@article{oai:tobunken.repo.nii.ac.jp:00006119,
 author = {石, 守謙 and 厳, 雅美 and Shih, Shou-chien and Yen, Ya-mei},
 issue = {382},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Mar},
 note = {Though not as well known today, Chen Zihe (active early-mid 16th century) was in his time a famous painter of Fujian province where the Taoist center Longhu Shan (Dragon and Tiger Mountain) is located nearby. His success came not merely from the subject matter of his paintings that often focused on Taoist figures, but also from the rich and skillful rendering of ink washes that made his painting “replete with the spirit of Immortals.” Moreover, his painting style revealed a quality that may serve as the fundamental character for defining “Taoist ink painting” as a genre that could rival the famed “Zen painting.”
     Modern scholars have long associated Chen Zihe with the late Zhe-school of painting because of the loose and rough style presented in his works. Chen is also remembered for his excessive use of ink washes, which coincidentally was greatly loved by the contemporary Japanese. By investigating the relationship between the styles prevalent among the painting traditions in Fujian and both the social and religious backgrounds of Chen Zihe and other Zhe-school painters, this paper would like to draw attention to the close interrelations between the Taoist aesthetic and the stylistic turn of the Zhe-school. Furthermore, this paper hopes to suggest a new perspective in understanding the development of ink paintings during the Ming Dynasty.},
 pages = {1--19},
 title = {神幻変化―福建の画家・陳子和にみる明代道教水墨画の展開―},
 year = {2004}
}