Abstract

The notion of «landscape» can be a useful metaphor to point out a possible relationship between philosophy, in the plurality of its forms, and the expressive languages of the arts. It can be used to build a bridge, as an element that weaves bonds or shows connections under the surface and appearance. Moreover, there are important relationships and links in the basic vocations of these different practices, and they imply stylistic articulations that are not irrelevant: form and content are not completely apart from each other. Through a brief analysis of some fundamental characteristics of Chinese ink painting, and dealing with a sort of case study represented by the calligraphic practice of the Japanese philosopher Nishida Kitarō, the essay tries to show how the resonances between philosophy and artistic languages are symptomatic. The notion of «style» and the necessary multiplicity that characterizes argumentation and the construction of meaning are not secondary elements for the vitality of the philosophical enterprise