"Savagery" and "Civilization"- Dutch Brazil in the Kunst- and Wunderkammer - Journal of Historians of Netherlandish Art

Article Title: "Savagery" and "Civilization"; Dutch Brazil in the Kunst- and Wunderkammer
Author: Virginie Spenlé
Journal: Journal of Historians of Netherlandish Art

A previously unknown coconut cup with carvings reflects mid-seventeenth-century representations of Brazil.
Count Johan Maurits of Nassau-Siegen promoted knowledge through art, enhancing his official image using artifacts showcasing "savage" and "civilized" figures.
The cup illustrates Brazil's transition from savagery to civilization, symbolizing Johan Maurits's peaceful governance.
Artifacts in his Kunstkammer served as diplomatic gifts, showcasing his reputation as governor-general.

Objects can experience a connotational paradigm shift when they enter new collection contexts.
Alexander von Humboldt's ownership of the cup (ca. 1800) stripped it of its original political message, viewing it instead as an objective illustration of natural history.

Renaissance collections displayed objects reflecting owners' aspirations and self-image, often showcasing scientific instruments and unique artifacts.
These collections aimed to illustrate the divine potential in human creations and the ruler's influence on society.
Exotic items depicted colonial achievements, often neglecting the realities of colonizing activities.

The Humboldt cup illustrates "savagery" vs. "civilization" with three distinct scenes, each depicting different representations of indigenous peoples.
Coconuts held therapeutic and symbolic value; often adorned with carvings referencing biblical narratives to warn against excess.
Only six carved coconut cups depicting indigenous figures and Dutch colonization exist, making the Humboldt cup a significant addition to this group.

Depicts a Tupinambá woman with cannibalistic elements (a severed hand and human foot), aligned with European views on cannibalism.
The uncivilized representation reflects prevalent stereotypes in art post-Renaissance, primarily through the works of Albert Eckhout, who documented Brazilian culture.

Shows a dressed Indian with bow and arrows and a woman carrying goods, indicating a shift from savagery to civilization.
Depicts European influence on indigenous peoples; clothing symbolizes a degree of civilization.
The concept of “Mamelucos” illustrated the blending of civilizations within the colony.

Presents a European woman handing a fish to a native fisherman, embodying the symbolic conversion of savagery through European interaction.
This symbolizes the integration of Christianity into indigenous culture.
Connection to Protestant doctrine, showcasing the Dutch supremacy over the indigenous populace and their efforts to "civilize" them.

By the 1630s, Brazil was contested by the Dutch and Portuguese; Johan Maurits played a key role in shifting Dutch actions toward direct colonization.
Indigenous peoples were part of this struggle; tribes like the Tupinambá were influenced by Jesuit missionaries advocating for Portuguese allegiance.
Art and artifacts from the period reflected politically driven narratives from Dutch colonists while obscuring the reality of plantation society.

Despite being a colonial administrator of Dutch Brazil, Maurits engaged in princely display, collecting artifacts to shape perceptions of his rule.
The desire to resemble European sovereigns propelled his collection style, emphasizing scientific understanding and integration.
His collection was utilized for diplomatic gifts that portrayed an idealized view of his governance, obscuring violent realities of colonization.

Maurits's artistic and ethnographical artifacts contributed to shaping European perspectives of Brazilian culture, emphasizing peaceful coexistence.
Collecting and gifting practices were political tools, evolving perceptions of colonial power over time.
Subsequent recontextualization diminished the propagandistic value of these artifacts.
The cups and other pieces underwent defamiliarization, drifting from their colonially laden meanings to merely exotic artifacts.

Acquired the Humboldt cup circa 1800; became viewed as a significant ethnographic representation by Humboldt.
Humboldt emphasized the historical value of these pieces in his exploration writings, dissociating them from colonial narratives.
Evolving views allowed artworks and artifacts to serve scientific knowledge rather than purely political agendas.

The Humboldt cup captures the complex interplay of art, politics, and science within the context of colonial Brazil.
The narrative constructed by Johan Maurits remains a critical examination of the portrayal of indigenous peoples and the constructed images of "civilization" amidst colonial ambitions.

Author acknowledges support from Georg Laue, highlighting the importance of the research carried out in this study.