Author: National Museum of the Philippines

Birth Anniversary of Agnes Arellano

On the 72nd birthday of sculptor Agnes Arellano, the #NationalMuseumPh features this sculpture by the artist born #OnThisDay in 1949. 

Born in San Juan, Rizal, in 1949, Agnes Arellano belonged to a prominent family of architects. She studied psychology at the University of the Philippines. After she graduated in 1971, she took up further studies and enrolled in a master’s degree in Clinical Psychology at the Ateneo de Manila. During the Martial Law, the government imposed a strict travel ban. The government allowed pilgrimages to the sacred sites in Europe during the Holy Roman Catholic Year. During her travels to Europe, she was exposed to western art.  She was inspired by the works of master artists like Michelangelo and Van Gogh. Upon her return to the Philippines, she studied Fine Arts majoring in sculpture in 1979 under National Artist Napoleon Abueva, a pioneering modernist in sculpture.  She was also greatly influenced by conceptual artist Roberto Chabet. Since her artistic career started, Arellano has exhibited here and abroad in Berlin, Fukuoka, Havana, Johannesburg, New York, Brisbane, and Singapore. 

Arellano is best known for making surrealist and life-size expressionist sculptures primarily in plaster. Her works focus on feminist issues and show how women are traditionally portrayed by reinterpreting local myths. 

The National Museum takes pride in Arellano’s work, “Eshu,” which is currently on exhibition at the Philippine Modern Sculptures Hall (Gallery XXIX) of the National Museum of Fine Arts. Eshu, in African traditions, most especially with the Nigerian belief, is the Lord of the Crossroads or God of Fate. This volcanic cinder and cold-cast marble is a fantasy self-portrait cast and directly modeled by the artist. 

The Philippine Modern Sculptures Hall is temporarily closed to give way to an upgraded exhibition. Watch out for updates on this page and follow our official Twitter and Instagram accounts. 

We are open! Reserve your slot and visit the other galleries at the National Museum of Fine Arts (NMFA).  View the 360 Virtual Tour of the nine select galleries at the NMFA through this website.

#OnThisDay

#AgnesArellano

#MuseumFromHome

Text and photo by NMP FAD

© National Museum of the Philippines (2021)

Dignayan Biyernes – Galena, PbS, Lead Sulfide

Today’s #DignayanBiyernes features one of the 10 deadliest minerals in the world – galena.  

Galena is the primary ore of lead and has a chemical composition of PbS or lead sulfide.  It often contains silver and occurs in close association with antimonycopper, and zinc. The lead in dust particles of galena is toxic when inhaled or ingested but generally safe to handle when there are no dust particles present.  

It exhibits perfect cleavage, has a bright metallic luster and distinct silver color. It tarnishes to a dull gray and has a specific gravity of 7.4 t0 7.6.

Galena is a natural semiconductor and is used in electronic gadgets and medical equipment we have today. It is also used in making batteries, cable covering, plumbing, ammunition, as a sound absorber, and as a radiation shield in x-ray equipment and nuclear reactors.  It is also used in paints although with health hazards.

Galena deposits are found worldwide in various environments.  In the Philippines, it is found in the provinces of Agusan del Sur, Apayao, Batangas, Benguet, Camarines Norte, Davao de Oro, Ifugao, Kalinga, Marinduque, Negros Oriental, Quirino, Rizal, Samar, South Cotabato, Zambales, Zamboanga del Norte, and Zamboanga del Sur.

If you want to know more about galena and other interesting minerals, you may book a tour at the National Museum of Natural History by visiting our website www.nationalmuseum.gov.ph. 

#GetVaccinated

#BeatCOVID19

Text and image by the NMP Geology and Paleontology Division

© National Museum of the Philippines (2021)

Legarda Elementary School

Legarda Elementary School

For today’s #BuiltTraditionThursday series, we feature one of the structures displayed at the Placuna placenta (capis) exhibition, the Legarda Elementary School. Located in Sampaloc, Manila amidst the residential zone of the district, Paaralang Legarda or Legarda Elementary School stands on a large block bounded by Jacobo Fajardo, Craig, Sergio H. Loyola, and Eduardo Quintos Streets.

Paaralang Legarda is one of the Gabaldon Schoolhouses in Manila. During the American period, education was a prime concern hence school building construction was a priority in infrastructure development. Gabaldon Act (Act. No. 1801) was introduced by Congressman Isauro Gabaldon of Nueva Ecija and was enacted by the Philippine Legislature on the 20th of December in 1907. With William E. Parsons as the architect, the standardized design considers the tropical climate, earthquakes, insect infestation, local building materials, styles, and motifs. The curriculum also largely shaped the planning of the school buildings, which considers learning and teaching spaces especially for home economics and livelihood programs. 

Established in 1922, Paaralang Legarda displays a Victorian style of architecture. From the southeast side along J. Fajardo Street, the entrance opens to a driveway and garden with lush and rich foliage. Coming to view is the wooden main building designed by Andres Luna de San Pedro. The main building, with an over-all 60.60-meter length and 49.95-meter width, is H-shaped in plan. The portico’s deck is skirted by low stone balusters and leads the eye to the central part of the building as it is topped off by a main gable with wooden bracket articulation. The mansard roof, with projecting small gables and dormers, are architectural elements indicating American influence. Portions of the mansard roof behind the main gable have wrought iron grilles on edges with a turret at its center. Exterior walls are made of wood with weathercut sidings. Another distinctive feature is regularly occurring eaves brackets in simple straight and curving embellishment.

One feature of Gabaldon schoolhouse are awning-type windows with capis shell panes originally seen on the main building of Paaralang Legarda. Now, it was replaced by modern sets of glass jalousies while the capis shell panels on its transoms are retained. On the main gable at the main building’s central axis emphasizes a half circular window in sunburst pattern which originally has capis shell panes. 

The Legarda Elementary School exemplifies not only a venue of learning and development, but also a historical structure with aesthetic value worthy of preservation and appreciation. Drop by the Placuna placenta exhibition at Gallery 20 of the National Museum of Fine Arts to see and learn more about the use of capis shell windows in Manila’s built heritage.  

Text and illustrations by Ar. Bernadette B. Balaguer and photos by Erick E. Estonanto and Ar. Armando Arciaga III | NMP AABHD

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Carrier Shells

Did you know that there’s a species of sea snail that decorates its own shell? Learn more about this remarkable bunch of snails for today’s #WildlifeWednesday.

Sea shells come in many shapes, form, color, and sizes which make them adorned by many. We can’t deny that sea shells are one of the beauties of the sea and for many years, people have been collecting shells for ornaments and for display. 

The Carrier Shells, a family of gastropods, are known for their shells decorated with hard marine debris such as coral pieces, other shells, shell fragments, and stones. One example of species of carrier shell is the Pallid Carrier Shell which is found in the Philippines and other parts of the Pacific and Indian ocean.

As the snail grows, it attaches hard marine debris to the outer side of the shell. Attaching one fragment takes a lot of process and time. The snail will look for the right fragment and place it in the right position. It will then hold the fragment and apply a special glue produced by their body to cement the new attachment. This process takes about 1 and a half hours to complete. The snail will then rock back and forth to test the new attachment and stop moving for about 10 hours and wait for the adhesive to dry.

Their decorative shell serves many purposes. Having hard attachments helps the snail stay in the right position to prevent them from flipping and exposing their vulnerable side to predators, and adds another layer of armor to their thin shell. Another purpose is for them to look like a pile of coral debris and shells which thereby help them blend with their surroundings and make them difficult to spot especially when not moving. 

To avoid risk of ecosystem damage and to protect organisms that rely on shells (even shell fragments) for their survival, let us leave seashells in the seashores and avoid buying seashell handicraft products.

#MuseumFromHome

#SeaShells

#CarrierShell

Text and photo by the NMP Zoology Division

© National Museum of the Philippines (2021)

Ancient Burial Spaces and Places

Ancient Burial Spaces and Places

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Continuing with the #TrowelTuesday’s November theme on mortuary topics in the context of Philippine archaeology, we are featuring the ancient burial spaces and places to better understand past cultures.

Spaces and places for the dead in the Philippines during ancient times were found in varied environments and locales such as caves, open sites, and coastal or inland locations. 

The earliest evidence for deliberate burials in the Philippines is thus far found within the cave and rockshelter locale of Ille Cave in El Nido, Palawan, where evidence of cremation burials dated 9000 years ago were found. Caves in karst landscapes are conventional spaces for the dead throughout the Philippine Neolithic (4200 to 2500 years ago) and Metal Age (2500–1500 years ago), as demonstrated by several sites in Duyong Cave and the Dewil Valley in Palawan; Arku Cave in Peñablanca, Cagayan; Ayub Cave in Maitum, Sarangani; and the Kulaman Plateau in Sultan Kudarat (formerly South Cotabato). 

While funerary sites in caves are common, some cultures preferred to bury their dead in open areas especially in the later Metal, Protohistoric, and Historic periods. These open cemeteries were found along coasts, riverbanks, or inland areas. For instance, coastal areas were chosen locales for the 2500-year-old jar burials and 300- to 400-year-old boat-shaped stone cairns in Batanes (read more: https://tinyurl.com/BatanesBoatShapedBurials); the 14th–16th-century inhumations in Calatagan, Batangas; and the late 16th–early 17th-century burials of Boljoon, Cebu (read here: https://tinyurl.com/BoljoonEarlyHistoricBurials). 

Meanwhile, locales along riverbanks of Santa Ana, Manila in the 12th to 14th century, and inland spaces for the 15th-century jar burials in Cabarruan, Solana, Cagayan were preferred cemetery spaces by other cultural groups.

As human responses to death are often dictated by society, the choice of burial spaces can reveal cosmologies of past cultures. Patterns found in archaeological data such as landscapes and iconography in artifacts suggest a linkage between people, spaces, and ancient cosmologies through time. Decorative motifs in ceramic artifacts, specifically in images such as sun, bird, and reptile, suggest that past cultures in the Philippines subscribed to a pan-regional cosmology of a tripartite universe that was prevalent across Southeast Asia in antiquity.

Your #NationalMuseumPH has been re-opened to the public. Book a slot or explore our galleries through a virtual tour through this website.

#AncientPlacesOfDeath

#ArchaeologyOfTheDead

#MuseumFromHome

#VictoryAndHumanity

#YearOfFilipinoPrecolonialAncestors

Text by Alexandra de Leon and posters by Timothy James Vitales | NMP Archaeology Division

© National Museum of the Philippines (2021)

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Tableware of the Spanish Nobility from San Diego Shipwreck

Tableware of the Spanish Nobility from San Diego Shipwreck

  • Tableware of the Spanish Nobility_Poster

  • The Nobility’s Table

This week on #MaritimeMonday, your #NationalMuseumPH highlights the tableware of Spanish nobility on board the San Diego galleon.

San Diego sank on December 14, 1600 near Fortune Island, Batangas after defeat by the Dutch ship Mauritius. We have featured many of its archaeological objects on previous #MaritimeMonday posts. Read more about the vessel’s story here: https://tinyurl.com/SagaOfTheSanDiego 

Vice Governor-General Antonio de Morga, the commander of San Diego, is inexperienced in naval affairs and had planned to use the vessel to further his political ambitions. According to accounts, he wanted to escape Manila and be transferred to a better post in Mexico. He took the naval battle with the Dutch as an opportunity to get his promotion. He invited Manila-based Spanish nobles and officers to bear witness to his success and support his planned transfer. Unfortunately, the galleon sank during the battle but De Morga was one of the survivors who managed to reach Fortune Island.

The presence of the Spanish aristocrats was evidenced by the high quality metal plates, cutlery pieces, and glassware recovered from the wreck. The plates were conserved using electrolysis treatment to remove concretions and remove from stacked pile. They are made of silver with marks and inscriptions. A small depression at the center can be observed, probably caused by polishing. The cutlery pieces comprised bronze spoon and parts of silver forks. They have no marks that may indicate their origin. The spoon has a missing section making it difficult to identify the type of decorative motif.  During this period, forks were just coming into fashion in the upper classes of Spain. They were considered as luxuries and markers of social status and sophistication. The glass goblet is cylindrical with wide horizontal bands. Despite being underwater for almost 400 years, the fragile object is relatively intact showing its crude strength. There are also pieces of footed glasses recovered, which were found to be imitation of ‘Facon de Venise’ style. 

These luxurious objects showed the extravagant lifestyle reserved for the Spanish nobles and officers on board San Diego.

 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 by booking 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 

#StaySafe

#BeatCOVID19

#MuseumFromHome

#SanDiegoShipwreck

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

© National Museum of the Philippines (2021)

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