The procession of the feast of "Nuestro Padre Jesus Nazareno" of Quiapo as rendered by José Lozano Honorato in 1847.
Notice how orderly the participants back. A far cry from what the feast is today with its chaotic energy.
Showing posts with label Philippine History. Show all posts
Showing posts with label Philippine History. Show all posts
Thursday, January 10, 2013
Sunday, November 18, 2012
N.S. de los Remedios
The charming statue of Virgen de los Remedios of Malate, Manila as it appears in a turn-of-the-century photo.
Enshrined at the Church of Malate in Manila in 1624, the statue is said to have been brought from Andalucia, Spain by Fr. Juan de Guevara.
It measures half a "vara", or about 17 inches high, and old accounts describe it as a "brown Virgin."
The statue must have been altered sometime in the mid 1600s or early 1700s as its face and hands were suddenly described as "white ivory" in later accounts.
Its facial features bear Filipino aesthetics; heavy lidded eyes, full cheeks and a straight pointed nose are all traits and hallmarks of colonial Philippine ivory sculptures. The use of ivory too, is indicative of local origins.
The diminutive statue of the Virgin, together with her shrine, were unfortunately destroyed in WWII.
Today, her temple has been reconstructed and her statue replaced with a larger wooden copy by the famed Manila santero, Maximo Vicente.
Source:
Angels in Stone
Galende, 1987
Enshrined at the Church of Malate in Manila in 1624, the statue is said to have been brought from Andalucia, Spain by Fr. Juan de Guevara.
It measures half a "vara", or about 17 inches high, and old accounts describe it as a "brown Virgin."
The statue must have been altered sometime in the mid 1600s or early 1700s as its face and hands were suddenly described as "white ivory" in later accounts.
Its facial features bear Filipino aesthetics; heavy lidded eyes, full cheeks and a straight pointed nose are all traits and hallmarks of colonial Philippine ivory sculptures. The use of ivory too, is indicative of local origins.
The diminutive statue of the Virgin, together with her shrine, were unfortunately destroyed in WWII.
Today, her temple has been reconstructed and her statue replaced with a larger wooden copy by the famed Manila santero, Maximo Vicente.
Source:
Angels in Stone
Galende, 1987
Friday, December 30, 2011
Rizal the Sculptor
I originally planned to post this entry to celebrate Jose Rizal's 150th birthday in July but never got around to doing so. Instead I'm posting it today on the 115th anniversary of his death.
Portrait of Jose Rizal by Fabian de la Rosa.
Author, Multilingualist, Doctor, Patriot and Martyr all describe the man who turns 150 years old today: Jose P. Rizal. Truly he is a man of many hats.
Though his novels and writings are what are best known today to Filipinos, Rizal is also an accomplished sculptor. From a young age he learned how to fashion figures out of clay and other materials-a skill he refined to a great degree as evident in his later works.
As a young student at Ateneo de Manila, Rizal created a devotional figure of the Sacred Heart at the request of one of his teachers. Carved out of wood, it shows a stiff Christ, exposing his heart-a rather crude santo.
Sagrado Corazon de Jesus.
Later, while in exile at Dapitan, he rendered the likeness of a local girl out of clay.
In this portrait, Rizal shows his great ability in understanding his subjects. He has perfectly captured the sitter's willful character with her piercing eyes and defined, strong brows. It is a life-like rendition, almost as if the subject is about to speak.
La Dapitana, 1890's.
Rizal's statues are often small and intimate, yet all posses a monumental quality in their symbolism.
In ¡Orate Frates! (Pray, Brother), Rizal's dislike for the corrupt frailes is evident in the way how he renders the Friar: corpulent and homely. Caricatural traits that have become synonymous with greed and lust.
Perhaps that is how he envisions Padre Damaso, the villain in his novel, Noli Me Tangere (Touch Me Not). It must be pointed out that Rizal's beef isn't mostly with Spain, but rather with the Catholic Church. He exposes the church's hypocritical nature and its exploitive, oppressive power over the archipelago through the characters of the monastic orders present in the story.
¡Orate Frates!
Everything that Rizal believed in and stood for can be found in Triumph of Science Over Death. In this small alabaster sculpture, he portrays Science as a victorious nude female. Science's stark nudity illustrates her purity and shameless pursuit of the Truth, a nuditas vitualis.
She tramples Death as she wields the Torch of Knowledge. With her guiding light, she frees mankind from the cold grips of ignorance and thereby from Death.
This sculpture is Rizal's statement that Filipinos no longer need to rely on blind faith in the divine or look to mystics when Science with all its facts and knowledge is there to guide them.
It is arguably his most famous sculpture. When I was a child, my mother would always point out the statue's replica to me whenever we were in UP.
Triumph of Science over Death.
Rizal created many sculptures throughout his life. Some have been lost to time or to the ravages of the Second World War though some of these sculptures can still be appreciated through photographs taken at the turn of the century.
San Antonio de Padua.
San Pablo Ermitaño, 1893.
Wednesday, October 7, 2009
The Virgin of Smo. Rosario de La Naval
In 1593, Luis Pérez Dasmariñas commissioned a Chinese sculptor to carve a likeness of the Virgin and the Holy Child in ivory to commemorate and memorialize his father, Gómez Pérez Dasmariñas.
Both father and son served as Gobernador y Capitán General of the Philippines. The former from 1590 to 1593 and the latter, 1593 to 1596.
The man behind the icon. Luis Pérez Dasmariñas.
Under the direction of a Spanish captain, Don Hernando de los Rios Coronel, the pagan Chinese craftsman from Ilocos created a "native" Virgin. A virgin whose countenance reflected her country's beauty.
Almond eyes, high cheekbones and full lips, features that distinguish the Virgin of Smo. Rosario de La Naval from other Marian images in the Philippines.
The icon of the Madonna and Child, Luis had ordered to be rendered, would later become famously known as the Nuestra Senora del Santisimo Rosario de La Naval de Manila.
The wood and ivory statue is credited with numerous miracles. Perhaps the most famous of which, and why the "La Naval" was added to the Virgin's appellation, was the miraculous victory of the La Naval de Manila in 1646.
In the early 1600s, the Spanish colony of Manila soon found herself part of the Eighty years War that had started back in 1548 due to the Dutch Revolt against the King of Spain.
Earlier naval battles with the Dutch in the waters of the Philippines, resulted in Spanish victories. In 1646, however, Eighteen Dutch warships were sent to Manila to attack the colony and the city had nothing but two galleons, Encarnación and Rosario, to defend herself. In five succeeding battles, the small Spanish-Filipino armada, mostly manned by Filipino natives, fought and won over the Dutch mighty naval fleet. The unlikely victory is credited with the Virgin of Rosary, particularly with this "Native looking" statue of the Virgen.
In the coming centuries, the Virgin's popularity and miracles attributed to it, grew. In 1907, the Virgin was canonically crowned. The first image of the Virgin in the Philippines, and in Asia, to be given with such an honor. During WWII, the Virgin miraculously escaped the destruction of her temple in Manila.
Both father and son served as Gobernador y Capitán General of the Philippines. The former from 1590 to 1593 and the latter, 1593 to 1596.
The man behind the icon. Luis Pérez Dasmariñas.
Under the direction of a Spanish captain, Don Hernando de los Rios Coronel, the pagan Chinese craftsman from Ilocos created a "native" Virgin. A virgin whose countenance reflected her country's beauty.
Almond eyes, high cheekbones and full lips, features that distinguish the Virgin of Smo. Rosario de La Naval from other Marian images in the Philippines.
The icon of the Madonna and Child, Luis had ordered to be rendered, would later become famously known as the Nuestra Senora del Santisimo Rosario de La Naval de Manila.
The wood and ivory statue is credited with numerous miracles. Perhaps the most famous of which, and why the "La Naval" was added to the Virgin's appellation, was the miraculous victory of the La Naval de Manila in 1646.
In the early 1600s, the Spanish colony of Manila soon found herself part of the Eighty years War that had started back in 1548 due to the Dutch Revolt against the King of Spain.
Earlier naval battles with the Dutch in the waters of the Philippines, resulted in Spanish victories. In 1646, however, Eighteen Dutch warships were sent to Manila to attack the colony and the city had nothing but two galleons, Encarnación and Rosario, to defend herself. In five succeeding battles, the small Spanish-Filipino armada, mostly manned by Filipino natives, fought and won over the Dutch mighty naval fleet. The unlikely victory is credited with the Virgin of Rosary, particularly with this "Native looking" statue of the Virgen.
In the coming centuries, the Virgin's popularity and miracles attributed to it, grew. In 1907, the Virgin was canonically crowned. The first image of the Virgin in the Philippines, and in Asia, to be given with such an honor. During WWII, the Virgin miraculously escaped the destruction of her temple in Manila.
Monday, June 22, 2009
A Glimpse Of San Ignacio In Its Full Glory.
The Jesuits' Lost Golden Dream may once again become a reality.
News of implementing a decades-old plan, spark excitement and new hope for heritage-conscious Filipinos. The plan to rebuild the church of San Ignacio seems promising. Spearheaded by the Intramuros Administration under Bambi Harper, the project calls for reconstructing the church and turning it into an ecclesiastical museum as Museo de Intramuros.
Known as the Jesuit's Golden Dream, San Ignacio church was renowned for its graceful façade and an interior beautifully decorated and richly clad in tropical hardwoods. One of the last churches to be built on Intramuros, it replaced an older church, La Compañia, that formerly belonged to the Jesuits before their expulsion from the Philippines and other Spanish colonies in 1767.
Ruins of La Compañia in Intramuros, Manila.
Built on Calle Arzobispo, San Ignacio church was designed by Filipino architect, Felix Roxas, whilst its interior was furnished by Isabelo Tampinco, Manuel Flores, Crispulo Hocson and other Filipino artisans. Agustin Saez, director of Escuela de Bellas Artes in Manila, contributed to the project by designing the retablos and pulpit.
The cornerstone of the church was laid on February 9, 1878 and was completed, inaugurated and consecrated 12 years after in July 27 - 30, 1889. (Reseña Histórica)
The church was a celebration of Philippine art. From its architect, to the artists that decorated it and to the materials it was made of, it was a treasure chest of everything Filipino.
San Ignacio was a source of pride for a country then beginning to develop a sense of patriotism. An obra maestra to the eyes of locals and foreigners, it was considered a must a see sight for any visitor in pre-war Manila, and even a popular wedding destination.
San Ignacio church met its demise during World War II. The war imposed its horrors to the country and San Ignacio was no exception. During the Battle for Manila in 1945, the church was razed by the Japanese.
Today a ruined shell, San Ignacio church awaits the time when it will arise from its slumber, so that once again, the Jesuits' Golden dream is a reality.
While we await for San Ignacio's eventual restoration to its former splendor, let's take a look back at its original form.
Let us start from the outside.
Filipino architect Félix Roxas who designed San Ignacio, opted for a façade done in the neoclassical style. (He had previously designed a Gothic church for Sto. Domingo in Intramuros, another beautiful church rich in history, grandeur and importance but also lost in WWII.)
The main element of the façade is the pediment. It is supported by four pairs of twin columns; the bottom columns are rendered in the Ionic order, while the top are in the Corinthian style. The use of twin columns in church facades has been described as distinctly Filipino.("The "City of God"")
Flanking the pediment are graceful, twin towers.
The walls separating the church compound from Calle Arzobispo are laced with wrought iron grilles and the posts are topped with ornate faroles.
Enter the church and the rows of arches and columns direct the faithful's gaze straight to the high altar, Retablo Mayor, designed by Agustin Saez.
Where San Ignacio de Loyola is enshrined - the founder of Compañía de Jesú, the Jesuit order and the church's patron saint.
Here, a triumphant San Ignacio is exalted into heaven by angelic hosts. This is the Apotheosis of San Ignacio all rendered in wood by Manuel Flores, a noted Filipino sculptor.
The tallado, carved, image of San Ignacio with an upturned gaze.
What might San Ignacio be staring at the ceiling? A vision of the Holy Spirit in a nimbus of glory captivates his ecstatic attention.
While the central apse above the Retablo Mayor is decorated with the Holy Spirit in the form of a dove, the adjacent crossing features a recessed, octagonal dome ornamented with medallions bearing the faces of Jesuit saints. ("The San Ignacio")
And radiating from the crossing, the church ceilings are coffered with exquisite panelings all rendered in wood.
The central nave boasts of larger panels,
each decorated with medallions, florid forms and foliage.
These exquisite artesonado ceilings are what made San Ignacio famous and much beloved. Isabelo Tampingco and his atelier rendered all of these in expensive Philippine hardwoods.
After craning our necks at the ceiling, we focus our eyes on the Retablo Menors and the doors nearby.
The Retablo Menors, side altars, are executed following Agustin Saez's plan ("The San Ignacio")and are dedicated to the Sagrado Corazon and Inmaculada Concepcion.
The altar to the Sagrado Corazon houses a Christ enveloped in a mandorla.
Manuel Flores shows Christ atop the world and with one hand pointing to his flaming heart, the other, outstretched to the the faithful.
And with a slightly bowed head, expressing compassion to all humankind.
While the icon of Inmaculada Concepcion smiles demurely and with downcast eyes showing humility.
This sensitive image of the Blessed Virgin Mary is carved by Crispulo Hocson, Tampingco's father-in-law. Hocson sculpted the Virgin with her usual attributes, identifying her as the Virgin of the Apocalypse: a mandorla, a crown, twelve stars encircling her head and a crescent moon at her feet.
But in his tender rendering, Hocson managed to make true the Catholic doctrine of the Virgin's immaculate conception, which this statue represents. She stands on a globe and with one foot trampling the serpent of paradise with its forbidden fruit, symbolizing that she is free from fault- the Virgin Mary unblemished from the stain of original sin.
The Virgin is enshrined in a side altar identical to her Son's.
And the side door near her altar is capped with her monogram.
Another much celebrated feature of San Ignacio church is its pulpit.
Designed by Saez and carved by Tampingco, the pulpit is renowned for its exquisite details. (Miller)
The stairs to the pulpit are covered with panels depicting the Four Evangelists: Sts. John, Matthew, Luke and Mark.
And the procession of the Evangelists leads to bas-reliefs showing the Descent of the Holy Spirit and Christ's Great Commission, where Christ instructed his disciples to baptize all nations under the Holy Trinity. The likeness of Faith, Hope, and Charity surround both scenes. ("The San Ignacio")
A group of angels struggle to support the entire pulpit.
From here, we say our goodbyes to San Ignacio and to his church and head for the door.
But before we do, let's send out a postcard to our friends, relatives and to ourselves in remembrance of this beautiful church.
Text, Victor Ancheta ©2009
"The "City of God": Churches, Convents and Monasteries." Life's a Journey. N.p., n.d. Web. 22 June 2009..
Miller, George. Interesting Manila. 3rd ed. Manila: n.p., 1912). Interesting Manila. Web. 22 June 2009.
Reseña Histórica de la Inauguración de la Iglesia de San Ignacio de Loyola. Manila: Imprenta y Litografia de M. Perez, Hijo, 1890. University of Michigan, 17 Feb. 2006. Web. 22 June 2009.
"The San Ignacio." The Philippine Jesuits. N.p., n.d. Web. 22 June 2009.
.
News of implementing a decades-old plan, spark excitement and new hope for heritage-conscious Filipinos. The plan to rebuild the church of San Ignacio seems promising. Spearheaded by the Intramuros Administration under Bambi Harper, the project calls for reconstructing the church and turning it into an ecclesiastical museum as Museo de Intramuros.
Known as the Jesuit's Golden Dream, San Ignacio church was renowned for its graceful façade and an interior beautifully decorated and richly clad in tropical hardwoods. One of the last churches to be built on Intramuros, it replaced an older church, La Compañia, that formerly belonged to the Jesuits before their expulsion from the Philippines and other Spanish colonies in 1767.
Ruins of La Compañia in Intramuros, Manila.
Built on Calle Arzobispo, San Ignacio church was designed by Filipino architect, Felix Roxas, whilst its interior was furnished by Isabelo Tampinco, Manuel Flores, Crispulo Hocson and other Filipino artisans. Agustin Saez, director of Escuela de Bellas Artes in Manila, contributed to the project by designing the retablos and pulpit.
The cornerstone of the church was laid on February 9, 1878 and was completed, inaugurated and consecrated 12 years after in July 27 - 30, 1889. (Reseña Histórica)
The church was a celebration of Philippine art. From its architect, to the artists that decorated it and to the materials it was made of, it was a treasure chest of everything Filipino.
San Ignacio was a source of pride for a country then beginning to develop a sense of patriotism. An obra maestra to the eyes of locals and foreigners, it was considered a must a see sight for any visitor in pre-war Manila, and even a popular wedding destination.
San Ignacio church met its demise during World War II. The war imposed its horrors to the country and San Ignacio was no exception. During the Battle for Manila in 1945, the church was razed by the Japanese.
Today a ruined shell, San Ignacio church awaits the time when it will arise from its slumber, so that once again, the Jesuits' Golden dream is a reality.
While we await for San Ignacio's eventual restoration to its former splendor, let's take a look back at its original form.
Let us start from the outside.
Filipino architect Félix Roxas who designed San Ignacio, opted for a façade done in the neoclassical style. (He had previously designed a Gothic church for Sto. Domingo in Intramuros, another beautiful church rich in history, grandeur and importance but also lost in WWII.)
The main element of the façade is the pediment. It is supported by four pairs of twin columns; the bottom columns are rendered in the Ionic order, while the top are in the Corinthian style. The use of twin columns in church facades has been described as distinctly Filipino.("The "City of God"")
Flanking the pediment are graceful, twin towers.
The walls separating the church compound from Calle Arzobispo are laced with wrought iron grilles and the posts are topped with ornate faroles.
Enter the church and the rows of arches and columns direct the faithful's gaze straight to the high altar, Retablo Mayor, designed by Agustin Saez.
Where San Ignacio de Loyola is enshrined - the founder of Compañía de Jesú, the Jesuit order and the church's patron saint.
Here, a triumphant San Ignacio is exalted into heaven by angelic hosts. This is the Apotheosis of San Ignacio all rendered in wood by Manuel Flores, a noted Filipino sculptor.
The tallado, carved, image of San Ignacio with an upturned gaze.
What might San Ignacio be staring at the ceiling? A vision of the Holy Spirit in a nimbus of glory captivates his ecstatic attention.
While the central apse above the Retablo Mayor is decorated with the Holy Spirit in the form of a dove, the adjacent crossing features a recessed, octagonal dome ornamented with medallions bearing the faces of Jesuit saints. ("The San Ignacio")
And radiating from the crossing, the church ceilings are coffered with exquisite panelings all rendered in wood.
The central nave boasts of larger panels,
each decorated with medallions, florid forms and foliage.
These exquisite artesonado ceilings are what made San Ignacio famous and much beloved. Isabelo Tampingco and his atelier rendered all of these in expensive Philippine hardwoods.
After craning our necks at the ceiling, we focus our eyes on the Retablo Menors and the doors nearby.
The Retablo Menors, side altars, are executed following Agustin Saez's plan ("The San Ignacio")and are dedicated to the Sagrado Corazon and Inmaculada Concepcion.
The altar to the Sagrado Corazon houses a Christ enveloped in a mandorla.
Manuel Flores shows Christ atop the world and with one hand pointing to his flaming heart, the other, outstretched to the the faithful.
And with a slightly bowed head, expressing compassion to all humankind.
While the icon of Inmaculada Concepcion smiles demurely and with downcast eyes showing humility.
This sensitive image of the Blessed Virgin Mary is carved by Crispulo Hocson, Tampingco's father-in-law. Hocson sculpted the Virgin with her usual attributes, identifying her as the Virgin of the Apocalypse: a mandorla, a crown, twelve stars encircling her head and a crescent moon at her feet.
But in his tender rendering, Hocson managed to make true the Catholic doctrine of the Virgin's immaculate conception, which this statue represents. She stands on a globe and with one foot trampling the serpent of paradise with its forbidden fruit, symbolizing that she is free from fault- the Virgin Mary unblemished from the stain of original sin.
The Virgin is enshrined in a side altar identical to her Son's.
And the side door near her altar is capped with her monogram.
Another much celebrated feature of San Ignacio church is its pulpit.
Designed by Saez and carved by Tampingco, the pulpit is renowned for its exquisite details. (Miller)
The stairs to the pulpit are covered with panels depicting the Four Evangelists: Sts. John, Matthew, Luke and Mark.
And the procession of the Evangelists leads to bas-reliefs showing the Descent of the Holy Spirit and Christ's Great Commission, where Christ instructed his disciples to baptize all nations under the Holy Trinity. The likeness of Faith, Hope, and Charity surround both scenes. ("The San Ignacio")
A group of angels struggle to support the entire pulpit.
From here, we say our goodbyes to San Ignacio and to his church and head for the door.
But before we do, let's send out a postcard to our friends, relatives and to ourselves in remembrance of this beautiful church.
Text, Victor Ancheta ©2009
"The "City of God": Churches, Convents and Monasteries." Life's a Journey. N.p., n.d. Web. 22 June 2009.
Miller, George. Interesting Manila. 3rd ed. Manila: n.p., 1912). Interesting Manila. Web. 22 June 2009.
Reseña Histórica de la Inauguración de la Iglesia de San Ignacio de Loyola. Manila: Imprenta y Litografia de M. Perez, Hijo, 1890. University of Michigan, 17 Feb. 2006. Web. 22 June 2009.
"The San Ignacio." The Philippine Jesuits. N.p., n.d. Web. 22 June 2009.
.
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