10 de Junho, Dia de Portugal, de Cam?es e das Comunidades Portuguesas / June 10th, Day of Portugal, Cam?es and the Portuguese Communities.
Francisco Cruz
Owner, Francisco Filipe Cruz - Cultural Marketing. Cultural Sponsorship
Portugal Day 10th June. Portugal Day, officially Portuguese: Dia de Portugal, de Cam?es e das Comunidades Portuguesas (Day of Portugal, Cam?es, and the Portuguese Communities), is Portugal's National Day celebrated annually on 10 June. Although officially observed only in Portugal, Portuguese citizens and emigrants throughout the world celebrate this holiday.
Luís Vaz de Cam?es sometimes rendered in English as Camoens ( c. 1524 – 10 June 1580) is considered Portugal's and the Portuguese language's greatest poet. His mastery of verse has been compared to that of Shakespeare, Vondel, Homer, Virgil and Dante. He wrote a considerable amount of lyrical poetry and drama but is best remembered for his epic work Os Lusíadas (The Lusiads). His collection of poetry The Parnasum of Luís de Cam?es was lost in his lifetime. The influence of his masterpiece Os Lusíadas is so profound that Portuguese is called the "language of Cam?es".
Love is a fire that burns unseen, a poem by Luíz Vaz de Cam?es ( 1524-1580 ), 1528 . . .
Love is a fire that burns unseen,
a wound that aches yet isn’t felt,
an always discontent contentment,
a pain that rages without hurting,
a longing for nothing but to long,
a loneliness in the midst of people,
a never feeling pleased when pleased,
a passion that gains when lost in thought.
It’s being enslaved of your own free will;
it’s counting your defeat a victory;
it’s staying loyal to your killer.
But if it’s so self-contradictory,
how can Love,
when Love chooses,
bring human hearts into sympathy?
- Translation by Richard Zenith
The date commemorates the death of national literary icon Luís de Cam?es on 10 June 1580. Cam?es wrote Os Lusíadas (usually translated as The Lusiads), Portugal's national epic poem celebrating Portuguese history and achievements.
The poem focuses mainly on the 16th-century Portuguese explorations, which brought fame and fortune to the country.
Written in Homeric fashion, the poem focuses mainly on a fantastical interpretation of the Portuguese voyages of discovery during the 15th and 16th centuries. Os Lusíadas is often regarded as Portugal's national epic, much in the way as Virgil's Aeneid was for the Ancient Romans, as well as Homer's Iliad and Odyssey for the Ancient Greeks. It was first printed in 1572, three years after the author returned from the Indies.
Cantino planisphere
The Cantino planisphere or Cantino world map is a manuscript Portuguese world map preserved at the Biblioteca Estense in Modena, Italy. It is named after Alberto Cantino, an agent for the Duke of Ferrara, who successfully smuggled it from Portugal to Italy in 1502. It measures 220 x 105?cm.
This planisphere is the earliest surviving map showing Portuguese geographic discoveries in the east and west.
Portuguese discoveries is the name given to the intensive maritime exploration by the Portuguese during the 15th and 16th centuries. Portuguese sailors were at the vanguard of European overseas exploration, discovering and mapping the coasts of Africa, Asia and Brazil, in what become known as the Age of Discovery. Methodical expeditions started in 1419 along West Africa's coast under the sponsorship of prince Henry the Navigator, reaching the Cape of Good Hope and entering the Indian Ocean in 1488. Ten years later, Vasco da Gama led the first fleet around Africa to India, arriving in Calicut and starting a maritime route from Portugal to India. Soon, after reaching Brazil, explorations proceed to southeast Asia, having reached Japan in 1542.
Comunidade dos Países de Língua Portuguesa - Community of Portuguese Language Countries
The Community of Portuguese Language Countries also known as the Lusophone Community is an international organization and political association of Lusophone nations across five continents, where Portuguese is an official language. The CPLP operates as a privileged, multilateral forum for the mutual cooperation of the governments, economies, non-governmental organizations, and peoples of the Lusofonia. The CPLP consists of 9 member states and 33 associate observers, located in Europe, South America, Asia, Africa and Oceania, totaling 38 countries and 4 organizations.
The CPLP was founded in 1996, in Lisbon, by Angola, Brazil, Cabo Verde, Guinea Bissau, Mozambique, Portugal, and S?o Tomé and Príncipe, nearly two decades after the beginning of the decolonization of the Portuguese Empire. Following the independence of Timor-Leste in 2002 and the application by Equatorial Guinea in 2014, both of those countries became members of the CPLP. Macau (a Special Administrative Region of China), Galicia (an Autonomous Community of Spain), and Uruguay are formally interested in full membership and another 17 countries across the world are formally interested in associate observer status.
Dear gentle soul, you that departed
this life so soon and reluctantly,
rest in heaven eternally
while I remain here, broken-hearted.
If there in the ethereal skies
memories are still allowed to move,
do not forget that ardent love
you once saw shining in my eyes.
And if you judge there might be merit,
however small, in this pain that stays,
grieving with nothing to repair it,
petition God, who cut short your days,
to take me to you, in that reckless spirit
he used to summon you from my gaze.
Alma minha gentil, que te partiste
t?o cedo desta vida descontente,
repousa lá no Céu eternamente,
e viva eu cá na terra sempre triste.
Se lá no assento etéreo, onde subiste,
memória desta vida se consente,
n?o te esque?as daquele amor ardente
que já nos olhos meus t?o puro viste.
E se vires que pode merecer-te
alg?a cousa a dor que me ficou
da mágoa, sem remédio, de perder-te,
roga a Deus, que teus anos encurtou,
que t?o cedo de cá me leve a ver-te,
qu?o cedo de meus olhos te levou.
First Europeans in Japan - Portuguese explorers, missionaries and merchants - 南蛮貿易 南蛮貿易時代 / Southern Barbarians in Japan, 17th century, Edo period
From the mid-sixteenth century until 1639, Portuguese traders based in the port of Nagasaki imported Chinese goods to Japan because the Ming government had banned direct commerce between China and Japan.
Accompanying the Portuguese merchants via secured territories in Goa, Macao, and the Philippines were missionaries from Portugal, Spain, and Italy who were highly educated bearers of broad information about Western learning.
Initially, the Japanese authorities did not wish to jeopardize the essential silk trade with China and so tolerated the annoyance of Christian proselytizing. In time, the Iberians were supplanted by religiously neutral Dutch traders, who provided the necessary access to China, and missionaries were formally expelled in 1614.
The Portuguese trade mission, however, survived until 1639.
Screens like these, showing the arrival of a Portuguese ship to Nagasaki and a promenade full of visitors, were created for the most part between 1590 and 1614.
Such screens are rare; only sixty or so of these so-called namban, or "southern barbarian," (a Japanese term for foreigners), screens are currently housed in collections around the world.
Paintings “Southern Barbarians” on Japan’s Shores
Japan, Edo period, 17th century
Pair of six-panel folding screens; ink, color, and gold on paper
Master Nadir Afonso painting The Keeper of Sheep & Fernando Pessoa / Alberto Caeiro poem The Keeper of Sheep II.
My gaze is clear like a sunflower.
It is my custom to walk the roads
Looking right and left
And sometimes looking behind me,
And what I see at each moment
Is what I never saw before,
And I’m very good at noticing things.
I’m capable of feeling the same wonder
A newborn child would feel
If he noticed that he’d really and truly been born.
I feel at each moment that I’ve just been born
Into a completely new world…
I believe in the world as in a daisy,
Because I see it. But I don’t think about it,
Because to think is to not understand.
The world wasn’t made for us to think about it
(To think is to have eyes that aren’t well)
But to look at it and to be in agreement.
I have no philosophy, I have senses…
If I speak of Nature it’s not because I know what it is
But because I love it, and for that very reason,
Because those who love never know what they love
Or why they love, or what love is.
To love is eternal innocence,
And the only innocence is not to think …
According to popular folklore, Cam?es saved his epic poem by swimming with one arm while keeping the other arm above water. Since his date of birth is unknown, his date of death is celebrated as Portugal's National Day. Although Cam?es became a symbol for Portugal nationalism, his death coincided with the Portuguese succession crisis of 1580 that eventually resulted in Philip II of Spain claiming the Portuguese throne.
Viriato / Viriathus
Viriato, was the most important leader of the Lusitanian people that resisted Roman expansion into the regions of western Hispania (as the Romans called it) or western Iberia (as the Greeks called it), where the Roman province of Lusitania would be finally established after the conquest.
Viriatus (known as Viriato in Portuguese and Spanish, (died 138 BC) was the most important leader of the Lusitanian people that resisted Roman expansion into the regions of western Hispania (Roman naming) or western Iberia (Greek naming), where the Roman province of Lusitania would be established (in the areas comprising most of Portugal and Galicia ). Viriatus led the Lusitanians to several victories over the Romans between 147 BC and 139 BC before he was betrayed to the Romans and killed. Of him, Theodor Mommsen said "It seemed as if, in that thoroughly prosaic age, one of the Homeric heroes had reappeared."
José Craveirinha poem Hope & Malangatana painting The Son of a Legend.
The agama ? lizard
in the marula tree
darts its blue head.
The spider weaves
its kanga of cobwebs
in the purple attics
of twilight.
And as for us?
Ah, we wait
in the euphoria of our sweating backs
for the salt of piled-up injuries
to be obliterated.
? The Southern tree agama ( agama atricollis ), a lizard common all over Southern Africa, is distinguished by its cobalt-blue head.
Master Malangatana Valente Ngwenya ( 6 June 1936 – 5 January 2011 ), Mozambican painter and poet.
José Craveirinha ( 28 May 1922 - 6 February 2003), Mozambican journalist, story writer and poet, who is today considered the greatest poet of Mozambique.
Portugal was then ruled by three generations of Spanish kings during the Iberian Union (1580–1640). On 1 December 1640, the country regained its independence once again by expelling the Spanish during the Portuguese Restoration War and making John of Bragan?a, King John IV of Portugal.
During the authoritarian Estado Novo regime in the 20th century, Cam?es was used as a symbol for the Portuguese nation. In 1944, at the dedication ceremony of the National Stadium in Oeiras (near Lisbon), Prime Minister of Portugal Ditactor António de Oliveira Salazar referred to 10 June as Dia da Ra?a (Day of the Portuguese Race).
The notion of a Portuguese "race" served his nationalist purposes. Portugal Day celebrations were officially suspended during the Carnation Revolution in 1974.
Capit?es de Abril / April Captains.
A 2000 film telling the story of the Carnation Revolution, the military coup that overthrew the corporatist dictatorship (known as the Estado Novo) in Portugal on 25 April 1974. Although dramatised, the plot is closely based on the events of the revolution and many of the key characters are real - such as Captain Salgueiro Maia and Prime Minister Marcelo Caetano.
This European co-production was directed by Maria de Medeiros. It was screened in the Un Certain Regard section at the 2000 Cannes Film Festival.
领英推荐
Music: The Mists of Future by Maderdeus and António Vitorino d′ Almeida.
Yes, this is how my hand
arose from between the dark silence
and carefully guarded place
the flower of the spring and all
April morning
and a pure gesture
coincided with the crowd
that all expected and found
the reason of a whole people
It takes time to build
We were in
so thinking
If the gesture out securely
We were in
the hesitation
through the mists of the future
The other prudent action
that term was
the solitude of people
that despaired
in the dead cold and night
a land inconsolavel
I Fell Asleep
with the sense
We had changed the world
in the early morning
the crowd
screamed the deepest dreams
But in addition
another brief home
left slogans
in the walls of the city
breaking the laws of fear
was showing the paths
and each voice
the voice of each era
your voice
your voice
Celebrations resumed after 1974 and were expanded to include the Comunidades Portuguesas, Portuguese emigrants and their descendants living in communities all around the world.
This is the dawn I was waiting for
The primal day whole and clean
Where we rise from night and silence
And free we inhabit the substance of time...
Esta é a madrugada que eu esperava
O dia inicial inteiro e limpo
Onde emergimos da noite e do silêncio
E livres habitamos a substancia do tempo...
Portuguese woman embraces riot policeman in front of of the IMF office in Lisbon protected by riot policemen during a protest against austerity in Portugal September 15, 2012.
I found my April dream in Portugal with you
When we discovered romance, like we never knew.
My head was in the clouds, My heart went crazy too,
And madly I said: "I love you."
(Interlude)
Too soon I heard you say:
"This dream is for a day"
That's Porugal and love in April!
And when the showers fell,
Those tears I know so well,
They told me it was spring fooling me.
(Refrain)
I found my April dream in Portugal with you
When we discovered romance, like I never knew.
Then morning brought the rain,
And now my dream is through
But still my heart says "I love you."
(Interlude)
This sad reality, To know it couldn't be,
That's Portugal and love in April!
The music and the wine convinced me you were mine,
But it was just the spring fooling me.
(Refrain)
I found my April dream in Portugal with you
When we discovered romance, like I never knew.
Then morning brought the rain,
And now my dream is through
But still my heart says "I love you."
Spring Milky Way
Breathtaking mosaic of the Milky Way was imaged in the Alqueva Dark Sky Reserve of PortugJorge Palma - Ao vivo no Campo Pequeno a 14 de Novembro de 2008.
Just before dawn in early April of 2013.Though the waning crescent Moon shines brightly (lower center), it's not so bright as to interfere with the glow of the Milky Way, shown here arching over the Convent of Orada, constructed in 1670.
Tiveste gente de muita coragem
E acreditaste na tua mensagem
Foste ganhando terreno e foste perdendo a memória
Já tinhas meio mundo na m?o
Quiseste impor a tua religi?o
E acabaste por perder a liberdade a caminho da glória
Ai, Portugal, Portugal
De que é que tu estás à espera?
Tens um pé numa galera e outro no fundo do mar
Ai, Portugal, Portugal
Enquanto ficares à espera
Ninguém te pode ajudar
Tiveste muita carta para bater
Quem joga deve aprender a perder
Que a sorte nunca vem só quando bate à nossa porta
Esbanjaste muita vida nas apostas
E agora trazes o desgosto às costas
N?o se pode estar direito quando se tem a espinha torta
Ai, Portugal, Portugal
De que é que tu estás à espera?
Tens um pé numa galera e outro no fundo do mar
Ai, Portugal, Portugal
Enquanto ficares à espera
Ninguém te pode ajudar
Fizeste cegos de quem olhos tinha
Quiseste p?r toda a gente na linha
Trocaste a alma e o cora??o pela ponta das tuas lan?as
Difamaste quem verdades dizia
Confundiste amor com pornografia
E depois perdeste o gosto de brincar com as tuas crian?as
Ai, Portugal, Portugal
De que é que tu estás à espera?
Tens um pé numa galera e outro no fundo do mar
Ai, Portugal, Portugal
Enquanto ficares à espera
Ninguém te pode ajudar
Ai, Portugal, Portugal
De que é que tu estás à espera?
Tens um pé numa galera e outro no fundo do mar
Ai, Portugal, Portugal
Enquanto ficares à espera
Ninguém te pode ajudar
- Jorge Palma.
Portuguese Carracks off a Rocky Coast. The Art of the Circle of Joachim Patenier - Portuguese Carracks off a Rocky Coast. The carrack Santa maria do Monte Sinai, 1540. Oil on panel. Royal Museums Greenwich, National Maritime Museum
A carrack or nau was a three- or four-masted sailing ship developed in 15th Century Western Europe for use in the Atlantic Ocean.
Portuguese Carracks off a Rocky Coast - Santa Catarina de Monte Sinai bringing the Infanta Beatriz, second daughter of King Manuel of Portugal, to Villefranche for her marriage to Charles III, Duke of Savoy, in 1521.
This large, detailed panel is the oldest painting of the sea by a Flemish or Flemish-trained artist in the collection of the National Maritime Museum Greenwich. It is one of the few contemporary paintings of ships of the first half of the sixteenth century and one of the best representations of the first generation of ocean-going merchantmen.
The subject is generally thought to be the carrack 'Santa Catarina de Monte Sinai' bringing the Infanta Beatriz, second daughter of King Manuel of Portugal, to Villefranche for her marriage to Charles III, Duke of Savoy, in 1521.
The Portuguese vessels are shown wearing Manuel's flags and emblems but were met by Italian ships during the journey from Lisbon. However, considering the distinctly Flemish style of the painting, this identification of the subject remains debatable - although Flemish artists did work in Portugal and Spain, notably (in the marine sphere slightly later) Hendrick Corneliz Vroom. That said, in this case the original function of the painting and the identity of the artist remain elusive.
An examination of the oak panel suggests that it was probably originally set in a wall frame or wall panelling and, therefore, could have been part of a larger decorative scheme. This may, in turn, support the hypothesis that it is the work of a prestigious painter, depicts an historical event such as the wedding voyage of 1521, and was possibly intended for a ‘public’ space. The 'Santa Catarina' was richly adorned for the wedding voyage of the Infanta . Quarters were prepared for her, the Count de Villa, ambassadors and officials in the stern castle of the ship. These apartments were decorated with splendid fittings, fine silver and given a gilded finish.
The Infanta's cabin was furnished with brocade, carpets and velvet cushions. The awning of the ship was of crimson velvet and white damask, with borders that were described as of velvet with tassels of silk, and lined inside with blue damask from China. There were two very large damask flags with the royal arms painted in gold and silver on the ship's stern. Another 84 large flags of crimson and white damask decorated the masts and yardarms. A band of musicians also accompanied the Infanta.
The painting depicts ten ships, a caravel, three galleys and a rowing barge, off a coastline on the right. This mountainous ‘world-landscape’ consists of a fortified tower on a rocky outcrop above a steeply rising walled town. A man-made harbour can be seen below. Inside the harbour are a number of ships. Two of these vessels are shown at anchor. Beyond this is another at anchor and one more coming to anchor. Wooded hills are visible in the background, on the right, and an island lies off-shore in the distance on the left.
The scene is observed from a high vantage point. An aerial perspective is introduced through the warm brownish-green tones in the foreground which gradually change into cooler blues in the background. In the centre foreground, the carefully delineated principal ship is a large armed Portuguese merchant carrack. She is shown firing a salute to port and starboard.
This is thought to be the 'Santa Catarina', which was built of teak at Cochin, India, in 1510, to serve as one of the large armed merchant ships of the Portuguese East Indies trade. She is shown in starboard-quarter view. Figures on board are carefully delineated and are evident in both the rigging and main-top ('crow's nest'). Nine other ships of broadly carrack form are present, five under sail and the four at anchor. The two under sail, immediately flanking the 'Santa Catarina', are flying Portuguese colours and firing salutes from single guns towards her.
?
The ships are a combination of four- and three-masters with a pair of two-masted galleys in the right foreground and middle distance.
Beyond the far side of the harbour entrance a three-masted lateen-rigged caravel approaches in port-bow view. In the foreground the galley with crewmen visible, heading towards the 'Santa Catarina', flies Savoyard banners. From one of her starboard bow guns, the galley fires or returns the 'Santa Catarina's' salute. This and the dragon figurehead of the 'Santa Catarina' are visible through the artist's use of isometric perspective, which brings details into view that would not be seen from the perspective of the viewer. The mainsail (technically a 'main course') of the 'Santa Catarina' is the biggest sail in the painting and consists of several elements. It has been extended by the addition of two (or 'double') bonnets, in the fine weather. Their fixing points have been coded by pairs of apparently random letters so that they match up correctly.
One of these may be 'A T' in monogram form. However no artist is known with those initials. This painting has been variously and incorrectly ascribed to the Portuguese painter Gregorio Lopez (d. 1550), Pieter Bruegel, Cornelisz Anthoniszoon, c. 1500-55, and Hendrick Cornelisz Vroom. The land- and townscape show the influence of the Flemish painter Joachim Patinir, d.1524, and are Flemish in colouration and style. The National Maritime Museum aimed to clarify the attribution after Sir James Caird acquired the panel for over ￡2000 in 1935. In 1936, correspondence between the Museum and art historian Max Friedl?nder, as well as the Director of the Warburg Institute, Fritz Saxl, placed the painting between the oeuvres of Joachim Patinir and Pieter Bruegel. Friedl?nder dated the panel to 1540 and he supported the suggestion made by Charles Tolnay that the painting could be by either Jan or Matthijs Cock.
A stylistic comparison with the rendering of the waves and the delineation of the rocks in 'The Martyrdom of St Catherine', in the National Gallery of Art, Washington, may tentatively support the latter attribution. The only other contemporary painting to show Portuguese carracks, in similar detail, is the 'Santa Auta' altarpiece. This altarpiece was formerly in the Santa Auta Chapel (c. 1522, to which the altarpiece is thought to be coeval) in the convent of Xabregas outside Lisbon: today it is in the Museu Nacional de Arte Antigua, Lisbon. Santa Auta one of the mythical companions of St Ursula.
The martyrdom of Santa Auta in Cologne is the subject of the foreground and the shipping is depicted in the background. In 1972 the Ministerio da Educacao Nacional, Institito de Alta Cultura, Centro de Estudios de Arte e Museologia, published a study of this (with reference to the painting held in the National Maritime Museum) entitled 'Santa Auta Altarpiece, A Research Study', but unfortunately it is not illustrated. Whatever its origin, the present painting exemplifies the emancipation of landscape and the sea.
The artist has deemed both subjects worthy of large-scale, independent treatment and - at a very early date- has demonstrated their validity for paintings of considerable size. As far as currently known, it is the earliest representation of a marine subject for a secular rather than religious purpose.
Courtesy