Sollegue, Maja Angela Victoria T. Prof.

May Lyn Cruz

TFA 166 May 18, 2021
LEARNING LOG

WEEK: 5 TOPIC: Jewelry, Clothing, Furniture

Before learning about this topic, I thought that there’s not much to explore in learning about jewelries, clothing,
and furniture during this period. I thought that these lack the ability to trace our histories. In truth, I haven’t even
given any thought about this topic prior this module because, to my shame, I have unconsciously failed to
consider these as part of art history since I am accustomed to learning the “fine arts”.

Now I know that there’s more than meets the eye. The topic of colonial jewelries, clothing, and furniture is
heavy on trade history of the Philippines. In fact, while going through this module, it felt like I’m also learning
and tracing the Philippine’s more general history. For instance, the Manila-Acapulco trade took advantage of
the already established trade relations with our neighboring countries such as Brunei. Yet, I get to learn the
nuances of our general history through art such as the way one’s shirt is fixed (untucked or tucked) is telling of
how you are treated in colonial society. That definitely took me by surprise. What I found interesting was the
traces of indigenous practice even in jewelries particularly pendants with miniature paintings. Although this
practice is not new (as we have witnessed in the past modules), I like the integration of painting and
craftsmanship.

However, I still have questions about the local workshops and crafts shops in Old Manila among others. I find
that my lack of knowledge on Philippine crafts disturbing. I also find it sad that art history generally revolves
around fine arts production. On this note, this made me curious about regional Philippine art histories. I realized
in this module that we are rich in art histories. It just so happens that these histories are scattered in different
regions and that these are art forms that go beyond the conventions set upon by elitists in the art world.

As an artist, I think this topic is essential in:

(1) Tracing and understanding Philippine art history, at the same time our general history,
I always believed that art history is like looking at the nuances of history since it is history
viewed from an active participant of society—the artist. Perhaps if history is an oil painting,
then art history would be the microscopic cracks of the painting. Investigating these cracks
could help us understand more of how the painting was created, maintained, neglected,
restored—its entire history. As mentioned earlier, going through this art history module was
like going through general history but from the grassroot. At the same time, since we get to
view history at a personal level, we also come to realize how diverse our culture is. There are
so many art practices in the Philippines that are often beyond the conventions of art
academies. It just so happens that these are scattered in different regions. This reminds me of
a conversation I had with a friend who said that there are actually many Filipino regional art
historians and art history publications written in their respective languages. We definitely need
to properly archive these.

(2) Realizing the direct link of art to society, and;

This module has perfectly exemplified how art couldn’t be separated from society. Art, besides
being symbols of one’s wealth and status, have been a proponent in establishing the local
elite class since most of them capitalized on the creative industries (weaving, etc.).

(3) Breaking dichotomies in art set upon dominant forces of society

Categories such as “high art” and “low art”, “fine arts” and “crafts” among many other things
should cease to exist most especially in the context of the Philippines since we are a culturally
diverse country; hence, our diverse art practices.