The Works

| 2002 |

Art museum showcases Christian artefacts

While thousands of tourists flock to Old Goa to see the world famous churches, only a handful notice a small board near the St Agustine’s tower, inviting them to Asia’s first and so far, the only museum of its kind.

Despite its rich blend of history, art, culture and religion, the Christian art museum has struggled to attract visitors. Church authorities feel that tourism agencies have not given enough support to make the museum popular among tourists.

“They promised us a lot at the time of inauguration, but they haven’t even made use of the brochures we have given them. In fact, many of the smaller agencies want incentives to bring their tourists to the museum,” explains Fr Avinash Rebello, president of the museum managing committee.

And now, Goa’s claim to the only Christian art museum of its kind in Asia may soon be under threat, as a similar Christian art museum is already being started in Kerala.

In a bid to woo visitors — Goans as well as domestic and foreign tourists — church authorities have now planned a publicity campaign to spread awareness of the museum.

Keith Heredia, member of the project committee of the museum, informs that there are medium and long term objectives for the museum.

“The medium term objective is to promote the heritage of the Christian art of Goa. Our long term objective is to be able to generate funds to start a school or courses to train local artisans in skills of restoration of objects,” says Heredia.

While claiming that organisations were willing to send qualified people to impart these courses, Heredia added that funds need to be generated through charitable organisations, by organising events.

“We also need to develop the museum shop into a profit centre,” suggests Heredia.

Fr Rebello informed that two foreigners recently offered to share their expertise in preventive conservation of artifacts at museum.

“We are probing these possibilities,” he said.

First located at the Rachol seminary, the museum was inaugurated in 1994 by then President Shankar Dayal Sharma.

Church authorities were soon to realise that the location of the museum was the major drawback.

“When the museum was at Rachol, we would hardly get any visitors,” explains Fr Rebello.

Church authorities were inclined to probe alternative sites to shift the museum. After much thought, the archdiocese decided to move the museum to the hub of Catholic faith in the State - Old Goa.

“Old Goa was the obvious choice, since the place receives a large number of tourists,” said Fr Rebello.

The museum was then relocated within the premises of the convent of Santa Monica in Old Goa on January 23.

Contrary to expectations, the museum failed to attract the multitude of visitors, despite being located in the midst of world famous monuments.

“On an average, about 20 to 30 tourists visit the museum each day,” says Fr Rebello.

“Many tourists come up to the hillock to have a glimpse of the St Agustine’s tower. But they do not stop and visit the museum which is so close by,” he adds.

Heredia is however satisfied with the response so far.

“The museum was opened towards the end of the season and as such, we lost the greater part of the publicity,” justifies Heredia.

But both Fr Rebello and Heredia agree that the number of visitors to the museum has been much better, in comparison with the trickle of visitors at Rachol.

Fr Rebello feels that the lack of publicity at the state and national level has largely contributed to the ignorance of the museum.

“We have planned to print more brochures and distribute them among the travel agencies and the guides who bring the tourists to Old Goa. Only then will we be on a better position to get visitors,” informs Fr Rebello.

The central theme in the selection of objects for display at the museum, apart from their antiquity, is the Indian contribution to Christian art.

“There are nearly 150 objects of art on display, which are either donations from churches or families,” explains Deepthi Sasidharan, part-time curator of the museum.

Some of the priceless artifacts on display include ivory images depicting Jesus as the good Shepherd, rosaries of gold and precious stones, besides a collection of age-old vestments used by the clergy in the past.

A museologist by qualification, Sasidharan has been instrumental in the documentation of the entire set of artefacts at the museum.

“The influence of Indian contribution to Christian Art in the museum is so striking and interesting. Where, for instance, will you see the feet of Jesus nailed separately on a crucifix,” queries Sashidharan.

“It is possible that local artists who were entrusted with the task of making the crucifix and other such artifacts, were given basic details by the Portuguese. These artists then worked on the projects, while applying their own understanding to the objects,” suggests the museologist.

According to Sasidharan, there is evidence of Indian, Moghlai and even Oriental influence in these Christian artifacts.

While most artifacts are enclosed in glass boxes, some fragile artifacts have been placed in air tight enclosures with carefully controlled humidity.

Sasidharan takes pains to explain that restoration of priceless artifacts is a serious exercise, which demands highly specialised skill.

“Most objects need special care. Restoration of artifacts is a highly specialised discipline. Conservation involves a fine balance between chemistry and art,” explains Sasidharan.

Sasidharan was however dismayed with the crude manner in which some artifacts were restored, before being handed over to the museum.

“In an effort to restore some objects,” she added, “a number of priceless artifacts were painted in oil paint. This has destroyed the rich and unique features of the artifact.”

“While the intention to preserve the artifacts can be appreciated, the artists have in fact caused more damage, both to the object and the value of the artifact.”

Sasidharan said the process to remove the oil paint from the artifacts is extremely difficult. But efforts are being made to remove the oil paint so that the natural texture of the artifact can be restored.

“In 1994, a number of objects were sent for restoration to Lucknow. In fact, the restoration work has been so good that casual visitors may not even notice the difference,” informs Sasidharan.

So far, the museum is unique in the country, catering exclusively to Christian Art.

“However, plans are afoot to start a similar museum for Christian art in Kerala. The work is already on and the museum is being set up in Kochi,” says Sasidharan.

According to available information, the Indo-Portuguese Museum at the Bishop’s House in Kochi has already begun displaying the heritage of one of India’s earliest Catholic communities, including vestments, statues, silver processional crosses and altar pieces from the Kochi diocese.

Like the museum in Old Goa, the museum in Kochi has been set up with the help of the Gulbenkian Foundation of Portugal.

Aware of the possibility of competition, Fr Rebello is quick to emphasise the need to spread the awareness of the museum among people in Goa itself.

“Only a few Goans visit the museum. In fact, many of them don’t even know there the museum exists in Old Goa. More publicity is needed in churches and parishes, besides schools and educational institutions,” opines Fr Rebello.

“We could plan talks and quiz contests for students to create an awareness of the museum. Study tours could also be organised,” suggests Fr Rebello.

In fact, every effort has been made to make the museum accessible to the visitor.

Open on all seven days from 9.30 am to 5 pm, the entry fee is Rs 10, while students pay only Rs 5. Children below 12 years are admitted free. Church authorities have even provided a special landing at the entrance to facilitate the handicapped to enter the museum.

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