Sculpture Module Overview

Republic of the Philippines
City of Olongapo
GORDON COLLEGE
COLLEGE OF EDUCATION, ARTS AND SCIENCES
Olongapo City Sports Complex, Donor St., East Tapinac, Olongapo City 2200
Telefax No.: (047) 602-7175 loc 322
www.gordoncollege.edu.ph
Title: Sculpture
Module No. 3
I. Introduction
This module deals with the definition, kinds, mediums, subjects, and history of sculpture. It also enumerates notable
artists and their contributions in this field.
II. Learning Objectives
After studying this module, you should be able to:
1. Familiarize with different kinds of sculpture

2. Specify the different features of Sculpture
3. Show appreciation to the native Filipino sculpture-Bul-ul
III. Topics and Key Concepts
Module Outline
A. Sculpture
 Definition
 Kinds of Sculpture
 Mediums
 Subjects
 History
 Notable Local and foreign
Sculptors
B. Bul-ul: the Ifugao Rice God
Art Appreciation (GEC 06)

2nd Semester 2020-2021. NOT FOR SALE. EXCLUSIVE FOR GORDON COLLEGE ONLY.
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A. Sculpture
Definition
Sculpture is the art of carving or otherwise forming a three-dimensional work of art. The word sculpture originated from the
Latin word sculpere meaning to carve. However, there are ways of sculpting other than carving. These are casting, modeling,
assembling, and constructing materials into figures or forms.
Ways of Sculpting
Casting is the process involved in producing bronze sculptures, whereas modeling is the process involved when clay or claylike
substances are used as mediums. Sometimes used interchangeably, assemblage and construction originated from collage, a
painting process in which paper and other materials are pasted to a picture surface. Coined by the French painter Jean DuBuffet,
assemblage was used by him to refer to his work. Devised by Pablo Picasso and Georges Braque in 1912, construction used to
refer to a painting technique until Picasso created three-dimensional objects out of paper and scraps of diverse materials
(Marcos, 2006).
Kinds of Sculpture
Sculptures are found everywhere. In the Philippines, one can find the Oblation in the University of the Philippines, Diliman,
Quezon City, Jose Rizal’s monument in Luneta, Andres Bonifacio's monument in Liwasang Bonifacio and the busts of the Filipino
heroes in Rizal Park. The US boasts of the busts of the four American presidents in Mount Rushmore and the Statue of Liberty in
New York City. Italy prides itself of "David" by Michelangelo Buonarroti in Florence and "Ecstasy of St. Theresa (See Fig. 3.5.) by
Gian Lorenzo Bernini in Capella Cornaro, St. Maria della Victoria, Rome. These sculptures are classified into two: round
sculpture and relief sculpture.
Round Sculpture. Also called a free-standing sculpture, a round sculpture or sculpture in the round stands on its own and is
capable of being viewed at all sides (front, rear, left, and right sides). All, except the busts of the four American presidents, are
examples of round sculpture.

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From Left to Right: Oblation – UP Diliman Quezon City, Rizals monument in luneta, Statue of liberty NYC
Relief Sculpture. Contrary to a round sculpture, a relief sculpture does not stand on its own because it is attached. It is either a
high relief or a low relief.
High Relief. A high.relief is a relief sculpture that is almost the same as a free- standing sculpture but differs from the
latter because it is attached so that the back part cannot be seen by an onlooker. The front part, as well as the left and
the right sides, can be viewed. A good example is the frieze Sculpture on top of the columns of the National Museum in
Rizal Park.
Low Relief. A low relief or bas relief is a relief sculpture that is almost the same as a painting because it is somewhat flat
and attached to a surface but differs from the latter because it has volume and the medium used varies from the
mediums used in painting, The sculpture of the Philippine flag and the Katipunan flag in Intramuros and the limestone
relief of Akhenaten, Nefertiti, and their two daughters in the Royal Tomb at Amama are examples of low relief.

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Sculptures are either static or mobile. Relief sculptures are permanently attached to surfaces; thus, they are static or incapable
of moving. Almost all free-standing sculptures (monuments, statues, and the like) are static, too. Some round sculptures,
however, are capable of moving; therefore, they are mobile. The yearly COD Department Store's Christmas display has mobile
sculptures to delight passers-by and shoppers in Cubao, Quezon City.
Mediums
There are more materials available for sculptors than for painters. Anything that can be used to form a three-dimensional figure
is a likely medium for sculpture. Wood, stone, paper, cloth. glass, cement, and plastic are some of the common mediums used by
sculptors. Sometimes, a combination of these materials is employed by an artist to create a masterpiece. Take the case of
Guillermo Tolentino who used bronze and stone to complete the "Oblation”. More often than not, the mediums used depend on
the sculptural process to be undertaken. Hence, the mediums are grouped into two: those applicable to additive sculpture and
those applicable to subtractive sculpture.
Additive Sculpture. In additive sculpture, the sculptor simply puts together the materials to come up with the desired figure.
For example, to produce a papier mache animal, the sculptor glues together wet strips of old newspaper and magazines on the
mold and removes the dried bound paper from the mold by cutting the formed thing in the middle; then he put together the cut
ends by gluing them. In short, he just adds and adds paper until he has reached the satisfactory level. Other than paper, clay and
claylike substances, cloth, terra cotta (cooked earth), shells, pebbles, sand, and metal (by means of welding used as casting in
sculpture as invented by Julio Gonzalez) are choice materials for additive sculpture. The sand castle in Boracay Island is a good
illustration.

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Subtractive Sculpture. In subtractive sculpture, the sculptor removes the unnecessary parts of the medium he uses to form the
desired figure. For example, to produce a wooden horse, the sculptor marks the areas to be removed from the entire wood, takes
away the excess parts by using tools such as chisels and saws, and does the finishing touches. In fact, the process of subtracting
unwanted wood continues until a satisfactory level is reached. Aside from wood, stone, ivory, glass, ice, fruits, plants and plastic
are choice materials for subtractive sculpture. The ice sculptures in Star City came into being through this sculptural process.

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Subjects
The subjects of sculpture range from living organisms (people, animals, and plants) to non-living things, places, events, etc.
People. Important personages such as heroes and saints are the most common subjects of sculpture. Examples are St. Lorenzo
Ruiz, St. Nicolas or Santa Claus, and Lapu-Lapu, all in Luneta, a political figure in Sta. Cruz, and a Filipino mother also in Luneta.
event as subject of sculpture
Animals and Plants. Animals and plants are among the sculptors favorite subjects. The Philippine eagle, the tamaraw, and the
lion are examples of animal sculptures. Papier mâché is a popular method of producing such sculptures.
Places. Sculptures of places are rare. An example of these is the Philippine map. The defunct Nayong Pilipino used to house the
replicas of the Philippine tourist spots, namely: the Mayon Volcano in Albay, the Chocolate Hills in Bohol, and the Rice Terraces
in Banaue.
Events. Historical, biblical, and other events are also subjects of sculptural works. The "Cry of PugadLawin is found in Caloocan
City; the dioramas of major events in Philippine history are found in Ayala Museum in Makati City; and the sculptures of
geological events are located in the National Museum at the Rizal Park. The return of Gen. Douglas MacArthur, in Intramuros,
"The Last Supper of Christ' and the "Three Kings Visit to Christ" illustrate events as sculptural pieces.
Religious Items. Besides the images of martyrs and saints, sculptures of a religious nature abound. The Ifugao bul-ol, the Christ's
relief, Michelangelo's "Pieta" in Italy, and the Philippine "Pieta' in Malate Church are examples. Others. Mythological beings such
as deities and centaurs and strange objects are subjects of sculpture, just as are symbolic Scenes.
History
Pre-historic Period. The history of sculpture dates back to the time of the stone Age men Who sculpted objects from ivory,
horn, bone, and stone. A Small Ivory horse with graceful curving lines was found in a cave in Germany together with some of the
earliest sculptured objects believed to be 27,000 to 52,000 years old (Marcos, 2006). In Central Europe were found small female
statues known as Venus figurines, among which is the Venus of Willendorf (24,000-22,000 B.C.) from Willendorf, Austria. In
ancient Egypt, the earliest sculptures are the Palette of King Narmer (2920 B.C.), the Sphinxes (Pharaoh-looking statues of deities
with the body of a lion and the head of a man/an animal), and the statues of the Pharaoh Akhenaton and his Queen, Nefertiti
(1350 B.C.). Located near the pyramids, the Great Sphinx of Giza was built in 2500 B,C.
From Left to Right: Venus of Willendorf, Oolitic limestone, c. 28,000 B.C.E – 25,000 B.C.E, Great Sphinx, Gizeh, Egypt,
Dynasty IV, ca. 2520-2494 BCE. Sandstone

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Greek Period. Two outstanding sculptors of the Hellenistic Period were Praxiteles (known for his "Hermes and the Infant
Dionysus) and Lysippos (famous for his "Apoxyomenos"). Some of the important works during this period are the "Laocoon,
"Winged Victory of Samothrace, "Dying Gaul and "Venus of Milo." (Ortiz et al.,1976). Phidias, the chief sculptor of the Parthenon,
is a product of this period.
From Left to Right: Venus de Milo (Aphrodite from Melos), Parian marble, ca. 130-100 BCE. 6’7” high. Louvre Museum,
Paris, Winged Nike of Samothrace, Parian marble, ca. 190 BCE. Louvre Museum, Paris
Roman Period. The sack of the Syracuse in 212 B.C. during the second Punic war with Carthage marked the start of classical
Roman sculpture. The Romans admired the Hellenistic style and imitated the works of the Greeks. However, they reduced the
human body to mere head part and thus produced busts, examples of which are the busts of Julius Caesar and Mark Antony.
Portrait of Constantine, from the Basilica Nova, Rome, Italy

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Medieval Period. The sculptures during the early Middle Ages were produced by Barbaric civilizations. Made of wood, gold,
and ivory, they were small and light and done in the tradition of nomadic and semi-nomadic populations.
From Left to Right: Diptych with Scenes of the Nativity and Crucifixion, mid-14th century, ivory, Christ Carrying the
Cross, c. 420 C.E., ivory
Renaissance Period. The Renaissance, meaning rebirth, is the period of renewed interest in secular, classical art and literature.
The first appearance of the free-standing, erotic, young male nude (e.g, Buonarroti's "David") links this period to the ancient
Greeks and Romans who sculpted Apollo statues, the nude statues of male deities, particularly Apollo. Michelangelo, Donatello
(first master of the Renaissance), and Verrocchio are three of the best-known Italian sculptors of this period, while Tilman
Riemenschneider stands out among those north of the Alps. Leonardo da Vinci, Michelangelo’s great rival, designed an equine
sculpture, "The Horse.”

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From Left to Right: Donatello, David, 1430-1432, bronze, Bargello Palace and Museum, Florence, The Madonna of the
Steps, Casa Buonarroti. Florence, Michelangelo Buonarroti, Pietà, 1498-1499, marble, Gian Lorenzo Bernini, Apollo
and Daphne, marble, Gian Lorenzo Bernini, Ecstasy of Saint Teresa
Baroque Period. "Baroque as a restless, dynamic style with its diagonals and floating curved lines, its striking chiaroscuro, and
its sensuous textural effects set its indelible stamp on sculpture and architecture. In sculpture, Gian Lorenzo Bernini was the
baroque artist par excellence, best known for his "Ecstasy of St. Theresa" done in marble with life-size figures. (Ortiz et al, 1976).
He also did the restrained "David" and "Daphne and Apollo.”
Classic Period. During this period, especially during the reign of King Louis XIV, the French Academy was founded. This
academy establish classicism as the official style of the court. Venerating antiquity and its formal discipline, artists who worked
in this style gained the favor of the court officials (Ortiz et al., 1976).
Rococo Period. Derived from the French word rocaille meaning shell or conch, rococo is a hedonistic style developed by the
decadent court of the French kings Louis V and Louis VI. An extension of the baroque art in its ornamental aspect, rococo cast
order and symmetry aside and subordinated structure to decoration, with its appearance resembling an organic growth with
spirals and twisting lines, tendrils, fantastic shapes, and shell-like motifs (Ortiz et al, 1976). Jean Baptiste Pigalle (Comte de
Saxe"), Etienne Falconet ("Bathing Girl" "Venus with the Doves and "Peter the Great"), Clodion ("Nymph and Satyr"), and Jean
Antoine Houdon ("Diana," "Voltaire and "George Washington') are the best known rococo painters (Espina et al., 2004).
Realist and Naturalist Period. Considered the era of truth, the Realist and and Naturalist Period was the time when sculptors
presented their works as they appeared in reality. The good and the evil were presented realistically (Lamucho et al., 2003).
Modern Period. Modern sculptors experimented not only in style but also in mediums. Impressionism is best exemplified by
Auguste Rodin ("Thinker," "Hand of God and "The Kiss"), while Post-Impressionism is represented by the so-called Father of
Modern Abstract Sculpture, Constantin Brancusi ("Bird in Space "The Kiss and "Sculpture for the Blind'), Wilhelm Lahmbruck
("Standing Woman' and Kneeling Woman'"), Pristide Maillol (Leda"), and William Zorach ("Child with Cat "Mother and Child
and "Head of Christ"). Henry Moore (Internal and External Forms and "Family Group" ), with his works showing a preference
for geometric forms in simple contours, stands out among the modern sculptors of this period. Julio Gonzalez ("Seated Woman
I") invented welding sculpture, which was also employed by Raymond Ducham Villon ("The Horse") and Seymour Lipton
('Archangel) (Espina et al., 2004).
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Auguste Rodin, The Thinker, 1903, bronze, Edgar Degas, Little Dancer of Fourteen Years, bronze
B. Notable Artists
Local Sculptors
Abueva, Napoleon Isabelo V. (Born January 26, 1930)
National Artist of the Philippines for Visual Arts (Sculpture) in 1976, Abueva is the "Father of Modern Philippine Sculpture" He
studied at the University of the Philippines where one of his mentors was Guillermo Tolentino, another Philippine national artist,
who required him to replicate the Oblation for UP campus in Los Banos. Adept in both academic representational style and
modern abstract, he used almost all kinds of materials from hard wood to adobe, metal, stainless steel, cement, marble, bronze,
iron, alabaster, coral, and brass. Born in Tagbilaran, Bohol, he studied at the Tagbilaran Elementary School and later at University
of Southern Philippines, Holy Name College (now Holy Name University), Rafael Palma College (now the University of Bohol),
and University of the Philippines where he took up a Bachelor’s degree in Fine Arts through a Pura Villanueva-Kalaw scholarship.
He finished his Master's degree in Fine Arts at the Cranbrook Academy of Arts, US in 1955 and attended Harvard University for
another scholarship in 1956. The youngest recipient of the National Artist Award in the Visual Arts, he was given such title by
Pres. Ferdinand Marcos at the age of 46. The works of this "Father of Modern Philippine Sculpture" are "Kaganapan" (1953),
"Kiss of Judas" (1955), "Thirty Pieces of Silver" (1979) and "The Transfiguration" (1979) in Eternal Gardens Memorial Park, "UP
Gateway" (1967), "Nine Muses" (1994), "Sunburst" (1994) in UP Faculty Center, "Philippine Ballet Dancers" (See Fig. 6.16.), and
the bronze figure of Teodoro M. Kalaw in front of the National Library.
Cacnio, Michael
A Fine Arts graduate of the University of the Philippines, Cacnio is a sculptor who uses brass as a medium, The lone Philippine
representative to the 1994 ASEAN Sculpture Exhibit at the Fukuyama Museum, Hiroshima, Japan (where his work Bliss 1s on
permanent display), he participated in an International Art Exhibit at the Osceola Center for the Arts in Florida, USA. His favorite
subject is the family and his paintings focus on children and their games. These include "Luksong Tinik (2002), "Luksong Baka"
(2003), "Bangkang Papel" (2003), "Pool" (2003), "Stilts" (2003), "Sungka" (2004), "Solo Kite (2005), Ligaya ni Ina (2005),
"Mother and Child I' (2005), Karga" (2005), "Bunsoy (2005), and "Outside" (2005).
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Castrillo, Eduardo
Born in Sta. Ana, Manila, Castrillo studied at the Sta. Ana Elementary School and Don Bosco Technical School where he learned
formal techniques of craftsmanship, He also studied at the UST School of Fine Arts as a Don Bosco Scholar under the financial
support of Don Antonio Delgado. When he became a working student, he did not take his studies seriously. He did not succeed
in his studies, but he became a successful sculptor, producing the following works: "Youth's Cry of Defiance" (1966), "Spirit of
Pinaglabanan" (1974) "Raha Sulayman" (1976), "Col. Juan Villamor" (1977), "Cry of Tondo (1978) "Mother and Child" (1979),
"Malakas at Maganda" (1981), "Andres Bonifacio" (1986), "Martyrdom of Jose Rizal" (1991), and "Last Walk to Bagumbayan.
Contreras, Rey P. (Born August 31, 1950)
Contreras is a prominent Filipino sculptor working with urban refuse and environmental materials as artistic media. Inspired
by the indigenous Filipino culture, he creates visual forms of contemporary image and conducts his community-based art
training in a studio he put up near the railroad tracks in Tondo, Manila. He received recognition from various art organizations
and cultural institutions for his contributions to contemporary art development: Category (1992) from the Art Association of
the Philippines, and the first Public Art Competition Award (1994) from Bonifacio Art Foundation, Inc. for his sculpture entitled
"The Trees and unveiled at the Bonifacio Global City, Taguig. His other works are "Journey, "Mother and Child, and "Rostros de
Jesus."
Imao, Abdulmari A.
National Artist of the Philippines for Visual Arts (Sculpture), Imao is a Sculptor, painter, photographer, ceramist, documentary
film maker, cultural researcher, writer, and articulator of Philippine Muslim art and culture. A native of Sulu, he acquired his art
education in UP with Filipino masters, Guillermo Tolentino and Napoleon Abueva, who taught him how to do large-scale
Sculptures of Muslim and regional heroes and leaders gracing selected sites from Batanes to Tawi-Tawi. Among his works are
Industry Brass Mural of Philippine National Bank in San Fernando, La Union, Mural Relief in Filmmaking of Manila City Hall,
Industrial Mural of Central Bank of the Philippines, also in San Fernando, and "Sulu Warriors" in Sulu Provincial Capitol.
Luz, Arturo R. (Born November 20, 1926)
Born in Manila, Luz is a painter and sculptor who studied painting at the ST School of Fine Arts, the Art School of the Brooklyn
Museum in New York, and the Academic Grade Chaumiere in Paris. In 1994, he received a diploma from the California College
of Arts and Crafts in Oakdand. Married to Tessie Ojeda, Luz was a founding director of the Metropolitan Museum of Manila and
Owner of the Luz Gallery in Makati. A Philippine National Artist awardee in painting, his works include "Lavandera" (1946),
Awit" (1953), "City (1959), Anito Sculpture" (1960), "Painted Steel" (1979), "Bagong Taon (1997), and Man with Guitar (1997).
Medalla, David (Born 1942)
Medalla has been an international artist for almost 40 years. Born in Manila, he has lived in Britain on and off since the 60s. His
parents were from different ethnic Filipino backgrounds (Tagalog and Visayan), but he has also Spanish, Malaysian, Chinese,
and English origins. His works were inspired by the place in which he created them and the people he met there. Ranging from
sculpture and kinetic art to painting, installation, and performance art, his works include "Weiss auf Weiss" (1966) and "Live in
Your Head: When Attitudes Become Form (1969).
Navarro, Jeremias E. (Born May 22, 1924)
Born in Antique, Navarro is a versatile artist, being a proficient sculptor, painter, printmaker, and graphic designer. His masks
carved in hardwood merge the human and the animal; his paintings consist of abstracts and figures in oil and watercolor; and
his assemblages fuse found objects and metal parts. Devoted to the visual arts for more than 40 years, he produced a large
number of works, including a series of figurative works drawing inspiration from Balinese art and culture. Some of his works
are "Im Sorry, Jesus, I Can't Attend Christmas This Year (1965), "Homage to Dodgie Laurel" (1969), "A Flying Contraption for
Mr. Icarus" (1984), and "The Seasons" (1992).

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Saprid, Solomon (Born March 13, 1917)
Born in Imus, Cavite, Saprid earned his Master's degree in Education from the Ohio State University. Considered as one of the
best and most respected sculptors of the contemporary age, he produced spectacular pieces of art which made him earn the title
of "Goliath and the National Artist in the Visual Arts. His influence stretched far and wide. He chose metals like bronze as medium
for most of his subjects. His works include "Architect" (1980), "Sitting Gargoyle (1980), "Standing Tikbalang (1980), and
"Amihan" (1980).
Tolentino, Guillermo E. (1890-1976)
National Artist of the Philippines for Visual Arts (Sculpture), Tolentino, an adherent of the old school, studied at the Royal
Academy of Fine Arts in Rome. In 1925, upon his return to the Philippines from Europe, he joined the faculty of UP School of
Fine Arts and became its fourth director from 1952 to 1955. There he was a mentor to budding sculptors, among them Napoleon
Abueva. The "Bonifacio Monument" (1933) in Caloocan City, the "Oblation” (1935) in the University of the Philippines, "Venus"
(1951), and "Luwalhati,' the alma mater statue of the University of the East were some of his major works.
C. BUL-UL OR BULOL
Definition
 Is an Ifugao anthropomorphic carving that symbolizes an Ifugao rice God or guardian
spirits.
 It signifies fertility and is sometimes believed to house spirits of ancestors
 Bulul has a simplified shape of a human being, whether male or female. Consist of a
head, torso, and a pair of hands and legs mounted on a platform for stability. Usually
made in pairs, a male and a female but some are done individually.
Creating
 Carved out of strong narra or ipil wood and sometimes stone.
 Careful selection of the wood is made and it is consecrated with pig’s blood
 “Tunod ritual” When used in rituals, it is to be properly positioned in front of the rice
produce.
 It is involved in the ritualistic aspects of rice production. “Baki” or “Mumbaki” or
priest is needed to ensure its power
Purpose
 Plays an important role in the agriculture of the Ifugao people. Although bul-
uls are now produced and sold as a variety of souvenir items or decorative art,
it is actually part of Ifugao culture. It is regarded with care and respect. Treating
otherwise is believed to result in hostile manifestations such as sickness from
the spirits or ancestors
 A big granary requires 2 bulul. The male bul-ul is placed at the right and the
female at the left.
 There is no standard size although manageability in carrying it in and out of the
granary is the consideration. From rice planting up to the safekeeping of the
harvest in rice granaries it is carried.
 This traditional art may seem crude, lacking in sophistication but it has
been praised as a fine example of abstract art

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IV. Teaching and Learning Materials and Resources
1. Powerpoint Presentation
2. Video Clips (Ang Bulul ng mga taga-Ifugao) https://youtu.be/pPOEfbOwbx4
V. Learning Task
Answer the ff:
1. What kind of sculpture is this Bul-

ul?
2. What was its purpose and function?
3. What kind of belief does it embody?
4. What can you say about the posture

of the bul-ul? What do you think is
the reason why it was carved like
this?
5. Can we consider bul-ul as a

representation of Philippine art
abroad? Why or why not?
VI. Reference
Menoy, J. Z., (2014). Introduction to the Humanities: A Holistic Approach. (Revised Edition)
Books Atbp. Publishing Corp. Mandaluyong City. ISBN 971-0412-62-4


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II. Learning Objectives

After studying this module, you should be able to:

1. Familiarize with different kinds of sculpture

III. Topics and Key Concepts

Art Appreciation (GEC 06)

Art Appreciation (GEC 06)

Art Appreciation (GEC 06)

Art Appreciation (GEC 06)

Art Appreciation (GEC 06)

Art Appreciation (GEC 06)

Portrait of Constantine, from the Basilica Nova, Rome, Italy

Art Appreciation (GEC 06)

Abueva, Napoleon Isabelo V. (Born January 26, 1930)

Contreras, Rey P. (Born August 31, 1950)

Luz, Arturo R. (Born November 20, 1926)

Medalla, David (Born 1942)

Navarro, Jeremias E. (Born May 22, 1924)

Art Appreciation (GEC 06)

Saprid, Solomon (Born March 13, 1917)

Tolentino, Guillermo E. (1890-1976)

Art Appreciation (GEC 06)

IV. Teaching and Learning Materials and Resources

Answer the ff:

1. What kind of sculpture is this Bul-

4. What can you say about the posture

5. Can we consider bul-ul as a

Art Appreciation (GEC 06)

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