A formação das colecções de arte: uma perspectiva histórica

Padrões de hibridização artística nos primórdios do
processo de mundialização:
1.
minorias culturais;
2.
parcerias culturais;
3.
contactos culturais controlados;
4.
colisões culturais;
5.
núcleos da globalização (metrópoles cosmopolitas e cidades
portuárias intercontinentais).
Partnership pattern
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This kind of artistic hybridization was developed through partnerships overseas,
where newcomers and their mestizo descendants cooperated with local powers.
The duration, nature and degree of these partnerships varied significantly. It
ranged from independent personal or commercial initiatives to official relations
between kingdoms, from intermittent contacts to long term relations established
over several decades or centuries.
In its fullest expression it could be a solid relation between allied kingdoms
many times perceived as equals, at least during the first decades of contact. In
this case, cultural relations were based on mutual dependence and mutual
adjustment.
Ceylon
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Sri Lanka was known in Antiquity and the Middle Ages for the quality and
quantity of its gemstones, namely rubies, sapphires, emeralds, topazes and
diamonds. This reputation is present in old Hindu sources, such as the
Mahabharata, and in the writings of Byzantine, Italian, Chinese and Arab
travelers, from Cosmas Indicopleustes and Marco Polo to Wang Dayuan and
Ibn Battuta.
Ceylonese tributes and diplomatic gifts included copious amounts of
gemstones and precious materials, such as ivory, rock crystal, pearls or
tortoiseshell, underlining its reputation as a “fortunate island”.
Ceylon
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It was cinnamon that first attracted the Portuguese to Ceylon, in 1506, a
merchandise they bought in large quantities to resell in Asia and Europe.
These initial contacts led to the building of a Portuguese fortress in Colombo,
in 1518, and to the imposition of an annual tribute to the kingdom of Kotte,
ruled by Vijayabahu VI (r.1513-1521).
These events contributed to weaken the king’s rule and to his assassination in
1521, orchestrated by his three sons, who were not pleased with their father’s
preference for a younger half-brother.
The patricide brothers divided Kotte in three parts: Bhuvaneka Bahu VII
(r.1521-1551) became King of Kotte and nominal Emperor of Ceylon,
Mayadunne Pandar (r.1521-1581) became King of Sitavaka and
Pararajasinha became Prince of Rayigama.
Ceylon
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Up to the early 1540’s the Portuguese mostly supported Bhuvaneka Bahu
against Mayadunne, who received support from the Muslim Calicut Mappilas
and from the Ceylonese kingdom of Kandy, ruled by Jayavira (r.1511-1552).
From that time on, however, Portuguese alliances became more volatile and
dependant on the benefits offered by the three Ceylonese kings.
Additionally, Portuguese became more intransigent about conversion from
Budhism to Christianity, forcing the baptism of Bhuvaneka Bahu VII’s
grandson, Dharmapala’s (r.1551-1597), in 1557. (Sitavaka and Kandy had
already strategically adopted Christianity).
Therefore, several Ceylonese diplomatic gifts and embassies were sent to Goa
and Lisbon, to obtain the neutrality or the military support of the Portuguese.
Included in these diplomatic gifts were luxury artworks, such as ivory
caskets combining European and Ceylonese elements.
Ceylon
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The shape of these objects and its metallic components were copied from
Iberian late medieval leather caskets with similar proportions and form. These
urn-shaped leather caskets made of wood had a rectangular body, a threefaceted lid and reinforcing iron applications forming vertically run bands,
hinges, locks, side or lid handles and lower protection corners.
The Ceylonese produced two luxury versions of this type of caskets, one in
tortoiseshell the other in ivory.
In the first, tortoiseshell, the rough iron components were replaced by silver
bands, locks and hinges with delicate, animal or foliage scrolls securing
translucent tortoiseshell plaques.
In the second, ivory, the metallic elements were replaced by gold bands inlaid
with gems and painted rock crystal uniting the carved ivory plaques.
Cofre em madeira e couro, com reforços de ferro. Pen. Ibérica, séc. XV. 28x18.4x17.8 cm.
Christie’s: 3.000-5.000£ (6.875£). 5/11/2009, Londres.
CML, leilão 80, lote 83, 6 de Novembro de 2006. Estimativas: 25.000 / 37.500. Martelo: 125.000€.
Ceylon
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The Ceylonese motifs comprise scrolling vines (liya vela), lotus flowers, holy
geese (hamsa puttuva), mythical Ceylonese beasts, parading elephants, wild
boars, peacocks (manaras), royal lions (raja simha), musicians, celestial female
dancers (apsaras), celestial door guardians (dvarapalas), gods, goddesses, and
characters from the Ramayana epic.
European iconography was mainly derived from late medieval and
Renaissance engravings, taken from a variety of sources such as Hartman
Schedel’s Liber Chronicarum and illustrated Books of Hours.
Cofre “Robinson”, Ceilão (Kotte), c.1557. Marfim, prata dourada, filigrana, safiras. 22,8x13,7x12,7 cm.
Londres, Victoria & Albert (IS.41-1980).
Este cofre pode assinalar a conversão de Dharmapala (rei desde 1551) ao cristianismo em 1557, sendo
enviada essa notícia numa carta para Lisboa, por franciscanos, tendo este cofre como presente diplomático.
Acquired in Lisbon before 1888 by Sir John Charles Robinson, Superintendent of Art Collections of the
South Kensington Museum (“Victoria and Albert Museum”, after 1899).
Esponsórios da Virgem
Repouso durante a Fuga para o Egito
Cofre “Robinson”, Ceilão (Kotte), c.1557. Marfim, prata dourada, filigrana, safiras. 22,8x13,7x12,7
cm. Londres, Victoria & Albert (IS.41-1980)
Cofre “Robinson”, Ceilão (Kotte), c.1557. Marfim, prata dourada, filigrana, safiras. 22,8x13,7x12,7
cm. Londres, Victoria & Albert (IS.41-1980)
Cofre “Robinson”, Ceilão (Kotte), c.1557. Marfim,
prata dourada, filigrana, safiras. 22,8x13,7x12,7 cm.
Londres, Victoria & Albert (IS.41-1980)
Horae Beatae Mariae Virginis, Paris, 1498,
Imp. Philippe Pigouchet e Simon Vostre.
Cofre “Robinson”, Ceilão (Kotte), c.1557. Marfim, prata dourada, filigrana, safiras. 22,8x13,7x12,7
cm. Londres, Victoria & Albert (IS.41-1980)
Ceylon
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One of the most interesting is the “Coronation chest”, presently kept in the
Schatzkammer of the Munich Residenz, where it has been recorded since 1598.
Originally in the collection of the Portuguese Queen Catherine (1507-1578), it
seems to represent events related to the embassy that Bhuvaneka Bahu VII
sent to Lisbon in 1541-43, headed by Sri Radaraksa Pandita.
The embassy had two goals: to assure Portugal’s support to Dharmapala as
legitimate heir of Kotte; and to reinforce Bhuvaneka Bahu VII’s position as
Emperor of Ceylon.
For this purpose a gilded statue of Dharmapala and a gold crown with
precious stones were sent with the envoys, to undertake the crowning of the
Ceylonese heir, in effigie, by the Portuguese King D. João III (r-1521-1557).
The coronation ceremony took place in the main room of the Ribeira Palace,
in the presence of the entire Portuguese court. The statue was placed in the
room and the ambassador, speaking on behalf of the prince, read a
declaration swearing fealty and recognising the suzerainty of the Portuguese
over Kotte, proceeding as if it was the prince who was speaking.
Cofre, Ceilão (Kotte), c.1541-44. Marfim, ouro, rubis, safiras. 30x16x18 cm. Munique, na Schatzkammer da
Münchner Residenz. Na zona frontal (extremos) representa-se o rei D. João III a receber e a coroar D. João
Dahrmapala, neto do rei Bhuvanekabahu, e herdeiro da coroa de Kotte. Em 1541-43 uma embaixada de
Ceilão (embaixador Sri Radaraksa Pandita) fez coroar uma efígie de Dahrmapala em Lisboa numa
cerimónia aparatosa. O cofre pode ter vindo no conjunto de oferendas enviadas para Lisboa, ou pode ter
sido produzido posteriormente. Supostamente, veio uma coroa cingalesa para essa coroação e uma efígie
do mesmo. Outras fontes referem duas imagens em marfim do rei e do seu neto.
Cofre, Ceilão (Kotte), c.1541-44.
Marfim, ouro, rubis, safiras.
30x16x18 cm. Munique, na
Schatzkammer da Münchner
Residenz.
D. João III recebe D. João
Dahrmapala (ou uma sua efígie),
neto do rei Bhuvanekabahu,
aqui apresentado pelo próprio
avô rei de Kotte (ou pelo
embaixador
Sri
Radaraksa
Pandita).
Em segundo plano, dois
assistentes, luso e cingalês.
Cofre, Ceilão (Kotte), c.1541-44.
Marfim,
ouro,
rubis,
safiras.
30x16x18
cm.
Munique,
na
Schatzkammer
da
Münchner
Residenz.
Cofre, Ceilão (Kotte), c.1542-44.
Marfim, ouro, rubis, safiras.
30x16x18 cm. Munique, na
Schatzkammer da Münchner
Residenz.
O monarca cingalês (D. João Dahrmapala ou o seu avô, o rei Bhuvanekabahu) no Trono do Leão, um
trono-altar (um dos três tronos de Buda), com a coroa cónica de vários registos e o lótus na mão, rodeado
de diversos cortesãos.
Ceylon
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Instead of being a symbol of a solid alliance between Kotte and Portugal, this
casket seems more a desperate attempt to guarantee the support of the
Portuguese.
It was precisely in the early 1540s that Portugal started to diversify its alliances
in the island. From then on, the kingdoms of Kotte, Sitavaka and Kandy were
cyclically allies or enemies of the Portuguese according to the circumstances,
and despite Queen Catherine of Portugal favouring Kotte.
Ceylon
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All these luxury items received from Ceylon were subsequently used by
Portugal as diplomatic instruments in European politics. Most of the pieces
were redistributed as ambassadorial gifts sent to several European courts and
to the Papacy, included in marriage dowries and offered as gifts among
relatives of the Portuguese royal house, in particular the Habsburg.
The “Coronation chest” is a typical example of this kind of circulation and
exchange. In 1573 it was included among the offers sent to the Duke Albert
V of Bavaria, in Munich, by the widow Queen Catherine of Austria, as part of
the arrangements for the wedding of King D. Sebastian (r.1557-1578) with
the daughter of the Duke.