This Photo by Unknown Author is licensed under CC BY-SA-NC

COURSE INTENDED LEARNING OUTCOMES

At the end of the course, students should be able to:
Knowledge
1. Demonstrate a broad understanding and appreciation about the essentials of arts specific to its
function, value, and historical relevance
2. Define the various abstractions, concepts and ideas of arts in general
3. Explain and differentiate the diverse manners/styles of visual arts as well as the various
genres in auditory arts
4. Identify and determine the impact and significant of visual and auditory arts from the ancient
to the contemporary period to human culture and society
Skills
5. Analyze, critique and appraise works of arts based on their knowledge about the aesthetic
value, background of the artist, historical context, tradition and social relevance
6. Create their self-expression visual art(s) by using the available medium(s)/media of visual
art in their respective home
7. Utilize the available applications (apps) like the Clip Studio and others in creating digital
artworks, visual aids and the like
Values
8. Appreciate the various work of arts from the primitive, renaissance, mannerism, baroque,
romanticism, avant-garde, to the contemporary arts
9. Develop an aesthetic pleasure, appreciation, and gratitude through art activity
10. Promote self-discipline and self-care by utilizing the diverse manners/styles of visual arts
and the various genres of auditory arts
 PHILIPPINE ARTS
THE INDIGENOUS AND LOCAL ARTS | THE WELL-KNOW FILIPINO ARTIST

LEARNING OUTCOMES: By the end of this topic, the students will be able to do the following:
 Critique the arts in the Philippines particularly the Indigenous, Christian, and Muslim arts
 Demonstrate understanding and appreciation about the distinct characteristics of the
Philippine arts especially to the Kapampangan arts
 Identify the different well-known Filipino and Kapampangan Artist as well as their styles
 Identify the different artistic and heritage spots in Pampanga
 Compare the Philippine arts with the Western and European arts
 Compose a Capampangan poem or polosa

The Indigenous and Local Arts

Manunggul Jar. As early 890 B.C., the ancient people in Palawan known as
the Tabon people used Tapayan (jar) as coffin to bury their death. This
tapayan is called Manunggul jar, and it is originally used to store water. It is
one of the known indigenous arts in the Palawan which can be classified as
craft or hand-made similar to the potteries. It is used by ancient people of
Palawan in burying their deaths around 890-710 B.C. The Manunggul jar (see
Pic 1.1) features a vessel carrying two human figures in sitting position with
one behind steering the boat and the other waiting to reach the afterlife. The
Manunggul jar served as a secondary burial jar, and it is considered as one of
the national treasures of the Philippines. It was discovered by Victor Decalan,
Han Kasten and other volunteer workers from the United State in the Tabon
cave of Palawan on March 1964, and it was found that this tapayan was
already 2800 years old (Chua, n.d.; Perez, 2021a)
Pic 1.1. Manunggul Jar, image by Artes de las Islas Filipinas. https://artesdelasfilipinas.com/archives/50/the-manunggul-
jar-as-a-vessel-of-history . This Mamunggul jar (tapayan) is truly unconventional because it modifies its purpose from the
usual water container to a coffin for the death. The burial jar has artistic cover which depicts the beliefs and practices of the
native people of Palawan. The cover is decorated with two persons who are boarded on a canoe like where the person in
front does the rowing and behind him is the person, represented the person who passed away. With regards to its aesthetic
value, the craft-man expresses his artistry through the statuette places above the tapayan.

Bulul or Bul-ul. The Bul-ul is carved wooden figure from narra tree and it used to guard the rice crop from
rats, thieves, and spoilage by the Ifugao people of the northern province. The Ifugao people of the Mountain
Province believes that the carved Anito represents their ancestral spirit and granary god (Ocampo, 2016;
Perez, 2021a). At the present time, this Anito figure is commonly seen on the various stores in Baguio City.
Pic 1.2. Bulul or Bul-ul, image by Salcedo Auction. https://salcedoauctions.com/item/8008.
Ocampo (2016) mentioned that the bulul was created by a deity known as Humidhid who lives
in Daiya. “Humidhid was disturbed by the crying of a narra tree that wanted to be carved into
bulul. He cut the tree and made several bulul that he brought into his house. When these bulul
became too demanding of food and wine, he threw them into the river where they floated
downstream to Lagud and were forgotten. Many years later, Humidhid’s daughter, Bugan,
followed her lime container that fell into the river and reached Lagud where it was returned
to her by a bulul. They fell in love, got married and had children. One of the children of Bugan
and the bulul went upstream to visit Humidhid, who realized that the bulul had become human
(or rather half-human). He advised his grandchildren to carve bulul whenever they travelled
to earth for protection. So it came to be that one of Humidhid’s grandchildren carved bulul out
of a narra tree, and it later demanded too much food and drink. Humidhid appeared to his
grandchild in a vision and advised that the bulul be given a separate house. Thus , the bulul
was placed in granaries” (Ocampo, 2016).
Hagabi. The wooden bench of the
Ifugao is called Hagabi (see Pic 1.3).
This wooden bench is usually
owned by the kadanagyan, people in
the Mountain province who belong
to the higher class. As part of their
culture, the Hagabi symbolizes a
social status, it is a symbol of power,
prestige, and wealth among the Pic 1.3. Hagabi, image by LenExchange. .
tribes of the Ifugao people (Perez, https://www.leonexchange.com/en/lot/lot-details/8781/exceptional-
ifugao-prestige-bench-hagabi
2021a).

The Sarimanok (see Pic 1.4) is the legendary bird that has become an ubiquitous symbol of Maranao art.
It is depicted as a fowl with colorful wings and feathered tail, holding a fish on its beak or talons. The head
is profusely decorated with scroll, leaf, and spiral motifs. It is said to be a symbol of good fortune, Allah’s
messenger or Sari, the daughter of the Sultan of Lanao. The figure represents a fowl wings, feathered tail,
and a head decorated with ornaments of scrolled and painted motif of leaves, spirals, and feather like
forms. It usually stands on a fish and another one hangs from its beak. This wooden figure, usually
perched atop a bamboo pole, stands among decorative flags during weddings and other festive occasion
(Perez, 2021a).
Pic 1.4. Sarimanok by Abdulmari Asia Imao, image by WordPress.
https://gtte.wordpress.com/2013/09/25/sarimanok-and-national-artist-
abdulmari-asia-imao/ . The myth about the Sarimanok has different versions. First, it
has been associated to the story of a folk hero, Radia Indarapatra, who married Potri
Rainalaut, a water nymph. The couple begot two sons, and the two sons (the seen and
unseen spirit) made an agreement to protect each other against the malevolent
spirits who caused illness or death. As their means of communication, the two
brothers used the itotoro (totem bird) which happened to be a rooster (sarimanok).
Hence, the totem bird served as their link and mean of communication. Second, the
Sarimanok believed to be a reminiscent of the story of the beautiful and kind daughter
of the Sultan of Lanao. Sari, the daughter of the Sultan believed that she was taken by
her suitor who appeared to her as a colorful rooster and turned into handsome man.
When the lover disappear, the Sultan of Lanao created a visual replica of the bird for
him to be reminded her daughter, Sari. Third, the sarimanok believed that it came to
represent the giant cockerel after the arrival of Islam. Hence, the Maranao people
believed that the sarimanok was Allah’s messenger.

Pic 1.6. Abdulmari Asia Imao with his

Sarimanok paintings and crafts , image by
WordPress.
https://gtte.wordpress.com/2013/09/25/sari
manok-and-national-artist-abdulmari-asia-
imao/ . Dr. Imao is a native of Sulu whose
notable works like the indigenous Ukkil,
Sarimanok, and Naga motifs depict the local and
indigenous visual arts of the Visaya and
Mindanao people. He earned his education in
the University of the Philippines and became
protégé of the two great Filipino visual artists
like Guillermo Tolentino and Napoleon Abueva.
He was recognized by National Commission for
Culture and Arts (NCCA) and awarded as
National Artist Award for sculpture. He was the
first Muslim to obtain the country’s highest
recognition for artistic and cultural
achievement and contribution.
The Torogan (see Pic 1.7) is the traditional house of the Maranao royalties. It is known shelter of the sultan
who lives with his wives, children and servant. The house is likewise used for community gatherings and
affairs. It is also known as the house of power. In Maranao, there are three types of traditional shelters
which are the Torogan (home reserved for nobilities), Mala-a-walay (the big house), picture at the center,
and the Lawig (the small house). The Torogans are elevated from the ground using tukod or hard tree
trunks of huge girth. At the center is the tapuwilin post surrounded by twenty-five others at the base. Each
support stands on careful assemblage of huge stones half-buried on the ground which likewise serve as
shock absorbers making the house sturdy in times of earthquake or strong winds (Perez, 2021a).
Under the wooden beams, a multi-purpose ground space is allotted, called it dorung. The second floor is
considered as the main house and it is called the poro, an open space partitioned only with cloths and
chests. Toragan’s walls are made of gisuk and tartek (wall studs) which hold the walling planks
(dingending). The carved center beam inside the house called the tinal-a-walay which support the main
post of the roof. The paitaw (door) and rowasan (sliding windows) are carved with okir designs (see Pic
1.8). For ceilings, they used appliqued cloths, and the atup (roofs) are made of cogon which is supported
by the rampatan (beams) and adorned by a diogal on the top. The most distinct part of the torogan is known
as panolong (carved end-beams with serpent design (niyaga) which fill the front while the sides use the
pako okir, fern patterns (Perez, 2021a).

Diogal

Atup

Tinal-a-walay

Gisuk & Tartek

Rowasan

Paitaw Okir

Panolong

Tapuwilin
Tukod

Dorung Pic 1.8. Okir, image by tugaya

artefacts blog.
https://tugayaartefactsblog.wo
rdpress.com/2014/03/18/the-
Pic 1.7. Torogan, image by #MYMINDANAO. okir-motif-an-art-of-maranao-
https://www.mymindanao.com/2019/08/kawayan-torogan-in-marantao-lanao- depicting-their-culture-and-
del.html society/
The Tingguians’ bamboo crafts and the art of dyeing are
some of the prides of Abra. The Tingguians, also called
Isneg are the indigenous highland people of Abra who are
known for their bamboo crafts and natural dye makers.
The various bamboo crafts of Abra lead to position itself to
be the Bamboo Capital of the Philippines. Claiming as the
Bamboo Capital of the Philippines, Abra celebrates its
annual Abrenian Kawayan Festival on the 6th to 9th day of
March (Perez, 2021a).
Pic 1.9. Bamboo crafts, image by abrenian.com.
https://news.abrenian.com/2014/03/23/kawayan-festival-
showcases-abras-culture-otop/

Early Christian Arts. The early Christian arts or religious arts in the Philippines are found on the old
churches built by the Spaniards from the 17th to 19th centuries. These religious images are carved wooden
saints (santos) made by the unknown artists. The retablo (altar piece, left picture) is one of the religious
arts found on the different churches in the Philippines which reflect the intricacies and detailed designs
during the baroque period. Among the identified Baroque Churches in the Philippines (see also the images,
Pic 1.10) are the following: Santo Tomas de Villanueva in Miag-ao, Iloilo; San Agustin Church in Paoay,
Ilocos Norte; San Agustin Church in Intramuros, Manila; Nuestra Senora de la Asuncion in Santa Maria,
Ilocos Sur; Nuetra Senora de Gracia Church in Guadalupe Viejo, Makati; Our Lady of Remedies Parish
Church in Malate, Manila; Parish Church of San Ildefonso in Tanay, Rizal; and Parish Church of Santiago
apostol in Betis, Pampanga (Perez, 2021a).

Pic 1.10. Baroque Churches in the Philippines. Images by zenrooms|blog. https://www.zenrooms.com/blog/post/baroque-churches-of-

the-philippines/#:~:text=The%20San%20Agustin%20Church%2C%20built,World%20Heritage%20Site%20in%20Manila
The Muslim or Islamic art in the Philippines is characterized by design of flowers, plant forms, and
geometric designs. It is used in calligraphy, architectural painting, clothing, and other forms of fine arts. In
the 13th century, Traders and Missionaries introduce the religion Islam in the Philippines and the Islamic
art integrates with the ethnic culture which paves the way the Filipino Muslim arts. Islamic arts are
predominantly found in Muslim ethnic groups where every group offers their own distinct flavor of Islamic
art. This distinct arts are commonly seen in their homes, clothing and places of worship of Filipino Muslims
(Santos, 2011; Perez, 2021a).
Islamic architectures are seen from the different Mosques (picture on the right side) found in the
Philippines. These Mosques have a common features that are similar with its Southeast Asian neighbor.
The early Mosques are made of light materials such as wood, bamboo, and cogon grass but these materials
did not last long. Hence, today’s mosques are now structurally patterned after the design of its Middle
eastern counterparts. The traditional art form known as Okkir (see Pic 1.8, p6) is the only distinct
characteristic of the Filipino Muslim art found inside the mosques. The okkir is believed to be of Hindi and
Chinese influences. Like the Torogan’s house of the Maranao, the Mosques also use geometric and floral
artwork called okkir and the most popular motif is the use of an imagery of a dragon or serpent (Santos,
2011; Perez, 2021a).

Grand Mosque (Sultan Hassanal Pink Mosque (Masjid Dimaukom),

Bolkiah Masjid), Cotabato City Datu Saudi Ampatuan, Maguindanao

King Faisal Mosque, Marawi City,

Lanao del Sur

Taluksangay Mosque, Zamboanga City

Pic 1.11. Beautiful Mosques in the Philippines, images

by International Quran News Agency.
https://iqna.ir/en/news/3467793/beautiful-mosques-
in-the-philippines
Well-Known Filipino Artist
Juan Luna is one of the well-known Filipino visual
artists who succeeds in art competitions in Madrid,
Spain. His first winning art was the La Muerte de
Cleopatra (awarded silver medal) at Exposicion
Nacional de Bellas Artes. His Spolarium was awarded
three gold medals and garnered him critical praise in
1884. In 1885, he painted El Pacto de Sangre in Paris,
France. In 1887, he returned in Madrid, Spain and his
painting, La Batalla de Lepanto and Rendicion de
Granada won a high acclaimed. “The Parisian Life” (see
Pic 1.12) is one of his many art works of Luna which
gains negative criticism when the GSIS buys this
painting worth 46 million pesos (Torres, 2004; Perez,
2021a). Pic 1.12. “The Parisian Life” by Juan Luna. Image by Artworkonly. https://www.artworkonly.com/famous-art-
pt-4/the-parisian-life-by-juan-luna-famous-art-handmade-oil-painting-on-canvas

Felix Resurreccion Hidalgo is one of the known

Filipino visual artists, contemporary of Juan Luna who
has been awarded second place for his painting, Las
Virgenes Cristianas Expuestas al Popolacho during the
Exposicion Nacional de Bellas Artes. Hidalgo won other
prestigious awards around the world for Oedipus y
Antigone (Oedipus and Antigone), El Violinista (“The
Violinist”; gold medal), La Barca de Aqueronte (“The
Boat of Charon”), Laguna estigia (“The Styx”; gold
medal), and others. La Barca de Aqueronte has a
remarkable history as it was shown at the Exposition
Universalle in Paris (silver medal), again at the
Exposición General de Bellas Artes of Barcelona (gold
medal), and at the International Exposition of Fine
Arts in Madrid” (Lopez, 1979; Roces & Lopez, 1998 &
Perez, 2021a) Pic 1.13. “Las Virgenes Cristianas Expuetas al Popolacjo” by Felix Resurreccion Hidalgo. Image by
Wikipedia. https://en.wikipedia.org/wiki/Las_Virgenes_Cristianas_Expuestas_al_Populacho

Dr. Jose Protacio Rizal Mercado y Realonda. He is

regarded as one of the Filipino National Heroes, who
exposed the social cancers in the Philippines during (b)
the 19th century under the colonial rule of Spain. His
artistic skills both visual and auditory arts contributed
to awaken the Filipinos’ spirit against the tyranny of
the bad Spanish officials and friars. His notable works (a)
in auditory art are his two novels, Noli Me Tangere and (c)
El Filibusterismo, and his remarkable visual arts
include Sacred Heart of Jesus , The Mother Revenge , The
Dapitan Girl, Saint Jerome, The Triumph of Death over
Science, The Triumph of Science over Death, and other
(Perez, 2021a).
Pic 1.14 (a) “Sacred Heart of Jesus”, (b) “ The Mother Revenge” , and (c) Saint Jerome”, images by Google.com.
https://www.google.com/search?rlz=1C5CHFA_enPH920PH920&sxsrf=ALiCzsZWy56lmcuOg8v7wY2_Vs7yhGCD6g:1663
135112657&source=univ&tbm=isch&q=rizal+sculpture+works
Philippine Indigenous and Local Arts | Asian Arts
The Indigenous; Local; and the Well-known Filipino Artists
Arts from the Different Parts of Asia

Fernando Amorsolo. As a Filipino visual artist, his humble beginning as artist started when his father,
Pedro Amorsolo hit by stray bullet and died. This tragedy compelled him to earn a living to support his
family as well his education. At age of eleven, he drew sketches and sold them for 15 centavos while
assisting his uncle, Fabian dela Rosa.
In 1914, through his hard work as well as the support by his mother, Bonifacia Cuento who did embroidery
to earn a living, Amorsolo earned his degree in fine arts at the University of the Philippines School of Fine
Arts. In his early 20’s he became a professor and at age 25, he married Salud Jorge. By that time, he designed
the logo of Ginebra San Miguel, “Marca Demonio” (picture on upper right side) which impressed Don
Enrique Zobel, owner of the beverage company and sent Amorsolo to Academia de San Fernando in Madrid
for further studies but the academy accepted him as professor not a student after evaluating his work.
In Madrid, Spain, he studied the works of the early impressionist and expressionist painters like Diego
Velaquez, El Greco, Francisco Goya, Edward Manet, Claude Monet, Sir Anthony Dyck, John Singer Sargent,
and Joaquin Sorlla. In 1931, his first wife died, leaving him with six children and in 1935, he married Maria
del Carmen who gave him eight more children.
During the Japanese occupation in 1941, he struggled to acquire painting materials and could not sojourn
to the rural areas of Antipolo, Marikina, and other locales in outskirts of Manila where he painted
landscapes (see paintings under “Marca Demonio”). The sufferings brought by the war, like the execution
of his younger brother, Pablo by the Filipino guerillas, Amorsolo’s style shifted to human suffering and
tragedy (see painting parallel to “Marca Demonio”)
His major works include the following: Maiden in a Stream (1921)-GSIS collection; El Ciego (1928)-Central
Bank of the Philippines collection; Dalagang Bukid (1936) – Club Filipino collection; The Mestiza (1943) –
National Museum of the Philippines collection; Planting Rice (1946)-UCPB collection; Sunday Morning
Going to Town (1958)-Ayala Museum Collection (National Commission for Culture and the Arts, 2021;
Perez, 2021a)

Pic 1.14.1. Paintings of Fernando Amorsolo. Images by Artnet. http://www.artnet.com/artists/fernando-amorsolo/

Philippine Indigenous and Local Arts | Asian Arts
The Indigenous; Local; and the Well-known Filipino Artists
Arts from the Different Parts of Asia

Guillermo Tolentino is one of the well-known Filipino visual artist, contemporary of Amorsolo who
accidentally became known artist when his work “Filipinos Ilustres” (picture on the left side) was
transferred to lithographic stone by Jorge Pineda who printed 1,500 copies and sold at 80 cents per copy
which then spread in every Filipino homes (Mojares, 2010; Perez, 2021a).
As cited by Mojares, 2010, Tolentino’s first artwork, “Filipinos Ilustres” (see Pic 1.15a) became the best-
known gallery of Filipino heroes which depicted the thirteen men arranged in some order of precedence:
Jose Burgos, Antonio Luna, Jose Rizal, Andres Bonifacio, Marcelo H. del Pilar and Apolinario Mabini (seated
left to the right); and Clemente Jose Zulueta, Jose Ma. Basa, Pedro Paterno, Juan Luna, Graciano Lopez Jaena,
Miguel Malvar, and Antonio Ma. Regidor (standing behind).
In 1973, he was conferred the title of National Artist and among of his known sculptures were the
following: the iconic UP Oblation; Bonifacio Monument in Caloocan City; Pres. Manuel L. Quezon at Quezon
Memorial Circle; and the life-size bust of Dr. Jose P. Rizal in UP and University of the East campuses
(Philippine Daily Inquirer, 2020; Perez, 2021a)

Pic 1.15. (a) “Filipino Ilustres” , (b) “Andres Bonifacio Monument at Balitawak” and “UP Oblation” by Guillermo Tolentino.
Images by Google.com. https://www.google.com/search?q=guillermo+tolentino&rlz=1C5CHFA_enPH920PH920&sxsrf=A

Other Notable Works of Filipino Visual Artist

Napoleon Abueva Victorio Edades

Vicente Manansala Ang Kiukok

Images by DayDreaming in Paradise. https://daydreaminginparadise.com/a-list-of-philippine-national-artists-for-visual-arts/

Philippine Indigenous and Local Arts | Asian Arts
The Indigenous; Local; and the Well-known Filipino Artists
Arts from the Different Parts of Asia

Kapampangan Visual and Auditory Arts

Historians claimed that the Kapampangan’s descendants were migrants from Malang Region, Java
Indonesia and from other Malayan countries. Its civilization rooted from the banks of Rio Grande de
Pampanga (Pampanga River) where its name, river bank (pampang ilug) derived. The founding year of
Pampanga was on December 11, 1571. Hence, this coming December 11, 2022, the province will
commemorate its 451th years founding anniversary. The province of Pampanga is composed of three
major cities such as Angeles, Mabalacat and San Fernando; and 19 towns such as Apalit, Arayat, Bacolor,
Candaba, Floridablanca, Guagua, Lubao, Macabebe, Magalang, Masantol, Mexico, Minalin, Porac, San Luis,
San Simon, Sexmoan (Samuan), Sta. Ana, Sta. Rita, and Sto. Tomas (Perez, 2021a).
These cities and towns were bound by their rich culture and tradition which attributed to the province as
the Christmas as well as culinary capital of the Philippines. The province was likewise known for its fashion
in arts both in visual and auditory art. Among the visual arts, related to sculpture that are known in the
different parts Pampanga are the following: Burarul (kite); Dase (weaved mat); Dukit (carve); Gawang
Pande (black smith); Gitara (Guitar); Kupia (hat); Kuran ampong pasu (clay pot and vase); Parul (lantern);
Pukpuk (metal smith); and Santus, saint making(Perez, 2021a).
Burarul is the Kapampangan of kite, from Spanish volador, and the other version of kite is called Gurion
(a kite without a tail). The kite making practice in Pampanga is attributed in Angeles City, when an
Angeleños, Eulogio “Mang Eloy” Catalan was recognized for his imaginative, award-winning kite creation
in such forms of birds, fishes, angels, saints, and figure of our national heroes. However, the art of kite
making in the city did not flourish, it withered naturally when the proponent passed away (Perez, 2021a)..
Dase is the Kapampangan of mat and the known municipalities in Pampanga who practice the craft of
weaving (pamaglala) are the towns of Candaba, San Luis and San Simon. These swampy towns in Pampanga
used the leaves of ebus (Corypha gebanga-Blume) in weaving fine mats. The ebus in Pampanga is not only
used for weaving mats, its fruits are also harvest for consumption. The art of weaving using buri is not
limited in making mats, it is likewise used in making coin purse, hat, fan, bag, basket and other products
which are seen in different provinces in the Philippines (Perez, 2021a).
Dukit is the Kapampangan of carving. The art of carving (mandukit or manukit) is known in Betis district,
one of the four districts of Guagua, Pampanga. The Betis district is consisting of the following barangays
such as San Agustin, San Juan Bautista, San Juan Nepomuceno, San Miguel, San Nicolas Dos, Santa Ines and
Santa Ursula. The Barangay Santa Ursula is known as the premiere source of carved masterpiece in the
municipality of Guagua, Pampanga and Maestro Apung Juan Flores is one of the recognized well-known
mandukit in the barangay. The woodcrafts in Betis started as religious statuaries and relief sculptures and
eventually expanded into muebles (furniture), decorative wooden craft and architectural pieces. Today,
Betis Crafts are popular not only in Pampanga even in the nearby provinces.
Gawang Pande (made by Pande) is the Kapampangan for black smith which is named after the known
cannon maker (lantakas), Pande Pira during the Spanish colonization. The black smith industry is
popularly known in the municipality of Apalit, Pampanga. The Pande (blacksmith) in this town takes pride
in continuing the smithing tradition and it is the leading source of world-class steel crafts in the province,
producing palang (bolo), sarulgamat (hoes), piruya (rake), pala (spade), sudsud sarul and other metal
tools.
Gitara (guitar) makers are known in the town of Guagua, Pampanga. The pioneer guitar maker in the
province is a Matuang Bacani who managed to copy an old Spanish guitar. He passed on his techniques to
his son-in-law, Angel Lumanog who mastered the craft of guitar-making, opened a shop and started
supplying Macabebe, Bacolor, and San Fernando stores. Son, his guitars were being sought after in Manila.
Today, the Lumanog brand is a name synonymous to fine guitars. Apart from the Lumanogs, families like
the Garcias, Dizons, Mallaris, Jucos and Manansalas engaged in the production guitars
Philippine Indigenous and Local Arts | Asian Arts
The Indigenous; Local; and the Well-known Filipino Artists
Arts from the Different Parts of Asia

Kupia is the Kapampangan of hat which is essential in tropical accessory in the tropical countries like
Philippines. Apalit was once a hat center, and in Barrio Sucad, ‘kupyang ebus’ by the thousands were woven
and commercially sold in town markets from as far as Tarlac, Baguio, Bataan, Zambales and Manila. But
due to the scarcity of ‘ebus’ materials, production gradually slowed down in the 1920s. Pampanga shops
that operated in the 1930s sold hats of all shapes, sizes and materials.
Kuran ampong pasu are known in the town of Santo Tomas in which the town is mistaken as part of San
Fernando. Sto. Tomas is the acknowledge pottery center of the province, with many major potters
clustered along Quirino street. One pioneer potter maker in the town was Apung Sindung Mercado who
made “pilones”, (clay jars) used in the manufacture of molasses. From making traditional oya, tapayan,
kuran, gusi, balanga and pilun , the potters also added ornamental pasu or masetas for growing garden
plants and flower.
Parul in Pampanga is traditionally made during the lubenas (procession) of the advent season for the
Catholics, and they are usually used to light path during the limbun o prusisyun, other term for lubenas
(procession) of the patron saints in the parishes. Today, the parul making is attributed to the municipality
of San Fernando City. The lantern industry owes its popularity to San Fernando lantern maker pioneers
who evolved the parul from the simple wooden and paper star lanterns for the “lubenas” (procession) to
the giant kaleidoscopic lanterns that the world marvels at, every December’s Giant Lantern Festival. The
advent of electricity gave rise to the invention of the rotor by Rodolfo David; which is used to give the
lanterns their amazing play of colors. Well-known parol makers include the Quiwas (led by Ernesto David
Quiwa), Rolando Quiambao, Arnel Flores, and Jesus Maglalang.
Pukpuk is the metalsmithing in Pampanga and introduced in the province in late 16th century to the 19th
century, when the Spanish missionaries arrived in the Philippines and design the altar (retablo) with
various decoration. The fine art of metalsmithing was traced back to pre-Hispanic people in our
archipelago, flourishing in the late 16th to the 19th century, when the Spanish missionaries arrived to
introduce the idea of sacred art in which the Chinese excelled. The Retablos (altar frontals or tabernacles)
were decorated by melting the Mexican silver coin to create various decoration. Betis artisans mastered
the art, locally termed as ‘pukpuk’ (to hammer) as designs were created by chasing and using the repoussé
method, in which designs are raised on a metal sheet by pounding a pattern from the back using
a sinsil (blunt chisel). This is achieved by working on the metal against a wooden block, on which designs
have been incised. Artisans spread the art to Apalit which once had the largest number of ‘pukpuk’ shops.
Names like the Ramirez Family, Edgardo Mutuc and Jeric Canlas continue this tradition to this day.
Santus is the Kapampangan for images of saints that usually carved in woods. Apalit, Bacolor, Betis and
Macabebe are the known towns in making Santos or Santus. The town of Macabebe is known as the home
of the santeros (maker of saints). A santero is a craftsman who uses wood, ivory, cement or fiber glass to
produce an ecclesiastical art piece known as santo, in the image of Christ, Mary or a Saint. Before the war,
fishing and farming were the only means of livelihood of the people of Macabebe. Santo making was then
merely an expression of their ingenuity, and the products were mostly for personal use. Pablo “Ambo”
Bautista, a local businessman, is credited with promoting santo-making in the town by gathering local
artists and putting them to work in a talyer he opened just for them. Sons Antonio (a painter) and Gener (a
carver) further grew the business and improved the craft of santo making. This inspired other carvers to
put up shops that soon proliferated along the whole stretch of the town’s main road. Others found their
way in the other towns of Pampanga. U.P. Fine Arts graduate Maximiano Jingco also set up a pre-war
religious statuary shop in Guagua. Second and third generation carvers continued the santo tradition
like Rolando and Boyet Flores (from the Flores family of Sta.Ursula), while a new breed of highly trained
carvers came to fore—Nick Lugue (Apalit).Wilfredo Layug (Betis), Joseph Magcalas (Apalit) , Joed
Miclat (San Luis) and the Viray brothers (Bacolor).
Philippine Indigenous and Local Arts | Asian Arts
The Indigenous; Local; and the Well-known Filipino Artists
Arts from the Different Parts of Asia

NATIONALLY-RENOWNED KAPAMPANGAN ARTISTS

Source: http://kaplistorian.blogspot.com/2018/02/16-14-nationally-renowned-kapampangan.html

The Philippine art scene is made livelier by the contributions of these gifted Kapampangan artists whose
unparalleled skills in painting, has earned not only personal glory, but accolades for the country. Meet 14
of these painters, abstractionists, watercolorists, muralists, printmakers and sculptors who rank them
among the country’s finest visual artists.

 IRINEO MIRANDA. The Dean of Philippine Illustrators, Irineo Miranda (b. 1896/d.1964), was an early
graduate of the University of the Philippines’ College of Fine Arts, finishing in 1916. He honed his craft
under Fernando Amorsolo, and soon, he was earning illustration commissions from Pacific Commercial
Company, doing product labels and advertisements. So good was he, that in 1918, he was appointed to
the faculty of U.P. where he taught his forte—cartooning--along with decorative painting and
commercial design. He would stay on for over 40 years in the academe. He continued to get project,
illustrating covers for Graphic, Liwayway and El Debate magazines. In his time, he was also a top-notch
water-colorist and a political caricaturist.
 JUAN C. FLORES. Pampanga’s legendary sculptor and carver, Juan C. Flores (b. 24 Jun. 1900/d. 14 Sep.
1992) of Sta. Ursula, Betis, grew up in a fishing community. Not wanting to be a fisherman, he went to
Manila to seek his fortune and found work in the santo shops of Quiapo. He became an apprentice of
Maximo Vicente, worked with the Tampingcos, and honed his carving skills to perfection. But just as he
was making a name in the city, he returned to Betis in 1922 to start his own ‘taller’. He made religious
statuaries, furniture, decorative wooden items, church fixtures famed for their details and high quality.
On the side, he mentored young artists like painters Vicente Manansala, Antonio Dumlao and Allan
Cosio. First Lady Imelda Marcos gave him commissions to do the decorative woodworks in Malacañang.
He was rewarded in 1971 with a Washington D.C. trip as the country’s representative in an art
competition which he topped. Flores’ winning piece was a bust of the U.S. Pres. Richard Nixon. At the
ripe age of 77, he was given the Panday Pira Award. His most cherished award was being awarded as
one of the “Most Distinguished Sons of Pampanga” in 1982. His work is continued today by his son Daniel
Flores.
 ELIAS LAXA. Guagua’s master painter of Philippine vignettes (b.1904/d.1990), was born in Banka,
a fishing village. At 16, he left for Manila, but it was only at the advance age of 25 that he enrolled at the
U.P. College of Fine Arts, graduating in 1933. Laxa took on odd jobs, including sign painting in Escolta.
He went into serious painting only after the War, supporting himself by giving art lessons. His signature
works are his color-splashed seascapes, inspired by his humble background. But he could also paint
other subjects—calesas on narrow alleys, market women, old colonial churches, --done in colorful, swift-
strokes. In 1952, Laxa held his first one man show at the Miguel Galvez gallery. It was through his art
that he managed to support his 9 children, who earned degrees in engineering, architecture and
education. In 1964, he flew to Hawaii where he found artistic success. Laxa’s family would join him there,
in the island state that embraced him and his art. He passed away in 1990.
 JOSE BUMANLAG DAVID. In the field of portraiture—where technical accuracy, mastery of light, tone
and mood are required of the artist, one Kapampangan painter stands out—Jose Bumanlag David (b. 26
Jul. 1909/d.199?) of Mexico. Though he painted a variety of subjects throughout his long, prolific career,
it is in portraiture that he found recognition, thanks largely to his American clientele. A product of
Pampanga High School and the U.P. Fine Arts (1934), his paintings often appeared on the national
magazine, Philippine Free Press. His works could be found in pre-war classrooms as he painted many
historical scenes. David took a break to finish a management course in 1964 at the Air Force Institute at
Gunter Air Base University, Alabama. From 1971 till 1982, he gave private art classes to bored American
wives of U.S. military personnel and their other family members in Clark Field. One of his last one-man
show was held in 1990 at Galerie Andrea in 1990. Many of his portraits of American military officers
used to hang in various Clark Air Base buildings and those of Filipino heroes at the Scottish Rite Temple.
Philippine Indigenous and Local Arts | Asian Arts
The Indigenous; Local; and the Well-known Filipino Artists
Arts from the Different Parts of Asia

 VICENTE S. MANANSALA. National Artist Vicente “ Enteng” Manansala (b. 22 Jan. 1910/d. 22 Aug. 1981)
was born in Macabebe, and already had artistic inclinations as a boy growing up in Intramuros where
his family relocated. At age 15, he painted his first oil—a head of a cow coped fom a milk can. He entered
U.P. Fine Arts in 1926, and left home after graduation. He worked as a billboard painter, art director and
finally won his first national award in 1941, for his work “Pounding Rice”. He would be included as a
member of the “13 Moderns” and the “Neo-Realist Group”. Manansala earned scholarships in Canada
(Ecole de Beaux Arts in Banff) and France (Ecole de Beaux Arts of the University of Paris). He devised
his own technique called “transparent cubism”. His prized paintings are in various private and corporate
collections here and abroad. Holy Angel University has a section of its museum called The Vicente
Manansala Collection, holding most of the sketches, studies and drawings from the artist’s
estate. Mananala was named National Artist for painting in 1981.
 PATRICIO SALVADOR (b. 17 Mar. 1911/d.?). A 1931 graduate of Pampanga High, he pursued an art
course at the U.P. School of Fine Arts, taking only a year to learn and master painting basics. Soon, this
Fernandino was dividing his time between commercial art and landscape painting. He was still painting
in the mid 1990s at his humble home on Teopaco St. His small work, “Ricefields”, painted in oil in 1943
now hangs at the Jorge B. Vargas Filipiniana Museum at the U.P.
 GALO B. OCAMPO. Galo B. Ocampo, (b. 16 Oct. 1913/d. 12 Sep. 1985 ), who hails from Sta. Rita, studied
at the Univeristy of the Philippines. He is the only Flipino to study heraldry abroad and to hold
membership in the International Institute of Genealogy and Heraldry in Madrid. He later became a
Director of the National Museum in 1961. The multi-talented artist was also painter, sculptor,
scenographer, writer, teacher, and a cultural-activist. On 22 July 2015, the order of Lakandula was
conferred posthumously to Galo B. Ocampo with the order of Maringal na Pinuno (grand officer) from
the National Museum director, Jeremy Barnes.
 LIBORIO T. GATBONTON. Liborio “Gat” Gatbonton (b. 23 Jun. 1914/.5 May 1976) was a Filipino
cartoonist and caricaturist during the 1940s and 1950s who created the popular series "Jappy Days," a
comic book that satirized the Japanese rule in the Philippines. He was also the chief cartoonist of the
comics section of the now-defunct Evening Chronicle. The Candaba native went to Pampanga High
School and took a correspondence course in cartooning. He took formal art lessons at the University of
the Philippines, and, in 1935, joined T.V.T. Publications as a staff artist. He became a cartoonist for the
Manila Chronicle and was the first Filipino artist to have his work published on The New York Times.
 SALVADOR CABRERA. Salvador Cabrera (b.1930/d.1986) was BenCab’s big brother, older by some 12
years. He was often referred to as a ’quick-draw’ artist who could finish as many as 10 paintings in a day.
His trademark works showed youngsters with large, gazing, soulful eyes, inspired by artist Margaret
Keane. Salvador, who maintained an Ermita studio, had a successful career as an editorial cartoonist of
Daily Mirror, where his comic strip featuring a character named Bindoy, ran for 10 years. In his heyday,
he built a large clientele, who paid Php500 for his portraits, a hefty sum at that time—and he could finish
5 a day. He managed to provide a luxurious life for his family, but in the troubled ‘80s, when patrons
ceased coming, he had to rely on BenCab’s help as his health began to fail. Salvador Cabrera was also a
skilled watercolorist, illustrator and a lay-out artist, and his works were once carried by Angeles
galleries, He died of heart attack in 1986.
 ALLAN COSIO. The versatile artist, Allan Cosio (b. 1941) traces his roots in Bacolor. This painter (op art
and abstract) , printmaker, sculptor and tapestry maker has represented the Philippines at the
Valparaiso Biennale in Chile. The Indian Triennale, and the International Sculptue Event in Victoria,
Australia. He has also exhibited in Geneva (Switzerland), California, Munic, Beijing, Marsala (Italy) and
Hong Kong. For 5 consecutuve years, he was a prize winner at the annual Art Association of the
Philippines (AAP) competitions. He won a Britsih grant as his award for winning the grand prize in the
1980 AAP awards. Cosio is married to the Ivi Avellana, daughter of director Lamberto Avellana and
theater actress, Daisy Avellana.
Philippine Indigenous and Local Arts | Asian Arts
The Indigenous; Local; and the Well-known Filipino Artists
Arts from the Different Parts of Asia

 BENEDICTO CABRERA (BenCab). Benedicto Cabrera (BenCab, b. 10 Apr. 1942) is a full-blooded

Kapampangan whose parents are from Sasmuan. He studied at the University of the Philippines,
graduating in 1963, and had his first one-man show at the Gallery Indio in 1966. After BenCab married
British Caroline Kennedy in London in 1969, the couple decided to stay there, where he slowly, but
surely established his name in the international art scene, holding exhibits (London, New York
,Macau) and winning several art awards. Returing to the Philippines in 1972, he was hailed as a Filipino
pioneer of the arts, but the restrictive Martial Law years forced him back to London. This episode
marked the beginning of his involvement with social commentary and the topics of freedom from
repression. Later in the 1990s, BenCab founded the Tamawan Village, an artists’ sanctuary-cum-gallery
that has become a popular cultural destination in Baguio. He was named a National Artist for Visual Arts
in 2006, and in 2009, U.P., his alma mater, conferred upon him an honorary Doctor of Humanities degree.
 JOSE W. HERNANDEZ. Manila-born Jose W. Hernandez (b. 22 Sept. 1944/ d.19? ) practically grew up
in San Fernando, when his father was assigned as a law teacher at Harvardian College. Jose spent his
grade school years at the Assumption Academy. His artistic inclinations showed early; he would fill his
notebooks with drawings rather than schoolwork. In his senior year at Pampanga High, he was offered
a scholarship by Pres. Diosdado P. Macapagal. However, he abandoned his schooling to learn from
established artists like Fernando C. Amorsolo, Botong Francisco, Vicente Manansala, Simon Saulog and
Ben Alano. Painting in the realist tradition, he had his first group exhibit with Mabini masters in 1965.
From 1974-77, Hernandez operated his own gallery in Angeles City. His works have been exhibited in
the U.S., and reproduced on Unicef greeting cards.
 MARCELINO C. GALANG. “Mars” Galang (b. 1 Jan. 1945/d.2001).was born in Cabusao, Camarines Sur.
His father, Zoilo M. Galang of Bacolor, was pioneering encyclopedist who singlehandedly produced the
10-volume “Philippine Encylopedia” published in 1934. This makes Mars, a half-Kapampangan. He went
to public schools in the Sta. Cruz district of Manila, then took up Fine Arts at the University of the
Philippines on a scholarship. He became not only a painter, but also a printmaker, colorist and
draftsman. Mars dabbled in minimalism, where he excelled. He represented the Philippines at the 1st
India Triennial in New Delhi (1968) and the 7th Paris Biennial. His last one-man show ws in 1985, an
thereafter remained inactive.
 CESAR VICTOR “CID” P. REYES. The prodigious artist, advertising executive, book author, art scholar
and art critic Cid Reyes (b. 28 Jul. 1946) is a Kapamangan Pangilinan, courtesy of his mother Humilde,
from Apalit. After his Lasalle studies, he became an Italian government scholar at the Academia de belle
Arti in Rome, and tool courses in Art History at the City Lit Institute in London. Twice named Art Critic
of the Year, Reyes is also a mutli-awarded advertising creative. In 1989, he authored “Conversations in
Philippine Art”, which featured his interviews with 8 National Artists. His published books have won 2
national Book Awards. As a painter, Reyes has exhibited his works in major art galleries featuring his
robust abstract works using automotive paint. Reyes travels around the country lecturing on various
aspects of art and art history. He was named Most Outstanding Kapampangan in Arts in 2015.
 CLAUDE S. TAYAG. The renaissance man from Angeles City, Claudio “Claude” Moises Tayag (b. 1956) is
the son of writer-lawyer Renato ‘Katoks’ Tayag. Although an AB Economics U.P. graduate, he forayed
into art by observing artists E. Aguilar Cruz (his menor), Romula Galicano and Sofornio Y. Mendoza. He
won praises for his paintings of folk festival imageries and folk santo watercolors. He also ventured into
creating functional and decorative sculptural wooden pieces. Also known as an award-winning chef,
Tayag and wife Mary Ann Quioc, offer unique dining experiences at his residence known as Bale Dutung
(Wooden House), and at his 1856 Downtown Café, pop culture restaurant.
 NORMAN TIOTUICO. The foremost exponent of Kapampangan contemporary indigenous art, Norman
Tiotiuico (b.1966) of Angeles City is a Fine Arts graduate of the University of the Philippines. In 2004,
he was named a Rockefeller and Ford Foundation grantee at the 4th International Sculpture Symposium
in Vietnam His works are mostly sculptures, inspired by spiritual and environmental issues. Tiotuico,
subscribes to the belief that he, as an artist, is just a medium used by the Creator as an executor of His
ideas. His work is represented at Saatchi Art, the world’s leading online art gallery. This Most
Outstanding Kapampangan Awardee for the Arts in 2008 exhibits regularly; his latest, ”Kalalangan
Kapampángan Experiment” (Feb. 2018), features his latest native art installation works.
Philippine Indigenous and Local Arts | Asian Arts
The Indigenous; Local; and the Well-known Filipino Artists
Arts from the Different Parts of Asia

Kapampangan Literature

 JUAN CRISOSTOMO SOTTO. Soto was born 27 January 1867 and was the oldest of James Soto's three
children, owner of Bacolor rivals, and Marcelina Caballa, a sew. He didn't finish the study in Manil
because he loved writing and relaxing in the army of General Tomas Mascardo in the Himalayan in
1896. Julia Amaida first became a husband and had six children. After Julia died in 1903, Soto married
Rosario Palma and had four children. Soto died on 12 June1918. In honor, Crissótan was named in
1926 , the version of the ballistic missile in The Palm, which was first performed at a house in Santa
Cruz, Mandela and by Lino Dizon and Nicasio Dungo, and Amado Yuzon as a candid
 Main role player, perippient, and poet in the Pamphlet John Crisostomo Soto (Hu∙wán
Kri∙sós∙to∙Mó ∙to), and also movement in the alliance of "Crissot," an actor taken in the early stages of
his surname. He began as a writer for progressive newspapers such as La Independencia, El Liberal
and La Publicity. From 1906 to 1917, he was asked to direct several Birthplace publications such as
The Balen science establishment, and Ing A move featured his Noli me tanger's translation of Rizal's
Noli metanger in the Shock. As a poet, his "Lira, Dalit, and Sinta" winner of the first reward in
celebrateing Rizal's day in San Fernando in 1917. The disturbing novel, Lidia (1907), was the first
printed series in the English newspaper that she also directed.
 Soto's writing approximately 50 salads and dramas were written but the crowd was not kept. She
began by writing excerpts to foreign works such as the Ring of a Bacal (from El anillo de hierro). He
was more ordained to his patriot works, such as Sigalut and Balayan and Sinta (Town and Love),
both written inside the sheepfold, the Ing sitang (Sitang's Hands), and the Inganac of Katipunan (The
Son of Katipunan). God (No God) was the most fame performed in the Theatre Says in 16 November
19902. Soto himself celebrated Compania Says for her plays and played The Orquesta Palma music
based on the compositions of Amado Gutierrez, Paul Palma, Dionisio Andres, Jose Estella.

Suggested Web Readings

• List of Philippine National Artist for Visual Arts at https://daydreaminginparadise.com/a-list-of-philippine-national-
artists-for-visual-arts/
• Philippine Indigenous Arts at https://prezi.com/_hzwpuejkhlb/philippine-indigenous-arts/
• 13 Indigenous Artist who have kept Filipino Creativity Alive at
http://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-treasures.html
• Abra, The Philippines: The Tingguians, Bamboos, and the Art of Dyeing at https://wesaidgotravel.com/abra-
philippines-tingguians-bamboos-art-dyeing/
• Philippine Indigenous Arts at https://www.slideshare.net/babaylan1111/philippine-indigenous-art
• Vigneau, Katherine (2014). Philippine Indigenous Arts at https://prezi.com/_hzwpuejkhlb/philippine-indigenous-
arts/
• Inocian, R.B., Cuestas, NJ.P., Carin, JK., L., & Canoy, JD. E., (2019). Unveiling the indigenous art and craft of bakat and its
economic significations. Journal of Cultural Heritage Management and Sustainable Development, Vol.9 (4).
https://www.emerald.com/insight/content/doi/10.1108/JCHMSD-09-2018-0064/full/html
• Baradas, D.B. (1994). Philippine indigenous aesthetics. Philippine Studies, Vol.42 (3).
https://www.jstor.org/stable/42633452?seq=1
• Top 5 Indigenous Pinoy Arts and Crafts at https://our7107islands.com/top-5-indigenous-pinoy-arts-and-crafts/
• Asian Art. Oxford Art Online. https://www.oxfordartonline.com/page/asian-
art#:~:text=It%20is%20known%20for%20its,in%20East%20Asian%20art%E2%80%94calligraphy.
• Asian arts. http://www.visual-arts-cork.com/ancient-art/asian.htm
• Asian Art. The Met. https://www.metmuseum.org/about-the-met/curatorial-departments/asian-art
• Is there Kapampangan Art? At https://kapampangan.org/is-there-kapampangan-art/
• Kapampangan X: A crossover of various art forms at
https://www.sunstar.com.ph/article/1830305/Pampanga/Lifestyle/Kapampangan-X-A-crossover-of-various-art-
forms
Philippine Indigenous and Local Arts | Asian Arts
The Indigenous; Local; and the Well-known Filipino Artists
Arts from the Different Parts of Asia

ASIAN ARTS
ARTS FROM THE DIFFERENT PARTS OF ASIA

LEARNING OUTCOMES: By the end of this topic, the students will be able to do the following:
 Describe and identify the various manners/styles of the different Asian visual arts
 Critique the arts of the Chinese, Japanese, Korean, and other Asian arts.
 Analyze, critique and appraise works of arts based on their knowledge about the aesthetic
value, background of the artist, historical context, tradition and social relevance

Traditional Japanese Art (Bijutsu) and Craft (Kogei)

entails cultural expression connected with the past that conveys
specific ideas of “Japaneseness”, such as tea ceremony, flower
arrangement, martial arts, woodblock prints and ceramics (Morais,
2019).
 In 1885, the term, bijutsu kogei (artistic crafts) was used to
stress the position of handicrafts as an art form and to
distinguish it from manufacturing industry, likewise to establish
its cultural role as a uniquely Japanese form of art (Morais,
2019).
 Geijutsu (art) was originally used to refer to the six skills
(rikugei) such as moral behavior; music; archery, equestrian art;
calligraphy; and mathematics (Doshin Sato, 2011 cited by
Morais, 2019).
 The Japanese arts are reflected from the following: Chado (way
of tea); Ikebana-kado (traditional flower arrangement); Shodo
(Japanese Calligraphy); Bonsai (potted miniature tree); Origami
(art of folding a piece of paper); Ukiyo-e (type of woodblock
print and paintings of the floating world); Uchiwa (traditional
paper fans); Haiku (traditional poetry); Kireji (mounting scroll);
Kutani (Japanese porcelain); Chabana (flower arrangement in
tea ceremony); Koto (traditional stringed instrument); Kabuki
(classical dance-drama); and sumie (ink and wash painting)

All images are retrieved from https://japandeluxetours.com/experiences/japanese-culture-arts-crafts

Traditional Chinese Arts and Crafts are seen from Bronze Vessels, Folk Toys, Embroidery, Calligraphy,
Music, Opera, Painting, Cloisonne, Jade, Kites, Lacquer Ware, Paper-Cuttings, Porcelain, Pottery, Seals, and
Silk which are the vivid reflection of their culture likewise the embodiment of both the local people. The
following are excerpted from Travel China Guide retrieved from
https://www.travelchinaguide.com/intro/arts/bronze-vessel.htm :
 Bronze Vessels (5,000 years ago) led the ancestors of modern China from the Stone Age into a new era,
the Bronze Age. The bronzes produced being delicately decorated with a diverse range of designs and
motifs and were widely used in many aspects of life, such as musical instruments, ceremonial offerings
and weapons of war being of great significance in the history of China.
 China Calligraphy - a highly stylized form of writing - has been developed by many eminent
calligraphers of many different dynasties. Referred to as the 'four treasures of study' (writing brush,
ink stick, xuan paper, and ink slab) are regarded as the indispensable tools when writing.
 Chinese Cloisonne is an enamel artwork with the primary color being blue. It is renowned for its use
of high-quality material, complex manufacturing process and its use of bright and vivid colors.
 Chinese Jade has a history of four thousand years. Jade symbolizes merit, grace and dignity and
occupies a special position in people's consciousness. It is used both to decorate rooms, and as jewelry
by people hoping for a blessing.
Philippine Indigenous and Local Arts | Asian Arts
The Indigenous; Local; and the Well-known Filipino Artists
Arts from the Different Parts of Asia

 Chinese Embroidery originated in the Shang Dynasty (16th - 11th century BC), and now has four major
traditional styles: Su, Shu, Xiang, and Yue. It is also an accomplished skill for the ethnic minority groups
such as the Bai, Bouyei and Miao.
 Chinese Kites being delicately made of paper and bamboo have numerous shapes such as swallow,
centipede, butterfly etc. Regarded as an artistic marvel, the kite makers' skill in both painting and in
the design of the kites' flexible flying movement are well renowned.
 Chinese Lanterns are to some extent the symbol of the country's extensive festival culture. With long
history and interesting traditions, lanterns now have abundant variations, decorating many festive
occasions.
 Chinese Painting is divided into three genres - figures, landscapes, and birds-and-flowers and each type
has its distinctive characteristics. In addition, difficult skills are required to the painters.
 Chinese Porcelain derived from the Shang Dynasty (16th - 11th century BC). It is characterized with
fine texture, bright colors, and distinctive shapes and styles. Jingdezhen, located in Jiangxi Province is
the Porcelain Capital of the world and attracts countless people from near and far to appreciate, and
buy the choicest Jingdezhen Porcelain around.
 Chinese Pottery has a history of over 8,000 years and known as the oldest artwork of human
beings. The accomplishments in pottery works can be seen from Terra Cotta Warriors, in Xi'an, Shaanxi
Province, and the Tricolor Glazed pottery of the Tang Dynasty (618 - 907) and so on.

Suggested Videos to view

• Joey Velasco’s Hapag ng Pag-ibig at https://www.youtube.com/watch?v=oTdJUCjLLi4
• Joey Velasco’s Hapag ng Pag-asa at https://www.youtube.com/watch?v=stUf7E9NPQ0
• Appreciating Arts in the Philippines at https://www.db.com/asiapacific/en/content/Appreciating-Art-in-
Philippines.html
• Visual Artist from Bukidnon at https://www.youtube.com/watch?v=MPuhmmKv-bI
• Docto, C. (27 July 2019). Indigenous artist into soil painting leaves impression in Vancouver. https://news.abs-
cbn.com/overseas/07/27/19/indigenous-artist-into-soil-painting-leaves-impression-in-vancouver
• Probe Profiles: Joey Velasco Part 1. https://www.youtube.com/watch?v=uBkZ4pXJtK4
• Yale University Art Gallery. https://artgallery.yale.edu/asian-art
• 6 Easy Step to Make Origami paper. https://www.youtube.com/watch?v=SFxJxlTctJ0
• Origami: The Japanese Art of paper Folding. https://www.nippon.com/en/features/jg00114/
• Heather Boyd Wire. Wire Art Tips and Tools. https://www.youtube.com/watch?v=kYNToke0ShU
• 25 Amazing DIY Wire Art Ideas. Crafts to Make and Sell. https://www.youtube.com/watch?v=eIUeDB5aHTQ
• Perez, A. (2021). Philippines and Asian Arts. https://youtu.be/IobkTGJGvZQ
• The Role Arts during the Crisis at https://www.youtube.com/watch?v=hssVV_oF7HU
• Panyulung king Kapampangan Arts and Culture at https://www.facebook.com/watch/?v=283445136040740
• Brigada: Pagkilala sa Kulitan, Isang Baybaying Kapampangan. https://www.youtube.com/watch?v=9P-2BEIGDcc
• Kulitan Instructional Video. https://www.youtube.com/watch?v=exGjulw0BQ8
• SONA. Kulitan o Tradisyun na Sulat Kapampangan, Muling Ipinapakilala.
https://www.youtube.com/watch?v=jBkLEbXVaEE
• Totoy Bato. Lugud Ning Indu. https://www.youtube.com/watch?v=SoQeOs0G6aQ
• 9 Totoy Bato 2 Hours of Non Stop Original Songs. https://www.youtube.com/watch?v=r8MN9Q2asc4
• ArtiSta.Rita.Rita. Atin Ku Pung Singsing. https://www.youtube.com/watch?v=fM6PCivneTU
• ArtiSta.Rita. Ing Malsinta/ Beria. https://www.youtube.com/watch?v=dfG9IpHFx9A
• ArtiSta.Rita @ CCP. Anyang Malati Ku. https://www.youtube.com/watch?v=EiIsdmKwpDc
• Miss Phathupats/XI-Kelvin. https://www.youtube.com/watch?v=PjeuPoQuME4
• Casaquit ning Malsinta, lawiwiw nang Juan Crisostomo Caballa Soto.
https://www.youtube.com/watch?v=UH6ZxmpXlUM
• SONA: Pukpuk o pag-uukit gamit ang metal sheets, kilalang industriya ng mga taga-Apalit.
https://www.youtube.com/watch?v=pyAfQOOjiLk
• Victory Liner Inc. Know Your North Season 5 Episode 1 Apalit. https://www.youtube.com/watch?v=sWQXqpaO-68
• Churches in Pampanga – History of Architecture 4. https://www.youtube.com/watch?v=BG-9xVeFfg0
Philippine Indigenous and Local Arts | Asian Arts
The Indigenous; Local; and the Well-known Filipino Artists
Arts from the Different Parts of Asia

SUMMATIVE ASSESSMENT: ING CANACUNG POLOSA

Directions: : Compose a Polosa about your place/Kapampangan culture/Nature and

Worksheet 8 record your polosa (at least for 2-3 minutes). See the criteria for your guidance

Also write your Polosa here

Submitted by: Course/ Section:

Date Submitted:
CRITERIA Points Actual Score
Aesthetic Value/Originality 25
Organization and Arrangement (Harmony and Rhythm) 20
Musicality (Quality of sound/ melodiousness) 20
TOTAL SCORE 65
Philippine Indigenous and Local Arts | Asian Arts
The Indigenous; Local; and the Well-known Filipino Artists
Arts from the Different Parts of Asia

SUMMATIVE ASSESSMENT: VLOGGER PA MORE!

Directions: : Visit any local restaurant/ food establishment / any related to local
Worksheet 9 tourism. Create a video blog or Vlog (at least 2-3 minutes only) by critiquing or
promoting their products or their identity. See the criteria for your guidance.

Post your link here

Submitted by: Course/ Section:

Date Submitted:
CRITERIA Points Actual Score
Aesthetic Value/Originality 20
Clarity and Organization of Contents 25
Technicalities (Clear audio and video) 20
TOTAL SCORE 65
Philippine Indigenous and Local Arts | Asian Arts
The Indigenous; Local; and the Well-known Filipino Artists
Arts from the Different Parts of Asia

SUMMATIVE ASSESSMENT: TRADITIONAL KAPAMPANGN LANTERN MAKING!

Directions: : Watch on YouTube on how the Kapampangans create their unique

Worksheet 10 lantern and use during the Lubenas. After, viewing it, design your own unique parul
and make a photo-document on the process/procedure. See the criteria for your
guidance.

Post your photo-documentation here

Submitted by: Course/ Section:

Date Submitted:
CRITERIA Points Actual Score
Originality/ Innovativeness 50
Documentation (Photo-documentation) 50
TOTAL SCORE 100
Philippine Indigenous and Local Arts | Asian Arts
The Indigenous; Local; and the Well-known Filipino Artists
Arts from the Different Parts of Asia

Criteria for the Lantern Making

CRITERIA Excellent (50points) Good (35 points) Fair (20 points) Poor (5 points)
Originality/ All the concepts are All concepts are All the concepts All the concepts
Innovativeness 100% original in all 80% original in all are 50% original are not original
aspects such as the aspects such as the in all aspects such in all aspects
design, appearance, design, appearance, as the design, such as the
variation, and variation, and appearance, design,
complexity complexity variation, and appearance,
complexity variation, and
complexity
Documentation All the details (100%) in Only 60% of the Only 40% of the All the details
(Photo- making the lantern are details are observed details are are not observed
documentation) observed such as 1) observed
Preparing and
assembling the frame; 2)
Connecting the sticks to
make as star; 3)
Covering the frame with
Japanese papers; 4)
Decorating the lantern;
and 5) creating and
attaching the tail
decoration

REFERENCES:
Textbook
Marcos, Lucivilla L. (2006). Introduction to the Humanities Visual and Performing Arts. Manila.
Mindshapers Co., Inc.
Sanchez, Custodiosa A., Abad, Paz F., & Jao, Loreto V. (2002). Introduction to the Humanities
(Revised Edition). Q.C. Rex Printing Company Inc.
Tabotabo, Claudio V. (2010). Art Appreciation: Introduction to the Humanities (Revised Edition).
Manila. Mindshapers Co., Inc.
Zulueta, Francisco (2003). The Humanities (Revised Edition). Mandaluyong City. National Book Store
inc.

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Philippine Indigenous and Local Arts | Asian Arts
The Indigenous; Local; and the Well-known Filipino Artists
Arts from the Different Parts of Asia

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