Representations of the Passion of Christ in Brazil: Devotional Sculpture as Open Artwork

Abstract

Sculpted representations of the Passion of Christ became widely used for popular religious devotion in Portuguese America. They comprise a variety of forms, since the Passion had so many episodes, and thus necessitated various bodily positions for Christ. In investigating the manufacture and trade of Latin American Baroque sculpture, it is possible to identify a market of whole-body carvings, items of dress, and loose body parts, such as heads, hands, feet, etc. This parts-based approach to sculpture, in effect, transformed them from “finished” works into “open” ones. The idea of an open artwork applies to objects that are not usually classified as art. This openness can be found in lifelike images that encourage the viewer to connect with them emotionally. In the case of images that show suffering, viewers respond with empathetic horror before the realistically proportioned and colored representations. The present study analyzes the idea of an open artwork by focusing on sculptural series of the Passion, especially scenes of the Agony in the Garden, that belong to Carmelite lay brotherhoods in São Paulo, Mogi das Cruzes, Itu, and Santos, cities in the state of São Paulo, Brazil. Images of the Passion existed in a constant process of transformation and, thus, openness, from their manner of construction to their uses in Holy Week rituals. By allowing viewers to interact with them on their own terms, we argue that devotional sculptures had far-reaching potential.