Abstract:

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.

Key words: Fran?ois Jullien, Chinese literati paintings, Chinese painting theories, cross-cultural perspective, l'impensé