The Retable Art From Goa and The Ancient PDF

1 |Mónica Esteves Reis, The Retable art from Goa and the Ancient North Province: Proximity and
singularities.
Session C, Panel 16: Art, Imperial Imagination and Exchanges
The Retable art from Goa and the

Ancient North Province: Proximity and singularities.
A Arte Retabular de Goa e dos territórios
da antiga província do Norte: Proximidade e Singularidades
Mónica Esteves Reis

Cultural Heritage Management,
Graduate Student/PhD Student in Modern Art History
University of Algarve (Portugal)

Research Member of CHAIA-UÉvora (Portugal)
Abstract The architectural composition of the making of these altarpieces. The altarpiece is
altarpieces of Goa and the ones from the in this perspective the representative of faith
territories of the ancient North Province share through art, the book in images. The symbols
proximity points but once going into the are replaced, the forms are altered and the
details one soon realizes we’re looking at two scales are enlarged. The (in) comprehension of
distinct artistic realities. Comprehending the the Christian symbols, the immersion into the
singularities in each artistic scenario not only Christian religious culture and the absorbing of
envisions us with the artisans/workshops areas religious values that in last analysis would
of actuation but also approaches us to the provide the desired conversion would be given
definition of indo-portuguese retable art. The majestically without any adulteration in the
cultural and artistic interactions in inner and quality of its making. It’s in this way that the
outer India have highly contributed to the economical and opportunist use of local
specificity that characterizes the indo- workmanship provides to the indo-portuguese
portuguese retable art. The altarpieces retable art an important contribution in the
combined a set of functions in one single way that coats itself of qualities that differ, for
composition: serving the purposes of the example, from the altarpieces in other
Christian praise but also skilfully serving the territories of Portuguese conquests. The local
purposes of teaching of the gospel to newly artisans are, for these reason highlighted:
converts. The altarpieces, in the scenario of without even knowing this new religious
the quest for evangelization of the Indian sub- language, but speaking fluently the artistic
continent, began to acquire different forms, language, they were responsible of bringing to
different artistic grammars and most of all, a light what were to become unique forms of
spectacular inter-religiosity dialogue, for local art.
long term generation artisans were now in the
XIV ISIPH New Delhi 2013 | 11-13 February, India International Center
2 |Mónica Esteves Reis, The Retable art from Goa and the Ancient North Province: Proximity and singularities.
Indo-Portuguese Altarpieces
The altarpiece in the geographic space of the Indian subcontinent is unique. This sentence
alone would suffice to define, not be the case of Indo-Portuguese retable art is still shrouded in a kind
of fog of scientific unawareness. The apparatus is known, its function and its constituent parts are
often described but there is a tendency to relegate to others the study of its genesis, the artistic
influences, local values and the imported ones that make this work of art a single/unique expression
of the local Christian Art. Unique because in of all the spaces that the Portuguese discoverers trod
new ground, leaving it to missionaries to evangelize, only here, in the Hindustani region, the Christian
altarpiece is endowed with unique characteristics, made possible only by the simple fact that we are
looking at a prolix iconographic culture1, skilled woodcarvers whose profession inherited from
centuries before the Portuguese presence in India itself.
For these reasons, and because the generally used term to describe the art of Portuguese
contact in India is constantly under criticism and debate we decided to create an tailor made
expression that defines the essence of Indo-Portuguese retable art:
Indo-Portuguese Retable art is the result of an artistic cooperation of two types of

religious praise – one indigenous and one imported – which produced a specific art
form not found in any other part of the world.2”
The origins
The Proto-Baroque Portuguese altarpiece from the 17th century works as a matrix for the
Indo-Portuguese altarpieces that gradually appears in the most important religious centers run by the
various religious orders. The risco3 is imported, the artists are imported, and the model remains
canonic, intermittently, until the late 17th century. As local artisans are introduced in the artistic
process, the classical model of the altarpiece begins to undergo changes that individualize each
specimen. At the architectural level, and for altarpieces dated for the 1st half of the 18th century,
some elements stand out.
1
Mónica Esteves Reis, «A Talha Goesa: Inovação Artística nos Séculos XVII e XVIII», em Actas do Congresso Goa: Passado
e Presente (apresentado na Iconografia e Fontes de Inspiração: Imagem e Memória da Gravura Europeia, Lisboa:
Universidade Católica Portuguesa, 2011), 369-70; Mónica Esteves Reis, «O Retábulo Indo-Português e a miscigenação
o
Iconográfica», em Actas do 3 Colóquio de Artes Decorativas (apresentado na Iconografia e Fontes de Inspiração: Imagem
e Memória da Gravura Europeia, Lisboa: FRESS, 2009), 263.
2
Mónica Esteves Reis, «Retable art in India-its importance, the empathic apathy and the future», em 2nd International
Conference on Heritage and Sustainable Development, vol II (apresentado na Heritage 2010: 2nd International Conference
on Heritage and Sustainable Development, Évora: Greenlines Institute, 2010), 1138.
3
Draft
Goan Altarpieces vs North Province Altarpieces: Artistic identifyiers
There are some architectonical elements that act like identifyers between the Goan retable
art production and of the North Province. Such is the case of banquettes, entablatures and canopies.
With atypical proportions that highlight the remaining solution of the altarpiece are the banquettes,
denouncing local architectural influence. In the portuguese altarpieces the banquettes are executed
oftenly contained in a single record while in Indo-Portuguese altarpieces, is usually in the number of
more tham one and with magnified proportions.
It is however the attics that the great miscigenated architectural/decoration examples arise.
The altarpieces in these Hindustani territory are complemented by large flabeliform compositions4,
remembering the porticoes of the palaces and temples of India, an artistic evocation dating back to
the Cretan civilization, symbolizing the sun and immortality, also of Bodhisattva in Buddhism as a
symbol of renunciation to the mundaine. In the Christian religion this element is a solar and
immortality symbol. With the open tail is an allusion to the starry sky.
Whether through architectural expression differentiated or by the use of a distinct decorative
grammar, some altarpieces stand from the artistic production set. Daman and Diu are generally tied
to canonical solutions but in Goa unique samples carrying new and old symbols and new architectural
forms proliferate. It is the example of the altarpiece of Our Lady of Virtues located in the body of the
Cathedral of Saint Catharine5, in the Gospel side. This is the only altarpiece for the Goan territory
carrying this theme. It’s a one body and one frame altarpiece whose central panel is of carved wood
with representations including a variant of the Tree of Jesse – a prophetic theme originated from the
Davidic messiah, introduced into Christian religious iconography since the illuminated books of the
11th century and widely known amongst the decorative arts from the 12th century, which would
eventually be, definitely abandoned after the 18th century6. In this altarpiece in particular, the tree
springs from a vase with Our Lady in the centre, encased in a large medallion. Surrounding it are
seven other medallions with figures identified by their attributes symbolizing the three cardinal
virtues: faith, hope and charity, and the four theological virtues: justice, prudence, fortitude and
temperance. A Christian understanding dictates that is a variation of the Tree of Jesse mixed with a
4
From the shape of peacocks tail.
5
Catedral de Santa Catarina, Velha Cidade, Tiswadi – Goa.
6
Flávio Gonçalves, «A Arvore de Jessé na Arte Portuguesa», Revista da Faculdade de Letras do Porto 3, n separata (1986):
216.
kind of plant motif representation, possibly an albarrada7. A Hindu reading indicates the tree of life,
sprouting from the vessel of fertility. The two symbols – tree and jars – are old representations, very
common in India, but also occurring in the Byzantine arts. Its earliest known antecedent is a
Mesopotamian composition (a tree getting out of the jar between two jets of water and fish) it’s a
representation of creation and fertility. This representation is eventually replaced by a mutated fish
and other marine animals especially within the East, either in single or joint representations. In India,
the first use of this symbol may have been made first by the Persians, and later reinforced by the
Muslim contribution before gaining autonomy8. It is very dear to Buddhism given that it was under a
tree that Siddartha meditated and gain enlightenment. In the damanese altarpieces, however, the
representation of albarradas is canonical and does not denote any local influences.
Further south, in the Chapel of Saint Anthony (Old Goa), an altarpiece from the 2nd half of the
18th century, showing influences from the Portuguese bracarense9 altarpieces, very similar to those
shown in the Portugal such as the altarpiece of Our Lady of Mount Carmel Church in Santa Casa da
Misericordia of Vila Real10. Also worthy of mention is the case of the main altarpieces of the Church of
Reis Magos in Verem11 and in the Church of Saint Alex in Calangute12. These are examples of Baroque
and Late Baroque respectively, in the typology of a body and one frame, presenting a throne in steps
that is based on a mobile rail allowing its opening through the middle to give way for the huge
chamber featuring a monumental tabernacle supported by a set of large size imagery.
As an example of the Revival period there is an altarpiece from the Holy Trinity Church of
Nagoa13 presented in the typology of one body and one frame. In this altarpiece, the basement, body,
entablature and attic are one, for it is built in the form of a large panel with bas-relief motifs.
Breaking the composition is the opening to the tribune with a throne with steps and another opening
in the attic for the placement of a bas-relief panel with polychrome and gold, representing the
Father, Son and Holy Spirit, flanked with seraphim, probably from the 18th century.
7
Portuguese for the type of representation: a vase or jar with a bouquet of flowers and/or plant motifs
8
Mircea Eliade, (Lisboa: Cosmos, 1977), 234.
9
From the region of Braga, north of Portugal.
10
Francisco Lameira, O Retábulo das Misericórdias Portuguesas, Departamento de História, Arqueologia e Património da
Universidade do Algarve., Promontória Monográfica - História da Arte 4 (Faro: Gráfica Comercial, 2009), 146-7. Este é um
estilo importado da Alemanha para território português e que corresponde artisticamente ao Rococó Alemão.
11
Igreja dos Reis Magos, Verem, Bardez – Goa.
12
Igreja de Santo Aleixo, Calangute, Bardez – Goa.
13
Igreja da Santíssima Trindade, Nagoa, Bardez – Goa.
One particular element proving great erudition can be found in the Church of St. Matthew in
Azossim14 – a large tabernacle – were its mastery is literally hidden behind the carved doors: a
rotating wooden core, with painted scenes from the life of Christ: Nativity, offers, last supper,
crucifixion, resurrection. The artistic execution of this painting denotes great erudition and
knowledge of the European themes circulating in European printmaking that served as examples for
many other paintings and even carvings. This work may have been performed by imported artists or
by local artists with access to these pictures. Until now, it was not possible to identify the
engraving/painting that has gave inspiration to this artistic execution but with the course of the
investigation certainly we will bring light to this question. This tabernacle in an unique example for
the territory of Goa (and even of Daman and Diu) and there is at least one other with the same
features but this one is from the Church of Santa Maria de Setúbal in Portugal.
Approximation to Iconography: convergence and rupture
It is within the decorative grammar that most elements denouncing the artistic miscegenation
appear, characterizing and differentiating the Indo-Portuguese altarpieces from the Portuguese. The
figurative elements are undoubtedly one of the aspects that can easily establish parallels between
the classical and the miscegenated, the clash of different cultures expressing in art. It is common to
find influences from Jain art, mostly in the imagery, with its frontal hieratic rigor, featureless, with a
treatment of the garments very particular to the mogul period vests, a fact which can be observed in
the damanese altarpieces like the case of the musician angel in the altarpiece of the Crucified Jesus15.
On the other hand, we witness representations produced here after the invasion of Alexander: more
pleasurable and emotion full: the Our Ladies gaining closeness to the Hindu deities or even some of
its attributes, with their round and slightly flattened faces and almond shape eyes16.
Still on figuration, predominantly appearing in the pulpits but also in the crowning of large windows,
mythical beings arise shrouded in foliage, or with plant motifs sprouting from the mouth, which is
often impossible to distinguish one from another given the dimensionality of the representation.
14
Igreja de São Mateus, Azossim, Bardez – Goa.
15
Igreja do Bom Jesus, Damão-Praça, Gujarate.
16
Pedro Dias, O Espaço do Índico, História da Arte Portuguesa no Mundo (1415-1822) (Lisboa: Circulo de Leitores, 1998),
266. Ver imagem que se encontra disponível online no site http://www.flickr.com/photos/everytin-
irie/2053542298/sizes/o/ Everytin Irie, «Jain Sculpture: Gwalior Fort», Flickr, sem data,
http://www.flickr.com/photos/everytin-irie/2053542298/sizes/o/.
Such representations can also be seen in Christian art but in a very contained way and the theme
behind it is always human, not fantastic. In India these representations – are given the name of
'Kirtimukhas'. They arise from mystical or wild beings, widely used in Hindu sculptural motifs until the
14th century as sculptural decorations and are symbolically interpreted with the idea of glory17. But,
when combined with water – now with greater volumetric – this type of representation is called
'Makara' a sea creature. The water in Hindu mythology is linked to the myth of creation and the
Makara endowed with apotropaic values. In the church of St. Paul in Diu, this element appears in the
outer frames in the epistle altarpiece as an independent element once serving the purposes of a
candle holder. In the church of Our Lady of Remedies in Daman, the altarpiece of Our Lady and child,
the Makara appears spewing a lotus flower, a variant of the theme justified by the fact that also the
lotus immerses from waters18.
One very particular interpretation of caryatids is a representation of an angel alighting on a demon in
the outer sides of the attic in the altarpieces of the Church of the Holy Spirit in Margão19. This set
aims for architectural element – the column – but its functional character is relegated to merely
decorative. Is closer to the Hindu art rather than the Greek, supported by the fact that facial
expression and body position are very much alike some representations in Hindu art.
In Daman, the first shaft in the columns of the altarpiece of the Crucified Jesus20 mixed in
acanthus leaves, a fantastic figure develops – from the acanthus mix, ends with forward-facing eyes
creature, protruding nose and cut lips, probably evoking the Hindu deity “Hanuman", symbol of
loyalty, devotion, fidelity and sacrifice21, making greater sense for, the similar in Christian iconography
is always associated to the vices and the evil. As a set, this type of solution is common in the 16th
century altarpieces but always associated to seraphic or other anthropomorphic representations.
It is in the ornamentation that we observe in greater detail, a particular interpretation of the
decorative grammar by the local artists. While in European production centres the altarpieces are
adorned with grapes, vine leafs, acanthus and pomegranates, among others, in the indo-portuguese
altarpieces different interpretations arise, that differ from Christian religious liturgy, being "the
acanthus leaves (...) the most important, that is more widespread, combining [with typical
17
Como é o caso dos janelões da Ousia da Igreja de São Jerónimo em Mapusa, Bardez – Goa.
18
See author article, Mónica Esteves Reis, «A Arte Retabular da Companhia de Jesus em Damão: focando o Retábulo de
Nossa Senhora com o Menino na sacristia da Igreja de Nossa Senhora dos Remédios», Revista de História da Arte e
Arqueologia, n 11, Jan/Jun (2009).
19
Igreja do Espírito Santo, Margão, Salcete – Goa.
20
Capela do Recolhimento, Damão-Praça, Gujarate.
21
Hans Biedermann, d. . o aulo: Melhoramentos, 1994), 231-33.
ornaments] (...) of local art22. Among the elements of local art that the author states, is the use of
cashews instead of grapes. To know the uses of the cashew is to enlighten us with the reason behind
it: such as grapes, cashews produce a serum for alcoholic beverage. Following this line of thought, the
cashew is also used in Indian culture to obtain cure for various ailments and may, for this reason, also
be associated to some apotropaic character23. For this reason the cashew – such as grapes – intends
to symbolize the body and blood of Christ. The pomegranate, in its turn, under Christianity,
represents the suffering and resurrection of Christ in the Islam is the fruit of the tree of paradise and
in Judaism the forbidden fruit. In ancient Greece, among the many possible readings is attributed to
the four seasons in the cult of Persephone in captivity. But this comprehensive analysis reflecting the
pomegranate is to state that, the religion with more parallels with Christianity around the theme of
the pomegranate is the Hindu religion. Among their deities, Ganesh is the one that can be found in
the fruit of many seeds (pomegranate) as symbol of the one that found divinity in himself, the best
analogy that can be associated to Christ, body, blood, and resurrection. In Indo-Portuguese retable
art, both pomegranate and cashews are incorporated in the artistic representations.
Representations of lotus flowers are also common in the Indo-Portuguese altarpieces, a
symbol of purification, compassion and knowledge. There is not a defined space for its
representation and it may appear in a more pure, or even stylized, geometrized way. The
representation of palmettes24 in the entablatures and framing of niches, tribunes and chambers are
also common, alluding local decorative motifs originating from Greek and Byzantine art. Another
common element emerging predominantly within the pulpits are nagas or nagini, a native element,
with apotropaic values binding with water, fertility and creation, symbol and source of life and
immortality. Despite widespread throughout local art, the nagas are a theme brought from Syria in
the figure of the Syrian Atargatis, the patron goddess of the seven seas, or in the Babylonian god
Oannes the figure of a god who is leaving the sea during the day and returning to it overnight. The
inclusion of this element in Indo-Portuguese altarpieces increases the atmosphere of the fantastic in
the composition because of the intense facial expression and intricate decorations. Similar to this and
22
Carlos de Azevedo, A Arte de Goa, Damão e Diu, Comissão Executiva do V Centenário do Nascimento de Vasco da
Gama. (Lisboa, 1969), 26.
23
Manuel Godinho de Erédia et al., Suma de Árvores e Plantas da Índia Intra Ganges (Lisboa: Comissão Nacional para as
Comemorações dos Descobrimentos Portugueses, 2001), 98. Note that the cashew was imported into India from Brasil by
the Portuguese around 1570.
24
Owen Jones, The grammar of ornament : illustrated by examples from various styles of ornament. (Paris France:
L’Aventurine 200 ). Consultar a obra no website: http://www.illuminated-books.com/viewer-en.php?book=grammar
o
Para a arte em referência ver em acesso directo: Owen Jones, «Plate XXVIII: Byzantine n 1», sem data,
http://www.illuminated-books.com/bookvw-en.php/xCRhyrtIOP/grammar-w/grammar_081_150.jpg?action=resize.
within the Portuguese altarpieces, the element appears discretely in the form of puttis wrapped in
foliage, but in the Indo-Portuguese altarpieces the theme is adapted to nagas, marine and greenery-
man25.
At the top of the hills of Salcette lays almost untouched the church with invocation to Our
Lady of Bethlehem. Its façade facing north stands respectfully over the Vasai creek were once the
Company of Jesus settled in 1613. Some works to the original structure are known, affecting mostly
the reading of the façade in its original manufacture, but without compromising the fruition of the
building. In 1916, Vicar Pascoal Colaço undertakes a major renovation work under the authority of
the Archbishop of Daman, Sebastião José Pereira. To this renovations works are certainly attributed
the bays, the ceramic pavement, the wooden ceiling and the side altars. The main altarpiece
authorship, along with the commission it is not known but from the artistic reading of the carvings it
is definitely of local manufacture. It is devoted to a single theme it’s the most frequent typology one
body and one frame. This typology is frequent in the 17 th century so it is possible that we may be
looking at the original altarpiece from the church foundation.
It is built singly of carved, gilded and polychrome wood. The placement of the pair of three columns
gives the altarpiece a convex perspective, giving total focus to the single tribune that holds the
imagery of Our Lady.
The continuous entablature provides this altarpiece with a superb attic 26 that follows perfectly the
perspective given by the columns. The composition of the attic, with the breaking of reading given by
the three voussoirs, positions this altarpiece among one of the most canonical exemplars of the
territory of the ancient North Province alongside, for instance, with the Crucified Jesus altarpiece in
Good Jesus Church in Daman. The twisted columns and inner pilaster (that surrounds the central and
only tribune) depict the entire version of the Eucharistic theme placing the making of this altarpiece
in the first half of the 17th century and characteristic of the baroque style. This theme, that follows a
very canonical planning, is consisted of representations of vine leafs, grapes, phoenixes and Putto. In
Christian iconography, the vine is mentioned several times in the Holy Scriptures. It is a symbol of
Jesus Christ based on a quoted passage “I am the vine”. The phoenix, a royal bird symbolizing
renewal and in Christianity symbolizing resurrection, is also a symbol of Christ. The Putti27 – not to be
mistaken by cherubim28 are the guardians of the throne of God from the first order of angels in the
25
Author nomenclature for the representations of man shape figures in the form of marine and plant motif beings.
26
The storey above the main entablature
27
The word putti is plural of putto.
28
The word cherubim is plural of cherub.
celestial hierarchy represented in the full figure of small winged children. Putti on the other hand are
spiritual beings usually depicted in the form of small children but without wings. In this altarpiece,
like many of the kind from the same artistic period, the putti are surrounded by vine leafs – in the
column’s – and by acanthus in the rest of the altarpiece composition.
In addition to the above canonical programming in the altarpiece inspiration we have grotesque
figures in the fashion of a human face hidden and surrounded by plant motifs that is widely common
in the baroque artistic period as well as seraphim’s – winged human shape heads – placed in the
several facie of the entablature and cherubim – a full body winged figures. They represent the second
order of angels in the celestial hierarchy and are associated to the blessing and protection. In this
altarpiece, two cherubs hold a crown of flowers above the head of the statue of Our Lady. Probably
during the last known renovation campaign, the altarpiece received the placement of a set of five
banquettes in steps and altar-table in its basement. This set of banquettes are built of polychrome
wood in a simple fashion; along the length of the each banquette a wood carved gilded and
polychrome element is set (a flower and/or an acanthus). These elements may be original from the
first matrix of the altarpiece now hidden in the back of the banquettes. Another element that helps
us identify the date for the placement of this set of banquettes is the artistic painting on the surface
of the banquette’s supporting structure build of stone and plaster.
A same case standing for erudition and canonical features is the original altarpiece from Holy
Cross Church in Quepem (Goa), today fully hidden by the altarpiece placed in front of it certainly in
the late 19th or early 20th century. A unique exemplar within, at least, the territory of Goa, it is a
stone, lime and whitewash altarpiece from the 2nd half of the 18th century, with traces of polychrome
and gold. In this case the commission of this altarpiece is well known for this church was built by
order of the Dean José Paulo da Costa Pereira de Almeida a Portuguese religious that spent his last 50
years of life in Goa. we do not have records about the making of the altarpiece but we have
information’s about the building date of his house-palace (in front of the church across the river) and
church. The dates coincide with the style period of this altarpiece. There is a great chance that the
same atelier behind the production of the palace and church may be responsible by the creation of
this altarpiece. The volutes and flowing motion allowed by the mixed perspective makes this
altarpiece not only unique for the materials used but especially because of its remarkable and
delicate vision of the rococo style. It is simply sad that it is already damaged in some portions due to
the placement of the later altarpiece in front of it and mostly because it is not possible to see it, take
fruition from it and pray in front of it.
Artistic miscegenation, culture encounters, inculturation or global art?
It is through a miscegenation policy that the Portuguese presence in India was established
with Goa its capital. The process of entry by the Portuguese in India it’s made believing that the
success of the investee would be achieved only by establishing a purely political dialogue, though
disguised of religious intents, were the famous expression "Christians and Spices" finds its place.
Afonso de Albuquerque establishes the terms by which it would guarantee the Portuguese presence
in Asia in its project of miscegenation and Christianization. Among the successes and failures driven
by their own cultural circumstances, its implementation becomes a self-present reality in the
decorative arts field29. In Indo-Portuguese retable art, the concept of artistic miscegenation has even
more relevance, because no other better reflects the confluence of two religious concepts with the
purpose to promote the acceptance and spread of a new faith – which is intended to serve the
purposes of the expansionist project in the Orient. It is with the use of local craftsmanship that the
miscegenated character quickly establishes and disseminates as artistic resource, so characteristic to
Indo-Portuguese retable art. Even in the retable art production from the Atlantic space we see this
process of artistic miscegenation30, although more contained, the same will happen in Spanish
America, proving that the contact between two distinct peoples in art reflects his miscegenated
character. We must, however, take into consideration that the process of Christianization – though
they seem similar for it is the same single action – is in fact distinct, for the cultures whose focus is
the evangelization are equally complex. The Spanish and Portuguese Americas, had very different
social systems – Inca civilization and native Indians respectively – and Portuguese India with the
Indian civilization. The fact that the Indian civilization is endowed with a complex social system
coupled with the fact that the Portuguese conquests in India have been geographically limited to the
coast, defines how evangelization would eventually settle. In India the Portuguese effort expended to
evangelize never dissociated himself from the eternal effort of conquest of the territory and perhaps
this is why we see represented in the retable art a complete artistic harmony, the result of tolerance
29
“N j -orientais, seja o dito «indo-português» a corrente artística que assume, de longe, uma
maior individualidade e aquela em que melhor se pode constatar o diálogo formal e de linguagens decorativas resultante
çã ”. Rafael Moreira e Alexandra Curvelo, «A Circulação das Formas. Artes Portáteis, Arquitectura e
Urbanismo», em História da Expansão Portuguesa. Do Índico ao Atlantico (1570-1697), vol 2 (Lisboa: Circulo de Leitores,
1998), 534.
30
Luiz Alberto Ribeiro Freire, «A talha na Bahia do século XVIII Woodcarving works in Bahia in the 18th century», EDUFBA,
n 13 (Maio 2010): 149.
and understanding of the other exerted by the religious missions that inevitably resulted in a process
of enculturation by art.
In the political-economic field the project of miscegenation may have failed, but in the field of
arts this project gain independence, whether or not it has been deliberately planned. There is no
doubt that the word which best expresses the art of "contact", of "dialogue", especially in Christian
votive art is cultural-artistic miscegenation, even if the use of this term leads to an ambiguously
anthropological reading, the term is actually more comprehensive, global.
An iconographic analysis of the artistic elements encountered in the Indo-Portuguese retable
art must take account of this reality. A few studies have been tested by several authors and a major
obstacle to an investigation of this nature is characterized by the weak articulation of knowledge of
the various variants – artistic, religious and cultural, factors that are intrinsic to the Indian
subcontinent enhanced by the contact of different civilizations that helped form its extraordinary
artistic culture. Disregarding the entire artistic influences deposited by various civilizations in contact
with the Indian subcontinent will invariably impoverish the full understanding of the creative
moment behind creation, the artist's vision. Even taking these aspects into consideration, in the end,
this work is the result of the artist’s imagination supported by treaties or base-models and/or result
of their interpretations as an artist and devout to a local faith foreign to Christian. Bring in analyse
the iconography in the Indo-Portuguese retable art is also bringing to light ideas that could either be
concrete interpretations or possible interpretations because we are dealing with an important variant
– the human will – which cannot be registered in words. Considering these aspects, taking for granted
a closed iconographic interpretation could lead us into error and close our judgment to new
possibilities. It is because of this fact that some of the interpretations that we bring are open based
on the accuracy that is equivalent to the current state of research.
Conclusions
While it is indeed impossible through the documentation – which is virtually nonexistent in
this sense – unravel the artists behind the creations, the observation of the full set, along with a
careful analysis of the iconographic elements allows us to create a theory of mobility of artists. It was
based on this analysis used previously in Daman and Diu, in the artistic production of the Company of
Jesus altarpieces, that we were able to identify 2 ateliers for the 2nd half of the 17th century and 10
for the 1st half of the 18th century. The same study is currently being taken for the remaining
altarpieces included in the study.
Regarding the artistic production of the indo-portuguese altarpiece, we initially see the import
of both altarpieces and artists from Portugal but gradually this solution is abandoned and skilled local
artists recreate the altarpieces filling them with aspects of their culture and tradition. Looking at the
characteristics identified in this artistic period for the Goan production, we can state that the ateliers
during the 16th and 17th centuries are endowed with greater erudition and knowledge of the
architectural treatises that circulated in Europe. For subsequent periods, the 17th and 18th centuries,
the multicultural heritage and local forms are even more evident, for instance, in the vertical
dynamism of the altarpieces and in the twisted columns filled with plant motifs with little
resemblance to the berninian column. The Goan taste seen in columns is especially creative in the
18th century when they hypertrophied the decoration in the neck of the column leaving the loop with
little space for their development. Still for this period, another type of column, affiliated in the
influences brought from Portugal, carries the loop with motifs but fails to present the sculptural
Eucharist program, opting for plant motifs representations, being rare the appearance of this type of
program, more frequent for the altarpieces production of the Northern Province. Although only a few
altarpieces are dated and identified with their artists, the morphology of the remaining columns
allows us to proceed with the individualization of ateliers. However, is in the 18th century that – the
lack of sources to attest the commission and execution – more questions arise. Only a close
observation of the retable art morphology will give us the answers.
Final Bibliography
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de Vasco da Gama. Lisboa, 1969.
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de Leitores, 1998.
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1 |Mónica Esteves Reis, The Retable art from Goa and the Ancient North Province: Proximity and

The Retable art from Goa and the

Mónica Esteves Reis

University of Algarve (Portugal)

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