The Great Image Has No Form, or On the Nonobject through Painting

This insightful exploration examines how premodern Chinese painters approached art, focusing on the concept of the 'nonobject' in The Great Image Has No Form.

In premodern China, elite painters created imagery that transcended mere representation of the surrounding world. Instead of reflecting reality, these artists aimed to evoke profound experiences that resonate on a deeper level. The book The Great Image Has No Form delves into this artistic philosophy, exploring the concept of the 'nonobject'—a term that describes paintings that do not strive to depict observable environments. This exploration is enriched by the philosophical traditions that inform these artworks, revealing a rich tapestry of thought that underpins Chinese artistic practices.

Francois Jullien argues that this nonobjectifying approach is rooted in a belief in a continuum of existence, where art is not seen as separate from reality. This contrasts sharply with Western notions of art, which often emphasize a distinction between the artwork and the world it represents. By examining these differing perspectives, The Great Image Has No Form investigates the theoretical frameworks that shape our understanding of art, allowing for a deeper appreciation of how objects can be perceived, isolated, and abstracted.

Through a comparative method, Jullien exposes the underlying assumptions that characterize both Chinese and European thought. This provocative inquiry not only revitalizes discussions about the essence of painting but also invites readers to reconsider the relationship between art and the philosophical ideas that inform it. By engaging with these concepts, the book offers fresh insights into the nature of artistic expression and its significance within cultural contexts.