Endnotes

1 For a comparison of ivories from the Bhansali Collection and ivories carved in the rest of Asia, see: Robert J. Del Bontà, Lotus Leaves, “Roman Catholic Ivories from

Asia,” Lotus Leaves, Society for Asian Art, San Francisco, Volume 23, Number 1 (Fall 2020), pp. 10–35. Figure 2-16 illustrates an Immaculate Conception from the collection not included in this catalog.

2 Catalogs of these collections include: Calouste Gulbenkian Foundation, A Expansão

Portuguesa e a Arte do Marfim (Lisbon, Portugal, 1991); Francisco Faria Paulino and

Susan Lowndes Marques, Portuguese Expansion Overseas and the Art of Ivory (Lisbon:

Comissão Nacional para as Comemorações dos Descobrimentos Portugueses, 1991).

The Museum of Christian Art at Velha Goa is housed in the old convent of Saint

Monica: https://goa-tourism.com/christian and http://www.goaholidayguide.com/ tourist-attractions/museum-of-christian-art-goa.php. The museum clearly holds a great deal of material, but does not yet have a robust online catalog.

3 Icons of Faith: Indo-Portuguese Art from the CSMVS Collection. December 10, 2019 through

March 29, 2020.

4 Treasure Ships: Art in the Age of Spices, James Bennett and Russell Kelty, eds., Adelaide:

Art Gallery of South Australia, 2015, at the Art Gallery of Western Australia, Perth,

October 10, 2015–January 31, 2016 and Art Gallery of South Australia, Adelaide,

June 13–August 30, 2016 and Journeys to New Worlds: Spanish and Portuguese Colonial

Art from the Roberta and Richard Huber Collection, at the Philadelphia Museum of Art,

Suzanne L. Stratton-Pruitt, ed., February 16, 2013–May 19, 2013: https://www. philamuseum.org/exhibitions/777.html.

5 Their website has images of seventeen ivories: https://collections.artsmia.org/ search/goa. A number of these works are illustrated in Del Bontà, ibid. Figs. 2–6, 2–9, and 2–11

6 In time, the Roman Catholic Church came to terms with how to assimilate the earlier

Christian traditions. For a discussion of the complexities of the accommodations, see

João Teles e Cunha, “Confluence and Divergence: The Thomas Christians and the

Padroado c. 1500-1607,” Journal of Eastern Christian Studies 63 (1-2), pp. 45–71.

7 For a discussion of his error, see: Alexander Henn, “Vasco da Gama’s Error: Conquest and Plurality,” in Hindu-Catholic Encounters in Goa: Religion, Colonialism, and Modernity (Bloomington: Indiana University Press, 2014), Chapter 1“Vasco da Gama’s Error:

Conquest and Plurality,” pp. 19–39.

8 Published in George Michel, ed., Living Wood: Sculptural Traditions of Southern India (Mumbai: Marg Publications, 1992), no. 67.

9 Some of this material was included in Bennett, op. cit. The exhibition included

European art based on Asian material as well as Asian material that copied the art of the West. It highlighted similar sculpture to that of the Bhansali Collection, but also included furniture and decorative objects such as inlaid boxes made in India for the European market and the rest of Asia.

10 The differences between African and Asian ivory is discussed at: http://www. ivoryeducationinstitute.org/the-difference-between-african-and-asian-ivory/. 11 Most of the tusks came from East African ports via Portuguese and South Indian traders. The volume of tusks was tremendous; Celsa Pinto, Trade and Finance in

Portuguese India: A Study of the Portuguese Country Trade, 1770–1840 (New Delhi: Concept

Publ. Co., 1994) estimates that 22,000 tusks were imported annually.

12 Ivory carving and sculpture recovered from the Nossa Senhora da Luz, which sank in 1615 while en route from Goa to Portugal, are evidence of this trade. See Nuno

Vassalo e Silva, “A Missionary Industry. Ivories in Goa,” in Ivories in the Portuguese

Empire, ed. Gauvin, Alexander, Jean Michel Massing, and Nuno Vassallo e Silva (Lisbon: Scribe Gauvin, 2013), p. 148.

13 CSMVS (formerly Prince of Wales Museum), acq. no. L/82.2.111.

14 De Britto was beatified in 1853 and canonized in 1947. A shrine honoring the saint still stands.

15 Many Catholic martyrs were venerated prior to their canonization, including Joan of Arc (ca. 1412–43), who was declared a martyr in 1456, beatified in 1909, and canonized in 1920.

16 For a discussion of similar ivories, see: Marsha G. Olson, “Mary on the Moon: Ivory

Statuettes of the Virgin Mary from Goa and Sri Lanka,” in Rethinking Place in South

Asian and Islamic Art, 1500–Present, Deborah S. Hutton and Rebecca Brown, eds. (New York: Routledge, 2016), pp. 97–115.

17 Published in Olson, op cit., fig. 5.1. 18 For example see Bennett, op. cit, p. 66, cat. no. 195, Christ child standing naked.

19 The iconography was quite popular and examples are found in many museums.

The Victoria and Albert Museum in London has some, for instance, acq. no. A.381921, and a more elaborate one, acq. no. A.58-1949. Other examples are in the Los

Angeles County Museum of Art, acq. no. M86.187, and The Walters Art Museum in

Baltimore, acq. no. 71.324.

20 Francesco Gusella, “New Jesuit sources on the iconography of the Good Shepherd

Rockery from Portuguese India: The Garden of Shepherds of Miguel de Almeida (1658),”

Journal of Jesuit Studies, Volume 6: Issue 4 (2019), pp. 577–597.

21 There is a similar large 72-inch sculpture of Christ in dormition published in

Bennett, op. cit., pp. 68–69, cat. no. 200.

22 The exhibition Icons of Faith held in Mumbai suggested that sculptures such as this would be described as “flexible” because they are used for certain rituals. According to this interpretation, a work such as this may have been brought out during the reenactment of the Passion on Good Friday.

23 For a discussion of crucifixes including a similar ivory corpus, see: Marilyn McCully,

“The Indo-Portuguese Ivory Crucifix in the Yale University Art Gallery,” Yale University

Art Gallery Bulletin, Vol. 34, No. 1 (Nov., 1972), pp. 4–9.

24 Bennett, op. cit., p. 72, cat. no. 202, 1700–50, illustrates a crucifix from a church in

Mumbai which is in between these two in feeling, halfway between limp and firm.

Christ also has a raised head suggesting his final words to God the Father.