The paper offers an interpretation of the canon background of one of the classical Chinese ink paintings. Besides some technical details, it exposes a number of important philosophical connections significant for the elucidation of the ontological status of artistic subjectivity as such. On the example of a reproduction of one of Chinese paintings (Fan Kchuan) from “the Golden era” as well as by some insights into contemporary phenomenological aesthetics (namely into the work of the French philosopher H. Maldiney), it shows the significance of two fundamental aspects of artistic creation: Vacuity and Breath.
Art, Breath, Chinese landscape painting, Vacuity
*Príspevok je chránený zákonom o autorskom práve a právach súvisiacich s autorským právom (autorský zákon).