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Much of the visual and material culture of colonial Brazil has been omitted from scholarly accounts because it falls outside the familiar repertoire of art historical forms and materials, and also defies categorization by cultural origin and period style. Turning especially to Michael Werner and Bénédicte Zimmermann’s notion of histoire croisée (intercrossed history), this article examines the methodological implications of incorporating such uncomfortable art objects into scholarly accounts by attending to three disparate kinds of artifacts especially characteristic of colonial Brazil: Tupinambá featherwork, Portuguese Atlantic mandinga bags, and architectural tilework. Each of these exemplifies the complex, transcultural processes that take place within colonial contexts, transgressing cultural, religious, and linguistic boundaries, and moving across continents, oceans, and centuries.

Historicity, Achronicity, and the Materiality of Cultures in Colonial Brazil