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25 October

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


Detail of the Christ on the Cross

Detail of the Christ on the Cross

XVIIIe siècle, ivoire, H : 24 cm, L : 23 cm

We have very little information about the workshops which produced these ivory sculptures. However, recent studies have revealed the existence of several regions of production – in India, Sri Lanka, China and Japan. But the attribution to one region or another is based on stylistic differences which are far from being obvious. This fine face of the dying Christ may come from a Sri Lankan workshop. The beard and the two locks of hair which fall to the shoulder are elegant and refined, as is the slightly open mouth, allowing us to see the teeth. Christ’s slanted closed eyes give him an Asian appearance. Traces of colour suggest that the hair and the beard were originally painted.