Medal of Women and Boy Backs Pointing Art Deco
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ELOISA MAY P. HERNANDEZ
When the Spaniards arrived in the Philippines in 1521, the colonizers used art as a tool to propagate the Cosmic faith through cute images. With communication as problem, the friars used images to explain the concepts behind Catholicism, and to tell the stories of Christ's life and passion. Images of the Holy Family and the saints were introduced to the Filipino psyche through carved santos, the via crucis (Stations of the Cross), engravings on estampas and estampitas, and through paintings on church walls.
Though the ethnic art forms such as pottery, weaving and metalwork were retained, the Castilian friars and the Chinese, the colony'southward primary trading partner, were slowly introducing newer art forms. Icons brought past the friars were used as models for sculpture. Filipino artisans were taught the Chinese brushwork technique in painting. Engraving was also introduced.
The concept of patronage emerged. Artisans were deputed and paid to carve, engrave, and paint. They replaced the arts that were once washed in a communal spirit and community setting for rituals. The church, specially the friars, became the new patron of the arts.
Since most art produced during the kickoff two centuries of Spanish occupation were for the church building, the friars enforced strict supervision over their product. Until the 19th century, art was but for the church and religious use.
Early in the 19th century, with the opening of the Suez culvert in 1869 and the evolution of the agricultural export economy, native indios acquired economic wealth and became what was to be chosen the "ilustrados," pregnant enlightened and educated. These developments paved the way for Filipinos ilustrados to ship their children to universities in Europe. The rise of the "ilustrado" (Filipinos with coin and education) grade was inevitable. The ilustrados became the new patron of the arts. These events paved the manner for the secularization of art in the nineteenthursday century.
A. Painting
The Spanish friars introduced Western painting in the Philippines to artisans who learned to copy on two-dimensional form from the religious icons that the friars brought from Spain,. For the beginning centuries of Spanish colonization, painting was limited to religious icons. Portraits of saints and of the Holy Family unit became a familiar sight in churches. Other subject matters include the passion of Christ, the Via Crucis, the crucifixion, portrayal of heaven, purgatory and hell.
Painters from the Visayas isle of Bohol were noted for their skillful manipulation of the technique. Their paintings of saints and religious scenes bear witness figures in frontal and static positions. For the Boholano painters, the more than important persons would exist depicted bigger than the remainder of the figures. Christ normally dwarfs the Roman soldiers in these paintings. Unfortunately, they did non sign their names on their works and no tape of their names exists.
In the church building in Paete, Laguna are ii works by Josef Luciano Dans (1805- ca. 1870), probably ane of the earliest recorded painters in Philippine art history. Langit, Lupa at Impierno ca. 1850 (Heaven, World and Hell), a iii-level painting which shows the Holy Trinity, Mary the Mother of Christ, saints, the Seven Blest Sacraments and a macabre depiction of Hell. The 2d painting is entitled Purgatorio (Purgatory) which shows the eight forms of punishment the soul passes through for cleansing before reaching Heaven.
During the early on function of the Spanish occupation, painting was exclusively for the churches and for religious purposes. Occasionally, it was likewise used for propaganda. Esteban Villanueva of Vigan, Ilocos Sur depicted the Ilocos revolt confronting the basi monopoly in a 1821. The Spanish government commissioned the work. The fourteen panels bear witness the series of events that led to the crushing of the Ilocano basi workers revolt past Spanish forces. It also showed the appearance of Halley'southward comet in the Philippines during that time.
Tagalog painters Jose Loden, Tomas Nazario and Miguel de los Reyes, did the first still life paintings in the country. They were deputed in 1786 by a Spanish botanist to pigment the flora and animate being establish in the country.
The earliest known historical paintings in the Philippines was a mural at the Palacio Existent (Royal Palace) in Intramuros entitled The Conquest of the Batanes done in 1783. Unfortunately, it was destroyed during the 1863 earthquake.
Secular bailiwick thing in painting only increased during the 19th century. With more tourists, ilustrados and foreigners enervating souvenirs and decorations from the country, tipos del pais adult in painting. These watercolor paintings bear witness the dissimilar types of inhabitants in the Philippines in their different native costumes that bear witness their social status and occupation. It likewise became an album of different native costumes. Damian Domingo y Gabor (ca. 1790-1832) was the nigh popular artist who worked in this mode.
In the early xixthursday century, the ascent of the ilustrados saw a rise in the art of portraiture. The need to adorn their newly synthetic bahay-na-bato and the want to document their new found wealth and social status, the ilustrados deputed painters to brand portraits of themselves. The works of painters similar Simon Flores,Antonio Malantic and Justiniano Ascunsion captured the intricately designed jewelry and fashion accessories, the minuet details of the embroidered apparel, and ornately designed domestic furniture of the patrons. The painstaking attention to minuet details characterized miniaturismo.
Governor General Narciso Claveria in 1849 issued a decree that all Philippine natives should assume Spanish names. Letras Y Figuras, (letters and figures), a style developed past Jose Honorato Lozano, combines both tipos del pais and genre paintings by forming the messages of the patron's proper name from figures of people in local costumes doing everyday activities. It besides utilized landscape scenes as background.
In 1821, Damian Domingo opened the first formal fine arts schoolhouse in the country in his business firm, the Academia de Dibujo. Perhaps realizing his importance to Philippine fine art history, Damian Domingo is known for having made the first self-portrait in the country. In 1823, the Real Sociedad Economica Filipina de Amigos del Pais (Royal Economic Order of the Friends of the Colony) opened their ain fine art school. In 1826, the society offered Domingo to exist the professor in their school, in issue merging the two art schools. In 1828, Domingo was promoted to school director. Domingo must have taught miniaturismo to his students, just a publication past the academy entitled Elementos de Perspectiva (Elements of Perspective) suggests that he must accept also taught the classical ideals of the European academies. Due to lack of funds and probably due to Domingo's decease in 1832, the school eventually closed in1834.
In 1850, under the Junta de Commercio, a new fine art schoolhouse, the Academia de Dibujo y Pintura, was opened with 70 enrollees. Enrique Nieto y Zamora, a new employee at the Post Office and a graduate of the Academia de San Fernando in Madrid, was appointed as acting director of the university. Paintings by Spanish principal were brought in to serve as models for the students, propagating the European academic style of painting – using grand subject matter from classical Greek and Roman mythologies, depicting historical scenes, and the employ of chiaroscuro.
The university was renamed Escuela de Dibujo, Pintura y Grabado in 1889. It was subsequently incorporated with theEscuela de Artes y Oficios in 1891. In 1893, the school of arts and trades was separated from the academy. The academy was afterwards elevated to the Escuela Superior de Pintura, Escultura y Grabado.
Other subject thing became increasingly popular such every bit genre, landscapes (paisajes), and bodegones (still life) with artists like Simon Flores, Lorenzo Guerrero, Felix Martinez, Paz Paterno and her half sisterAdelaida Paterno. Flores' two extant works, Primeras Letras and Feeding the Chicken show the close bond betwixt mother and child.
The academic style was still favored by the church and government and was used for religious icons. The miniaturist mode, though, was favored by ilustrado patrons and continued to prosper.
Several Filipino painters had the chance to report and work abroad. Amidst them were Juan Novicio Luna and Felix Resureccion Hidalgo who became the first international Filipino artists when they won the aureate and silvery medals in the 1884 Madrid Exposition.
Luna's academic painting Spoliarium won gold medal. It showed the dead and dying Roman Gladiators being dragged into the basement of the Coliseum. It is often interpreted as an allusion to Imperial Kingdom of spain's oppression of the natives. Though winning the aureate medal, Luna was not awarded the Medal of Excellence, the top honor for the competition, because he was a Filipino. The King of Espana, to assuage Luna'southward feelings, commissioned him to paint The Battle at Lepanto. Hidalgo won the silvery medal for Virgenes christianas expuestas al populacho or Christian Virgins Exposed to the Public. The feat of Luna and Hidalgo caught the attention of Dr. Jose Rizal, the Philippine's National Hero, that in a gathering of Filipinos in Madrid, he gave a speech praising Luna and Hidalgo for their mastery and nationalism
In the 1892, Columbus Quadricentennial Fine art Contest competition sponsored past La Illustracion Filipina, a Filipino weekly publication, a 16-year-old girl named Carmen Zaragosa won offset prize for her painting "Dos Intelligencias." In the 1895 Esposicion Regional de Filipinas in Manila, Zaragosa won a Cooper medal for her painting. Fourteen other women artists participated. V of them won Cooper medals and 4 won honorable mentions.
B. Sculpture
Of all the new art forms introduced, the natives took to sculpture instantly. The etching of anito was transformed into sculpture of the saints. These santos were used primarily for the church altars and retablos . It also replaced the anitos in the altars of the natives' homes.
Carvings for churches include altarpieces called retablos (usually with niches for the icons), the cardinal point of whatsoever Catholic church. The retablo houses the tabernacle and the image of the town's patron saint. Usually referred to as a "cabinet of saints", one would run across a hierarchy of saints depending on their importance to the townspeople. The patron saint would be in the eye; less important saints would be in the periphery. The almost elaborate retablos can be seen in the San Agustin Church building in Intramuros.
Other parts of the church that may take carvings are church doors, pulpits, and carrozas (floats that carry the saints for processions). The façade of churches may be carved from adobe, coral stone, and volcanic rock, amongst others. It may have carved images of saints, floral decorations or leaf decors. In the case of the Miag-ao Church in Iloilo, the façade is busy with a carved image of St. Christopher carrying the Christ Kid on his shoulders under a kokosnoot tree.
Relleves (carved images in relief) normally draw the Via Crucis. It may also show holy images in religious scenes.
The earliest known sculptor in the Philippines is the 17th century sacristan, sculptor and silversmith Juan de los Santos (ca. 1590 – ca. 1660) of San Pablo, Laguna. A few of his extant works may be institute at the San Agustin Convent museum.
Except for de los Santos, carvers were anonymous artisans before the 19th century. Only in the mid-nineteenthcentury, with the rise of the ilustrados and the opening of the land to international merchandise, higher artistic standards were demanded from the carvers/sculptors. A number of Filipinos found fame in sculpture such asCrispulo Hocson, Romualdo de Jesus, Leoncio Asuncion and Isabelo Tampinco.
The second half of the 19th century, as travel in and effectually the state considerably improved, saw a marked increase in the need for non-religious souvenirs. Tipos del pais (human types of the land) sculptures, showing ordinary people doing everyday activities and wearing their local costumes, became the favorite. They as well depicted the heads of the various indigenous groups.
The inclusion of sculpture in the Academia de Pintura, Escultura y Grabado de Manila's curriculum in 1879 formalized training in sculpture. Known sculptors during this fourth dimension were Bonifacio Arevalo, Graciano Nepomuceno, Marcelo Nepomuceno, and Anselmo Espiritu. Philippine National Hero Jose P. Rizal was a sculptor. He took up woodcarving lessons from Romualdo de Jesus and Paete primary carver Jose Caancan.
Paete, a small woodcarving boondocks in Laguna, Southern Luzon, produced the finest santo carvers during this period. The most prominent proper noun is Mariano Madriñan who won a gilded medal in the 1883 Amsterdam Exposition for his Mater Dolorosa (Sorrowful Mother).
In 1889, the first woman student, Pelagia Mendoza y Gotianquin, was accepted in the Academia de Dibujo Y Pintura by and so Managing director Lorenzo Rocha. In 1892, Pelagia Mendoza won in the 1892 Columbus Quadricentennial Art Contest with a bosom of Christopher Columbus.
C. GRAPHIC ARTS
Engraving was introduced in the 1590's by the Spanish colonizers. In 1593, the Dominicans published the La Doctrina Christiana en la Lengua Española y Tagala (The Christian Doctrine in the Spanish and Tagalog Linguistic communication), beginning book printed in the country. On information technology was a woodcut engraving of St. Dominic by Juan de Veyra, a Chinese catechumen.
The religious orders endemic printing presses and printed mostly prayer books and estampas. The estampas (prints of miraculous images) ordinarily featured portraits of saints and religious scenes. Estampas and estampitas (smaller version of estampas) were distributed during boondocks fiestas to the natives.
In the xviiithursday century, copper etching became more popular. Filipino engravers like Francisco Suarez, Nicolas de la Cruz Bagay, Laureano Atlas, and Felipe Sevilla were the first Filipino artists to sign their works. And with words like "Indios Tagalo" or "Indio Filipino", affixed their social condition on their works.
Francisco Suarez (ca. 1690 – ca. 1762) and Nicolas de la Cruz Bagay (1702 – ca. 1765) collaborated to draw landscapes, genre scenes and flora and fauna on the borders of maps deputed by Fr. Murillo Velarde in 1733. These were probably the kickoff secular images washed in the country. The ii likewise illustrated the pasyon written by Gaspar Aquino de Belen entitled Mahal na Passion ni Jesu Christong Panginoon Natin Na Tola (The Holy Passion of Our Lord Jesus Christ in Poetry), peradventure the first pasyon written in the country.
Laureano Atlas fabricated religious scenes and images. He did one of the earliest known portrait engraved on copper, a portrait of Archbishop Juan Angel Rodriguez in 1743. Phelipe Sevilla depicted scenes from the life of Christ.
Filipino engravers were the first to depict and reproduce brownish madonnas. The Nuestra Senora de Guia was fabricated in 1711, the oldest Marian image. The natives worship this icon like an anito.
Copperplate engraving remained popular until the introduction of a new printing medium. Lithography was introduced and this facilitated the printing of newspapers and periodicals in the country. Information technology besides enabled the printing of the local edition of Fr. Manuel Blanco's Flora de Filipinas in 1878.
One of the pop newspapers during the 19th century was La Illustracion Filipina published by Don Jose Zaragosa. Information technology had more 100 bug from November 1891 to Feb 1895. It ordinarily featured lithograph prints of people, landscapes and genre scenes. Since most of the family unit members know how to draw (including Carmen Zaragosa mentioned earlier), some of their works must have been published here.
| Reference/s: Gatbonton, Juan, et.al. Art Philippines. Crucible Workshop Rod Paras-Perez. Edades and the 13 Moderns. Cultural Centre of the Philippines Tiongson, Nicanor G. CCP Encyclopedia of Philippine Visual Arts, Cultural Center of the Philippines. | |
| Eloisa May P. Hernandez teaches Humanities at the Department of Fine art Studies of the University of the Philippines, Diliman. She worked for the Coordinating Center for Visual Arts, Outreach and Exchange Division, and Museo ng Kalinangang Pilipino at the Cultural Center of the Philippines. | |
Source: https://ncca.gov.ph/about-ncca-3/subcommissions/subcommission-on-the-arts-sca/visual-arts/the-spanish-colonial-tradition-in-philippine-visual-arts/
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