Week 2 - Art History and Development

PRE-COLONIAL ART AND SOUTHEAST ASIAN CULTURES

The Philippine way of life before the coming of the

Spaniards is thread in a web of interrelated cultures that
simultaneously developed in one mainland Southeast Asia, the
Indonesian Archipelago, and many other islands in the Pacific
Ocean. It is prudent to assume that the earliest people who
lived and stayed here had created their tools and artifacts from
locally available materials. The presence of artifacts in Pre-
Hispanic archaeological sites and the dates to which they are
traced help reveal their origin in time and place.
 PRE-COLONIAL ART IN THE PHILIPPINES

The crudest forms of stone tools have been excavated in

Batangas, Cagayan, the Central Luzon area, Davao, and Palawan.
The Tabon Cave in Lipuun Point, Palawan, turned up the country's
earliest human remains so far: a skullcap which has been dated
about 20,000 B.C.

THE TABON CAVE IN LIPUUN POINT, PALAWAN

 CRUDEST FORMS OF STONES TOOLS

SKULLCAP
 DESIGN

With the first settlements,

RECEPTACLES
they began to conceive from of life
that could be planned within a
The first containers
long range of time. The safety of a
were fashioned by early
certain place from wild animals
man probably to enclose
and unkind weather are the
and protect bodies of his
major factors that made man
dead relations. Man
form permanent settlements.
began to believe in the
They first occupied natural caves
afterlife in order to endow
in dense forests and settled along
his loved ones with
river banks or shorelines. The
immortality. Bamboo was
safety of a certain place from wild
probably the most
animals and unkind weather, as
popular material because
well as its nearness to a more or
it is a natural receptacle.
less continuous source or rood
are the major factors that made
man form permanent settlements.
 TEXTILE WEAVING

When weaving started our

country is yet to beascertained.
Flat stone tools believed to have
been used to pound and flatten
tree barks into primitive types of
textiles have been excavated.
Perhaps the woven art products
of our cultural minorities and
Christianized rural areas offer a
clue to the earliest textile
designs.
 JEWELRY

The most ancient sample of jewelry dug

up in the Philippines was found in Duyong
Cave, Palawan. The sophistication of this
goldwork can be seen in the gold beads in
the Guri Cave (dated to 300-100 B.C.) and in
later examples found in Marinduque and
Batangas digging sites. Part of a jade
bracelet (6 cm. in diameter) found in
Palawan shows an intricate decorative
pattern, the design being that of small
diamond shapes within still bigger diamond
shapes repeated along this partly destroyed
jade arm band. When the Spaniards
colonized Luzon in the 1570's, they found
out that the gold mines of Benguet and
Paracale were already in operation. This LINGLING-O
type is called the lingling-o.
 POTTERY

Later, the local potter mastered the

strength and smoothness of his work and
started decorating its surface. The most
convenient approach to the study of
thousands of pre-hispanic pottery is to
classify them by shape, method of
decoration, and type of design used on the
surface. The questions of how and when
pottery began in our country are still being
resolved by archaeologists working here and
throughout Southeast Asia. The artist-
potter used a sharp object to draw certain
patterns on the earthenware's still wet
body. The designs are either abstract or
representational. Very miniscule drawings
of human objects have been found in the
Kalanay excavation area in Masbate, the
Kalanay pottery complex.
 REPRESENTATIONAL ART: SCULPTURE
The
The sculpture of souls rowing a boat
MANUNGGUL BURIAL
toward a Philippine Hades as depicted in
JAR is 66.5 cm in
the Manunggul jar is a very early and
height and 51 cm in
important example. The effigies
diameter at its
representing spirits constituted most of
greatest width. Its
early Philippine representational
ovate body is crowned
sculpture. The images represented the
by a unique lead
anitos, the spirits to whom the early
cover, surmounted by
Filipinos prayed and who fulfilled a role
a representation of
similar to that of the later patron saints.
two souls rowing a
Though Bathala was the Supreme God,
boat in their voyage
there were, however, other supernatural
to the afterlife. The
powers who were supposed to assist or
Manunggul burial jar
punish men in their daily lives. Generally,
is named after the
the figures are characterized by curved
cave where it was
lines, in contrast to the geometrically
unearthed.
simple carvings of the by Mountain
Province.
 Wood, however, has not withstood the
centuries, while stone sculpture of better
craftsmanship may have been destroyed by the
Spanish friars. The discovery of statues of Hindu
gods and goddesses in excavations all over the
archipelago is a concrete evidence. Some of the
statuaries of the early Filipinos were also brought
from other lands, copied from or inspired by
foreign models, as were the vessels used in local
rituals. The Golden Image unearthed in Agusan;
the Avalokiteshvara-Padmapani clay medallion
found in Karitunan, Batangas; the Golden Garuda
pendant dug up in Brookes Point, Palawan; and
the Bronze Lokesvara discovered in Mactan, Cebu,
are some examples. It is possible that the pre-
hispanic sculpture was more dexterous in wood as
medium. These artifacts are dated to between the
12th and the 14th centuries A.D.
 ANCIENT PHILIPPINE SYLLABARY

It is one of about a dozen indigenous

alphabets found in Southeast Asian islands
like Sumatra, Java and Celebes. The old
Philippine alphabet has 17 letters: 14
consonants and 3 vowels. Samples of
Tagbanua writings can be seen at the Museum
of Traditional Culture at the Nayong Pilipino.
The indigenous Philippine alphabet has
fascinated almost everybody who has come to
learn of it, from the missionaries of the 16th
century to contemporary archaeologists. This
old script is one of about a dozen indigenous
alphabets found in Southeast Asian islands
like Sumatra, Java, and Celebes which are
ultimately derived from ancient India, and
which share common characteristics with
Sanskrit writing.
 Oral tradition
Hinilawod is the epic poem of Panay and
Negros. Tanaga is a short poem composed of four
Pre-hispanic Philippine
lines, each with 7 or 8 syllables. Darangan refers to
literature is oral in tradition
Maranaw narrative poetry which could be over a
and is related to rituals and
thousand years old. The two known and recorded
social gatherings. The
epics from the ethnic groups of the Mountain
Hanunuo of Mindoro still yell
Province are Hudhud, the story of the feats of
the pagrit, rhythmic shouts,
Aliguyon, and Alim, which deals with the lives of
while clearing a forest.
gods and goddesses. Lam-ang is the long poem of
Apparently these yellings are
adventure among the llocanos. The Bicol epic is
warnings for spirits who could
the lbalon, which tells the story of Ibalon, a fertile
get offended when timber
and beautiful land, and how in a time of disaster, it
falls. The prayers consisted of
was protected by Baltog (its founder), Handiong,
the invocations intoned by the
and Bantong, all three being superhuman heroes.
babaylan, the head priest,
The pamatbat were epic tales of the Tagalogs,
and the response which was
described as "genealogical histories and
recited in unison by the
superhuman adventures." No pamatbat, however,
worshippers
has been preserved.
 Music

The metrical works of the ancient Filipinos were always sung. The gitgit, which
resembles a violin, has two or three strings made of abaca or human hair. The bangsi of
the Hanunuo is a three-stopped bamboo flute. A bowed harp, so-called because it looks
like a bow, is played by the mouth. The Dumagats play the kubing, which is a bamboo
version of the ancient jew's harp. In the Mountain Province, the kaleleng or balingling
(nose flute) is three-stopped and its sound is produced by wind blown through the
nose.The plug-with-flute or 'whistle flute' has a mouthpiece with an open end which is
blocked by a piece of wood. Diw-diw-as is a construction of bamboo pipes of different
lengths tied together, looking like pan-pipes. Bamboo zithers are made of a single
section of a bamboo tube with a node at each end. The polychordal kolitong has three to
eleven strings, some of which are high-pitched. Several kinds of drums are found in the
Mountain Province. Muslims of Mindanao have a variety of musical instruments. The
most popular stringed instrument is the kudyapi, or boat lute, so-called because of its
elongated body with a boat-like shape. The agung is a gong with boss, made of brass,
may be thin- or thick-lidded, small or big. The babundir is usually made of thin bronze,
wide-rimmed and big-bossed. One of the stringed instruments of the Maranaws is the
parallel or two-stringed zither, the serogaganding.
 GITGIT BANGSI KUBING KALELENG OR BALINGLING

DIW-DIW-AS
BAMBOO ZITHERS POLYCHORDAL KOLITONG KUDYAPI

AGUNG SEROGAGANDING
 HOUSES

The early inhabitants of the

Philippines were a sea-faring people, and
they drew their food from nearby rivers or
seas. The houses of the datus and their
relatives looked toward the shore instead of
being in the center of the community. The
houses during the 16th century were
single-room constructions with walls of
bamboo and roofs of palm leaves. The
construction and style of native dwellings
in the 16th century can be seen in three
different types of structures which are still
being built in the country today, namely,
the bahay kubo, the Ifugao house, and the
Maranaw house.
 THE INDIGENOUS ART OF THE MUSLIM REGIONS AND THE MOUNTAIN
PROVINCEMUSLIM MINDANAO

The teachings of Mohammad reached our shores probably during the end of the
13th. There are nine ethno-linguistic groups referred to whenever we use the term
Muslim Filipinos. They are the Taosug, Maranaw, Samal, Maguindanaw, Yakan,
Sanggil, Badjao, Malbog, and Jama Mapun. The Taosugs, Samals, Maguindanaws, and
Maranaws consider themselves the original Muslim tribes. The rest accepted Islam
later, while the Badjaos have always been considered pagans. The sarimanok is a
stylized representation of an open-winged legendary bird whose beak or claws clutch a
fish. Color is a vital element in Muslim art. Maranaw brasswork is best seen in the
kabul and the gadur, jar-like containers with covers that resemble the stately dome of a
mosque. Green, yellow, red, violet, and blue enrich and enhance any okir, the is a
general term for wood carving in the Muslim regions. This mode of ornamentation
which covers the entire surface with patterns is seen in every Muslim container-- the
kendi, a teapot; the rims of the salam, a bronze tray; the lutuan, a silver and bronze
betel-nut container; and the langguway, an open box of brass on whose sides are
geometric-shaped perforations that produce curvilinear patterns.
 MOUNTAIN PROVINCE

Seven ethnic groups compose the Mountain Province people, commonly

called Igorots by Christians. They are the Ifugao, Bontoc, Ibaloi (Nabaloi),
Apayao, Tinguian or Itneg, and Kankanay. Wood is the predominant material in
the art of the mountain people. Woodcarving is an established vocation in
almost all of the seven tribes. Iron-smelting and bronze-casting are important
skills of the Ifugaos and Tinguians. To the ritualistic group belong the bulol and
the bihang. The bihang is a gruesome houseguard idol worshipped by the
Filipinos as "ugly and gruesome". Mountain art can be divided into two groups,
the ritualistic and the decorative.

SEVENTEENTH CENTURY
The propagation of the
Catholic Faith could not have
been successful without
religious paintings, engravings,
and sculpture, as well as
devotional hymns and verses.
By the middle of the 17th
century, many natives began to
produce poems, paintings, and
musical compositions which
echoed Western artistic styles.
These early colonial artists were
chiefly church clerks, converts
who were prominent in the
community.
POETRY
Priests printed the first examples of
vernacular poetry to be printed in the
Roman alphabet. Some of the poems were
written by the natives, some by the
missionaries themselves. An example of a
native's work is Pedro Suarez Ossorio's
Salamatnang Ualang Hoyang
(UnendingThanks). The grammar and
prayer books also included verses in
Spanish written by the ladinos, the natives
who were taught to speak and write in
Spanish. A poem of a ladino, Fernando
Bagongbanta, was published in a book
called Memorial de la Vida Cristiana en
Lengua Tagala.
 MUSIC
The process of Westernization
was easily seen in music. Pre-colonial
musical forms and indigenous
instruments were abandoned for
Western modes, such as the
plainsong, and for Western musical
instruments, such as the flute, the
organ, the harp, and the guitar. The
choir in those times was indeed, an
indispensable component of Church
ritual. The seminary was a natural
training ground for choristers. In the
rosters of the monasteries of different
religious orders, we read the many
names of native aspirants for the
religious vocation who became
outstanding in the field of music.
VISUAL ARTS
Fr. Antonio Sedeño, a Jesuit,
introduced the use of lime in the
construction of buildings. He was
responsible for the first fortress, the
Nuestra Señora de Guia Fort in Manila.
Spanish colonization also introduced
easel painting and Western styles in
sculpture and architecture. Early
painting and sculpture jobs for the
church were largely given to Chinese
artisans living outside Intramuros. The
natives must have tried their hand at
these arts, too, but their works were
made particularly for their own house
use. There is no Asian tradition behind
the making of realistic human figures as
there is in Western art.
 EIGHTEENTH CENTURY
Spanish colonization of
Mexico was dependent on the
trade of Chinese silk with
Mexican silver-the Galleon
Trade. The profits went to the
natives in the course of buy-
and-sell of their farm
products. In the resulting
growth of socialization, the
principaliaunabashedly copied
Spanish customs.
Intermarriage with Spanish
and Mexican soldiers further
added to the hispanization of
our culture.
METRICAL ROMANCES
The clergy encouraged these secular
tales because they were mainly stories of
knights fighting for the Church against the
Moors. These tales were later adapted into
dramatic performances in verse. A metrical
tale composed of octosyllabic verses is
called a corrido, to be distinguished from
the awit which is made of dodecasyllabic
lines. The story of St. Helena, and her
search for the True Cross is reenacted
outdoors in the Tibag. Jose de la Cruz
(1746-1829) was reputed to be a master of
the metrical romances. The tales that have
come down to us include Siete Infantes de
Lara, Bernardo Carpio, Doce Pares, Aladin
and Ibong Adarna.
 ENGRAVING
MUSIC AND DANCE
We have no available data on
In the 18th century, Philippine
the lives of the numerous
dances showed considerable European
engravers whose works adorned
influence. The contradanza, the minuet
the title pages of books and who
and the fandango enjoyed a vogue in the
provided estampitas and other
islands, but these were interpreted here
illustrations in the publications of
with willowy grace and light manner, not
the 18th century. Some of the
with Spanish fire and vigor. In the 19th
outstanding engravers who signed
century, the native pentatonic musical
their prints were:
sense was transformed into its closest
• Nicolas de la Cruz Bagay
Western counterpart, the minor mode of
• Francisco de Herrera
the diatonic scale. The early native songs
• Luis Suarez
that were Spanish sounding derived their
• Juan Correa de Castro
tunes from religious hymns. Later on
• Francisco Suarez
they were influenced by the gay and
• Laureano Atlas
bawdy songs of Mexican soldiers and
sailors.
 NINETEENTH CENTURY

The 19th century saw a rise of national consciousness among

the Filipinos. This was brought about by the economic and political
developments resulting from the Opening of Philippine ports to
world trade in 1834, as well as the opening of the Suez Canal.
National consciousness was expressed through the reform
movement following the execution of Fathers Jose Burgos, Mariano
Gomez, and Jacinto Zamora. It did not fight for independence but
for representation of the Filipino, as Spanish subjects, in the
Spanish Cortez.
 VISUAL ARTS

 Sociedad Economica de Amigos a civic-conscious organization aims to

encourage the development of the visual arts. For this purpose, the society
established the Escuela de Dibujo y Pintura in 1821.
 Damian Domingo, a mestizo, one of its first teachers, he commissioned to paint
some albums of local scenes showing natives, Chinese, and creoles in the daily
costumes. These shows his mastery of water color.
 The school closed in 1834 for unknown reasons.
 The Academia de Dibujo y Pintura opened twenty years later. In the beginning
its teachers were Spaniards: a certain Nieto, Manuel de la Cortina, and Agustin
Saez. The directorship of the school later passed on to Filipinos Lorenzo Rocha
and Lorenzo Guerero. In 1879, this school was incorporated with the Escuela
de Pintura, Escuela y Grabado.
 With the establishment of school of fine arts, the painting of secular objects
was formally taught. Portraiture was one of these.
 The earliest portraits were done in miniature, the size of lockets. In 1850’s large
portraits began appearing.
SOCIEDAD ECONOMICA DE AMIGOS

DAMIAN DOMINGO
 THEATER
ARCHITECTURE
Early manifestations of drama in our country may be
 Houses seen in some features of duplo.
 Furniture Duplo- a game of wit used to relieve the sad feelings
 Churches during a death anniversary celebration.

 Cenakulo - a dramatic presentation recalling the

Passion of Jesus Christ. It is held during the Holy Week
in empty yards or open fields.
 Carillo - is a shadow play; cardboard figures projected
on a screen were manipulated so as to execute
movements and gestures. Action is usually
accompanied by dialogue spoken by the manipulator.
 Zarzuela - is derived from zarza, a Spanish word
meaning “bramble bush” referring to the hamlets or
small villages of Spain. This usually consisted of short
piece of songs and recitations. Such occasions
eventually became known as fiestas de zarzuela.
 CARILLO

CENAKULO

ZARZUELA
 MUSIC AND DANCE

The Kumintang is believed to have been sung even before Spanish

times. In the 1890's, nationalism was expressed through the kundiman.
It is always sung in the minor mode and in 3/4 time with metrical
romances as forebears.The kundiman is believed to have been coined
from the phrase kung hindi man, with which one song under this type
began its first line. In the 1890's, nationalism was expressed through the
kundiman. It is always sung in the minor mode and in 3/4 time. The
balitaw is known in two forms: the balitaw mayor, in the major scale,
generally happy, humorous, and fast in tempo, which is mostly found in
the Tagalog regions, and the balitaw menor, in the minor key and in 3/4
meter, sad and slow, which is popular in the Visayas. Musical
organizations started from church choirs, but as the people started to
congregate more often in secular affairs, the choir members formed
themselves into rondallas (native string bands), orchestras using Western
instruments, and brass bands.
 LITERATURE

 Francisco Baltazar (Balagtas)(1788-1862), known as the father of Tagalog

Poetry. He wrote sainetes (farces) and other dramatic works, most of
which are in verse. Their subjects were derived from the metrical
romances which were very popular in 18th century. La India Elegante y el
Negrito Amanteand Principle Baldovinocounted among his works. But the
most famous of these is Florante at Laura, written as an awit, a form of
romantic poetry, and which is believed to be a veiled attack against the
political and social injustices off the Spanish regime.
 Other famous works written in Tagalog are; Pasiong Mahal ni Jesucristong
Panginoon Natin.
 Urbana at Felisa
 Jose Rizal wrote A la Juventud Filipina, novels, Noli Me Tangere (1887)
and El Filibusterismo (1891). His last poem entitled Mi Ultimo Adios.
 ART DURING THE AMERICAN REGIME UP TO THE JAPANESE
ACCUPATION

ARCHITECTURE

The Perez-Samanillo building featured simulated louvres and "pipe"

mouldings capped by square plates. Some of Manila's art deco buildings,
such as the Metropolitan Theatre (Juan Arellano), were built in the 1930s
and destroyed in 1945. Juan Nakpil introduced section. architecture
began to take shape in the 19th century, with buildings such as Rizal
Memorial Stadium, Far Eastern University Administration Building, and
Manila Jockey Club. In residential construction, two-story residences
made of concrete were preferred by the wealthy homeowners over
bungalows and chalets in direct lighting at the Ideal Theatre and replaced
the posts supporting the balcony with Y-beams, thus eliminating the
obstruction to the line of vision from the orchestra .
 CINEMA HOUSE DURING 1930’S
PEREZ-SAMANILLO BUILDING METROPOLITAN THEATRE DESIGNED BY
DESIGNED BY ANDRES LUNA JUAN ARELLANO

FAR EASTERN UNIVERSITY

IDEAL THEATRE YEAR 1930’S MANILA JOCKEY CLUB
ADMINISTRATION BUILDING
 SCULPTURE

In 1903, the Americans ordered the erection of

monuments to Jose Rizal in all the plazas of the Philippines.
It was only in 1913, that the prototype of these monuments
was built by a Swiss national. As examples of public
sculpture, they are "stiff, formal, awkward, mass produces
cements figures". In 1933, Guillermo Tolentino finished his
Andres Bonifacio monument. It is 45 feet tall, topped by a
winged figure of Victory. Composed around the base of the
shaft are 23 figures depicting scenes of injustice, suffering
and resistance. Tolentino's sculpture of Bonifacio was a
conservative classicist, and in his prime expressed his views
against modernist tendencies in art. The single figure had
upraised arms. The left hand held the Katipunan flag and
the right hand a bolo. In the thirties, Francisco Monti
introduced economy of line, simplicity of form, and GUILLERMO TOLENTINO
distortion of figures through elongation in his ornaments at
New York's Metropolitan Theatre.
MONUMENT OF JOSE RIZAL IN ANDRES BONIFACIO AND THE
CALAMBA, LAGUNA CRY OF BALINTAWAK
 PAINTING

After the Spanish-American invasion of the Philippines in

1898, Filipino painters "turned to depicting the countryside
rather than the horrors of turmoil". The trend toward genre
painting, which began in the 1890's, reached full maturity
during the first three decades of American rule. In 1928,
modern art began formally to threaten the dominance of
conservatism in art. Fabian de la Rosa and Fernando
Amorsolo painted idealized scenes of rice-planting, plowing,
palay harvesting and pounding, river scenes, and street
scenes. Their subjects found high commercial favor among
American army and business officials in the Philippines.
PLANTING RICE BY FERNANDO AMORSOLO RICE PLANTERS BY FABIAN DE LA ROSA
 THE POST-WAR PERIOD TO THE PRESENT

In the aftermath of World War II, Philippine artists were fascinated with
the Hollywood version of the American way of life and things American. The
trend among artists in the fifties through the sixties was a search for a Filipino
identity and how to depict this in their art works. The Nayong Pilipino is a
collection of replicas of the different house styles found all over the
archipelago. It has exhibited prestigious local and foreign art works and
presented concerts. The Cultural Center of the Philippines was founded by
Mrs. Imelda R. Marcos and designed by Leandro Locsin. The government has
likewise declared many historical monuments as cultural shrines, such as the
Taal Church in Batangas, the Bacarra Church Tower in Ilocos Norte, and
many others. The government has also honored outstanding Filipino artists
through the National Artist Awards. Francisca Aquino for her researches on
native folk dances, Guillermo Tolentino for sculpture and Fernando Amorsolo
and Carlos V. Francisco for painting.
 ARCHITECTURE

Along with construction devices such as cantilevering, steel reinforcements, and

glass already in use before the outbreak of the war, new materials such as brise-soleil
or sun deflectors, pierced screens, movable louvres, and prefabricated concrete
moldings became available. Several principles determine the works of the individual
architects, among which are:1.Buildings must suit the tropical condition of the
country. This is exemplified by Pablo Antonio’s use of “double-sunshades” in Capitan
Luis Gonzaga Building ( 1949), which gave the building protection from excessive
sunlight and rain. 2. Buildings must not merely function; they must also have a
purpose. Cesar H, Concio demonstrated this principle in the U.P Protestant Chapel,
which has a distinctive "saddle-shaped-hyperbolic paraboloid of one sheet."3. The
"quiet or rest" section must be separated from the "noisy," the "social," and the active"
parts of the house. Juan Nakpil and Sons apply this dictum in their plans for single-
story residences in Forbes Park, residences in San Lorenzo village, and other exclusive
communities.4. There must be unity and continuity of interior space with outer space.
This is achieved by taking account of a building's location, as in Antonio's Sea Tower
Apartments along Roxas Boulevard, which feature deeply set openings and wide
balconies. It is also achieved by bringing the outdoors inside by the use of screened
and trellised terraces, as in AngelNakpil's designs for residences.
 The question of what is Philippine architecture is a subject
which modern Filipino architects, when not merely content with
the developments in the International Style, seriously confront in
their works. Locsin considers the "evolution of a uniquely Filipino
expression through a dynamic amalgamation of Eastern and
Western idioms and the fundamental solutions dictated by
indigenous temperament and conditions. Angel Nakpil, on the
other hand, considers the Filipino way of life as the nucleus of
Philippine architecture." An example of the latter's works,
presumably based on this dictum, is the Iglesia ni Cristo Church
in San Juan, Rizal, which features a salakot motif in the cupola of
its tower.
 SCULPTURE

 Napoleon Abueva is considered the first modern Filipino Sculptor. His modernism,
which was developed during his studies in the United States, ranges from his
invention of buoyant sculpture (Baby Moses, 1951), through the double crucifix
suspended from the dome above the altar of the U.P Chapel of the Holy Sacrifice to
the stark elegance of Ring of the Gods (1971, stainless steel).
 Abdulmari Imao, a sculptor from Jolo, Sulu, has done sculptural reliefs on
embossed brass of the sarimanok motif, and wood sculpture on other themes, such
as Cariñosa (1958).
 Solomon Saprid is known for his treatment of tikbalang (Peace-loving Tikbalang,
1971, bronze) as well as the Gomburza Monument in front of the Manila Cathedral.
 Eduardo Castrillo has so far done the most massive sculpture in the country today,
a commissioned work on the Last Supper at the Loyola Memorial Park in Marikina.
He had earlier done Pieta (1969-1970, brass) for the same memorial park in
Parañaque, as well as historical and legendary figures for the Himlayang Pilipino. He
has also done designs for trophies and jewelry, as well as reliefs and environmental
sculpture.
NAPOLEON ABUEVA ABDULMARI IMAO

WORK OF SOLOMON SAPRID EDUARDO CASTRILLO

 The latest experiments which
challenge the prevailing modern
concepts in sculptural art are being
done at the Cultural Center. These
include environmental or situational
sculpture as practiced by Roberto
Chabet (using painted metal and
wood planks), Virgilio Aviado (rubber
foam cut-outs), and Ray Albano
(hanging metal and paper). This type
of sculpture, as its advocates claim,
is "liberated," it is "lived-in" and
incorporates elements of theater
(through dramatic lighting), dance
(Through movement), and music
(through sound). Its materials, aside
from the above-mentioned may
include paper bags, sticks, dextrose
tubes, hairnets, water, mud, gelatin,
and old clothes.
What lies ahead for Philippine art? In a
century marked by constant change and
exploration into hitherto unknown realms, many
forces have affected and are affecting the
development of Philippine art. Along with a
growing national consciousness is a concern for
the arts to express nationalistic sentiments and
serve the goals of freedom, democracy, and
progress. At the same time, there is the attraction
of following the international trend of trying new
ways, exploring new media, and creating new
forms to express significant human experiences.
Thus, the awakened national consciousness has
inspired many artists, while being cognizant and
appreciative of useful international developments,
to make their art a reflection of and a response to
national experiences, as well as to create a more
vital and dynamic relationship between their art
and the needs and aspirations of the Filipino
people as a whole.
 Group 1

 Jearon Adriguez
 Stela Marie Belarmino
 Wenna Jane Feliciano
 Noemi Liberato
 Franklin Mingo
 John Mark Machon
 Hernand Merano