No home for artworks of Goa’s greatests

The greatest Indian painter of the 20th century was born in Saligao, but was never happy about it. Francis Newton Souza had suffered a scarring bout of smallpox at a young age, about which he wrote, "Better had I died. Would have saved me a lot of trouble. I would not have had to bear an artist's tormented soul, create art in a country that despises her artists and is ignorant about her heritage."

In that case he was talking generally about India, but most of the hurt came directly from Goa.

Right until his death in 2003, this spectacularly accomplished artist revisited his ancestral roots, only to be ignored. When he tried to donate some masterpieces to his beloved homeland, he was rejected and humiliated. Now many of those same ignorant people call him "my favourite artist."

Souza isn't an isolated case. Goa has produced an extraordinary string of amazing artists, but they have always remained almost entirely unknown amongst their own people. It's a unique case in the world, where a highly productive culture purposely devalues its own most significant achievers. Thus, until it closed recently, the state museum was easily the worst in the country, displaying almost nothing noteworthy across multiple fields in which Goan artists and craftsmen have excelled.

Now there is nothing, with nothing better planned either. To see gems from the state's tradition, you need to travel to London or New Delhi.

There are three exceptions to this depressing rule. Subodh Kerkar's bravura Museum of Goa (MOG) has championed Goan art from inception. Many artists of India's smallest state produced their best work in response to the opportunity to exhibit in the largest private space in the country.

Another invaluable service is rendered by Lisbon-headquartered Fundacao Oriente, which houses the stunning Trindade family archive at its delegation premises in Panaji. No one should miss the opportunity to experience the landmark paintings by the 'Rembrandt of India' Antonio Xavier Trindade, and, less often, his remarkably talented daughter Angela. It should be a matter for serious searching introspection that this Portuguese organization handles (very well) a cultural responsibility where Goa's state institutions have comprehensively failed.

Even compared to these well-intentioned efforts, the Museum of Christian Art in Old Goa is in a category by itself. An outstanding labour of love, and single-minded purpose by tireless trustee Nascimento (Nasci) de Souza, and wonderfully capable curator Natasha Fernandes, it is the only world class museum in a heritage landscape brimming over with treasures that usually only deteriorate and get destroyed as time passes inexorably.

It is true this fine institution is poorly named. The term "Christian art" is alienating, inadequate and strictly inaccurate. The marvellous objects in this collection were created from seamless interplay between East and West, moulded by hands belonging to artisans of every faith.

If you look with open eyes, you will find Krishna, as well as the Nagadevata, along with Islamic motifs. Thus "Sacred Art" would be better, and "Museum of Old Goa" even more to the point. But while the name change is necessary, it would only affect perception. The reality is already a first-class display of artistry of the highest order: painting, sculpture, embroidery, ivories, silver. The museum is absolutely priceless.

In a laundry list of impressive achievements by the tiny team running this invaluable institution, its willingness and capacity to collaborate stands out. Over 20 years of its existence, including moving from its original home in Rachol to the mammoth Santa Monica convent, it has flourished in partnership with INTACH (The Indian National Trust for Art and Cultural Heritage) and the Calouste Gulbenkian Foundation (which is also based in Lisbon).

Both national and state governments have been unstintingly generous in their support. When then-chief minister Manohar Parrikar came to its inaugural in Old Goa 15 years ago, he immediately pledged state support to cover all security costs. That promise has been kept, right into the present.

(The writer is a photographer and widely published columnist. Views expressed are personal.)