On display
Image of Gallery in South Kensington

The Virgin of the Immaculate Conception

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

Ivory sculptures were locally produced in large numbers in Portuguese Sri Lanka (formerly called Ceylon). Usually for an European clientele, their style of carving combines Indian or Sri Lankan with European traditions.
This large figure of the Virgin of the Immaculate Conception is similar in style to the Mourning Mary (V&A. no. A.35-1940) and both are likely to date from the middle of the seventeenth-century and to have been carved in Goa, or perhaps Sri Lanka. From the sixteenth-century, the Portuguese were active as traders and later as rulers in Sri Lanka and Goa (on the west coast of India).
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. Ivory sculptures were produced in large numbers in Portuguese Sri Lanka (formerly called Ceylon). The Virgin Mary was often standing on the crescent moon, triumphant over a dragon, both symbols derived from the Book of the Apocalypse in the New Testament.. From the sixteenth century onwards, the four main missionary Orders, the Augustinians, Jesuits, Dominicans and Franciscans, built churches and aimed to convert the inhabitants of India. The ivories would assist in the presentation of Christian imagery, as well as being exported back to churches, convents and private collectors in Europe.

Object details

Categories
Object type
TitleThe Virgin of the Immaculate Conception (generic title)
Materials and techniques
Carved ivory
Brief description
Statuette, ivory, 'The Virgin of the Immaculate Conception', Indo-Portuguese (Goa) or perhaps Cingalo-Portuguese (Sri Lanka), ca. 1650
Physical description
Statuette in carved ivory. The Virgin in long robes, her hands together in an attitude of prayer, stands on the crescent moon above a dragon, which turns its head to look up at her and sits on a foliated pedestal. The ivory base is decorated with a leaf pattern. The figure, dragon and pedestal are three separate pieces of ivory dowelled together. The figure is fully carved at the back, and seven wavy locks of hair are visible hanging down the Virgin's back beneath her veil. One tip of the crescent moon is broken off.
Dimensions
  • Height: 45cm
  • Width: 18cm
  • Depth: 12.5cm
Style
Gallery label
(March 2009)
Ivory sculptures were produced in large numbers in Portuguese Sri Lanka (formerly called Ceylon). The Virgin Mary was often standing on the crescent moon, triumphant over a dragon, both symbols derived from the Book of the Apocalypse in the New Testament.
Credit line
Given by Dr W.L. Hildburgh FSA in 1949
Object history
The large figure is similar in style to the Mourning Mary (V&A. no. A.35-1940) and both are likely to date from the middle of the seventeenth-century and to have been carved in Goa, or perhaps Sri Lanka, during the time of Portuguese rule.
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. Ivory sculptures were produced in large numbers in Portuguese Sri Lanka (formerly called Ceylon). The Virgin Mary was often standing on the crescent moon, triumphant over a dragon, both symbols derived from the Book of the Apocalypse. From the sixteenth century onwards, the four main missionary Orders, the Augustinians, Jesuits, Dominicans and Franciscans, built churches and aimed to convert the inhabitants of India. The ivories would assist in the presentation of Christian imagery, as well as being exported back to churches, convents and private collectors in Europe.
Historical context
From the sixteenth-century, the Portuguese were active as traders and later as rulers in Sri Lanka (formerly called Ceylon) and Goa (on the west coast of India). Ivory sculptures were locally produced in large numbers for an European clientele, and their style of carving combines Indian or Sri Lankan with European traditions.
Subjects depicted
Summary
Ivory sculptures were locally produced in large numbers in Portuguese Sri Lanka (formerly called Ceylon). Usually for an European clientele, their style of carving combines Indian or Sri Lankan with European traditions.
This large figure of the Virgin of the Immaculate Conception is similar in style to the Mourning Mary (V&A. no. A.35-1940) and both are likely to date from the middle of the seventeenth-century and to have been carved in Goa, or perhaps Sri Lanka. From the sixteenth-century, the Portuguese were active as traders and later as rulers in Sri Lanka and Goa (on the west coast of India).
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. Ivory sculptures were produced in large numbers in Portuguese Sri Lanka (formerly called Ceylon). The Virgin Mary was often standing on the crescent moon, triumphant over a dragon, both symbols derived from the Book of the Apocalypse in the New Testament.. From the sixteenth century onwards, the four main missionary Orders, the Augustinians, Jesuits, Dominicans and Franciscans, built churches and aimed to convert the inhabitants of India. The ivories would assist in the presentation of Christian imagery, as well as being exported back to churches, convents and private collectors in Europe.
Bibliographic references
  • Trusted, Marjorie, Baroque & Later Ivories, Victoria & Albert Museum, London, 2013 pp. 364, 5
  • Trusted, Marjorie, Baroque & Later Ivories, Victoria & Albert Museum, London, 2013, pp. 364,5, cat. no. 356
Collection
Accession number
A.60-1949

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Record createdMarch 4, 2009
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