The paintings of Mu-ch'i, the first Chinese monochrome art to be seen in Japan, were an instant success, and Zen monks rapidly took up the style. The most successful imitator was a Japanese priest-painter named Mincho (1351-1431), who before long was producing landscapes virtually indistinguishable from Mu-ch'i's. It was almost as though Mu-ch'i had risen from the dead and begun a new career in Japan a century later. Subsequently, the landscapes of the Ma-Hsia school found their way to Japan, and before long a second "Sung dynasty" was in full swing under the Ashikaga. Japanese Zen had found its art, and soon Yoshimitsu had established a painting academy at the temple of Shokoku-ji, where painter-monks gathered to study each new boatload of Sung works and to vie with one another in imitating Chinese brush styles. The head of the Zen academy was the priest Josetsu (active ca. 1400- 1413), who took full control after Yoshimitsu's death in 1408. Josetsu's famous "Man Catching a Catfish with a Gourd," a parable of the elusiveness of true knowledge, is a perfect example of Japanese mastery of Sung styles, with its sharp foreground brushwork and misty distant mountains. The Zen academy dominated Japanese art until well after the Onin War, exploring and copying the great Sung works, both those in the lyric academic style and those in the spontaneous Ch'an style. Josetsu was succeeded by his pupil Shubun (flourishing 1423-d. ca. 1460), whose vast (attributed) output of hanging scrolls and sixfold screens was a precise re-creation of the Sung lyric style. He was not a mere imitator, but rather a legitimate member of a school long vanished, with a genuine understanding of the ideals that had motivated the Southern Sung artists. Shubun was a perfect master, a Zen Raphael, who so disciplined his style that it seemed effortless. His paintings are things of beauty in which the personality of the artist has disappeared, as was the intention of the Sung masters, resulting in works so perfectly of a type that they stand as a foundation on which others might legitimately begin to innovate. However, under Shubun's successor Sotan (1414-1481), the academy continued to copy the techniques of dead Sung artists (as so often happens when art is institutionalized), producing works that showed no glimmer of originality. Zen art had reached maturity and was ready to become its own master; but it needed an artist who would place more trust in his own genius than in the dictates of the academy.