Abstract
Since the late 1970s, François Jullien’s philosophical path crosses the Chinese aesthetic tradition in order to get a new understanding of the European one. By reconsidering classical notions such as nude, image, form, beauty, or landscape, he shows through a “deconstruction from the outside” (the “outside” or otherness of Chinese language and thought) the implicit common ground of Western aesthetics, and its peculiar and original character. Moreover, through the years, Jullien comes to overcome the work of confrontation and mutual clarification of European categories vis-à-vis Chinese notions; by exploiting the different perspectives he studied along the years, he develops a new proposal in which art and existence are considered as the fruitful result of a dynamic of “de-coincidence”.