The words “Divine Afflatus” denote an impulse of creative power or inspiration, especially in poetry or writing considered to be of divine origin. The legacy of the Jesuits in Goa goes beyond the transfer of the spiritual doctrines of Christianity, it
This book presents the Modo Goano – the harmonious blend of cultural syncretism of the spiritual encounter between the Jesuits and the Goans which resulted in a unique blend of European and local artistic, literary and architectural traditions. Indigenous hands retained their local sensibilities, as well as their building materials and expertise in designing artistic representations, which are recorded for posterity in this book. There is a mixture of art and intellect in the pages of this book
![The words](https://www.heraldgoa.in/uploads/news/big_211934_9.1.jpg)
Sushila Sawant Mendes
The words “Divine Afflatus” denote an impulse of creative power or inspiration, especially in poetry or writing considered to be of divine origin. The legacy of the Jesuits in Goa goes beyond the transfer of the spiritual doctrines of Christianity; it has also evolved over the ages with artistic representations of beliefs and practices, called “Jesuit Modo Goano”. This book, “The Jesuits, Goa and the Arts”, will be published on October 12, at the XCHR History Hour at the Xavier Center for Historical Research, Porvorim.
The book represents the religious and cultural syncretism resulting from the encounter between the early Jesuit missions and the local population of Goa. It has been carefully written by the Provincial of the Goa Province of the Society of Jesus, Rinald D’Souza SJ, and the Director of the XCHR, Anthony da Silva SJ. This is an XCHR publication in association with the Goa Province of the Society of Jesus.
All seven contributors are giants in their own fields of work and research. Cristina Osswald, art historian, explains how Jesuit art and literature played a fundamental role in defining Modo Goano, the result of a unique blend of European and local artistic and architectural traditions. The hands that carved these icons, altars, tabernacles, confessionals, highly decorated candlesticks, reliquary boxes, monstrances, sacristy chests, pulpits were Goan and therefore incorporated the indigenous creative styles of the artist.
Roland Coelho, in keeping with the theme of the Ignatian Year (May 2021 to July 2022) “see all things new in Christ”, titled his foreword “Nothing new, everything new”. The motive for this book is the commemoration of the 500th anniversary of the conversion of Saint Ignatius of Loyola in 1521 and the celebration of the 400th anniversary of the canonization of Saint Ignatius and Saint Francis Xavier in March 1622.
David de Souza, with the sensitivity of an ancient tribal activist, has captured the beauty and spirit of Jesuit art so well that one must feel the wonder on the faces of young students when they see these photographs. This work made him not only a “professional amateur”, but a professional of great international renown. His photographs breathe blood into old, worn works of art and his eye for detail is evident in the many close-ups. The meaningful juxtaposition of the photos with relevant information is the highlight of this monograph.
Natasha da Costa Fernandes evokes the image of the Child Jesus Savior of the World, on the cover page, which shows two independent styles – one purely European (the Child) and the other Indo-Portuguese (the base) – which merge harmoniously. European features include the anatomical shape of the infant and the use of silver pewter and flesh tones of the body. The base of the image, a globe on a silver-plated wooden base, features the Indian element with the Goan goldsmith’s treatment of the serpent with overlapping scales coiled around the sphere and the leafy plant forms water, nagas and shell motifs. The gold thread zardozi art of North India is represented by the gold embroidered velvet dress.
Délio Mendonça draws on approximately 140 letters that François Xavier wrote between 1542 and 1552, from the time he spent in Asia. These letters motivated several thousand Jesuits to work in missions in Asia and Africa. His essay “attempted to consider Ignatius of Loyola as an influencer of Francis Xavier and Xavier as an influencer of Catholicism in India as well as the Jesuits.” The two shared a room at the University of Paris when Xavier’s life was transformed by the spiritual influence of Ignatius.
Anthony da Silva, in his well-researched think piece, “Art, a Path to Interiority,” explains the use of art as a communication tool, with missionaries not knowing the local language. Thus “they transmitted their Christian doctrine both cognitively and affectively”. He further explains that for the new Christian communities formed by the Jesuits, art became a powerful instrument of community building.
Rinald D’Souza, in his article on ‘The Cultural Encounter of the Jesuits in Goa’, delved into the history of the Jesuits around the world till they reached the waters of Goa. The contribution of the Jesuits to the advancement of Konkani literature and medicine to Church architecture, paintings and sculptures is well analyzed. This syncretism is manifested in the pulpit of St. Anne’s (Santana) Church, Talaulim where the mermaid meets the naga (serpent). The author writes that Modo Goana emanates from “this spiritual encounter where local sensibilities as well as the construction materials and know-how native to this land shaped its artistic production”.
“Forgotten Altarpieces of the Churches of Goa” by Mónica Esteves Reis, goes beyond the churches of old Goa, to unearth altarpieces from Neurá, Portais, Azossim, Taleigão “taking due account of its uniqueness, historicity and his identity “. The author emphasizes the need to view art as a reflection of culture, religion, and the artist’s own perception of Christian art. “Preserving our common Indo-Portuguese heritage requires inclusive dialogue and cultural humility, free from any agenda” is this writer’s heartfelt appeal.
There is a mixture of art and intellect in the pages of this book. The single typographical error of a digit in a date can be ignored. Any book on art and iconography, regardless of religion, is always a welcome addition for future research.
Some books become a precious possession, this is one of them.