“去相合”的美学间距——朱利安论中国绘画

Fran9ois Jullien coins the term “de-coincidence”(dé-co6ncidence), considering it a refreshing source for artistic creation. From this perspective, he reexamines the Western artistic tradition based on “representation”(adéquation), criticizes its lack of fruitfulness, and proposes the use of “divergence”(l'écart). To de-coincide, Jullien turns to traditional Chinese painting as a source of enlightenment, perceived as the “outside”(dehors). He highly extols Dao, namely the continuous bipolar interaction and transformation, and believes that the great harmony in Daoist thought is a driving force to reflect on the European aesthetic tradition. Jullien's work has sought to avoid exoticism and Orientalism, with the ambition of constructing a dialogic approach to the interpretation of Chinese issues.