ENTRE ARTES LIBERALES E LIUYI (SEIS ARTES)：UM ESBOÇO DE CERTAS PECULIARIDADES DA CONCEPÇÁO CHINESA DE “ ARTE” NA DENASTIA HAN在博雅教育與六藝之間：略論中國漢朝藝術理念的某些特徵
The article problematizes the apparent semantic equivalence between “art” in European traditions and the Chinese concept *yishu* 藝術, arguing that the supposed universality of the institution of “Art” is historically constructed and therefore cannot be assumed without mediation. Taking the Han dynast...
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| Published in: | Review of Culture |
|---|---|
| Main Author: | |
| Format: | Articles |
| Published: |
Instituto Cultural de Macau
2014
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| Subjects: | |
| Online Access: | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40048/2354 |
| _version_ | 1877196270083244032 |
|---|---|
| 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 | 48 |
| container_volume_str | 48 |
| description | The article problematizes the apparent semantic equivalence between “art” in European traditions and the Chinese concept *yishu* 藝術, arguing that the supposed universality of the institution of “Art” is historically constructed and therefore cannot be assumed without mediation. Taking the Han dynasty and the intellectual framework between the ideal of the “liberal arts” and the *liuyi* 六藝 (Six Arts) as a point of reference, the author proposes that the Han understanding of “art” is articulated less through autonomous aesthetics and more through normative, pedagogical, and ritual functions linked to the formation of the moral subject and social order.
Methodologically, the text undertakes a conceptual and historical-philosophical analysis, examining the genealogy of the terms and the implicit criteria used to classify and legitimize practices, with attention to how these practices were embedded in regimes of education and authority. The conclusions suggest that, in the Han period, “art” is not reducible to Beauty, representation, or individual appreciation, but rather corresponds to a complex of competencies (especially literate ones) that connect technical mastery, inner cultivation, and public recognition. Thus, the article reinterprets the *liuyi* as key to understanding the peculiarities of the Chinese idea of “art” before the consolidation of categories closer to Western modernism. |
| first_indexed | 2026-09-11T02:56:59Z |
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| issn | 1682-1106 |
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| publishDate | 2014 |
| publishDateRange | 2014 |
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| publishPlace | Macau |
| publisher | Instituto Cultural de Macau |
| publisherStr | Instituto Cultural de Macau |
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| spelling | ENTRE ARTES LIBERALES E LIUYI (SEIS ARTES)：UM ESBOÇO DE CERTAS PECULIARIDADES DA CONCEPÇÁO CHINESA DE “ ARTE” NA DENASTIA HAN在博雅教育與六藝之間：略論中國漢朝藝術理念的某些特徵 The article problematizes the apparent semantic equivalence between “art” in European traditions and the Chinese concept *yishu* 藝術, arguing that the supposed universality of the institution of “Art” is historically constructed and therefore cannot be assumed without mediation. Taking the Han dynasty and the intellectual framework between the ideal of the “liberal arts” and the *liuyi* 六藝 (Six Arts) as a point of reference, the author proposes that the Han understanding of “art” is articulated less through autonomous aesthetics and more through normative, pedagogical, and ritual functions linked to the formation of the moral subject and social order. Methodologically, the text undertakes a conceptual and historical-philosophical analysis, examining the genealogy of the terms and the implicit criteria used to classify and legitimize practices, with attention to how these practices were embedded in regimes of education and authority. The conclusions suggest that, in the Han period, “art” is not reducible to Beauty, representation, or individual appreciation, but rather corresponds to a complex of competencies (especially literate ones) that connect technical mastery, inner cultivation, and public recognition. Thus, the article reinterprets the *liuyi* as key to understanding the peculiarities of the Chinese idea of “art” before the consolidation of categories closer to Western modernism. Instituto Cultural de Macau Macau Review of Culture Articles 2014 Giorgio Sinedino |
| spellingShingle | ENTRE ARTES LIBERALES E LIUYI (SEIS ARTES)：UM ESBOÇO DE CERTAS PECULIARIDADES DA CONCEPÇÁO CHINESA DE “ ARTE” NA DENASTIA HAN在博雅教育與六藝之間：略論中國漢朝藝術理念的某些特徵 Giorgio Sinedino |
| title | ENTRE ARTES LIBERALES E LIUYI (SEIS ARTES)：UM ESBOÇO DE CERTAS PECULIARIDADES DA CONCEPÇÁO CHINESA DE “ ARTE” NA DENASTIA HAN在博雅教育與六藝之間：略論中國漢朝藝術理念的某些特徵 |
| title_autocomplete | ENTRE ARTES LIBERALES E LIUYI (SEIS ARTES)：UM ESBOÇO DE CERTAS PECULIARIDADES DA CONCEPÇÁO CHINESA DE “ ARTE” NA DENASTIA HAN在博雅教育與六藝之間：略論中國漢朝藝術理念的某些特徵 |
| title_full | ENTRE ARTES LIBERALES E LIUYI (SEIS ARTES)：UM ESBOÇO DE CERTAS PECULIARIDADES DA CONCEPÇÁO CHINESA DE “ ARTE” NA DENASTIA HAN在博雅教育與六藝之間：略論中國漢朝藝術理念的某些特徵 |
| title_fullStr | ENTRE ARTES LIBERALES E LIUYI (SEIS ARTES)：UM ESBOÇO DE CERTAS PECULIARIDADES DA CONCEPÇÁO CHINESA DE “ ARTE” NA DENASTIA HAN在博雅教育與六藝之間：略論中國漢朝藝術理念的某些特徵 |
| title_full_unstemmed | ENTRE ARTES LIBERALES E LIUYI (SEIS ARTES)：UM ESBOÇO DE CERTAS PECULIARIDADES DA CONCEPÇÁO CHINESA DE “ ARTE” NA DENASTIA HAN在博雅教育與六藝之間：略論中國漢朝藝術理念的某些特徵 |
| title_short | ENTRE ARTES LIBERALES E LIUYI (SEIS ARTES)：UM ESBOÇO DE CERTAS PECULIARIDADES DA CONCEPÇÁO CHINESA DE “ ARTE” NA DENASTIA HAN在博雅教育與六藝之間：略論中國漢朝藝術理念的某些特徵 |
| title_sort | entre artes liberales e liuyi (seis artes)：um esboço de certas peculiaridades da concepçáo chinesa de “ arte” na denastia han在博雅教育與六藝之間：略論中國漢朝藝術理念的某些特徵 |
| url | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40048/2354 |
| zotero_collection_key | 76L3BRGH |