Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 8218 SESSO ¯ /SESSHU ¯ TWO ARTIST NAMES, ONE SIGNIFICANT WORK Bodhidharma Crossing the Yangtze River on a Reed in SCMA’s collection is a significant early work by the renowned Muromachi-period ink painter, Sesshu ¯ To ¯yo ¯ (1420–1506?). From May 26 to July 10, 2016, it was featured in the exhibition The Brilliant Artist Sesshu ¯ in His Youth: Japan Premiere of Bodhidharma Crossing the Yangtze River on a Reed at the Nezu Museum in Tokyo, Japan. The museum received 23,322 visitors during the run of the exhibition. Despite Sesshu ¯’s prominent position in Japanese art history, and the fact that six paintings by him have been designated national treasures in Japan, it is less known that the alternative name Sesso ¯ To ¯yo ¯ was used into the painter’s late 30s. The SCMA painting was from his Sesso ¯ phase. By displaying it with other important works from the painter’s early Sesso ¯ as well as later Sesshu ¯ periods, the Nezu exhibition, the first of its kind, examined the often overlooked first part of the great painter’s career. The exhibition also marked the painting’s first public display in Japan since it was sold at an auction in Tokyo in 1928. Although its where- abouts had become unknown to the Japanese, its significance was well recognized because of a copy from the Edo period. The original was acquired in the U.S. by Peggy Block Danziger ‘62 and Richard Danziger, who subsequently gave it to SCMA in 2008. The painting’s subject matter has become a fitting allegory for the scroll itself, and in 2015 it made yet another journey back to Japan. There, it received conservation treatment in the Kyoto studio of Tatsuya Yamauchi, thanks to a grant from the Sumitomo Foundation, before it was loaned to the Nezu exhibition. In June 2016, Yao Wu and Samuel C. Morse, Howard M. and Martha P. Mitchell Profes- sor of the History of Art and Asian Languages and Civilizations at Amherst College, visited the Nezu and met with staff from the museum. In addition, they participated in a study session organized by Professor Shimao Arata of Gakushuin University, who contributed an important essay to the exhibition’s bilingual catalogue. Some of Japan’s leading experts on ink painting were also there, as were young scholars from both Japanese and American institutions. The widespread enthusi- asm and lively discussions sparked by the viewing of the painting reaffirmed how fortunate it is for SCMA to have such a prized work of art. ABOVE: Images from the installation of SCMA’s Sesso/Sesshu artwork at the Nezu Museum in Tokyo, Japan