Abstract
Since the early Edo period, Sesshu’s reputation has been firmly established, and in the modern era, his image as a “painting sage” has taken root. In recent years, however, there has been an effort to pursue Sesshu’s true image without being bound by such stereotypes, and new works have been introduced. As Ryōan Keigo, a monk of Tofuku-ji Temple, wrote in his Inscription of Sesshu’s landscapes (FujitaMuseum), “He discussed painting as he discussed poetry“, Sesshu must have entrusted his feelings as a Buddhist monk to his paintings on a daily basis, and painted them on demand. One example of a painting completed in a short period of time that was probablyproduced in response to such a request is a splashedink landscape. The “Landscapes” in the collection of Keio University are small works drawn using the splashed ink technique, and they are assumed to have been created in a short period of time. Although there are no rules for stroke order or how to paint, as the splashed ink technique is precise without being bound by its norms, by examining the origins of the splashed ink technique based on advice from contemporary artist*1, I will attempt to compare styles of splashed ink techniques, which are difficult to compare because of their high level of abstraction.
