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Pre-Colonial Period (6185 BC TO 1520 AD)

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Philippine Art during Pre-Colonial Period (Pre Conquest)  Regime

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Philippine Art during Pre-Colonial Period (Pre Conquest)  Regime

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Pre-Colonial Period (Pre-Conquest) The people of the Philippines had a long-standing indigenous spiritual tradition at the time of pre-colonial rule. Their customs are founded on cultural norms and assumptions that ghosts and other supernatural beings roam the earth.

Reference:
https://www.sutori.com/en/story/philippine-art-history--RCiwxD9na5RJrToDzyuA7NJP

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IN THE PHILIPPINES, BEFORE THE SPANIARDS CAME THERE WERE EXISTING CULTURES WHICH WERE NOT DISTINGUISHED ESPECIALLY FOR THE NEW BORN FILIPINO CITIZENS FILIPINO SCULPTURE HAS UNDERGONE AN EVOLUTION IN CONTENT, FORM, SHAPE AND MEDIUMS.

- Earliest Sculptural images in the Philippines have been found consisted of small figurines made of clays, wood. and even porcelain.

- Filipino Sculpture came be known in the middle 19th century classical Philippines sculpture reached its peak works of Guillermo Tolentino (1890-1978).

Reference:
https://www.youtube.com/watch?v=uLiphQlKOfk

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The Ifugao people of Northern Luzon employed the bulul, a carved wooden figurine, to protect their rice harvest. They are made from a single piece of wood and have extremely fanciful human features. According to legend, the Ifugaos' strength comes from the presence of ancestral spirits within them.

Other Title: Standing 'bulul' Rice God figure
Place where the work was made:  Ifugao → Central Cordillera → Luzon → Philippines
Cultural origin: Ifugao
Date: 20th century
Media category: Sculpture
Materials used: wood
Dimensions: 55.5 cm
Credit: Gift of Dr John Yu and Dr George Soutter 2005
Location:  Not on display
Accession number: 219.2005
Copyright: Reproduction requests
Artist information: Ifugao Works in the collection 3

Reference:
https://www.artgallery.nsw.gov.au/collection/works/219.2005/
https://uw.pressbooks.pub/criticalfilipinxamericanhistories/chapter/chelsea-daugard/

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An unusual Philippine hagabi of narra wood. Hagabi are traditionally large ceremonial benches carved for wealthy Ifugao families as a symbol of wealth, power and prestige. The bench serves as a symbol of a prestigious "hagabi feast" in which the carving of the bench marks the beginning of the celebration. The geometric bench with stylized animal head ends. Only Ifugao of the cadangyan (wealthy) class were allowed to have hagabi, and this small scale stool was likely carved for a cadangyan individual for use inside their home.  20th century

Reference:
https://www.galenlowe.com/sculpture/form/form-i/hagabi.html#.YzvZuXZBy00

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Philippine Art during Spanish Colonial Regime

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Philippine Art during Spanish Colonial Regime

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When the Spaniards arrived in the Philippines in 1521, the colonizers used art as a tool to propagate the Catholic faith through beautiful images to explain the concepts behind Catholicism, to tell the stories of Christ's life and passion.

When the Spanish arrived in our country, the native people learned how to carve statues of saints and other religious figures. As churches are built on the ground, carvings and sculptural elements such as retablos, windows, and doors are included into the architecture.

Reference:
https://prezi.com/hlkqbqcxmxcr/philippine-art-during-the-spanish-colonial-regime/

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A retablo is a devotional painting, particularly a miniature work of popular or folk art that uses iconography adapted from old-style Catholic church art.

Retables or reredos, whether a sizable altarpiece painting or an elaborate wooden structure with sculptures, are referred to as retablos in Spanish.

Typically, this consists of a complex framework surrounding a painting, a sculpture, or a combination of the two.

The Spanish word's Latin etymology translates to "board behind."

Small retablos are devotional or votive paintings that frequently depict holy images like Christ, the Virgin Mary, or one of the many saints on rectangular sheets of tin.

Reference:
https://artsandculture.google.com/entity/retablo/m0cj2fz

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Relleves (carved images in relief) usually depict the Via Crucis. It may also show holy images in religious scenes.

Rerence:
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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Philippine Art during American Colonial Regime

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Philippine Art during American Colonial Regime

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The artwork is in neo-classical and modern forms, in keeping with the classical essence of the American Colonial Period. The Philippines' educational system is one of its finest legacies.

Fernando Amorsolo and Guillermo Tolentino both achieved fame in the visual arts during the American Period for their depictions of Filipino culture in their works, the UP Oblation (1935) and the Bonifacio Monument, respectively (1933).

Reference:
https://www.preceden.com/timelines/667670-history-of-philippine-art

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The Oblation, by Filipino artist Guillermo E. Tolentino, is a concrete statue that serves as the University of the Philippines' unmistakable emblem (Filipino: Pahinungod, Oblasyon). The image shows a guy standing with his arms extended, representing the unselfish sacrifice made for one's country. Rafael Palma, who hired Tolentino to create the sculpture, was the one who first came up with the concept for the Oblation.

Reference:
https://sites.google.com/site/upvgpo/the

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The Andrés Bonifacio Monument, also known as the Bonifacio Monument or Monumento, is a memorial structure in Caloocan, Philippines, that was created by national artist Guillermo Tolentino to honor the Katipunan founder and revolutionary Andrés Bonifacio. Andrés Bonifacio struggled for freedom from Spain's harsh colonial tyranny in politics and society. One of the best monuments in the world is the "Cry of Balintawak," a 13.7 m tall structure with symbolic symbols and other elements.

Reference:
https://artsandculture.google.com/entity/liwasang-bonifacio/g11c60pchd8?hl=en

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Philippine Art during Japanese Colonial Regime

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Philippine Art during Japanese Colonial Regime

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The arrival of the Japanese brought the Filipinos much anxiety, misery, and suffering. During the Japanese era, the manner of life in the Philippines was significantly impacted. The freedom of speech and expression was taken away from the Filipinos. The growth of art was likewise halted, which led to the dark era in Philippine history.

Modern art is also beginning to progressively permeate the art world at this time. The majority of the artworks reflect the feelings of the artists throughout the conflict. A new generation of contemporary artists appeared, including Victorio Edades, Carlos "Botong" Francisco, and Galo Hernandes, who were regarded as the "Triumvirates" who introduced modern art to the nation.

Reference:
https://www.preceden.com/timelines/667670-history-of-philippine-art

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A two-meter-tall bronze statue commemorating the Filipino women who were used as sex slaves by the Japanese military during World War II has vanished in Manila, highlighting the nation's difficulties in juggling diplomatic relations with its main source of development aid while calls are made for Tokyo to be held responsible for this atrocity.

Reference:
https://www.scmp.com/week-asia/politics/article/3121702/comfort-women-statue-missing-philippines-japans-wartime-legacy

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70's to Contemporary Period (1970-current)

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Philippine Art during Contemporary Colonial Regime

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Philippine Art during Contemporary Colonial Regime

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Contemporary culture and society are reflected in contemporary art. providing abundant materials for the general public to reflect on current concepts and reconsider the accepted. Contemporary art defies easy categorization and challenges conventional boundaries with its dynamic combination of materials, processes, themes, and subjects. Contemporary art is diverse and eclectic, but it stands out because it lacks a unified organizing principle, ideology, or -ism. When Imelda Marcos had the idea to create a home for the arts, the Cultural Center of the Philippines was constructed, bringing culture and art to the forefront under the Marcos administration.

Reference:
https://www.preceden.com/timelines/667670-history-of-philippine-art

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The 1986 People Power Revolution is commemorated by the monument known as the People Power Monument. The monument is situated in Barangay Camp Aguinaldo, Quezon City, the Philippines, at the intersection of Epifanio de los Santos Avenue and White Plains Avenue. In 1993, Eduardo Castrillo created it. The distance from the EDSA Shrine, another memorial created to honor the occasion, is roughly 0.90 kilometers.

Reference:
https://artsandculture.google.com/entity/edsa-people-power-monument-and-historical-marker/m0gg78dg?hl=en