"Two Different Beams" - A Glimpse Of The Different Aesthetics Of Liang Shu's Zen Paintings Between China And Japan

In China,the studies of Zen-painting are largely from Taiwan's scholars.However,in mainland,considering the historical and ideological influences,there are many bias and outdated views as well as faults in commonsense.Academic books are also rare,which could be considered as a great gap in the study of art history.Japan contributes greatly to the study of Zen-painting,which is there prestigious doctrine.The works of Liang Kai,the master of Zen-painting,have been valued highly by China and Japan.But if we compare the collections of the two countries,we would find obvious differences.The differences in aesthetic interest and collecting preference come to the "two different Liang Kai"(quoted from James Cahill).When the Zen-painting was just springing up,it found little resonance with the literati in China,but it was loved by Japanese who were the believers of Zen.So that it was brought to Japan and directly influenced the ink-painting of Zen to form and develop in Japan.In China,the Zen-painting and Literati painting separated.And this led to the differences of painting China and Japan.This article will start from discussing Liang Kai,and then analyzing the different collecting and aesthetic preferences of Zen-painting in China and Japan,on the same time,referring to the spiritual origin of Zen.Zen passed the koan from Sakya,is quite tough for us to understand.This article hopes to de-ideologicalize and represent the virtue of Zen.In modern times,Japan and Taiwan contributes much to the study of Zen-painting while the Mainland China still have a lot to do.In addition,the critic and appreciating systems of Mainland China are still focus on Literati paintings.It would be a proud if people could study and value the Chinese painting in diverse angles while studying Zen-painting.