Abstract

Spatial confluences between the ink paintings and garden designs of Sesshu Toy
o michael d. fowler particularly striking in their adaptations of contemporary techniques and Introduction expectations. I will outline and examine particular confluences in Sesshu
’s approaches and Like many of the other early cultural imports from China such as sculpture, techniques of representing space in both the four extant gardens that are com- calligraphy and pottery that later found themselves subtly adapted towards monly attributed to him as well as a sample of his sumi-e works. Though there Japanese tastes, Chinese garden design and ink painting too provided an initial remains only circumstantial evidence that places the four temple gardens at Joei-ji model and exemplar for Heian-era (794–1192) Japanese artisans. In fact, until (called sesshutei), Manpuku-ji (sesshut
eien), Funda-in (tsurukame-no-niwa)and Iko-ji at least the Kamakura (1192–1333) period, what Katherine Bedingfeld and as landscape designs of Sesshu
(unlike most of his sumi-e which are personally Osvald Sirén have characterized as the intimate and inextricable link between stamped), I will argue in this article that there are numerous parallel spatial monochrome ink painting and garden design held a firm and ongoing grip on techniques and devices