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The Great Image has No Form, or on the Nonobject Through Painting
University of Chicago Press (2009)
Abstract
In premodern China, painters used imagery not to mirror the world, but to evoke unfathomable experience. Considering this art alongside the philosophical traditions that inform it, this book explores the 'nonobject', a notion exemplified by paintings that do not seek to represent observable surroundings.Other Versions
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Citations of this work
Dimensions of aesthetic encounters: perception, interpretation, and the signs of art.Robert E. Innis - 2022 - Albany: State University of New York Press.
A kantian reading of aesthetic freedom and complete human nature nourished through art in a classical Chinese artistic context.Xiaoyan Hu - 2019 - Asian Philosophy 29 (2):128-143.
Nishida and Merleau-Ponty: Art, “Depth,” and “Seeing without a Seer”.Adam Loughnane - 2016 - European Journal of Japanese Philosophy 1:47-74.
Deleuzian Dragons: Thinking Chinese Strategic Spatial Planning with Gilles Deleuze.Kang Cao & Jean Hillier - 2013 - Deleuze and Guatarri Studies 7 (3):390-405.
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