Contemporary Philippine Arts From The Regions PDF

UNIVERSITY OF SANTO TOMAS The Pontifical and Royal Catholic University of the Philippines Senior High School CONTEMPORARY PHILIPPINE ARTS F...

UNIVERSITY OF SANTO TOMAS The Pontifical and Royal Catholic University of the Philippines Senior High School CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS FIRST TERM, SY 2024-2025 GRADE 12 Lesson 1: History of Philippine Art This lesson explores the development of Philippine art from its pre-colonial roots to today’s style. We will see how different cultures, like Chinese, Indian, Islamic, Spanish, American, and Japanese, shaped our art. We will also learn about the Philippine modern artists and their struggles in paving the way for creating the exciting and experimental art we see today. Objectives: At the end of the lesson, learners should be able to: 1. review Philippine art based on history; 2. describe characteristics of art forms in a period and 3. reflect on the significance of art across time. Vocabulary: Pre-colonial, Baroque Style, Classical Realism, Neoclassicism,13 Moderns, Triumvirate, Modern Art I. Pre-colonial Before we called it “art,” early Philippine natives already had artistic expressions integrated with everyday life, such as rituals and community practices, planting and harvesting, hunting, a rite of passage, and ceremonies like weddings and funerals. The creation of indigenous art, like pottery, weaving, carving, metalwork, and jewelry, goes beyond its craftsmanship and embodies decorative elements, cultural meanings, and contexts. Notable Pre-Colonial Artifacts 1. Angono Petroglyphs. Angono Petroglyphs have 127 figural carvings engraved on a cave wall in Binangonan, Rizal. A series of excavations revealed that the drawings were etched in 3000 BC, during the Neolithic period, and are believed to be the oldest known artwork in the Philippines. The National Artist for Visual Arts (Painting) and Angono pride, Carlos “Botong” Francisco, discovered the rock carvings in 1965. The Philippine government declared it a National Cultural Treasure through Presidential Decree No. 260 of 1973. 2. Manunggul Jar. Manunggul jar is a burial jar used 2,700 years ago to protect the remains of the dead. It is valued as the most ancient pottery in the Philippines, with its sculpted lid and red curvilinear design on the upper section of its body. Its sculpted lid features a pair of small three-dimensional figures on a boat, symbolizing the rowing of souls to the afterlife. 3. Lingling O. Cordillera groups (Ifugao, Bontoc, Kalinga, and Gadang) wear Lingling O as an earring or a necklace pendant. It is an ancient Philippine symbol for fertility and virility. “Linglingo” means lingo that serves as the act of creation,” lingo that causes the thought of manifestation,” terminology that conjures the power to bring forth.” Lingling O is characterized by its circular shape with a cut on the bottom that resembles an almost closed letter “C.” Lingling O is made from gold, jade, clay, stone, brass, or copper. 4. Baybayin. Baybayin is the ancient writing system and script of the Philippines. The term “baybayin” comes from the Tagalog root word “baybay,” which means “to spell”. Baybayin script was widely practiced by the Tagalogs, Bisayas, Ilokanos, Pangasinenses, Bikolanos, and Pampangenos, bolsters the Spaniards' observations that Filipino natives are literate. The script was used not only to record but also to write poetry, chants, and letters. The longest and most complete handwritten Baybayin documents are in the Miguel de Benavides Library of the University of Santo Tomas (UST). Islamic Art (13th Century to Present) Before the arrival of the Spaniards, Islam was already established in the Philippines, particularly in Mindanao. Maranaos, Maguindanaos, Yakans, Samals, and Badjaos, among others, have been practicing Islam as their religion and way of life for centuries. Islamic art conveys the spiritual, cultural, and intellectual heritage of Islam. Islamic art Islamic art is characterized by its emphasis on non-figurative decorations, harmonious design, and the use of art to express beauty and divine order. Its most notable design motif, Okir (okir or ukkil), is a Maranao and Tausug design motif. It features intricate geometric and organic patterns characterized by curvilinear and flowing forms. 1  UNIVERSITY OF SANTO TOMAS The Pontifical and Royal Catholic University of the Philippines Senior High School CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS FIRST TERM, SY 2024-2025 GRADE 12 Other Influences (Trades) The Philippines had active trade relations with neighboring countries during the Pre-colonial period. These contacts significantly influenced early Filipino culture. For instance, the Baybayin script shows similarities to the Kawi script of Java Indonesia (Morrow, 2010). The discovery of the Golden Tara of Agusan, a gold sculpture of a female in a meditative pose, suggests possible Indian-Budhhist influences in the Philippines. Trade with China, which began in the 10th century, introduced Chinese goods like pottery, porcelain, coins, bronze items, and paper (Fox, 1967). The presence of Chinese elements in Philippine culture, architecture (Binondo, Manila), cuisine, and festivities is a testament to the long-lasting relationship between the two countries. II. Spanish Colonial Period (1521-1898) When the Spanish came to the Philippines, they brought Christianity and European art. Churches became significant places, built to be big in scale and have impressive visual appeal. Baroque style, characterized by its grandeur, drama, and highly decorative style, was predominantly employed in Church architecture. UNESCO Heritage Site Baroque Style Churches in the Philippines San Agustin Church built in 1607 in Intramuros, Manila Our Lady of Assumption Church was built in 1765 in Sta. Maria, Ilocos Sur Santo Tomas de Villanueva Church built in 1755 in Miag-ao, Iloilo Notable art practices during the Spanish period include: Retablo. Retablo is a votive offering in a religious picture typically portraying Christian saints, painted on a panel, and hung in church or chapel, especially in Spain and Mexico. Retablos are the grandest achievement of carved ornaments to embellish Churches and are the focal point inside churches. An example of a Retablo is the Nuestra Senora de Candelaria Church in Silang Cavite, completed circa 1761. It is made of wood, gesso, and paint. Ivory Sculptures of Religious Icons. Spanish friars commissioned Chinese artisans to create Ivory sculptures of religious icons and saints. Most ivory sculptures have Chinese facial features, especially the form of their eyes. An example is a version of the Immaculate Conception adorned with a gold halo of twelve stars and a closed gold crown with rays emanating from the side. The largest and finest ivory crucifix sculpture can be found in the UST Museum. Letras Y Figuras. Letras Y Figuras is an art style that fuses letters (often the patron's full name) with pictures of everyday life. This painting style became more popular when the Spanish ordered native Filipinos to use Spanish names implemented in 1884. One of the best examples of a Letras Y Figuras painting is Balvino Mauricio (1864), done by Jose Honorato Lozano. Influential Artists of the Spanish Colonial Period 1. Damian Domingo. Damian Gabor Domingo (b. Feb 12, 1796 - d. July 26, 1834) is a Chinese-Filipino painter born in Tondo, Manila. He is known as the Father of Philippine Painting. He is the first Filipino painter specializing in secular (non-religious) paintings. He had a photographic memory and is well-known as the creator of miniature portraits of Manila society figures. He established an art academy in his residence in Tondo in 1821, which later became the Academia de Dibujo y Pintura (Academy of Drawing and Painting) in 1823. Famous students of this academy are Juan Luna and Felix Hidalgo. Damian Domingo is also the most renowned painter to do Tipos del Pais (Types of Country), a series of small watercolor illustrations showing Filipinos in different traditional clothing. 2. Juan Luna. Juan Novicio Luna (b. Oct 24, 1857 - d. Dec 7, 1899) is a native of Ilocos Norte, perhaps one of the most recognized and successful painters during this period. In 1883, he started painting his famous Spoliarium (1884), which won him a gold medal at the Madrid Art Exposition 1884. “Spoliarium” is a Latin word that refers to the basement of the Roman Colosseum, where fallen and dying gladiators were dumped. Juan Luna’s Spoliarium is a colossal painting that depicts a scene of dead gladiators while their relatives are 2  UNIVERSITY OF SANTO TOMAS The Pontifical and Royal Catholic University of the Philippines Senior High School CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS FIRST TERM, SY 2024-2025 GRADE 12 mourning in the background in a Roman Colosseum. Jose Rizal critiqued the same painting as a reference to Spain's abuse of the Philippines. 3. Felix Resureccion Hidalgo. Felix Padilla Resurrection Hidalgo (b. Feb 21, 1855 - d. Mar 13. 1913) is a Filipino painter born in Binondo, Manila. Felix Hidalgo initially studied law at the University of Santo Tomas but never finished it. Later, he enrolled in the Academia de Dibujo y Pintura to pursue an art career. In 1884, he was awarded the silver medal for his painting Las Virgenes Cristianas Expuestas al Populacho (Christian Virgins Exposed in the Populace) (1884) at the Madrid Art Exposition. In the exact exposition, Juan Luna’s Spoliarium won the gold medal. Las Virgenes Cristianas Expuestas al Populacho depicts a group of males mocking a group of women who are being sold as enslaved people in the marketplace. III. American Colonial Period (1898-1946) The Philippine independence in 1989 from the Spanish was cut short due to the establishment of the American colonial government, and the American Colonial Period marked the advent of modernism and the establishment of art schools in the Philippines. Notable art forms and styles during the American Colonial Period: 1. Classical Realism. Classical realism is an art style that focuses on realistic depictions of everyday life and landscapes, emphasizing light, color, and details to capture the beauty and essence of Filipino culture and scenery. Artists like Fabian de la Rosa and National Artist in Visual Arts (Painting) Fernando Amorsolo used this style to showcase the beauty of the Philippines. 2. Neoclassicism. Neoclassicism in the arts is a style that is based on ancient Greek and Roman styles that invoke harmony, balance, beauty, and idealism. Neoclassicism in Architecture exemplifies the grandeur of scale and simplicity of geometric forms, incorporating the classical elements of Greek and Roman visual forms. Many government buildings in Manila, like the Post Office, Normal School, and the University of the Philippines, embody this architectural style. In painting, it depicts classical themes and subject matter. National Artist in Visual Arts (Sculpture) Guillermo Tolentino is famous for this style. 3. Bodabil (Vaudeville). Bodabil or Vaudeville is a stage show that features diverse acts like music, comedy, and dance, entertaining audiences in theaters. Famous performers like Canuto “Canuplin” Francia (Charlie Chaplin of the Philippines), Rudolfo “Dolphy” Quizon, National Artist in Theater and Music, and Honorata “Atang” de la Rama were part of Bodabil. 4. Sarswela (Zarzuela). Sarswela or Zarzuela is a Spanish or Spanish-derived musical theatre in which dramatic action is carried through an alternating combination of song and speech. A famous example of sarswela is Dalagang Bukid, later adapted into a film of the same title directed by Jose Nepumuceno, the Father of Philippine Movies, in 1919. 5. Editorial Cartoons. Editorial cartoons started appearing in newspapers and magazines in the late 1800s. Lipang Kalabaw (from 1907-1907, 1922-1924, and 1947-1948) is a satirical-political entertainment weekly Tagalog magazine. Lope K. Santos was the owner and editor of Lipang Kalabaw from 1907-1909 and tackled the relevant issues of politics, society, and culture of the day. 6. Komiks (Comics). Philippine Komiks formally began with Antonio “Tony” Velasquez creating the first serialized cartoon strip, Mga Kabalbalan ni Kenkoy (Kenkoy’s Antics), in 1929 in Liwayway magazines. 7. Modern Art. Modern art in the Philippines is a reaction to the canons or the traditional academic style of art, which is classical realism. The use of distortion of human figures, multifocal composition, and unrealistic lighting characterizes modern art. Influential Artists during the American Colonial Period: 1. Classical Realism Artists a. Fabian de la Rosa. Fabian Cueto de la Rosa (b. May 5, 1869 - d. Dec 14, 1937) a painter born in Paco, Manila. He is one of the first faculty members of the University of the Philippines (UP) School of Fine Arts. He is known for his Classical Realism style in painting, as seen in his works like 3  UNIVERSITY OF SANTO TOMAS The Pontifical and Royal Catholic University of the Philippines Senior High School CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS FIRST TERM, SY 2024-2025 GRADE 12 Planting Rice (1904), which won him the gold medal at the International Exposition of Saint Louis in Missouri. b. Fernando Amorsolo. Fernando Cueto Amorsolo (b. May 30, 1892 - d. April 24, 1972) a painter born in Paco, Manila. As an artist, Amorsolo popularized the classical realism style and the image of the beautiful and modest “dalagang Filipina” (Filipino maiden) in domestic roles. In 1972, he was posthumously received the first National Artist in Visual Arts (Painting). c. Guillermo Tolentino. Guillermo Estrella Tolentino (b. July 24, 1890 - d. July 12, 1976) is the Father of Philippine sculpture born in Malolos, Bulacan. He championed classical academic tradition and is famous for his neoclassic sculpture style, as evident in his famous works, Bonifacio Monument (unveiled in 1933) and Oblation (unveiled in 1935). He received the National Artist in Visual Arts (Sculpture) title in 1973 2. Modern Artist (Triumvirate) a. Victorio Edades. Victorio Edades (b. Dec 23, 1895 - d. March 7, 1985) is a Filipino painter dubbed the Father of Philippine Modernism. As a painter, he deviates from the classical academic style. His paintings The Sketch and The Builders in 1928 have distorted human figures in rough, bold, impasto strokes and standing tall and singular. His works have dark hues, which are the opposite of the cheerful hues of Fernando Amorsolo. He taught at the University of Santo Tomas and was eventually named dean of the College of Architecture and Fine Arts (now the College of Fine Arts and Design). He was named National Artist in Visuals Arts (Painting) in 1976. b. Galo Ocampo. Galo B. Ocampo (b. Oct 16, 1913 - d. Sep 12, 1985) was a Filipino painter known for rejecting academic classical traditions and embracing Western modernism. He graduated from UP School of Fine Arts and later taught at UST CAFA (now CFAD) in 1971. He also led the Fine Arts Department at Far Eastern University. His painting style showcases the influence of Cubism, Surrealism, and Expressionism on his works, often blending Christian themes with references to Filipino indigeneity and subjects. c. Carlos Francisco. Carlos “Botong” V. Francisco (b. Nov 4, 1912 - d. March 31, 1969) is the Father of Philippine Murals born in Angono, Rizal, the Arts Capital of the Philippines. He is known for his mural paintings for many decades and is best known for his historical pieces. He painted the mural Filipino Struggles Throughout History (1964), found at the National Museum of Fine Arts. Together with Victorio Edades and Galo Ocampo, they formed the Triumvirate of Modern Art in the Philippines. He was posthumously conferred the National Artist in Visual Arts (Painting) title in 1973. Drawing inspiration from the lifeways of the folks, he developed one of the most pertinent directions in Philippine modernism. His particular insight was to create a synthesis of modernism of Philippine indigenous aesthetics. Struggles of Modern Art in the Philippines Modernism was a “reaction against” established canons. Modernism in the Philippines followed the same pattern of a reaction to the establishment, a movement away from three art institutions: the prevailing Amorsolo school that had become the Academy, the remaining influence of the nineteenth-century Academia de Dibujo y Pintura, the local surrogate of the European Academy, and the miniaturist school of portrait painting by the elite. Notably, when modernism was introduced in the Philippines in the late 1920s, figurative painting on a two-dimensional surface was just over a hundred years old. Until the mid-nineteenth century, the subjects were primarily religious since art was bound up with the colonial project of Christianization. The Amorsolo School In the 1920s, Fernando Amorsolo and other Amorsolo School of Painting members asserted their dominance, especially since it was established as the School of Fine Arts at the state university. In sculpture, Guillermo Tolentino, who had trained in the academy in Rome, was the proponent of classical sculpture, as seen in his public monuments and statues. 4  UNIVERSITY OF SANTO TOMAS The Pontifical and Royal Catholic University of the Philippines Senior High School CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS FIRST TERM, SY 2024-2025 GRADE 12 Modernism would be up against this prolific school in the following decade, for it amply satisfied the needs and tastes of the American patrons, the colonial authorities, and tourists searching for “exotic images” from their new colony in the East. Amorsolo was best known for his rice-planting scenes perpetuating the myth of the “beautiful land.” He used backlighting with golden-hued sunlight to soften and gild the laboring figures to enhance the romantic undertones. These superbly executed paintings contributed much to stimulating the art market; moreover, these images constituted a seductive form of orientalist myth-making when, in fact, such images continued to be urban fare in the years of the Thirties marked by peasant uprisings in the countryside. The Academia de Dibujo y Pintura The Academia de Dibujo y Pintura was the official purveyor of the ideals of classical academism. The products of the academia were mainly dark-toned monochromatic landscapes, genre, and character studies that had an air of detachment. A separate category was ilustrado, or elite portraits of the nineteenth century, which came into fashion with the country's opening to international trade and cash crop agriculture. These were characterized by the miniaturist style, which painstakingly revealed the details to give evidence of social refinement. The Context of Modernism In Europe, modernism reflected the dynamic spirit of the Industrial Revolution. However, in the Philippines, first as a colony of Spain and then as a protectorate of the United States, the pace of development was much slower; a significant part of the country then as now was still mired in feudalism, despite the introduction of the money economy and the clear urbanizing trend. Despite the introduction of modernism, rural imagery persisted in the visual arts, which was marked by a strong reflective relationship with material reality. Hence, there was no radical break between tradition and modernism that came about through social change as was accompanied by the Industrial Revolution in Europe. Modernism, instead, allowed talented artists to break away from the clutches of the Amorsolo School and revitalize an artistic practice that was slumping into academic repetition. Devoid of the cosmopolitan character of the School of Paris, modernism in the Philippines was filtered through a particular local, commonly shared sensibility that was both romantic and respectful of traditions. IV. Japanese Occupation (1941-1945) The Japanese Occupation slowed down the pace of art. During this period, Philippine art was marked by censorship and propaganda, emphasizing traditional Asian aesthetics, patriotic themes, and the struggles of Filipino life under Japanese occupation. The Japanese forces led the formation of the Greater East Asia Co-Prosperity Sphere, a propaganda movement that sought to create a Pan-Asian identity that rejected Western traditions. Propaganda slogans like “Asia for Asians” made their way to the public through posters, comics, and other Japanese-sponsored publications. The Fighting Filipinos (1943) is a poster printed to commemorate the first year of the fall of Bataan. Fernando Amorsolo painted Bombing of Intendencia (1942), a memory of the first buildings bombed by the Japanese in 1941. V. Postwar Republic (1946-1969) After the war, artists and writers reflected on national identity as Filipinos rose from the ashes of war. This period is characterized by a combination of rebuilding and reasserting national identity, which influenced various forms of artistic expression. In 1951, Lydia Villanueva-Arguilla opened the Philippine Art Gallery (PAG) on Azcarraga Street (now C.M. Recto Avenue), Manila, one of the first galleries in the country that was dedicated to displaying, collecting, and promoting Filipino modern art. Establishing PAG is the most significant facet of developing modern art in the Philippines. It supplies modern art collectors such as Purita Kalaw-Ledesma and Leandro Locsin and promotes modern artists’ works through its “Feature Wall.” 5  UNIVERSITY OF SANTO TOMAS The Pontifical and Royal Catholic University of the Philippines Senior High School CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS FIRST TERM, SY 2024-2025 GRADE 12 The Thirteen Moderns. The Thirteen Moderns is a group of 13 artists that revolutionized Philippine art by breaking away from the classical academic style. 1. Arsenio Capili 5. Cesar Legaspi 9. Hernando Ocampo 2. Anita Magsaysay-Ho 6. Demetrio Diego 10. Jose Pardo 3. Bonifacio Cristobal 7. Diosdado Lorenzo 11. Ricarte Puruganan 4. Carlos Francisco 8. Galo Ocampo 12. Vicente Manansala 13. Victorio Edades Reasons for the rise of contemporary art 1. The Amorsolo School, or classical realism, has reached its peak. Therefore, a new art movement has to be born to recognize new artists. 2. The Walkout of the 1955 Rotary Art Competition by the realists and conservatives left modern artists unopposed in the Art Association of the Philippines. This walkout led to Mabini Art, artworks done by artists with no formal training intended only to be sold. 3. The Philippine Art Gallery, operated by Lydia Villanueva-Arguilla, introduced modern art to the art scene, mass media, collectors, and enthusiasts. 4. Victorio Edades became the Dean of the UST College of Architecture Fine Arts and paved the way for modern art in the academe. VI. 1970s to Contemporary Contemporary art in the Philippines is dynamic, diverse, and politically engaged, blending tradition and modernity, embracing multimedia and technology, globalization, and social issues. Many art movements and styles have evolved and developed during this period. In music, the masses enjoy Manila Sound from artists like Hotdog, Apo Hiking Society, and Rico J. Puno. Filmmakers like Lino Brocka produced movies that tackle relevant social issues, as evident in his film Maynila sa Kuko ng Liwanag (1975). In visual arts, Philippine contemporary art movements encompass a range of styles and approaches reflecting the country’s dynamic, cultural, social, and political landscape. Modern technology, specifically digital technology, also contributed to the innovation of art production in contemporary times. Wrap Up In 5 sentences, explain how the role of art in society evolved from ancient civilizations to the present day. References Cultural Center of the Philippines. (2020). CCP Encyclopedia of Philippine art. Cultural Center of the Philippines Datuin, FM, R. Paulino, EL Ramirez, and L. Marcelino. (2016). Contemporary Philippine Arts from the Regions. Rex Bookstore. Fox, R. B. (1967). The Archeological Record of Chinese Influences in the Philippines. Philippine Studies, 15(1), 41–62. http://www.jstor.org/stable/42720173 Guillermo, A. (n.d.-a). The History and Current Situation of Modern Art in the Philippines. https://www.jpf.go.jp/j/publish/asia_exhibition_history/pdf/15_Symposium-1994_Potential_ENG_Handout_2.pdf Morrow, P. (2010, July 14). Baybayin - The Ancient Script of the Philippines. Retrieved from http://paulmorrow.ca/bayeng1.htm Authors Fababair, Kim Christine C. Caubat, Joyce D., LPT 6