Can you explain what you see and feel upon seeing this work? Do you see thick textures of paint and quick brushstrokes? Today, #NationalMuseumPH celebrates the 91st birth anniversary of National Artist (NA) for Visual Arts and pioneering abstract expressionist Jose Tanig Joya by featuring his 1964 oil painting on wood, “Scented Sheath” from the National Fine Arts Collection (NFAC).

Abstraction or abstract art, is a general term for a work of art that is non-representational. On the other hand, Abstract expressionism is also characterized by the non-representational depiction of objects but in gestural (fast, vigorous) brushstrokes and impasto (thick application of paint) as seen in this featured artwork. NA Joya’s impastos are concentrated in the upper-middle to the middle part of this artwork. The canvas is full of gestural brushstrokes in earth tones. The artist’s signature is found on the bottom right part of the artwork.

This significant work of NA Jose Joya was registered as public property in 1964, the same year it was completed. Exhibited at the Pillars of Philippine Modernism Gallery (Gallery XVIII), “Scented Sheath” portrays the excellence and mastery of the artist in the field of abstract expressionism. The year 1964 is a momentous time in the life of the artist. Joya received an invitation from the British Government to be their Guest Artist. Furthermore, it was also in 1964 when NA Joya represented the Philippines for the first time in the prestigious 32nd Venice Biennale in Italy, together with Napoleon V. Abueva (1930-2018), another sculptor in the modernist idiom, who later on was declared a National Artist. His painting, “Hills of Nikko” and part of the NFAC: https://bit.ly/3NLUkWC as part of the Philippines’ entry to the Biennale.

Visit the Pillars of Philippine Modernism Gallery and check out other abstract expressionist works of NA Joya. Come and visit us until June 5 before we temporarily close our doors to the public!

#JoseJoya
#AbstractExpressionist
#OnThisDay

© 2022 National Museum of the Philippines

This week, the #MuseumFromHome highlights the local and tradeware jars in the National Ethnographic Collection of the #NationalMuseumPH. These jars form part of the ethnographic stoneware collection to be featured in the upcoming Elizabeth Y. Gokongwei Resource Center located at the 5F of the National Museum of Anthropology, in partnership with the Gokongwei Brothers Foundation, Inc.

Ceramic historians identify the provenance of tradeware jars by comparing the overall structure, the shape of the body, shade or color, inscriptions or marks, or the presence of patterns to similarly identified ceramics. Usually, a liquid mineral is used to coat the ceramics to decorate and seal the surface of the pottery. Known as glaze, this becomes glassy when heated and may be dipped in before firing or be painted or blown on a fine spray. When it comes to the shape, the rim structure varies, although most are out-curved and collared. The base and the foot rim, on the other hand, are generally rounded and may be deep or shallow depending on the height of the jar. 

Tradeware ceramics are generally more durable and non-porous, making it better storage vessels for liquids compared with locally produced wares. Over time, these become heirloom pieces, ritual items, payment for dowry, and settlement of fines or disputes. Chinese ceramics, known for their intricate designs such as dragons, were commonly traded in the country as early as the Tang Dynasty. The cobalt-colored ceramics, also known as the blue-and-white from the Qing Dynasty, were also popular in the region and beyond. Filipinos tried to replicate Chinese ceramics but were unsuccessful since clay in the country lacks the necessary components to achieve the same quality. 

A type of large storage jars produced exclusively in Lower Myanmar (Burma), called Martaban, were also shipped during the Song and Qing dynasties. Some were plain, others were decorated with flying dragons and small loop handles attached to the shoulder or close to the neck.  Similar jars recovered from the San Diego shipwreck were covered with a black glaze of uneven thickness and decorated with light-colored clay in low relief, either with stripes or rows of buttons resembling rivet heads. These were locally used in fermenting and storing salted fish that turn into bagoong (fish sauce). Another notable tradeware ceramic item is called Sawankhalok. These are from Thailand and produced during the Madjapahit Empire and characterized by underglaze black pieces which were finely potted and with comparatively thin walls. 

In Northern Luzon, the technology of burnay (jar) production was introduced by Chinese migrants from the late 18th to the 19th century in Vigan City, Ilocos Sur. The burnay made by the Ilokanos are traditionally used as water and food containers. These types of round and wide-bodied stoneware jars with narrow mouths and flat bottoms thrived in the 19th century as they were suitable for processing sugarcane wine, vinegar, and other fermented condiments. While pottery production is traditionally performed by male artisans, the task of decorating the burnay with ears and cords was sometimes done by women in recent years. In 1990, Filipino-Chinese Fidel Go, the only remaining active artisan among the descendants of the earlier Chinese potters in Vigan City, was named a National Folk Artist by the National Commission for Culture and the Arts for his invaluable contribution to the preservation of burnay tradition.

#Ceramics

#PhilippinePottery

#EYGResourceCenter

Text and Poster by the NMP Ethnology Division

© 2022 National Museum of the Philippines

This week’s #MaritimeMonday highlights the blue and white porcelain from the Lena Shoal and Santa Cruz shipwrecks. Both shipwrecks have been mentioned in previous posts. For the Lena Shoal, please see: https://tinyurl.com/LenaShoalShipwreck. For Santa Cruz, please see https://tinyurl.com/SantaCruzShipwreck

Both shipwrecks have been dated to the late 15th and early 16th centuries CE (Common Era) and carried predominantly tradeware ceramics from China, Thailand, Myanmar, and Vietnam, along with other metal, glass, wood, and organic artifacts. The Vietnamese blue and white ceramics appear as vases, jarlets, bottles, covered boxes, saucers, and kendi with floral and geometric pattern decorations. These vessels were produced by the Chu Dau kilns in Hai Hung Province, northern Vietnam. Archaeological investigations at the kiln sites from 1986 to 1991 resulted in the excavation of more than an area of 40,000 sq m with a cultural layer of 2 m that uncovered tens of thousands of different ceramic items as well as production tools including saggars, kiln supports, axles, and parts of potter’s wheels.

The Chu Dau kilns were remarkable as the only producers of underglaze blue wares outside of China during the 14th to 16th centuries but were most active in the 15th century based on shipwreck and terrestrial finds. The ceramic decorative styles such as plants, landscape, animals, and scrolls indicate a heavy Chinese influence. However, Vietnamese potters incorporated their own distinct styles that make it quite different from the Chinese pieces. A peculiar technique for the Chu Dau ceramics is the iron wash painted on the base of the vessels, popularly known as ‘chocolate bottom’. This treatment varies in color from reddish- to dark-brown and gives a distinct and diagnostic look to the pieces.

Your #NationalMuseumPH is open to the public. You may see and appreciate these blue and white porcelain at the 300 Years of Maritime Trade in the Philippines exhibit located at the 2nd floor hallway gallery of the National Museum of Anthropology. For groups of 20–30 persons, book your tour in advance through this website.

#MuseumFromHome
#VietnameseBlueAndWhites
#LenaShoalShipwreck

#SantaCruzShipwreck
#BeatCOVID19

Text and poster by the Maritime and Underwater Cultural Heritage Division

© 2022 National Museum of the Philippines

In celebration of the #NationalHeritageMonth, this week’s #TrowelTuesday is featuring the protection of Philippine archaeological heritage vis-à-vis urban development as part of our #MuseumFromHome series.

Should modern urban development be stopped in the name of cultural heritage preservation?

In 2007, during the construction of the Cebu South Coastal Road Project (CSRP) tunnel section in Cebu that cuts through the Plaza Independencia archaeological site, archaeologists from the #NationalMuseumPH worked alongside construction workers to rescue archaeological remains revealed during road-building activities. Among the archaeological remains uncovered were 14th–15th-century Common Era (CE) graves that contained gold death masks. Before this, evidence for the rare practice of burying the dead with gold covers for eyes, nose, and mouth was only scientifically documented in Oton, Iloilo. Were it not for archaeologists investigating urban development sites, the evidence for the unique and significant burial practice of pre-Hispanic Cebuanos would be unrecorded and lost forever.

Infrastructure development and redevelopment are indispensable facets in urban areas and expanding cities. New roads, railways, buildings, subdivisions, and industrial complexes, among others, are continuously built and rebuilt to meet the needs of exponentially increasing urban populations. Unfortunately, construction projects potentially destroy archaeological sites.

In the Philippines, cultural and archaeological heritage is protected under Republic Act 10066. However, laws protecting cultural heritage are still inadequate as cultural resource protection is largely carried out as an afterthought. Frequently, construction activities have either begun, ongoing, or completed before the stakeholders learn about the culturally-damaging projects, ensuing public outcry.

A recent example is the construction of the Filipino-Chinese Friendship Bridge that connects Binondo to Manila. The problem with the bridge from a cultural heritage perspective is it lies within the buffer zone of the San Agustin Church, a UNESCO World Heritage Site in Intramuros, and carries adverse social, cultural, and environmental implications like potentially delisting the historic church from the UNESCO Heritage List. This example demonstrates one of the biggest challenges to archaeological resource protection in the country—poor or overlooked consciousness of the importance of our national cultural heritage at various levels of society. Another lingering hurdle is the consistent communication and collaboration among government agencies on how to best protect cultural heritage.

Despite these difficulties, many projects have shown how different government agencies can work together with local stakeholders to balance the needs of archaeological heritage protection and economic development. More recent construction or redevelopment projects, for instance, at the Manila Metropolitan Theater, Intramuros, Mehan Garden, SM City San Lazaro, and SM City Santa Ana, involved agencies such as the #NationalMuseumPH, National Commission for Culture and the Arts (NCCA), Intramuros Administration (IA), and the City Government of Manila. It allowed archaeologists and developers to collaborate and assess the archaeological value of the sites, scientifically document them and their contexts, and recover the archaeological materials before infrastructure construction. Though construction of the roads and buildings on the sites proceeded, archaeological data about the past were successfully collected.

Much of the Philippine prehistory is unknown and unwritten. The only way to know and understand our past is to dig our way through it archaeologically. Discoveries from development projects not only provide an opportunity to learn about our nation’s prehistory; the knowledge gained also serves as the foundation upon which a profound consciousness and sense of national and local identities are instilled among generations of Filipinos.

For archaeological discoveries, contact the #NationalMuseumPH and NCCA.

#PamanangLokal

#NHM2022

#ArchaeologicalHeritage

#ArchaeologicalSitesAsHeritage

Text by Alexandra De Leon and Nida Cuevas, and posters by Timothy James Vitales | NMP Archaeology Division

Photo credits: Nida Cuevas and Gregg Alfonso Abbang

© 2022 National Museum of the Philippines

As we approach the close of our National Heritage Month, we celebrate the life of the country’s first-declared National Artist, Fernando Cueto Amorsolo who was born #OnThisDay, 130 years ago, in 1892 in Paco, Manila.

Known as the “Grand Old Man of Philippine Art” because of his masterful use of light and dark colors and depiction of the “Philippine sunlight”. His paintings of Philippine landscapes, Filipino maiden, rural folks and traditions, and portraits, made him one of the most sought-after artists during his time and even after his passing on April 24, 1972. His masterpieces, some exhibited inside the galleries and in one of the hallways of the National Museum of Fine Arts (NMFA), continue to enthrall and inspire viewers.

At the Museum Foundation of the Philippines (MFP) Hall, Gallery X of NMFA is his 1950 oil on canvas, “Tinikling” from the collection of the Government Service Insurance System (GSIS). It is one of Amorsolo’s eight artworks from the GSIS collection included in a special exhibition launched last April for his 50th death anniversary. To know more about this exhibition and the artist, click this link: https://bit.ly/3lEHduf

The theme for #NHM2022, “Pamanang Lokal: Binhi ng Kulturang Pilipino,” underscores the importance of preserving and promoting local heritage within the community. Tinkling, one of the country’s most popular folk dances, has its name and movements derived from “tikling” or the Barred Rail (Gallirallus torquatus or Hypotaenidia torquata). It is a bird that jumps over bamboo traps set by farmers and is commonly found on wetlands and agricultural lands.

Illustrated in the core of this painting are two dancers dancing the Tinikling, gracefully jumping over and between bamboo poles held by four women. On the right side of the canvas is a group of men playing music. A carabao-drawn-sled on the left side stops by as the passengers (mother and child) watch the merriment.

As we end this year’s NHM, the #NationalMuseumPH thanks you all for your continued support of our public programs. Rest assured that we remain committed to acquiring, documenting, preserving, exhibiting, and protecting our national heritage for generations to come.

Text by NMP-FAD
Photo by Bengy Toda III
© National Museum of the Philippines (2022)

This week’s #MaritimeMonday presents the research potential of microfossil inclusion in archaeological ceramics. Microfossils are the remains of microscopic organisms including bacteria, phytoplankton, and small-sized elements of macrobiota such as sponge spicules, in sizes ranging from 0.001–1.0 mm.

Microfossils such as diatoms and dinoflagellates provide a valuable source of evidence in paleo-ecological, paleo-limnological, and paleo-environmental reconstructions, as well as in forensics. Further, the inclusion and occurrence of diatom microfossils in ancient ceramics have already been documented in several studies. Despite high temperatures during pottery production, these microfossils were still found embedded in several archaeological ceramics. Their inclusions in the raw materials, as well as in fillers and/or tempers used for potteries, were observed in the matrix of these artifacts. Despite being scarce in most archaeological ceramics, dinoflagellate cysts were also found in several stone tools made from chert, flint, or sedimentary rocks.

Microfossil studies would require invasive or destructive methods such as thin section and petrographic analysis as well as dissolution of materials, hence the use of broken ceramics would be necessary. Over the years, the #NationalMuseumPH through then Underwater Archaeology Section (UAS) of the Archaeology Division, and now Maritime and Underwater Cultural Heritage Division (MUCHD) have collected thousands of ceramic sherds from several shipwreck sites all over the country. Conducting microfossil research can therefore aid in accumulating information necessary for the establishment of baseline data on microfossils in archaeological ceramics. Results from this research can further be utilized to infer the possible provenance of ceramics, their functions, and their possible manufacturing technology.

Your #NationalMuseumPH is open to the public with minimum health protocols. Visit our newly upgraded ‘300 Years of Maritime Trade in the Philippines’ exhibition on the second floor of the National Museum of Anthropology Building, or watch the virtual tour of the said gallery at https://tinyurl.com/300YearsOfMaritimeTradePH. Please monitor this website and social media pages such as Facebook, Twitter, and Instagram for further information and booking arrangements.

#Microfossils

#ArchaeologicalCeramics

#MuseumFromHome

#StaySafeStayHome

#BeatCOVID19

Poster and text by the Maritime and Underwater Cultural Heritage Division
© 2022 National Museum of the Philippines