ART APP Lesson 1 - How Philippine is Philippine Art

Lesson 1: How Philippine is Philippine Art?
:A Survey in the Markers of Our Artistic Culture
Rendition of Amorsolo’s “Baguio” (artwork by the author)
Applying the knowledge of art criticism 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 and even a sense of identity.
We do have an identity. Filipinos are actually art lovers. We love grandiose and colorful
things: these are so evident in our jeepneys, the colorful decorations of Pahiyas festival, our
native pigments and colors, and even our clothes. Sometimes we do not even have a sense of
color harmony because of our love for colorful things. Nothing is wrong with that. Our diversity
is indeed reflected in our art forms and it makes us united and unique.
Timeline of Philippine Art
a. Characterized by use of materials found in the immediate environment,

combining functionality with aesthetics and art forms are usually
connected to traditional belief systems and local values.
b. Clay pottery is one of the earliest forms of ancient art which is evidence of
Pre-colonial
artistic skill. The Manunggul jar of Palawan is a prominent example. Other
Indigenous Art
forms are the Calatagan jar which displays inscriptions on its body and the
Maitum burial jar. The maitum is anthropomorphic, meaning it mimics a
human figure with facial expressions of sadness and joy on its face.
c. Other variations are the palayok which is used for cooking, the banga,
tapayan (liquid container), and the burnay pottery of llocos.
d. Wood carving is another prominent art form. Our animistic ancestors,
mostly from Cordilleras, carved 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 des and motif on wood used by the
Maranao and Tausug peoples. Principal designs are the sarimanok (a
colorful kingfisher with mythical reference), the naga (ancient serpents),
and the pako rabing (stylized fern). This is found mostly in the extended
floor beams of the Maranao Torogan, which is the Sultan’s house. A
variation of this ornamentation can be found in the malong (cylindrical
Maranao skirt) and even in stone grave-markers.
e. 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 weaved finely from
materials like piña and abaca fibers. Textile designs were present in the
t’nalak cloth of Mindanao, which is a decorative tie-dyeing method with
motifs like g’mayaw bird with flapping wings, the dancing man as a symbol
to call for rain, and the frog for fertility.
a. The main force of art is the church; hence, works were mostly concerned
with religious subject matters.
1800’s b. Notable artworks are Philippine flora and fauna, and the Letras Y
Hispanic Influence Figuras.
c. Filipinos were trained by friars, but they adhered to a more rich palette like
red, blue, and yellow.
a. Closing of the Escuela de Pintura, Grabado Y Escultura which paved the way
for the opening of small workshops led by artists to train pupils.
b. Photoethnography was done by American soldiers to “prove” the
1900’s uncivilized and primitive people of the Philippines.
American Influence c. Forces of art were commissions, sales, gifts, and opening of new
American-based businesses.
d. Filipinos started getting involved in international art expositions like
Felix Resurreccion Hidalgo.
a. Japan occupied the country and laid the groundwork for cultural
regeneration, dissipating American influence.
b. Some artists involved in the movement were conservatives Fernando
1942–1945
Amorsolo, his brother Pablo, Guillermo Tolentino, Dominador and
Second Republic
Castaneda, and modernists Victorio Edades, Galo Ocampo, and
Hernando Ocampo.
c. Art became a vehicle of influence for the Japanese to control the Filipino
spirit by restricting their artistic expression.
a. Rise of modernism spearheaded mostly by Hernando R. Ocampo,

Victorio Edades, and Napoleon Abueva.
1946–1972 b. The Art Association of the Philippines was formed along with the
Third Republic Philippine Art Gallery (PAG).
c. Main art movements were realism and neo realism with media-related
conventions like komiks and editorial cartoons.
a. Marcos era: Marcos monument was created but was later destroyed.
b. First Lady Imelda Marcos’ efforts: Cultural Center of the Philippines
(CCP), National Arts Center, and Philippine High School for the Arts
among others. The CCP was envisioned as a shrine for high art and the
avant garde.
1972–1986
c. Prominent artists were Chabet, Fernando Zobel, Raymundo Albano
Fourth Republic
along with modern artists Manansala who painted “Madonna of the
Slums,” Benedicto Cabrera (Bencab) 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.”
Onwards 1986 – a. Contemporary Philippine Art

Present b. Rise of commercial galleries, improvement of institutions, and
Fifth Republic formation of more art groups and collectives.

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Lesson 1: How Philippine is Philippine Art?

:A Survey in the Markers of Our Artistic Culture

Rendition of Amorsolo’s “Baguio” (artwork by the author)

Timeline of Philippine Art

a. Characterized by use of materials found in the immediate environment,

a. Rise of modernism spearheaded mostly by Hernando R. Ocampo,

Onwards 1986 – a. Contemporary Philippine Art

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