A carregar...
Publicação
A representação do índio brasileiro na arte portuguesa do século XVI
| Nome: | Descrição: | Tamanho: | Formato: | |
|---|---|---|---|---|
| 5.42 MB | Adobe PDF |
Autores
Orientador(es)
Resumo(s)
A chegada da expedição de Pedro Álvares Cabral ao nordeste do Brasil, em 1500, revelou uma nova humanidade ao mundo europeu, desencadeando um confronto entre mito e realidade, civilização e selvageria. Esse encontro levou à decodificação e à reinterpretação dos povos indígenas do Brasil por meio de cartas, livros de viagem, gravuras, mapas, pinturas e outros documentos iconográficos, que moldaram a percepção europeia sobre os habitantes do Novo Mundo. Na arte portuguesa do século XVI, as representações dos indígenas brasileiros refletem as consequências dessa interação, revelando uma dualidade marcante: ora o indígena é demonizado como primitivo e canibal; ora é idealizado como figura inocente, integrada à natureza e apta para a conversão religiosa. Essa tensão é visível em obras como Adoração dos Magos (1501–1506), de Vasco Fernandes e Francisco Henriques, e Inferno (1510–1520), de autoria desconhecida, que ilustram o imaginário português quinhentista diante da alteridade e da diversidade cultural.
The arrival of Pedro Álvares Cabral’s expedition on the northeastern coast of Brazil in 1500 revealed a new humanity to the European world, triggering a clash between myth and reality, civilization and savagery. This encounter led to the decoding and reinterpretation of Brazil's Indigenous peoples through letters, travel accounts, engravings, maps, paintings, and other iconographic documents that shaped the European perception of the inhabitants of the New World. In 16th-century Portuguese art, representations of Indigenous Brazilians reflect the consequences of this interaction, revealing a striking duality: at times, the Indigenous figure is demonized as primitive and cannibalistic; at other times, idealized as an innocent being, integrated with nature and suited for religious conversion. This tension is visible in works such as Adoration of the Magi (1501–1506), by Vasco Fernandes and Francisco Henriques, and Hell (1510–1520), by an unknown author, which illustrate the 16th-century Portuguese imagination in the face of cultural diversity and alterity.
The arrival of Pedro Álvares Cabral’s expedition on the northeastern coast of Brazil in 1500 revealed a new humanity to the European world, triggering a clash between myth and reality, civilization and savagery. This encounter led to the decoding and reinterpretation of Brazil's Indigenous peoples through letters, travel accounts, engravings, maps, paintings, and other iconographic documents that shaped the European perception of the inhabitants of the New World. In 16th-century Portuguese art, representations of Indigenous Brazilians reflect the consequences of this interaction, revealing a striking duality: at times, the Indigenous figure is demonized as primitive and cannibalistic; at other times, idealized as an innocent being, integrated with nature and suited for religious conversion. This tension is visible in works such as Adoration of the Magi (1501–1506), by Vasco Fernandes and Francisco Henriques, and Hell (1510–1520), by an unknown author, which illustrate the 16th-century Portuguese imagination in the face of cultural diversity and alterity.