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Publication
Azulejaria de Santarém nos séculos XVII e XVIII: revisitar um património azulejar in situ
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Advisor(s)
Abstract(s)
A azulejaria em Portugal nos séculos XVII e XVIII é marcada pelo despontar da criação
de peças figurativas de elevado valor artístico, em paralelo com outros trabalhos mais
simples, todavia de grande efeito decorativo. Os azulejos converteram-se numa
aplicação muito comum no revestimento de interiores das igrejas e dos conventos.
Pretendeu-se com a presente dissertação estudar algumas dessas obras integradas nos
Templos da cidade de Santarém e, dessa forma, dar a conhecer o quanto a azulejaria
escalabitana é um marco importante na história da arte em Portugal.
Os enxaquetados em azul e branco, ou o verde e branco que podemos admirar num
grande número de igrejas são uma particularidade da azulejaria portuguesa da qual
estudámos alguns exemplos. Este revestimento decorativo nas paredes dá ao
observador a perceção de um movimento rítmico diagonal, como podemos constatar
nas Igrejas de Santa Maria de Marvila ou de Santa Iria.
Pretendeu-se ainda estudar como as contingências políticas e económicas resultantes
da perda da independência (1580-1640) e a consequente Guerra da Restauração,
levaram os azulejadores a encontrar diversos expedientes no incremento da conceção
das suas obras.
Procurámos ainda verificar que, como numa contrapartida à perda de qualidade dos
temas figurativos, o repertório decorativo vai enriquecer a sua inspiração nos tecidos,
nos bordados, nos tapetes e nas formas vegetalistas. Esta transformação é algo
especificamente que está muito bem representado na azulejaria em Portugal,
particularmente em Santarém.
Se na primeira metade do século XVII dominaram os chamados azulejos de tapete,
com paredes inteiras revestidas desta forma, na primeira metade do século XVIII
impera sobretudo ojpo azul e branco. A redução da paleta cromática à cor azul
permitiu, como constatámos, criar uma riqueza pictórica nas grandes representações
figurativas como as da Capela Dourada, da Sacristia da Igreja dos Capuchos ou a dos
corredores e escadarias do Paço Episcopal.
Tiles in Portugal in the XVII and XVIII centuries are marked by the emergence of the creation of figurative pieces of high artistic value, in parallel with other simpler works, but with great decorative effect. Tiles have become a very common application in the covering of churches and convents. The aim of this dissertation was to study some of these works integrated in the Temples of the city of Santarém and, in this way, to show how the Scalabitan tiles are an important milestone in the history of art in Portugal. The blue and white checkers, or the green and white that we can admire in many churches are a particularity of Portuguese tiles, of which we have studied some examples. This decorative coating on the walls gives the viewer the perception of a diagonal rhythmic movement, as can be seen in the churches of Santa Maria de Marvila or Santa Iria. It was also intended to study how the political and economic contingencies resulting from the loss of independence (1580-1640) and the ensuing War of Restoration, led the tile makers to find various ways to increase the design of their works. We also tried to verify that, as a counterpart to the loss of quality of figurative themes, the decorative repertoire will enrich its inspiration in fabrics, embroidery, rugs and “formas vegetalistas”. This transformation is something specifically Portuguese and is very well represented in Santarém. If in the first half of the XVII century the so-called carpet tiles dominated, with entire walls covered in this way, in the XVIII century, blue and white prevailed. The reduction of the chromatic palette to blue allowed, as we have seen, to create a pictorial richness in the large figurative representations such as the Golden Chapel, the Sacristy of the Capuchos Church or the corridors and stairs of the Episcopal Palace.
Tiles in Portugal in the XVII and XVIII centuries are marked by the emergence of the creation of figurative pieces of high artistic value, in parallel with other simpler works, but with great decorative effect. Tiles have become a very common application in the covering of churches and convents. The aim of this dissertation was to study some of these works integrated in the Temples of the city of Santarém and, in this way, to show how the Scalabitan tiles are an important milestone in the history of art in Portugal. The blue and white checkers, or the green and white that we can admire in many churches are a particularity of Portuguese tiles, of which we have studied some examples. This decorative coating on the walls gives the viewer the perception of a diagonal rhythmic movement, as can be seen in the churches of Santa Maria de Marvila or Santa Iria. It was also intended to study how the political and economic contingencies resulting from the loss of independence (1580-1640) and the ensuing War of Restoration, led the tile makers to find various ways to increase the design of their works. We also tried to verify that, as a counterpart to the loss of quality of figurative themes, the decorative repertoire will enrich its inspiration in fabrics, embroidery, rugs and “formas vegetalistas”. This transformation is something specifically Portuguese and is very well represented in Santarém. If in the first half of the XVII century the so-called carpet tiles dominated, with entire walls covered in this way, in the XVIII century, blue and white prevailed. The reduction of the chromatic palette to blue allowed, as we have seen, to create a pictorial richness in the large figurative representations such as the Golden Chapel, the Sacristy of the Capuchos Church or the corridors and stairs of the Episcopal Palace.
Description
Keywords
Azulejos Igreja Barroco Arquitetura Século XVII Século XVIII Padrões Figuração Santarém Tile Baroque Architecture Church XVII century XVIII century Pattern Figuration
Citation
Valente, António Francisco Baptista - Azulejaria de Santarém nos séculos XVII e XVIII [Em linha]: revisitar um património azulejar in situ. [S.l.]: [s.n.], 2022. 132 p.