Sesshu Toyo Analysis

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Sesshu Toyo’s art was often landscapes like other Zen Buddhist artists. One of his most notable masterpieces is the Painting of Juro. Juro often referred to as Jurojin, is known to represent the god of longevity and good fortune. While he is known to be a Chinese Taoist god, in Japan he became popular as one of the “Seven Gods of Good Fortune” and eventually became a Zen Buddhist god. It is believed by some that he may have been an actual historical figure of the Northern Song dynasty from China. This painting is executed in light colors on silk measures and ink. Written on the upper right corner is a one-line inscription by the artist: “Painted by Sesshu at the age of eighty-three years” which corresponds with the year 1502. This painting is presently considered to be his last known work. Sesshu depicted the white-haired Juro in a posture of repose. His head and shoulders are tilted slightly forward, his face seen in three-quarter view, and the gaze is faced pensively downward. In Juro’s hand he holds a scepter and around the upper portion of his body a luminous halo is seen. Juro sits somewhat sideways with one foot resting on a rock and the other on the ground, wearing a robe, while a gauze veil covers his head and shoulders. Between Juro’s feet, partly behind a rock, appears to be a wide sash with a small ornament at the tip as two ends of a scarf fall curling around the ground. Near the rock’s edge on the right stands a sennin, also known as an attendant, or Taoist immortal who is offering fungus to the deity. Juro is accompanied by animals associated with longevity: a white deer, a red-headed crane, and a small turtle that is creeping from behind one of the curled scarf ends. The bamboo that surround Juro in this masterpiece represent good fortune and longevity to the Japanese culture because of their ability to proliferate and grow in the most adverse

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