On The Study Of Chinese Painting And Calligraphy

Fran?ois Jullien is a productive French scholar with lots of work involve various fields. His books have attracted a large quantity of readers in Europe. And it is his work that raise heated discussions almost every time. In recent years, Jullien’s name is highly concerned in professional circles by the increasing number of his work being translated and published in China. His work deal with multiple subjects between China and Europe including literature, philosophy, military, history, politics, arts etc. The research is among serval branches of learning, cultures and nations. Secondly, he introduces a “détour” research strategy. Although quite arguable, his understanding about the Chinese culture seizes some vital points and inspire us undoubtedly. The way he takes, is a rather unique and challenging way which few people would like to take. His experimental exploration is worth looking into.This paper is divided into 3 chapters. The first chapter describes the research strategy of Jullien as a sinologist. Firstly, the origin of his sinology study, why he’s interested in China. Then it explains the 3 main keywords of his sinology research strategy which are indifférence, impensé and re-catégorister. Thirdly, the “détour” research strategy and shows his attitude toward Chinese study. That is, to utilize it as a tool to de-construct the Europe culture from outside. This paper will focus on the theory of Chinese painting(shanshui) and calligraphy in Jullien’s books. The second chapter re-organizes and stresses the impressive views in éloge de la fadeur, A partir de la pensée et de l’esthétique de la Chine, La propension des choses, Pour une histoire de l’efficacité en Chine and La Grande image n’a pas de forme, ou du non objet par la peinture. The last chapter re-thinks the opinions of Jullien in Chinese painting(shanshui) and calligraphy. And tries to examine them in Guoxi, Zhenxie’s theories and Chenrong’s painting.