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Postgraduate Thesis: Sesshu and Chinese academic painting
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TitleSesshu and Chinese academic painting
 
AuthorsNg, Yuk-lan
吳玉蘭
 
Issue Date1997
 
PublisherThe University of Hong Kong (Pokfulam, Hong Kong)
 
Abstract(Uncorrected OCR) Abstract of thesis entitled Sesshii and Chinese Academic Painting submitted by Ng Yuk Lan for the degree of Master of Philosophy at the University of Hong Kong in November 1997 Sesshii (1420-1506), a figure of national pride, dominated the world of ink painting in the fifteenth-century Japan. Through the study of Chinese painting, he created his own personal realm of art by transforming such sources for new purposes. His paintings, marked by well organized composition and purposeful brushwork, show his successful attempt to blend elements from Chinese academic traditions. Sesshii's life spanned a period characterized by strong cultural influence from China. The Muromachi period saw the wholesale importation of Chinese paintings into Japan. This renewed interest in Chinese culture was also evident in the fashions of collecting and display of Chinese paintings and other works by the Ashikaga shoguns. According to several documents ofthe day, the art of Liang Kai, Ma Yuan and Xia Gui was particularly esteemed. For this reason, many Muromachi painters, including Sesshu, tended to base their styles on works associated with the above Song academicians. The biography of Sesshii, based on historical and literary documents, is given in the second chapter. His approaches to art and the styles which he developed were affected by trends in Chinese-style ink painting current in Muromachi-period Japan and by his experience in Ming China from 14671469. Sesshii's choices of models were influenced most significantly by his study under Shubun. Yet it was through his trip to China that Sesshu acquired better knowledge of Chinese painting and began to experiment with Ming academic styles exemplified by the Zhe School. Nineteen acceptable works are analyzed in three traditional categories of painting: landscape, figure, and flower-and-bird. His paintings, incorporating a particularly wide range of styles and techniques, were largely inspired by Chinese academic traditions .. Sesshii not only learned the brush techniques of Song models but also absorbed the new styles that" he had encountered during his stay in Ming China. While synthesizing all his sources, Sesshii succeeds in defining a unique style. In a word, his reputation rests on his attempt to Japanize the imported sources and on his contribution to art education. Indeed, the strength of Sesshii's influence during the sixteenth century may be seen in the works of his followers. In sum, this dissertation investigates Sesshii's relationship to Chinese academic painting by examining his life and painting and by reconstructing the cultural milieu in which he worked.
 
DegreeMaster of Philosophy
 
SubjectSesshu, 1420-1506 - Criticism and interpretation.
Ink painting, Japanese - Chinese influences.
Ink painting, Japanese - Kamakura-Momoyana periods, 1185-1600.
 
Dept/ProgramFine Arts
 
DC FieldValue
dc.contributor.authorNg, Yuk-lan
 
dc.contributor.author吳玉蘭
 
dc.date.issued1997
 
dc.description.abstract(Uncorrected OCR) Abstract of thesis entitled Sesshii and Chinese Academic Painting submitted by Ng Yuk Lan for the degree of Master of Philosophy at the University of Hong Kong in November 1997 Sesshii (1420-1506), a figure of national pride, dominated the world of ink painting in the fifteenth-century Japan. Through the study of Chinese painting, he created his own personal realm of art by transforming such sources for new purposes. His paintings, marked by well organized composition and purposeful brushwork, show his successful attempt to blend elements from Chinese academic traditions. Sesshii's life spanned a period characterized by strong cultural influence from China. The Muromachi period saw the wholesale importation of Chinese paintings into Japan. This renewed interest in Chinese culture was also evident in the fashions of collecting and display of Chinese paintings and other works by the Ashikaga shoguns. According to several documents ofthe day, the art of Liang Kai, Ma Yuan and Xia Gui was particularly esteemed. For this reason, many Muromachi painters, including Sesshu, tended to base their styles on works associated with the above Song academicians. The biography of Sesshii, based on historical and literary documents, is given in the second chapter. His approaches to art and the styles which he developed were affected by trends in Chinese-style ink painting current in Muromachi-period Japan and by his experience in Ming China from 14671469. Sesshii's choices of models were influenced most significantly by his study under Shubun. Yet it was through his trip to China that Sesshu acquired better knowledge of Chinese painting and began to experiment with Ming academic styles exemplified by the Zhe School. Nineteen acceptable works are analyzed in three traditional categories of painting: landscape, figure, and flower-and-bird. His paintings, incorporating a particularly wide range of styles and techniques, were largely inspired by Chinese academic traditions .. Sesshii not only learned the brush techniques of Song models but also absorbed the new styles that" he had encountered during his stay in Ming China. While synthesizing all his sources, Sesshii succeeds in defining a unique style. In a word, his reputation rests on his attempt to Japanize the imported sources and on his contribution to art education. Indeed, the strength of Sesshii's influence during the sixteenth century may be seen in the works of his followers. In sum, this dissertation investigates Sesshii's relationship to Chinese academic painting by examining his life and painting and by reconstructing the cultural milieu in which he worked.
 
dc.description.natureabstract
 
dc.description.naturetoc
 
dc.description.thesisdisciplineFine Arts
 
dc.description.thesislevelmaster's
 
dc.description.thesisnameMaster of Philosophy
 
dc.identifier.hkulb2056565
 
dc.languageeng
 
dc.publisherThe University of Hong Kong (Pokfulam, Hong Kong)
 
dc.relation.ispartofHKU Theses Online (HKUTO)
 
dc.rightsThe author retains all proprietary rights, (such as patent rights) and the right to use in future works.
 
dc.source.urihttp://hub.hku.hk/bib/B20565653
 
dc.subject.lcshSesshu, 1420-1506 - Criticism and interpretation.
 
dc.subject.lcshInk painting, Japanese - Chinese influences.
 
dc.subject.lcshInk painting, Japanese - Kamakura-Momoyana periods, 1185-1600.
 
dc.titleSesshu and Chinese academic painting
 
dc.typePG_Thesis
 
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<item><contributor.author>Ng, Yuk-lan</contributor.author>
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<date.issued>1997</date.issued>
<description.abstract>(Uncorrected OCR) 
Abstract of thesis entitled 

Sesshii and Chinese Academic Painting submitted by 

Ng Yuk Lan 

for the degree of Master of Philosophy at the University of Hong Kong in November 1997 

Sesshii (1420-1506), a figure of national pride, dominated the world of ink painting in the fifteenth-century Japan. Through the study of Chinese painting, he created his own personal realm of art by transforming such sources for new purposes. His paintings, marked by well organized composition and purposeful brushwork, show his successful attempt to blend elements from Chinese academic traditions. 

Sesshii&apos;s life spanned a period characterized by strong cultural influence from China. The Muromachi period saw the wholesale importation of Chinese paintings into Japan. This renewed interest in Chinese culture was also evident in the fashions of collecting and display of Chinese paintings and other works by the Ashikaga shoguns. According to several documents ofthe day, the art of Liang Kai, Ma Yuan and Xia Gui was particularly esteemed. For this reason, many Muromachi painters, including Sesshu, tended to base their styles on works associated with the above Song academicians. 

The biography of Sesshii, based on historical and literary documents, is given in the second chapter. His approaches to art and the styles which he developed were affected by trends in Chinese-style ink painting current in Muromachi-period Japan and by his experience in Ming China from 14671469. Sesshii&apos;s choices of models were influenced most significantly by his study under Shubun. Yet it was through his trip to China that Sesshu acquired 

better knowledge of Chinese painting and began to experiment with Ming academic styles exemplified by the Zhe School. 

Nineteen acceptable works are analyzed in three traditional categories of painting: landscape, figure, and flower-and-bird. His paintings, incorporating a particularly wide range of styles and techniques, were largely inspired by Chinese academic traditions .. Sesshii not only learned the brush techniques of Song models but also absorbed the new styles that&quot; he had encountered during his stay in Ming China. While synthesizing all his sources, Sesshii succeeds in defining a unique style. In a word, his reputation rests on his attempt to Japanize the imported sources and on his contribution to art education. Indeed, the strength of Sesshii&apos;s influence during the sixteenth century may be seen in the works of his followers. 

In sum, this dissertation investigates Sesshii&apos;s relationship to Chinese academic painting by examining his life and painting and by reconstructing the cultural milieu in which he worked.</description.abstract>
<language>eng</language>
<publisher>The University of Hong Kong (Pokfulam, Hong Kong)</publisher>
<relation.ispartof>HKU Theses Online (HKUTO)</relation.ispartof>
<rights>The author retains all proprietary rights, (such as patent rights) and the right to use in future works.</rights>
<source.uri>http://hub.hku.hk/bib/B20565653</source.uri>
<subject.lcsh>Sesshu, 1420-1506 - Criticism and interpretation.</subject.lcsh>
<subject.lcsh>Ink painting, Japanese - Chinese influences.</subject.lcsh>
<subject.lcsh>Ink painting, Japanese - Kamakura-Momoyana periods, 1185-1600.</subject.lcsh>
<title>Sesshu and Chinese academic painting</title>
<type>PG_Thesis</type>
<identifier.hkul>b2056565</identifier.hkul>
<description.thesisname>Master of Philosophy</description.thesisname>
<description.thesislevel>master&apos;s</description.thesislevel>
<description.thesisdiscipline>Fine Arts</description.thesisdiscipline>
<description.nature>abstract</description.nature>
<description.nature>toc</description.nature>
<bitstream.url>http://hub.hku.hk/bitstream/10722/27557/5/Abstract.pdf</bitstream.url>
<bitstream.url>http://hub.hku.hk/bitstream/10722/27557/6/Table%20of%20Contents.pdf</bitstream.url>
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