Abstract
This essay takes up the line of critique of François Jullien in The Great Image Has No Form, that Chinese landscape painting (shanshui) provides a counter-example to Western painting. The opposition, namely that the former undermines form and the latter focuses on form, provides two kinds of access to ‘truth’ and demonstrates two different philosophical temperaments between China and Europe. The article attempts to reflect on Jullien’s comparison and the varieties of experience of art that Jullien has opened up for us. It also hopes to go a step further by exposing the different logic and sensibility that are present in shanshui painting through a reading of Wang Bi and Mou Zongsan.
© The Author(s) 2023.
© The Author(s) 2023.
| Original language | English |
|---|---|
| Pages (from-to) | 131-144 |
| Journal | Theory, Culture and Society |
| Volume | 40 |
| Issue number | 4-5 |
| Online published | 9 Mar 2023 |
| DOIs | |
| Publication status | Published - Jul 2023 |
Bibliographical note
Research Unit(s) information for this publication is provided by the author(s) concerned.Research Keywords
- cosmotechnics
- François Jullien
- Mou Zongsan
- shanshui
- Wang Bi
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