The Altar of Time: A History of India's Christian Art Anirudh Kanisetti

Whether we’re talking about bodhisattvas in Buddhism, Alvars in Vaishnavism, Nayanars in Shaivism, or pirs in Islam, all South Asian religions have their own version of the ideal devotee, worshipped as saints. In densely Catholic places like Goa, the calendar is marked and built around the celebration of the feast days of saints.

In today’s episode of The Altar of Time, we'll look at the images of two saints, both believed to be blood relatives of Jesus Christ, from the collection of the Museum of Christian Art. We’ll see how the rituals and traditions surrounding their feast days shape Goan Catholic culture.

The year is 1973, and a young first-year theology student from Goa is assigned room number 65 at the Papal Seminary in Pune. There he sees a mysterious object: a pearl-white statuette of an elegant lady, wearing an Indian crown, standing on a lotus, draped in a saree. She appeared to be a Hindu goddess, but for the halo behind her head, and under her feet a crescent moon. This stunning image was the Blessed Virgin Mary, Our Lady of the Immaculate Conception, with the rising sun behind her crowned head and crescent moon at her feet. This "Nirmala Mata", with her humble vernacular name, represents how Indian Christians were very much part of the transformation of Indian art in the twentieth century. Let's dive in, in Konkani.

The year is 1973, and a young first-year theology student from Goa is assigned room number 65 at the Papal Seminary in Pune. There he sees a mysterious object: a pearl-white statuette of an elegant lady, wearing an Indian crown, standing on a lotus, draped in a saree. She appeared to be a Hindu goddess, but for the halo behind her head, and under her feet a crescent moon. This stunning image was the Blessed Virgin Mary, Our Lady of the Immaculate Conception, with the rising sun behind her crowned head and crescent moon at her feet. This "Nirmala Mata", with her humble vernacular name, represents how Indian Christians were very much part of the transformation of Indian art in the twentieth century. Let's dive in.

From Europe to Africa to Sri Lanka, Goan ivories are among the most cosmopolitan art objects of this most cosmopolitan region. They also show us, beyond the often-touching stories and devotions that they inspired in their owners, that art never comes from a single place. Join us as we explore their rich, fascinating world.

Elaborately carved in wood, enthroning a great candle, the Paschal candlestand is one of the most important objects in the celebration of Easter. From Italy to India and beyond, we trace out its history and intertwining with the celebration of the Resurrection of Jesus Christ.

Over the centuries, a large body of music, art and sculpture has explored the sorrow and pain borne by the Virgin Mary, whose son, Jesus Christ, was crucified in front of her eyes. From Flanders to Goa, we trace out the history of depictions of the Sorrowful Virgin in art, using three magnificent paintings in the collection of the Museum of Christian Art.