In premodern China, elite painters used imagery not to mirror
the world around them, but to evoke unfathomable experience.
Considering their art alongside the philosophical traditions that
inform it, "The Great Image Has No Form" explores the
"nonobject"--a notion exemplified by paintings that do not seek to
represent observable surroundings.
Francois Jullien argues that this nonobjectifying approach stems
from the painters' deeply held belief in a continuum of existence,
in which art is not distinct from reality. Contrasting this
perspective with the Western notion of art as separate from the
world it represents, Jullien investigates the theoretical
conditions that allow us to apprehend, isolate, and abstract
objects. His comparative method lays bare the assumptions of
Chinese and European thought, revitalizing the questions of what
painting is, where it comes from, and what it does. Provocative and
intellectually vigorous, this sweeping inquiry introduces new ways
of thinking about the relationship of art to the ideas in which it
is rooted.
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