Arts of Asia

Belkina E. M. Scribes, Customers, Owners of Yaphet ibn Ali ha-Levi’s tafsirs in the IOM RAS. Orientalistica. 2024;7(1):118-136. (In Russ.). https://doi.org/10.31696/2618-7043-2024-7-1-118-136.
Abstract: The Jewish collection of the Institute of Oriental Manuscripts (St. Petersburg, Russia) preserves a set of 30 tafsirs (here comments on the Hebrew Scriptures) by the Karaite exeget Yaphet ibn Ali ha-Levi (10th cent. c.e.). A palaeographical and codicological analysis of these items made possible to attribute the manuscripts to several scribes, to date most of them by the 13th cent. c.e. and even to suggest a place of their origin (most probably Egypt). In the 17th cent. c.e. the items constituted a private collection of a Karaite Daniel Firuz. This learned Karaite very professionally filled in the gaps in the medieval manuscripts. It became evident that even the items, which do not bear traces of the hand of Daniel Firuz did nevertheless belong to the Firuz family personal library. The article shows how a palaeographic study par exellence subsequently became instrumental in discovering a whole corpus of items. In the 17th cent., these items did constitute an important private collection. This fact did help to identify some items currently preserved in the Jewish collection of the Institute of Oriental Manuscripts as diverse volumes of what was originally multi-volume works. It also helped to establish the circulation of these sources in the Karaite diaspora in the Modern Era.

En el origen mítico de Japón encontramos a Izanami, la diosa creadora dotada de un espíritu libre y potente. Unida a su hermano Izanagi crearon las islas de Japón y planearon poblarlas con dioses y diosas. Al verle la diosa por primera vez expresó espontáneamente su contento por haber encontrado un varón tan encantador. Pero Izanagi la reprimió e insistió en que guardara silencio hasta que él como superior hubiera hablado. Cuando Izanami dio a luz al dios del fuego, murió abrasada. Izanagi, llorando su pérdida, la siguió hasta la Tierra de la Oscuridad. Ella le rogó que regresara, pero desoyéndola, quiso además ver su rostro. Acercando una antorcha pudo ver que estaba ya putrefacto, y enfrentándose a la diosa pronunció la fórmula de divorcio. Izanami le amenazó diciéndo que si se divorciaba de ella, cada día morirían mil de los suyos. Como respuesta Izanagi contestó que, en ese caso, mil quinientos hombres nacerían cada día. Esta historia nos muestra la imagen enérgica de la mujer, su sacrificio y su divorcio presentan numerosos detalles de gran riqueza y significado. Similar importancia posee la historia de Amaterasu, la más brillante de sus hijos, que como diosa del sol estaba destinada a reinar sobre el firmamento. Son muchos los cuentos y leyendas japoneses en los que los orígenes de los trabajos del hombre, y el mito de la madre nutriente tienen una personificación exclusivamente femenina. La mujer es la que sacrifica su cuerpo para ofrecerlo como alimento, de mil y una formas inimaginables, a sus hijos, nietos o esposo. Es de su cuerpo inerte de donde surge la agricultura. Salvando las distancias temporales que separan los orígenes de estos primeros mitos agrícolas, y el mundo rural del periodo Edo (1600-1868), nos encontramos con que el papel de la mujer no ha cambiado tanto. Sigue siendo una pieza esencial dentro de la unidad familiar, que por encima de madre es una trabajadora, esposa y nuera. La flexibilidad de su papel y su libertad, ajena a las enseñanzas oficiales, aseguraba la brought to you by CORE View metadata, citation and similar papers at core.ac.uk provided by EPrints Complutense

No presente estudo procede-se à análise e contextualização do cariz italianizante das obras que Gregório Lopes pintou para o Convento de Cristo, em Tomar, entre as décadas de 30 e 40 do século XVI, nomeadamente: O Martírio de S. Sebastião; S. Bernardo e a Segunda Cruzada; O Sermão de Sto. António aos peixes; e A Virgem com o Menino e Anjos.

Este artigo analisa o movimento de independência e autonomia dos religiosos da Congregação da Índia Oriental, na tentativa de ruptura com a casa mãe da Província de Portugal da Ordem dos Eremitas de Santo Agostinho, no ano de 1638. O uso de armas pelos religiosos sublinhou a violência da revolta. A década de 1630 correspondeu a anos de tensões para os agostinhos do Oriente com ressonâncias nos centros de poderes régio e eclesiástico em Goa, Lisboa, Madri e Roma. Parte-se da leitura de códices, com vasta documentação gerada no âmbito da burocracia da Congregação de Propaganda Fide em Roma, acrescida de um conjunto de missivas entre o vice-reinado do Estado da Índia e o centro de Madri. A reflexão desdobra-se em três segmentos: a ação missionária agostiniana no Oriente; as conjunturas imperiais da década 1630 e as instituições agostinianas em Goa; e o levantamento de junho de 1638

Goa Cathedral former altarpiece, attributed to Garcia Fernandes and made around 1538, is one of the oldest western pictorial works in India. It is a work of great importance in the establishment of the conquest of Goa by the Portuguese but also for understanding the influence of Portuguese painting overseas. Goa Cathedral former altarpiece is revealed as a crucial study source of Garcia Fernandes' creative process. There is evidence in the vigorous underdrawing of these paintings, of the existence of different types of drawing, as well as abandoned iconographic themes, or formal alterations of compositions. The iconographic and stylistic study evidences north and south-European influences in the choice and representation of the themes around the Martírio de Santa Catarina. In the present study, this work is compared in the making of the underdrawing with other works attributed to Garcia Fernandes.

Goa Cathedral former altarpiece, attributed to Garcia Fernandes and made around 1538, is one of the oldest western pictorial works in India. It is a work of great importance in the establishment of the conquest of Goa by the Portuguese but also for understanding the influence of Portuguese painting overseas. Goa Cathedral former altarpiece is revealed as a crucial study source of Garcia Fernandes' creative process. There is evidence in the vigorous underdrawing of these paintings, of the existence of different types of drawing, as well as abandoned iconographic themes, or formal alterations of compositions. The iconographic and stylistic study evidences north and south-European influences in the choice and representation of the themes around the Martírio de Santa Catarina. In the present study, this work is compared in the making of the underdrawing with other works attributed to Garcia Fernandes.

Foi a partir dos retratos de Yokohama (jap.Yokohama shashin), fotografias e séries fotográficas temáticas encadernadas em belos álbuns, produzidos pelos pioneiros estúdios estrangeiros na crescente cidade portuária homônima e da literatura de viagem, produzida por escritores viajantes a partir de 1860, que as bases do que denomino “desejo do olhar” sobre o Japão, seus habitantes e costumes se conformaram. A aproximação dessas diferentes formas de narrativa contribuiu para consolidação de um imaginário sobre o país perante a Europa e América do Norte, ao mesmo tempo em que uma nova intelligentsia japonesa se apropriava deste discurso literário-imagético para ora reforçar a própria imagem divulgada a partir dos olhares não-japoneses, ora negá-la, influenciando a produção literária e imagética autóctone para consolidar um ideal de nação moderna não só perante o olhar estrangeiro, mas doméstico também. Neste curto e transitório espaço de tempo três fotógrafos estrangeiros se tornaram referências na maneira de retratar o “outro” japonês: Felice Beato (1832-1909), Raimund Von Stillfried (1841-1898) e Adolfo Farsari (1841-1898).  As aulas terão como objetivo principal introduzir esses fotógrafos pioneiros a partir da leitura e seleção das obras acadêmicas mais recentes publicadas sobre a temática durante o minicurso.

CAROL BIER Curator, Eastern Hemisphere Collections The Textile Museum Studio photography by Franko Khoury A CULTURAL JEWEL in the nation's capital, *1 The Textile Museum* is a testament to the vision and *3 unerring eye of its founder, George Hewitt Myers. * Established in 1925, this small museum has assumed a revered place in the international museum community not only for the quality of its collections and library, but also for its lead~rship. in the 'study, preservation and interpretation of the textile arts. Over the years it has been the flagship institution for the conservation and display of textiles around the world based upon the foresight of Myers. Today, The Textile Museum's exhibitions and educational initiatives distinguish it as a centre of cultural activity and place it at the forefront of contemporary museum currents in North America. Last year's exhibition "Rugs and Textiles of Late Imperial China" exemplifies the bountiful legacy of George Hewitt Myers. Early this century the finest and oldest Chinese rugs were not yet in great demand by America's leading families. As a collector who avidly pursued undervalued carpets, Myers acquired many

St Anthony as a choir boy Workshop of Oporto Circa 1750-1800 Upholstered and polychrome wood Provenance: Cathedral of Aveiro Aveiro Museum / Inv. Nº: 709 Deposited at Museum of Lisbon-Saint Anthony 24 Assunto pouco explorado pela historiografia, foi objeto de atenção nos estudos de Azevedo (1996 e 2010).

UID/HIS/04666/2019 PTDC/EPHPAT/4174/2014Neste estudo debruçarmo-nos sobre o convento enquanto posse dos trinitários da Província de Portugal. Entre 1569 e 1640, este cenóbio marcou a presença portuguesa em Ceuta e consolidou a Ordem da Santíssima Trindade entre as instituições religiosas portuguesas. No entanto, a sua acção principal decorreu dos numerosos resgates de cativos sobretudo após a Batalha de Alcácer Quibir. O Convento da Trindade de Ceuta operou como centro organizativo de onde partiram os padres redentores e onde chegavam os resgatados para embarcar para Portugal. Funcionou como local onde dinheiro e mercadorias se juntavam, para os pagamentos dos resgates. E, sobretudo, foi panteão para o rei D. Sebastião, como ainda está na memória dos ceuties.publishersversionpublishe

The importance of documentary research for art history studies in Cultural Heritage is unquestionable to ascertain the date of a masterpiece, confirmation of authorship and acknowledgement or dismissal of its historical theories. Most of the research pertaining to paintings and painters has been conducted by art historians, but what kind of novel information can be obtained from the historians´ point of view? This was the main goal of the survey conducted into the lives of painters who have worked over 400 years ago in the town of Évora during the so-called "golden age" of mural paintings in Southern Portugal and described in this paper. Furthermore, this paper presents a brief overview of the methodology used and shows that it is possible to reconcile the computer language of today with the language of notaries and witnesses of the "De genere" inquiry process of the 16 th century. 1. Introduction In order to study the valuable pictorial heritage of mural paintings in the Alentejo region, the PRIM'ART project was created from a partnership established by several institutions including

The importance of documentary research for art history studies in Cultural Heritage is unquestionable to ascertain the date of a masterpiece, confirmation of authorship and acknowledgement or dismissal of its historical theories. Most of the research pertaining to paintings and painters has been conducted by art historians, but what kind of novel information can be obtained from the historians´ point of view? This was the main goal of the survey conducted into the lives of painters who have worked over 400 years ago in the town of Évora during the so-called "golden age" of mural paintings in Southern Portugal and described in this paper. Furthermore, this paper presents a brief overview of the methodology used and shows that it is possible to reconcile the computer language of today with the language of notaries and witnesses of the "De genere" inquiry process of the 16 th century. 1. Introduction In order to study the valuable pictorial heritage of mural paintings in the Alentejo region, the PRIM'ART project was created from a partnership established by several institutions including

Goa Cathedral former altarpiece, attributed to Garcia Fernandes and made around 1538, is one of the oldest western pictorial works in India. It is a work of great importance in the establishment of the conquest of Goa by the Portuguese but also for understanding the influence of Portuguese painting overseas. Goa Cathedral former altarpiece is revealed as a crucial study source of Garcia Fernandes' creative process. There is evidence in the vigorous underdrawing of these paintings, of the existence of different types of drawing, as well as abandoned iconographic themes, or formal alterations of compositions. The iconographic and stylistic study evidences north and south-European influences in the choice and representation of the themes around the Martírio de Santa Catarina. In the present study, this work is compared in the making of the underdrawing with other works attributed to Garcia Fernandes.

O presente trabalho aborda as pinturas murais do Convento da Esperança de Vila Viçosa, cujo objectivo do tema, para além de estudar o Convento, aborda também a investigação iconográfica, estética e artística das diversas cenas representadas no seu interior na maioria usando frequentemente a técnica do fresco, com cenas dos Evangelhos, da Vida de Cristo, representações de santos e santas, apocalipse, entre outras decorações. Obra de mérito artístico, entre as melhores que subsistem em templos portugueses do século XVII, sob mecenato ducal. Neste sentido torna-se fundamental desenvolver a temática da conservação e restauro em pintura mural, como meio de prevenir, proteger e revitalizar um dos grandes tesouros artísticos que ainda tenta subsistir, localizado em pleno berço Alentejano. O objectivo final deste tema tem por base a valorização deste bem ao nível histórico e artístico, completamente esquecido, com pinturas marcadas pela degradação proveniente da falta de salvaguarda e desco...

The wooden altars of Se Cathedral Church and Bom Jesus Church were having multiple conservation problems. The scientific conservation of the polychromy wooden altarpieces was successfully carried out. The accretions were cleaned with cotton absorbent using the mixture ethanol, iso-propyl alcohol with few drops of distilled water with non-ionic detergent. The wooden altars were also found damaged in some portions and the same were consolidated and the mending works in some places were also attended. The wooden altars around the St. Francis relics were severely affected by dry termite especially at lower parts that has almost been eaten away by termites. In many portions in the lower levels of altars there are holes, lacunas; cracks are noticed by the result of termites. The consolidation of wooden altars had already been carried out as follows. First, the entire wooden altar especially the damaged portions are being injected with ‘Termiseal’ and then the lacunas were being filled with the mixture of saw dust, wood putty, Araldite carpenter. Then the portions were matched with the surrounding colours. The anti-termite treatment of all the church complexes was also carried out in the step of preventive conservation. The environmental parameters were also studied and some precautionary measures to prevent the deterioration of wooden fabric by the relative humidity have also been recommended. Now, the wooden altarpieces are in good state of preservation.

Las geishas constituyen una tradición secular japonesa cargada de riqueza artística y cultural, cuya actividad se desarrolla en un ambiente de refinamiento y disciplina, diferente a la imagen distorsionada que se tiene en otras culturas. Un americano, magister en historia de Japón, y dos doctoras en antropología, han abordado e investigado el entorno de las geishas, tratando de desvelar el secretismo que lo rodea. Las voces de estos tres occidentales sumadas a la de una famosa ex geisha, que con su autobiografía presenta una visión autorizada de su mundo, contribuyen a desmontar el prejuicio que sobre esta profesión se tiene, principalmente en occidente.

This is my final degree investigation (fashion design degree).
I took inspiration from geisha's and kimono culture, as well as Japanese art and history (specifically, Edo period, mixed up with the European roaring 20s, in which exoticism was in vogue).

Los grabados Ukiyo-e, que llegaron a Occidente en durante el siglo XIX e influyeron en los artistas de la época, además de sus características pictóricas propias, suelen venir con ciertas inscripciones en japonés que pasaron desapercibidas en un primer momento, o bien fueron consideradas como garabatos ornamentales sin sentido. Sin embargo, al detenerse en dichas inscripciones, considerando el contexto japonés, resultaba bastante habitual acompañar las imágenes visuales con algún poema que completara su significado, constituyendo una forma de representación que bien podría asociarse con lo que en Occidente se entiende como écfrasis clásico. Una obra de Ukiyo-e puede configurarse como una composición ecfrástica no sólo en cuanto a lo formal, esto es, en una afirmación sencilla y muy general, definido como la representación visual que es representada por escrito; también por la intencionalidad con la que son confeccionados, que da pie a múltiples significados.

Como citar este artículo:
Montero Barrientos, Nicole (2018) Écfrasis y Ukiyo-e. (Maestría) Universidad de Buenos Aires

O trabalho de levantamento nacional in situ, estudo e disseminacao de motivos musicais na pintura portuguesa – e de outras pinturas com ligacoes a Portugal – nao apenas das memoriadas mas tambem das que nada se achava escrito, leva-nos a reunir um corpus significativo de fontes primarias seiscentistas e setecentistas com a representacao hagiografica de Sao Jeronimo acompanhado de um aerofone, ou parte dele. Que instrumento musical se encontra representado? Qual o seu significado? Que fontes e modelos poderao ter sido usados na sua representacao?

Goa Cathedral former altarpiece, attributed to Garcia Fernandes and made around 1538, is one of the oldest western pictorial works in India. It is a work of great importance in the establishment of the conquest of Goa by the Portuguese but also for understanding the influence of Portuguese painting overseas. Goa Cathedral former altarpiece is revealed as a crucial study source of Garcia Fernandes' creative process. There is evidence in the vigorous underdrawing of these paintings, of the existence of different types of drawing, as well as abandoned iconographic themes, or formal alterations of compositions. The iconographic and stylistic study evidences north and south-European influences in the choice and representation of the themes around the Martírio de Santa Catarina. In the present study, this work is compared in the making of the underdrawing with other works attributed to Garcia Fernandes.

Within the theoretical frame of recent research on grotesqueness and monstrosity, marginality and transgression, both on the physical and epistemological margins of art, this paper intends to approach the relationship between Joao de Ruao’s oeuvre and the grotesque. In a long 16th century, with so many different challenges to the conceptual apparatus, and so many stimuli to the visual framework of an artist as industrious and as qualified as Joao de Ruao, it seems timely to question in what circumstances, and with what resources did he call upon the grotesque and the bizarre in his work. Qualities such as grotesqueness, ugliness, monstrosity and hybridism will be variably searched and inquired in their nature, context, and function. And parergonal figures, such as gargoyles and decorative masks, along with the traditional adversaries of Christianity, such as heathens and the devil himself, will be approached in four case studies tentatively put in a comparative context, regarding si...

Since the 1960s, the artistic and architectural interventions carried out in the church of Santa Isabel and Rato Chapel, in Lisbon, brought to the debate the overlap of different narratives in these two different spaces of worship: the first, is a parish church preserved by the earthquake of Lisbon (1755), which had its liturgical space redesigned before the Second Vatican Council; the second, is a private chapel annexed to a 18th century palace that became a symbolic worship space for students and engaged young professionals since the 1970s. Enriched with the work of either well-known artists or, sometimes, anonymous architects, the two case studies show us the life of monuments, where Modern and Contemporary Art and Architecture participate in preserving and enhancing their cultural value. At the same time, the liturgical and pastoral activities are shown to be the engine behind successive interventions.

Dear colleagues, it is with great pleasure that I present you with this communication, which has been made possible thanks to the efforts of Silvia Cañellas and her collaborators, whom I thank sincerely. As far as the archives and the few preserved works allow us to judge, the most flourishing periods of stained glass production in Portugal, before the 20th century, were the reign of King Manuel I, between 1495 and 1521, and the first decade of the reign of his son and successor, João III, which lasted until 1550. It should be remembered that the country did not have a long tradition in the practice of this art, which revolved around the workshop of the monastery of Batalha, where it took its first steps around 1440, thanks to the work of master glassmakers who would have come from the southern regions of the Holy Roman Empire. The aesthetic and technical updating of this workshop in the following century would be due to Flemish and French artists, a phenomenon that has parallels in the building sites of the emerging Spanish cathedrals and the buildings of the lay aristocratic patronage that were built in their shadowand not only in stained glass, but also in architecture, stone carving, sculpture and altar painting, as happened in Portugal. From the point of view of formal study, the question that immediately arises is that of the stylistic affinity of all this vast production with the presumed Flemish and French models. On the one hand, there is no literal transposition and, on the

At the end of the 15th century, Évora was a cosmopolitan town whose importance was increasing in cultural and artistic terms. Throughout the 16th century, and until the first half of 17th century, the town experienced a golden age, welcoming many Portuguese and foreign artists, who were closely following the royal court. Among them there were painters, gilders and woodcarvers, responding to the growing demand for work. This paper provides an insight into the lives of some of these men from the 16th to the early 18th century. Through a documental survey, details of the gilded production, patrons and labor organization are presented, along with data on the personal and social daily life of these artists. Douradores e pintores no período áureo da cidade de Évora

Las costumbres europeas para computar el tiempo difieren de las desarrolladas por los japoneses a lo largo de su historia.1 En 1872, el gobierno reformista de la era Meiji (1868-1912) adoptó el calendario gregoriano y se cambió también la forma de medir la duración de las horas, que hasta entonces eran doce para todo el día. Aproximadamente sus horas eran como dos de las nuestras, si bien esas doce horas tenían duración diferente por el día y por la noche. En el invierno, las horas de la noche son más largas que en el verano. La salida y la puesta de sol son los límites de las seis horas del día y las seis horas de la noche. Esas seis horas, en lugar de contarlas progresivamente, se computaban como en una cuenta atrás, comenzando por el número superior, del nueve al cuatro.2 Además de esta numeración, tan ajena a la que estamos acostumbrados, otra peculiaridad era que, además de los números, los japoneses también

At the end of the 15th century, Évora was a cosmopolitan town whose importance was increasing in cultural and artistic terms. Throughout the 16th century, and until the first half of 17th century, the town experienced a golden age, welcoming many Portuguese and foreign artists, who were closely following the royal court. Among them there were painters, gilders and woodcarvers, responding to the growing demand for work. This paper provides an insight into the lives of some of these men from the 16th to the early 18th century. Through a documental survey, details of the gilded production, patrons and labor organization are presented, along with data on the personal and social daily life of these artists.

Durante las primeras décadas del siglo XVII, en un momento en el que las relaciones entre Occidente y Japón entran en crisis, residió en el archipiélago François Caron. Este trabajador de la Compañía Neerlandesa de Indias Orientales permaneció en el País del Sol Naciente desde 1619 hasta 1641, llegando a ostentar el cargo de opperhoofd (encargado principal) del puesto comercial neerlandés de Hirado. Durante su estancia en el archipiélago, Caron tuvo la oportunidad de introducirse en la cultura nipona y aprender el idioma. Su conocimiento sobre el país fue tal que recibió el encargo de realizar un informe respondiendo a varias preguntas relativas a las islas, el cual se acabaría publicando por primera vez en 1646 en Ámsterdam bajo el título Beschrijvinghe van het machtigh coninckrijck Iapan, siendo reeditado y traducido en numerosas ocasiones en los años siguientes. La obra de Caron tuvo un enorme calado y nos ofrece una valiosa información sobre la sociedad japonesa de comienzos del...

Este artigo oferece uma reflexao acerca de um sermao proferido na ocasiao da inauguraçao da igreja do mosteiro de Santa Mônica de Goa, em 19 de dezembro de 1627, por frei Diogo de Santa Anna, religioso da Congregaçao da Índia Oriental da ordem dos eremitas de Santo Agostinho da Província de Portugal. Indicam-se algumas especificidades da prédica que atentam para a fabricaçao do modelo feminino ocidental do contexto do catolicismo pós-tridentino em espaços de variados fluxos culturais no coraçao do Índico.

Este é um artigo de acesso aberto, licenciado por Creative Commons Atribuição 4.0 Internacional (CC BY 4.0), sendo permitidas reprodução, adaptação e distribuição desde que o autor e a fonte originais sejam creditados. Resumo: O artigo discute a dimensão dos objetos e da escrita religiosa no âmbito das trocas de presentes nos espaços entre o Índico ocidental e o Convento de Nossa Senhora da Graça de Lisboa. Parte-se de uma carta escrita em dezembro de 1609 pelo arcebispo de Goa e primaz do Oriente D. Frei Aleixo de Meneses à Província de Portugal da Ordem dos Eremitas de Santo Agostinho. Prioriza-se a análise dos segmentos da missiva sobre a descrição de uma cruz e uma grande caixa de cristal, reproduzidas em crônicas, notícias e relatos escritos predominantemente por agostinianos entre 1634 e 1720. Destacam-se as conexões culturais e as hierarquias de poder instituídas nas relações religiosas e políticas com os mundos islâmicos através do topônimo Ormuz. A escrita sobre os objetos é compreendida por mecanismo influente na perenidade da memória de indivíduos e grupos sociais. Nos pontos de conclusão do artigo são examinadas as formas de apropriação e significação cultural inscritas em materialidades por gêneros variados de escrita no cristianismo em que perduram variações da tradição dos discursos hagiológicos.

Gloria de Deus, ao serviço do Rei e ao bem desta Republica": freiras de Santa Mônica de Goa e a cristandade no oriente pela escrita do agostinho frei Diogo de Santa Anna na década de 1630 "Glory of God, in the service of the King and the good of the Republic": the nuns'monastery of Saint Monica in Goa and the Oriental christianity in the augustinian writting of fr. Diogo de Santa Anna in the 1630's. ________________________________________________________________ Margareth de Almeida GONÇALVES * Resumo: Este artigo analisa as convenções simbólicas que, na extremidade leste do reino de Portugal dos espaços asiáticos, deram forma às práticas de escrita no âmbito de uma monarquia de perfil confessional. Explora-se uma reflexão acerca da construção de categorias identitárias através de tópicas de nobreza/fidalguia e de limpeza de sangue.

RESUMO Este artigo analisa o movimento de independência e autonomia dos religiosos da Congregação da Índia Oriental, na tentativa de ruptura com a casa mãe da Província de Portugal da Ordem dos Eremitas de Santo Agostinho, no ano de 1638. O uso de armas pelos religiosos sublinhou a violência da revolta. A década de 1630 correspondeu a anos de tensões para os agostinhos do Oriente com ressonâncias nos centros de poderes régio e eclesiástico em Goa, Lisboa, Madri e Roma. Parte-se da leitura de códices, com vasta documentação gerada no âmbito da burocracia da Congregação de Propaganda Fide em Roma, acrescida de um conjunto de missivas entre o vice-reinado do Estado da Índia e o centro de Madri. A reflexão desdobra-se em três segmentos: a ação missionária agostiniana no Oriente; as conjunturas imperiais da década 1630 e as instituições agostinianas em Goa; e o levantamento de junho de 1638.

This study investigates alternatives to encouraging children and adolescents to recognize the cultural heritage. To this end, we explored elements and tools that are presently available in their everyday lives and that are compatible with their biopsychosocial development, specifically the video game Pokémon GO, which in addition to its entertainment factor allows the identification of city spaces.

Los viajeros españoles que visitaron Japón entre 1868 y 1936 rechazaron la imagen estática y estereotipada del país, en la que veían reflejada la similar caricaturización que habían hecho los europeos de la España decimonónica. También discutieron — antes de 1898 — si Japón podía llegar a constituir una amenaza o una oportunidad para las Filipinas. Pero ante todo se esforzaron por ofrecer una visión dinámica del país, apuntando posibles razones de su vertiginosa transformación socioeconómica. En cualquier caso, no creían que el modelo de modernización japonés fuese trasladable a España: aunque admiraban sus asombrosos logros, también identificaban importantes problemas y limitaciones.

The study of the religious women of the Order of St. James in Portugal during the period mentioned in the title of this paper is intended to show the way in which they observed the vows that they had taken when they donned their habits, how they lived inside the monastery, how they administered their property, how they related to civil society, and how they adapted to the new times brought by modernity. Although the Master of the order Dom Jorge, drew attention in the early 16th century to the fact that the doors of the monastery should not be opened to women who were not related to the male branch of the Order i.e. relatives of the friar-knights: daughters, wives or widows, documentation reveals that some of the religious women did not belong to the relatives of the members of the Order. Furthermore, it is interesting to understand the mechanisms that led to the donning of the habit. These women lived in a monastic house which was consecrated by the Monastery of Santos, although, o...

Until the recent past, little research had been undertaken on later Chinese bronzes, mostly on censers, vases and sculptures, with cursory scrutiny of paperweights (zhenzhi) and other scholarly accoutrements. Although mainly serving a specific function on the scholar’s desk, bronze paperweights are also often elegant, charming and whimsical artworks in their own right, that served to inspire and be appreciated. They also have various hidden meanings and cultural allusions, leading to their becoming symbols of the taste and refinement of the scholar-literati class.

At the end of the 15th century, Évora was a cosmopolitan town whose importance was increasing in cultural and artistic terms. Throughout the 16th century, and until the first half of 17th century, the town experienced a golden age, welcoming many Portuguese and foreign artists, who were closely following the royal court. Among them there were painters, gilders and woodcarvers, responding to the growing demand for work. This paper provides an insight into the lives of some of these men from the 16th to the early 18th century. Through a documental survey, details of the gilded production, patrons and labor organization are presented, along with data on the personal and social daily life of these artists. Douradores e pintores no período áureo da cidade de Évora