Gourds, pipes, muiraquitãs: Amazonian archeology and the arts from the colonial period to modernism

Abstract The “Tesouro descoberto no máximo rio Amazonas” (1757-1776) by the Jesuit João Daniel is considered one of the main sources about the Amazon during the colonial period, and an important testimony about how knowledge of nature and indigenous cultural traditions were cornerstones for the development of arts in the Missions. Especially in the chapter “Das tintas mais especiais do rio Amazonas”, does Daniel reports on the Jesuits’ adoption of indigenous techniques and materials both to produce colors as well as paintings. At the same time, indigenous artists incorporated European and Asian ornamental motifs in objects of their own culture. This appears to indicate, in the field of archaeological and ethnographic research, that these cultural transfers occurred in various directions. On the other hand, also known in Brazilian modernism, is the use of indigenous motifs and/or the representation of Amazonian nature by artists such as Manoel Pastana, Theodoro Braga, Fernando Correia Dias or Carlos Hadler, who aimed at building a national repertoire for the decorative arts.

摘要 耶稣会士若昂·丹尼尔（João Daniel）所著的《亚马孙河沿岸最大宝藏的发现》（*Tesouro descoberto no máximo rio Amazonas*，1757-1776）被视作殖民时期亚马孙地区研究的核心史料之一，亦是展现当时自然认知与原住民文化传统如何成为传教团艺术发展基石的重要见证。尤其在《亚马孙河沿岸的特殊颜料》（*Das tintas mais especiais do rio Amazonas*）一章中，丹尼尔记述了耶稣会士如何借鉴原住民的技术与材料以制作颜料及绘画作品。与此同时，原住民艺术家也在自身文化载体中融入了欧洲与亚洲的装饰纹样。这一现象在考古学与民族志研究领域表明，此类文化传播呈现多向互动的特征。另一方面，巴西现代主义浪潮中同样广为人知的，是曼努埃尔·帕斯塔纳（Manoel Pastana）、特奥多罗·布拉加（Theodoro Braga）、费尔南多·科雷亚·迪亚斯（Fernando Correia Dias）与卡洛斯·哈德勒（Carlos Hadler）等艺术家对原住民纹样或亚马孙自然风貌的运用，他们致力于为装饰艺术构建一套具有民族特色的创作体系。