MODULE 4

LEARNING OUTCOMES: By the end of this module, the students will be able to do the following:
 Critique the arts in the Philippines particularly the Indigenous, Christian, and Muslim arts;
 Compare the Philippine arts with the Western and European arts; and
 Critique the arts of the Chinese, Japanese, and Indians

TOPIC OUTLINE:
Philippine Arts and the Asian Arts
1. Philippine Arts: Indigenous; Muslims; Christian Arts; and the Well-known Filipino Artist
2. Glimpse on the Asian Arts: Chinese; Japanese; Indian; andothers

Philippine Arts:Indigenous; Muslims;ChristianArts;

Discussion
and the Well-known Filipino Artist

Indigenous Philippine Arts

 ManunggulJar is one of the known indigenous arts in the Palawan. It islikewise

considered as one of the national treasures of the Philippines. This 2800 years old jar
was founded by Dr. Robert b. Fox and Miguel Santiago in 1962
 This Tapayan (jar) is a secondary burial jar found in Tabon cave, one of the
Manunggul caves in Palawan. It is used by ancient people of Palawan in burying their
deaths around 890-710 B.C. It 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 Bulul or bul-ul is a carved Anito figure of the Ifugao who represents their
ancestral spirit and granary god. It 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.
 According to Ocampo (2016), 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
threwthem intothe riverwherethey floateddownstream toLagudandwere
forgotten. Many years later, Humidhid’s daughter, Bugan, followed her lime
container that fellinto the river and reached Lagud where itwas 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 were bulul placed in granaries” (Ocampo, 2016).

All images are retrieved from google search.com

 TheHagabiisakindofwooden
bench of the Ifugao that
symbolizesasocialstatus.
 The Hagabi is usually owned by
the Kadanagyan (people who
belongtohigherclassinthe
society)
 The bench (hagabi) serves as
symbol of power, prestige,
wealth, and social status among
the tribes of the Ifugaos.

 The Sarimanok 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.
 The figure represents a fowl wings, feathered tail, and a head
decorated with ornaments of scrolled and painted motif of leaves,
spirals,andfeatherlikeforms.Itusuallystandsonafishand
another one hangs from itsbeak. This wooden figure, usually
perched atop a bamboo pole, stands among decorative flags
during weddings and other festiveoccasion.

 The Torogan (left picture) is the traditional house of the Maranao royalties. It isknown 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.
 Under the wooden beams, a multi-purpose ground space is allotted, called it dorung. The second floor is
consideredasthemainhouseanditiscalledtheporo,anopenspacepartitionedonlywithclothsand
chests.
 Toragan’s wallsare made of gisuk and tartek (wall studs) which hold the walling planks (dingending). The
carvedcenterbeaminsidethehousecalledthetinal-a-walaywhichsupportthemainpostoftheroof.
 The paitaw (door) and rowasan (sliding windows) are carved with okir designs (right side picture). 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.
 Themost distinct part of the torogan isknown as panolong (carved end-beams with serpent design (niyaga)
which fill the front while the sides use the pako okir (fern patterns).

All images are retrieved from google search.com

 The Tingguians’ bamboo crafts and the art 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.

 The early Christian arts or religious arts in the Philippines are found
Christian Arts in the Philippines 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.
 Theretablo (altar piece,left picture) isone ofthe religious arts
foundonthe different churchesinthe Philippineswhich reflectthe
intricacies and detailed designs during the baroque period.
 Among the identified Baroque Churches in the Philippines are the
following: Santo Tomas de Villanueva in Miag-ao, Iloilo; San
Agustin Church in Paoay, Ilocos Norte; San Agustin Church in
Intramuros,Manila; NuestraSenorade la AsuncioninSantaMaria,
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 (see pictures below).

These church images are retrieved from 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
Muslim Arts in the Philippines flowers, plant forms, and geometric designs. It is used in calligraphy,
architecturalpainting,clothing, andother formsof finearts. Inthe 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
groupofferstheirowndistinctflavorofIslamicart.Thisdistinctartsarecommonlyseenintheirhomes,clothingandplaces
of worship of Filipino Muslims (Santos, 2011).
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 is the only distinct characteristic of the Filipino
Muslim art found inside the mosques. The okkir (picture on the left
side) is believed to be of Hindi and Chinese influences. Like the
Torogan’s house of the Maranao, the Mosques also use geometric
and floralartwork called okkir and the most popular motif isthe use
of an imagery of a dragon or serpent (Santos, 2011).

 Juan Luna (1857-1899) – known Filipino

Well-known Filipino Artists visual artist 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 (picture on the left side) 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” is one of his many art works
ofLunawhichgainsnegativecriticismwhen
the GSIS buys this painting worth 46 million
pesos.

 Felix Resurreccion Hidalgo (1855-1913) –

known Filipino visual artist, contemporary of Juan
Luna who has been awarded second place for his
painting, Las Virgenes Cristianas Expuestas al
Popolacho (picture on the right side) 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.LaBarca deAqueronte hasaremarkable history asitwasshown atthe
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 posted by Philippine Art
Gallery)

All images are retrieved from google search.com.

 Fernando Amorsolo (1892-1972) – As a Filipino
visualartist, hishumble beginning asartiststarted
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 delaRosa.
 In 1914, throughhishardwork aswellasthesupport
by his mother, Bonifacia Cuento whodid embroidery to
earn aliving,Amorsoloearnedhisdegreeinfinearts
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 upperrightside)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.
 InMadrid,Spain,hestudiedtheworksoftheearly
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 delCarmen whogave
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 ofManila where he painted landscapes
(see paintings under “Marca Demonio”). The sufferings
broughtbythewar,liketheexecutionofhisyounger
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)-
CentralBank ofthePhilippinescollection;Dalagang
Bukid (1936) – Club Filipino collection; The
Mestiza(1943)–NationalMuseumofthePhilippines
collection; Planting Rice(1946)-UCPB
collection; Sunday Morning Going to Town (1958)-
Ayala Museum Collection (National Commission for
Culture and the Arts, 2021).

All images are retrieved from google search.com.

 GuillermoTolentino (1890-1976)–known
Filipino visual artist, contemporary of Amorsolo
who accidentally became known artist when his
work “Filipinos Ilustres” (picture on the leftside)
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).
 As cited by Mojares, 2010, Tolentino’s first
artwork, “Filipinos Ilustres” (Grupo de Filipinas
Ilustres)became thebest-knowngalleryof
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).
 In1973,hewasconferredthetitleofNational
Artist and among of his known sculptures were
the following: the iconic UP Oblation; Bonifacio
Monument in Caloocan City; Pres. Manuel L.
Quezon atQuezon MemorialCircle;and the
life-size bust of Dr. Jose P. Rizal in UP and
University ofthe East campuses (Philippine
Daily Inquirer, 2020)
Nota Bene. For the information of the other well-known Filipino visual artist click this link:
https://daydreaminginparadise.com/a-list-of-philippine-national-artists-for-visual-arts/

Glimpse on the Asian Arts: Chinese; Japanese; Indian; and more

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 offoldingapiece ofpaper);Ukiyo-e(type
ofwoodblock printand paintingsofthefloatingworld);
Uchiwa (traditional paper fans); Haiku (traditional poetry);
Kireji (mounting scroll); Kutani (Japanese porcelain);
Chabana (flower arrangement in tea ceremony); Koto
(traditionalstringedinstrument);Kabuki(classicaldance-
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.Referredto asthe 'fourtreasuresof study' (writingbrush,ink stick,xuan paper,andink slab) areregarded asthe
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.
 Chinese Embroidery originated in the Shang Dynasty (16th - 11th century BC), and now has four major traditional styles: Su,
Shu,Xiang, and Yue.Itisalsoan accomplished skillforthe ethnicminority groups such asthe 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.
 ChineseLanternsareto someextentthesymbol of the country's extensivefestivalculture.With longhistoryandinteresting
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 distinctiveshapes and styles.Jingdezhen,located inJiangxi Province isthe Porcelain Capital ofthe worldand
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
potteryworkscan beseenfromTerra CottaWarriors,inXi'an,ShaanxiProvince,andthe TricolorGlazedpottery oftheTang
Dynasty (618 - 907) and so on.

Read and Review the following:

 List of Philippine National Artist for Visual Arts at https://daydreaminginparadise.com/a-list-of-philippine-
national-artists-for-visual-arts/
 PhilippineIndigenous 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
bakatanditseconomicsignifications.Journal ofCulturalHeritage Managementand SustainableDevelopment,
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

Watch the following on YouTube:

 JoeyVelasco’sHapagngPag-ibigathttps://www.youtube.com/watch?v=oTdJUCjLLi4
 JoeyVelasco’sHapagngPag-asaathttps://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 fromBukidnonat 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
 ProbeProfiles:JoeyVelasco Part1.https://www.youtube.com/watch?v=uBkZ4pXJtK4
 Yale University Art Gallery.https://artgallery.yale.edu/asian-art
 6EasyStep toMakeOrigamipaper. https://www.youtube.com/watch?v=SFxJxlTctJ0
 Origami:TheJapanese ArtofpaperFolding.https://www.nippon.com/en/features/jg00114/
 HeatherBoydWire.WireArtTipsandTools.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
ORIGAMI: Exploring the Art of Paper Folding

Name: Course/ Section:

Hub Location: Date Submitted:

Directions. For this activity watch on YouTube the following videos about ORIGAMI:
 6 Easy Step to Make Origami paper. https://www.youtube.com/watch?v=SFxJxlTctJ0
 Origami: The Japanese Art of Paper Folding.
Worksheet 7 https://www.nippon.com/en/features/jg00114/ or watch any videos about the art of origami
and create your own preferred ORIGAMI. Paste the picture of your origami on the space
provided and see the criteria for your guidance.

Paste your origami picture here.

CRITERIA Point Actual Score

Intricacy. All parts of the origami are detailed and meticulous 20
Procedure. The procedure in doing the origami is complicated 10
Neatness. The origami is clean, no crumple, tear, and scratch 5
Total Score 35
Hidalgo vs Luna: Deepening My Art Critiquing

Name: Course/ Section:

Hub Location: Date Submitted:

Directions. Critique the winning art works of Juan Luna’s “Spolarium” and Felix R.
Worksheet 8
Hidalgo’s“Christian Virgins Exposed toPopulace”. Limit youranswer to100 words and
use the criteria as your guidance in discussing your critique.

Description

Analysis

Interpretation

Evaluation
RUBRIC for the Artwork Critiquing:

4 3 2 1
Criteria Excellence Very Good Good Poor Rating
Demonstrates Demonstrates Demonstrates Demonstrates
exemplary competent satisfactory which serious errors;
observation and observation and shows incomplete shows major
thorough understanding of understanding or misunderstanding
understanding of technical observation of
Description (25%)
technical application of media, and
application of media media and/or the inaccurate
and/or the representation of representation of
representation of visual elements visual elements
visual elements

Demonstrates Demonstrates Demonstrates Demonstrates

exemplary competent satisfactory which serious errors in
performance in performance in provides incomplete inference of an
promoting a logical inferring an artist inference of an artist intent or
Analysis (25%)
inference of an intent or meaning artist intent or meaning
artist intent or meaning
meaning

Demonstrates Demonstrates Demonstrates Demonstrates

exemplary competent satisfactory which serious errors in
performance in performance in shows incomplete understanding
establishing a establishing a understanding and and an
Interpretation
personal personal personal reaction to undeveloped
(25%)
understanding and understanding a work of art personal reaction
thoughtful reaction and thoughtful to a work of art
to a work of art reaction to a work
of art
Demonstrates Demonstrates Demonstrate Demonstrates
exemplary competent satisfactory which serious errors in
performance in performance in shows incomplete understanding the
assessing the assessing the understanding of qualities,
Evaluation (25%) qualities, qualities, the qualities, communication,
communication, and communication, communication, and and aesthetics of
aesthetics of a work and aesthetics of aesthetics of a work a work of art
of art a work of art of art

Overall Performance
Grade Equivalent: Equivalence of Weighted Ratings: 4 = 100%; 3.0 to 3.9 = 91 to 99%; 2.0 – 2.9 = 80 to 89%; 1 to 1.9 = 70 to 79%
Note. This rubric is adapted from the Art Criticism Rubric retrieved from
https://airacademy.asd20.org/Teachers/Jon_OLonergan/AAHS%20VIS%20ART%20DOCS/VISUAL%20ARTS%20RUBRICS/ART%20CRITICISM%20RUBRIC.pdf

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

WEBSITE RESOURCES:
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/
Adan, M. (2020 March 23).The Story behind Ginebra San Miguel’s Famous Bottle Label. HubPages.
https://discover.hubpages.com/art/The-Story-Behind-Ginebra-San-Miguels-Famous-Bottle-Label
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 Art. The Met. https://www.metmuseum.org/about-the-met/curatorial-departments/asian-art
Asian arts. http://www.visual-arts-cork.com/ancient-art/asian.htm
Baradas, D.B. (1994). Philippine indigenous aesthetics. Philippine Studies, Vol.42 (3).
https://www.jstor.org/stable/42633452?seq=1
Baroque Churches of the Philippines: The Religious Grandeur Preserved Through Times.
https://www.zenrooms.com/blog/post/baroque-churches-of-the-
philippines/#:~:text=The%20San%20Agustin%20Church%2C%20built,World%20Heritage%20Site%20in%20Manila
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
Japanese Deluxe Tours (2020 January 3). Japanese Arts and Crafts.
https://japandeluxetours.com/experiences/japanese-culture-arts-crafts
List of Philippine National Artist for Visual Arts at https://daydreaminginparadise.com/a-list-of-philippine-national-artists-
for-visual-arts/
Martinez, E. (n.d.). Fernando C. Amorsolo Art Foundation. http://www.fernandocamorsolo.com/biography.html
Mojares, R.. (2010). Guillermo Tolentino's "Grupo de Filipinos Ilustres" and the Making of a National Pantheon. Philippine
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Prepared by:

FREDERICK NOARDA LIPON

Instructor