The right scroll of this pair features a fisherman's hut set along the water's edge and sheltered by a foreground rock ledge covered with a grove of thick-trunked trees. Behind them, rising precipitously into distant space are a series of forested plateaus, craggy conglomerates of rock spires, and the shadowy forms of even taller, far-distant mountains. The left scroll, while at first glance appearing compositionally related to its mate, actually reflects an entirely different landscape painting heritage. Its marshy waterscape with thick-trunked, leafy trees giving way to three separate groves of trees obscured with bands of mist recalls early Chinese riverbank scenes of the 12th century.
Among all suibokuga painters, Sesshu occupies the most lofty position in Japan. The first Japanese ink painter to travel to China, he developed a painting style that was studied from the time he began accepting students until the late 19th century. Such study consisted of the dutiful copying of painting compositions associated with the master, followed by the emergence of the pupil's own distinctive identity in brush and ink. The anonymous painter of these two impressive landscapes was clearly able to study the master's large seasonal landscape compositions firsthand.