Madonna and Child on crescent moon by Anonymous

Madonna and Child on crescent moon 17th-18th century

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sculpture, wood, ivory

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baroque

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sculpture

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figuration

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sculpture

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wood

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ivory

Dimensions 9 5/16 × 3 3/4 × 2 5/8 in. (23.65 × 9.53 × 6.67 cm)

This sculpture of the Madonna and Child on a crescent moon, carved in an unknown time by an anonymous hand, presents a constellation of symbols ripe with meaning. The Virgin Mary, carrying her son, stands on a crescent moon. This is an ancient symbol linking her to lunar goddesses—a celestial queen. Consider how this motif echoes through history, appearing in different guises, from depictions of the Roman goddess Diana to the Islamic crescent, all symbols of power. Note the rosary in Mary’s hand, a potent emblem of Christian devotion. This object embodies a rhythm of prayers, linking the individual to collective religious experience. The cherubic figures at the sculpture’s base connect the earthly and the divine. Angels are messengers, and their presence enhances the emotional resonance of the piece, inviting us into a realm of spiritual contemplation. These symbols are not static; they morph and adapt, speaking to our deepest needs and fears across generations. Their power lies in their cyclical, ever-evolving nature.

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minneapolisinstituteofart's Profile Picture
minneapolisinstituteofart over 1 year ago

The province of Goa in western India was under Portuguese control from 1512–1961, forming a nexus in trading routes that circumnavigated the earth. Goan craftsman were renowned for their supple modeling of ivory (likely exported from Mozambique) into Christian icons, which feed the appetite for luxury products in Europe, as well as furthered evangelical missions throughout Asia and the Americas. Within the genre of Indo-Portuguese ivories, popular subjects include ‘Christ as the Good Shepard’ (the image of Christ as child would have related to similar bronze statuettes of the God Krishna) and the ‘Virgin of the Immaculate Conception,’ which shows Mary atop a crescent moon, both of which remain ever-present icons in South Asia’s diverse religious landscape.

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