2honescieae-blog - Tumblr blog

[2honescieae-blog]

AARON MERINO 11 - STEM HONESTY The art in my backround is called th “Spolarium” by Filipino painter Juan Luna. The painting was submitted by Luna to the Exposición Nacional de Bellas Artes in 1884 in Madrid, where it garnered the first gold medal (out of three). In 1886, it was sold to the Diputación Provincial de Barcelona for 20,000 pesetas. It currently hangs in the main gallery at the first floor of the National Museum of Fine Arts in Manila, and is the first work of art that greets visitors upon entry into the museum. The picture recreates a despoiling scene in a Roman circus where dead gladiators are stripped of weapons and garments. Luna, working on canvas, spent eight months completing the painting which depicts dying gladiators. Filipino historian Ambeth Ocampo writes, "...the fact remains that when Luna and Félix Resurrección Hidalgo won the top awards in the Madrid Exposition of 1884, they proved to the world that indios could, despite their supposed barbarian race, paint better than the Spaniards who colonized them. Well, the first thing we'll notice about the painting is its size itself. Standing at 4.22 meters in height and 7.675 m in width (to be precised), no doubt that the painting commands attention and gives off a majestic aura. It is the largest painting in the Philippines so far. Any viewer of the painting will feel dwarfed by the large painting and may feel overwhelmed by the magnanimity of it. The next thing we'll notice about the painting is the rich in colors used. Mostly, the painter made use of warm colors for his work of art, with reds being a central color that attracts the most attention. As what other's personal experience, the colors are striking and quite unique. The Spolarium depicts an event during the Roman Empire, where bloodied bodies of gladiators, who were drawn as slaves, are dragged mercilessly away by men from the wide and powerful arena towards an unknown darkness, and where other tragically killed gladiators are brought. A cheering crowd, screaming for blood can be noticed from the left side of the painting while to the right a woman who is in crouched and seemingly in sorrow. Definitely, the painting shows a tragic event. But it also shows a deeper meaning, especially for the Filipinos during the time of the Spanish colonization. According to some art experts, the fallen gladiators who are being dragged in the painting are the Filipino people, while the men dragging them are representative of the Spanish rule. It is believed that the woman crouched on the right side of the painting is the Mother Country or the Inang Bayan who weeps for her Philippines. The blood thirsty crowd to the left represents the social cancer on that time. Truly, there is more than meets the eye when it comes to the painting Spolarium. It currently hangs in the main gallery at the ground floor of the National Museum of Fine Arts in Manila, and is the first work of art that greets visitors upon entry into the museum. Whether you are a foreigner or a local, it will be a great experience and an enriching experience to visit the museum and learn more about Philippines Culture and History.

[2honescieae-blog]

Philippine Contemporary arts in Museums

Portillo, AIve Gene V. 11 STEM- Honesty

The Battle of Lepanto by Juan Luna

Pingkian, Jerico T. 11- STEM- Honesty

The trip to different museums if very fun for me because I saw different paintings, sculpture, artifacts, relics and many other more. We go to the National Museum of Fine Arts and inside of these museum are great and magnanimous artworks of the different artists. My eyes were really mesmerized by the beauty of it but despite of the wonderful paintings there are one painting that caught my attention and that is the painting of Juan Luna which is “The Battle of Lepanto”.

Background about the Painting

The Battle of Lepanto (Spanish: La Batalla de Lepanto) is a famous painting by Filipino painter and revolutionary activist Juan Luna. Luna is one of the first Filipinos to excel and earn recognition in the international field of arts and culture (another one is Félix Resurrección Hidalgo). Painted by Luna in 1887, the masterpiece is about the Battle of Lepanto of October 7, 1571. The painting features Don Juan of Austria (also known as Don John of Austria) in battle while at the bow of a ship. It is one of the “huge epic canvasses” painted by Luna (the others are the Spoliarium and The Blood Compact). The painting is also known as The Battle of Lepanto of 1571.

Medium, Techniques, Elements and Pros and Cons of the Paintings

         The Medium used in this painting is a canvas and an oil paint. The advantages in the painting they are flexibility and depth in colors. They can be applied in many different ways, from thin glazes diluted with turpentine to dense thick impasto. While the disadvantages of it is the slow drying time of paint and lack of clarity in it.

         I recognized that this painting is full of emotion because it is war between Spanish Empire and Venetian Republic. As you can see in the painting there are bunch of peoples fighting for their pride, honor, and glory and to protect their territory and country.

         There are so many elements of arts you can observed in this painting. Line is observed in their because it shows different kind of lines and the painter manipulate it greatly. Color has also contributed in this painting because the blending and mixture of the color is very amazing. Even though were not allowed to touch the painting the value and texture are obvious in the artwork because you can see the roughness of the painting and it mesmerized because even in the visual perspective you can see the texture of the painting

   .

[2honescieae-blog]

HERE IS OUR SECOND GROUP WORK IN 4TH GRADING THAT TACKLES ABOUT THE ARTISTIC SKILLS AND TECHNIQUES TO CONTEMPORARY ART CREATION

ETOUFFER

Décollage is came from a French word means ‘literally unstick’, it is generally associated with a process used by artist of the nouveau réalisme (new realism) movement that involved making art from posters ripped from walls. Since the décollage came from a French word, we decided that the title of our artwork is étouffer which means suffocate. Suffocate, because we all know in our present time our Mother Earth is suffocating due to different pollution, overpopulation, excessive amount of wastes and many other more. In our piece, there is a tree and inside that is a woman that symbolizes or Mother Nature. As you can see there is black part beneath the tree that looks like fire it represents the different pollution that causes Mother earth to suffocate and the fire that almost spread out to destroy the tree but beyond that there is a little white part beneath the tree that illustrates the cleanliness. Even though, our Earth is almost contaminated there is a chance to change it and make it clean. Sauver notre mère la terre!!!

[2honescieae-blog]

Here is our second individual outputs that is a reaction paper about the video that we watched which is “DAYAW”

Chant of a better life

(A Reaction Paper)

by: Jerico Pingkian

We all know that our country is rich in tradition and beliefs. We have many ethnic groups in the different part of the Philippines. Each of them have different culture and traditions.

In the short documentary that I watch which is Dayaw the forms of traditional art that I notice is music. Music helps the tribes to express their emotions and feelings. Music can be a chant, folks and can be used in ritual forms. The narrators tells us about one of the characters of traditional art is Unity of the Arts. Consistent with the integration of faculties is the integration of artistic sensibilities. No one sensory mode and aesthetic intelligence is to be cultivated at expense of the others. Another character is Art is integrated with everyday life and not regarded as separate activity. It does not become specialism. It implies that there will be no special venues or spaces for art because it virtually exists wherever and whenever there is a human activity.

The artists shows passion and love in their artworks. They used available resources just to show their dedication in the art they do and for their artistic creation. Art is not synonymous with big production costs because what matters is artistic excellence or the creative idea as well as making art part of everyday life.

There are four specific factors affecting the changes of art production. One of the factors affecting is tourism. The artists in their places does not have enough time in doing their artwork instead they focused on the different people that visits their hometown. Another one is Mining and Infrastructures. Most of the places of ethnic groups are damaged because of the widely modernization of our country. Because of that, the artists will be pushed into other works and activities and will not be more focused on their artworks. The last two factors are Militarization and Christianization.

( REACTION PAPER )

BY. JULIANNE ALECS SAPINIT                                                                            

“Dayaw 2014: The Indigenous Peoples Festival,” annually held by the National Commission for Culture and the Arts (NCCA), will showcase traditional cuisines, games, rituals, dances, songs, practices and crafts in an effort to engender wider awareness and appreciation for indigenous cultures, which are constantly under threat of vanishing. It will also serve as a venue for different indigenous groups to interact with each other and to learn from one another as well as to express their views on issues concerning them.

The narrators tells us about one of the characters of traditional art is Unity of the Arts. Consistent with the integration of faculties is the integration of artistic sensibilities. No one sensory mode and aesthetic intelligence is to be cultivated at expense of the others.

Another character is Art is integrated with everyday life and not regarded as separate activity. It implies that there will be no special venues or spaces for art because it virtually exists wherever and whenever there is a human activity.

There are many factors that may affect the changes of art production, one possible factor is the technology, then there is the tourism, mining and infrastructure, militarization and christianization.

(REACTION PAPER) BY:Aive Gene V. Portillo

• In the video, we can identify the forms of traditional art that they presented. These are the music, song, chants, epics, and syllabary.

• The said video tells us that our own traditional art is great and it can be proud of. And for us to continue our own tradition, we must learn how to use and preseve it.

• Gamaba Awardees like Sumaon Sulaiman, Masino Intaray, and Ginaw Bilog presented their Masterpiece or what we call their arts, and they act on how their arts work and how amazing it is in their culture and tradition.

• As what i remembered in the video, the specific factor that causes changes in art production is the environment itself. "New World", our traditions is triggered by the new generations art, we take the new culture or tradition and sometimes we forget that we have our own culture that we can establish and expand.

[2honescieae-blog]

Here is our second group presentation about National Artists of The Philippines

The Artist that we pick and collaborated is Idelfonso “IP” Santos he is known to be the “ Father of the Philippine Landscape Architecture”.

This are our Powerpoint Presentation during our reporting.

After the collaboration with Idelfonso Santos we came up with a brilliant idea and make our very own blueprint (topview) of a park inspired from Paco Park and we named it as “Caloocan City Peoples Park”.

[2honescieae-blog]

Here is our first individual output about the different Artifacts in the Philippines

Manunggal Jar

The cultural treasure found in the early 1960’s in Manunggul Cave, Lipuun Point, Palawan is a secondary burial jar. The upper portion of the jar, as well as the cover is incised with curvilinear scroll designs and painted with natural iron or hematite. On top of the jar cover or lid is a boat with two human figures representing two souls on a voyage to the afterlife. The boatman is seated behind a figure whose hands are crossed on the chest. The position of the hands is a traditional Filipino practice observed when arranging the corpse.

The burial jar which is unrivaled in Southeast Asia and considered as the work of a master potter, signifies the belief of early Filipinos in life after death. It is dated to the late Neolithic Period, about 890-710 B.C.

Maranao Kulintangan and Korsi

The Maranao korsi is a carved wooden chair with a carved niaga (fern) motif in front and an eagle on top of the backrest. This chair was collected by Datu Natancup in Lanao del Sur in August 28, 1962 and is considered as a cultural treasure because of its unique traditional Maranao okir designs. The korsi is rarely manufactured today and is basically used as a seat for the kulingtangan player.

Together with the korsi the kulingtang (xylophone) is also a cultural treasure. It is a Maranao musical instrument with 8 graduated gongs. One end has three red and orange niaga motif while the other end has the sarimanok motif. These motifs symbolize Maranao traditional designs that are combined to produce intricate abstract motif in the form of animals, plant part or any common object. These motifs are referred to as okir, which literally means to carve.

The 8 graduated gongs made of brass are laid on top of a wooden carving. They are strategically arranged to produce eight ascending pitches. The kulingtang is played during festivities among the Maranao, especially of wedding occasions, house warming, and receiving important guests.

The kulingtang exhibited at the Museum of the Filipino People was a gift from the Malacanang Palace in November 9, 1956.

   Miag-ao Church and Retablo

The Church of Saint Thomas of Villanova, commonly known as the Miagao Church, is the Roman Catholic parish church of the town of Miagao in IloiloProvince. Completed in 1797, the church is famous for the artistic sculptural relief carved on its facade. In 1993, the church was designated as one best examples of the Baroque Churches of the Philippines and included in the list of World Heritage Sites by UNESCO.

The Miagao Church stands as a living legacy of the culture and way of life of the people of Miagao centuries ago, anchored in a strong foundation of Christian faith. As most travelers would agree, the Miagao Church is one of the country’s architectural gems because of its unique and imposing designs, ornaments and motifs.

Doctrina Christiana

The Doctrina Christiana is remarkable not only for having been printed at such an early age in a elaborated Gothic font of the Spanish language, but also for having copies made in Tagalog versions, both in Latin script and the commonly used Baybayin script of the natives at the time, plus another translation made in traditional Chinese language.

There is some controversy about which of the versions is the first book of the Spanish Philippines, with some scholars believing that the Chinese language version titled Doctrina Christiana en letra y lengua China (Wuchi t’ien-chu cheng-chiao chen-chuan shih-lu) was printed in 1590 to 1592 by the Chinese printer Keng Yong in Manila before the Spanish and Tagalog versions.

One of the earliest references to both versions come from Gómez Pérez Dasmariñas, the seventh governor-general of the Philippines, who wrote a letter to Philip II of Spain on June 20, 1593, that read:

“Sire, in  the name of Your Majesty, I have for this once, because of the existing great  need, granted a license for the printing of the Doctrinas Christianas,  herewith enclosed—one in the Tagalog language, which is the native and best  of these islands, and the other in Chinese—from which I hope great benefits  will result in the conversion and instruction of the peoples of both nations;  and because the lands of the Indies are on a larger scale in everything and  things more expensive, I have set the price of them at four reales a piece,  until Your Majesty is pleased to decree in full what is to be done.”

                                                                                                - Jerico Pingkian

 Manunggul  Jar

Year

890-710 BCE

Type

Burial Jar

Dimensions

66.5 cm  (26.2 in); 51 cm diameter (20 in)

Location

National Museum of Anthropology, Manila

The Manunggul Jar is a secondary burial jar excavated from a Neolithic burial site in the Manunggul cave of the Tabon Caves at Lipuun Point in Palawan. It dates from 890–710 B.C. and the two prominent figures at the top handle of its cover represent the journey of the soul to the afterlife.

The Manunggul Jar is widely acknowledged to be one of the finest Philippine pre-colonial artworks ever produced and is considered a masterpiece of Philippine ceramics. It is listed as a national treasure and designated as item 64-MO-74 by the National Museum of the Philippines. It is now housed at the National Museum of Anthropology and is one of the most popular exhibits there. It is made from clay with some sand soil.

Kulintang 

The Maranao korsi is a carved wooden chair with a carved niaga (fern) motif in front and an eagle on top of the backrest. This chair was collected by Datu Natancup in Lanao del Sur in August 28, 1962 and is considered as a cultural treasure because of its unique traditional Maranao okir designs. The korsi is rarely manufactured today and is basically used as a seat for the kulingtangan player.Together with the korsi the kulingtang (xylophone) is also a cultural treasure. It is a Maranao musical instrument with 8 graduated gongs. One end has three red and orange niaga motif while the other end has the sarimanok motif. These motifs symbolize Maranao traditional designs that are combined to produce intricate abstract motif in the form of animals, plant part or any common object. These motifs are referred to as okir, which literally means to carve.

Kulintang belongs to the larger unit/stratum of “knobbed gong-chime culture” prevalent in Southeast Asia. It is considered one of the region’s three major gong ensembles, alongside the gamelan of western Indonesia and piphat of Thailand, Burma, Cambodia and Laos, which use gongs and not wind or string instruments to carry the melodic part of the ensemble. Like the other two, kulintang music is primarily orchestral with several rhythmic parts orderly stacked one upon another. It is also based upon the pentatonic scale. However, kulintang music differs in many aspects from gamelan music, primarily in the way the latter constructs melodies within a framework of skeletal tones and prescribed time interval of entry for each instruments. The framework of kulintang music is more flexible and time intervals are nonexistent, allowing for such things as improvisations to be more prevalent.

Because kulintang-like ensembles extended over various groups with various languages, the term used for the horizontal set of gongs varied widely. Along with it begin called kulintang, it is also called kolintang, kolintan, kulintangan, kwintangan, k’lintang, gong sembilan, gong duablas, momo, totobuang, nekara, engkromong, kromong/enkromong and recently kakula/kakula nuada. Kulintang-like instruments are played by the Maguindanao, Maranao, Iranun, Kalagan, Kalibugan and more recently the Tboli, Blaanand Subanao of Mindanao, the Tausug, Samal, Sama/Badjao, Yakan and the Sangir/Sangil of the Sulu, the Ambon, Banda, Seram, Ternate, Tidore, and Kei of Maluku, the Bajau, Suluk, Murut, Kadazan-Dusun, Kadayah and Paitanic Peoples of Sabah, the Malays of Brunei, the Bidayuh and Iban/Sea Dayak of Sarawak, the Bolaang Mongondow and Kailinese/Toli-Toli of Sulawesi and other groups in Banjarmasin and Tanjung in Kalimantan and Timor.

The Miagao Church also known as the Santo Tomas de Villanueva Parish Church is a Roman Catholic church located in Miagao, Iloilo, Philippines. The church was declared as a UNESCO World Heritage Site on December 11, 1993 together with San Agustin Church in Manila; Nuestra Señora de la Asuncion Church in Santa Maria, Ilocos Sur; and San Agustin Church in Paoay, Ilocos Norteunder the collective title Baroque Churches of the Philippines, a collection of four Baroque Spanish-era churches. The church's over-all architectural style falls under the Baroque Romanesque architectural style.Its ochre color is due to the materials used in constructing the church: adobe, egg, coral and limestone. The church's foundation is 6 meters deep and the massive stone walls at 1.5 meters thick are intensified through the use of 4 meter thick flying buttresses as protection to the Moro invaders as stipulated under Royal Decree 111 of 1573 (Law of the Indies).

Miagao Church 

Miagao was formerly a visita of Oton until 1580, Tigbauan until 1592, San Joaquin until 1703 and Guimbal until 1731.It became an independent parish of the Augustinians in 1731 under the advocacy of Saint Thomas of Villanova.With the establishment of the parish, a church and convento was built in a land near the sea called Ubos. Father Fernando Camporredondo served as the town's first parish priest in 1734. When the town experienced frequent Moro invasion in 1741 and 1754, the town moved to a more secure place. From there, a new church was constructed in 1787 through forced labor under the supervision of Fray Francisco Gonzales, parish priest and Spanish gobernadorcillo Domingo Libo-on.[3] It was built on the highest point of the town to guard from invaders called Tacas. After ten years, the church was completed in 1797. It was designed to have thick walls to serve as protection from invaders. It was severely damaged during the Spanish revolution in 1898 but was later rebuilt, fire in 1910, the second World War and earthquake in 1948.The present day Miagao church is the third church built since its establishment in 1731.[4] To preserve the church, it underwent restoration in 1960 and completed in 1962. It was declared a national shrine by Presidential Decree No. 260.

Doctrina Christiana

The Doctrina Christiana is remarkable not only for having been printed at such an early age in a elaborated Gothic font of the Spanish language, but also for having copies made in Tagalog versions, both in Latin script and the commonly used Baybayin script of the natives at the time, plus another translation made in traditional Chinese language.

There is some controversy about which of the versions is the first book of the Spanish Philippines, with some scholars believing that the Chinese language version titled Doctrina Christiana en letra y lengua China (Wuchi t’ien-chu cheng-chiao chen-chuan shih-lu) was printed in 1590 to 1592 by the Chinese printer Keng Yong in Manila before the Spanish and Tagalog versions.

One of the earliest references to both versions come from Gómez Pérez Dasmariñas, the seventh governor-general of the Philippines, who wrote a letter to Philip II of Spain on June 20, 1593, that read:

“Sire, in  the name of Your Majesty, I have for this once, because of the existing great  need, granted a license for the printing of the Doctrinas Christianas,  herewith enclosed—one in the Tagalog language, which is the native and best  of these islands, and the other in Chinese—from which I hope great benefits  will result in the conversion and instruction of the peoples of both nations;  and because the lands of the Indies are on a larger scale in everything and  things more expensive, I have set the price of them at four reales a piece,  until Your Majesty is pleased to decree in full what is to be done.”                                                                                                                                                                                                                                                           - JULIANNE ALECS SAPINIT

MANNUNGUL JAR

It is a secondary burial jar excavated from a Neolithic burial site in the Mannungul Cave of the Tabon Caves at Lipuun Point at Palawan. It dates from handle of its cover represent the journey of the soul to the after life.

MARANAO KULINTANG AND KORSI

The Maranao Korsi is carved wooden chair with a carved Niaga motif in front and an eagle on top of the backrest. The chair was collected by Datu Natancup in Lanao del Sur in August 28,1962.

Together with the Korsi the Kulintang is also a cultural treasure. It is a Maranao musical instrument with 8 graduated gongs. One end has three red and orange Niaga motif while the other end has the Sarimanok motif. These motif symbolize Maranao traditional design that are combined to produce intricate abstract motif in the form of animals, plant part or any common object.

MIAG-AO CHURCH

Miagao Church also known as the Santo Tomas de Villanueva Parish Church is a Roman Catholic Church located in Miagao, Iloilo, Philippines. The Church was declared as UNESCO WORLD HERITAGE SITE on December 11,1993.

The Church's over all architectural style falls under the Baroque Romanesque architectural style. Its orche color is due to the material used in constructing the church: adobe, egg, coral and limestone.

DOCTRINA CRISTIANA

Doctrina Cristiana was an early book on the Roman Catholic Catechism, written in 1593 by Fray Juan de Plasencia and is believed to be one of the earliest printed book in the Philippines.

The book was printed on paper made from mulberry. The size of the volume ,which is unbound ,is 9⅛ by 7 inches although individual leaves vary somewhat due to come. Some of the leaves have become separated from their complement ,but enough remain in the original stitching to indicate that the book originally made.

-MICHAEL RAFAEL P. ZUNIEGA

-Aive Gene V. Portillo

Manunggul Jar The Manunggul Jar is a secondary burial jar excavated from a Neolithic burial site in the Manunggul cave of the Tabon Caves at Lipuun Point in Palawan. It dates from 890–710 B.C. and the two prominent figures at the top handle of its cover represent the journey of the soul to the afterlife. The Maranao korsi is a carved wooden chair with a carved niaga (fern) motif in front and an eagle on top of the backrest. This chair was collected by Datu Natancup in Lanao del Sur in August 28, 1962 and is considered as a cultural treasure because of its unique traditional Maranao okir designs. The korsi is rarely manufactured today and is basically used as a seat for the kulingtangan player. Together with the korsi the kulingtang (xylophone) is also a cultural treasure. It is a Maranao musical instrument with 8 graduated gongs. One end has three red and orange niaga motif while the other end has the sarimanok motif. These motifs symbolize Maranao traditional designs that are combined to produce intricate abstract motif in the form of animals, plant part or any common object. These motifs are referred to as okir, which literally means to carve. The 8 graduated gongs made of brass are laid on top of a wooden carving. They are strategically arranged to produce eight ascending pitches. The kulingtang is played during festivities among the Maranao, especially of wedding occasions, house warming, and receiving important guests. The kulingtang exhibited at the Museum of the Filipino People was a gift from the Malacanang Palace in November 9, 1956. Miagao was formerly a visita of Oton until 1580, Tigbauan until 1592, San Joaquin until 1703 and Guimbal until 1731.[2] It became an independent parish of the Augustinians in 1731 under the advocacy of Saint Thomas of Villanova.[1] With the establishment of the parish, a church and convento was built in a land near the sea called Ubos. Father Fernando Camporredondo served as the town's first parish priest in 1734. When the town experienced frequent Moro invasion in 1741 and 1754, the town moved to a more secure place. From there, a new church was constructed in 1787 through forced labor under the supervision of Fray Francisco Gonzales, parish priest and Spanish gobernadorcillo Domingo Libo-on.[3] It was built on the highest point of the town to guard from invaders called Tacas. After ten years, the church was completed in 1797. It was designed to have thick walls to serve as protection from invaders. It was severely damaged during the Spanish revolution in 1898 but was later rebuilt, fire in 1910, the second World War and earthquake in 1948.[3] The present day Miagao church is the third church built since its establishment in 1731.[4] To preserve the church, it underwent restoration in 1960 and completed in 1962. It was declared a national shrine by Presidential Decree No. 260. The Doctrina Christiana was an early book on the Roman Catholic Catechism, written in 1593 by Fray Juan de Plasencia, and is believed to be one of the earliest printed books in the Philippines.There is some controversy about which of the versions is the first printed book in Spanish Philippines, with some scholars believing that the Chinese-language version titled Doctrina Christiana en letra y lengua China, compuesta por los madres ministros de los Sangleyes, de la Orden de Sancto Domingo. Con licencia, por Keng Yong, China, en el Parian de Manila (Chinese: 新刻僧師高母羡撰無極天主正教真傳實錄; pinyin: Xīnkè Sēngshī Gāomǔ Xiàn-zhuàn Wújí Tiānzhǔ Zhèngjiào Zhēnchuán Shílù; Wade–Giles: Hsin1k'o4 Seng1shih1 Kao1mu3 Hsien4-chuan4 Wu2chi2 T'ien1chu3 Cheng4chiao4 Chen1ch'uan2 Shih2lu4; literally: "A Printed Edition of The True Faith in The Infinite God, by Fr. Juan Cobo, O.P.[2]") by Fray Miguel de Benavides, OP, was printed between 1590 and 1592 by the Chinese printer Keng Yong in Manila before the Spanish and Tagalog versions. One of the earliest references to both versions comes from Gómez Pérez Dasmariñas, the seventh Spanish Governor-General of the Philippines, who wrote a letter to Philip II of Spain on 20 June 1593. References: •https://en.m.wikipedia.org/wiki/Manunggul_Jar •http://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Ethno/Kulintangan.html •https://en.m.wikipedia.org/wiki/Miagao_Church •https://en.m.wikipedia.org/wiki/Doctrina_Christiana - James Ernest San Diego MANNUNGUL JAR One of the Philippines cultural treasures and early pre-colonial artwork is the Manunggul Jar, that was found in March 1964 in Manunngul Cave in Lipuun Pioint, Quezon, Palawan by Victor Decalan, Hans Kasten and several volunteer workers from the United States Peace Corps and archaeologists from the National Museum. Believed to be a burial site, the Manunngul Jar that was discovered with many other jars, is a secondary burial jar that dates back to the late Neolithic Period around 890-710 B.C. Anthropologist Robert Fox who discovered the well known Tabon Caves home of the Tabon Man, one of the earliest human remains discovered to date after the recently discovered Callao Man remains, wrote about the Manunggul Jar in his work, The Tabon Caves: Archaeological Explorations and Excavations on Palawan Island, Philippines (Manila: National Museum, 1970): “The burial jar with a cover featuring a ship-of-the-dead is perhaps unrivalled in Southeast Asia; the work of an artist and master potter. This vessel provides a clear example of a cultural link between the archaeological past and the ethnographic present. The boatman is steering rather than padding the “ship.” The mast of the boat was not recovered. Both figures appear to be wearing a band tied over the crown of the head and under the jaw; a pattern still encountered in burial practices among the indigenous peoples in Southern Philippines. The manner in which the hands of the front figure are folded across the chest is also a widespread practice in the Islands when arranging the corpse. “The carved prow and eye motif of the spirit boat is still found on the traditional watercraft of the Sulu Archipelago, Borneo and Malaysia. Similarities in the execution of the ears, eyes, nose, and mouth of the figures may be seen today in the woodcarving of Taiwan, the Philippines, and elsewhere in Southeast Asia.“ IMG_2978 The upper portion of the jar, as well as the cover is carved with elaborate curve and scroll designs and painted with natural iron or hematite, a type of mineral that produces red coloring once subjected to heat. On top of the jar cover or lid is a boat with two human figures representing two souls on a voyage to the afterlife. The figure at the rear is holding a steering paddle, although the blade of the paddle is missing. The one in front is believed to be the soul of the person whose remains are inside the jar, since it has its arms folded across its chest which was the usual position of a corpse being prepared for burial. It also seems like the figures are wearing cloth bands tied over the crowns of their heads, more evidence of indigenous burial practices in the Philippines. In indigenous and precolonial beliefs, there is a connection with a body of water and the afterlife. In the Visayas, the Goddess Magwayen was said to be the one who ferries the dead souls on her boat along Lalangban, a spiritual river, that leads to Sulad, a purgatory of the afterlife, prior to the final destination, Saad, the land of the ancestors. As a secondary burial jar, the Manunngul Jar represents the importance of burial practices and beliefs in the afterlife among early Filipin@’s. In the secondary burial process the bones of the deceased were placed inside of a jar in a re-burial after the corpse decomposed. The bones were cleaned, washed, then sometimes painted, before being placed in the jar where it was eventually placed hidden in caves. It is a symbol and archaeological evidence of the strong indigenous spirituality and beliefs in precolonial Philippines. Not only does the Manunggul Jar provides evidence of our early beliefs in the afterlife but also provides clues and evidence to the precolonial societies in the islands of what is now known as the Philippines. The Manunggul Burial Jar is currently housed in the Museum of the Filipino People, by National Museum of the Philippines in Manila and was featured and printed in the 1,000 peso bill. draft_lens2367959module13362062photo_1231426529philippines197s-2002r -MARANAO KULINTANG AND KORSI- The Maranao korsi is a carved wooden chair with a carved niaga (fern) motif in front and an eagle on top of the backrest. This chair was collected by Datu Natancup in Lanao del Sur in August 28, 1962 and is considered as a cultural treasure because of its unique traditional Maranao okir designs. The korsi is rarely manufactured today and is basically used as a seat for the kulingtangan player. Together with the korsi the kulingtang (xylophone) is also a cultural treasure. It is a Maranao musical instrument with 8 graduated gongs. One end has three red and orange niaga motif while the other end has the sarimanok motif. These motifs symbolize Maranao traditional designs that are combined to produce intricate abstract motif in the form of animals, plant part or any common object. These motifs are referred to as okir, which literally means to carve. The 8 graduated gongs made of brass are laid on top of a wooden carving. They are strategically arranged to produce eight ascending pitches. The kulingtang is played during festivities among the Maranao, especially of wedding occasions, house warming, and receiving important guests. The kulingtang exhibited at the Museum of the Filipino People was a gift from the Malacanang Palace in November 9, 1956. -MIAG-AO CHURCH- Miag-ao Church, also known as the Church of Santo Tomas de Villanueva in the town of Miagao, Iloilo, is an Augustinian-built baroque church and a UNESCO World Heritage Site. Built between 1787 and 1797, its fortress-like design suggests its dual purpose as a place of worship and as a fort used in defending the town against moro raiders. Architecture Miag-ao Church exhibits various architectural designs with the predominance of baroque and local artistic elements. Its facade employs diverse relief motifs, and period styles. These are carved on local carbonaceous limestone of soft yellow ochre color. The adobe used in building the church is made from silt and clay that can only be found in this part of Iloilo, giving the building a unique warm-yellowish glow. Flying buttresses from the side of the church walls are typical of the "earthquake baroque" design reminiscent of churches in Ilocos, particularly Panay Church and Vigan Cathedral. The church's simple interior is highlighted by a striking gold-plated retablo. In Baroque-Romanesque style, the church sinks six meters deep into the ground with walls one-and-a-half meters thick and buttresses three times thicker. A heavy frieze and decorative valusters separate the first level from the second as well as the integrated pediment. Columns flank the arched entrance and the lateral sections. The facade has a very subdued vertical movement, mostly overwhelmed by the sweeping horizontal curves and arched portals and saints' niches. The strong horizontal movement of the first level is contrasted by the sharp rise of the pediment. The whole structure is flanked by massive bell towers that almost resemble medieval castle towers. The two structures are dissimilar in design because they were commissioned by the two different parish priests. Photo by Raine Medina of flickr.com Photo by ~MVI~ of flickr.com History Miag-ao’s first parish church was constructed near the Tumagbok River in Ubos by Nicolas Pangkug, the first town capitan (equivalent to today’s town mayor). It was completed three years before the first assignment of a Spanish priest in Miag-ao, consequent to the creation of the Miag-ao parish on 15 May 1734. The first church was burned by Muslim pirates in 1741. The second church was constructed on the same site in 1747 under the guidance of the parish priest, Fray Fernando Camporedondo. This was also burned and looted by pirates in May 1754. Construction of the present church began in 1787 while Fray Francisco M. Gonzales, O.S.A. was the parish priest of the town and Domingo Libo-on was gobernadorcillo. It was completed in 1797. It served as fortress against Muslim raiders. During the revolution, the church was 1898 destroyed and subsequently rebuilt. It was damaged again by an earthquake in 1948. Restoration was completed in 1962. Under Archbishop Jose Ma. Cuenco, parish priest Fernando S. Javillo and Mayor Dioscoro Mueda. By virtue of P.D. 260, 1 August 1973 as amended by P.D. 375, 14 January 1974, this church was declared as a National Landmark. In 1994 it was listed by the UNESCO as a World Cultiral Heritage Site. How to get there Iloilo Province is located in Western Visayas and can be reached by plane, bus, ferry or roro (roll-on-roll-off) from Manila. By Air: There are direct flights to Iloilo Intenational Airport and take around 50 minutes from Manila. Once there, one can ride a shuttle van or taxi going to Iloilo City. List of airlines that have daily trips to Manila to Iloilo: Cebu Pacific Air Philippines Philippine Airlines Zest Air By Sea: From Manila Ports, the travel time going to Iloilo Domestic Port, located along General Hughes St., is about 20 hours. By Land: There are buses from Manila that have trips to Iloilo City. The bus uses the roro (roll-on-roll-off) services going to Iloilo. The bus terminals in Cubao and Pasay have buses with trips going to Iloilo. When touring the province, taxis and jeepneys are available as a mode of transportation around the province. Miag-ao is located 40.04 km. southwest of Iloilo City. Jeepneys can be taken from the city proper to this town in about 45 minutes. -DOCTRINA CRISTIANA- Doctrina Christiana was written by Fray Juan de Plasencia, and is believed to be one of the earliest books printed in the Philippines, in the year 1593. The Doctrina Christiana is remarkable not only for having been printed at such an early age in a elaborated Gothic font of the Spanish language, but also for having copies made in Tagalog versions, both in Latin script and the commonly used Baybayin script of the natives at the time, plus another translation made in traditional Chinese language. There is some controversy about which of the versions is the first book of the Spanish Philippines, with some scholars believing that the Chinese language version titled Doctrina Christiana en letra y lengua China (Wuchi t’ien-chu cheng-chiao chen-chuan shih-lu) was printed in 1590 to 1592 by the Chinese printer Keng Yong in Manila before the Spanish and Tagalog versions. One of the earliest references to both versions come from Gómez Pérez Dasmariñas, the seventh governor-general of the Philippines, who wrote a letter to Philip II of Spain on June 20, 1593, that read: “ “Sire, in the name of Your Majesty, I have for this once, because of the existing great need, granted a license for the printing of the Doctrinas Christianas, herewith enclosed—one in the Tagalog language, which is the native and best of these islands, and the other in Chinese—from which I hope great benefits will result in the conversion and instruction of the peoples of both nations; and because the lands of the Indies are on a larger scale in everything and things more expensive, I have set the price of them at four reales a piece, until Your Majesty is pleased to decree in full what is to be done.” -Aaron Merino

[2honescieae-blog]

This is our first group presentation that talks about the Toxic Filipino Culture here in our  own society and it  is entitled:                        “ MEMES”

THESE ARE THE FUNNY THINGS THAT CAME FROM DIFFERENT SCENES ON SOCIAL MEDIA. IN THE PAST FEW WEEKS, VARIOUS MEMES WERE BORN FROM NEWS STATION. ONE OF THE LATEST MEMES IS THE " 'PANO MO NASABI?" BACK THEN SENIORA SANTIVAÑES AND PEPENG PINAKAMALUPIT ARE THE SOURCE OF MEMES, NOW ABS-CBN, CHANNEL 5 AND GMA ARE THE SOURCE. COME TO THINK OF IT, PEOPLE ARE NOW MORE INTO FUNNY LINES OF THE ACCUSED PERSONS. AN EXAMPLE OF IT IS... THEY ARE MORE FOCUSED ON FUNNY LINES RATHER THAN THE TRUE MESSAGE OF THE NEWS. WE ALL KNOW THAT THIS LINE IS CAME FROM A KILLER BUT WE TREAT IT AS A JOKE. ARE WE FILIPINOS GOING TO CONTINUE TO LIVE LIKE THIS? EVEN A SERIOUS NEWS BECOMES  A JOKE.