Ce travail porte sur la production de carreaux de céramique des ateliers de la ville de Tunis, dits Qallaline, du XVIIIe siècle et sur leur application dans l’architecture beylicale contemporaine. La première partie de ce volume contient l’étude monographique de cette production céramique et privilège la mise en contexte historique et spatiale avec la fixation d’une chronologie raisonnée, l’établissement d’une typologie systématique des modèles de carreaux, l’analyse iconographique des motifs déployés sur les revêtements céramiques, avec l’étude de l’origine des motifs employés et de leur évolution, et finalement la définition des influences subies par les ateliers tunisois. Aussi, il est question de sa distribution à l’intérieur de la Régence ottomane de Tunis et de son exportation vers les Régences voisines ainsi que l’usage et les pratiques associées à l’emploi des revêtements céramiques tunisois dans l’architecture contemporaine dans l’Afrique du Nord. La deuxième partie de ce volume contient un catalogue des modèles de carreaux et de panneaux céramiques qui propose une classification ouverte et qui ne se cantonne pas au descriptif pour aborder l’interprétation. L’étude et la description formelle de cette production céramique concluent avec la définition stylistique de Qallaline comme expression d’un art ottoman provincial. / This PhD deals with the production of ceramic tiles from XVIII th century Tunisian Qallaline workshops and its use in the Beylical architecture of the time. The first part consist of a monographic study of this ceramics production, which, in turns, enables us to contextualize it both historically and geographically by means of setting a contrasted chronology and establishing a systematic typology of the different tile models. It also includes an iconographic analysis of the patterns present in the ceramic panelling, together with the study of their origin and evolution. Then, we focus on the foreign influences affecting Tunisian workshops. Finally, the distribution of this ceramic panelling within the Ottoman Regency of Tunisia and in the surrounding Regencies, as well as the use and practices associated with such Tunisian panelling in Northern African architecture in the XVIIIth century are also studied. The second part contains a catalogue of the different tiles and tile panels. This catalogue offers an open classification, which means that it does not consider only the mere description of the items it contains when giving an interpretation. The formal description and the study of this ceramics production has enabled us to define Qallaline from a stylistic point of view as an expression of Ottoman provincial art.

Submitted by Noeme Timbo (noeme.timbo@metodista.br) on 2017-02-17T18:24:50Z No. of bitstreams: 1 claudineia2.pdf: 4221898 bytes, checksum: 45414b450e2c1da0f0e8172cd7607d61 (MD5) / Made available in DSpace on 2017-02-17T18:24:50Z (GMT). No. of bitstreams: 1 claudineia2.pdf: 4221898 bytes, checksum: 45414b450e2c1da0f0e8172cd7607d61 (MD5) Previous issue date: 2015-09-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This¬ research aims to understand the tile panels of José de Anchieta, composed by Claudio Pastro and installed in the of Pátio do Colégio, São Paulo Brazil. First, we try to understand the artist´s style as to identify the Byzantine and Romantic Art as his references, beside his general involvement into Christian Catholic Art. Second, we propose to analize the figurative representations of José de Anchieta, in dialog with his understanding within the Society of Jesus and its guidelines, as part of the general understanding of the development and importance of the Jesuits in Brazil. Third, we identify how José de Anchieta were finally represented in the panels composed by Claudio Pastro, in its distinction and continuity of the common Anchietan narratives in Brazilian colonial history and in the imagetic narratives referring to José de Anchieta prior to the work of Claudio Pastro. / This¬ research aims to understand the tile panels of José de Anchieta, composed by Claudio Pastro and installed in the of Pátio do Colégio, São Paulo Brazil. First, we try to understand the artist´s style as to identify the Byzantine and Romantic Art as his references, beside his general involvement into Christian Catholic Art. Second, we propose to analize the figurative representations of José de Anchieta, in dialog with his understanding within the Society of Jesus and its guidelines, as part of the general understanding of the development and importance of the Jesuits in Brazil. Third, we identify how José de Anchieta were finally represented in the panels composed by Claudio Pastro, in its distinction and continuity of the common Anchietan narratives in Brazilian colonial history and in the imagetic narratives referring to José de Anchieta prior to the work of Claudio Pastro. / A presente pesquisa objetivou compreender os painéis de Azulejos de José de Anchieta, compostos por Claudio Pastro e instalados no Pátio do Colégio. Pretendemos, em um primeiro momento compreender o estilo do artista, identificarmos suas referências: a Arte Bizantina e o Estilo Românico, juntamente ao seu envolvimento com a Arte do Cristianismo Católico. No segundo momento, buscamos analisar a representação figurativa de José de Anchieta, na base do entendimento da Companhia de Jesus com suas regras norteadoras, além de compreender o desenvolvimento dos jesuítas no Brasil e sua importância. Finalmente, objetivamos identificar como a figura de José de Anchieta foi apresentada na composição dos painéis de Claudio Pastro, em distinção e continuidade das narrativas anchietanas gerais da história colonial brasileira e discursos imagéticas referentes a José de Anchieta que antecedem a obra de Claudio Pastro. / A presente pesquisa objetivou compreender os painéis de Azulejos de José de Anchieta, compostos por Claudio Pastro e instalados no Pátio do Colégio. Pretendemos, em um primeiro momento compreender o estilo do artista, identificarmos suas referências: a Arte Bizantina e o Estilo Românico, juntamente ao seu envolvimento com a Arte do Cristianismo Católico. No segundo momento, buscamos analisar a representação figurativa de José de Anchieta, na base do entendimento da Companhia de Jesus com suas regras norteadoras, além de compreender o desenvolvimento dos jesuítas no Brasil e sua importância. Finalmente, objetivamos identificar como a figura de José de Anchieta foi apresentada na composição dos painéis de Claudio Pastro, em distinção e continuidade das narrativas anchietanas gerais da história colonial brasileira e discursos imagéticas referentes a José de Anchieta que antecedem a obra de Claudio Pastro.