Did you know that December is declared as National Energy Consciousness Month?

Before we light up the sky as we welcome the new year, allow us to present to you the energy from deep within the earth — the geothermal energy.

Geothermal Energy is a renewable energy source. Its name comes from the Greek words geo (earth) and therme (heat). The energy is derived from the heat within the earth that is a result of constant friction of the rocks along the margins of continental plates and from the radioactive decay of materials. To tap this energy, wells are drilled several kilometers underground for steam and water. The heat is then brought to the surface through an intricate system of pumps and pipelines. 

Geothermal energy is widely used as an electricity source, particularly in the Philippines. In other countries, geothermal energy is extremely helpful for space heating from residential to industrial buildings. It is also used in melting snow and ice in critical areas like highways and greenhouses.

The Philippines is among the top geothermal energy producers in the world. Its strategic position allows it to have extensive potential for geothermal resources. Initiatives to put up geothermal power plants in the country started in 1962 with the geothermal studies conducted by the then Commission on Volcanology. By 1977, the country had its first commercial geothermal electricity in Tongonan, Leyte. At present, several geothermal energy power plants are already operating in many parts of the country with many more plants in the development stage. 

Find out more about geothermal energy and many other renewable energy resources at the NMNH Gallery 3. Book your next visit through this website.

#MuseumFromHome 

#StaySafe

#GetVaccinated

Text and image by the NMP Geology and Paleontology Division

© National Museum of the Philippines (2021)

Are hamon or lechon served on your table for Nochebuena and Media Noche?

On the last week of celebrating this month’s festive season, today’s #TrowelTuesday by the #NationalMuseumPH highlights pigs in the context of archaeology.

The role and evidence of pigs in prehistoric times can be traced back to the trash deposits mostly in areas or zones identified archaeologically as residential. Pig remains from Philippine archaeological sites are usually represented by the teeth and fragmentary bones, found associated with pottery, cobble and flake tools, other animal bones, and human bones. 

Excavated pig remains in the Batanes Islands and Nagsabaran in Cagayan, dated about 3200 years and about 4500 years ago, point to pigs’ earliest existence in the Philippines based on archaeological evidence. 

The acquisition of wild pigs (Sus scrofa) in prehistoric times was through hunting activities or trading. Excavations in Leta-Leta Cave in Palawan yielded modified fragmented pig bones, suggesting the animal’s use other than as food.  The bones are dagger-shaped, carved, with a hole drilled at the larger end, probably used as implements or pendants.

A boar’s canine recovered from a burial site at Wahing Cave A in Mabini, Bohol, found with a deer antler fashioned into a pendant, indicates the early practice of ornamentation and the materials used for adornment. Using pigs’ teeth as necklaces, especially the canine, has been observed in the country. This practice of using these remains as ornaments and charms persists in some ethnolinguistic groups.

Historically, pigs served as sacrificial animals, along with chickens, water buffaloes, and dogs. It is usually part of the ritual feasting events, offered together with plant foods and alcoholic beverages. The quantity and quality of offered pigs are dependent on the social rank, wealth, and political power of the sponsoring elite. Apportionment of the food also reflects the social status of the feast’s participants and their relationship with the sponsor.

During the feast, whole or pre-butchered parts or chosen cuts of the animal are given to the elite. The crania or skull of the sacrificed pig was a preferred body part, displayed inside or outside the house as a potent symbol of wealth and social prominence in the community after the sponsored celebration. Pigs represent a consumable animal wealth traditionally expended in status-reinforcing feasts.

Before the festive season ends, celebrate it by exploring your #NationalMuseumPH collections by booking a tour through this website.

#ArchaeologyOfPigs

#MuseumFromHome

#YearOfFilipinoPrecolonialAncestors

#MaligayangPasko

Text by Ame Garong and Hazel Ramirez and poster by Timothy James Vitales | NMP Archaeology Division

© National Museum of the Philippines (2021)

For the last #MaritimeMonday of the year, your #NationalMuseumPH highlights the Kraak porcelain from the San Diego shipwreck.

San Diego sank on December 14, 1600 near Fortune Island, Batangas after defeat by the Dutch ship Mauritius. The cargo predominantly comprised of Chinese porcelain specifically from the Wanli Period (1573–1619) of the Ming dynasty (1368–1644). Read more about the vessel’s story here: https://tinyurl.com/SagaOfTheSanDiego 

Kraak porcelain are characterized by their elaborate and striking decorations in blue underglaze organized within foliated radial panels. These kraak wares appeared at the very end of the 16th century and became the mainstream export porcelain produced in Jingdezhen and Zhangzhou, China. The term kraak was derived from ‘carrack’, a type of Portuguese ship seized by the Dutch with cargos of panelled Chinese porcelain in different forms. They are also known for being light and durable, characterized by thin base and foot rim as well as having chatter marks on the base. These were common features brought about by mass production in the Wanli Period that were extensively exported. 

The deer motif is the most representative pattern of the San Diego kraak porcelain. The evident mass production of kraak porcelain indicated that production centers adjusted themselves to cater the demands and tastes of the overseas markets. This resulted to export of visually similar porcelain wares from different kilns. This is an important period where a new affinity in the style of maritime trade was reflected as it transitioned to the 17th century.

Your #NationalMuseumPH is now open to the public. While the San Diego gallery undergoes reconstruction, you may see and appreciate other significant shipwreck artifacts in the ‘300 Years of Maritime Trade in the Philippines’ exhibit located at the National Museum of Anthropology. You may book a slot through this website. Remember to #KeepSafe by practicing minimum health protocols while viewing our galleries. You may also experience the virtual tour of the exhibit by clicking on this link: https://tinyurl.com/300YearsOfMaritimeTradePH 

#KraakPorcelain

#SanDiegoShipwreck

#StaySafe

#BeatCOVID19

#MuseumFromHome

Text and poster by the NMP Maritime and Underwater Cultural Heritage Division

© National Museum of the Philippines (2021)

The #NationalMuseumPh commemorates Rizal Day with his rare oil on canvas painting of her eldest sister Saturnina Rizal Hidalgo.

Born on June 19, 1861, in Calamba, Laguna, Dr. Jose P. Rizal was widely recognized as a polymath with extraordinary intellectual power and remarkable artistic talent. He was educated in Manila and Europe and excelled in poetry, history, politics, architecture, sociology, medicine, and the arts. As an ophthalmologist, he became a well-respected and sought-after physician in Calamba, Laguna, Hongkong, and during his exile in Dapitan, Zamboanga del Norte. As a literary master, his novels “Noli Me Tangere” and “El Filibusterismo” were considered dominating forces in advancing the patriots’ plan for a revolution. And as a visual artist, Dr. Rizal created figurative representations and portraits of significant personalities he encountered traveling to Europe and during his exile in Dapitan.

The National Museum of Fine Arts houses an exhibition dedicated to works by and about our National Hero, the “Inspiring the Nation, Dr. Jose Rizal: The National Hero in Art.” Initially launched in 2012 as “The Hero in Art: Works by Jose Rizal and Portraits from the National Museum,” this exhibition honors the life and works of Dr. Rizal, celebrating his artistic excellence through his works from the National Fine Arts Collection and various private lenders. Among the exquisite works featured is Dr. Rizal’s portrait of his eldest sister, Neneng, or Saturnina Rizal-Hidalgo, which he painted when he was about 17 years old and is probably his only existing portrait in oil. Neneng stood as the hero’s second mother, who financially supported his brother’s education in Europe. Saturnina was married to Manuel Hidalgo of Tanuan, Batangas, and had five children.

Rizal Day is commemorated annually on the day Dr. Rizal was executed by the Spanish authorities on December 30, 1896, in Bagumbayan (now Luneta) to honor his life and contributions to society and the Philippine independence.

To know more about Rizal and his works, you may visit the “Inspiring the Nation, Dr. Jose Rizal: The National Hero in Art” exhibition in Gallery V of the National Museum of Fine Arts. You may also watch the exhibition’s virtual tour through this link: https://youtu.be/HMiP7JB1KFo/ .

#MuseumFromHome

#RizalDay

#NationalHero

Text by NMP FAD

Photo by NMP EEMPSD

©National Museum of the Philippines (2021)

In celebration of the Christmas season, this week’s #ArtStrollSunday series focusing on the 17th to early 20th-century art from the National Fine Arts Collection features Federico Estrada’s sculpture entitled “Holy Family” (1953).

The “Holy Family,” created in 1953 by Federico Estrada (1915-1999), won the second prize in the 1953 Art Association of the Philippines Art Competition. Engraved in this block of narra wood are the faces of the Virgin Mary, St. Joseph, and Jesus Christ.  The image of the Holy Family is a central theme in Christian art which symbolizes the Nativity or the birth of Jesus Christ. For Christians, the Nativity is the beginning of the Christmas season which celebrates the coming of Jesus Christ and the gift of salvation. 

This sculpture is featured in the recently launched exhibition at the National Museum of Fine Arts, Gallery XXIX, entitled “Lilok, Hulma, at Tipon.”

Federico D. Estrada was born on July 17, 1915, in Tondo, Manila. Estrada earned praises from his teachers at a young age because of his talent in drawing and mud sculpture. His talent also earned him a scholarship at the North American School of Drawing and a membership in its Art Club No. 95 as an award for winning in pencil sketching contest in 1928. He later studied at the UP School of Fine Arts but could only enroll from 1931-1932 because of a lack of funds. He then worked at the Manila Artistical Decoration Company as a sculptor designer from 1932-1938. There he met the Italian sculptor Pietro Amberti (died 1970). He learned the techniques of synthetic marble, floating strips, spray dotting, and general sculpting while working at Amberti’s atelier from 1932-1940. After the war in 1945, he worked as a senior artist at the U.S. Air Force. He participated in his first group exhibition in 1946 sponsored by the N.T.C. Art Club in Tanduay, Manila. From 1948-1950, he worked as an art director at the Movie Newsreel Magazine, as a chief artist at Bireley’s California Orange in Pasay, as a poster artist at Sampaguita Pictures, and as an art director at the Institute of Commercial Art. Some of his works won top prizes at the Art Association of the Philippines Art Competition from 1951-1953. One of these was the “Holy Family,” which won an award in 1953. 

In 1985, Estrada, who was a resident of Pasig, became the president of the Sining Kulturang Pasig. The following year, he founded the Portraitist Association of the Philippines, which mounted their first group exhibition entitled “Artist and Artist” at the National Museum. Some of his important works include the column statues in the San Agustin Church in Iloilo, the eagle casting and fountain project at the Manila Hotel, and the mural at the Municipal Building of Pasig. 

Estrada passed away on December 12, 1999, after suffering a cardiorespiratory arrest in his house in Pasig. 

We are now open! To visit the National Museum of Fine Arts, you may book a tour through this website. Please note the guidelines for visiting. You may also view the 360 degrees virtual tour of select NMFA galleries on the link https://www.nationalmuseum.gov.ph/nmfa360/HTML5/NMFA360.html. See you at the National Museum!

#ArtStrollSunday

#FedericoEstrada

#BeatCOVID19

Text by NMP-FAD

Photo by Bengy Toda

© National Museum of the Philippines (2021)