Oblation (statue)

The Oblation (Filipino: Pahinungod, Oblasyon) is a concrete statue by Philippine National

Artist artist Guillermo Tolentino which serves as the iconic symbol of the University of the
Philippines. It depicts a man facing upward with arms outstretched, symbolizing selfless offering
of oneself to his union.

History
The idea for the Oblation was first conceived during the presidency of Rafael Palma, who was
the one to commission Tolentino to make the sculpture. Palma requested that the statue would
be based on the second verse of Rizal's Mi Ultimo Adios:
The completely nude figure of a young man with outstretched arms and open hands, with tilted
head, closed eyes and parted lips murmuring a prayer, with breast forward in the act of offering
himself, is my interpretation of that sublime stanza. It symbolizes all the unknown heroes who
fell during the night. The statue stands on a rustic base, a stylized rugged shape of the
Philippine archipelago, lined with big and small hard rocks, each of which represents an island.
The “katakataka” (wonder plant) whose roots are tightly implanted on Philippine soil, is the link
that binds the symbolized figure to the allegorical Philippine Group. “Katakataka” is really a
wonder plant. It is called siempre vivo (always alive) in Spanish. A leaf or a piece of it thrown
anywhere will sprout into a young plant. Hence, it symbolizes the deep-rooted patriotism in the
heart of our heroes. Such patriotism continually and forever grows anywhere in the Philippines.
Originally, the statue was completely naked, but for reasons of decency it was modified by U.P.
President Jorge Bocobo, 4th President of UP, with the addition of a fig leaf to cover the genitals.
The sculpture was funded by the U.P. students of 1935-36, and was presented by Potenciano
Illusorio and Jose B. Laurel, Jr., presidents of the student council during the first and second
semester respectively and was dedicated on March 1939 at the University's Manila campus, the
main campus then, where it stayed until February 1949, when the main administrative offices of
the university moved to the new University of the Philippines Diliman campus in Quezon City.
The transfer of the Oblation to its new home served as the highlight of the move from Manila,
which is historically referred to as the Exodus. The sculpture in front of the Quezon Hall at UP
Diliman was installed facing west, purportedly a tribute to the American roots of the University.
Today, that sculpture is only a bronze replica (which was recast from the original in Italy in 1950,
under the supervision of Tolentino himself) dedicated on U.P.'s Golden Jubilee on November
29, 1958. The original sculpture is being kept at the Main Library (Gonzalez Hall), the former
site of the U.P. College of Fine Arts.

Artist: Guillermo Tolentino

Guillermo Estrella Tolentino (July 24, 1890 – July 12, 1976) was a Filipino sculptor and
professor of the University of the Philippines. He was designated as a National Artist of the
Philippines for Sculpture in 1973, three years before his death
Tolentino was born on July 24, 1890 in Malolos, Bulacan. He was the fourth child in his family
and had seven siblings. Before being interested in sculptures, he learned how to play the guitar,
a skill which he inherited from his father. The young Tolentino showed an early talent in
sculpting, having been able to mold figures of horses and dogs out of clay.
Tolentino started studying in Malolos Intermediate School and continued his high school years
in the same city. After studying in Malolos, Tolentino went to Manila and attended classes in the
School of Fine Arts of the University of the Philippines.
In 1911, Tolentino made an illustration of prominent Filipinos posing for a studio portrait. Among
those included were national heroes, revolutionaries, and politicians.[5] The illustration was
lithographed and published in a weekly magazine called Liwayway under the name "Grupo de
Filipinos Ilustres" and became popular among homes in the 20th century. Tolentino, a student at
the university when he made the illustration, didn't earn any money from it but didn't seem to
mind about it.[6]
Tolentino graduated in 1915 with a degree in Fine Arts
Exhibitions at the National Art Gallery
Guillermo Tolentino's works and memorabilia are mainly housed in Gallery XII or Security Bank
Hall of the National Museum of Fine Arts. This was possible with the collaboration of his
family, Security Bank president Frederick Dy, Judy Araneta-Roxas, Ernesto and Araceli Salas,
and Nestor Jordin.
Works relating to Jose Rizal by Tolentino and other Filipino artists of the 20th century are
displayed at Gallery V of the museum.

A Painting on a Pair of Mother of Pearl

These are shells painted by Rizal in Dapitan and given as a gift to Doña Leonor Valenzuela and later
passed into the hands of Doña Margarita Valenzuela.

Leonor Valenzuela is one of Rizal's love interest. She is a tall girl from Pagsanjan. Rizal sent her love
notes written in invisible ink. They could only be deciphered over the warmth of the lamp or candle. He
visited her on the eve of his departure to Spain and bade her a last goodbye.

ARTIST: JOSE RIZAL

Perspective –

- Clearly in the painting shows how rizal express his love interest in Doña Leonor
Valenzuela, he even publish the book of noli me tangere and el filibusterismo that’s
showcase their story as juan Crisostomo Ibarra and Maria Clara. And the material that
he use is oil to paint. Shells painted by Rizal in Dapitan and given as a gift to Doña
Leonor Valenzuela and later passed into the hands of Doña Margarita Valenzuela.

TAMPUHAN
meaning "sulking",[1] is an 1895 classic oil on canvas impressionist painting by Filipino painter and
revolutionary activist Juan Luna. It depicts a Filipino man and a Filipino woman having a lovers'
quarrel. Luna's Tampuhan is a depiction of two persons staying inside the sala or living room of
a Bahay na Bato. The two people are Filipino lovers sulking – experiencing "tampo" – because
of an argument. The man is looking out at the street beside a Capiz shell window, leaning on
the ventanilla. The woman on the other hand, wearing a Maria Clara gown, has her eyes
focused on the floor. According to Rosalinda Orosa, the man is Ariston Bautista Lin, a friend of
Luna who studied medicine in Europe. Orosa further described that the woman is Emiliana
Trinidad. Trinidad is the ancestor of the owner of the painting, and is claimed by Orosa to be the
same woman who posed for Luna's La Bulaqueña, another Luna artwork that illustrates Filipino
culture.

Relation to Filipino culture

In Filipino courtship, culture, values and psychology, tampuhan (from the Filipino-language root
word tampo) or sulking is in essence a disagreement between lovers where they do not speak
to each other. This is sometimes called "the silent treatment". Other expressions of sulking in
the love life of Filipinos include other non-verbal actions such as keeping to one's self, being
unusually quiet, or refusing to interact with friends in group activities, family outings or other
activities, and even merely locking one's self in his or her bedroom. To end the sulking, one of
the lovers has to coax the other, or both persuade each other to resolve by coming up with an
agreement or compromise.[3] The setting is also significant to Philippine culture as the couples
are depicted to live in a traditional colonial Filipino house known as bahay na bato, with its
iconic interior and structure fit for the tropical climate, while the woman is wearing the
traditional Maria Clara gown of Filipino women.
ARTIST: JUAN LUNA
 1. Making of the Filipino Flag –

Artist - Fernando Amorsolo y Cueto (May 30, 1892 – April 24, 1972) was one of the most
important artists in the history of painting in the Philippines. Amorsolo was a portraitist and
painter of rural Philippine landscapes. He is popularly known for his craftsmanship and
mastery in the use of light.

Background History- The painting shows three women namely Marcella Marino de Agoncillo
(on the right side) refer as the mother of the Philippine flag, with the help of Lorenza and
Delfina Herbosa de Natividad which is actually the daughter of Marcela. They was tasked
by Gen. Emilio Aguinaldo to sew the first flag for the new republic. The clothes that the
women are wearing are an older style, more vintage and really depict the traditional styles.
The skirts the women’s are wearing are long and their tops were like a traditional “kimona”.
The three women are sewing passionately which demonstrates elegance.the painting was
not that kind of vibrant in the eyes but canset your mood in calm. The setting is inside of a
house which is more like a “Bahay Kubo” The main colors that was used in painting was
brown, red, blue and yellow. The mood and visual effect that this painting can be
considered is calm and serene.

Perspective- It is believed that Fernando Amorsolo made this painting to show the citizen of
the Philippines of how the Philippine flag was made and to remind them the traditions and
customs that we did not realize it becomes faded. To take care and give importance the
National flag which it symbolizes as white triangle stands for equality and fraternity; the blue
field for peace, truth and justice; and the red field for patriotism and valor. The eight rays of
the sun stand for the first eight provinces that the colonizers have put under martial law. The
three stars symbolize Luzon, Visayas and Mindanao.

2. Spoliarium

Artist- Juan Luna de San Pedro y Novicio Ancheta was a Filipino painter, sculptor and a
political activist of the Philippine Revolution during the late 19th century. He became one of
the first recognized Philippine artists.
Background History - It illustrates two dead gladiators being dragged by Romans at the
center. On the left, scavengers eye the dead men’s possessions while a Roman beside
them raises a fist in protest. A woman mourns a loved one on the right side while an old
man searches for a body amid the smoky haze. The depiction of Roman cruelty in the
painting has been interpreted as an allegory for the state of the Philippines under Spanish
rule.
It inspired the title of rock band Eraserheads’ 1997 hit song “Spoliarium,” which has been
connected by many to the Pepsi Paloma rape controversy. The National Museum’s 360-
virtual tour, which includes the “Spoliarium,” was launched in October and is still ongoing. —
Arianne Suarez, Inquirer Research

Perspective- We reflect upon this supreme image of struggle and dehumanization

envisioned by Luna - one that continues to resonate among many Filipinos who, defeated
on the gladiatorial arena of life, continue to be dragged into the dark depths of despair,
harangued by a society waiting to pounce upon their dispossession.Yet as we lay eyes
upon the grieving woman on the right - she is crouched yet illumined, possibly
contemplating the future that lies ahead - we continue to find solace and hope.We honor not
only the creative achievement of one man, but also the allegory of the eternal that Luna’s
art represents.

2. Madonna of the Slums

Artist- Vicente Silva Manansala (January 22, 1910 – August 22, 1981) was a Filipino cubist
painter and illustrator. Manansala developed transparent cubism, wherein the "delicate
tones, shapes, and patterns of figure and environment are masterfully superimposed."
Background History- Manansala’s canvases were described as masterpieces that brought
the cultures of the barrio and the city together. His Madonna of the Slums is a portrayal of a
mother and child from the countryside who became urban shanty residents once in the city.
Perpective- It was clearly shown in the picture together with the houses most commonly
found in slang areas or highly populated residential areas as a background. The woman in
the canvas is Madonna and the child is her son or daughter. According to my research, they
both stay in the slums where they manage to find a living. Vicente, uses his artwork to show
the life of the leftist having no choice to live in the downside areas of the city.

4. Man and Carabao

Artist- Hernando Ruiz Ocampo was a Filipino artist best known for his abstract paintings.
Following in Modernist traditions, Ocampo used bold color palettes and biomorphic shapes
inspired by both his country’s landscape and by science fiction writing. Born on April 28,
1911 in Manila, Philippines and taught himself to paint. He had a background as a writer
and originally studied law and creative writing before teaching himself art.

Background History- The Carabao (water buffalo) is a common farm animal in the
Philippines and it symbolizes hard work and patience. The Man and Carabao is just one of
the sculptures found in Bacolod City's Capitol and is also considered as a famous landmark
in the Capitol.

Perspective- The carabao is the national animal of the Philippines. It symbolizes strength,
power, efficiency, perseverance, and most of all, hardwork. Until now, many Filipinos use
the carabao in the farm since the technology is expensive. It has been one of the many
things that picture the Filipino life--representing many Filipino ideas, characteristics, culture,
and tradition.

5. The Triumph of Science over Death

Artist- José Rizal, in full José Protasio Rizal Mercado y Alonso Realonda, (born June 19,
1861, Calamba, Philippines—died December 30, 1896, Manila), patriot, physician, and man
of letters who was an inspiration to the Philippine nationalist movement.
Background History- In 1890, Jose Rizal sent two statuettes to his friend Ferdinand
Blumentritt, an Austrian scholar. These hand-crafted sculptures were made of clay. One of
the statuettes was Scientia or The Triumph of Science over Death.

The statue depicts a young, nude woman with flowing hair, standing on a skull while bearing
a torch. The woman symbolizes the ignorance of humankind during the Dark Ages of
history, while the torch she bears symbolizes the enlightenment science brings to the world.
The woman stands atop a skull, a symbol of death, to signify the victory that humankind
aims to achieve by conquering the bane of death through scientific advancement.
Perspective- Medical science has really saved people from physical death. Rizal wanted to
symbolize the triumph of Science over ignorance, ideology, political considerations, error
and of course, small mindedness. As to remind scientists and science students of Rizal's
call to do good Science!