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26 July

A multi-racial pantheon in Portuguese India

From the start of the Portuguese colonisation in the 16th century, the production of religious images made from ivory developed in this "Rome of the East" that was Goa.  This production could be described as proto-industry due to its size.   In effect, we can only be surprised by the abundance of these “Indo-Portuguese” representations which can be found today in museums, at antique dealers and in auction rooms, in Portugal, of course, but also throughout Europe and on the other side of the Atlantic, in Brazil and Mexico.  But what do we understand these Indo-Portuguese images to be? Bernardo Ferrão de Tavares e Távora, one of the first people to have studied them, gave the following definition: "They are sculptures made in Asia by indigenous craftsmen, initially under the aegis of the Portuguese missions, copying Western designs, taking inspiration from them or recreating them with their own variations”. This lead to the creation of multi-racial objects which tell the story of the meeting of two worlds – the Western world and the Asian world.

  • The Good Shepherd

  • Detail of a good shepherd pedestal

  • Detail of a goos shepherd figure

  • The back of the goos shepherd figure

  • Detail of the base of a good shepherd figure

  • The good shepherd

    The good shepherd

  • Two good shepherds

  • Our Lady of the Immaculate Conception

  • Detail of Our Lady of the Immaculate Conception

  • Virgin and Child

  • Virgin of the Immaculta Conception

  • Praying Saint

  • Virgin

  • Virgin and Child

  • Blessing Jesus

  • Baby Jesus, Savior of the World

  • Baby Jesus with skull

  • Baby Jesus

  • Baby Jesus in his bed

  • Christ on the Cross

  • Detail of the Christ on the Cross

  • Detail of Christ from the back

  • Saint Sebastian

  • Detail of Saint Sebastian

  • Saint Francis of Assisi

  • Saint Anthony of Padua

  • Two Pilgrim Saints

  • Small Couple


Virgin

Virgin

XVIIIe siècle, ivoire, H : 12,5 cm, L : 4 cm

By virtue of its white colour, ivory has always been a symbol of purity, of the sacred. However, ivory has often been treated in many different ways since antiquity. Over time ivory becomes covered with a pretty light honey sheen, which can be accentuated with vegetable pigments, but some pieces have coloured and gilded highlighting. It is difficult to know if, in the beginning, all of the statuettes were painted and gilded; this paint and gold may have worn off over time, or may have been removed by man, who systematically scraped it off to reveal the immaculate whiteness of the material, or conversely repainted it to match changing tastes.