An imposing presence in native communities, the typical principal façade of a mission church has three major components: the entry doorway, the frontispiece that surrounded it, and the bell towers (campanarios) that extend vertically above the rest of the building. The exception to this is the principal entry façade - a critical architectural element that communicated the mission's status and is the focus of the building's exterior ornamentation. The exterior character of many frontier missions is utilitarian as the buildings often served defensive, as well as religious, purposes. The resulting hybrid product reflected priests' attempts to attract and integrate native populations and their representational art forms. In practice, Christian iconography was not always purely applied, but often blended with native symbols and executed by native artisans. These icons acted as objects of both inspirational worship and moral instruction. Among these features, the monumental altar screen in the church apse was the focus of elaborate decoration and a canvas of religious symbols, or icons. Priests also used these features to transform the church into a colorful three-dimensional religious textbook for new converts. Sacred ornamentation –figures of saints, altar screens (retablos), paintings, and stencil designs –became important teaching tools. Builders used these features to reinforce individual stylistic expressions using stone, molded brick, plaster, wood, ceramic tile, and pigment. Architectural features –entablatures, pilasters, window surrounds, columns, beams, and surface decoration –were integral to the church designs. Often beginning as no more than a temporary shelter from which to celebrate mass, the church building and later support structures evolved over time as the population of converts grew and resources for construction became available.įor worshippers, ornamentation in mission architecture played two significant functions. At the core of every mission community, regardless of its size, was a church building as its spiritual center. Some mission communities were near dispersed agrarian communities, while others were in the center of the most densely formed native settlements. Missions were located adjacent to established native settlements that also provided labor for mission construction and maintenance. The Spanish government and religious orders established missions to convert existing populations to Roman Catholicism. Missions featured in this travel itinerary are rich cultural landscapes that span the spectrum of mission development from isolated and quickly abandoned chapels to comprehensive, self-sustaining communities covering hundreds of acres. “We are praying for the good times to return,” they said.Postcard depicting a float in the "Battle of Flowers" parade in a rally to support restoration of the Alamo (Mission Valero) in San Antonio. One truckload costs us almost Rs 11,000 this year and each potter’s share came to about Rs 2,200.”ĭespite the hardship they have been facing for a year, a rebound in the business demand has been yielding good returns after a long time, the potters added. “We have procured a truckload of clay to share among five or six clay modellers this season. The potters at Dakshindari complained, however, that the cost of raw materials-a particular variety of clay that comes from Canning in South 24 Paraganas-is exorbitant. The textile ministry of the Union government sponsors such events throughout the year. Pal also said that, apart from purchases during the festive season, these pottery artworks are also showcased in exhibitions in different parts of the country and, at times, in foreign destinations. Of late, the artisans have started making a variety of colourful potteries, idols, lamps and other decorative items, which are in greater demand during this festive season. But now it has become almost obsolete, laments Pal. The business of pottery was started by his ancestors with “matir chaka” (mud wheel) and later they focused on Terracotta work. One of the potters, Krishna Chandra Pal, has been running his business of “Mrittshilpa”(pottery art) for over 25years.
Buyers from different parts of the country are lining up for bulk purchases according to a clay modeller who said: “We largely survive on purchases from Uttar Pradesh, Bihar, Chennai and Delhi.” An estimated more than 500 households in this area are engaged in clay modelling and designing of diyas, showpieces and idols.
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