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Brazilian sculpture : ウィキペディア英語版
Brazilian sculpture

The roots of Brazilian sculpture have been traced back to the late 16th century, emerging soon after the first settlements in the newly discovered land. Through the following century, most of the sculpture in Brazil was brought from Portugal and displayed Baroque features. The Baroque style would flourish within the religious culture of the country and would remain predominant until the first decades of the 19th century. In the 19th century, sculptural activity decreased, but it later revived when both the government and the public took a new interest in the art. Modernism fomented a period of intense research into a new language of sculpture, with great achievements, and the contemporary sculpture of Brazil enjoys worldwide respect.
==Baroque==
The mid 17th century saw the emergence of the first national school of sculpture with the works of Domingos da Conceição, Agostinho da Piedade and Agostinho de Jesus, now seen as the founders of Brazilian sculpture. Through the 17th and 18th centuries, there were major centers of sculpture production in Salvador and Olinda and in some cities in Minas Gerais and São Paulo. Although Portuguese pieces continued to be imported in great numbers, native masters proliferated. They took refined European models as a source for their inspiration, adapting their general lines toward a folk interpretation of the Baroque style.〔Etzel, Eduardo. ''Imagem Sacra Brasileira''. São Paulo: Melhoramentos, 1979. pp. 9; 29 ss; 105; 126 ss〕 Decorative woodcarving would also be largely dependent on Portuguese influence, but it flourished with great splendor, as can be seen inside the many churches erected during this period.
Most surviving pieces from the Baroque era do not record authorship, and only a few names are known: Francisco das Chagas, Manuel Inácio da Costa, Francisco Xavier de Brito and Francisco Vieira Servas. Above them all stands Aleijadinho. He was active in Minas Gerais where he left his greatest works, considered the glory of Brazilian Baroque sculpture: six groups of wooden carved statues known as the ''Via Sacra cycle'' and the ''12 Prophets'' carved in soapstone, all at Bom Jesus de Matosinhos Sanctuary in Congonhas do Campo, now a World Heritage Site. The Baroque tradition survived until the beginning of the 20th century, albeit more and more sparsely and mainly in Bahia, despite the introduction of Neoclassicism in the 1820s.〔( ''O Barroco Brasileiro''. Enciclopédia Itaú Cultural )〕〔Etzel. pp. 97 ss〕
Two special genres of sculpture deserve mention in the Baroque period: the missionary sculpture and the so-called ''de roca'' statues. The first flourished in the Reductions and was produced by Indians, often helped by Jesuit missionaries, as part of the Jesuits' method of teaching religion to the Indians, who were deeply impressed with and moved by European art. Its style is a highly original synthesis of European influences with the native vision. These creations are of great interest because of their plastic quality and their unique flavor. Although most of them have disappeared, either sold abroad, reshaped, or destroyed, many pieces do remain, preserved mainly by the Missions Museum in Rio Grande do Sul, and they are Brazilian National Heritage.〔Trevisan, Armindo. ''A Escultura dos Sete Povos''. Brasília: Editora Movimento / Instituto Nacional do Livro, 1978〕 The second special genre, the ''de roca'' statues, were also sacred in nature and shared a common purpose with the missionary art, as both were didactic. Manipulated by puppeteers in plays of a sacred character, they were instrumental in exciting piety in the people, enhancing the dramatic effect of the play. They were also commonly carried by chariots or other movable devices as part of a procession.〔Flexor, Maria Helena Ochi. ''Imagens de Roca e de Vestir na Bahia''. Revista Ohun - Ano 2 - nº 2 - 2005. Programa de Pós-Graduação em Artes Visuais da Escola de Belas Artes da UFBA. ()〕

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