Abstract
This essay will discuss the extent to which Ni Zan puts "not resembling" into practice in his landscape paintings, considering the modular aspects of Ni Zan's work. Firstly, the compositions depicted in Ni's and later imitators' work will be analyzed and compared. Then, the brushworks of Ni will be closely observed by selecting individual objects from several paintings. And finally, the author engages with textual research on Ni's painting theories.
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