Colecionismo orientalista e interação cultural entre China, Macau e Portugal

• Ano de defesa: 2019
• Autor(a) principal: Ting, Caroline Pires
• Outros Autores: [e-mail]
• Orientador(a): Siqueira, Vera Beatriz Cordeiro
• Banca de defesa: Pereira, Amanda Reis Tavares , Abreu, Leandro Pimentel , Cunha, Guilherme Lopes da , Bueno, Guilherme da Silva
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade do Estado do Rio de Janeiro
• Programa de Pós-Graduação: Programa de Pós-Graduação em Artes
• Departamento: Centro de Educação e Humanidades::Instituto de Artes
• País: Brasil
• Palavras-chave em Português: Colecionismo orientalista; Sinologia; Macau; Portugal; Arte chinesa; Arte chinesa – História; Estudos chineses; Colecionadores e coleção - Historiografia; Cerâmica chinesa – História; Jorge, José Vicente, 1872-1948; Pessanha, Camilo, 1867-1926
• Palavras-chave em Inglês: Orientalist collection; Sinology; Chinese art
• Área do conhecimento CNPq: LINGUISTICA, LETRAS E ARTES::ARTES
• Link de acesso: http://www.bdtd.uerj.br/handle/1/16762

In this work, the author sought to investigate the Portuguese orientalist collecting and the synophilic fascination in Macao, based on the analysis of the collections of José Vicente Jorge (Macao, 1872 - Lisbon, 1948) and Camilo Pessanha (Coimbra, 1867 - Macao, 1926). From a methodological point of view, the author dealt with three fundamental topics of analysis: the formal theory pre-established by the collector’s scientific knowledge; the historiography (knowledge built by José Vicente Jorge and Camilo Pessanha as historians of Chinese art and their interpretative discourse); the documentation (fragments of representations of diverse nature and their work as vehicles of information). The author's task was to circulate jointly through these three levels of representation of the real and to establish relationships between them. The author was interested in observing the socio-artistic dimension of cultural interactions (Macao, China and Portugal) through the analysis of collecting as a phenomenon of cultural appropriation. The author employed two types of documentary corpora to perform this historical-imagery analysis work: one textual and another one of material culture. The textual corpus is composed of written sources linked to historical discourse that have direct significance for the investigation of the theme “orientalist collecting”. The corpus of material culture is composed of the documentation of material culture (paintings, porcelains, sculptures). The author articulated both through an intertextual analysis to validate the hypotheses raised in the early stages of her research. The author wished to retrieve information about the period in which José Vicente Jorge and Camilo Pessanha were contemporaneous in several aspects. Regarding José Vicente Jorge, the author focused her research on his important collection of paintings, porcelains and sculptures, with special focus on his work “Notes on Chinese Art”, which encompasses his immense collection and is a visual record of a long period of national history, and which the author considers to be an important chapter of Sino-Portuguese cultural history that deserves greater attention. Regarding Camilo Pessanha, the author sought to reconstruct and analyze his important sinological collection, preserved in Portugal and provider of important clues about the orientalist imagination of that context