AS DIMENSÕES DO CÂNONE：TEXTOS QUE BALIZARAM A TEORIA DA ARTE NA CHINA IMPERIAL殊途同歸：古代文藝論與經典正統
The article argues that the theory of “art” in imperial China must be understood in terms of its canonical dimensions: heterogeneous texts that, across different dynastic periods, established vocabularies, hierarchies of value, and regimes of legitimacy for poetry, music, and painting. Rather than t...
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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/40046/2396 |
| _version_ | 1877196270135672832 |
|---|---|
| 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 | 46 |
| container_volume_str | 46 |
| description | The article argues that the theory of “art” in imperial China must be understood in terms of its canonical dimensions: heterogeneous texts that, across different dynastic periods, established vocabularies, hierarchies of value, and regimes of legitimacy for poetry, music, and painting. Rather than treating such writings as mere “aesthetic reflections,” the author proposes a culturalist approach that highlights their constitutive function in the organization of taste, moral education, and the production of an authorial space where creation simultaneously negotiated dogma and autonomy.
Methodologically, the work is organized as a project of annotated and modular translation, grounded in the direct study of sources. The first cycle selects canonical documents in the strict sense, such as the “Great Preface” to the *Classic of Poetry*, the chapter “Record of Music” in the *Classic of Rites*, and sections of the “Bibliographic-Artistic Treatise” of the *Book of Han*, followed by texts from canonical authors (between Han–Tang and, finally, Tang–Song) that refine theorization and terminology. The analysis is accompanied by a continuous commentary aimed at revealing subtleties of archaic Chinese and at rejecting expectations of impartiality or “rational” clarity characteristic of modern readings.
It concludes that the canon operates less as a stable set of doctrines and more as a historical device of “translation” between cultural values and artistic practices, offering a privileged avenue for understanding the condition of the individual and the limits of creation in the Sino-imperial context. |
| first_indexed | 2026-09-11T02:56:58Z |
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| issn | 1682-1106 |
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| latest_content_date | 2026-09-11T02:56:58Z |
| publishDate | 2014 |
| publishDateRange | 2014 |
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| publishPlace | Macau |
| publisher | Instituto Cultural de Macau |
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| spelling | AS DIMENSÕES DO CÂNONE：TEXTOS QUE BALIZARAM A TEORIA DA ARTE NA CHINA IMPERIAL殊途同歸：古代文藝論與經典正統 The article argues that the theory of “art” in imperial China must be understood in terms of its canonical dimensions: heterogeneous texts that, across different dynastic periods, established vocabularies, hierarchies of value, and regimes of legitimacy for poetry, music, and painting. Rather than treating such writings as mere “aesthetic reflections,” the author proposes a culturalist approach that highlights their constitutive function in the organization of taste, moral education, and the production of an authorial space where creation simultaneously negotiated dogma and autonomy. Methodologically, the work is organized as a project of annotated and modular translation, grounded in the direct study of sources. The first cycle selects canonical documents in the strict sense, such as the “Great Preface” to the *Classic of Poetry*, the chapter “Record of Music” in the *Classic of Rites*, and sections of the “Bibliographic-Artistic Treatise” of the *Book of Han*, followed by texts from canonical authors (between Han–Tang and, finally, Tang–Song) that refine theorization and terminology. The analysis is accompanied by a continuous commentary aimed at revealing subtleties of archaic Chinese and at rejecting expectations of impartiality or “rational” clarity characteristic of modern readings. It concludes that the canon operates less as a stable set of doctrines and more as a historical device of “translation” between cultural values and artistic practices, offering a privileged avenue for understanding the condition of the individual and the limits of creation in the Sino-imperial context. Instituto Cultural de Macau Macau Review of Culture Articles 2014 Giorgio Sinedino |
| spellingShingle | AS DIMENSÕES DO CÂNONE：TEXTOS QUE BALIZARAM A TEORIA DA ARTE NA CHINA IMPERIAL殊途同歸：古代文藝論與經典正統 Giorgio Sinedino |
| title | AS DIMENSÕES DO CÂNONE：TEXTOS QUE BALIZARAM A TEORIA DA ARTE NA CHINA IMPERIAL殊途同歸：古代文藝論與經典正統 |
| title_autocomplete | AS DIMENSÕES DO CÂNONE：TEXTOS QUE BALIZARAM A TEORIA DA ARTE NA CHINA IMPERIAL殊途同歸：古代文藝論與經典正統 |
| title_full | AS DIMENSÕES DO CÂNONE：TEXTOS QUE BALIZARAM A TEORIA DA ARTE NA CHINA IMPERIAL殊途同歸：古代文藝論與經典正統 |
| title_fullStr | AS DIMENSÕES DO CÂNONE：TEXTOS QUE BALIZARAM A TEORIA DA ARTE NA CHINA IMPERIAL殊途同歸：古代文藝論與經典正統 |
| title_full_unstemmed | AS DIMENSÕES DO CÂNONE：TEXTOS QUE BALIZARAM A TEORIA DA ARTE NA CHINA IMPERIAL殊途同歸：古代文藝論與經典正統 |
| title_short | AS DIMENSÕES DO CÂNONE：TEXTOS QUE BALIZARAM A TEORIA DA ARTE NA CHINA IMPERIAL殊途同歸：古代文藝論與經典正統 |
| title_sort | as dimensões do cânone：textos que balizaram a teoria da arte na china imperial殊途同歸：古代文藝論與經典正統 |
| url | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40046/2396 |
| zotero_collection_key | 76L3BRGH |