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  • Sollegue TFA166 LL3

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    Maja Angela Victoria Sollegue
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    1) The student learned that Philippine religious art from the colonial period was not just heavily censored Spanish art, but still contained indigenous traces, like wood carvings similar to local Anito figures. 2) Religious motifs were also altered according to local realities, like using cabbage leaves instead of acanthus leaves. 3) The student still has questions about Chinese influences during this time, as oriental features can be seen in early religious works if inspected closely, and a Japanese painter even lived in the Philippines.

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    1) The student learned that Philippine religious art from the colonial period was not just heavily censored Spanish art, but still contained indigenous traces, like wood carvings similar to local Anito figures. 2) Religious motifs were also altered according to local realities, like using cabbage leaves instead of acanthus leaves. 3) The student still has questions about Chinese influences during this time, as oriental features can be seen in early religious works if inspected closely, and a Japanese painter even lived in the Philippines.

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    5 views1 page

    Sollegue TFA166 LL3

    Uploaded by

    Maja Angela Victoria Sollegue
    1) The student learned that Philippine religious art from the colonial period was not just heavily censored Spanish art, but still contained indigenous traces, like wood carvings similar to local Anito figures. 2) Religious motifs were also altered according to local realities, like using cabbage leaves instead of acanthus leaves. 3) The student still has questions about Chinese influences during this time, as oriental features can be seen in early religious works if inspected closely, and a Japanese painter even lived in the Philippines.

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    of 1

    Sollegue, Maja Angela Victoria T. Asst. Prof. May Lyn L.

    Cruz
    TFA 166 Colonial Arts in the Phils. April 12, 2021

    WEEKLY LEARNING LOG

    Week: 3 Topic: Religious Art

    Before learning about this topic, I thought that Philippine religious (and colonial) art is merely heavily
    censored art. I always thought that when religious art started to manifest before, all non-Spanish
    (indigenous and oriental) traces were completely obliterated and have never taken form.

    Now I know that although there was definitely heavy censorship to propagate the evangelical faith,
    indigenous traces still permeated in early Christian works especially in small wood carving (similar to the
    Anito of the Sagada). Moreover, the new religious was not merely accepted but also altered in form in
    accordance to the lived reality of the early Filipinos. Hence, the alterations in Christian motifs or conventions
    (acanthus leaves looking more like the domestic cabbage leaves, dogs being more realistically rendered
    than lions, differing color palettes or artistic style per region).

    However, I still have questions about the influences and contributions of the Chinese during this time.
    Although I have at some point grasp some of their contributions such as the ivory trade and in actual art
    production, this is a part of Philippine history and art history that I believe is overlooked. It was only recently
    that I discovered that there are hints of oriental features in early religious works because one must deeper
    inspect in order to see these traces. In fact, I was truly surprised that there was a Japanese painter that
    was said to have lived in the Philippines and painted religious works. I definitely did not expect that.

    As an artist, I think this topic is highly relevant especially since there are spurring discussions among the
    youth about a cartoon commemorating the 500th anniversary of Christianization of the Philippines (see picture
    below). We live in the age where territories are continuously divided among super powers alongside historical
    revisionism to justify the former. This makes me go back to Javellana’s premise in Weaving Culture.
    Truthfully, I was almost completely convinced at first but, for some reason, I felt like there was a gap in his
    argument. After reading through this module, I now realized that we must acknowledge that there existed
    a power struggle in art. That, I believe, something that we cannot detach from art. The fact that indigenous
    traces can still be seen in colonial art is a manifestation of this cultural power struggle. I would like to believe
    that early Filipino artists and artisans were not passive. Why was there a need for heavy censorship and
    bloodshed in the first place? Art does not exist in a vacuum. Other societal factors such as economics and
    politics must be taken into consideration.

    Source: Inquirer

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