Mt. Hamiguitan New Plant Discoveries

Posted on:  |  rochelle-van reyes Posted in Uncategorized.

The 5th day of #MuseumWeek bears the theme “culture, society, and innovation” and today’s topic #environmentMW focus on the new plant discoveries in Mt. Hamiguitan. This mountain is still full of surprises as new species are discovered each year. 

Mt. Hamiguitan Wildlife Sanctuary was designated as part of the UNESCO World Heritage Site (https://whc.unesco.org/en/list/1403/) in 2014 because it represents a complete, substantially intact, and highly diverse mountain ecosystem, in a significant biogeographic region of the Philippines. As a result of its isolation and its vegetation in ultramafic soil and climate conditions, its biodiversity has a high level of endemicity that has led to the discovery of unique species found nowhere else. The unique “bonsai” forest is the largest known tract of its kind in the Philippines that embodies nature’s adaptability to survive in adverse conditions.

Mt. Hamiguitan is home to five Nepenthes or pitcher plants found else in the world. Nepenthes peltata was described in 2008, followed by Nepenthes micramphora in 2009, Nepenthes hamiguitanensis in 2010, Nepenthes justinae in 2016, and the newest species described was Nepenthes alfredoi in 2018. 

Other taxa discovered in the area were ferns such as Lindasaea hamiguitanensis in 2012 and two grass fern Actinostachys minuta in 2020 and Actinostachys simplex in 2021. Actinostachys minuta is known as the smallest grass fern with a unique habit of growing along the trunk of the tree ferns (Alsophila sp.). 

Rubiaceae (Coffee family) one of the largest family in the Philippines has several new species described from Mt. Hamiguitan. Ophiorrhiza erythropilosa and Ophiorrhiza hamiguitanensis both deascribed in 2020 and Hedyotis hamiguitanensis in 2021. In the mistletoe family (Loranthaceae), a new genus record for the country and new species Amylotheca cleofei was described in 2021.

The list of both flora and fauna of Mt. Hamiguitan is far from complete. As researchers visit new sites not previously surveyed, many more species are discovered and described. Let us protect our remaining primary forests as they harbor many unknown species waiting to be discovered. 

#MuseumWeek2022
#environmentMW
#NationalMuseumPh

© 2022 National Museum of the Philippines

Queerness in Nature

Posted on:  |  National Museum of the Philippines Posted in Uncategorized.

We’ve learned about clownfish or anemonefish because of the movie Finding Nemo. They are quite easy to find – all you have to do is spot a sea anemone when you dive or snorkel.

This particular species is called Tomato clownfish (Amphiprion frenatus) and is known to be closely associated with Bubble-tip sea anemone (Entacmaea quadricolor) like this one in the video. And although grouped under the same subfamily Amphiprioninae, this species is larger and is differently hued than False clownfish (Amphiprion ocellaris), the one shown in the movie. This species is characterized by a single white stripe with a black outline that runs from the cheeks and joins over the head. They are mostly bright red-orange with the females being more darkly colored.

There are at least 30 species of clownfish and all have a symbiotic relationship with anemones. The fish “feeds” and drives away predators from the anemone in exchange for safety and additional nutrients from the latter (among many other benefits from both ends). 

Another interesting fact about anemonefishes is that they can change their sex when needed! All individuals are born male, while the most dominant switches to being female and is the largest in the group. This phenomenon called sex reversal is not unique to anemonefishes; this also occurs in wrasses, parrotfishes, and many other species. Some start out as all females and switch to males, while some are bidirectional hermaphrodites where individuals, depending on environmental cues or circumstances, can switch to the sex that is more convenient at the time.

This last bit of info may sound new to many but sex and role reversals happen to other animal groups, too. We know that the web of life is stronger and survives in diversity and nature does not conform to any set boundaries.

#Sexuality
#NationalMuseumPH

Text and video by Zoology Division

© 2022 National Museum of the Philippines

National Museum and Gokongwei Brothers Foundation, Inc. launch the Elizabeth Y. Gokongwei Ethnographic Stoneware Resource Center at the National Museum of Anthropology

Posted on:  |  National Museum of the Philippines Posted in News and Events.

The National Museum of the Philippines (NMP), in partnership with the Gokongwei Brothers Foundation, Inc. (GBFI), launch the Elizabeth Y. Gokongwei Ethnographic Stoneware Resource Center (or EYG Resource Center) located at the 5F, East Wing of the National Museum of Anthropology in Manila on 11 June 2022. 

The EYG Resource Center houses over 1,000 jars, plates, and bowls from the National Ethnographic Collection dating from the 15th to the 20th century, from the different ethnolinguistic groups in the country, including Bontok, Ifugao, Ibaloy, Ilokano, Gad’dang, and Pangasinense communities in northern Luzon; Tagalog, Pala’wan, and Tagbanua communities in central and southern Luzon; and Maguindanao, Maranao, and Tausug communities in southwestern Mindanao. It also includes 73 Ilokano stoneware pieces which are part of the long-term lease of the Ilocos Historical and Cultural Foundation Collection to the NMP. 

Through this project, the NMP and the GBFI wish to provide an open research facility that will encourage more students, educators, and researchers to engage in documenting ceramic traditions in the country and gain a better understanding of the breadth and depth of these collections concerning Filipino culture and identity. The NMP also aims to showcase best practices in collections management including documentation, proper handling, maintenance, and universal access. A designated space for documenting incoming and outgoing reference collections where they will be registered, assigned a number, examined, and photographed will be available for researchers who wish to access the catalog of the collections and examine selected objects with the supervision of the NMP collections managers. Museum visitors will be able to view the EYG Resource Center collection from outside of the hallway through its glass panels and observe how they are documented, maintained, and processed for exhibition, publication, and other educational programs. This will foster a better understanding of the nature and roles of museums, which is not only limited to exhibitions or repository space but as actively engaged in the process of preservation and promotion of cultural objects along with their stories.

This partnership will also develop corollary programs such as special tours, internships, and other educational activities as avenues to promote projects that will engage the source and indigenous communities, colleges and universities, cultural agencies, and private individuals or organizations. Free digital and print publications will also be produced as additional reference materials.

A non-stock, non-profit corporation committed to helping uplift the socio-economic condition of Filipinos through the funding of educational projects, GBFI believes that learning and education should encompass having an understanding of self and heritage, which is essential to the holistic development of the Filipino learner. On the other hand, the NMP as one of the primary cultural institutions in the country, is mandated to disseminate knowledge and raise awareness about the rich cultural heritage of the Philippines. 

#Ceramics
#PhilippinePottery
#EYGResourceCenter

Text and Poster by the NMP Ethnology Division

© 2022 National Museum of the Philippines

Birth Anniversary of National Artist for Visual Arts
Federico Aguilar Alcuaz
(June 6, 1932- February 2, 2011)

Posted on:  |  National Museum of the Philippines Posted in Uncategorized.

The #NationalMuseumPH celebrates the 90th birth anniversary of National Artist for Visual Arts Federico Aguilar Alcuaz, born #OnThisDay in 1932.

In celebration of his life and art, we feature his painting “Sunset in Intramuros”, an oil on board painting completed in 1979. It depicts an aerial view overlooking the golf course and the Walled City of Intramuros, and the sun, setting over the horizon at the pier in Manila.  Alcuaz is known for his Cubist-inspired paintings, but painting landscapes is one of his favorite subjects.  He flies to New York to attend events and enjoy the cityscape that inspired him to paint New York’s rooftop and the Central Park and later painted other cities he had visited.  In the Philippines, he would paint landscape views of Manila, Makati, Intramuros, Binondo, and the Manila Bay sunset.  Alcuaz was well-recognized and has exhibited in leading galleries and museums locally and internationally. He was declared National Artist for Visual Arts in 2009. The painting is part of the Government Service and Insurance System (GSIS) Collection and is currently exhibited alongside his other works at the GSIS North Hallway, Third Floor of the National Museum of Fine Arts.  We invite you to view more of his artworks once we re-open.

The National Museum of Fine Arts is temporarily closed until July 4, 2022.  Follow this page for more features from the National Fine Arts Collection.  While we are closed, here is the link for the 360-degrees virtual tour of the nine select galleries at the National Museum of Fine Arts:  https://www.nationalmuseum.gov.ph/nmfa360/HTML5/NMFA360.html

#OnThisDay
#FedericoAlcuaz
#MuseumFromHome

Text by NMP FAD

Photo by Bengy Toda

Birth Anniversary of National Artist Jose Tanig Joya
June 3, 1931-May 11, 1995

Posted on:  |  National Museum of the Philippines Posted in Uncategorized.

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

Local and Tradeware Jars

Posted on:  |  National Museum of the Philippines Posted in Uncategorized.

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