While scholarship has explored azulejo decoration of Iberian churches and palaces, the ornamental language used in ceramic tiles as a reflection of hybridisation in the early modern period deserves further scrutiny. Azulejo production is a useful means to study visual hybridity in the Iberian world. This article explores the azulejo as the expression of a hybrid language incorporating imported Italo‐Flemish patterns, which became interlinked with pre‐existing forms, including arabesques from the Mudejar tradition. Differing motifs were combined to create new ornamental expressions, as seen for example in the Quinta da Bacalhoa, near Lisbon. The dynamic of the appropriation of a range of sources, such as Italo‐Flemish engravings, Indo‐Persian carpets and Oriental forms, created veritable ornamental palimpsests, reflecting an extraordinary dialogue across diverse arts and cultures. Western European models were combined with the sensibility and skills of local craftsmen in Asia and the Americas. The azulejos decorating the Church of Santa Monica in Goa are emblematic of this fusion. In the same way, the migration of Spanish tile makers to the New World, and their association with indigenous craftsmen there contributed to the emergence of original azulejo compositions, as seen in the cloister of the monastery of San Francisco in Lima.

中文翻译：

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装饰品的翻版：作为混合语言的 Azulejo 艺术

虽然学术研究探索了伊比利亚教堂和宫殿的 azulejo 装饰，但瓷砖中使用的装饰语言作为现代早期杂交的反映值得进一步审查。Azulejo 生产是研究伊比利亚世界视觉杂交的有用手段。本文探讨了 azulejo 作为一种混合语言的表达，其中包含进口的意大利 - 佛兰芒图案，这些图案与先前存在的形式相互关联，包括来自穆德哈尔传统的蔓藤花纹。不同的图案被结合起来创造出新的装饰表现形式，例如在里斯本附近的 Quinta da Bacalhoa。一系列资源的动态挪用，如意大利-佛兰芒版画、印度-波斯地毯和东方形式，创造了名副其实的装饰性复本，反映了不同艺术和文化之间的非凡对话。西欧模型与亚洲和美洲当地工匠的感性和技能相结合。装饰果阿圣莫尼卡教堂的 azulejos 是这种融合的象征。同样，西班牙瓷砖制造商迁移到新世界，以及他们与当地土着工匠的联系，促成了原始 azulejo 组合物的出现，如利马旧金山修道院的回廊所见。