SOBRE REPRESENTAÇÃO MIMÉTICA E QIXIANG ：DISCRIMINANDO AS ARTES PICTÓRICAS CHINESAS關於模仿論與氣象：如何分別中國的繪畫藝術
The article discusses how to think about the specificity of Chinese painting without reducing it to categories produced by the European aesthetic tradition. Starting from the centrality of the concept of mimesis in the West—especially in the readings of Plato and Aristotle—the author argues that suc...
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| Published in: | Review of Culture |
|---|---|
| Main Author: | |
| Format: | Articles |
| Published: |
Instituto Cultural de Macau
2016
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| Subjects: | |
| Online Access: | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40051/2250 |
| _version_ | 1877196269982580736 |
|---|---|
| author | Giorgio Sinedino |
| author_autocomplete | Giorgio Sinedino |
| author_browse | Giorgio Sinedino |
| author_facet | Giorgio Sinedino Giorgio Sinedino |
| author_sort | Giorgio Sinedino |
| container_title | Review of Culture |
| container_title_str | Review of Culture |
| container_volume | 51 |
| container_volume_str | 51 |
| description | The article discusses how to think about the specificity of Chinese painting without reducing it to categories produced by the European aesthetic tradition. Starting from the centrality of the concept of mimesis in the West—especially in the readings of Plato and Aristotle—the author argues that such a framework tends to transform Chinese art into mere “representation” and, therefore, into an object of evaluation according to a Western historical-philosophical schema. In contrast, it is proposed that the decisive conceptual distinction for interpreting certain Chinese pictorial practices lies in the opposition between mimetic imitation and the notion of *qixiang* (“climate/atmosphere,” as a mode of the world’s presence), understood as a principle of aesthetic configuration and correlative apprehension among work, observer, and vital process. Methodologically, the text operates a comparative historical-conceptual reading: it revisits classical debates on representation, identifies implications of this framework for the reception of Chinese art, and reconstructs the place of *qixiang* as an explanatory category. It concludes that properly discriminating Chinese pictorial arts requires shifting the focus from the reproduction of appearances to the articulation of a meaningful “atmosphere,” thereby reducing both Orientalism and simplifier universalism. |
| first_indexed | 2026-09-11T02:56:59Z |
| format | Articles |
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| hierarchy_browse | Review of Culture{{{_ID_}}}zotero-coll-76L3BRGH |
| hierarchy_parent_id | zotero-coll-76L3BRGH |
| hierarchy_parent_title | Review of Culture |
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| hierarchy_top_title | News |
| hierarchytype | Default |
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| issn | 1682-1106 |
| last_indexed | 2026-09-11T02:56:59Z |
| latest_content_date | 2026-09-11T02:56:59Z |
| publishDate | 2016 |
| publishDateRange | 2016 |
| publishDateSort | 2016 |
| publishPlace | Macau |
| publisher | Instituto Cultural de Macau |
| publisherStr | Instituto Cultural de Macau |
| record_format | zotero |
| spelling | SOBRE REPRESENTAÇÃO MIMÉTICA E QIXIANG ：DISCRIMINANDO AS ARTES PICTÓRICAS CHINESAS關於模仿論與氣象：如何分別中國的繪畫藝術 The article discusses how to think about the specificity of Chinese painting without reducing it to categories produced by the European aesthetic tradition. Starting from the centrality of the concept of mimesis in the West—especially in the readings of Plato and Aristotle—the author argues that such a framework tends to transform Chinese art into mere “representation” and, therefore, into an object of evaluation according to a Western historical-philosophical schema. In contrast, it is proposed that the decisive conceptual distinction for interpreting certain Chinese pictorial practices lies in the opposition between mimetic imitation and the notion of *qixiang* (“climate/atmosphere,” as a mode of the world’s presence), understood as a principle of aesthetic configuration and correlative apprehension among work, observer, and vital process. Methodologically, the text operates a comparative historical-conceptual reading: it revisits classical debates on representation, identifies implications of this framework for the reception of Chinese art, and reconstructs the place of *qixiang* as an explanatory category. It concludes that properly discriminating Chinese pictorial arts requires shifting the focus from the reproduction of appearances to the articulation of a meaningful “atmosphere,” thereby reducing both Orientalism and simplifier universalism. Instituto Cultural de Macau Macau Review of Culture Articles 2016 Giorgio Sinedino |
| spellingShingle | SOBRE REPRESENTAÇÃO MIMÉTICA E QIXIANG ：DISCRIMINANDO AS ARTES PICTÓRICAS CHINESAS關於模仿論與氣象：如何分別中國的繪畫藝術 Giorgio Sinedino |
| title | SOBRE REPRESENTAÇÃO MIMÉTICA E QIXIANG ：DISCRIMINANDO AS ARTES PICTÓRICAS CHINESAS關於模仿論與氣象：如何分別中國的繪畫藝術 |
| title_autocomplete | SOBRE REPRESENTAÇÃO MIMÉTICA E QIXIANG ：DISCRIMINANDO AS ARTES PICTÓRICAS CHINESAS關於模仿論與氣象：如何分別中國的繪畫藝術 |
| title_full | SOBRE REPRESENTAÇÃO MIMÉTICA E QIXIANG ：DISCRIMINANDO AS ARTES PICTÓRICAS CHINESAS關於模仿論與氣象：如何分別中國的繪畫藝術 |
| title_fullStr | SOBRE REPRESENTAÇÃO MIMÉTICA E QIXIANG ：DISCRIMINANDO AS ARTES PICTÓRICAS CHINESAS關於模仿論與氣象：如何分別中國的繪畫藝術 |
| title_full_unstemmed | SOBRE REPRESENTAÇÃO MIMÉTICA E QIXIANG ：DISCRIMINANDO AS ARTES PICTÓRICAS CHINESAS關於模仿論與氣象：如何分別中國的繪畫藝術 |
| title_short | SOBRE REPRESENTAÇÃO MIMÉTICA E QIXIANG ：DISCRIMINANDO AS ARTES PICTÓRICAS CHINESAS關於模仿論與氣象：如何分別中國的繪畫藝術 |
| title_sort | sobre representação mimética e qixiang ：discriminando as artes pictóricas chinesas關於模仿論與氣象：如何分別中國的繪畫藝術 |
| url | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40051/2250 |
| zotero_collection_key | 76L3BRGH |