Philippine Sculpture

Before the coming of the Spaniards, Philippine

sculpture had a striking similarity with the
Egyptian sculpture which is characterized
by frontal nudity. Their difference lies in the
symbolism behind the figure.
In the Philippines, particularly among the
Ifugaos, the bul-ol(fertility) is considered as an
Ifugao granary god. It is a wooden sculpture in
human form to assure bountiful harvests for the
natives.
The bulol, or "Ifugao rice god," is
a carved human figurine into which
a certain class of anito is said to
incorporate itself when
worshipped. Bulols are kept in the
house or granary, and are usually
made in pairs. They are carved of
narra wood, which represents
wealth, happiness, and well-being.
Every step in their production
requires a ceremony, from tree
selection to arrival at the owner's
house; a consecrated bulol has
been bathed in pig's blood, had
myths recited to it, and received
offerings of wine, ritual boxes, and
rice cakes
Sarimanok
It is the legendary bird or
artificial cock that has
become an ubiquitous symbol
of Maranaw art. It is depicted
as a fowl with wings and
feathered tail, holding a fish on
its beak or talons. The head is
profusely decorated with scroll,
leaf, and spiral motifs.
Spanish Period
The carving of anito was transformed into
sculpture of the saints.
These santos were used primarily for the
church altars
Sculpture esp woodcarving was developed
during this era.
Paete, Laguna produced the finest santo
carvers.
The earliest known sculptor in the Philippines is
the 17th century sacristan, sculptor and
silversmith Juan de los Santos
A retablo (altar piece) from
the Church of San Nicolas de
Tolentino in Dimiao, Bohol.
In the courtyard of San
Miguel Church stands
this 12-foot cold cast
bronze sculpture of Saint
Michael slaying the
dragon, which
symbolizes the devil,
created by Florante
Caedo.
American Period
Guillermo Tolentino (1890-1976).
Trained in the classical style in Rome
In 1973, Tolentino was named as a
National Artist for Sculpture.
 His Bonifacio monument is classical in execution
but romantic in content. Bonifacio, holding a bolo
and a pistol, stands quietly, dignified, resolute,
but defiant. He is surrounded by dynamic figures
of oppression, struggle and revolution. Here, in
Tolentinos work, Andres Bonifacio remains
strong amidst the turbulent storm of the
Revolution.
His Oblation, the symbol of the countrys
premiere State University, reflects the
classical ideals discipline, order,
symmetry, and restraint. It stands naked
resolute and proud, with arms wide open
to accept knowledge and change.
 The height of the monument
is 12.7 meters or 42 feet.

Sculptor = Swiss sculptor

named Richard Kissling

The Rizal monument in

Luneta is composed of
a standing bronze
sculpture of Rizal, with
an obelisk as his
backdrop, set on a
granite stone base
which his remains are
interred inside.
 Graciano Nepomuceno
Modern Period
Napoleon Abuevo
Considered as the Father of Modern Philippine
Sculpture,
Tolentinos student, Napoleon Abueva (b. 1930),
who would go against the standards, set by his
teacher.
His works sometimes contain elements of eroticism,
fun, wit, and playfulness.
He produced highly stylized, simplified, and
eventually abstract works
He did away with the traditional, idealized, voluptuous
muse of classicism and replaced it with the beauty of
a woman bearing a child.
 Nine Muses at
the UP Faculty
Center,

Kaganapan, 1953
Abueva utilized almost Kiss of Judas,
1955
all kinds of materials
from hard wood
(molave, acacia, langka
wood, ipil, kamagong,
palm wood and
bamboo) to adobe,
metal, stainless steel,
cement, marble, bronze,
iron, alabaster, coral and
brass.
 Solomon Saprid

Penitensiya Tikbalang
 Eduardo Castillo
The Filipino sculptor behind iconic pieces like
the People's Power Monument in EDSA, the
'Martyrdom of Dr Jose P Rizal' in Luneta Park,
the Andres Bonifacio Monument near the City
Hall of Manila