Sesshu entered the Syokoku Temple in Gozan. Sesshu imitated the Song and Yuan Dynasty styles, and did not establish a name for himself until after 20 or 30 years of painting. However, in order to search out the true essence of painting, he traveled to China during the Ming Dyansty. There he came into direct contact with the Zhe school of painting, vastly expanding his artistic style. Sesshu wholeheartedly pursued the Southern Song technique of painting, and which later led to the development of his own unique style. In coming to China himself, Sesshu was able to see the Chinese landscape in person, to which he incorporated his realism to further advance his artistic creations; this new style in turn was later instilled into the Japanese art world. Sesshu’s achievements influenced the direction of painting in Japan after the muromachi period. Further, his interpretation of Southern Song style came to be a great influence on the later art world of Japan, both now and in the future.
In discussing the intercultural study and influence of painting between China and Japan, we can look back to Japan’s Meiji reform, when many Chinese with larger aspirations traveled to Japan. Japan’s exploration of the West allowed these artists to assist in promoting new trends in Chinese ink paintings. Many seniors of the Lingnan school traveled to Japan, coming into contact with a new style of painting that blended traditional Japanese technique with Western realism. This bridge to Japan allowed Chinese painting to also develop simultaneously. This phenomenon has clearly influenced both the Chinese art world and my own painting technique.
In exploring Sesshu’s paintings and his historical significance in the ancient Japanese art world, I attempt in this thesis to provide a background for viewers to better understand my works through the analysis of collected information regarding Sesshu’s life and artistic style. This thesis provides mutual substantiation for my works and style in the form of academic research.
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