Paulistinhas: imagens sacras, singelas e singulares
Carregando...
Data
2008-09-05
Autores
Alcântara, Ailton S. de [UNESP]
Título da Revista
ISSN da Revista
Título de Volume
Editor
Universidade Estadual Paulista (Unesp)
Resumo
A produção de imagens sacras no Brasil teve uma importante função didática para difusão do evangelho, uma ação educativa realizada pelas ordens religiosas que foram se instalando em várias partes do país. Em virtude disto, o sucesso da missão propiciou a edificação de muitas igrejas que continham em seus altares belas imagens sacras de cunho erudito para o culto coletivo, envoltas em um contexto místico, nas quais o fiel buscava conforto espiritual, por meio da contemplação. Aliadas aos sucessivos ciclos econômicos, passaram, ao longo da história, por adequações de material, estilo e dimensão, que acabaram por levá-las para o interior das casas e lá permaneceram fazendo parte do cotidiano. Posta assim a questão, no estado de São Paulo, em meados do século XIX, na região que hoje chamamos de Vale do Paraíba, houve uma grande demanda de imagens para o culto doméstico, que possuem vários pontos de tangência com as eruditas barrocas, encontradas nas igrejas locais. Denominadas Paulistinhas, estas imagens foram produzidas, exclusivamente no estado de São Paulo, para suprir as necessidades devocionais de um número significativo de pessoas que migraram para o vale, motivadas pelo cultivo do café, o então chamado ouro-verde. Imagens de devoção confeccionadas, por mais de um século por muitos santeiros, sendo na sua maioria anônimos, os quais, por meio da criatividade, fizeram surgir uma simplificação formal demasiada e muito singular para estas imagens que representavam os santos católicos e que, atualmente, se revelam preciosas não só pela devoção que elas suscitavam, mas também por marcar uma distinta escola de imagem sacra, imbuída do espírito barroco.
The manufacturing of sacred statues had an important educational role in the spreading of the Gospels in Brazil. Such confection was conduced by the religious orders which settled down in various regions of the country. The successful mission led to the construction of many churches whose altars had beautiful baroque statues surrounded by a mystic context, which the churchgoers sought for spiritual comfort through contemplation. Attached to the successive economic cycle, these baroque statues suffered, through history, many adaptations of material, style and dimension, taking them to the follower houses, where they stayed composing the daily life. In São Paulo State, by the middle of the 19th century, in the region called Vale do Paraíba (Paraíba Valey) there was a great search of such statues intended for domestic praying. These domestic versions had much in common with the original ones from the local churches. Such statues, dubbed Paulistinhas, were exclusively made in São Paulo State, responding to a demand for the devotional necessity of a significant number of people who migrated to the area, drawn by the coffee growing, then called “Green-gold”. Devotional statues manufactured, for more than a century, by anonymous sculptors who by means of creativity made a particular and exaggerated formal simplification for the statues which represented the Catholics saints which are, currently, not only important for their devotional values, but also for indicating a different school of sacred statues which are plenty of the baroque spirit.
The manufacturing of sacred statues had an important educational role in the spreading of the Gospels in Brazil. Such confection was conduced by the religious orders which settled down in various regions of the country. The successful mission led to the construction of many churches whose altars had beautiful baroque statues surrounded by a mystic context, which the churchgoers sought for spiritual comfort through contemplation. Attached to the successive economic cycle, these baroque statues suffered, through history, many adaptations of material, style and dimension, taking them to the follower houses, where they stayed composing the daily life. In São Paulo State, by the middle of the 19th century, in the region called Vale do Paraíba (Paraíba Valey) there was a great search of such statues intended for domestic praying. These domestic versions had much in common with the original ones from the local churches. Such statues, dubbed Paulistinhas, were exclusively made in São Paulo State, responding to a demand for the devotional necessity of a significant number of people who migrated to the area, drawn by the coffee growing, then called “Green-gold”. Devotional statues manufactured, for more than a century, by anonymous sculptors who by means of creativity made a particular and exaggerated formal simplification for the statues which represented the Catholics saints which are, currently, not only important for their devotional values, but also for indicating a different school of sacred statues which are plenty of the baroque spirit.
Descrição
Palavras-chave
Arte barroca, Imagem sacra, Paulistinha (Imagens sacras), Sacred statues
Como citar
ALCÂNTARA, Ailton S. de. Paulistinhas: imagens sacras, singelas e singulares. 2008. 131 f. Dissertação (mestrado) - Universidade Estadual Paulista, Instituto de Artes, 2008.