Abstract

From a phenomenological stance, this paper shows that a core element involved in any artistic figuration, between mimesis and construction, lies in the body. Especially painterly mimesis shows the marks of just those dynamic shapes the act of creation has been engaging in. Besides general reflections on phenomena of »body mimesis«, Chinese ink brush writing and painting deserve particular attention since the respective textual sources disclose important theoretical clues for this topic. The insights gained by this inquiry can be applied to the field of modern artistic practices and their conceptualizations. Contrasting to usual theories of mimesis, it can be shown that prior to any actual mimetic performance or depiction, some kind of mimetic embodiment needs to take place, which brings about a transformation of the artist’s whole existence. It is by means of his or her own bodily constitution, and through particular modes of body movement with their specific temporal order, that the artist is able to shape a work of art.