Keishoki, was famous for his pictures of sacred figures and landscapes, and Sesshū excelled even his master in the directness of his methods, the sentiment of his pictures, and the delicacy of his execution. During the Kansei era (1460-1465), he crossed to China in order to study the landscapes and foliage of that country. The journey added to his fame, for in the neighboring empire he found no peer, and the emperor of China as well as the people paid him great honor. Sesshū has had few equals in the art of depicting landscapes, figures, floral subjects, dragons, and tigers. Students of his style were Sesson, Soyen, and Tokan (called also Shugetsu), all artists of note. A contemporary of Sesshū, Kano Oyenosuke, was taken under the special patronage of the Shōgun Yoshinori, and his son, Kano Masanobu, who had studied under Oguri Sotan, was employed in the decoration of the Golden Pavilion, where, by order of the ex-Shōgun Yoshimasa, he painted the eight Siao-siong views. His eldest son, Kohōgen Motonobu, was the initiator of a new style based on the Yamato school of Nobuzane and the methods of the Sung and Yuan dynasties. His colors were applied with the greatest feeling and delicacy, and the facility and force of his brush were evidenced by noble paintings of landscapes, figure subjects, and foliage. He was the ancestor of the Kano family, and his son, Shoyei, and grandson, Eitoku, worked on his lines with conspicuous success. Sculpture and the ceramic industry made progress not less remarkable than that of painting during the Muromachi epoch. Muneyasu of the Myochin family stood at the head of workers in metal. He made for the Shōgun Yoshimitsu a helmet of extraordinary beauty. Another helmet equally remarkable for the grace and fineness of its workmanship was forged for Takeda Shingen by Nobuiye, also a Myochin. The era was also rich in swordsmiths of note. Of these Gotō Sukenori was the most famous. A short sword made by him for Yoshimasa was considered a marvel of skilled forging. Glyptic work in various metals found masters of the highest craft in the representatives of the Gotō family. They took their decorative designs from pictures painted by the artists of the Kano school, and reproduced these charming conceptions on sword fittings with extraordinary fidelity, using the chisel as though it were a painter's brush. Aoki Kanaiye and Myochin Nobuiye were specially celebrated as makers of sword-guards, a part of the warrior's equipment on which much manufacturing care was lavished.