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Sesshū Tōyō and Shōun Zuikin Imaging Ming China through Water Paintings and a Travel Diary Murai Shōsuke Sesshū Tōyō, the most famous painter in medieval Japan, traveled in China together with the official Japanese embassy between 1467-69. During his journey he has painted several pictures as part of his works, the Kuniguni jinbutsu zukan (Illustrated Scroll of Figures from the Various Countries) and the Tōdo shōkei zukan (Illustrated Scroll of Scenic Views of China). On the other hand, there was a Zen-monk, Shōun Zuikin who went to China as member of the former official Japanese embassy in 1453-54. During his stay he kept a travel diary titled Shōun nyūminki. Both Sesshū and Shōun traveled almost on the same route. The pictures of Sesshū and the writings of Shōun help us to imagine China in the middle of the 15 th century. For example, at the end of the year, barbarian envoys from different countries arrived one after another in Beijing in order to participate at the imperial audience for the New Year s greetings. Sesshū painted these barbarians in his work and Shōun made a record in his diar y about the exchange with them. Sesshū was also praised by the Chinese for his painting on the wall of the building of the Ministry of Rites in Beijing. According to Shōun s diary, the visit in the Ministry of Rites was a regular practice after the audience with the emperor. That is why we may suppose that the Minister of Ministry of Rites asked Sesshū to paint a picture on the wall, when the Japanese visited the Ministry after the audience. Sesshū drew pictures of the beautiful landscape on the way from Ningbo to the crossing point of the Yangtze River for his illustrated scrolls, but he also painted separated pictures of the same landscape. Sesshū made these pictures in order to prepare himself for orders in Japan. He expected that Japanese i
customers would order pictures of noted places in China after his return to Japan. These pictures, however, do not always represent the actual landscape that Sesshū really saw in China. He sometimes rearranged or changed the actual landscape for his own purposes, which was a usual method of Chinese landscape painting. We can find the similar mentality in the diary of Shōun, who sometimes used his imagination when he was writing his account on sightseeing in China or when he was composing poems on natural landscape. The Amanohashidate zu (View of Amanohashidate), designated as a National Treasure was painted by Sesshū according to the techniques of practical landscape painting, that he mastered during his journey in China. This work can be considered as the crystallization of these techniques from China. ii