Author: National Museum of the Philippines

For today’s #BuiltTraditionThursday, we are featuring one of the many towns in the Southern Tagalog rich with built heritage: the town of Sampaloc, and its old Spanish-era bridge.

One of the pride of Southern Tagalog built heritage is the abundance of Spanish-era bridges, which is most common in the province of Quezon. Most of these bridges were built through the suggestion of the Franciscan friars, who governed the ecclesiastical province of San Gregorio Magno de Filipinas, which exercised jurisdiction over the then-Provincia de Tayabas. Engineer Antonio de la Camara of the Office of Public Works led the creation of bridges as part of a series of civil projects by the government during the last quarter of the 19th century. These bridges are clustered among the towns surrounding Mount Banahaw; Majayjay in Laguna, and Lucban, Tayabas town, and Pagbilao, in Tayabas Province.

Provincia de Tayabas was not as accessible as Batangas, Laguna, or Cavite during the Spanish colonial period. Distance and bad roads–or lack thereof–hampered access to and from the province. Most travels were undertaken with steamboats from Manila via the Pasig River, into the Laguna de Bay, and docking in the town of Santa Cruz, from which the travelers have the option of taking a carromata to Pagsanjan, or a banca up the Rio de Pagsanjan. Travelers would then proceed by foot or horse to Tayabas town (the former provincial capital) or Lucban. The trip would usually take several days and requires the traveler to stop and rest in other towns along the way. It was common to visit the parish priest who would provide meager lodging in the church’s convent. Another trail to Tayabas town began from the mountain towns of Laguna; from Pagsanjan, travelers would go by carromata, horse, or by foot to the towns of Cavinti and Luisiana, ride up the mountain, and proceed towards Lucban and Tayabas town. This journey would similarly take the same number of days and be less traveled as opposed to the Majayjay route, which during the colonial period was a favorite destination. The more circuitous route was by boat to the port of Lucena, and then by carromata or by foot to Tayabas town. 

The Municipality of Sampaloc used to be a Barrio called Dingin in Lucban, consisting of three sitios. It was later renamed Sampaloc because of the presence of a large tamarind tree found in the center of the settlement during the earlier days. During that time, road and bridge projects were common, in order to provide connectivity and safe mobility to residents and visitors alike. The road from Sampaloc to Lucban begins by trail from the población down the river banks of the Maapon River, and crossing the tributary river in which the old bridge is situated. From the bridge, the trail would continue to Barrio Bayongon and cross several plains and hills to Barrio Piis, a barangay of Lucban leading to the town proper. 

This particular bridge was built in Sitio Kakati, Barangay Bataan, Sampaloc, Quezon in 1888. It stretches 18.20 meters across the entire river and does not have any central piers in the water for support. The internal segmented arch has a 12.05-meter distance from the two 3.07-meter pillars. The unreinforced masonry has a facing stone made of volcanic tuff/ adobe blocks (or locally called ‘dado’) which range from 0.50 by 0.30 meters each. The presence of dirt and black deposits with vegetal growth and higher plants have caused minor losses on stone facings and moldings. The lack of human intervention in the bridge for the past few centuries makes it authentic to its original architectural character, while the pillars supporting the arch remain intact with no signs of deformation, indicating that the bridge has a stable foundation and sub-structure.

Recognizing its historical and cultural importance, the National Museum of the Philippines declared the bridge an Important Cultural Property on 5 December 2018, and a marker was unveiled last 23 April 2023. 

#NationalMuseumPH #Sampaloc #SampalocQuezon

Eid Mubarak! The National Museum of the Philippines (NMP) joins the Filipino nation in celebrating Eid al-Fitr, the end of Ramadan. This festival commemorates all the virtues that unify the Islamic faith. Muslims believe that the Prophet Muhammad got the first revelation of the Holy Qur’an during Ramadan. Ramadan and Eid al-Fitr focus on three of the five pillars found in the Qur’an that are central to Islam – Sawn (fasting), Salat (praying), and Zakat (charity).

While the NMP is closed for today’s celebrations, we present two of the most important items in this religious practice of the Maranao Muslims – The Qur’an of Bayang and the Dabu-dabu. 

The Qur’an of Bayang is considered both a National Cultural Treasure and one of the earliest manuscripts in Lanao. This manuscript was named “Maradika” (similar to “Merdeka” in the Malay language meaning “freedom”) following the practice of bestowing a specific name on each existing copy of the Qur’an, because of the limited copies available to Muslims in Lanao Del Sur during the early years of Islam in the area. The Maradika was believed to have been passed on to Sayyidna’s descendants and thus regarded as a family heirloom. The Qur’an of Bayang is handwritten in Arabic calligraphy.

Moreover, the Dabu-dabu is a signaling instrument horizontally suspended in front of the mosque and is used to call people for prayers. It symbolizes the gathering of Muslims to observe their religious obligation, and is typically made out of wood with a floral motif carved all over its body.

Come and visit the National Museum of Anthropology and see the Qur’an of Bayang and Dabu-dabu, part of the National Ethnographic Collection and displayed in the Faith, Tradition, and Place: Bangsamoro Art from the National Ethnographic Collection exhibition. The National Museum of the Philippines will resume operations tomorrow, April 22, 2023. The NMP’s flagship museums are open from 9:00 AM to 6:00 PM, Tuesday to Sunday. Admission is FREE.

#NationalMuseumPH #NMPEidAlFitr #IslamicFaithFestival2023

As we reflect on the passion and death of Jesus Christ this Holy Week, the #NationalMuseumPH is sharing some photographs of the flagellation rituals in Marinduque. These photographs were taken by Mr. George W. Bolin (1904 – 1963) when he served with the Public Health Service of Manila from 1935–1937. The images were donated by his daughter, Dr. Anne Bolin, Professor Emerita of the Department of Sociology and Anthropology at Elon University in North Carolina, to the National Museum of the Philippines in March 2022.

On Good Friday, in observance of the Via Crucis (The Way of the Cross), a number of penitents would join the procession while flagellating themselves. This practice is referred to as ‘antipo’ in Marinduque. Historically, penitents would cover their faces to solemnize their ‘panata’ (vow) and keep their identities hidden, even from their families. Before joining the procession, they would prepare themselves spiritually in the cemetery by reciting prayers. Afterwards, they would proceed to the ‘magkakadlit’, or the person who makes the first incision on their backs with a blade. Throughout the procession, they would repeatedly beat their wounded backs with a bunch of bamboo sticks attached to a rope to draw more blood and inflict pain to commemorate the suffering of Jesus Christ. Customarily, the number of sticks indicates the number of years the penitent intends to practice his panata. Self-flogging and additional cuts are done until the hour of Christ’s death at 3:00 PM, after which they would wash themselves in the river or sea, formally ending the antipo ritual.

If you wish to know more about the different practices and expressions of panata carried out during Semana Santa (Holy Week), and the annual observance of the passion and death of Christ held around late March or early April, you may visit the Moryonan: Faith and Devotion exhibition at the NMP Marinduque-Romblon Area Museum in Boac, Marinduque.

Text by the NMP Ethnology Division

Photos by Mr. George W. Bolin through Dr. Anne Bolin

#NationalMuseumPH #SemanaSanta2023 #GoodFriday #Flagellation

The National Museum of the Philippines joins Christians around the world in observing the Holy Week, or “Semana Santa”. In preparation for the upcoming solemnities, we are featuring one of our exhibitions, “The Stations of the Cross” (also known as “Via Crucis”).

The Via Crucis exhibition, located in Gallery II of the National Museum of Fine Arts, features 14 oil paintings on wood panels made by an unknown Bohol master in 1830. These are among the oldest surviving series of artworks depicting the passion and sacrifice of Christ in the country. The identity of its creator and from which particular church these paintings originated are unknown. Despite this, their provenance from Bohol can be ascertained through the depictions of the iconic Chocolate Hills in the backgrounds of certain panels. Due to their age, quality, and size, these remarkable artworks may have been owned by the older and wealthier parishes of Bohol.

Via Crucis artworks conventionally depict the Passion of Christ in great detail; from Christ’s condemnation by Pontius Pilate to His entombment. This particular series, which is currently on loan from the collection of the Bangko Sentral ng Pilipinas, is distinctly exceptional due to its portrayal of the events having occurred in Bohol. Furthermore, the Roman soldiers depicted in this series were rendered with hooked noses, which may have been influenced by 15th-century Dutch artist Hieronymus Bosch. 

Via Crucis artworks are usually affixed on the interior walls of a church or chapel. However, it could also be found in cemeteries, hospital corridors, religious houses, or on mountainsides. During the Holy Week, especially on Maundy Thursday and Good Friday, devout Roman Catholics would often stand before certain stations and pray with relevant passages from the scripture before each station to meditate on the passion of Christ. 

May the Holy Week be a reminder for all Christians to renew their faith and recollect God’s sacrifices and great love for all.

Text by Carolina Magdaleno/NMP CMVOD

Poster by Ken Carl Bañares/NMP CMVOD

#SemanaSanta2023 #HolyWeek2023 #NationalMuseumPH 

During the Spanish-colonial period, a variety of building typologies, including the lighthouse (farola) were introduced to the Philippines. The many extant examples of these structures in the country are due to the modernization of shipping, where lighthouses became necessary.

In today’s discussion for #builttraditionthursday, we will examine the exceptional case of a 19^th-century lighthouse that continues to operate today after having done so for the first time in 1892.

Serving ships turning towards the Pacific Coast and traveling towards the Babuyan Channel, the lighthouse of Cape Bojeador in the municipality of Burgos, Ilocos Norte is claimed to be the most accessible of all the lighthouses in the northern part of Luzon. Perched on a hill called Vigia de Nagparitan and overlooking the South China Sea, the structure is built 160 meters above sea level. 

Part of the Spanish government’s 1857 master plan to illuminate the Philippine archipelago, the construction of the Cape Bojeador lighthouse uses mainly brick, lime mortar, wood, and metal. Initially designed by Engineer Magin Pers y Pers and eventually completed by Engineer Guillermo Brockman, the Cape Bojeador lighthouse’s utilitarian function is supported by three ancillary service buildings that are built in response to its operational needs.

The tower, which is segmented into three levels, is the tallest and is about 23 meters in height. It is octagonal in plan and houses the chamber where the mechanism of the first-order Fresnel lens is operated. Meanwhile, the “lantern” is covered by a brass ribbed cupola accented by a spherical finial. It sits on a glass base with steel frames. It is accessed from the lower chamber by iron spiral stairs decorated with alternating hexagons and cross-cut-out patterns. The tower is one of the most photographed structures in the Cape Bojeador lighthouse complex. Its tapered brick walls, which create an interesting silhouette, are enhanced by the quoin details surrounding the edges. Strategically located blind windows were placed to create balance in design proportions. A steel-framed service deck supported by decorative brackets is perched just below the lantern, creating a distinct architectural feature on the structure.

The main pavilion, which is an elevated brick masonry structure, is the largest in terms of floor area. Its design and arrangement are symmetrical, with four equal rooms that serve as offices and living quarters on either side of a central hallway acting as its division. Today, these spaces are converted into museum galleries. A covered balcony decorated with steel railings, Corinthian steel posts, and metal brise soleil greets the entry to the structure. To provide access from the ground, a split-level staircase is attached to the balcony. Capiz shell windows, clay floor tiles, and wooden doors give it the classic Antillean style of architecture.

Two similar brick masonry structures located in the courtyard are service buildings that are smaller in scale and were utilized as storage room, machine room, and kitchen. Its design motif is typical of the main pavilion and tower; rusticated quoins, a pedimented façade, and segmented arches complete its architectural composition.

In general, its use of classical elements such as pedimented facades, Corinthian columns, pilasters, segmented arches, ribbed domes, symmetrical proportions, and rusticated quoins are interpretations of the European Renaissance vocabulary, indigenized to cater to the Philippine setting. This marvel of architecture and engineering was recognized by the Philippine government as a National Historical Landmark in 2004, and as a National Cultural Treasure in 2005.

Still in service under the Philippine Coast Guard, the Cape Bojeador lighthouse is not only a utilitarian structure but also an icon of the tangible influence of Philippine architecture during the Spanish-colonial period. Its spectacular view is a popular destination for tourists who seek to interact with it and get a share of its history.

Text by Ar. M. Belgica
Illustrations and Photos by Ar. M. Belgica

We are all familiar with Cebu City for its well-known landmarks, like the forts, churches, and balay nga tisa. Alongside these Spanish-influenced structures are civic buildings and infrastructures established during American rule in the early 20th century. One of these is the former Customs House. Today’s #BuiltTraditionThursday presents a declared National Cultural Treasure standing along Cebu City’s harbor area, the Aduana also known as the Malacañan sa Sugbo.

During the American occupation, the Philippine Commission under Act. No. 1495 promulgated the appointment of William Edward Parsons as the consulting architect, which he occupied from 1905 to 1914. He was tasked to supervise the realization of the development plans of Daniel Burnham for the cities of Manila and Baguio. In addition, Parsons is in charge of designing all public buildings in Manila and in the provinces. Later in his career as an urban planner, he developed a plan for the City of Cebu. Central to the plan is a main axis that connects important civic buildings, one of which is the Customs House. 

Located at the port area of Cebu City near Fort San Pedro and Plaza Independencia, the Aduana or Customs House sits on a reclaimed land area along the harbor. The Aduana, built in 1910, is designed by Parsons in a rectangular plan with an open courtyard. The structure has two levels with a deck, where a small tower sits in the center, offering a panoramic view of the rest of Cebu City and the Mactan island farther south. The monumental, symmetrical, and geometric edifice is similar to its contemporaries from the same era, which can be seen in most of the country’s cities and some municipalities. 

Built of reinforced concrete, the Aduana embodies American-influenced architecture while incorporating local building traditions. The use of capis shells in place of glass for window panels, which fill expansive interiors with soft pearlescent light, is a distinctive Filipino design element. The interiors are shielded from the elements by canopies, which crown the large windows and supported by metal corbels decorated with fleur-de-lis. Ornate grille work decorates the main portal to the building, the balcony balustrade, and corbels, typical in Parson’s design.

The Aduana Building housed the Customs office until 2004 when it was turned into Malacañan sa Sugbo, the official residence of the President in the Visayas. In 2013, the building sustained damages and was rendered unsafe after the magnitude 7.2 earthquake. In December 2019, the Cebu Port Authority (CPA) and the National Museum of the Philippines (NMP) entered a usufruct deed to allow the latter to use the building and to facilitate the building’s preservation and restoration.

Guided by Parson’s design, the Aduana is currently undergoing careful restoration to newly function as the National Museum of the Philippines – Central Visayas Regional Museum. The former Customs House continues its prominence as we anticipate it as a new venue for showcasing the Cebu island’s endearing history and culture.

Text and illustration by Ar. Marie Bernadette Balaguer, Photos by Ar. Armando J. Arciaga III

References

Alarcon, N. (2008). The Imperial Tapestry: American colonial architecture in the Philippines. España, Manila: University of Santo Tomas Publishing House.

Hines, T. S. (1972, February). The Imperial Façade: Daniel H. Burnham and American Architectural Planning in the Philippines. Pacific Historical Review, Volume 41 No. 1, pp. 33-53. http://www.jstor.org/stable/3638224 Retrieved 10 January 2023.

Lico, G. (2021). Arkitekturang Filipino: A History of Architecture and the Built Environment in the Philippines. Volume I: Early History to American Colonial Era. Quezon City: Arc Lico International Services, University of the Philippines College of Architecture.

Rebori, A. N. (1917, May). The Work of William E. Parsons in the Philippine Islands Part II. The Architectural Record, Volume 41, pp. 423-434. https://usmodernist.org/AR/AR-1917-05.pdf Retrieved 13 January 2023.