The Colours of Axé

Exhibition of drawings made by the painter, sculptor, drawer, and muralist, Carybé, during his living period in Bahia and inside candomblé, from the 1950s and 1970s.

Conception : Museu de Arte da Bahia

Cabaça ou Xequerê - Série Iemanjá (1950), Carybé, Hector BernabóMuseu de Arte da Bahia

The Museu de Arte da Bahia presents drawings and watercolours made by Hector Julio Paride Bernabó - Carybé (Argentine by birth, but who lived in Bahia), that through his journey produced works that express everything he saw and lived inside the African-Brazilian cults in Bahia.

Baiana e Pescador (1950), Carybé, Hector BernabóMuseu de Arte da Bahia

Candomblé is a Brazilian religion of African origin, very practiced in Bahia. The symbolic teachings of the faith brought by the slaves who survived all  hardships and kept themselves alive, transmitted from generation to generation. 

Baianas Chegando Para a Lavagem, Carybé, Hector Bernabó, 1950, Provenant de la collection : Museu de Arte da Bahia
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Capoeira 13/ Festa da Conceição da Praia, Carybé, Hector Bernabó, 1950, Provenant de la collection : Museu de Arte da Bahia
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Carybé chose Bahia as a source of inspiration, the relationship was affective, of enchantment for the mixture, something oscillating between the sacred and the profane. In 1950, he fixes his residency in Bahia and then starts representing Bahian culture and its Afro-Brazilian roots, capturing ilke no other the essence of the Bahian people.

Mães de Santo - Série Iemanjá (1950), Carybé, Hector BernabóMuseu de Arte da Bahia

Carybé's initial approach to Candomblé had as an objective to just document and give visibility to African-Brazilian religious manifestations that existed in Bahia.

He entered the mystical world of African deities, portrayed the life of the worships and received in 1957, the title of honour Obá de Xangô.

Xangô (1950), Carybé, Hector BernabóMuseu de Arte da Bahia

Kawo Kabiesile!

Xangô is one of the most popular orixás, god of thunder, fire and lightening. He was a husband to three women: Obá, Oxun and Iansã. His colours are red and white; Wednesday is his day.

Foi Deus quem iniciou a primeira Iaô (1978), Carybé, Hector BernabóMuseu de Arte da Bahia

In African mythology, the Orixás were privileged  human beings who possessed power over natural forces and, instead of dying, transformed themselves into elements of nature. They are immaterial and can only manifest or express themselves through certain beings of their choice, the Iaôs or sons/daughters of the saint.

Porque Egun voltou ao mundo dos vivos e assombrou Xangô (1978), Carybé, Hector BernabóMuseu de Arte da Bahia

The black people brought from Africa to the Americas were original to different "nations". In Bahia, the nation of the Iorubás (Nagôs) was the one who kept its spiritual archive more present.

As Ayabas de Xangô (1978), Carybé, Hector BernabóMuseu de Arte da Bahia

Nanã Iansã Oxum Iemanjá

When Olódùmaré created the Àiyé (the world) and the Orixás, he determined that the Àyabás (Òrìsàs, mother Queens) were responsible for the fertility, richness and femininity.Each one of these Orixás has a proper domain.

Nanã M. Burucu (1950), Carybé, Hector BernabóMuseu de Arte da Bahia

Salubá!

Nanã, is the oldest of the water deities. From the love of Nanã and Oxalá were born Omolu and Exú. The day of Nanã is Tuesday, her colours are white, red and blue.

Iansã (1950), Carybé, Hector BernabóMuseu de Arte da Bahia

Eparrei!

Iansã also known as Oyá. She is the Orixá of the winds and storms, brave warrior and sensual. Her day is Wednesday and she wears purple colours.

O rapto de Oxum por Xangô (1978), Carybé, Hector BernabóMuseu de Arte da Bahia

The African mysticism, the cult to African deities and their mysteries enthralled Carybé. And it was around the theme of African-Bahia that the artist left his great legacy, through his art, for Brazilian Candomblé.

Oxossi – Terreiro Apô Afonjá (1950), Carybé, Hector BernabóMuseu de Arte da Bahia

Okê!

Oxossi, rei de ketu, deus da caça e das úmidas florestas. Rodeado de animais, usa capanga e chapéu de couro. Sua cores são verdes e seu dia quinta-feira. 

O encantamento do Oxossi por Ossaiyn (1978), Carybé, Hector BernabóMuseu de Arte da Bahia

Carybé não se limitou a pesquisar, viveu o Candomblé em todos os seus detalhes e os búzios revelaram-no filho de Oxossi. 

Tempo (1950), Carybé, Hector BernabóMuseu de Arte da Bahia

Irôko Issó! Eró! Irôko Kissilé!

Iroko's energy is contained in the biggest and leafiest trees on Earth; they witness silently all the events and evolutions of humanity, absorbing wisdom and emanating love. And that's how Iroko's essence is present everywhere, in time and space.

Omolú (1950), Carybé, Hector BernabóMuseu de Arte da Bahia

Atotô!

Omolu, also known as Obaluayê, is the most feared of the orixás for controlling diseases and health, holding the illness and the cure. Omolu's day is Monday, and his colours can be red and black or black and white.

Oxalá é perseguido por seu filho Exú (1978), Carybé, Hector BernabóMuseu de Arte da Bahia

"Demonstrably, all these symbolic and mythical representations of the African world in Bahia are the result of his experience and dedication. His life and art have always been in the construction of this ideal, this complex and mysterious orality. Carybé saw everything."
Emanoel Araújo

Flores do Ogã - Série Iemanjá (1950), Carybé, Hector BernabóMuseu de Arte da Bahia

“I joined Candomblé because I like it. There is no Hell and the gods are, in the end, the rivers, the sea, the forest, the wind, the rain. Oxumaré is the rainbow.” Carybé

Crédits : histoire

Ana Liberato
Diretora do Museu de Arte da Bahia

Equipe:
Camila Guerreiro
Celene Sousa
Mateus Brito
Olivia Biasin
Verônica Rohrs


Texts based on the books:

Mural do Banco da Bahia Orixás de Candomblé 
Coleção Recôncavo | Temas do Candomblé [Vol 09] e Orixás [Vol 10]
A Memória do culto pelos olhos de Carybé por Rosemary Fraga Costa
Orixás da Bahia por Elyette Guimarães de Magalhães

Crédits : tous les supports
Il peut arriver que l'histoire présentée ait été créée par un tiers indépendant et qu'elle ne reflète pas toujours la ligne directrice des institutions, répertoriées ci-dessous, qui ont fourni le contenu.
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Thème associé
Black history in Brazil
Explore the history, arts, and culture of Afro-Brazilian experience
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