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Doctoral Thesis
DOI
10.11606/T.16.2014.tde-16102014-114447
Document
Author
Full name
Mozart Alberto Bonazzi da Costa
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2014
Supervisor
Committee
Lefevre, José Eduardo de Assis (President)
Almeida, Maria Ângela de Vilhena Moraes Furquim de
Agostino, Mario Henrique Simao D
Kühl, Paulo Mugayar
Toledo, Benedicto Lima de
Title in Portuguese
A talha no Estado de São Paulo: determinações tridentinas na estética quinhentista, suas projeções no barroco e a fusão com elementos da arte palaciana no rococó 
Keywords in Portuguese
Barroco
Brasil
Concílios
Entalhe
Ornamentação
Rococó
São Paulo
Abstract in Portuguese
Na Antiguidade Clássica oferendas efêmeras constituídas por guirlandas e festões de flores e frutos foram depositadas em frisos nas antigas construções dando origem aos relevos e esculturas ornamentais que, executados em pedra, foram aplicados sobre os frontispícios dos templos. Esse rico repertório ornamental foi reeditado na Renascença e, na Contra-Reforma, se tornaria representativo de uma estética oficializada pelo Concílio de Trento, dirigida à constituição da igreja enquanto expressão terrena da casa de Deus. No universo laico, a estética estaria subordinada ao poder real, configurando no espaço cortesão uma arte palaciana. No mundo ibérico esses motivos ornamentais seriam transpostos para a madeira, passando a recobrir as superfícies internas dos templos religiosos, também chamados de igrejas cintilantes de ouro, repertório este que chegou ao Brasil pelas mãos de mestres entalhadores, religiosos ou leigos provenientes do Reino. Nos templos construídos em São Paulo, entre os séculos XVII e XVIII, encontram-se exemplares de talha representativa das ocorrências estilísticas que se sucederiam no mesmo período na Europa, assumindo em alguns casos, particularidades regionais. O presente estudo parte dos tratados renascentistas, buscando identificar entre os conjuntos remanescentes do período colonial paulista, alguns dos elementos que teriam contribuído para a formação do repertório ornamental tridentino e palaciano que ocorreram primeiramente nos grandes centros europeus, geradores e difusores de estética, chegando a Portugal, e sendo editados na antiga Província de São Paulo de Piratininga, envolvendo aspectos que em muito ultrapassariam a materialidade dos suportes físicos.
Title in English
The carving in São Paulo state: tridentine determinations in the aesthetics of the sixteenth century, its projections in the baroque and the fusion with elements of the palatial art in the rococo
Keywords in English
Baroque
Brazil
Carving
Councils
Ornamentation
Rococo
Abstract in English
In Classical Antiquity, ephemeral offers of wreaths and embroideries made of flowers and fruits were placed in the friezes of the ancient constructions, thus originating the ornamental engravings and sculptures that, worked in stone, were applied to the frontispiece of temples. This rich ornamental repertoire was reedited in the Renaissance and, in the Counter-Reformation, would become representative of a type of aesthetics made official by the Council of Trent with the intent of constituting the church as the earthly expression of the house of God. In the universe of laity, this aesthetic principle would be under royal power, configuring a palatial art in the court space. In the Iberian world, these ornamental motifs would be transferred to woodwork and cover the inner surfaces of the religious temples, which were also called shinny churches of gold. This repertoire arrived in Brazil through the hands of carving masters, both clergy and laymen coming from the Kingdom. In the temples built in São Paulo, between the seventeenth and the eighteenth centuries, we can find examples of this type of carving that represent the stylistic manifestation which occurred in Europe in the same period, but in some cases presenting regional particularities. This study begins with the Renaissance treaties, seeking to identify among the remaining sets of the colonial period in São Paulo some of the elements that would have contributed to the formation of the palatial and Tridentine ornamental repertoires that occurred firstly in the great European centers, which generated and spread aesthetic trends. These trends would reach Portugal and later the old Province of São Paulo de Piratininga in Brazil, where they found a new expression, involving aspects that greatly surpassed the simple materiality of physical supports.
 
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TESE_MACBONAZZI.pdf (8.71 Mbytes)
Publishing Date
2014-10-24
 
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