Chapter 2 I AM A FILIPINO BUT I DON'T KNOW MANANSALA.pptx

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1. Sam Filipino But ere on
sa Rediscovering
Pi ili ine At.
ae

2. PHILIPPINE art in general is poignant, romantic, and even
nostalgic. Before we were influenced by westerners. We

were also developing our set of culture and values.
| During the colonial period, gradually we became Infused

by foreign influences. |
In a way, it is quiet saddening how the good heritage of

old Filipino manners, ethics, and even cultural markers like |
our own "BAYBAYIN"were superimposed by the newer |
trends. |
st of us, especially in our generation cultivate the idea |
f old fashioned is old school. |

De. = _

3. INTRODUCTION. .

Even the beautiful way of courtship is gone in the
mist of the past no more "HARANAS" and fewer

dalagang Filipinas

Philippine art, on the other hand, has been conscious
of these changes and has become a way to
reminisce and remember our old virtues and rich

roots. |

4. At the end of the chapter, the students should be able to:

Express the devotion to and interest in their national identity through
>, | Filipino- inspired output such as writings are criticisms and simple
artworks.

Be able to articulate knowledge about prominent and notable Filipino
artist their lives, works, and influence on the country.

Incorporate their national identity when criticizing work of art by
Filipinos and,

Interact and respond to the arts by being able to go to museums and
galleries and writing reviews or blogs about works of art.

=

5. Lesson 1:
How Philippine ©
Philippine Art?

6. y od
His rendition of Baguio, Painted By Fernando Amorsolo

7. KAYABANG

is a native basket made of

bamboo and originally used

by women in Benguet. It is

strapped at the back to carry
root crops, vegetables and
fruits harvested from the

farms.

8. BANAUE RICE TERRACES
system of irrigated
rice terraces in the
mountains of
north-central

Luzon, Philippines

9. INTRODUCTION. _

Applying the knowledge of art criticisms here
we can see how such painting rendition of
Amorsolo's work mirrors, the functions, of art we
have studied before. The subject matter, the

context, the imagery, and even the use of light
here obviously signifies something local. Hence,
presenting itself as a reminder of our culture

nd even a sense of identity. |

11. | CHAROSCURO

low and high-contrast
lighting,

which creates areas

of light and dark

12. INTRODUCTION.

We do have an identity, Filipinos as actually art lovers. We love

grandiose and colorful things. These are so evident in our Jeepneys,
colorful decorations of Pahiyas Festival, our native pigments, and
color in even our clothes.

13. of

41. Fernando ) Amorsolo

We can compare his style with the impressionist painter
who also aim to express the simple beauties of nature
and life. Such artist are August Renoir, Edouard Manet,
and 19th Century portrait artist Auguste Dominique
Ingres. Because of AMORSOLO'S expertise on his
medium which is oil and his sensitivity to light. Amorsolo
was able to paint luminous skin such as light strikes and
creates a certain glow. Others even say that you can
almost feel the blood rushing underneath the flesh.

—

14. NES, sr
Vicente ana

2. N op is re ton of transparent cu ism Se cin

Cubism was pioneered jointly by Pablo Picasso y =
and George Braque, and was described to be the

most radical innovation of arts "isms" since it
contrasted greatly with the classical perception of
beauty it uses overlapping and multiperspective
geometric shapes and forms of the chosen subject

to produce depth. |

eg Be

15. 3. Hernando R. campo
was considered by some critics as the most Fil ino

Most of HR Ocampo's works are purely abstraction,

therefore, it is hard to pinpoint why he was described as the =
" most Filipino" painter ever. However, it is not the content
but rather the style of his works where one can see his
unique painterly approach.

What is unique in his works are the abstract composition of
biological forms that are portrayed involves strokes of colors
that seems to oscillate before your eyes his subject matters

are usually nature's flora and fauna, hence reflective of the |

natural beauty of his country.
o Bee

16. 4. Napoleon Di va
| modernist ut Filipino- n Abu ture

Characterized by planar and geometric look of his
sculpture abueva veeked away from the conservatism

of his mentor Guillermo Tolentino (known for the [
sculpting the university of the Philippines " Oblation"

He still kept Filipino themes in his sculpture such as rice
planter, mother, and child, carabaos and the like

however his bold and edgy interpretation of such teams
intensified the kind of spirit present in his dynamic and |

often monumental sculptures.
—™ Be

17. GA bite of visual arts

Lee 2:
What's Ha : appening?

of t e ountr

istory

18. INTRODUCTION.

Do you remember your elementary days when you were asked to
wear a costume that represents the Philippines? Have you worn that
"Kamisa De Chino" or "salakot" if you are male how you paired your
"Malong" with pearl jewelry and anklets perhaps at some point you

have done that or may have encountered some cultural events with
this familiar items certainly these are signifiers of our rich historical
artist background from such examples we can safely say that
fungtions preceded aesthetics during our pre- colonial times.

is lesson, we shall take a walk through some of the markers of
our visual art history...

gg Be

19. | 1. Pre-Colonial Indigenous Art

A. Characterized by use of materials found in

1

|

the immediate environment, combining
functionality with aesthetics and art forms are
usually connected to traditional belief systems

and local values.

20. RE, Rese
| 1. Pre-Colonial Indigenous Art

B. Clay pottery is one of the earliest forms of
ancient art which is evidence of artistic skill.
The "Manunggul Jar of Palawan" is a prominent
example other forms are the "Calatagan Jar"
which displays inscriptions on its body and the
"maitum burial jar".

The maitum is "anthropomorphic" - meaning its
mimics a human figure with facial expression of
sadness and joy on his face.

—™

21. MANUNGGUL JAR
fe Manunggul jar from Palawan was used about 2,700 years ago
to protect the remains of the dead. It is valued as the most
impressive work of ancient pottery in the Philippines. It was
discovered in the Manunggul Cave, Lipuun Point.

The jar has a beautifully sculpted lid, unlike other burial jars that
have simple handles on their rounded covers. This lid features a pair
of small, three-dimensional figures on a boat. The figures represent
the souls of the dead rowing their way to the afterlife. The first one
has his arms crossed over his chest, while the second holds a
paddle in his hands. Both have neatly proportioned limbs and doll-
like facial features. Although executed in primitive style, the soul
figures are of rare sculptural quality for the period. Their boat to the
other world is also crafted in detail. It has a human face carved on
its prow.

22. Calatagan Pot

JP" The Calatagan Pot, as it is popularly known, is
an ellipsoid earthenware container with everted
syllabic inscriptions incised along its shoulder. It
was discovered in Calatagan, Batangas, and
brought to the attention of then National
Museum junior archaeologist and site supervisor
Alfredo Evangelista when he returned to the site
on the weekend. Because of these inscriptions,
the museum declared it a National Cultural
Treasure sometime after it entered its collections
in 1961.

Copyright © 2020 by Cultural Center of the
Philippines

A IL O yy

23. MAITUM JAR

® [Moitum Jar No. 21] represents the most complete of the secondary burial urns in
the assemblage. It consists of a jar and lid distinctly portraying a male, which Wilfredo
Ronquillo (201) d
the lips, other surfaces were left unpainted and bore decorative incisions (etchings)

scribes as a child. Except for traces of red hematite (a mineral) on

and excisions of clay (added on). The lid consists of a head, shoulders, and an
impression representing the throat. The head features perforations for hair incisions,
well articulated eyebrows, eyes, nose, and incised teeth. The jar bears excisions
defining nipples, a penis, a navel, and a pair of arms and legs on either side of the
body. The left ear displays the same contour and orientation as the right ear, a
peculiar feature.

The lone earthenware pot found inside this ur bears paddle-impressed marks. This
small pot contains parts of human bones, including phalanges and deciduous teeth,
soil with pebbles, and shells from land snails. Other Maitum finds indicate that these
ancient people v

re selective in the skeletal remains that they used for reburial
Maitum anthropomorphic jars were found in association with an excavated shell
spoon, shell bracelets, a Conus (shell) disk and pendant, tanged metal implements,
and glass beads. Such artifacts distinguish the higher-ranked in their society and
indicate some form of stratification

Copyright © 2020 by Cultural Center of the Philippines

24. Other variations are the palayok which is used for cooking the banga, tapayan, (liquid container), and the
"burnay" pottery of llocos below

|

25. Wood carving is another prominent art form. Our animistic ancestors
mostly from the Cordilleras carve the bul-ul and many variations of
it. The bul-ul is bi-functional, both a granary god and an ancestral
spirit. The "okir" on the other hand, is the curvilinear design and Mi
motif on wood used by Maranao and Tausug peoples. K
Weaving was also predominant as we are very rich in materials like |
the buri, rattan, pandan, and bamboo splits used in making hats and
baskets like the "pasiking" backpack. Local textiles were also weave

finely from materials like "piña" and "abaca" fibers. Textile designs

were present in the t'nalak cloth of Mindanao which is a decorative

tie dying method with motives like "g'mayaw" bird with flapping

wings the dancing man as a symbol to call for rain and the frog for

|
E
fertility. == a

26. NES, es

| 2. Hispanic Influence (1800's).

A. The main force of art is the church hands works
were mostly concerned with religious subject matters.

B. Notable artworks are Philippine flora and fauna
and the "letras Y Figuras".

C. Filipinos were trained by friars and but they
adhered to a more richer palette like red, blue, and

yellow.

27. RED Res

| 3. American Influence (1900's)

A. Closing of the "Escuela de Pintura" "Grabado Y
Escultura" which pave way for the opening of small
| workshops led by artist to train pupils.

B. Photoethnography was done by American soldiers to
prove the uncivilized in primitive people of the Philippines.

©. Forces of art were commissions, sales, gift, and opening |

of new American- based businesses. |

Tg Be

28. REDS, A
a SECOND REPUBLIC 1942-1945

A. Japan occupies the country and laid the groundwork for
cultural regeneration and dissipating American influence.

B. Some artist involved in the movement were conservatives

Fernando Amorsolo his brother Pablo, Guillermo Tolentino, b
Dominador, and Castañeda and modernist Victorio Edade, Galo
Ocampo and Hernando Ocampo.

C. Art became a vehicle of influence for Japanese to control the

Filipino spirit by restricting their artistic expression.

—™ Br

29. 5. Third Republic 1946-1972

A. Rise of modernism spareheaded mostly by H.R
Ocampo Victorio Edades and Napoleon Abueva.

B. Art Association of the Philippines was formed along
with the Philippine Art Gallery (PAG).

C. Main art movements were realism and neo realism
with media related conventions like comics and

editorial cartoons

—

30. RS, |

Ce RZ

6. Fourth Republic 1972-1986

A. Marcos era: Marcos monument was created but was later destroyed.

|

B. First lady Imelda Marcos’ efforts: Cultural Center of the Philippines (CCP)

National Art Center and the Philippine High School for Arts. Among others, The

(CCP) was envision as a shrine for high art and the Avante Garde. \
C. Prominent artists were Chabet, Fernando Zobel, Raymundo Albano, along with |
modern artist Manansala who painted "Madonna of the Slums" Benedicto Cabrera |
produced protest and revolutionary art through his paintings and prints. |
|
D. Antipas Delotavo painted with watercolor a very striking work entitled "Itak sa |

Puso ni Mang Juan".

—™ Bee

31. NES, es

7. Fifth one Onwards
1986- Present

A. Contemporary Philippine art.
B. Rise of commercial galleries improvement of

institutions information of more art groups and

collectives.