DSpace Collection:http://hdl.handle.net/10174/294192024-03-29T11:09:26Z2024-03-29T11:09:26ZOLD GOA REVELATIONS New insights and interpretations on the Vice - Roys of “Estado da Índia” portrait GalleryReis, TeresaCandeias, AntónioPereira, Fernando António Baptistahttp://hdl.handle.net/10174/351522023-05-17T14:46:20Z2017-06-30T23:00:00ZTitle: OLD GOA REVELATIONS New insights and interpretations on the Vice - Roys of “Estado da Índia” portrait Gallery
Authors: Reis, Teresa; Candeias, António; Pereira, Fernando António Baptista
Abstract: Poster de divulgação do Projecto Old Goa Revelations2017-06-30T23:00:00ZPlay it forward – training the trainers in conservation risk management in Museum of Christian ArtReis, TeresaFernandes, Natashahttp://hdl.handle.net/10174/351512023-05-17T14:44:45Z2022-07-31T23:00:00ZTitle: Play it forward – training the trainers in conservation risk management in Museum of Christian Art
Authors: Reis, Teresa; Fernandes, Natasha
Abstract: The Museum of Christian Art (MoCA), Goa houses a unique collection of Christian art objects which are a perfect symbiosis of two cultural manifestations – Indian and European. These hybrid collections are rare in the context of India’s cultural diversity and multi-religious expressions. The Museum’s mission is to preserve and protect Goa’s cultural heritage, while also promoting the Museum as a centre for education, conservation and research.
MoCA was first set up on 1994, in collaboration with Calouste Gubenkian Foundation and the Indian National Trust for Art and Cultural Heritage. In 2002, it was relocated to its current location within the 17th century Convent of Santa Monica in Old Goa. Staffing levels and training were augmented in 2005 to include curricular internship placements focusing on Preventive Conservation. This opportunity brought into focus the need for a long-term plan to address preventive conservation issues and carry out risk assessments.
Between 2017-2020, the museum underwent an extensive upgradation, which focused on the renovation of the building, the conservation of the collection and new museographic layout. MoCA’s current managing committee mission is concentrating on collection preservation, conservation and restoration projects, providing internship placements, and collaborating with researchers and research institutions from India and abroad.
It was in this context that the idea for a joint participation in ICOM’s solidarity project “Training the Trainers” became a good opportunity to resume the preventive conservation plan and empower MoCA’s own team in Conservation Risk Assessment (CRA), thus providing this institution with additional tools, confidence, and autonomy to undertake its mission.
In fact, both the collection and the built heritage require periodic care as they are affected by various environmental factors, derived from Goa’s subtropical climate, allied to exposure to UV radiation and inadequate storage facilities, where 52% of the collection is kept. Special attention is required during monsoon periods, increasingly severe by the year. Covid-19 also caused some disruption in monitoring routines.
The custodians feel that without a comprehensive preventive conservation plan, nor the required expertise and training in Risk Management, they are constantly facing challenges in these fields, leading to expensive interventions in the museum areas. Bearing in mind the lack of appropriate training in this field in Goa, this joint application turned out to be a unique opportunity to overcome this challenge and support MoCA’s team in devising, implementing and maintain a CRA plan and long-term strategy.
The training structure was divided in 8 virtual sessions of 1 hour each and supported by the resources facilitated and made available by ICOM-CC and Stichting Restauratie Atelier Limburg learning platform TEACH:ABLE. CRA steps will be facilitated during the sessions and the final assignment of the trainees will be CRA of the collection in exhibition and storage. According to results, a risk management plan will be devised to address the identified hazards.
When the training is completed, MoCA, as a reference institution on Goan Christian Art, will be empowered to start passing on the best practices to other Institutions, within the State and beyond that promote this unique heritage through their collections.2022-07-31T23:00:00Z"Tools for interpretation and conservation of a shared heritage collection: the viceroys portrait gallery"Reis, TeresaCandeias, AntónioPereira, Fernando António Baptistahttp://hdl.handle.net/10174/351502023-05-17T14:39:51Z2019-06-30T23:00:00ZTitle: "Tools for interpretation and conservation of a shared heritage collection: the viceroys portrait gallery"
Authors: Reis, Teresa; Candeias, António; Pereira, Fernando António Baptista
Abstract: Poster de divulgação do Projecto Old Goa Revelations no evento Ciência 20192019-06-30T23:00:00ZInsights on the second phase of the multidisciplinary study of the Viceroys portrait gallery at Goa, IndiaReis, TeresaValadas, SaraMachado, AnaPiorro, LuísPereira, Fernando António BaptistaCaldeira, Ana TeresaVandenabeele, PeterCandeias, AntónioReis, DavidNoronha, IanNaik, H.A.Raghubans, Kishorehttp://hdl.handle.net/10174/351492023-05-17T14:37:44Z2023-04-30T23:00:00ZTitle: Insights on the second phase of the multidisciplinary study of the Viceroys portrait gallery at Goa, India
Authors: Reis, Teresa; Valadas, Sara; Machado, Ana; Piorro, Luís; Pereira, Fernando António Baptista; Caldeira, Ana Teresa; Vandenabeele, Peter; Candeias, António; Reis, David; Noronha, Ian; Naik, H.A.; Raghubans, Kishore
Abstract: "Old Goa Revelations" is an international collaborative project dedicated to the research of a
shared heritage collection associated to the Portuguese Presence in India (1505 – 1961). The
upper halls of the Archaeological Survey of India (ASI) Museum in Old Goa, display the
portrait gallery of these Viceroys and Governors who administrated these territories and used
to commission their depictions before leaving their post. During the 400 years span of this
gallery several interventions took place, leaving up to 4 full overpaints over the original
compositions of the 16th and 17th centuries. Unfortunately, these can only be appreciated by
comparing them with contemporaneous illustrations, which is hampered due to poor-quality
restorations dating from the 19th c.: these completely altered the original paintings.
The restoration process of 6 paintings in Lisbon during the 1950’s highlighted the complexity
of undertaking irreversible procedures, such as the removal of repaints, in objects with such
high documental value. Considering that these repaints also act as a protection of the original
layers from the subtropical climate of Goa, what should be the best approach?
Since 2019, The creation of a collaborative project[1] between the custodian and Portuguese
research units enabled a comprehensive and multidisciplinary scientific study of the
collection, supported by a mobile campaign, encompassing imaging techniques such as
photography (visible and raking light), Infrared Reflectography and X-ray Radiography,
complemented with non-destructive analytical approaches such as XRF spectrometry (point
analysis), a Mobile macro-XRF mapping and mobile Raman spectrometry.
The aims of this multidisciplinary research are the identification, characterization and
contextualization of the existing layers, to assist to the interpretation of the collection, as well
as it supports decision making towards long term preservation. Moreover, another important
goal is the organization of a new exhibition narrative, where the public will have visual access
to the information in each of these layers, allowing a different experience of the collection.2023-04-30T23:00:00Z