Tag Archives: portugal

A postman and his spear

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Happy New Year!

NEXT TO THE POST OFFICE on the corner of Bangalore’s Museum and State Bank of India Roads, there is a recently opened Museum of Communication. Housed in an old-fashioned Bangalorean bungalow, it is effectively a museum of the Indian postal services. This well laid out museum contains a variety of exhibits ranging from postage stamps to large pieces of mechanised equipment. I will describe a few of the many exhibits that interested me.

There is a photograph of the world’s highest post office (somewhere in the Himalayas). There is an enormous piece of equipment, which occupies the whole of a room. It was used for transmission of money orders. Several panels described the history of the Indian freedom struggle and that of the Indian Post.

Outside on the museum’s shady verandah, there is a collection of old letter boxes. They include boxes of various shapes, sizes, and colours. One of them bears the Portuguese words “CAIXA POSTAL”. Once upon a time, it must have been used in one of Portugal’s Indian colonies, but there was no information about its original location.

Outside the museum, and still in use, there is a hexagonal pillar box, very similar to one placed at the Bowring Institute in the late 1880s. Unlike the one at Bowring, which bears the British Indian postal insignia, the box near the museum has been modified to make it look like a post-Independence Indian Post pillar box.

Next to the entrance to the museum, also on the verandah, there is aalifesize model of an Indian postman of yesteryear. Wearing a green and white uniform (including a turban) with some red trim, he has a sack slung over his left shoulder. His right hand is stretche out in front of him. In it he holds a wooden shaft tipped with a sharp metal spear tip. Four small bells are attached to the base of this tip. A lantern hangs from his right wrist.

In the past, the postman mafe his way from village to village along paths through the jungle. The spear tip and its staff were used to ward off wild animals. The lantern was used to light his way, and the bells were rung to alert villagers to his arrival.

Visiting the museum was an interesting experience. Seeing the hardships that postmen used to face should make us pleased that we can now communicate using fax, email, and other modern inventions.

Roosters on the roof

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ALL BUT THE MOST unobservant visitors to Goa will notice that some houses are decorated with models of roosters or saluting soldiers. These models often adorn roofs, but can also be found attached to other external parts of a house.

The roosters/cockerels were commonly added to houses, which were built in the Portuguese era (before 1960), and indicated that either their inhabitants were Catholic and/or pro-Portuguese.

The saluting soldiers (‘soldados’ in Portuguese) might indicate that someone in the house had been in the military. Alternatively, some people, who had been in favour of Goa becoming independent of Portugal, added these after India had ‘liberated’ Goa from Portugal.

In addition to poultry and soldiers,so.e houses are decorated with lions. I have seen it suggested that these are in remembrance of the Kadambas, who ruled Goa during the 3rd to 5th centuries AD.

Despite many modern buildings sprouting up in Goa, there are still plenty of picturesque old edifices to enjoy. And some of these display the decorative features described above

Baby Jesus with bangles

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DURING SEVERAL TRIPS within the ex-Portuguese colony of Goa on the west coast of India, we have visited churches and other Christian religious establishments built under Portuguese rule. The Portuguese arrived in India several centuries ago, and finally left their colonies in 1961 when they became incorporated (or annexed) into India. One of the aims of the Portuguese was conversion of their Indian subjects to Christianity. Many of the conquered people became Christian, and many churches and seminaries sprung up in the occupied territories. We have visited quite a few of these.

In most of the churches we have seen in Goa as well as in the recently opened Museum of Christian Art in Old Goa, we have noticed that depictions of angels saints, and Christ himself have facial (and other) features that are typical of Indian physiognomy. This is not too surprising as many artefacts in the churches of Goa were created by Indian artists.

When we visited the Museum of Christian Art in Old Goa, we saw two depictions of Baby Jesus lying on what looked just like typical Indian ‘charpoys’ (traditional Indian beds). The Holy Child in each case is a tiny doll. What fascinated me is that the dolls were wearing the sort of tiny bangles that are often worn by small Indian babies. One of the tiny models of Jesus was also wearing earrings.

Moving away from Christian sculptures and paintings, which have incorporated Indian characteristics, day to day Christian worship in India often incorporates features with origins in Hindu ritual practice. One example is the use of flower garlands (‘malas’), which is just as common in Christian settings as it is in Hindu settings.

Christianity was introduced to India not only by the Portuguese, but by others including St Thomas (apocryphally), and various European invaders. However, despite its foreign origins, India was not only affected by the Christian religion but has also made its mark on it.

Some eagles in Old Goa

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THE MUSEUM OF Christian Art has been recently been upgraded and is now a truly excellent display of Christian religious artefacts. It is housed in part of the convent of Santa Monica on Holy Hill in Old Goa. The convent Church was built in the early 17th century.

On arrival at the outside (south side) of the church, I spotted a bas-relief carved in stone above the main entrance to the church. It depicts an example of a heraldic creature that has long fascinated me: a double-headed eagle.

Inside the church, we met Natasha, who is the curator of the museum. I asked her if she knew about the reason for the double-headed eagle on the church. She informed us that the convent had been an Augustinian establishment, and that the double-headed eagle is a symbol used by that Order. That was news to me. She also directed me to another depiction of this creature on a carved tablet set into the church’s north wall.

When I returned to our lodging in Panjim, I consulted the internet, and learned about the connection between the Augustinian Order and the bird with two heads. It appears that although the main emblem of the Augustinians was a heart pierced with two arrow, the Hapsburgs allowed this Order to use their emblem, the double-headed eagle.

It will be recalled that there was a significant linkage of the Habsburgs and Spain. And Spain ruled Portugal between about 1580 and 1640. The Convent of Santa Monica was constructed between 1606 and 1627, and that was during the time that Portugal, which colonised Goa, was united with Spain. During that period, the united countries were ruled by Habsburg kings.

Although the museum, which I will describe later, was well worth the visit, discovering yet another example of the use of the double-headed eagle was a great thrill for me.

A giant aircraft in Lisbon

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WHILE AWAITING TAKE-OFF from Lisbon’s main airport, our aeroplane was ‘parked’ beside the largest aircraft I have ever seen. Operated by Maximus Air Cargo company, its nose was pointing upwards towards the sky. It was being loaded with freight through an enormous aperture at its front end. The aeroplane was so large that it dwarfed the numerous workers around it and the forklift trucks being used to load its cargo. Even the Airbus 320 craft standing nearby seemed tiny in comparison. As we had to wait for what seemed like ages before we taxied to the runway for take-off, I had plenty of time to stare at it and to take photographs through the window next to my seat. My curiosity increased when I observed that the ‘plane had its make written on the raised section of its nose: Antonov 124-100.

The Antonov aircraft were built mainly during the years that the Soviet Union was in existence. The company that built these freight carrying ‘planes is named after the aircraft designer Oleg Konstantinovich Antonov (1906-1984). Born in the Moscow region, he was the son of a civil engineer. From 1923 onwards, he was deeply involved in aircraft engineering and design. By 1938, he was the leading designer in the aircraft plant headed up by AS Yakovlev (www.antonov.com/en/biography). And in May 1946, he headed up his own aircraft design plant, based in Novosibirsk. By 1948, ‘planes designed by Antonov and his team were being manufactured in Kiev (Kyiv in what is now Ukraine). In 1952, Antonov and his design bureau moved to Kiev. Antonov’s team began designing the AN 124 heavy transport aircraft in the early 1970s. The AN 124’s maiden flight was in 1982, but the vehicle only became known to the world at large when it was exhibited at the Paris Air Show in 1985. The AN 124s were produced at two factories: one in Ulyanovsk (now in Russia) and the other at Kiev (now in Ukraine). One special feature of the AN 24’s design is that its landing gear with 24 wheels is designed both for landing on rough terrain and to enable the ‘plane to kneel down so that its front entrance can be lowered to make loading and unloading easier.  About 55 of the AN 124 craft were built between 1982 and 2004.  According the uk.flightaware.com website, the AN 124 (registration UR-ZYD), which we saw on the 17th of June 2022 had flown from Leipzig to Lisbon that day and was about to fly on to Cairo (Egypt). It flew to Kigali (Rwanda) from Cairo on the 18th of June. Another website ( www.planespotters.net/airframe/antonov-an-124-ur-zyd-maximus-air-cargo/ejn4jx) revealed that UR-ZYD was built just over 18 years ago, in about 2013/14, making it one of the last to be built.

Maximus Air Cargo, which operates the AN 124, which I saw, is an Abu Dhabi based company, which specialises in transporting larger than usual objects. The company owns one Antonov 124-100, about which its website (www.maximus-air.com/fleet/antonov-124-100) noted:

“The heaviest of the heavyweight cargo lifters. It has a unique self-contained multiple winch and overhead crane system capable of self loading / unloading 120 tonne from front or rear. Can carry 21x Toyota Land Cruisers or 4 x Mi 17 MTV Helicopters without breaking a sweat.”

The aircraft’s maximum range is 6710 nautical miles (‘nm’), but when it is carrying its maximal pay load (120,000 Kg), this reduces to 2420 nm.

I had heard of the Antonov aircraft before, but the example I saw in Lisbon is the first I have seen ‘in the flesh’. I found that seeing this giant was very exciting.

Black and white beneath your feet

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WHEN WALKING IN central Funchal, it is worth looking down at the pavements. Like those in Lisbon and other towns in Portugal, their surfaces are covered with small black and white stones arranged to create pleasing patterns. I imagine that these compositions created using irregularly sized stones must be laid by hand rather than by using a machine.

Funchal

Often the stones are laid on the pavements as well as on large open spaces in such a way that fascinating optical effects are achieved. By making such lovely places on which to walk, the cities and towns become beautiful in whichever direction you look.

A museum in Madeira

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HOUSED IN AN OLD palace, the Quinta das Cruzes museum (‘Quinta’ for short) contains a collection of exhibits of various kinds and its beautiful garden has a small collection of archaeological architectural fragments. In a way, the Quinta is Funchal’s version of London’s V & A, but much smaller.

Goa long ago

The much remodelled building housing the museum was initially built for João Gonçalves Zarco (c 1390 – 1471), who was the ‘discoverer’ and first Captain (i.e., governor) of Madeira. I am not sure how much of what Zarco would have seen in his time can be seen today. Nevertheless, it is an attractive edifice.

Several exhibits particularly interested me in the museum. One was a retable, a triptych, carved intricately in ivory. To our surprise, we discovered that this was an English production, created in the 19th century.

There were several fine paintings of Madeirans and their island painted by English artists including Eliza Eleanor Murray, Charles Scott-Murray, and Thomas Butterworth. The paintings by Murray and Scott-Murray were late 18th century. These pictures hung in rooms alongside English furniture including pieces by Chippendale and Sheraton.

Another exhibit that attracted me was a fine embroidery on which wild animals are depicted. This was produced in Portuguese Macau for a Christian religious order: the Carmelites.

Another former Portuguese colony, Goa on the west coast of India, is represented in the museum by three attractive paintings showing people and scenery in Goa in the 18th or 19th century.

These exhibits from what is now China and India remind us of Portugal’s pioneering and extensive colonisation of the world beyond Europe. The artefacts from the UK and by British artists recollect the importance of Madeira in the history of British trade and tourism.

I have outlined a few of the exhibits that are on view in the museum, but there is plenty more to enjoy including a grest collection of fine silverware (including models of serving women with black faces) and a very elegant modern refreshment area. It overlooks a fine panorama of part of Funchal.

Along with the Museum of Sacred Art, the Quinta is one of the cultural highlights of Funchal.

Roof ornaments in Funchal, Madeira

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MANY ROOFS IN FUNCHAL are covered with terracotta tiles. Quite a few of these roofs have small sculptures on their corners. Many of them depict heads, birds, and scrolls ( leaves?) I have no idea why these things are added to the roofs.

Someone suggested that these ornaments are supposed to deter mice, squirrels, and birds. Maybe, they are for that purpose. In India ornaments depicting ogre’s faces (‘rakshasa’) are atteched to roofs to ward off the Evil Eye. Possibly, this is a finction of the ornaments I have seen in Funchal. Another possible function of these roof ornaments (finials) might be to distinguish one house from another. However, I am not sure about this here in Funchal because there is little variety in the firms used.

I would love to know more about them: their purpose and history.

Diverting water in Madeira

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A damming plate hanging on a wall beside a stream in Funchal

WHEN WE WERE IN the Western Cape of South Africa,  I  noticed streams running alongside roads in rural farming areas. Occasional small channels led off from them and into the fields of farms. At each junction of the main stream and a side channel, there were small plates that could be used  to temporarily dam the main stream to divert water into the channel leading to the fields.  

We are staying in Funchal, Madeira. Our guesthouse is high above the city centre and the seafront on a road that leads down an extremely steep hill.  On one side of the road there is a fast flowing stream. Every now and then, there are metal plates that can be inserted into slots on both sides of this stream to divert water into the property beside the water. This is just like what I saw in rural South Africa. Perhaps I should not be surprised by the similarity of the damming system, but I cannot recall having noticed it anywhere else I have visited.

Born in Portugal, hanging in the Tate

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THE TATE BRITAIN is currently hosting a wonderful exhibition of the works of Paula Rego, born 1935 in Lisbon, Portugal during the fascist dictatorship of Antonio Salazar (1889-1970), who was in office from 1932 to 1968.  Her father was anti-fascist and anglophile. He sent Paula to a finishing school in Kent (UK) when she was 16. Later, she enrolled to study painting at the Slade School of Fine Art, part of London’s University College. While she was studying there (from 1952 until 1956), she met her future husband, the painter Victor Willing (1928-1988). They married in 1959, following Victor’s divorce from his first wife. Paula and Victor lived between Portugal and the UK, finally settling in the latter in 1972.

Distributed within eleven rooms of the Tate Britain, Rego’s works are well displayed, some of them with informative panels placed beside them. Her paintings express her political (anti-fascist) and social consciousness, some of which is concerned with the ill-treatment of, and the indignities inflicted on, women, especially in the country where she was born.

Rego’s paintings are dramatic, colourful, powerful, and not lacking in a sense of humour. They are sometimes almost abstract, but the element of figurativeness is never completely absent.  Her paintings often lean towards surrealism.  Whether they are expressing subversion, or love, or depression, or pure fantasy, they are visually intriguing and cannot fail to engage the viewer. Throughout her works, which span several decades, the influence of her native land can be discerned, sometimes without difficulty, other times with the assistance of the informative labels by their side.

The exhibition, which opened on the 7th of July 2021, will continue until the 24th of October 2021. So, there is plenty of time for you to enjoy this superb exhibition of the fabulous works of this fascinating artist. It is an exhibition that once again demonstrates that great art is often created as a reaction to an oppressive regime.