Dibujar como forma de humanidad
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Publication date
2026
Authors
Advisors (or tutors)
Journal Title
Journal ISSN
Volume Title
Publisher
Octaedro
Citation
Bullón JM. (2026). "Dibujar como forma de humanidad", en Educacion y Humanidades en tiempos de transformacion. Octaedro. 36-46.
Abstract
El presente capítulo reflexiona sobre el concepto de humanismo como humano en su sentido etimológico de tierra –humus– para diferenciar entre el ser humano como humanitas y el ser humano como barbarus. Con una metodología hermenéutica comparativa entre Martín Heidegger, María Zambrano y referencias a textos védicos, se identifica a la humanitas con la Rēs publica como materialización de lo humano-común que nos configura como seres humanos
colectivos: la cultura. Las Upaniṣad refuerzan la comprensión del valor del ser humano como portador de trascendencia. De esta manera, se plantean las diferencias entre lo que es netamente humano y lo inhumano del ser bárbaro, en el sentido de aquello que apoya o impide el desarrollo del lenguaje y del pensar como casa del ser, y del lenguaje del dibujo y del arte como expresión de nuevos mundos y expansión de la cultura. Se propone con ello el dibujar como una forma de humanismo al ampliar los límites de los lugares en los que el ser humano puede habitar.
This chapter reflects on the concept of humanism as “human” in its etymological sense of earth –humus–, in order to distinguish between the human being as humanitas and the human being as barbarus. Using a comparative hermeneutic methodology drawing on Martin Heidegger, María Zambrano, and references to Vedic texts, humanitas is identified with the Rēs publica as the implementation of what is human-common, that which shapes us as collective human beings: culture. The Upaniṣads reinforce the understanding of the value of the human being as a bearer of transcendence. In this way, the chapter outlines the differences between what is genuinely human and the inhuman dimension of the barbarian—understood as that which sup-ports or prevents the development of language and thinking as being’s home, and of the drawing language and art as expressions of new worlds and so, the expansion of culture. The chapter thus proposes drawing as a form of humanism for it expands the boundaries of the places in which the human being can dwell.
This chapter reflects on the concept of humanism as “human” in its etymological sense of earth –humus–, in order to distinguish between the human being as humanitas and the human being as barbarus. Using a comparative hermeneutic methodology drawing on Martin Heidegger, María Zambrano, and references to Vedic texts, humanitas is identified with the Rēs publica as the implementation of what is human-common, that which shapes us as collective human beings: culture. The Upaniṣads reinforce the understanding of the value of the human being as a bearer of transcendence. In this way, the chapter outlines the differences between what is genuinely human and the inhuman dimension of the barbarian—understood as that which sup-ports or prevents the development of language and thinking as being’s home, and of the drawing language and art as expressions of new worlds and so, the expansion of culture. The chapter thus proposes drawing as a form of humanism for it expands the boundaries of the places in which the human being can dwell.










