This article discusses the traditional approaches to creating images in China and Europe, which basically relate to two different understandings of truth and perception. On the basis of the concept mimesis, classical European paintings concentrate on a rigorous correspondence to the visually perceived reality. In contrast, literary paintings – one of the representational forms of traditional Chinese painting – take a different approach. In order to avoid a radical differentiation between image and phenomenon, it does not strive for a precise (...) imitation of external forms. Given the influence of the concept of change, the primary task of Chinese painters is to reveal the vitality that permeates all existence and the dynamic interaction of opposing elements. This does not mean that imitation can be completely abandoned in the artistic creation. Instead, imitation is a fundamental step towards progress. (shrink)

AbstractThis article discusses the traditional approaches to creating images in China and Europe, which basically relate to two different understandings of truth and perception. On the basis of the concept mimesis, classical European paintings concentrate on a rigorous correspondence to the visually perceived reality. In contrast, literary paintings – one of the representational forms of traditional Chinese painting – take a different approach. In order to avoid a radical differentiation between image and phenomenon, it does not strive for a precise (...) imitation of external forms. Given the influence of the concept of change, the primary task of Chinese painters is to reveal the vitality that permeates all existence and the dynamic interaction of opposing elements. This does not mean that imitation can be completely abandoned in the artistic creation. Instead, imitation is a fundamental step towards progress. (shrink)