This last of the four Southern Song Academy masters is shown as providing a bridge between that tradition and the new kind of painting associated with Chan (Zen) Buddhism, which will make up the topic of most of the lecture 12 group. The gap between the way Liang Kai is regarded, and his works collected, in China and in Japan also introduces a large problem that complicates the whole concept of Chan painting: why it was preserved almost entirely in Japan and scarcely at all in China.

Lecture Notes