The Japanese Collections 19 



out unneeded detail or separate the scenes one from 

 another, are characteristic mannerisms of the Tosa 

 artists. 



• In contrast to the Japanese style reflected in the 

 Tosa screen is the scroll exhibited on the south wall of 

 the room. This is a wood-block reproduction of a 

 famous painting by Sesshu, in the possession of Prince 

 Mori in Japan. Sesshu is regarded as the greatest 

 Japanese landscape artist, who painted in the Chinese 

 style. He lived in the fifteenth century and went to 

 China to study her ancient masters and the mountain 

 scenery of that country. On returning he founded a 

 new school whose members painted with vigorous 

 style mainly Chinese sages, birds and flowers, and 

 landscape compositions with illusive effects of atmos- 

 phere and distance. The panorama unfolded on this 

 long scroll is the artist's reminiscence of the scenery 

 along the river Yangtse in middle China. It is exe- 

 cuted in black and white, as is characteristic of the 

 Chinese school. 



At the entrance to Frank W. Gunsaulus Hall 

 there is a model of a Japanese pagoda. In contrast to 

 the pagodas of China, which generally are hexagonal 

 or octagonal, the square form dominates in Japan. 

 As in the case of this model, Japanese pagodas are 

 made of wood, stone not being employed in either re- 

 ligious or domestic architecture. 



Helen C. Gunsaulus 



[19] 



