Tuesday, July 15, 2014

200. DOLL OR DIVINITY?: The Mystery Figure That Became La Niña Maria

ALL DOLLED UP. A mystery wooden figure generously given to me that was initially thought of as a doll, became the young Mary, La Nina Maria, when fixed and assembled on a carved santo base.

One of the most intriguing pieces to come my way is this small, wooden figure of a young girl, no more that 5 inches tall. It actually belonged to a nephew of mine who was an avid collector of images too—and he sent the photo by phone, showing 2 small figures in the palm of his hand—that of a Nino Navidad and this girl figure, which, I concluded was a toy, maybe of composition or bisque.


My nephew, however, told me it was made of wood; there were a few doll makers who crafted dolls of wood—Schoenhut was one, famous for their circus figures as well as their dolls that were described as “indestructible”. My nephew knew that I collect antique toys and dolls, so he gave this girl doll to me, a generosity which I accepted.


My curiosity was further piqued when I received the doll—indeed, it was made of wood, but after awhile, I wasn’t sure if it was a doll at all. First, there were pegs on her feet, which meant that it must have stood on a base —just like a santo would have. Then, she was painted in the style of a santo, from her face with a pinkish blush to her painted torso and her feet with shoes painted on. Why, she even had on a silken blonde wig that had partially deteriorated and eyes outfitted with lashes! On her ears were a tiny, tiny pair of bejewelled earrings--real gold, so I was told--but which I still need to validate.


So delicately carved was the little wooden figure, evident in her very fine fingers. Her facial encarna was also intact, with just the slightest hint of color on her cheeks, similar to Latin American and Italian santos. Finally, unlike dolls which bore the maker’s name on its body, this wooden figure had no markings at all, wrought by anonymous hands.


I therefore concluded that this mystery figure was not made locally; and that, with a certain degree of certainty, it was not a doll. I informed my nephew of my belief that since the image came with the Niño, it could be a crèche (nativity) figure, part of a tableau that consisted of a group of people visiting the newly-born Christ Child.


I know that by tradition, the size of the image was disproportionate to the Niño, just so to emphasize the importance of Jesus above everyone else. But then my nephew told me that he got the Niño and the doll-like figure from 2 different sources—which dashed my theory.


I shared the photo with my santo restorer and I just casually asked if this mystery figure can represent the image of the young Mary—“La Niña Maria”, as she is fondly called. He responded with a resounding “yes””, this, despite my lingering doubts about her true identity.


I cleaned her up and fixed her fragile one-piece pink dress, mending tears and reinforcing the lace with an additional layer of vintage lace.


Then, I repaired the collar an added a ruff of lace as well. Why, even hand-strung a necklace of miniature antique beads with a pearl pendant for her to wear! When I set her on a vintage peaña, why it did look like a Santa!


The finishing touch was when I found a vintage crown I saved from some forgotten restoration project and set it on her head—“La Niña Maria” came to life!!


 I will perhaps, never know if I have a sacred figure or a plaything, but that is all immaterial to me now. What I do know is I have an antique treasure in my hands, worthy of salvation and safe-keeping, a source of personal joy and fascination for me, for years to come.

Monday, June 30, 2014

199. CROSSES: A Heritage of Art and Religion

by Santiago A. Pilar 
The Philippine Star, 
Monday, April 30, 2001 



 On April 6, Friday, before the Holy Week, the Ayala Museum on Makati Ave., Makati City, inaugurated ‘The Art of the Cross’, an art exhibit featuring crosses. The show will go on until June 30, roughly coinciding with the traditional Christian season of Eastertide.


For the folks who reach a spiritual high from the Visitas Iglesias they made during the Semana Santa, this is the fix that will keep them up there. And, of course, if you are a cultural buff in search of rare, centuries-old items, or simply, pieces of scholarly interest, then ‘The Art of the Cross’is a must-see for you.

Unfortunately, the museum was closed during the Holy Week, so the show opened to the public again only on Tuesday , April 17, the museum’s first working day after the holidays.


To complement the exhibit, the Ayala Museum has also prepared a set of lectures given by the country’s top authorities in the Spanish colonial cultural field.

The first of these, appropriately, was “Weave!”, delivered by Elmer Nocheseda on the morning of April 6.
Nocheseda is the guy who can tell you all about the many styles and techniques of weaving the palaspas, the crosses fashioned of young palm fronds blessed by the priests on Domingo de Ramos (Palm Sunday).


On the afternoon of April 6, ‘Holy Week, Filipino Style’ was the topic of Ateneo social scientist Dr. Fernando N. Zialcita.

 The other parts of the lecture series are: ‘Subli: Laro at Panata’ given by U.P.professor of music history, Dr. Elena Rivera-Mirano, last April 28, 3-5 p.m.; ‘Viva Santa Cruz’, to be given by the highly respected Dr. Nicanor G. Tiongson on May 5, also 3-5 p.m. On May 12, also 3-5 p.m.,jewelry expert Ramon Villegas will talk about ‘Heirloom Crosses’.

An exhibit on crosses is certainly something that does not need so much justification in this country which is predominantly Christian.

And even if the depiction of images of Christ, Mary and the saints may be a practice exclusive to Roman Catholic and Eastern Orthodox Christians, the custom is not altogether so strange as to shock or offend those who are not in favor of it.

In the name of art and culture, we have accepted the relevance of Buddhist and Hindu images have to our Chinese and Indian friends.

We have also been so used to almost daily allusions to, or representations of, Venus, Adonis, Hercules and other members of the Greco-Roman pantheon such that we have hardly seriously thought of these personages as deities revered in pagan Greek and Roman times as fervently as we do our God and Christian spiritual beings.

 Filipinos in general have never had any difficulty in accepting the Roman Catholic culture of iconism, perhaps because image-making was a custom rooted in pre-Hispanic Philippine life.

The cross motif has also been present in the country even before the Spanish coming. Crosses formed part of the repertory of designs incised on excavated pre-Hispanic earthenware. The textile specialist Sandra Castro points out that many ethnic groups in the Philippines like the Mandayas, Mangyans and Bilaans, have also utilized cross motifs in their traditional weaves.

‘The Art of the Cross’ is focused on the corss as a motif in Philippine Christian art particularly as a result of the Spanish presence for more than 300 years in the country.


Sourced from private collections, as well as from the museum’s own, the examples in the show range from small types, like pieces worn bodily as jewelry accessories to life-size or relatively big ones used as focal images in both church and home altars.

The small ones were mostly worn hanging from the neck or pinned to the shirt or blouse to function as amulets or protection against evil and misfortune.

Objects using the cross design or motif, of course, evolved into precious pieces of jewelry, as they became fashioned out of gold or silver and encrusted with expensive stones like diamonds, rubies and pearls.

Many places in the Philippines became the hub of jewelry-making during the colonial days as the demand grew for for elegant bodily adornments specially crosses.

Among these places are: Laoag, Ilocos Norte; Vigan, Ilocos Sur; Meycauayan, Bulacan; and the districts of Santa Cruz and Quiapo in Manila. These centers even developed processes and techniques as well as styles and designs uniquely their own.


An example of an indigenous ornamental design is the sinan-siit exclusive to Ilocos and Cagayan smiths. As the Ilocano term implies, the motif resembles tinythorns (tinik in tagalong) soldered to jut out from the body of the cross usually of chiselled openwork.

It may have been inspired by the crown of thorns worn by Christ during his Passion, an object which artists and artisans have depicted as something fashioned from a variety of prickly cacti like those growing in the arid Ilocos terrain.


 The cross as a common shape is a simple intersection of two lines. In Christian art and religion, however, it is an artistic rendering of an upright post with a traverse beam, the contraption to which condemned persons in ancient times were transfixed (tied with ropes or nailed) as a form of capital punishment.

It is the central symbol of the Christian faith, crucifixion being Christ’s humiliating manner of death through which he redeemed the world from eternal damnation. Crucifix is the word we use for the object that includes the corpus or body of Christ hanging on the cross. Crucifixion refers to the punishment and a Crucifixion scene of Christ iften does not depict him alone but the entire Mt. Calvary scene.

 The Ayala Museum exhibit affords us with a rich experience of the Philippine Christian or more specifically. Local Roman Catholic interpretation of the crucifixion of Christ.

Like any of the subjects of Christian image-making before realistic portraiture and photography were developed, all these representations were just products of the artistic imagination.

No object from the time of Christ is still in existence to tell us how he or his mother and his disciples looked like. As a reflection of the human imagination, the Philippine interpretations of these Christian themes, illustrate how we have accepted and imagined the Christian experience.

Across Philippine art history, these images vary depending on the mental and/ or spiritual intelligence of their makers, their skills as artists and the materials they used to express this. As products of a continuum, these objects requires an understanding of the same factors in order for us to fully appreciate their artistry or their relevance to that particular point in time (what century? what region? who was the specific artist?) in which they were made.

 The show features about 30 objects inviting us to ask questions ranging from the practical to those specifically dealing with art historical issues and interests. How were these made?

And indeed, we marvel at the complexity and intricacy of workmanship of some, like the metal and ivory pieces. Who made them? Why didn’t the carvers and smiths who made them sign them just like the one-of-a-kind religious sculptures we see nowadays. What are the sources and influences of their styles? My favorites in the exhibits belong to two types.

One is the crucifixion scene in slim liquor bottles. For one, the bottles themselves are antiquities since this is a genre that flourished in the early part of the 20th century. The greenish bottles are particularly pleasant to the eyes

This genre traces its beginnings to Victorian glass globe table pieces containing flowers and elaborate multi-figure scenes. The bottled crucifixion scene is a form of prison art. (Today, prisoners still make bottled art but their subjects are mainly galleons and rural scenes).

 I used to be puzzled about how the entire crucifixion tableau could be inserted inside a bottle with a mouth so small until someone pointed out to me that all the materials were placed inside via an opening at the bottom of the bottle which was later on soldered again.

This tableau often consists of a Christ on the cross, Mary and Magdalen or John (and sometimes there are the three crosses of Mt. Calvary) plus an appropriate setting of mountains and trees. For realism, the face and limbs of the figures may be made of polychromed wood, while other parts make use of materials that imitate the textures and colors needed.

The second type that I like is the classical crucifixions, whether carved of ivory or wood. This is a form of urban art giving us an idea of how master carvers in Manila, Paete, Laguna and Vigan or San Vicente, Ilocos Sur, interpreted Christ on the cross as inspired by Renaissance and Baroque prototypes.

Many examples from the 16th to the early 20th centuries, have been preserved. We know that the Chinese-looking Christs date to the earliest period of the colonization. By Chinese-looking, we mean slit eyes, small nose, small thin lips and lanky limbs. The more sinitic, the earlier.

Christ’s features become more and more Caucasian and also more and more formal in approach as the carvers also change in their training, that is, from apprenticing in the talleres or workshops to professional tutorship under the Academia de Bellas Artes.

 Pre-20th century cult or devotional objects in the Philippines were seldom signed. These pieces were generally not regarded as art despite their evidently high artistic quality. The awareness of human participation in the creation of a saintly image would certainly distract devotees in the performance of their devotional activities.


Towards the later part of the 19th century as the Philippines awoke to the formidable ingenuity of its artists, we witnessed a changing situation. In the show, look for the three examples of classical crucifixions I am describing here and which illustrate this change.

The first of these and the earliest is a highly realistic representation of Christ done around 1850. It is illustrated in this article. Christ’s depiction corresponds to the miniaturistic sensibility in painting in which all aspects of the subject are realistically depicted to the minutest detail.

 In this crucifix, Christs’s body is made of tinted wood and his features are painted with realistic reasons. He is equipped with hair made of curled fiber, a crown of thorns of beaten metal and an elaborately tooled loin cloth.The author is unknown.

I have encountered several examples of this style, apparently done by one person, but unfortunately, the pieces could never be traced to their maker or his descendants who could inform us who he was. I am inclined to believe that his environment dictated this situation of anonymity. The artist belonged to that period in which his work was not considered as a work of art but simply an object of devotion.

 The second example is a classical ivory piece identified as by Leoncio Asuncion (1813-1888). Leoncio belongs to the famed artistic Asuncion clan that produced the exquisite portraitist Justiniano and the religious painter mariano. The attribution to Leoncio is correct because the piece came from the artist’s descendants who donated it to the Ayala Museum. In this case, we witness a situation of vigorous artistic awareness.

Asuncion’s Christ is very Caucasian in features and when placed beside the anonymous piece mentioned above, its realism appears to lack force and dramatic intensity.

 The third example was done in 1890. Its merits lie specially in the fact that it is so far the only known surviving work of the acclaimed sculptor, Marcelo Nepomuceno (1871-1922).

Marcelo’s work definitely lacks the realism of the anonymous as well as the Leoncio Asuncion piece. The piece also takes on a more secular tone and shifts to Magdalen’s lament.

The artist’s focusing on the repentant Magdalen and not on the mystery and drama of the redemption presages the wordliness and materialism of our times.

All photos from "Art of the Cross: A Philippine Tradition", by Sandra B. Castro. Catalog Exhibit, Ayala Museum. 2001.

Monday, June 16, 2014

198.The Ones That Got Away: SAN ANTONIO, STO. NINO & A CRUCIFIJO

GONE TOO SOON. A trio of very fine quality antique ivories, a Crucifix, a San Antonio de Padua and a Sto. Nino de la Pasion were snapped up immediately after failing to sell as a lot. 

In my long collecting years, I  have seen many antiquities that have been my objects of desire, but alas, the price tags have always been the biggest obstacle towards acquiring them. Hen I see that an antique is beyond my reach, I just quietly turn away, filing the beautiful, but lost objects in my mind under the category of “the ones that got away’’. But a trio of old ivories shown to me by a dealer caused me to rethink this position, for I have never seen so many pieces of exquisite quality, all offered in one swoop.


 They must all have come from one talyer, as they seemed to have been crafted from the same ivory, with vestments cut from the same fabric, sporting same styles of embroidery. This was further bolstered by the dealer who informed me that the items all came from one house.


 There was a magnificent crucifix, which, despite some missing brass rays, held much promise with its classically carved crucified Christ figure in flawless ivory.


 Another piece was a tabletop San Antonio, with ivory head and hands and clothed in its brown habit, profusely decorated with thick gold embroidery, miraculously intact after so many years.


Though missing the Child Jesus, it was still a spectacular piece.


 But the third ivory left me breathless—it was a large, standing ivory Child Jesus—Sto. Nino de La Pasion—with ivory head, hands and feet,vested in a robe sumptuously embroidered with gold thread.


It was clutching three pieces of nails—symbols of his Passion; one hand may have held a crown of thorns, now missing. The face was child-like and expressive, with a hint sorrow in His eyes.

 Originally, the 3 pieces were being sold as a lot, but weeks had passed without any buyer. Now, they were being sold individually. I made a feeble attempt to throw in my offer on the Sto. Niño, which I judged to be the best piece, only to be rebuffed. I made a second offer, which the dealer considered, but when I made a follow-up, the dealer told me the Sto. Niño has been sold.

 The object of my desire, gone forever. I spent some time thinking of what could have been. What if I had not dilly-dallied? Or what if I had made a firmer offer? Or had followed up earlier? I wallowed in my sad thought for days until, from out of the blue, a long-forgotten dealer from Pampanga called. Would I be interested in an antique 10 inch standing Sto. Niño with a solid ivory head?

 Would I? Me? Interested? Of course!! See how easy it is for me to move on?

Monday, June 2, 2014

197. A RELIGIOUS RESTORATION IN PAINTING

The Sunday Times Magazine 
19 January 1964, pp. 24-25 


 A doctor wields his scalpel to restore life to an art that has been dead for many years from age and neglect. For the past two years, Dr. Gregorio G. Lim—a physician by profession and painter by avocation—has been collecting old Philippine santos (religious wood statuettes) of the 17th, 18th, and 19th-century vintage. Not very long ago, he started adding to his collection some religious paintings on wood panels which he salvaged from the heaps of statuettes in the shop of an art dealer.

At that time, very few collectors would have bothered about the paintings because the pictures were hardly recognizable and would have taken so much time and expense to clean and restore them. The avid an curious arrtist that he was (and still is), Dr. Lim did not allow himself to be fool or daunted by the deteriorated appearance of the paintings. With a good amount of patience and ingenuity, he believed that he could retouch the pictures back to their original looks.


 Dr. Lim’s interest, resourcefulness and imagination have paid off. Today, he has about a hundred of the wood-panel paintings in his collection—“veritable art treasures”, in the words of the doctor who considers them more colourful than the sculptured ones and certainly more fascinating because of the challenging task of restoration.

The problem of restoration is manifold. First, the old paints have become powdery so that they often peel off at the slightest touch. Second, the many years’accumulation of dirt and mud has almost become an integral part of the original paint. There, too, is the discovery of two or more pictures over the original painting; thus, the removal of these ‘’over paintings’’ taxesone’s knowledge of how paints behave after application. 

 Dr. Lim cautions those who would attempt to do the job of restoration to exercise utmost care. ‘’Many good paintings have been lost,’’ laments the doctor, ‘’because of careless or impatient hands’’.

 For an idea of how painstaking and time-consuming the work of restoration is, Dr. Lim describes in detail his first experience with a centuries-old painting. ‘’I came upon a badly painted-but clear picture on an old panel which nobody paid attention to, because it had no artistic quality. What attracted my attention were several small cracks in the paints. Peeling off a very small area, I discovered old paints underneath. I bought the panel and and did the scarping of the overlaid paints with a surgical knife. After carefully exposing the middle areas of the panel, I was surprised to see the outline of a face and neck partly hidden by a smaller second painting of the Madonna. The third and topmost painting was superficial so that it was easily scraped off. The second overlay, however, proved tough because it was very adherent to the original. The removal of this second picture taxed my patience. I did it meticulously, pinpoint by pinpoint, especially on the facial area. Then, with little retouchings, the masterpiece in its original form was uncovered.’’


Despite a busy daily schedule of preserving or restoring health to ailing bodies at the Blessed Heart Hospital where he is the director, Dr. Lim manages to find time for his restorative art in painting. His usual hours for his hobby are from four to six in the early morning and late at night when “I can no longer sleep after a medical call.’’

 Dr. Lim’s hobby is in itself a distinct contribution to the historical and cultural wealth of the country. His restored paintings have brought to light the fact that during the Spanish regime, many unknown—and most probably untutored—Filipino artisans displayed remarkable skill in their production of religious works which, in some cases, bore amazing resemblance to the style of classical masters.

 As for his own paintings, Dr. Lim’s works rank among the best in the country. He has won various awards in art competitions both here and abroad. These include first prize, APAA exhibit in Atlantic City; award of merit, 1955 in New York; second prize, 1958 exhibit, AAP, in Manila; and honourable mention, 1960 exhibit, AAP , Manila. Specializing in still-life, Dr. Lim, has had several one-exhibits sponsored by the AAP of which he was once president; from 1956 to 1958.


The 56-year old physician-painter is a 1935 graduate of the UP college of medicine with anatomy and surgery as his field of concentration. In 1955, he took advanced courses in general medicine at the University of Vienna, after which he practiced at the famous John Hopkins for two months. At present, he is president-elect for 1964 of the Philippine Academy of General Practice, secretary of the Philippine Medical center and member of the Juan Luna Centennial Commission.

 The skill and dedication that Dr. Lim has shown in his profession he has brought to bear on his avocation render in symbolic form the saying that life and art are one and indivisible.

Friday, May 23, 2014

196. ST. LOUIS Of FRANCE: The King Who Would Be Saint

ST. LOUIS, KING & CONFESSOR. A small figure of the King of France, rendered in bone, stands 6 inches high, on a wooden base. Ca. 1900s. Personal Collection.


I graduated from Saint Louis University in Baguio City, Northern Philippines, and in the whole time I was there, I really never bothered to find out about the saint after whom our school was named. There was a confusion of some sorts as to who the real patron was; our university exam booklets for example, has the profile of San Luis Gonzaga (St. Aloysius Gonzaga) of Italy illustrated on the cover. Then, there is the university seal (Sword and Shield) which is described as having the "stylized lily associated with St. Aloysius Gonzaga, the patron of the school".


The school, however, was founded by CICM (Congregatio Immaculati Cordis Mariae) missionaries from Belgium, so they could not have chosen a Italian saint for its patron. It made more sense to name the school after a French saint--King Louis of France. He was born in 1214, in Poissy, France to parents Louis VIII, and Blanche, daughter of Alfonso VIII of Castille.


He was barely 12 when he lost his father, so his mother assumed the regentship and took over in raising her Louis, instilling in him the virtue of holiness in his thought and deeds. At 20, he married Margaret, the daughter of Raymond Berenger, Count of Provence, with whom he had 11 children. Two years later, he took over the reins of the government of France.


He headed several crusaded, but in 1238, he was captured by Mohammedans but was able to return to France. He attempted another crusade in the East in 1267, but this time, he would never return. In 1270, he caught a sickness in Tunis and died after receiving the last sacraments.

 

In his reign, Louis had a vision to make France as the most eminent of all Catholic nations in Europe. He built religious edifices like the famous monsatery of Royamount and the convent of Maubuisson. He was responsible for the purchase of the Holy Crown of Thorns relics from the Eastern emperor at Constantinople. He heard Masses twice a day, and was surrounded with priests during his travels. He outlawed usury, forbade private wars between his feudal vassals and was renowned for charity.


This representation of him--an ebay find--was carved from a singular piece of narrow bone that resembles ivory. The slim figure is carved in the round and shows the crowned royalty holding a book. Other attributes include a sword and a shield representing his authority. He is often attired in royal robes with golden fleur-de-lis (the "stylized lily" described in our university's crest). The carving is signed with the name of the maker, "Louis Plesey", a namesake of the saint.


St. Louis is the patron saint of barbers and grooms, and is invoked against the death of children. The royal saint's feast day falls on Augut 25.

Thursday, May 15, 2014

195. Heads Up: SAN MIGUEL ARCANGEL


One of the very first santo heads that I got when I started my santo collection was this medium-sized head of San Miguel Arcangel (St. Michael Archangel). The head itself is about 10 inches tall, and seems to have been meant for a fully carved (tallado) body. San Miguel is always depicted in full battle gear as he fights the Devil, so he wears a helmet topped with a flower carved in relief.


Outfiitted with glass eyes and carved hair that sports a knot at the back, this San Miguel head has very patrician features, as evident from his straight, aquiline nose and a stern, almost emotion-less expression. I had to do a double take when I saw this head up for sale in a Baguio antique shop in the late 80s. I thought it first to be so unattractive; the thought of buying a santo fragment was rather unappealing to me back then.


I am glad though I got ut (for the princely sum of Php 350)!). San Miguels of this size are hard to come by; if complete, this would have been suitable for display in a church or for a procession. It would certainly have cut quite a fine figure, especially with its battle stance--holding down the Devil with one foot while in the act of thrusting a spear (or brandishing a sword)  into his nemesis.



While a popular and an important angel saint, only a scarce number of devotional santos of San Miguel in private homes. People are familiar with his imagery through the Ginebra San Miguel gin label, which has attained an iconic status in Philippine pop culture. The original "Markang Demonyo" label was drawn  for La Tondena Company, by no less than National Artist, Fernando Amorsolo, when he was but a fine arts student.


"Ang inumin ng tunay na lalake" was Ginebra's slogan. It could also very well apply to San Miguel Arcangel, the protector , the equalizer, the warrior angel--who always fought his very best in the battle of good versus evil--like a "tunay na lalake".