The Mount of the Good Shepherd thumbnail 1
Image of Gallery in South Kensington
On display at V&A South Kensington
Europe 1600-1815, Room 7, The Sheikha Amna Bint Mohammed Al Thani Gallery

The Mount of the Good Shepherd

Group
ca. 1650 (made)
Artist/Maker
Place of origin

Christ is shown as a child dressed as a shepherd, and perched on top of the mount, his chin resting on his right hand, asleep. Three leafy branches fan out from the back of the group; in the central branch is a half-length relief of God the Father holding an orb in his left hand, and blessing with his right, and above him the dove as the Holy Spirit. Below is a mount with a fountain, from which sheep are drinking. This is flanked by St Joseph and the Virgin. Beneath, St Mary Magdalene reclines reading a book, beside a crucifix. The mountainside is dense with animals, including lions, rabbits, dogs and sheep.

This distinctive composition is unique to Goan ivories, and recurs again and again; many examples have survived. The clustered figures, and certain important iconographic types taken from Indian art, such as the fountain, showing the plentiful effusion of nature's blessings, had deep-rooted ritual value, and seem to have been re-applied in a Christian context. The combination of the Christ child in the guise of a shepherd with saints, a fountain, vegetation and animals suggests the richness of the natural world. The seated sleeping Christ child is reminiscent of images of the sleeping Buddha. Ivory carving had a long tradition on the Indian subcontinent, and elaborate works of art were made, particularly as diplomatic gifts, often presented to Western rulers. Most of the ivory would have been exported from Mozambique in East Africa to be carved in Goa by local craftsmen.

Goa was the second base in India to be established by the Portuguese, having been conquered by Alfonso de Albuquerque (about 1453-1515) during the reign of Manuel I of Portugal initially in 1510, and then reconquered in 1512. Portugal was interested first and foremost in trade, and the discovery of India was motivated by a desire to dominate trade-routes. But the Christian settlers and missionaries were also keen to convert the native populace to Christianity, and religious images in ivory were commissioned to assist in this. Some were exported to Europe, but others evidently remained and were used for evangelical purposes. From the sixteenth century onwards, the four main missionary Orders (Augustinians, Jesuits, Dominicans and Franciscans) built churches and aimed to convert the inhabitants of India. Despite the control of the Church over subject matter, the iconography of Indian art also permeated Christian ivories; the most obvious and at the same time strangest instance of this is the Mount of the Good Shepherd.


Object details

Categories
Object type
TitleThe Mount of the Good Shepherd (generic title)
Materials and techniques
Carved ivory with traces of polychromy
Brief description
Group, ivory, 'The Mount of the Good Shepherd', Indo-Portuguese (Goa), ca. 1650
Physical description
Christ is shown as a child dressed as a shepherd, and perched on top of the mount, his chin resting on his right hand. He sits with ankles crossed and eyes closed and holding a lamb in his left hand, while another perches on his left shoulder. Three leafy branches fan out from the back of the group; in the central branch is a half-length relief of God the Father holding an orb in his left hand, and blessing with his right, and above him the dove as the Holy Spirit. Below is a mount with a fountain, from which sheep are drinking. This is flanked by St Joseph and the Virgin. Beneath, St Mary Magdalene reclines reading a book, beside a crucifix, and animals, including lions, rabbits, dogs and sheep. The back in decorated with a criss-cross pattern scratched into the surface. The main body of the sculpture rests on a separately carved base. Two small holes are visible on either side of the base, and two more are to be seen at the back of the foliage, behind God the Father.
Dimensions
  • Height: 43cm
  • Width: 15cm
  • Depth: 8cm
  • Height: 435mm
  • Width: 215mm
  • Depth: 100mm (Note: Measured by Conservation for Europe 1600-1800)
Production typeUnique
Gallery label
The Infant Christ as the Good Shepherd 1675–1750 This intricate carving differs considerably from European depictions of Christ as the Good Shepherd. The composition is unique to Goan ivories, and many examples have survived. Catholic missionaries tried to control indigenous depictions of Christian subjects but they did not always succeed. India (Goa) Ivory, with traces of paint Given by Dr W.L. Hildburgh FSA(09/12/2015)
Credit line
Given by Dr W.L. Hildburgh in 1949
Production
made by an Indo-Portuguese artist
Subjects depicted
Association
Summary
Christ is shown as a child dressed as a shepherd, and perched on top of the mount, his chin resting on his right hand, asleep. Three leafy branches fan out from the back of the group; in the central branch is a half-length relief of God the Father holding an orb in his left hand, and blessing with his right, and above him the dove as the Holy Spirit. Below is a mount with a fountain, from which sheep are drinking. This is flanked by St Joseph and the Virgin. Beneath, St Mary Magdalene reclines reading a book, beside a crucifix. The mountainside is dense with animals, including lions, rabbits, dogs and sheep.

This distinctive composition is unique to Goan ivories, and recurs again and again; many examples have survived. The clustered figures, and certain important iconographic types taken from Indian art, such as the fountain, showing the plentiful effusion of nature's blessings, had deep-rooted ritual value, and seem to have been re-applied in a Christian context. The combination of the Christ child in the guise of a shepherd with saints, a fountain, vegetation and animals suggests the richness of the natural world. The seated sleeping Christ child is reminiscent of images of the sleeping Buddha. Ivory carving had a long tradition on the Indian subcontinent, and elaborate works of art were made, particularly as diplomatic gifts, often presented to Western rulers. Most of the ivory would have been exported from Mozambique in East Africa to be carved in Goa by local craftsmen.

Goa was the second base in India to be established by the Portuguese, having been conquered by Alfonso de Albuquerque (about 1453-1515) during the reign of Manuel I of Portugal initially in 1510, and then reconquered in 1512. Portugal was interested first and foremost in trade, and the discovery of India was motivated by a desire to dominate trade-routes. But the Christian settlers and missionaries were also keen to convert the native populace to Christianity, and religious images in ivory were commissioned to assist in this. Some were exported to Europe, but others evidently remained and were used for evangelical purposes. From the sixteenth century onwards, the four main missionary Orders (Augustinians, Jesuits, Dominicans and Franciscans) built churches and aimed to convert the inhabitants of India. Despite the control of the Church over subject matter, the iconography of Indian art also permeated Christian ivories; the most obvious and at the same time strangest instance of this is the Mount of the Good Shepherd.
Bibliographic references
  • Theuerkauff, Christian, Elfenbein Sammlung Reiner Winkler (Munich, 1984), pp. 224-5 Baroque (exh. cat.), Victoria and Albert Museum, London, cat. no. 362 on p. 369.
  • Collin, F., 'The Good Shepherd Ivory Carvings of Goa and their Symbolism', in: Apollo, vol.120 (September 1984), pp. 170-5
  • Trusted, Marjorie, Baroque & Later Ivories, Victoria & Albert Museum, London, 2013 p. 369
  • Snodin, Michael and Llewellyn, Nigel (eds.), Baroque 1620-1800. Style in the Age of Magnificence, exh. cat., V&A Publishing, London, 2009 p. 43, pl. 1.35 and p. 329
  • Trusted, Marjorie, Baroque & Later Ivories, Victoria & Albert Museum, London, 2013, p. 369, cat. no. 362
Collection
Accession number
A.58-1949

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Record createdApril 1, 2008
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