Indo-Portuguese ivory and wooden Christian art has been historically overlooked despite its cross-cultural richness.
Goa’s Zô family of Chimbel has upheld a rare legacy of sacred carving for generations, adapting traditional skills to modern challenges.
Mughal-Christian artistic exchange and Jesuit missionary efforts played key roles in fusing Indian and European aesthetics in colonial religious art.
The exquisite Christian sculptures crafted in ivory and wood across Asia—especially from Portuguese India—represent one of the most underexplored artistic traditions in colonial history. Long dismissed as provincial or derivative, these artworks have now begun to receive the scholarly attention they deserve for their unique blending of Indian craftsmanship and European religious iconography.
The Global Journey of Sacred Ivory
From the 16th century onward, intricately carved ivory figures of Jesus, Mary, and saints were exported from Goa, Sri Lanka, and the Philippines to Portugal, Spain, Italy, and Latin America. These devotional objects—often small and portable—were used for personal worship and missionary work. While the works from India are classified as Indo-Portuguese, those from Sri Lanka are known as Cingalo-Portuguese, and those from the Philippines as Hispano-Philippine. Despite their shared Christian themes, each regional style retained distinct aesthetic traits, shaped by indigenous art traditions.
Surprisingly, most of the ivory used in India came from Portuguese-controlled African colonies. The African ivory, preferred for its durability and workability, was shipped in large volumes to India by the late 16th century, fuelling the production of ivory religious statuary, furniture inlay, and ornate caskets.
The Manila-Acapulco Galleon Trade further facilitated the movement of both raw ivory and finished Christian artworks between Asia and the Americas, establishing a vast network of religious and artistic exchange. Goa and Portuguese Macau were major production centers, both inheriting long-standing local carving traditions that predated Christianity.
Missionaries—especially the Jesuits—played a pivotal role in directing and promoting Christian icon-making. Bringing with them European prints for reference, they worked hand-in-hand with Indian artisans, who infused these religious figures with local sculptural sensibilities drawn from the Shilpa Shastras and traditional Hindu, Buddhist, and Jain imagery.
This cultural synthesis was so distinct that Jesuits were criticized in 18th-century Rome for the “Indianisation” of Christian art. The imperial workshops of Emperor Akbar even witnessed the production of Christian ivory statuettes around 1580–1595, part of a broader Muslim-Christian artistic dialogue that Akbar had encouraged at his court.
Chimbel’s Zô Family: Guardians of a Goan Carving Legacy
Amid this rich tapestry of colonial artistry, the Zô family from Chimbel, Goa, stands out as a rare and enduring lineage of master carvers. Originally from the Chari community, which migrated from Maharashtra, the Zôs became renowned for their work in wood, ivory, and furniture—often crafting religious icons for the Church and altars for the elite.
Their reputation reached its peak when Kashinath Vaman Zô impressed the last Portuguese Governor-General of Goa, Manuel António Vassalo e Silva, with his ivory work, earning him an opportunity to study in Portugal.
Today, the family's tradition is carried forward by Santosh Zô, an accomplished woodworker, and his sons Mihir and Munil. Mihir, in particular, is eager to modernize the family's craft without compromising its cultural essence. He envisions a future where digital marketing, modern equipment, and eco-conscious repurposing of wood help elevate the Zô brand to global recognition.
Yet, challenges persist. High-quality wood like rosewood is increasingly hard to find, and the family is often dependent on middlemen who reduce their profit margins. The arrival of ready-made furniture and e-commerce platforms has introduced new market pressures that traditional artisans struggle to adapt to.
Ivory vs Bone: A Common Misconception
As ivory trade bans gained traction in the 20th century, bone carving emerged as a visual substitute. Historically however, bone had always been a cheaper alternative to ivory. Though similar in appearance, bone is lighter and less dense than ivory, and easier to source legally. However, the intricacy and prestige of historical ivory carving remains unmatched.
A Heritage Worth Preserving
For families like the Zôs, this is more than a livelihood—it’s a cultural mission. As Mihir puts it, “This endeavor transcends mere tradition preservation; it’s about guaranteeing that our artistry is acknowledged and appreciated in the contemporary marketplace.”
In the shadows of Goa’s colonial past lies a heritage of craftsmanship that blends devotion, artistry, and cross-cultural dialogue. With sustained support and renewed recognition, families like the Zôs could once again place Indo-Portuguese sacred art on the world stage—where it truly belongs.