Abstract:Resumo: Este trabalho apresenta a análise arqueométrica da cerâmica Tupí do sítio arqueológico Gramado, no município de Brotas (Estado de São Paulo, Brasil), combinando análises elementais e análises de vestígios químicos. O objetivo foi analisar detalhes e processos tecnológicos das vasilhas que não são possíveis de detectar a olho nu, ou em observações de microscopia de luz, como composição dos pigmentos, pastas cerâmicas e vestígios químicos. As análises apontaram para três dados relevantes: i) pintura foi … Show more
“…At both sites, the manufacturing technique is coiling and modeling (sometimes the base is modeled, from which the first coil departs; sometimes, the whole vessel is modeled, especially when the size is small). The highest frequency at both sites is the direct vertical edge, followed by the inverted rim (Camorim) and everted rim (Cara de Cão).Figure 8.Handles and wings: (a, b) cuipeva marks Peruíbe (Sallum, 2018); (c) handle with red paint; (d) wing with red engobe and shell print, Brotas (Sallum et al, 2018); (e, f) twisted handle; (g, h) handle with taquarinha print; (i) handle with taquarinha print; (j) handle with taquarinha print, São Vicente (MAE-USP collection). The images of Cara de Cão and Camorim columns are from Simões (2020) and Peixoto (2019).…”
Section: Paulistaware: Women’s Network Of Relationships and Practicesmentioning
confidence: 99%
“…Handles and wings: (a, b) cuipeva marks Peruíbe (Sallum, 2018); (c) handle with red paint; (d) wing with red engobe and shell print, Brotas (Sallum et al, 2018); (e, f) twisted handle; (g, h) handle with taquarinha print; (i) handle with taquarinha print; (j) handle with taquarinha print, São Vicente (MAE-USP collection). The images of Cara de Cão and Camorim columns are from Simões (2020) and Peixoto (2019).…”
Section: Paulistaware: Women’s Network Of Relationships and Practicesmentioning
The Brazilian colonial context led the Tupiniquim, an Indigenous group, and the Portuguese, a colonizing group, from the São Vicente area to connect with two places in Rio de Janeiro. In this scenario emerges the genealogy of two Tupiniquim women of the 16th century from São Vicente, which allowed us to trace six generations of women who formed kinship relationships with Portuguese men. They moved to Rio de Janeiro to create the Cara de Cão fortification and Camorim sugar plantation. They were members of the communities that appropriated and transformed Portuguese coarse ware ceramics into what is now termed Paulistaware. This article shows a new understanding of the social role of Indigenous women and the entry of European men into symmetrical gender relations based on the logic of Tupiniquim social collaboration. Tupiniquim women initially produced Paulistaware before 1550. After 1600 these ceramics were also made and consumed by people from the African diaspora and others from outside, adding decorative elements found in São Paulo and Rio de Janeiro. The intensive analysis of archival data breaks the traditional model of homogenization and Europeanization of historical processes and events, highlighting the itinerancy of practices and mobility of people.
“…At both sites, the manufacturing technique is coiling and modeling (sometimes the base is modeled, from which the first coil departs; sometimes, the whole vessel is modeled, especially when the size is small). The highest frequency at both sites is the direct vertical edge, followed by the inverted rim (Camorim) and everted rim (Cara de Cão).Figure 8.Handles and wings: (a, b) cuipeva marks Peruíbe (Sallum, 2018); (c) handle with red paint; (d) wing with red engobe and shell print, Brotas (Sallum et al, 2018); (e, f) twisted handle; (g, h) handle with taquarinha print; (i) handle with taquarinha print; (j) handle with taquarinha print, São Vicente (MAE-USP collection). The images of Cara de Cão and Camorim columns are from Simões (2020) and Peixoto (2019).…”
Section: Paulistaware: Women’s Network Of Relationships and Practicesmentioning
confidence: 99%
“…Handles and wings: (a, b) cuipeva marks Peruíbe (Sallum, 2018); (c) handle with red paint; (d) wing with red engobe and shell print, Brotas (Sallum et al, 2018); (e, f) twisted handle; (g, h) handle with taquarinha print; (i) handle with taquarinha print; (j) handle with taquarinha print, São Vicente (MAE-USP collection). The images of Cara de Cão and Camorim columns are from Simões (2020) and Peixoto (2019).…”
Section: Paulistaware: Women’s Network Of Relationships and Practicesmentioning
The Brazilian colonial context led the Tupiniquim, an Indigenous group, and the Portuguese, a colonizing group, from the São Vicente area to connect with two places in Rio de Janeiro. In this scenario emerges the genealogy of two Tupiniquim women of the 16th century from São Vicente, which allowed us to trace six generations of women who formed kinship relationships with Portuguese men. They moved to Rio de Janeiro to create the Cara de Cão fortification and Camorim sugar plantation. They were members of the communities that appropriated and transformed Portuguese coarse ware ceramics into what is now termed Paulistaware. This article shows a new understanding of the social role of Indigenous women and the entry of European men into symmetrical gender relations based on the logic of Tupiniquim social collaboration. Tupiniquim women initially produced Paulistaware before 1550. After 1600 these ceramics were also made and consumed by people from the African diaspora and others from outside, adding decorative elements found in São Paulo and Rio de Janeiro. The intensive analysis of archival data breaks the traditional model of homogenization and Europeanization of historical processes and events, highlighting the itinerancy of practices and mobility of people.
“…As pessoas partilhavam um saber que incluía materiais, sensações, sabores e formas de consumir alimentos em recipientes particulares, em que "qualquer doação ou empréstimo é feito sob o horizonte de uma reciprocidade esperada" (MATOS, 2018, p. 54). A busca de matérias--primas em camadas específicas do solo foi importante para dar às vasilhas propriedades físicas e químicas específicas (SCHEUER 1976) que adicionavam "sabor" aos líquidos e alimentos, confor-me prática comum anterior entre indígenas (MAGRINI, 2019;SALLUM et al, 2018) e portugueses (CASIMIRO; NEWSTEAD, 2019).…”
Section: A Cerâmica Paulista E a Articulação De Práticasunclassified
As comunidades agroflorestais sempre formaram os lugares mais numerosos no Brasil, até o presente. As suas relações sociais foram pautadas pela “política da consideração” e economia de colaboração, diferentemente do sistema patriarcal e mercantil europeu. As mulheres tinham proeminência nas comunidades e práticas autossustentadas, segurança alimentar, produção de materialidade e transmissão de conhecimentos. Em São Paulo, a partir de 1502 houve um contexto específico de colonialismo, onde as comunidades Tupiniquim transformaram as relações com parte dos portugueses em relações de aliança, parentesco e consideração, amansando-os e criando materialidades, a exemplo da Cerâmica Paulista. Os portugueses não dominaram as comunidades Tupiniquim, mas uma parte deles ingressou nas comunidades de práticas indígenas, formando posteriormente o “autonomismo paulista”. Nesse contexto, coexistiram práticas colaborativas e de mercado, incorporando pessoas, coisas e conhecimentos de diversos lugares, como um modo de vida diferente daquele desenvolvido nos núcleos urbanos e nas plantations. É preciso compreender que as comunidades tiveram diferentes processos históricos que permitiram as suas persistências até o presente. Há o caso das mulheres que continuam produzindo a Cerâmica Paulista, mas não se consideram indígenas; enquanto outras comunidades, como as Tupi Guarani de Piaçaguera (São Paulo), reivindicam abertamente a identidade “misturada” entre Tupi e Guarani e manifestam o interesse em retomar a produção cerâmica que deixaram de fazer no passado. É um exemplo que exige a reavaliação do apagamento acadêmico dos povos indígenas na historiografia, arqueologia e antropologia em São Paulo, pois eles estão presentes independentemente das narrativas que as pessoas de fora têm produzido a seu respeito.
“…5). For the painting (Sallum et al 2018), they employed minerals like iron oxide for red (Taguá, indigenous name), and kaolin for white (Tabatinga, Indigenous name), both are from Tupiniquim language (Anchieta 1595:14v), which was later spoke in the Paulista General Language. We have not yet found historical data on the composition of the black color in the Tupiniquim language, but it is usually attributed to manganese oxide.…”
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