The Museum of Christian Art at Old Goa, the first of its kind in Asia has enriched the cultural heritage of Goa ever since its inaugural in 1994. Several souvenirs like copper tokens and post cards were issued on its opening. A project of the Archdiocese of Goa and Daman, the museum was set up with the technical and financial support of the Calouste Gulbenkian Foundation, Portugal and the Indian National Trust for Art and Cultural Heritage (INTACH), New Delhi, India. In October 1986, Mário Miranda, a well-known Goan artist from Loutolim, formally presented the idea to the foundation, suggesting that the appropriate site for the museum would be the historic Rachol Seminary, situated near Margão in the district of South Goa. The opening of the museum by the president of the Republic India, Dr Dayal Sharma in 1994, was the culmination of a long journey of discovering the lesser-known aspects of the cultural heritage of Goa. “Goa will now enjoy the privilege of being home to Asia’s first Museum of Christian Art!”, he exclaimed.
In the 16th century when the Portuguese came in, they brought along with them a few European artists who made works needed for the churches and houses. However, in the 17th century, one can observe a significant rise in the Catholic community in Goa, hence there was definitely an increased demand for Christian artworks by the new converts. The European artists who came along with the Portuguese would surely not be in the position to cope up with the rapidly increasing demands for Christian artworks. Hence, local artists (often non-Catholic) were entrusted with this task of producing Christian art for both, churches and private homes. The local craftsmen were often asked to replicate originals imported from around the Globe. However, when they did so, they incorporated their own artistic idioms in these works, thus giving rise to what we today refer to as Indo-Portuguese Christian Art. The Museum showcases a unique collection of this Indian-influenced Christian Art which was created by many of these artists from the 16th to mid-20th centuries and is representative of what otherwise exists in churches, chapels and houses of Goa.
Fr Avinash Rebello, president of the museum mentions, “It was sometime in 1971 that a group of art lovers, Cecilia Menezes, Annie de Souza and Rachael de Souza shared their concern with Fr Dr Lucio da Veiga Coutinho, the then director of the Pastoral Institute of Goa.” Further, he mentions, “With a letter of recommendation from Fr Lucio, they began visiting a few parishes in the Tiswadi taluka. Their collection gradually expanded with time and a suggestion was made that the Gothic camarata (study hall and annexed dormitory) of the seminary be used for the proposed museum. In the early 2000s, the space occupied by the museum became a vital need for the seminarians of Rachol. Since a shift was inevitable, it was felt that the opportunity would be taken to relocate the museum to an area having a larger foot fall. A section of the 17th century church in the Convent of Santa Monica was selected as the museum’s new dwelling, where it was moved in on January 23, 2002 and is housed till date.”
In 2017, the museum underwent a major refurbishment project and was upgraded keeping with the latest world standards of museology. One of the many masterpieces housed within the museum is the 17th century teak cabinet (Contador). The upper part of the cabinet comprises of six identical drawers, some of which are false. Its door is similar to that of sacristy chests and occupies the space of the two upper drawers. Access to this space is gained by raising the chest’s lid. The lower part is the support or table and consists of two large drawers. In this piece, hybrid beings known as nagas or sacred serpents act as supports, thus giving it a truly Indo-Portuguese look. These mythological creatures are undoubtably Indian. In place of their lower limbs is a curled tail. The usual foliage skirt is also visible.
Another adornment that distinguishes this Contador from its 17th century European equivalents is its decorative ivory and ebony inlay which is very much Islamic in its stye. The fittings should generally be of gilt metal worked in a lace pattern have been replaced by crude roughly shaped iron ones, with knows also being made of the same metal. Thus, one can see how different cultures come together leading to masterpieces like this one on display at the Museum of Christian Art.