Architecture

The architecture of Goa is a combination of Indian, Mughal and Portuguese styles. Since the Portuguese ruled for four centuries, many churches and houses bear a striking element of the Portuguese style of architecture. Goa was also under the Mughal rule and thus one finds monuments built in the typical Mughal style complete with the domes. The typical Goan architecture is very simple and easy going and is visible in buildings like modern

By the end of the 18th century, there was a change in the style of the buildings of Goa. Though the Portuguese essence remained, there was an overdose of colors and usage of tiles increased. Blue and red turned out to be favorite colors with many houses being painted in bright blues and the roofs being covered by red tiles. The houses are usually large and have spacious rooms with windows for ventilation. Each house also has a separate room or secluded space for keeping the idol or photographs of their Gods.

The height of Goa's glory was mutually linked with the Portuguese, but the Goan grandeur predated the Portuguese. Chieftains, kings and a host of Indian dynasties had made this little jewel glitter with royal pomp. The Batpuras, the Bhujas, Ashoka, the Mauryas and the Satyavahanas have ruled over Goa. The inscription of around A.D.1000 (when Shashtadeva of the Goa Kadamba dynasty sat on the throne), describes the early splendor of the capital: 'Gardens on every side. White plastered houses, alleys, horse stables, flower gardens, markets, harlots' quarters, and tanks.' In his son's reign, Goa is reputed to have commanded a powerful fleet and traded with fourteen foreign lands. In essence, it was a coveted land with the most sought after port in India. And as the word spread, this advantage was to become a liability. The friendly harbours that had sent out sparkling blue ripples to the world were to backflow and become the road of conquest and colonization.

On July 4, 1497 when Vasco da Gama set sail from the River Tagus in Lisbon commanding the flagship São Gabriel, no one could have imagined the implications of his voyage. At that time the potentates of the East were wealthier than the financially embarrassed Western kings. Vasco da Gama never actually visited Goa, though now there is a coastal city, Vasco (biggest city of Goa) by his name to commemorate his link with Portugal. It was Afonso de Albuquerque who is credited with sowing the seeds of the Portuguese empire in India, first by destroying, then creating. Little did anyone know that Goa would change face. Now a stranger on the throne was to remould the past, reshape the present and go so far as to influence the future psyche of the people of Goa.

The Portuguese brought to Goa the magnificence of the West and the might of a nation at the height of its imperial power. Their vision was lofty and ambition sky high, but it blazed a short trail like a meteor. An art historian[citation needed] remarked, 'Portugal was a very small nation of a heroic people. However, at its peak, Goa was one of the wonders of the world, larger than Lisbon and even the London of its time! Some 300,000 people had made it their home. Goa resembled the 'meeting upon the burse in Antwerpe' wrote Linschoten, the Dutchman, and it was then that epithets like 'Rome of Asia' and 'Pearl of the Orient' were coined. 'Goa Dourada' or 'Golden Goa' sands was not an advertising slogan to beckon tourists, but more precisely the gilt-coated reredos and altars in the churches that displayed layers of the real gold Portugal had discovered in Africa.

Contemporary descriptions do not undertake this glitter. 'Quem viu Goa escusa de ver Lisboa', the word went round, 'Who has seen Goa needn't see Lisbon.' In 1606 Goa got Santa Monica, the first nunnery in the East. The imposing Basilica of Bom Jesus impressed Christians and non-Christians alike. Fantastic Italian architecture typically renaissance modelled on architectural details from the churches circled the city's skyline. There were compulsory orders to paint the mansions annually, after the monsoon had passed. The regulations insisted that although white may be used for picking out architectural details like quoins and cornices, and window edges and balustrades to contrast with the wall surfaces of yellow-ochre, Indian red or pale green, no buildings but churches might be white all over. In 1839, Caption Marryat in his novel The Phantom Ship de described Goa: 'The squares behind the palace and the wide streets were filled with living beings: elephants with gorgeous trappings; led or mounted horses with superb housings; palanquins carried by natives in splendid liveries; running footmen; syces; every variety of nation, from the proud Portuguese to the half-covered native; Musselmen, Arabs, Hindoos, Armenians; Officers and soldiers in their uniforms, all crowded and thronged together: all was bustle and motion. Such was the wealth, the splendor and luxury of the proud city of Goa - the Empress of the East.'