Carved out of solid wood, covered in gesso and
painted in semi-naturalistic way, this head
represents Christ during the Passion. The
elongated head is painted with pale complexion
and terminates in a long beard and moustache.
The forehead and cheeks are stained with
sanguine red tears, the eyes half-cast while the
mouth is slightly open as to breath the last
breath at the end of the Passion.
The head belonged to a small group, now
gathered in the Barakat collection (see LO.881
and LO.883), discovered in a sealed room in the
cellar of an Anglican church in the city of
Colombo in Ceylon, in 1998, when engineers
were underpinning the foundations. The church
originally belonged to the Catholic Portuguese,
and was passed over to the Dutch Reformists in
the first quarter of the 18th century.
The style of the head would seem to place it just
prior to the Dutch conquest. During the 16th and
17th centuries the practice of keeping the beard
prevailed among the Roman Catholic clergy,
especially amongst the foreign missionaries
involved in the establishment of the Far Eastern
Missions. This group of heads are stylistically
affine to the early Jesuit and Franciscan
iconography employed prevalently during the
17th century in India, after the foundation of the
Catholic mission in Goa by St Francis Xavier,
when not only the Christ but also saints, such as
Saint Xavier and Thomas the Apostle, were often
portrayed long-bearded.
Furthermore, towards the end of the Catholic
presence in Ceylon (ended 1658) wooden heads
and large saintly figures were indeed used not
only as votive images in churches, but also as
didactic vehicles in the Natya Nadagam (Nativity)
plays, to introduce the Christian religion to the
indigenous public.
The head beautifully painted still retains traces
of where the thorn crown would have originally
been placed, leaving no doubt on the identity of
the wearer. and his message of sacrifice and
salvation for mankind.
