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François Jullien coins the term “de-coincidence” (dé-coïncidence), considering it a refreshing source for artistic creation. From this perspective, he reexamines the Western artistic tradition based on “representation” (adéquation), criticizes its lack of fruitfulness, and proposes the use of “divergence” (l'écart). To de-coincide, Jullien turns to traditional Chinese painting as a source of enlightenment, perceived as the “outside” (dehors). He highly extols Dao, namely the continuous bipolar interaction and transformation, and believes that the great harmony in Daoist thought is a driving force to reflect on the European aesthetic tradition. Jullien's work has sought to avoid exoticism and Orientalism, with the ambition of constructing a dialogic approach to the interpretation of Chinese issues.


de-coincidence, François Jullien, divergence, Chinese painting, dialogue between the East and the West