1) In order to explain Chinese art, and its basic, governing ideas, most historians confront West-East in binary oppositions, to differ Chinese art from western art. Therefore, for the general reader, all Chinese art seems "all the same" - one is not able to distinguish and differentiate particular Chinese works of art in terms of style or form (except by relating it to a certain dynasty). Therefore, we consider the differences and peculiarities "inside" the Chinese art itself - to make the reader aware of various artists and styles developed in opposition, or difference toward each other. With this, one can move from the first level of recognition (when all Chinese and their art-works are seen as same, just different from Western) - to the second level, when one can see that Chinese art-works are also (very) different among themself.
The philosophy of Chinese art is explained considering aesthetics of Chinese painting, and ambience, nature contemplation, and natural mysticism, symbolism of Chinese gardens, and love and longing as expressed in Chinese poetry. The Chinese garden is decifered as a simulacrum, full of symbolic meanings (utilising principles of miniaturisation, relativity of large and small, mirroring, returning to the source, entrance or transport to another world, the wonder cave, or miracle gourd). The chapter on poetry reveals that love sentiment (and awareness of the tragic unfullfilled longing) was developed in ancient China much before the time of troubadours in Europe.
2) The second part (Buddhism and Japanese Art) explains different influnces in Japanese art (beside Buddhism). Ancient Japanese literature also treasures a voluminous source of excellent prose and poetry by woman-writers. Different aesthetics were developed in relation to respectful Buddhist schools (Shingon, Jodo, Tendai, Zen). There was also considerable difference between the court art, and rich temple art on one side, and the art produced by the recluse and traveling monk, or artist, on the other side. Respective art-works were produced - ranging from luxurious, gold covered art-works, to simple, wood-carved.
Basic principles of Zen aesthetics (yugen, aware, sabi, vabi, ichi-go ichi-e) are explained and related to art-works (in particular Zen stories, painting, poetry), ambiental art (Zen gardens, tea ceremony), or nature mysticism and contemplation, as part of a chosen life-style, devoted to awakening and liberation.
3) The third part focuses on various art ideas and forms developed in Chinese and Japanese art: frame and framing, montage, slow-motion, estrangement (jap. mezurashi), performance, poentilism, action painting, enformal art, simulacrum, artist-gathering and project, humour, and caricature) that were later developed and applied in the western art (including film art). The influence of Zen art (its principles: asymmetry, chance, and chaos), and life-style principles, on western art (and artists), in the fifties and sixties, is also assessed.
Over 150 illustrations that follow, serve as proof and examples for tenets exposed in this book.