The Discreet and Remarkable Adventures of the Opposable Thumb: Revisiting a Trajectory

Abstract

Under the justification of recalling the construction of a career in museums and a period of dynamic changes in the Brazilian museological panorama, while also paying tribute to the actors involved, this article discusses the relationship between the fully opposable thumb—a characteristic that makes our taxonomic species, Homo sapiens sapiens, absolutely unique in the animal kingdom—the creation of artifacts, and the possibility of clarifying and deepening the understanding of this relationship through museums. Behind this objective lies the proposition that the singularity of the human being, represented by the ability to handle objects with precision, is fundamental to cultural production and the evolution of society. The foundation upon which this argument is built is the study of material culture, with emphasis on its notably interdisciplinary aspect. On this basis, museums will be presented as spaces that, par excellence, reflect that morphological characteristic, re-signified in countless ways through exhibitions and museological activities, which highlight and emphasize the materiality of culture and the human action behind it. This proposition will be examined through the construction of a theoretical framework and the analysis of certain objects traditionally associated with the collection of the National Historical Museum. Special attention will be given to the painting “Combate Naval do Riachuelo” (Naval Battle of Riachuelo) by Victor Meireles, as a support for the argument developed in this reflection. In conclusion, it is proposed that museums—spaces of reflection and analysis based on the in-depth examination of the vestiges of humanity’s material culture—emphasize the role of the human hand and elevate it as a symbol of this animal species’ capacity to create and interact with the material world.