根据朱利安的相关论著，可知他是自觉地以“西方自我”来审视作为“他者”之构成部分的“中国画论”，他的理论支撑也完全来自西方，具体地说，主要来自海德格尔，次要来自列维纳斯、德里达等人；其目标，则是借助“中国”这个“他者”来找到返回欧洲之“未思”的机会和方式。他的中国画论研究令人耳目一新，尤其是关于《老子》与中国画论关系的论述富有创见，在方法论上也有值得我国比较文化和比较文学学者借镜之处；但是朱利安所特别突显并予以表彰者是中国的“关联思维”，这表明其著述原本是以解决西方自身的“痼疾”（科学宰制而导致的感性偏枯）为导向的，而这恰恰不是我国的主要问题。所以，对于朱利安的著述，今日中国人应该保持头脑清醒，不能落入为中国古代文化高唱赞歌者所不经意造成的“陷阱”而不自觉。

François Jullien has consciously adopted a "Western self" to look at Chinese painting theories and take them as contributing to "the other." His theoretical base  is also Western, or more specifically, derived from Heidegger, Levinas and Derrida. Jullien's goal is, arguably,  to have a juncture and an approach to return to the European "l'impensé" by way of China, the "other." His study on Chinese painting theories is impressively novel, especially his insightful discussions on the nexus between Laozi (Daodejing) and Chinese painting theories. Also, his study provides methodological reference for Chinese scholars of comparative culture and comparative literature. That said, what Jullien particularly highlights and favors is Chinese "correlative thinking", and this suggests that his primary objectives of research are orientated at resolving the Western instead of China's "chronic afflictions" – lack of sensibility due to the scientific dominance, which is not an inherent problem in Chinese culture. Therefore, it is essential for Chinese scholars need to take approach Jullien's study with a grain of salt, even when facing certain eulogies of  ancient Chinese culture.