Museu do Oriente, Lisboa - The permanent exhibition (cont.) - The 8th of February 2014

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I looked at some artefacts in display as if I was looking at them with added interest, particularly those related to former Portuguese colonies I have not been to and whose culture has had me baffled sometime in the past whilst reading some books written by some of their native authors. 

I had already been attracted by several rose-wood decorative panels mostly used in Timorean houses before and this time was no exception. Whether they depict human figures or just geometrical designs there seems to be something "raw" and mystic about them that draws me almost instinctively as if I were wondering what could lie behind them. 

I have had a rather similar feeling  towards the votive statues, drawn by their enigmatic expressions.

East Timor (Oecussi)- Decorative panel (detail) - ca. 1900 (left). East Timor (Maliana) - ca.1920 (right).

East Timor (Maliana) - Votive statue - ca. 1940 (left). East Timor (Oecussi) - votive mask made out of buffalo hide - ca. 1040 (right)

Among some of the Chinese and Japanese artefacts that caught my attention were some profusely decorated sealed boxes used during the Edo period (1603-1867) in China which can be seen on the left and a Shibayama shrine enclosing a figure representing a seated Buddha in guild and lacquer covered wood and ivory pertaining to Japan, the Meiji period (1868-1912).

At a completely different level my attention was equally drawn to worshipping or divinity associated artefacts, the first being an armour used in Tyyam, a ritual-like dance to be found in the Northern state of Kerala and the Southeast of Karnataka state in India in which the dancer who incarnates the divinity wears a costume which incorporates this type of armour. 

The lion originally a Buddhist law protector once having been introduced and integrated in China's convictions is said to be commonly seen at the entrance of peoples' homes so as to drive away malevolent spirits. The gypsum plaster and papier-maché ones in display were so colourful that I personally feel any malevolent spirit would most probably be drawn to rather than driven away from those homes.

The Tamil God Ayymar worshipping painted terracota figures which generally represent cows, horses, elephants and worshippers were very colourful as well.

I must confess that every hour I spent at the Museum was worth it, not only because I realised that no matter how often I visit it I'll always come across something I hadn't either seen before or paid close attention to but also because some issues will forever be fascinating and the more you learn about them the more you'll be drawn to them.