Azulejos by Vivian Shiu

Vivian Shiu DEA 2510 Fall 2018

Azulejos

The journey and transformation of Portuguese tiles in Brazil.

03 04 07 10 16

INDEX introduction

portugal Fig. 1 Blue and White Azulejo 1

brazil

brazilian azulejo

Fig. 2 Blue and White Azulejo 2

bibliography

Fig. 3 Blue and White Azulejo 3

Fig. 4 Mosaic of different azulejos

INTRODUCTION

The azulejo is a form of tin glazed ceramic tilework that can vary in size and shape. The word itself has Arab origins, stemming from the Arabic “azuleich, alzullavcha, and zuleija” which means small shiny stone that is smooth or polished. Despite its origins, the azulejo was brought to Portugal in 1503 and became so popular that the use of azulejos continues until today. The tile’s widespread use is due to not only its functionality, but also for its aesthetic qualities. Throughout its history, the azulejo depicts themes that oscillate between historical accounts, mythological scenes, religious icons, nature, and mere geometric forms that were applied on all kinds of surfaces including walls, sidewalks, gardens, churches, palaces, and even benches. Azulejos are especially prominent in Portugal in Brazil even today as a result of their versatility. They have withstood time and become an ingrained part of Luso-Brazilian architecture as a blank canvas that directly reflects the country’s history and artistic expression. Albeit the azulejo’s predominance in Portugal, which evolved alongside the country by mimicking its cultural influences and historical epoch, its introduction to Brazil transformed the tilework into an indispensable, culturally unique part of Brazilian architecture that continues to grow today due to its functional purpose as protection against tropical weather and its aesthetic ability to be a medium for artistic expression.

PORTUGAL

The first signs of azulejos were found

in Persia, North Africa, Egypt and even Mesopotamia as merely a decorative element. Architecture professor Sousa states that, “The art originally came from Asia Minor. The Persians, from who’s the Arabs learned the technique… Arabs were prohibited from representing nature so they let their imagination loose in the field of geometry” (Pinheiro 31). The clear geometric ornamentation on the first azulejos made them “distinctly Arabic, without Christian art influence” and are thought to be inspired by the complex patterns on Arab rugs and by Byzantine and Roman mosaics. However, despite its convoluted and limited beginnings, the azulejos truly took root and found success in Portugal Fig. 5 Azulejo Tapete in Lisbon, Portugal Azulejos were brought to Portugal by King Manual I after he visited Seville, a Spanish tile

which today is considered the patron and “city of azulejos” (Alcantara 12).

industry city, in 1503. He was so charmed and “enchanted by the shine” and intricacy of them that he ordered the tiles to be applied in his own palace, the Sintra National Palace, sometimes covering entire walls (Celante 14). The technique was imitated by the Catholic church as seen in the Miracle of St. Roque in Lisbon and the use of azulejos to decorate the antependia, an application that is distinctly typical in Portugal. 4

Fig. 6 Blue and White Azulejo inside St. Francis Church in Portugal

On account of it being an expensive product, the azulejo was confined to interiors where it could be protected. At first, it was reserved to lining solely churches and palaces where they became extremely popular. This prestige lead azulejos to become a sign of wealth and status in Portuguese society as several noble families implemented the tilework in their own homes. In addition the azulejos were placed on monumental compositions, historian Paulo Henriques states, â&#x20AC;&#x153;the azulejo is avidly searched for in a society with new demands and needs for representation, imposing itself on monumental compositions in the 1700sâ&#x20AC;? (Prace 36). As azulejos established themselves in Portugal, they were influenced by the historical time periods and artistically prominent countries of the time. The geometric shapes of the Portuguese tiles were renounced with the advent of the Renaissance, â&#x20AC;&#x153;the compositions begin to be figurative, transposing mythological scenes, allegories, religious, warriors

Fig. 7 Chapel in Sintra National Palace (Portugal)

“In these gay and fanciful tiles the Portuguese found their fondest means of expression. They used them with great appreciation both in the homes of the rich as in those of the poor, decorating their rooms much in the same way as the Italians used frescoes or the Northern European tapestries.” J de Sousa Leão and satirical figures as seen in foreign art”. This emancipation from the conventional arabesque as well as the immigration of Italian artists to Portugal resulted in a “pattern formed by four quadrants a complete circle”. The Portuguese relinquished their “carpet azulejos” Arabic style and instead used smooth ceramics covered in a yellow glaze (15 of 1932). However, the azulejos still represented solely religious scenes and were mostly used in churches. Portuguese azulejos also endured Dutch influence in the early 17th century along with the Baroque style of the time. As a result of the style of that era, Portuguese artists depicted complex scenes on azulejos, making heavy use of the blue and white style they imitated from the Dutch and Chinese porcelain. “The panels of azulejo of this period gain a theatrical statue and their frames, of exuberant character, come to be almost as important as the central scenes. In the baroque period, the scenes are depicted on fake windows in front of real windows as well as the portrayal of scenes

from everyday life such as hunts, parties, gardens, and the celebration of the human figure itself”. By the early 1700’s, Portugal had already developed its own style in azulejos typically using blue and white to depict native fauna, flora, fruits, and the lively day to day lives of the Portuguese. This color style was so significant in Portugal that Ribeiro believes that “in rectangle shape, the blue and white panels exported to Brazil correspond with a new moment in Portuguese azulejaria. From the 17th century and beyond, the azulejos are mainly characterized by their blue and white painting, a color denoted from prestigious Chinese porcelain and adopted by Dutch azulejo influence”. This heavy Dutch and Chinese influence corresponded

Fig. 8 Blue and White azulejo in Sintra Chapel (Portugal)

with the fact that Portugal was “the first to trade extensively with the Far East… due to Chinese influence and Dutch faience.. hence, the popularity of the ink blue design on the white background” (Sousa 41). On the other hand, historian Ribeiro also argues that while the Dutch influenced the Portuguese, they also served as competition. This lead to an increase in production, a search for the best artists within the industry, motivation to find new functionalities, and the beginning of a Portuguese search for its own style within the art of azulejos. Ribeiro also asserts that, “the increase in production drove the iconographic repetition in different spaces, and the scenes underwent framing”.

Fig. 9 Blue and White azulejo in Chapel of Souls (Portugal) Azulejos continued to develop into the 18th century where the art attained its zenith during the reign of Joao V, “who squandered the wealth of the Brazilian gold mines on magnificent palaces”. The azulejo at that time was at its peak and in high demand by all during this rococo period characterized by the framing of azulejos, surreal creatures, and the return of colors . It came to represent a “advantageous form of ornamentation because it could easily adapt to any space, cover any area, and had predetermined dimensions that made production easier” (30 Alcantara). Furthermore, at its peak, Lisbon suffered a devastating earthquake in 1755 which affected and destroyed most of the city. Due to timing and azulejo’s functional and aesthetic qualities, the torn down city proved a perfect opportunity for azulejos which were used in the reconstruction of the city. At this point, technology had improved significantly, allowing azulejos to be made at a very low cost, especially when producing patterned tiles which are all identical. The lowering of the cost barrier made the azulejo accessible by all, further ingraining it into Portuguese culture as everyone was quick to adopt the fanciful tiles in their own homes. The convergence of all these factors: cost, reconstruction, Brazilian wealth for production, and the azulejo’s own versatility makes its popularity in Portugal undeniable and indisputable.

It was less of a matter of Portugal making the azulejo their own, and more a matter of new ways and approaches the Portuguese found in their applications and depictions of the azulejo. They were the ones who took azulejos beyond their ornamental function. As BLANK succinctly states, “the Portuguese adapted and treated the azulejo in its singular form, earning it the title of art, surpassing its mere utilitarian function or its ornamental destiny.” The formation of a distinctly Portuguese azulejo was a process of imitation and widespread use that became embdedded into the culture. The Portuguese azulejo is identifiable by not only its typical 13x13 cm measurements, but also in their applications such as the covering of altars in azulejos and “figuras de convite” which are depictions of life size characters placed in homes and gardens to welcome guests.

Fig. 10 Blue and White azulejo from Delft (Dutch)

BRAZIL Parallel to Portugal’s own development of the azulejo, Brazil was also evolving and adapting it within the context of its own culture. Even though Lisbon is called the country of azulejos, Brazil ushered in the modern azulejo and revitalized it. Senabio asserts that, “It was certainly in brazil that the azulejo took root, being amply used and absorbed by the national identity. Today, the azulejo is just as Brazilian as it is Portuguese, this is seen through the exchange of influences regarding material utilization that these two sister nations had” (Senabio 37).

Fig. 10.2 Portuguese arriving on Brazil’s beaches

Fig. 11 Blue and White azulejo inside Portuguese church

Fig. 12 Blue and White outisde of Brazilian church

The azulejo was first brought to Brazil in the early 1600s by bishop D. Pedro Sardinha. As a newfound Portuguese colony, it was natural for Brazil to simply directly imitate Portugal’s own style of azulejos, especially considering that initially, azulejos were imported from Portugal. Concurrent with Portugal, Brazilian azulejos in the northern cities where the Portuguese initially settled were used in churches “always as interior decoration with polychrome patterns historically baroque, blue, and white” (Ascer 65). Like their Portuguese prototypes, churches were often lined with azulejos as well as cornices, balconies, towers, and cupolas. Because of its burgeoning wealth in natural resources, Portugal quickly established several “olearias”, azulejo factories, and sent several ceramic artists to Brazil. Backheuser describes this satellite supply in detail, “boats left Portuguese ports empty and returned fully loaded with local products. They used to take large quantities of azulejos both blank and decorated” (Senabio 38). However, Brazil began to use these olearias to produce their own azulejos used to build Brazilian baroque churches. Just like Portugal, rococo white and blue azulejos were abundant with depictions of flowers, daily life, and landscapes.

Still, prior to its divergence into its own style, the azulejo took root in Brazil for both its flexible and versatile capabilities as both a functional piece of architecture as well as a means for artistic expression. Although Brazil adopted and borrowed several Portuguese items and customs, the azulejo being among them, it truly took hold in Brazil because of its functional ability to reflect heat. As a tropical country the durable, bright, clean, and cool surface of the azulejo perfectly suited Brazil’s warm climates. On the outside it protected against dampness and indoor against the ravages of noxious insects (Joao 83). This functional quality prompted the use of the azulejo outdoors in the early 1700s, covering entire walls, a feat that not even the Portuguese had yet adopted. “The tradition, local and idiosyncratic, consisted of exterior lining. This type of application originated in Brazil during the 18th century with adaptations to needs and tastes

Fig. 13 Blue and White azulejo outside Church of our Lady of Good Voyage

specific to the techniques they had received from Portugal…” (Torre 43). The production sites Portugal had installed in Brazil made for cheap and easy production of azulejos, many of which stayed in Brazil. Its production had become industrialized and efficient, especially when printmaking repetitive patterns. The use of azulejos on the exterior created an atmosphere of informality that the Portuguese lacked. They were now used a protective layer as well as on decorative exterior panels. The azulejos not only refracted the sun’s intense heat, but also hindered the corrosion of walls due to the extreme humidity of Brazil. It was used as a form of temperature control in homes, making residences cooler and easier to maintain (Brandao 31).

Secondly, the azulejo’s extreme durability made it a convenient component in architecture. It was a cheap material that not only had the capacity to become beautiful, but also was hygienic. Unlike paint that washed away or darkened in the rain and dirt, azulejos protect the building from rain and its glossy surface is in fact washed by the rain: perfect for the frequent Brazilian tropical rainstorms. All in all, the azulejo was durable and reduced the cost of building maintenance making it more than anything, a convenient material to implement (Torre 18). Azulejo’s functionality was befitting of Brazil and was the true key to its proliferation on façades and embedment into the culture. Through its inexpensive cost, accessible by all, and its casual placement on the exterior, the azulejo’s function planted the seed for its widespread use throughout the country and its adaptation into an informal style -- a uniquely Brazilian style. Cidade de azulejos. Once azulejos became sufficiently inexpensive and mainstream, its informality is once again seen in its applications to cover architectural deficiencies, gravestones, simple apartments, and even park benches (B.F. 72). In addition, the azulejos were adopted in Brazil and have lasted until today because of its decorative qualities. Through their designs, they help create an inviting environment of well-being for passerby who circulate among the building or garden. Azulejos also have an illustrative function or advertising function through imagery panels that convey taste, a cultural repertoire, and an aesthetic perception (110 Alcântara). As Valini says, “the decorative use of azulejos on façades is totally inseparable from daily life, cultural life, and urban life of all Brazilian inhabitants”(Valini 97). Equipped with resources, Brazil was quick to adapt azulejos into its own culture. Due to its geographic isolation, Brazil didn’t have the same exterior influence and pressure that Portugal did in the conception and transformation of their azulejos. Instead, it was eager to find its own style and artistic expression, especially during the early 1800s when Brazil proclaimed independence. However, it wasn’t until the 1930s that the Brazilian azulejo truly became its own unique cultural form. Fig. 14 and 15 Brazilian tiles on facades of buildings. Noble house in Brazil.

THE

BRAZILIAN AZULEJO

Fig. 16 Ministry of Education in Rio de Janeiro, Brazil

By the time the royal family immigrated to Brazil in 1807, Brazil’s azulejo evolution was well underway. As previously stated, they were commonly used on the façades of buildings and churches unlike Portugal. Ironically, even though the azulejo was originally brought to Brazil, this application of it on the outside of buildings was taken back to Portugal and implemented there. As historian Pinto states, “It is an interesting example of borrowing reversal. This new external façade use reverberates from Brazil to Portugal, making it the new fad. It generates a curious phenomenon of influence inversion, an extraordinary example of cultural communion” (Guimaraes 107). Brazil essentially revives azulejos in Portugal which had stagnated after World War II with its application on the exterior of buildings as structural support and décor. Moreover, the use of azulejos as a distinct part of Brazilian culture was heightened with the immigration of the royal family to Brazil who brought with them neoclassic tendencies from Europe (galani 79). The neocolonial movement searched for roots within the Brazilian architectural realm: it searched for a Brazilian identity. In this moment, the azulejo assumes a predominant position as an artistic expression, rediscovered by Brazil’s Portuguese background (42 Senabio). Although the neocolonial period advanced the use of azulejos it was from 1930 and beyond, with the advent of modern architecture, that the azulejo “occupies a place of prominence and renovation in the Brazilian aesthetic and architectural context contemplating a renewal within the tradition” (Morais 94). The Brazilian azulejo is different from the Portuguese in both its application and design. As emphasized, the azulejo diverged in its exterior use as well as its typical 36 azulejo piece composition, as seen in Delfim Amorim’s work. Most importantly, azulejos in Brazil became a point of emphasis in buildings, acting autonomously. They unified art and architecture in their simple, organic, and informal design which often showcased culturally specific motifs such as pineapples, Brazilian sea stars, and turtles. The typical Brazilian azulejo is a direct reflection of Brazilian culture itself, “it rescues themes, colors, and Brazilian shapes with an impressive simple modularity” (De Sousa 30). Unlike Portugal, the Brazilian tile has no social connotations, but instead preoccupies itself more with its integration with the architecture. Its application on public buildings becomes a source of national pride that lingers until today, so much so that azulejaria is a mandatory course in all architecture universities in Brazil.

Fig. 17 Portinari azulejos with organic human form and lines

It is especially characterized by its organic lines and bright colors, “Nature gives azulejo forms inspiration with organic traces and drawings that imitate Brazilian faun and flora. Besides the classic blue, green and yellow were also used” (Celante 57). Perhaps by coincidence, blue, green, and yellow happen to be Brazil’s national colors as seen on the flags. The bright uses of colors and the organic shapes (even when depicting human figures) of Brazilian azulejos are reminiscent of the sloping hills of Rio de Janeiro and the bright colors in Carnaval. Brazilian azulejos came to be through several influential architects. In 1914, Ricardo Severo held a series of conferences in the society of cultural artists to propose the realization of a Brazilian colonial architectural style. He wanted to diverge from the modern baroque Portuguese style while still maintaining its cultural roots. Architecture Professor Orlando Ribeiro asserts that the architects of the time wanted to take art to the greater population and the azulejo proved to be the perfect vehicle. Architect Le Corbusier played a very influential role in the development of the Brazilian azulejo. In his time in Brazil (1929-1936) he held his own conferences where he advocated for the stimulation of the azulejo façade. Young architects were eager to follow him as Corbusier himself states, “The azulejo, besides functional, is also a noble material that serves magnificently as support to new artistic expressions” (Alcantara 93). His work is seen in “Casa do Baile” where the azulejo’s modest patterns accentuate and characterize the building while supporting its undulating architectural shape” (Pinto 22) among other buildings. Corbusier’s participation in modern Brazilian architecture inaugurated a new vision of incorporating art into architecture by proposing the collaboration of artists and architects.

Fig. 18 Santa Rita church azulejos on the exterior in northern Brazil.

However, Brazilian tiles are best exemplified in Rio de Janeiro’s Ministry of Education (MEC), designed by Le Corbusier with Portinari azulejos in 1937. The MEC is known as the initial point for modern Brazilian architecture, and the fact that its outstanding feature is the azulejo façade speaks to how vital azulejos had already become in Brazilian culture. The azulejos used on the MEC, are distinctly differen from the intricate and realistic Portuguese azulejos. Although blue and white, MEC’s azulejos are a mix of “azulejo avulsos” (azulejos with a single image on it) and organic lines cutting through. This marking presence of lines, sinuous planes are characteristic to only Brazil as well as the use of marine mammals. The building is praised for its renewal within tradition and a rediscovery of Brazilian cultural roots through the azulejo which is mixed in its protective and decorative function (Guimaraes 12). Another prime example of the Brazilian Francisco de Assis It is considered to be of modern art in Brazil narrates through azulejos (Pinto 94). The azulejos go ignored and like the the time, are the main is placed on the exterior secondary façade.

“As customary of Portinari panels, a long sinuous and virile line involving the entire composition suggests the shape of an ameboid… the outline of the primitive protoplasm… this biomorphism would define a period style of the years 30-70. “

tile is found in the Sao Church by Portinari. one of the high points through which Portinari Saint Francisco’s life on the building cannot Brazilian azulejos of feature of the church. It and embellishes the

Lastly, “caquinhos” came to rise in the mid 90’s in Brazil. “Caquinhos” quite literally translates into “little shard”. With leftover azulejos, caquinhos were put together to form mosaics used on tabletops, streets, and even showers. These residues covered many walls and floors of Sao Paulo as their “beauty is contagious and the solution became a trend” (Pereira 24). Caquinhos are yet another form of the modern use of azulejos that perfectly reflect Brazilian cultures. Caquinhos reuse little bits that would have otherwise been thrown away and are creatively applied to make art: art you can literally walk on for decades. It is colorful, functional, and beautiful just like our country that although developing, still finds beauty among the chaos.

Fig. 19 Francisco de Assis Church showcasing the Brazilian azulejo: organic, avulso, and informal.

Fig. 20 Portuguese facade adopted from Brazil in Lisbon Fig. 23 Example of red â&#x20AC;&#x153;caquinhosâ&#x20AC;?

Fig. 21 Streets of Belo Horizonte in northern Brazil Fig. 24 Modern take on azulejo patterns in Brazil (green and blue)

Fig. 22. Burle Marx Park fountain by Corbusi 16

Fig. 25. Selaron Staircase. Main tourist attraction in RJ, Brazil

â&#x20AC;&#x153;Churches, houses, and rubble of many Brazilian cities present the colorful happy and luminous properties the azulejo proportions.â&#x20AC;? (Torre 41).

Fig. 26. Project MUDA with urban azulejos in 2017. Azulejos have persisted throughout time and remain today as not only a main source of tourist attractions, but also as a form of history. The azulejos reflect their respective cultures, telling the stories of the styles and influences that passed by. They help rebuild cities after earthquakes and provide shade and beauty to new tropical residents. The adoption of azulejos is enduring because of its versatility. It is cheap, functional, and beautiful: all that Brazil and Portugal could really ask for. Azulejos are a growing form of expression because there is something beautiful about how geometric expressions and small squares can come together to form such a stunning image. Today they are ingrained in our culture as little storytelling pieces that embellish our world. Each square carries with it the countryâ&#x20AC;&#x2122;s history which makes it all the more endearing. Azulejos are a form of artistic expression: it is beauty and order among chaos. Currently, exemplars can be found in the International Airport of Brasilia, Parque Burle Mard, and the new Collective MUDA which is a young group of artists who dedicate themselves to making azulejo installations on urban surfaces that are forgotten or undervalued (Senabio 55). This shows that even today the azulejo is still a means of artistic expression and continues to persist throughout both Brazil and Portugal. The azulejo has crossed the ocean, resisted time, innovated, and gained multiple functions. Essentially, Portugal made the geometric azulejo into figurative art, depicting various historical, religious, and day to day realistic scenes. The Brazilian azulejo branched off from the Portuguese tile and not only revived the azulejo through its exterior use but also used it as a means to usher modern architecture into Brazil. Azulejos are an integral part of Brazilian and Portuguese culture and acts as a means of artistic, plastic, and historic expression.

Alcântara, D. (1997). Azulejos na cultura luso-brasileira. Rio de Janeiro: Ministério da Cultura (Ministry of Culture) and the Institute of Historical patrimony and National Artistry (IPHAN). Print. Ascer. Rhythms, Cycles, Performances of Ceramics in Architecture. Association of Ceramic Tile Manufacturers of Spain , 2008. Print. B. F. Curval, Renata & Mimoso, João & Sanjad, Thais & Pereira, Silvia & Balzaretti, Naira. (2012). The Decay of Portuguese façade azulejos- a comparison between South Brazil and Lisbon. Brandão, Lucas. “A História Do Azulejo Português.” Comunidade Cultura e Arte, CCA, 2 Sept. 2018, www.comunidadeculturaearte.com/a-historia-do-azulejo-portugues/. “Brazilian Ceramic Tiles. Different Patterns and Colours.” Lurca, Lurca, 2012, www.lurca.com.br/gb/ceramic-tiles-history/. Celante, Cilliane. “Da Azulejaria Tradicional Aos Murais De Marian Rabello.” Universidade Federal do Espírito Santo, Revista Do Colóquio De Arte e Pesquisa Do PPGA, 2013. De Sousa Leao, Joao. “Portuguese Tiles in Brazilian Architecture.” The Burlington Magazine for Connoisseurs, vol. 84, pp. 83–87. Burlington Magazine Publications, doi:10.5040/9781472593641. Galani, Luan. “A Reinvenção Do Azulejo No Brasil.” Haus, Gazeta Do Povo, 29 Jan. 2016, www.gazetadopovo.com.br/haus/estilo-cultura/a-reinvencao-do-azulejo/. Guimarães, Feliciano. Azulejos De Figura Avulsa. Pátria Gaia, 1932. Print Pereira, J. C. (1995). Portuguese Tiles from the National Museum of Azulejo, Lisbon. London: Zwemmer Limited. Print. Pinheiro, Paul Moura. “Uma Breve História Da Azulejaria Portuesa.” Uma Breve História Da Azulejaria Portuguesa, Ensina ATP, 2014, ensina.rtp.pt/artigo/uma-breve-historia-da azulejaria-portuguesa/. Pinto, Luis Fernandes. Azulejo e Arquitectura: Ensaio De Um Arquitecto. Banco Nacional De Crédito Imobiliário, 1994. Print. “Pintura Em Azulejos: Uma Herança Portuguesa Na Arquitetura e Arte Pública Brasileira .” Construction Adimar, 20 Feb. 2018, adrimarconstrutora.com.br/blog/pintura-em-azulejos-uma-her anca-portuguesa-na-arquitetura-e-arte-publica-brasileira/. Práce, Bakalářská. “A Intenção Decorativa Do Azulejo Português.” Masarykova univerzita, 2004. Senabio, Solar Lucelia. “Especialização Em Historia Da Arte e Arquitetura No Brasil .” Coordenação Central De Extensão, Pontifícia Universidade Católica do Rio de Janeiro, 2013. Torre, Manuela. “A Riqueza e a Religiosidade Da Arquitetura Portuguesa.”Arquitetura Portuguesa: História, Características Obras No Brasil, Viva Decora Pro, 5 Aug. 2018, www.vivadecora. com.br/pro/arquitetura/arquitetura-portuguesa/. Valini, Ivan. “Origem Do Azulejo .”Revista Campo & Cidade, Campo e Cidade, 2015, www.campoecidade.com.br/origem-do-azulejo/.

BIBLIOGRAPHY 18

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