Art as a Humanistic Discipline “Withdraw into yourself.

Truth dwells in the

inner man.”

- St. AUGUSTINE OF HIPPO (354-430 AD)

THE SCIENCES THE HUMANITIES

KNOWLEDGE WISDOM

The scientist becomes The humanist

A LEARNED MAN. Becomes a WISE

MAN.

The Two General Fields of Learning “A scientist tends to know everything about the
world that he forgets to know anything about
THE SCIENCES THE HUMANITIES himself.”
Deals w/ natural, Deals w/ human - THALES OF MILETUS (624-546 BC)
Physical phenomena phenomena

“What the superior man seeks is in himself,

what the small man seeks is in others.”
Paradigm for Learning in the Sciences
- CONFUCIUS (551-479 BC)
Subject-knower – Scientific Method – Object–
known

“The scientist learns about things in the world.” WHO AM I?

What is the basic answer to this question?

Paradigm for Learning in the Humanities “I am a human being.”
Subject-knower = Object- known

Reflexive Method THE HUMANITIES IN WESTERN

CIVILIZATION
“The humanist learns about the self.”
- Panofsky, “Art as a Humanistic Discipline”

“HUMANITIES”
Thinkers Whose Thoughts Were The Basis
Of The Method In The Humanities LATIN ENGLISH
“Know thyself” humanitas humanity/ies
- SOCRATES (470-399 BC) divinitas Gods in the state of
perfection in
heaven
humanitas People in the state of ANCIENT IMAGE OF COSMO
culture in civilized society CENTRICMAN:

barbaritas Savages in the state of GEOCENTRIC THEORY Earth (Man) is the

nature for survival center of the universe.

16th-century representation of Ptolemy's

geocentric model in Peter Apian's
THE PLACE OF HUMANITIES IN THE Cosmographia, 1524
HISTORY OF WESTERN CIVILIZATION

ANCIENT 800 BC

COSMOCENTRIC VIEW

PROTAGORAS: Man is the measure of all

things.

GEOCENTRISM: Man is at the center of the

universe.

MEDIEVAL 300 AD

THEOCENTRIC VIEW

SCHOLASTICISM: Man is created in the

image of God

Man is at the center of

creation.

RENAISSANCE 1400 MEDIEVAL IMAGE OF THEOCENTRIC MAN

ANTHROPOCENTRIC VIEW Man is created by God.

HUMANISM: Nothing is more wonderful than Adam and Eve, from the Escorial Beatus a
10th century illuminated manuscript.
man.

MODERN 1600

SCIENTIFIC-TECHNOCENTRIC VIEW

Man is a part of nature.

POSTMODERN 1960

ECLECTIC VIEW

Man is a piece of everything.

RENAISSANCE IMAGE OF MAN:

ANTROPOCENTRIC MAN:

Measure of all things

Leonardo da Vinci (Vitruvian Man, 1490)

MODERN IMAGE OF SCIENTIFIC-

TECHNOCENTRIC MAN

Man is a part of nature

The Human Evolution

RENAISSANCE IMAGE OF
ANTHROPOCENTRIC MAN
The image of man is the image of God. Man is
the measure of God.

Michelangelo, The Creation of Adam (Sistine

Chapel Painting, 1512)

MODERN IMAGE OF SCIENTIFIC-

TECHNOCENTRIC MAN

The scientist is detached observer of the

HELIOCENTRIC THEORY
objectified man.
Removed man from the center of the universe
Rembrandt, The Anatomy Lesson of Dr.
and suggested the view man was special in the
Nicolaes Tulp 1632
universe.

Nicolaus Copernicus' De revolutionibus orbium

coelestium (On the Revolutions of the
Heavenly Spheres) 1543
MODERN IMAGE OF SCIENTIFIC-
TECHNOCENTRIC MAN

Man is dehumanized during the industrial age.

HUMANISTIC DISCIPLINES
Cesar Legaspi (Gadgets 1947)
HISTORY

Human events happening in the world

LANGUAGE

Written and oral forms of human

communication

PHILOSOPHY

Human reason concerning reality

ART

Admiration (ART APPRECIATION) of human-

made objects and the human creativity (ART
CREATION) by which these objects are made

ETYMOLOGY

LATIN ENGLISH

POSTMODERN IMAGE OF ECLECTIC MAN Ars art

Man is a piece of everything. Skillful production or performance

Mideo Cruz, Polytheism, from Kulo Exhibit Liberal art – Artist – Art
2011
Major Art (Architect, Sculptor)
Servile Art – Artisan – Craft - Dance

Minor Art (stone cutter, carpenter) - Drama

Professional & Academic Artist – Fine Art LINGUISTIC – Literature

MINOR ARTS: CRAFT

WESTERN CONCEPT OF ART - Ceramics

ACADEMIC - Weaving

- Only schooled people are artists - Sewing

ELITIST - Handicraft

- Meant for the higher social class - Carpentry

HIERARCHICAL - Masonry

- Liberal art and servile art, high and low art, - Stone Cutting
major art and minor art or craft, fine art and
practical art, folk art, indigenous art, popular - Gardening
art. - Cooking

WESTRERN CLASSIFICATION OF THE Made by the artist and the artisans, but only
ARTS the artist took the credit
MAJOR ART Michelangelo, Sistine Chapel ceiling 1508-
Made by artists and primarily concerned with 1512
the form of beauty

MINOR ART OR CRAFT

Made by artisans and concerned with

functionality and usefulness of human-made
objects (artifacts)

THE SEVEN MAJOR ARTS IN WESTERN

CIVILIZATION

VISUAL – Painting

- Sculpture

- Architecture

PERFORMING – Music
 Dibdib damdamin

THE HUMANITIES AND THE FILIPINO Lalim

PERSONHOOD (PAGKATAO)
Kaluluwa budhi
“HUMANITIES”
(Manunggul Jar, Tabon Cave, Palawan 890-
Latin – humanitas 710 B.C)

English – humanities LABAS NG PAGKATAO

Filipino – “pagpapakatao” Katawan (Physical)

Mula sa “pagkatao” “tao” kulay ng balat (maputi, maitim)

Covar’s Filipino Anthropology tindig (matangkad, pandak)

Katauhan ilong (matangos, pango)

Biological: dibdib (malapad, malaki)

Born as a human being LOOB NG PAGKATAO

Act of being human “personality” Kalooban (Intellectual,

Pagkatao Emotional and Moral)

Cultural: isip (matalino)

Becoming a human being ugali, asal (mabuti)

Process of becoming human “personhood” LALIM NG PAGKATAO

“Madaling maging tao; mahirap Kaluluwa (Espiritual)

magpakatao.” anito (banal)

“PAGPAPAKATAO” NON-DUALISTIC RELATION OF TERMS

The process by which one becomes a human LABAS

being.
Malapad ang noo
FILIPINO PERSONHOOD
Salubong ang kilay
How does a human being become a Filipino?
Malagkit ang tingin
The Jar and the Filipino Personhood
Maduming bibig
Both came from clay
LOOB
Labas Loob
Matalino
Ulo isip
Matapang o galit a people of their identity and they become
passive, lost, indolent, uncreative and
Umiibig unproductive.”
Masamang magsalita “The first objective of a colonizing power is to
LALIM erase the cultural memory of the conquered
people, to induce a collective amnesia about
Malinis ang kaluluwa their past and supplant it with the culture of the
colonizers. In this lie the roots of Filipino
Matuwid and budhi
derivativeness and inferiority complex vis-avis
NON-DUALISTIC RELATION IN FILIPINO the West.”
PSYCHOLOGY
Pre-Colonial Period (Before 1500’s)
LABAS LOOB
 Had our own cultural identity
Hipo dama
Colonial Period (1500-1950)
pigil timpi
 Our identity destroyed by colonizers:
dinig ulinig Westernization of Filipino Culture making
us alienated from our own
tawa tuwa
Post-Colonial Period (1950 onwards)
saya ligaya
 Reclamation, affirmation and definition of
sarap ginhawa our identify in our own terms
THE “HUMANITIES” IN FILIPINO CONCEPT Filipino Culture (Subordinated)  Western
Culture (Standard)
“PAGPAPAKATAO”
FORMS OF ALIENATION CAUSED BY
The process how a human being becomes a
WESTERNIZATION OF FILIPINO CULTURE
Filipino
 Alienation from Community
 In the study of Humanities, as
Pagpapakatao, the students would  Alienation from Our Sources of Cultural
discover and realize their own identity Energy: Thinking in Borrowed Forms and
as a Filipino. the Economics of Dependency
Filipe del Leon Jr. (2011)  Alienation from Our Race: The Doña
Victorina Syndrome:
“Defining the Filipino through the Arts”
 Alienation from the Indigenous: Denigrating
CULTURAL IDENTITY
the Local
“The worldview and values, beliefs systems,
 Alienation from the Land
knowledge, skills and practices, core principles
and ideas shared by a society”  Alienation from Being Filipino
“It is a sine qua non for becoming active in the  Alienation from Sustainable Living
world… a source of social empowerment. Rob
Filipino Culture (Standard)  Other
Cultures
Some Recommendations for Developing a
Filipino and Humanistic Perspective
 Heightening social consciousness and
sense of responsibility to the nation.
 Promoting people participation, local
genius, and cultural diversity.
 Promoting the local but thinking national or
global: human communities, not the state,
are the ultimate actors in the development
process
 Integrating the arts to social and cultural
phenomena as lucid mirrors of social
consciousness.
THE COMMUNAL CHARACTER OF
PHILIPPINE TRADITIONAL CULTURES AS
REFLECTED IN THE ARTS
 Integration of the arts with other values and
functions
 Unity of the arts
 Art is integrated with everyday life and not
regarded as a separate activity.
 Equality of opportunity for participation in
the artistic and creative process.
 Flexibility of material, technical, and formal
requirements
 Use of available resources for artistic
creation
 Emphasis on the creative process rather
than the finished product
 Simultaneity of conception and realization
BECOMING FILIPINO THROUGH THE ARTS:
The Process of Pagpapakatao
“The arts can provide us the most vivid images
of social relations and cultural values. They are
perhaps the most lucid symbols of a people’s
quality of being or consciousness.
Contemplating the arts is like reflecting on the
psychic template of an artist or a cultural
community.”
THE FILIPINO CONCEPT OF ART
Western Concept ART
Academic – Only schooled people are artists
Elitist - Meant for the higher social class
Hierarchical – High and low art, major art and
craft, fine and practical art, folk, indigenous
Filipino Concept ART
Has no such Western distinctions
DAMIAN DOMINGO (1796-1834)
“Father of Philippine Painting”
 Son of Chinese immigrants converted to
Christianity, but thought to be a noble
Spanish descent by the Spaniards so that
they commissioned him to paint
 Engaged by a merchant to paint, in
miniaturismo style, albums of people
wearing their daily costumes
 Had a vision of making art more accessible
to the Filipinos (Indios)
 Founded the first Art School in the
Philippines Escuela Dibujo y Pintura in
Tondo Manila in 1821
 His patron was Sociedad Economica de los
Amigos del Pais
 Professor and Director of the Philippine Art
Academy. The academy was closed after
his death producing Filipino artists trained
in Western artistic tradition
JUAN LUNA (1857-1899)
“Academic Westernized Filipino Painter”
 Bachelor of Arts Degree, Ateneo Municipal
de Manila. Enrolled in Academy of Fine
Arts, Manila
 Went to Europe in 1877, and studied in
Escuela de Bellas Artes de San Fernando
 Won gold medal in Exposicion Nacional de
Bellas Artes in 1884 for Spoliarium
 Commissioned by Spanish government to
do paintings like La Batalla de Lepanto and
El Pacto de Sangre
 Arrested for murdering his wife and
mother-in-law, but was acquitted on
grounds of crime of passion.
Juan Luna, Spoliarium 1884
NEOCLASICAL STYLE
Felix Resurreccion Hidalgo, Las Virgenes
Cristianas Expuestas al Populacho, 1884,
Silver Medal, Madrid Exposition
RIZAL’S SPEECH
“… In the history of mankind there are names
which in themselves signify an achievement….
To such belong the names of Luna and
Hidalgo: their splendor illuminates two
extremes of the globe the Orient and the
Occident, Spain and the Philippines. As I utter
them, I seem to see two luminous arches that
rise from either region to blend there on high…
to unite two peoples with eternal bonds; two
peoples whom the seas and space vainly
separate; two peoples among whom do not
germinate the seeds of disunion blindly sown
by men and their despotism. Luna and Hidalgo
are the pride of Spain as of the Philippines-
though born in the Philippines, they might have
been born in Spain, for genius has no country;
genius bursts forth everywhere…”
 Winning the exposition had proven that
Filipinos were equal with the Spaniards, so
that the Filipinos deserve the recognition of
other people in the world with equal dignity
and respect.
Juan Luna, España y
Filipinas, 1886
Philippine Art   Western Art TRANSPARENT CUBISM

One positive way of looking at Filipino identity

in the arts is to see Philippine Art as integrated
in Western Art, and these two traditions are
uniting and harmonizing with one another.

NEOCLASSICISM

Vicente Manansala’s Market Scene, 1975

SURREALISM

Guillermo Tolentino, The Andres Bonifacio

Monument, 1933

ROMANTIC REALISM

RENAISSANCE ART
Prudencio Lamarroza, Tree Scape, 1991
IMPRESSIONISM
ACTION PAINTING

ABSTRACT EXPRESSIONISM

Fernando Amorsolo, Rice Planting, 1922

Jose T. Joya’s Hills of Nikko, 1964
 COLOR FIELD PAINTING

Gus Albor’s Upward Duality VINTA BADJAO ART

T’NALAK, TIBOLI ART (SOUTH COTABATO)

SARIMANOK DESIGN, MARANAO ART

BASEY, ART OF COLORFUL MATS FROM

SAMAR-LEYTE

OKIR, MARANAO ART

PABALAT/BORLAS DE PASTILLAS THE

ART OF PASTILLAS WRAPPER MAKING OF
PAMPANGA AND BULACAN
TOROGAN, MARANAO HOUSE PASIKING IFUGAO NATIVE BACKPACK

MARANAO BRASSWARE ART LINGLING-O, ART OF THE

CORDILLERA GROUP

BULUL, IGOROT ART

BURNAY JARS OF ILOCOS

 COLORFUL ART OF THE PAROL THE COLORFUL ART OF THE PHILIPPINE
KALESA

PAHIYAS, ART OF LUCBAN QUEZON

THE COLORFUL ART OF MOTORIZED

TRICYCLE DESIGN

TAKA (Paper Mache) ART OF PAETE,

LAGUNA

LAJI OF THE IVATAN IS LITERATURE AND

MUSIC.
JEEPNEY ART
PASYON IS LITERATURE, AND PABASA IS of the shared cultural universe, not only of our
MUSIC. own people, but of the humanity as a whole.

SENAKULO IS A THEATER ART.

“The principle of cultural identity does not

mean that cultures cannot be criticized. If all
cultures on earth are to survive, most of them
have to change some of their beliefs and
practices in order to become compatible with
one another” (Felipe, 2011)

FILIPINO  IDENTITY  WESTERN

The Philippine culture has to be dynamic in its

relation with other cultures in the world. By
harmonizing the Western and the Filipino
concepts of art and its practice, a truly
Philippine identity in the arts would emerge out