Art Appreciation: Ñas, Cavite

EMILIO AGUINALDO COLLEGE ISO 9001: 2015 CERTIFIED
QUALITY MANAGEMENT SYSTEM

City of Dasmariñas,Cavite
ART APPRECIATION
VIRTUE EXCELLENCE SERVICE
QUALITY MANAGEMENT SYSTEM
City of Dasmariñas,Cavite
LECTURE 1
 Philippine Art Timeline

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1
Objectives
1. Learn the rich history and evolution of Philippine art.
2. Appreciate the role of culture and beliefs in different phases
of Philippine art.
3. Demonstrate skills on critical appreciation of some famous
Filipino artists.
Prehistoric Art Evidences: New Stone Age

Stone and Shell Adzes (2680BC) 1.
A cutting tool similar to an axe. Adzes are used for smoothing or carving wood in hand
woodworking. The artifact believed to be made from the New Stone Age and was found
in Cagayan, Palawan, Isabela, and Pampanga. The polished stone adzes that are oval in
cross-section were made and used by the people during the Early Neolithic period.
Ground stone tools typical of the ‘Quadrangular Adze Culture’ on the other hand, were
found in a late Neolithic jar burial site. They are believed to be used for woodworking.
2. Angono Petroglyphs (2000BC)

A cutting tool similar to an axe. Adzes are used for smoothing or carving wood in
hand woodworking. The artifact believed to be made from the New Stone Age
(2680 BC) found in Cagayan, Palawan, Isabela, and Pampanga. The earliest
prehistoric rock drawings studied extensively were those found at the boundary of
Angono and Binangonan, Rizal Province. The site is a rock shelter or a shallow
cave about 63 meters wide, 8 meters deep and 5 meters at its highest point. One
hundred twenty seven human figures scattered on the wall were made by
engraving lines using a piece of stone on the surface of the rock shelter.
Prehistoric Art Evidences: New Stone Age

Bark-Cloth Beater (1255-605 BC) 3.
It is a stone tool used for the preparation of bark cloth. Early man in Palawan fashioned the
beaters from cylindrical stones and used the stone beaters for pounding the bark to loosen
the pulp from the fiber. The bark cloth is ready when all the pulp has been stripped off,
leaving a network of fibers. The stone tool found in Arku Cave, Penablanca, Cagayan was
dated 1255-605 B.C. Another bark-cloth beater was found in Sagung cave in Southern
Palawan.
4. Manunggul Jar (890-710BC) is a burial jar from

Tabon caves excavated from a Neolithic burial site in
Manunggul cave of Tabon Caves at Lipuun Point at Palawan
dating from 890–710 B.C. The two prominent figures at the
top handle of its cover represent the journey of the soul to
the after life.

Prehistoric Art Evidences: Metal Age

Lingling-O (500 BC) 5.
a kind of ear pendant fashioned from green nephrite (jade) is the characteristic trait of
the Early Metal Age. Its basic form is a ring with a slit in one side to fit the pierced
earlobe. a kind of ear pendant fashioned from green nephrite (jade) is the
characteristic trait of the Early Metal Age. The ear pendant was made not only from
jade but also from shells, clay and stone. The kind of material used for personnal
ornaments suggests differences in social standing. The lingling-o form made of gold or
brass pendants and earrings still survives among the Ifugao and the Igorot in northern
Philippines.
6. Yawning Jar (265BC) In 1965, Dr. Robert B. Fox discovered a unique artifact in
Leta-Leta Cave at Lagen Island, El Nido, Philippines. This artifact is an earthen jar that
resembles a yawning man. This is the reason why archaeologists called it “The
Yawning Jar.” The said treasure in now under the care of the Philippine National
Museum. The meaning behind that yawn is still a puzzle for the experts. There is a
hypothesis that it was accidentally deformed and the potter decided to mold it into a
yawning face. Still the yawn remained a mystery. Perhaps, it asks for a bountiful
harvest.

7. Anthropomorphic Pots (5BC – 200AD) Earthenware pots resembling human figures were found in
Ayub Cave, in Pinol, Maitum, Saranggani Province. Each of the twenty nine jars recovered from the site is
unique. The head-shaped covers portray different kinds of facial expressions: sadness, joy, contentment. The
heads were either plain, perforated or coated with red and black paints. Some have earrings, others are
tattoed. Some head-shaped covers depict teeth while others have arms, female breasts and male genitalia.
Some of the designs on the pottery were similar to those found in

southwestern Mindanao but the detailed facial expression is unique. The
making of these earthenware depicting human figures and faces indicates
a high level of craftmanship.
The jar burial practices of early Filipinos were prevalent not only in the
Philippines, but also in Southeast Asia. These practices date back to the
Late Neolithic Period from 1,000 B.C. to the 16th century before the arrival
of the Spaniards. The discovery of jar burials uncover significant clues to
the prehistory of Maguindanao.


8. Butuan Boat (320AD) Prehistoric boats were recovered in Butuan, Agusan del Norte in 1978. There are
nine existing prehistoric boats and the first boat dated 320 A.D. The Butuan boat is an edged- pegged plank
type of boat. The planks were made from hard wood like ‘doongon’ (Heriteriera littoralis). Built to withstand
long-distance voyages, the boat can seat 25 people. Early merchants purchased goods from foreign traders
and sailed the small waterways redistributing the commodities to remote communities in the archipelago.
The presence of glass beads and metals in the sites where the boats were
discovered shows that Philippine coastal communities were active in Asian
maritime trade during that time. Evidence of a flourishing maritime trade placed
the early Filipinos’ seamanship and boat- building skill on equal footing with other
Asian countries.
The edged-pegged plank style of boat-building was once popular from
Scandinavian countries to the South Pacific during the 3rd century. Present- day
boat makers of Sibutu Island and in southern Philippines still use the same
technology.

Prehistoric Art Evidences: Age of Contact

9. Butuan Ivory Seal (1002AD) An ivory stamp seal associated with a shell
midden dated 9th-12th century was found in Libertad, Butuan City in Agusan del Norte
(southern Philippines). Inscribed on the seal is the word Butban in stylized Kavi. The
script has a similarity to the Tagalog script. Butban, was presumed to stand for Butwan
or Butuan since the letters “b” and “w” were frequently interchanged. Dated 1002 A.D.,
the seal could have been used for documentation in trading.
Gold Death-Mask (1300 - 1400 AD) 10.

The burial practice of covering the eyes, nose and mouth of the dead with sheets of gold is
a custom of the southern Chinese practiced by a limited group of Filipinos. It is believed
that when the face of the dead is covered with a gold mask, evil spirits cannot enter the
body. The gold nose-disc and gold eye-mask dated from the late 14th to the early 15th
century A.D. was found in a grave site in San Antonio, Oton, Iloilo (Central Philippines).
Aside from the museum collection, another pre-hispanic gold burial mask was also
recovered in Masao, Butuan, Agusan del Norte where gold was abundant in ancient times.

11. The Laguna Copper Plate (900AD) Accidentally discovered
by a laborer in 1986 in the said town near the mouth of the Lumbang
river. Dated about pre-Spanish era measured 7x12 inches when
unrolled was first deciphered by a Dutch anthropologist and Hanunó'o
script expert Antoon Postma in 1992. According to him, the inscriptions
were in Kavi, Old Javanese writing system with combinations of Old
Tagalog, Old Javanese, Old Malay, and Sanskrit. The inscriptions in
copper tells the debt of a local is paid for all eternity or to put that onto
something non-perishable means it was extremely important to the
party involved. In this regard, some ancient language scholars believed
that the inscription was a “judge” ruling about the debt of someone to
another individual was settled for all eternity.


The Banton Cloth (1400 - 1500 AD) 12.
The Banton cloth known as the “Death Blanket” is the earliest known
warp ikat (tie-resist dyeing) textile in Southeast Asia. Estimated to be 400
years old, the burial cloth was found in a wooden coffin that also
contained blue and white ceramics in Banton Island, Romblon. The
shroud was woven from red, black and white abaca threads. At present,
the people in Bontok, Mt. Province use a colorful burial cloth to wrap the
dead.
The process of weaving is simple. The threads are measured and wound
on a frame. These are wrapped in a pattern with a wax string or a strip of
vine and then dyed. As soon as the threads are dry, these are set up on a
loom for the weaving.


The Batanes Castle (1400 - 1500 AD) 13.
Believed to be high rocky formation for the locals, the triangular shaped
hill found to be a castle located at Savidug, municipality of Sabtang. This
was discovered in 1994. According to Dr. Eusebio Dizon, the castle has
similarities to the Okinawan Castle called Gusuku located between Japan
and Taiwan in which built for purpose rather on aesthetics. One of the
artifacts found in the establishment is the 12th century old Chinese beads
and Sung-type ceramics.

History of Philippine Architecture:

The Earliest Shelters The oldest evidence of Filipino shelter was discovered by
anthropologist Dr. Robert Fox, the Tabon Caves based on the earliest skull of human he
unearthed in the area dated 16,500 years old which called “The Tabon Man” homo
sapiens. The caves was surrounded with other human bones nearly dated to the human
skull. The walls of the caves has figure carvings of human body, animals and petroglyphs.
When the hunting era began, they learned how to protect themselves from the heat of the
sun by building “lean-to” shelter and leave to look for another hunting grounds. When the
people learned to settle for a longer period of time in their chosen land, several shelters
were built according to their tribal or regional cultures and traditions. These are also called
as mobile-houses that can be lifted and transferred from one place to another. To name a
few we have the “bahay-kubo” mostly for Luzon, “Torogan” for the Maranao’s, and the
“Badjao’s Houseboats” of the south.


Islamic Influence: Structures like the mosques or masjid, is a prominent Islamic
Architecture began in Sulu (13th century) and in Mindanao (15th century). The
Sheik Karimol Makhdum Mosque is located in Barangay Tubig Indangan, Simunul,
Tawi-Tawi, and known to be the oldest mosque in the Philippines and was built by
an Arab trader, Sheikh Makhdum Karim in 1380.
Hispanic Influence: Structures like the plazas, schools, churches and

hospitals began in the 15th century. Baclayon Church or “La Purisima
Concepcion de la Virgen Maria Parish Church” was founded by the Jesuit
priest Juan de Torres and Gabriel Sánchez in 1596, and became the oldest
Christian settlement in Bohol. It was elevated as a parish in 1717 and the
present coral stone church was completed in 1737.


American Influence: Spanish–American War in 1898, the architecture of the
Philippines was dominated by American aesthetics. In this period, the plan for the
modern City of Manila was designed, with many neoclassical architecture and art
deco buildings by famous American and Filipino architects. The Manila Metropolitan
Theater is an Art Deco building designed by the Filipino architect Juan M. Arellano,
and built in 1935 located on Padre Burgos Avenue corner Arroceros Street, Manila.
Late 20th Century: The beginning of Modern Architecture. In the 1960s,

Filipino architects incorporated some modernist formal principles by
employing local materials and referencing vernacular traditions.One of the
prominent structure during that era was from architect Francisco Fajardo’s
Max’s Restaurant in 1960’s at Scout Tuazon, Quezon City.


The New Millennium Architecture: This futuristic modernism architecture is exemplified by the garish
applications of pastel colors and the mixing and matching of ornaments and styles. Today, skyscrapers adopted
the tripartite division of columnar architecture. Two of the prominent structures belonging in this category are
SM Mall of Asia and LKG Tower in Ayala.

Notable Filipino Architects:

LEANDRO LOCSIN (1928-1994): Locsin was in some ways a quintessential Renaissance man. A brilliant
architect, interior designer, artist, and classically trained pianist. Despite the wide range of buildings Locsin
created, all of them have one thing in common: concrete. His ability to make this most monolithic of materials
appear weightless, and to elegantly combine Western brutalism with vernacular elements, led Locsin’s peers to
dub him the “poet of space.” His most substantial contribution to Filipino architecture is the Cultural Center of
the Philippines, a collection of five buildings that demonstrate the architect’s drive to find a vernacular form of
modernist architecture.


ILDEFONSO P. SANTOS (1930-2014): The “father of Philippine landscape architecture”, Ildefonso Paez
Santos, created some of the best-loved urban spaces in the Philippines. Two of his prominent landscape works
was the Paco Park and the Makati Commercial Center, an outdoor shopping mall in which the shop fronts and
walkways were interspersed with garden trails, fountains, and public artworks. He became the National Artist
for Architecture in 2006.


PABLO ANTONIO (1901-1975): One of the first exponents of modernist architecture in the Philippines, his
success was perhaps unexpected for a boy who was orphaned at 12 and who dropped out of his first
architecture program. It was during his studies at the University of London that Antonio began to shine,
completing a five-year program in only three years. He went on to revolutionize popular architecture in the
Philippines, eschewing the fashionable neo-classical style for his own version of art deco. Buildings such as the
Galaxy Theatre, the Far Eastern University, and the Manila Polo Club display practical innovations such as
natural ventilation systems and sunscreens, all of which are rendered in Antonio’s signature style: “Functions
before elegance and forms” clean lines, strong shapes, and simplicity.


JUAN NAKPIL (1899-1986): The son of veterans of the Philippine Revolution, Nakpil “The Father of
Philippine Architecture” was committed to the belief that architecture built in the Philippines should reflect its
culture and people. In his early career, He spent time studying in the United States and France, absorbing the
lessons of international architecture. Two of the famous works of Nakpil is the restoration of Quiapo Church
and Up Administration Building, Diliman.


FRANCISCO MAÑOSA (1931-2019): was a Filipino architect considered as one of the most influential
Filipino architects of the 20th century for having pioneered the art of Philippine “neovernacular architecture”.
His famous work is The Coconut Palace located at Cultural Center of The Philippines Complex. IN 2009 he
was hailed as the National Artist for Architecture. At early age he displayed an artistic temperament and
remained a keen painter throughout his life. Along with his three brothers, Mañosa eventually chose to pursue
architecture, and before long became the “outspoken champion of indigenous architecture,” thus popularizing
the idea of Philippine architecture for Filipinos.


CARLOS A. SANTOS-VIOLA (1912-1994): An urbane young man, Carlos Santos-Viola was also a gifted
architect. He was a devout Catholic throughout his life, and many of his best known designs were executed for
the Iglesia Ni Cristo, a Filipino religious group. Santos-Viola created churches for the group all over the
archipelago, designed in a style quite distinct from that of his contemporaries. Instead of the monumentalism of
Leandro Locsin or the art deco simplicity of Pablo Antonio, Santos-Viola chose to incorporate Gothic and
Baroque elements into his modern churches. The Central Temple he built for the Iglesia Ni Cristo shows these
revivalist flourishes working in harmony with his passion for geometric shapes and, perhaps more than
anything else, functionality. and he was fond of asserting that “the structure must not only look good but must
also be made well.”

Philippine Painting Brief History:

Artistic paintings were introduced to Filipinos in the 16th century when the Spaniards
arrived. During this time, the Spaniards used paintings as visual aids for their religious
propaganda of spreading Catholicism. These paintings, appearing mostly on church
walls, featured religious figures that appear in Catholic teachings. The purpose of most
paintings in the Philippines from the 16th to the 19th century were to aid the Catholic
Church doctrines and raising funds. In the early 19th century, wealthier, educated
Filipinos introduced more secular Filipino art, causing art in the Philippines to deviate
from religious motifs. The use of watercolor paintings increased and the subject matter
of paintings began to include landscapes, Filipino inhabitants, Philippine fashion, and
government officials. Portrait paintings featured the painters themselves, Filipino jewelry,
and native furniture. Landscape paintings portrayed scenes of average Filipinos
partaking in their daily tasks. These paintings often showcased ornately painted artists'
names. These paintings were done on canvas, wood, and a variety of metals.
During World War II, some painters focused their artwork on the effects of the war.
Common themes included battle scenes, destruction, and the suffering of the Filipino
people.

Notable Filipino Paintings:

“The Fruit Gatherer” (1950) by FERNANDO AMORSOLO (1892-1972): Labelled the country’s first
National Artist in 1972 by then President Marcos, Fernando Amorsolo is often known as the ‘Grand Old Man of
Philippine Art’. The Spanish-trained realist developed a backlighting technique, where his colorful depictions of
local people reflect the radiance of the Philippine sun. The figures and illuminated landscapes magically glow
on the canvas. Despite his deteriorating health and failing eyesight, he remained prolific until the end,
producing up to 10 paintings a month until his death at the age of 80. Amorsolo’s creativity defines the nation’s
culture and heritage to this day.
1

“Granadean Arabesque” (1958) by JOSÉ JOYA (1931-1995): A Filipino pioneer of Abstract
expressionism, multi-media painter José Joya uses bold and vibrant colours with a variety of painting
techniques, layering, loose impasto strokes and controlled drips. His harmonious colours are influenced by
Philippine landscapes and tropical wildlife. His mastery lies in gestural paintings, where the paint is applied
spontaneously on canvas, sometimes directly out of the tube or through the use of broad strokes with brushes.
In 1964, Joya represented the country in the Venice Biennial, showcasing the advancement of modern art in
the Philippines. His most notable painting from 1958, called Granadean Arabesque, is a large scale yellow
hued mural that features clusters of sand and impasto. It can be viewed at the Ateneo Art Gallery in Manila.
2

“The Aikaff Bridge” (2004) by PACITA ABAD (1946-2004): Born on the northern island of Batanes,
the internationally revered artist first obtained a degree in Political Science at the University of the Philippines.
Her paintings consist of vibrant colors and a constant change of patterns and materials. Earlier work dealt with
socio-political depictions of people, indigenous masks, tropical flowers, and underwater scenes. Pacita created
a unique technique called ‘trapunto’, where she stitches and stuffs her vibrant canvases with a wide range of
materials such as cloth, metal, beads, buttons, shells, glass and ceramics. Pacita has participated in over 60
exhibitions across the United States, Latin America, and Europe. She is noted to have worked on more than
5,000 pieces of art – her masterwork being Alkaff Bridge, Singapore, a 55-meter bridge covered in over 2,000
colorful circles. It was completed a few months before she passed away from lung cancer in 2004.
3

“Fishermen at Sea” (1981) by ANG KIUKOK (1935-2005): Born to Chinese immigrants, Ang Kiukok is
the pioneer of Philippine modern figurative expressionism. Rewarded as the country’s National Artist in 2001,
he was one of the most successful commercial figures on the local art scene from the 1960s until his death
from cancer in 2005. Like Amorsolo, his paintings are popular at auctions and have received exceptionally high
bids at Sotheby’s and Christie’s. He is known for his distinct cubist and surrealist portrayals of the crucifixion of
Christ and mother and child. However, he is acclaimed for his series of Fishermen at Sea, which connects
both energy, faith and the struggle of fishermen under a vibrant crimson sun laboring together to bring in the
haul for the day. His notable works are represented in the Cultural Center of the Philippines, the National
Historical Museum of Taipei and the National Museum in Singapore.
4

“Sabel in Blue” (2006)
by BENEDICTO CABRERA (1942-present):
Fondly known as ‘BenCab’ in the Philippines, Cabrera is the
5
best-selling commercial painter of his generation and a
prominent head of the local contemporary art scene. He
studied under José Joya at the University of the Philippines
and received his degree in Fine Arts in 1963. His fruitful
career has spanned five decades, where his paintings,
etchings, sketches, and prints have been exhibited across
Asia, Europe, and the US. He currently resides in the chilly
northern hill station of Baguio, where he established his own
four-level BenCab Museum on Asin Road that features an
eclectic selection of indigenous artifacts, personal works, and
an overwhelming collection of paintings from contemporary
Filipino artists.


“Genesis” (1968)
by HERNANDO RUIZ OCAMPO (1911-1978):
Hernando Ruiz Ocampo was a leading radical modernist artist in the

Philippines. Famously known for his triumvirate his works reflected the
harsh realities of his country after the Second World War. However,
many of his works depicted lush sceneries and the beautiful Philippine
landscapes through his skillful use of fierce and bold colors. H. R.
Ocampo was credited for inventing a new mode of abstraction that
exemplifies Philippine flora and fauna, and portrays sunshine, stars
and rain. Using movement and bold colors, Ocampo utilized fantasy
and science fiction as the basis for his works. His art is described to be
"abstract compositions of biological forms that seemed to oscillate,
quiver, inflame and multiply" like mutations. his most acknowledged
work “Genesis”, which served as the basis of curtain design in the
Cultural Center of the Philippines Main Theater. His works were
exhibited in Washington, New York, London, and Tokyo, among others.
6

“The Progress of Medicine in the Philippines” (1968)
by CARLOS MODESTO VILLALUZ FRANCISCO (1912-1969):
Known as “Botong Francisco” the poet of Angono, single-handedly

revived the forgotten art of mural and remained its most distinguished
practitioner for nearly three decades. In panels such as those that grace
the City Hall of Manila, Francisco turned fragments of the historic past
into vivid records of the legendary courage of the ancestors of his race.
Botong’s unerring eye for composition, the lush tropical sense of color
and abiding faith in the folk values typified by the townspeople of
Angono became the hallmark of his art.
One of his known works “The Progress of Medicine in the Philippines” is

a four-panel painting commissioned in 1953 to depict the history of
Philippine medicine. It is currently on display in the National Museum of
Fine Arts in Manila. A high-quality replica of the mural is also located at
its previous location at the lobby of the Philippine General Hospital.
VIRTUE
7
SERVICE
EXCELLENCE

“Man and Woman” (1985)
by CESAR LEGAZPI (1917-1994):
A pioneer “Neo-Realist” of the country, Cesar Legaspi is remembered

for his singular achievement of refining cubism in the Philippine
context. Legaspi belonged to the so-called “Thirteen Moderns” and
later, the “Neo-realists”. His distinctive style and daring themes Just
like the “Man and Woman” now in auction contributed significantly to
the advent and eventual acceptance of modern art in the Philippines.
Legaspi made use of the geometric fragmentation technique, weaving
social comment and juxtaposing the mythical and modern into his
overlapping, interacting forms with disturbing power and intensity.
8

“Man and Woman” (1885)
by FÉLIX RESURRECCIÓN HIDALGO (1855-1913):
Hidalgo is acknowledged as one of the great Filipino painters of the

late 19th century.
His winning the silver medal in the 1884 Madrid Exposition of Fine
Arts, along with the gold win of fellow Filipino painter Juan Luna,
prompted a celebration which was a major highlight in the memoirs of
members of the Philippine reform movement, with Jose Rizal toasting
to the two painters' good health and citing their win as evidence that
Filipinos and Spaniards were equals.
In 1891 “La barca de Aqueronte”, (The Boat of Charon), an 1887 oil on

canvas and an allegorical painting won a gold medal during the
Exposicion General de las Filipinas in Madrid. 9

“La Batalla de Lepanto” (1887)
by JUAN LUNA (1857-1899):
After winning three golds in the artist’s exposition in Madrid, Luna

developed a friendly relationship with the King of Spain and was later
commissioned by the Spanish Senate to paint a large canvas which
was called the La Batalla de Lepanto (The Battle of Lepanto). The
Battle of Lepanto earned recognition in the international field of arts
and culture along with Félix Resurrección Hidalgo’s paintings.
The masterpiece is about the Battle of Lepanto of October 7, 1571.

The painting features Don Juan of Austria (also known as Don John of
10
Austria) in battle while at the bow of a ship. It is one of the “huge epic
canvasses” painted by Luna, the others are the Spoliarium and The
Blood Compact).

Brief History on Philippine Sculpture:

Filipino sculptures have undergone an evolution in shape, form, content and
mediums. Like other cultures the first sculptures were created by Philippine
native and primitive cultures. These primitive sculptures utilized native
materials like wood, stone, and clay. The sculptures were created to depict
everyday life of people, mythological beliefs, and rituals. Colors were limited
in primitive sculptures. Bul-ol
Some of the few popular primitive sculptures are “Bul-ol” of the Ifugaos,
“Sarimanok” and “Buraq” of Maranao. The bul-ol is usally tiny sculpture
guardians represent the harmonious union of opposing elements, the
protection of communities from malevolent spirits and the promise of good
fortune. The sarimanok is a legendary bird that has become an ubiquitous
symbol of Maranao art. It is depicted as a fowl with colorful wings and buraq
feathered tail, holding a fish on its beak or talons. Buraq is often described
as "a white animal, half-mule, half-donkey, with wings". The Prophet
Muhammad rode the Buraq to fly through the heavens in a single night, a
journey known as Mir'aj. sarimanok

Notable Philippine Sculpture:

The transitional sculpture movements in the Philippines between
the primitives and the modern movements were influenced by
outside cultures and internal evolutions. In the middle of the
transition between the primitive and the most modern sculptures
was the late 19th century art movement the peak of Career of
Guillermo Tolentino.
GUILLERMO TOLENTINO (1890-1976) was known as “The

hero of transitional sculpture movement”. His most popular and well
known piece was the “Bonifacio Monument” (1929), a tribute
piece to the Filipino revolution that was fought against the Spanish
in 1896. Tolentino completed this multi-figure sculpture in 1933 and
it became the cornerstone of his career and the rise of other notable
sculpture artist today.
Two years after another notable masterpiece of Tolentino was

erected in UP, Diliman known as the “UP Oblation” (1935).
1

“The Transfiguration” (1979)
by NAPOLEON V. ABUEVA (1930-2018)
He assumed the name Napoleon at the age of six, when as a student at the St. Joseph
Academy in Tagbilaran, one of the nuns first called him Napoleon after Napoleon
Bonaparte. The name stuck, and ever since, Abueva referenced the quote from
Napoleon: "If I weren't a conqueror, I would wish to be a sculptor.“
Recognized as the “Father of Modern Philippine Sculpture”, Abueva helped shape the
local sculpture scene to what it is now. He used almost all kinds of materials for his
sculptures such as hard wood, adobe, metal, stainless steel, cement, marble, bronze,
iron, alabaster, coral and brass. He was the first Filipino artist to mount a one-man
exhibit at the Philippine Center in New York in 1980.
Some of his major works include Kaganapan (1953), Kiss of Judas (1955), Thirty
Pieces of Silver, The Transfiguration (1979), Eternal Garden Memorial Park, UP
Gateway (1967), Nine Muses (1994), UP Faculty Center, Sunburst (1994)-Peninsula
Manila Hotel, the bronze figure of Teodoro M. Kalaw in front of National Library, and
murals in marble at the National Heroes Shrine, Mt. Samat, Bataan.
2

Sarimanok Inspired Sculpture Artist
by ABDULMARI ASIA IMAO (1936-2014)
Imao is perhaps most famous for his fusion of eastern mystical and
ornamental motifs with the western technique of Cubism. This resulted
to abstract and colorful artworks for both painting and sculptures. While
Imao is a Muslim, he is first a Filipino thus he strived to bring Muslim
culture closer to the rest of his fellowmen. Despite cultural barriers, Imao
successfully instilled in the consciousness of Filipinos the Tausug and
Maranao motifs of the sarimanok, ukkil, and naga (a technique of
decorative pattern making) through his works, which pioneered a cultural
shift in modern Filipino art.
On 9 June 2006, Imao was named with the National Artist of the
Philippines for Sculpture (the first Muslim). Imao was also recognized as
a brass-making consultant of the United Nations. Aside from being a
sculptor, Imao is also a painter, photographer, ceramist, cultural
researcher, documentary film maker, writer, and a patron of Philippine
3
Muslim art and culture.

“The Trees”, Bonifacio Global City, Taguig
by REYNATO “Rey” PAZ CONTRERAS (1950-Present)
Rey is a prominent Filipino sculptor working with urban refuse and
environmental materials as artistic media. He is inspired by the
indigenous Filipino culture and creates visual forms of contemporary
images that explore a distinct Filipino aesthetics. born in Parañaque,
south of Manila, and grew up in a house by the railway tracks in the
crowded urban district of Tayuman. When the railway company decided
to replace the old wooden railroad sleepers, some of them 100 years old
and severely damaged, Contreras bought the wood and began using it
to create wooden objects. At first these were functional objects such as
bowls, often reflecting irregularities in the wood.
Contreras' sculpture often still has a functional aspect. Some of the
biggest corporations in the country has permanent display of Contreras
works, few of them to mention are; National Museum, Cultural Center of
the Philippines, GSIS Museo ng Sining (GSIS Museum of Art), GMA
Network and BAFI.
4

“Bonifacio and the Katipunan Revolution Monument” (1998)
by EDUARDO CASTRILLO (1947-2016)
The name Eduardo Castrillo is synonymous with metal sculpture. He is one of
the leading Filipino artists in the field of sculpture who first burst into the
Philippine contemporary art scene in 1966 with religious tableaux such as “The
Virgin at La Loma Cemetery” and “Pieta at the Loyola Memorial Park” in
Parañaque.
Other monumental works followed that not only defined the urban landscape of
Metro Manila but also celebrated Phililppine heroes and history—the Spirit of
Pinaglabanan in San Juan, Rajah Sulayman in Malate; the Bonifacio Shrine
near Manila City Hall. The historic People Power Revolution had two
monumental iterations by Castrillo—People Power Monument along EDSA and
the Spirit of EDSA at the RCBC Plaza in Makati.His works are also seen in
other countries such as Singapore, Hong Kong, Malaysia, and Brunei
Darussalam in Southeast Asia; Switzerland, the Vatican, and Poland in Europe;
5
Guam, North America, and Australia. In spite all of this cultural contributions
and achievements, he is not elevated as National Artist for Sculpture yet.
” If I weren't a conqueror, I would wish to be a sculptor.”

- Napoleon Bonaparte

Art Appreciation: Ñas, Cavite

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Art Appreciation: Ñas, Cavite

Uploaded by

Copyright:

Available Formats

EMILIO AGUINALDO COLLEGE ISO 9001: 2015 CERTIFIED

QUALITY MANAGEMENT SYSTEM

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1

Prehistoric Art Evidences: New Stone Age

2. Angono Petroglyphs (2000BC)

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1

Prehistoric Art Evidences: New Stone Age

4. Manunggul Jar (890-710BC) is a burial jar from

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1

Prehistoric Art Evidences: Metal Age

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1

Prehistoric Art Evidences: Metal Age

Some of the designs on the pottery were similar to those found in

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1

Prehistoric Art Evidences: Metal Age

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1

Prehistoric Art Evidences: Age of Contact

Gold Death-Mask (1300 - 1400 AD) 10.

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1

Prehistoric Art Evidences: Age of Contact

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1

Prehistoric Art Evidences: Age of Contact

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1

Prehistoric Art Evidences: Age of Contact

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1

History of Philippine Architecture:

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1

History of Philippine Architecture:

Hispanic Influence: Structures like the plazas, schools, churches and

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1

History of Philippine Architecture:

Late 20th Century: The beginning of Modern Architecture. In the 1960s,

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1

History of Philippine Architecture:

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1

Notable Filipino Architects:

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1

Notable Filipino Architects:

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1

Notable Filipino Architects:

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1

Notable Filipino Architects:

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1

Notable Filipino Architects:

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 1