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

This book examines the concept of the 'nonobject' in premodern Chinese painting, contrasting it with Western artistic traditions. The Great Image Has No Form offers fresh insights into art's relationship with reality.

In premodern China, elite painters crafted imagery that transcended mere representation, aiming instead to evoke profound experiences. The Great Image Has No Form delves into this artistic approach, exploring how it aligns with the philosophical traditions of the time. The concept of the 'nonobject' emerges as a central theme, characterized by artworks that do not strive to depict the observable world but rather engage with deeper existential notions.

Francois Jullien presents a compelling argument that this nonobjectifying perspective arises from the painters' belief in a continuum of existence, where art and reality are intertwined. This contrasts sharply with Western art's tendency to segregate representation from the world it depicts. By examining these differing viewpoints, The Great Image Has No Form invites readers to reconsider their understanding of art and its purpose. Jullien's comparative method reveals the underlying assumptions that shape both Chinese and European thought, prompting a reevaluation of what painting truly represents.

Provocative and intellectually stimulating, this inquiry not only addresses the nature of painting but also challenges readers to reflect on the broader implications of art. By introducing new frameworks for understanding the connections between art and the philosophical ideas that inform it, The Great Image Has No Form revitalizes the discourse surrounding artistic expression and its significance in various cultural contexts.