Research On Fran(?)ois Jullien’s Landscape Painting Thought

Fran?ois Jullien,as a leading figure in European Sinology,has studied the theory of ancient Chinese landscape painting and came to the conclusion that landscape is "nonobjectivity"."Non-objectivity" is not only a characteristic of natural landscapes,but also a characteristic of Chinese landscape painting theory and even Chinese natural philosophy.Jullien discusses the "non-objectivity" of landscape from three aspects: landscape as phenomenon,image and image.First of all,at the level of phenomenon,Julian combined the theory of Chinese landscape painting with phenomenology,and believed that landscape painting originated from the way of landscape,that is,undifferentiated landscape.Julian believes that landscape painting is born out of natural scenery,so landscape painting not only exists as a carrier of the way of landscape,but also a bridge between people and landscape,and the "Tao" is also in transformation with the continuous transformation of natural landscape.Among.As the origin of the phenomenon,"Tao" is displayed in different ways due to different carriers."Tao" is the undifferentiated beginning of landscape,and the landscape is the stage of "Tao".Landscape painting responds to "Tao" with "Xiang",and the painter and the appreciator should feel the "Tao" in "Xiang" only as "Qi".Secondly,when the landscape is displayed in the form of landscape painting,it is perceived by people in the form of imagery.Julian discusses the imagery of landscape from three levels of emotion,meaning and intention.Emotion and meaning together constitute intentionality and play a role of meaning-direction.Julian believes that,like the phenomenon of landscape,the expression of landscape image is also a process.The exploration of landscape image in ancient Chinese art theory is not limited to painting as an artistic form of expression,but also embodied in poetry.When the three aspects of poetry,calligraphy and painting are combined,and the intentionality is expressed through the depiction of the four seasons,the "Truth" of painting can be realized.Finally,as the carrier of the image of landscape,landscape painting not only shows the form of landscape,but also contains the symbolic meaning of landscape.Julian believes that Chinese landscape paintings,especially landscape figure paintings,not only contain landscapes and figures,but also classic topics.The combination of many visual elements and the expression of composition and brushwork techniques can make the viewer feel more intimate.Get close to the paintings and experience the image in the painting.However,when analyzing landscape images,one should not only analyze art theories,but also discuss with specific works of art.By analyzing the images in the"Painting of Dancing Accompanied by Singing(踏歌图)",tracing the historical origins of the images in the painting,and understanding the symbolic significance of it,we can not only see whether Julian’s views on landscape painting are applicable to Chinese art works,we can also reflect on the current situation.Whether the analysis of ancient art works is correct or not.Through investigation,it can be seen that although Julian’s exposition on the theory of landscape painting has inadequacies,it is generally consistent with the development of Chinese landscape painting and the content of the theory of Chinese landscape painting.