Panaji: Images of a collection of watercolour paintings from the 16th and 17th centuries have made their way to Goa, where they were originally created four centuries ago.
The collection, currently housed in three countries across libraries in Europe, is credited to be the oldest documented visual evidence of life in Goa, showcasing everything from agrarian life and local flora, to hand-painted aerial views of coastal areas.
The centrepiece of this collection is the ‘Codex Casanatense’, a series of watercolour paintings that break away from the traditional focus on royalty and aristocracy. Instead, these artworks offer a vivid portrayal of daily life in Goa.
“This collection is unique because it captures the ordinary Goan people,” said Dale Luis Menezes, a researcher at Georgetown University. “At a time when art predominantly focused on the elite, these paintings stand out for their attention to the everyday details of life. They offer an invaluable snapshot of Goa’s past and a reflection of how much the region has evolved since.”
According to Susanna Batos Mateus, a researcher at Lisbon University, “These paintings are a rare find, especially for the meticulous attention to detail in clothing, tools, and activities.”
“ They reveal the layers of Goan history through their depiction of mundane life, which is often overlooked in historical records,” she said.
The collection’s journey from creation to rediscovery is almost as intriguing as the artworks themselves. Originally held in an Italian Cardinal’s personal library, the manuscripts eventually passed through various hands, including the Dominicans and an Italian governor, before ending up in a public library in Italy.
Another collection, ‘Suma de arvores e plantas da India intra Ganges’, authored by Manuel Godinho de Eredia, is another key work in this collection. This botanical compendium details Goan flora, featuring hand-drawn images of the plants and descriptions of their therapeutic properties. This immersive technique used in 1612 is very similar to Linnaean botany, which didn’t come about until the 18th century.
“Manuel’s text may have sparked some interest in other botanists that made other versions of it by adding images,” she said.
Similarly, Antonio Bocarro’s ‘O livro das plantas de todas as fortalezas, cidades e povoacoens do estado da India Oriental’ provides imaginative reconstructions of Goa’s streets and topography. “When we think of mapping of this time, it is an almost accurate conjecture. The artist’s approach to depicting three-dimensional space on a two-dimensional plane offers a unique perspective. The maps combine straight and aerial views, providing a detailed representation of the landscape,” said Menezes.
Ever since their display at the Sunaparanta Goa Centre for Arts, Altinho, the reintroduction of the paintings has been compelling contemporary viewers to experience a bygone era through the gaze of its original artists.
“The works offer new insights into historical art and narratives, shedding light on Goa’s complex and multifaceted past,” said Mateus.
