This article examines the theme of “homecoming” in East Asian ink landscape through two paintings. The author recalls that from the Song dynasty onward shanshui painting depicted ideal rather than real scenes, uniting yin and yang, and that under the influence of Chan (Zen) Buddhism in the thirteenth century it came to favour the misty atmosphere of the lower Yangzi, in which form dissolves into emptiness. The first work, an anonymous Southern Song hanging scroll in the Cleveland Museum of Art bearing an inscription by the Chan monk Xuzhou Pudu (1199–1280), shows two tiny figures descending a mountain path towards home amid moist ink and mist. The second, a Homecoming by the Japanese painter Unkoku Toshitsu (d. 1668) of the Unkoku school, which claimed the legacy of Sesshū Tōyō, depicts a hiker crossing a bridge against the wind, with trees formed from a few wet ink stains in the “splashed ink” (pomo, hatsuboku) manner associated with Yujian. Both works use dense empty space and sparse forms that invite identification with the travellers. From a Zen perspective, the author concludes, homecoming signifies the longing for enlightenment and illustrates the Heart Sutra’s teaching that form is emptiness and emptiness is form.