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History of Art in Brazil
Brazilian art is the term used to describe any form of artistic expression produced in Brazil , since pre-colonial to the present day. Within this broad definition, are comprised of the first artistic pre-Brazilian history and various cultural forms of indigenous as well as art from the colonial period , inspired by Baroque , and the pictorial records of foreign travelers in Brazilian lands. With the arrival of the French Artistic Mission in the nineteenth century must be tested for the first time the creation of a national school ofart , consolidated through the establishment of the Imperial Academy of Fine Arts in Rio de Janeiro . Later, under the influence ofExpressionism , the Cubism and Surrealism in Europe, along with an appreciation of primitivism , Brazil assist the development of modernism , to be progressively incorporated into the tastes of society and official art, until the assimilation of new trends emerged in the postwar contribute to the flourishing of contemporary art in Brazil.
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The period between 5000 and 1100 BC, there are traces of cultures Amazon with a high degree of sophistication in the manufacture and decoration of articles of pottery , such as the island of Marajó and the basin of the Tapajos river , where he records the presence of complexvessels anthropomorphic and zoomorphic , with ornamental brackets and fixtures. Even in the Amazon region, are worth noting the figurines ofterracotta , especially with representations of women and animals, and stone objects such as pendants representing frogs ( muiraquitãs ). [4]
Also important are the ceramics found on the coast of Maranhão (Mina tradition, c. 3200 BC) and on the coast of Bahia (Tradition Perivale, c. 880 BC), with spread wide and diverse, reaching some southern areas already in full the Christian era . Simpler in composition than the ceramic Amazon, these pieces stand out for the variety of decorative techniques, ranging from painting, incision and excision to the brushing, corrugation, ungulação, etc.. [3]
Generally speaking, feather art indigenous and body painting reach great complexity in terms of color and design, using feathers and pigmentsplant as feedstock . Finally, there is the making of pectoral ornaments, lip and ear, found in many different cultures all over the Brazilian territory.
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Art of prehistory in Brazil
The earliest manifestations of rock paintings in Brazil are in the mountains of the Capybara , in Piauí , [1] dating from around 13,000 BC In Painted Stone , in Paraíba , paintings were found with about 11 thousand years old, and Minas Gerais , call attention to the records of rock art found in several caves in the valley Peruaçu, distinguished by his rare drawings of geometric patterns, executed between 2,000 and 10,000 years ago. They are also noteworthy paintings of animals discovered in limestone caves in the valley of the Rio das Velhas , inLagoa Santa , Minas Gerais. [2]
In documenting archaeological Brazil, the predominant use of materials such as bone, horn, stone and clay for making utilitarian objects (containers, needles, scrapers, projectile points), ornaments (pendants and necklace beads) and ceremonial, confirming a aesthetic concern observable, especially in the extraordinary range of shapes and surface treatment and finishing touches
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Marajó Island was inhabited by various peoples since probably 1100 BC According to the progress made, these people were divided into five phases of archeology. Phase Marajoara is the fourth in the sequence of occupation of the island, but it is undoubtedly the one that presents the most interesting creations.
The phase Marajoara
The production was most characteristic of these peoples pottery, whose modeling was typically anthropomorphic. It can be divided between household pots and vases and funeral ceremonies. The first are simpler and generally do not present the decorated surface. Already have a ceremonial vessels elaborate decoration, painting resulting bichromatic or polychromatic designs made with incisions in the ceramic and embossed designs.
Among other objects of ceramic, such as banks, spoons, whistles and loud for ears and lips, the figurines representing humans awaken a special interest, because they raise the question of its purpose. That is, scholars still argue if they were objects of adornment or had a ceremonial function.These statues, which can be decorated or not, reproduce the stylized human forms so because there is no concern with an imitation of reality.
Phase Marajoara met a slow but steady decline and, around 1350, has disappeared, perhaps expelled or absorbed by other people who came to the Island of Marajó.
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Santarém Culture
No studies are divided into phases cultural people who over time have inhabited the region near the junction of the Rio Tapajós with the Amazon, as was done in relation to people who occupied the island of Marajó. All cultural remains found there were considered as the realization of a cultural complex called "culture Santarém."
The ceramic santarena décor quite complex, since besides painting and drawings, the parts have ornaments in relief with figures of humans or animals.
One of the features of ornamental ceramic santarena that draws the most attention is the presence of caryatids, that is, human figures that support the top of a vase
In addition to vessels, the culture has produced pipes Santarem, whose decoration sometimes already suggests the influence of early European settlers, and statues of various shapes.Unlike figurines Marajó, the culture Santarém have greater realism, and reproduce more faithfully humans or animals they represent.
The ceramic elements santarena exquisitely decorated with relief lasted until the arrival of the Portuguese colonizers. But by the seventeenth century, the people who performed were losing their cultural identities and their production has disappeared.
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Indigenous cultures
While there have been many different tribes, it is still possible to identify two broad modalities of indigenous cultures: that of the forest, living in forest areas, and of Campinas, who live in the savannah and grasslands.
The forest has a developed and diversified agriculture, associated with hunting and fishing, gives them a permanent address. Its production activities of objects to use of the tribe are also diversified and among them are pottery, weaving and woven baskets and hampers.
Already the Campinas have a culture less complex and less varied than the agriculture of forestry. Their tribal artifacts are less diversified, but the mats and baskets they produce are among the most carefully woven by the Indians.
We must not forget that both a group and the other has a wide variety of natural elements to accomplish their objects: wood, stones, fibers, palm, straw, vines, seeds, nuts, resins, leather, bones, teeth, shells, claws and beautiful feathers from different birds. Of course, with material as varied, the creative possibilities are very broad, such as boats and oars of Karajá, the objects of the twisted Baniwa, the digging and cutting blades to turn the tapioca Xingu Indians.
The tendency to make beautiful objects indigenous to use in tribal life can be assessed primarily in ceramics, weaving and twisted. But beside that produce useful artifacts, there are two aspects of Indian art that arouse a special interest. This is the feather art and body painting, we'll see later.
The SFA's twisted and weaving
From an abundant raw material such as leaves, palms, vines, and fiber splices, the Indiansproduce a wide range of p, baskets, fans and networks. The art of braiding and weaving, Darcy Ribeiro highlights some achievements especially as indigenous the costumes and masks of bark, made by Tucuna and intricately painted, the admirable maqueiras networks or fiber tucum Rio Negro, the gorgeous robes of cotton Paresi also, unfortunately, can only be seen in museums
The ceramic pieces that have been preserved testify many Indians customs of different peoples and an artistic language that still impresses us. So are, for example, funeral urns carved and painted Marajó pottery decorated with designs printed by incision of Kadiwéu, Waurá of zoomorphic pots and ceramic dolls of Karajá.
Feather
This is a very special art because it is not associated with any order utility, but only to thepursuit of pure beauty.
There are two major styles in creating pieces of plumes of Brazilian Indians. The tribes of the savannahs and majestic works are large, as the crowns of the Bororo Indians or body adornments, the Kayapo.
Tribes such as the forestry and Munduruku Kaapor are more delicate on tracks of cotton fabrics.Here, the main concern is with the combination of color and shades. The penalties are usually overlapping layers, like the wings of pássaros.Esse job requires a careful implementation
Masks
For the Indians, the masks have a dual character: while it is an artifact produced by a common man, are the living figure of the supernatural being who represent They are made with tree trunks, gourds and straw and are usually used buriti in ceremonial dances, as, for example, in the dance of Aruanã, among the Karajá, when represent heroes that maintain the world order.
The body painting
The colors used by the Indians to paint their bodies are very much alive in the red annatto, black-green dye genipap juice and white clay. The choice of these colors is important, because the taste for body painting is associated with the effort to convey the joy contained in the body in vivid colors and intense.
Kadiwéu are presenting a more elaborate body painting this painting The first records date from 1560, because it impressed strongly col onizados and European travelers. Later it was also analyzed by several scholars, including Levi-Strauss, French anthropologist who was among the Brazilian Indians in 1935.
According to Levi-Strauss, "the paintings give the face at first, the individual, his dignity as a human being, they operate the passage from nature to culture, the dumb animal to civilized man. Then, different in style and the composition according to caste, they express, in a complex society, the hierarchy of status. They have just a sociological function. "
The drawings of geometric Kadiwéu are complex and show a balance and beauty that impress the observer. In the body, which is the proper support Kadiwéu painting, his drawings also appear in leather, mats and fans, which means that your household goods are unmistakable
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History of Art in Brazil
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History of Art in Brazil
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History of Art in Brazil
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The Indians were the first inhabitants of the Brazilian territory. They are formed by people with different habits, customs and languages.
The Yanomami speak four languages: a Yanomam, Sanuma Yanomame and Yanam. Their houses are built of timbers embedded, tied with twine and covered with straw. Have characteristics seminomadic, as habitat change when they believe have explored a region to the fullest. They are hunters and believe rixis: spirits of the animals being killed become protectors and friends.
The Carajás speak only one language: the Macro-Ge. They are divided into Karajá, and Javaés Xambioás. Believe in transformation of man into animals and vice versa. Reside near the Araguaia River, believing that his creation, rites of passage, food and joy are given by him. Living the cultivation of maize, cassava, potato, banana, yams, watermelon, beans and peanuts, and cherish the body painting. They divide the work, it is for men to defend the territory, opening fields, construction of houses, fishing and others. For women the job of raising children, caring for the household, the marriage of the children, painting and decoration of children and others.
The Guarani express their culture in ceramic works and religious rituals. They have their own language, only to teach the Portuguese children over six years.Are migrants and farmers. They believe that death is only a passage to the "land without evil", where those who have gone to this place to protect those who stayed on Earth.
The Tupi are dominated by a supreme being called Monan. Religious authority in the villages is the Shaman, who is a sage who acts as diviner, healer and priest.Use music and musical instruments for the preservation of their traditions, to produce hypnotic effects and moments of procreation, marriage, puberty, birth, death, to ward off plagues, diseases and epidemics and to celebrate good hunts, won in wars and other .
There are about 225 indigenous communities distributed throughout the Brazilian territory, corresponding to 0.25% of the population. Given the specific cultures of each society, only some of them were previously highlighted.
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