History of Portuguese Tile: the “Figura de Convite”

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Firstly, what is a “figura de convite“?

figura de convite is an invitation figure made of  *azulejos, tiles. They’re life-sized tile cut-out images of a finely dressed nobleman or lady, halberdiers or a footman that were affixed to walls at the entrances of palaces, on stair-landings, and patios to welcome visitors during the eighteenth century in Portugal and Brazil.

* “Azulejo” is the Portuguese term for a glazed tile. The word comes from Arabic الزليج  “al zulaycha” meaning little polished stone, and is not to be confused with “azul”, blue, which it is often mistaken. It is true that there are many blue azulejos, and that can explain the confusion, but, historically, the first glazed tiles that appeared on the Iberian peninsula, brought by the Muslim Moors in the thirteenth century, were glazed in mainly hunters green, burnt sienna, and mustard yellow.

coupleThe figura de convite appeared in Portugal around the year of 1720. The innovation was the first time in the history of tile fabrication that the medium deviated from the square composition and embraced the outline of the cut-out, thus opening up a new world of tile designs. Its creation is attributed to the master tile maker who went by the monogram PMP, and whose life story has been lost to history.There’s speculation that possibly the artist’s initials were those of Padre Manuel Pereira, a clergyman and patron to a large tile making workshop (shop name unknown) in Lisbon. His disciples are thought to have produced tiles for palaces and churches all over Portugal and Brazil. But there is no exacting evidence and secure proof that he really is or was the famous monogram PMP…it’s a mystery of art history.

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“Diamond Extraction” by Brazilian artist Carlos Julião 18th century watercolor

During the first part of the eighteenth century and up until “The Great Lisbon Earthquake of 1755″, Portugal was at the pinnacle of its wealth and extravagance, arguably the richest European country during this time period, and all due to the gold and precious gem extraction from its colony, Brazil, and the slave trade from Africa.

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Around the year of 1730, yellow detail work began appearing in the figures, mimicking the use of gold thread being used in cloth embroidery work, demonstrating the vast amounts of gold coming into Portugal from Brazil. It was also around this time that the powdered wig hairstyles of the figures began to visibly shift to a less showy display, recording the period’s shifting tastes.

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Innovations of the figura de convite was ongoing with figures like this Roman centurion (left) and rare musical duo with a wiry dog (right).

"Enter My Lordship"

“Come in your Lordship”

Words of greeting were sometimes incorporated into the compositions, like this fellow whose beckoning:  “Come in your Lordship”. The art form of tile making flourished in Portugal during the eighteenth century with the country’s peerless affluence, and produced one of the greatest world-wide advancements in tile making: the figura de convite. 

two mock book jackets

Two “mock” book jacket ideas for CUT FROM THE EARTH (despite the fact I hope to be traditionally published and have the publisher’s art department work out a fantastic book jacket!)

The figura de convite is one of the artwork highlights in my forthcoming art-based historical novel Cut From the Earth, a story of Portuguese tile and its surprising makers — The Great Lisbon Earthquake of 1755 — and the wisdom of nature to guide heal.

“Yoga for Writers” at the Historical Novel Society London 2014 Conference

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* As of 7/21/2014 the “Yoga for Writers” workshop has been replaced with a panel talk “Art and Artist in Historical Fiction” which I am also part of. If and when, a slot opens at the conference to resume the yoga workshop I’ll let everyone know. ~ Namaste!

I’m excited to announce that I’ll be leading an hour workshop “Yoga for Writers” on Sunday, September 7, from 11:00-12:00 am at the upcoming Historical Novel Society London 2014 Conference.

At the workshop, I’ll be sharing some of the obscure esoteric history of yoga, along with guiding writers through a sequence of poses to ease tensions in the body and mind, with the intention of creating the internal type of space that creativity likes to manifest into: calm, relaxed and centered.

Make sure to wear comfortable clothes, ones you can easily bend and move in. Also, bring your yoga mat if you have one or a towel.

Namaste. See you there!

Click here to see the conference program schedule.

 

Prose poem “Haiku Hijiri” to be published in literary journal Lalitamba

300 Bodhidarma Hakuin Ekaku presit painter

This Japanese scroll calligraphy of Bodhidharma reads: “Zen points directly to the human heart, see into your nature and become Buddha”. It was created by poet, artist, sage Hakuin Ekaku (1685 to 1768).

I am pleased to announce that “Haiku Hijiri”, my prose poem about the acceptance of what is — to welcome all that comes, enjoy the now, enjoy aloneness — will debut in the 2015 #7 issue of Lalitamba.

It is the story of an eccentric wandering Japanese priest whose existence serves as an example to the common people — how to live — what is important in life. The piece reminds us to have reverence for our sages, and that we don’t know when our last moment will arrive, so live in such a way as to elevate others, knowing all things pass, and offer the world what you have to give.

Hijiri: (Japanese: “holy man”), in Japanese religions, a person of great magnetism and spiritual power, as distinct from a leader of an institutionalized religion. Historically, hijiri has been used to refer to sages of various traditions, such as the shaman, Taoist magician, Shintō mountain ascetic, or Buddhist reciter. Most characteristically hijiri describes the wandering priest who operates outside the orthodox Buddhist tradition to meet the religious needs of the lay people.