Menino Jesus Salvador do Mundo em marfim cíngalo-português. De pé, sobre peanha, abençoa com a mão direita, cujos dedos se mostram delgados e afuselados, e na outra, segura vara crucífera com estandarte em prata, onde está gravado “Ecce Agnus Dei”. A imagem apresenta rosto ligeiramente inclinado, sobrancelhas em curva e olhos amendoados de olhar fixo, sugerindo uma atitude mística e pensativa; o nariz é fino e de abas apertadas; cabelo em madeixas búdicas, empastadas e encaracoladas na fronte, apresentam-se mais pronunciadas sobre a testa (“urnã” de Buda). O corpo liso, com tronco cilíndrico, apresenta algumas referências anatómicas. As pernas são de formato cónico, com o pé esquerdo colocado sobre a peanha, e a perna direita, com duas pregas na coxa, apresentando-se ligeiramente fletida com pé colocado sobre globo terráqueo, e dedos do mesmo tamanho, separados e achatados, apresentando unhas levemente marcadas. Esta composição está integralmente suportada por peanha, lavrada ao torno, típica dos artífices cingaleses. A base é muito rara pelo cuidado colocado na representação do querubim, e pelo seu verismo típico ainda de Quinhentos.
Exceptionally large 16th century sculpture of remarkable sculptural quality, unquestionably a masterpiece of Ceylonese Christian imagery.The figure is depicted standing in a majestic posture, with the raised right hand blessing, while holding the staff with the left. The right foot stands on a terrestrial orb. The socle shaft is elegantly shaped as a cherub.The anatomy is robust but elegant, the head rounded, gently leaning forward, the expression serene. The hair evokes the snail-like curls characteristic of Buddha imagery and the almond-shaped eyes and curved brows convey a mystical and contemplative expression, reinforced by the narrow nose and small mouth. The slender body is shown nude, revealing the artist’s confidence and refined technique in the interpretation of naturalistic anatomical details.The right arm is raised shoulder height, with the second and third digits extended, blessing, with the left arm gently flexed at the elbow, hand tightly holding the staff. The legs taper towards the feet and display two naturalistic skin folds on the inner thigh. The right leg is raised and bent, the foot resting on the terrestrial globe; the left stands upright on the socle. The hands and feet are carefully detailed, with long, flattened well-defined digits and clearly outlined nails.The figure stands on a short column shaped socle, coherent with a Ceylonese production. The square base supports a realistic cherub’s head-shaped shaft, of detail and quality compatible with the figure above, suggesting a 16th rather than 17th century origin.
Beyond the conventions highlighted in the previous paragraph, more or less standardized in Ceylonese Christian art, there are other characteristics of this particular piece that convey its origins, namely the raised socle, an example of a rare Mannerist model evident in late 16th century works but not identifiable in extant contemporary Goan examples, which tend to be of less sophisticated aesthetics and detail.
The Portuguese presence in Ceylon lasted for 150 years (1505–1658), and had a considerable impact both on cultural and religious levels. This common interaction encouraged themanufacture of large numbers of ivory votive figures, essential tools for the process of propagation of the Christian faith throughout the Orient.The theme of the Baby Jesus Salvator Mundi remained a favourite throughout the Baroque. More archaic models adhere to Flemish prototypes from the first half of the 16th century divulged by the Portuguese in India and Ceylon, which will be repeated until the Counter-Reformation movement introduces a revised and more conservative and conventional paradigm.


Bibliografia:— TÁVORA, Bernardo Ferrão de Tavares e, Imaginária Luso-Oriental, Lisboa, Imprensa Nacional, Casa da Moeda, 1983.— RAPOSO, Francisco Hipólito (coord.), A Expansão Portuguesa e a Arte do Marfim, Lisboa, Comissão Nacional para as Comemorações dos Descobrimentos Portugueses eFundação Calouste Gulbenkian, 1991.— SILVA, Nuno Vassalo e (coord.) – Marfins no Império Português, Lisboa, Scribe, 2013