Tuesday, October 14, 2014

209. FAMILY FIRST: A Folk Urna From Ilocos


FAMILY FIRST: A Folk Urna From Ilocos

 I remember the moment when I acquired my first antique urna, complete with the figures of Joseph, Mary and Jesus. It was in the early ‘80s when I started collecting santos, thanks to my Creative Director who turned me on to this fascinating hobby. But back then, my 50 peso budget could only buy ‘buraots’—an antique dealer’s parlance for old pieces on the verge of being called junk. So, my first pieces were crudely carved flatback santos, santo fragments ( a carabao from a San Isidro tableau, a Nazareno hand) and small crucifixes, often without bases.


 It was while on a shooting assignment in Baguio, sometime in 1982 that I bought my first complete santo ensemble in an urna—not a santo fragment, not an incomplete figure--but an almost perfect primitive altar from Ilocos. In a break from the shoot, I accompanied my boss to Maharlika Shopping Center—then Baguio’s center for arts, antiques and souvenirs, located in a multi-storey building right in the market district. Pinky Garcia, then, an up and coming antique dealer, had a shop there—already called PNKY—and that’s where I beheld the folk altar for sale.


The first thing I noticed was its rich, smooth patina, indicative of its antiquity. It was in the shape of a house, with a tin roof, topped with a turned finial and trimmed on the side with two graceful wooden swirls. Four columns marked the corner of the main structure, that sat on short carved legs. Wooden frontals were carved and decorated with floral swirls and curlicues. Inside the altar were the carved wooden figures of the Child Jesus, flanked by Mary and Joseph. The naïve figures were no more than 10 inches tall, crudely carved and feature-less, but painted with once-rich hues, with their dressed painted with flourishes.


 The whole ensemble was fashioned from soft wood and wood scraps—the latter, used as a backing for the urna. It had stood unscathed for years, saved for a few missing hands, tin halos and San Jose’s staff. I wondered too, if the urna once had glass panels, or if it had a door of some sort, but there are no nail marks to indicate that it had been equipped with these. The dealer had identified this antique piece as a Tagalog altar, but an expert corrected me to say that the style was very much from the Ilocos region.


Whatever, I fell in love with the urna, and so shyly, I asked the dealer for her best price. When she showed me the price tag—Php600—I nearly fell off my seat—it was way out of my league! I only had a Php 200 ‘baon’ for the duration of my production work (I still had a day to go). But—she added---she could lop off a few pesos more, arriving at a final, non-negotiable price of Php 495! Unfortunately, I still could not afford the discounted price—so sadly, and with a deep sigh, I turned away.


 The next day, we packed up our shooting and made a final dash to the Baguio market to buy last-minute pasalubongs for the folks back in Manila. This time, I was with my boss, and I egged her—being a more knowledgable collector--to check out the urna which I wanted, as the shop was just a floor above us.


 Of course, she was charmed by the piece! She then advised me to buy it, as the urna she said, was in such pristine condition and that I can’t get that piece for a Php495 once it is brought down to Manila. I told her though, that much as I liked it, I couldn’t afford it—and proceeded to show what’s left of my baon—all of Php150.

 “Goodness, Alex! Why didn’t you tell me? I can lend you that amount and you can pay me back anytime!”. It was so unexpected that I felt so embarrassed, and I started to object, protestations that fell on deaf ears. Right then and there, she whipped out her credit card from her waller, and dealt with the shop owner herself. I insisted that I chipped in my last remaining Php100, so she was charged just Php395 on her card.

 We walked away from the antique shop with me lugging the packed urna proudly with one hand, along with my longganisa and peanut brittle. In the ensuing years, my dear boss would resign and make a splash as an accomplished advertising creative in Malaysia, while I would remain in the industry, until I too, joined the expat bandwagon in 1989. But through all those years, I have kept my beautiful Ilocos urna for 32 years—not just as an artifact of our religious history, but also as a wonderful reminder of the boundless kindness of friends.

Sunday, October 12, 2014

208. OUR LADY OF THE ROSARY, Santissimo Rosario Parish, U.S.T.


OUR LADY OF THE ROSARY, Santissimo Rosario Parish, U.S.T. ca. 1960. 

 The 1960 celebration of the Feast our Lady of the Most Holy Rosary, from September 24 to October 2, was pacled with activities and marked with great pageantry, culminating in the grand procession of the images of Our Lady and St. Joseph in the late afternoon of Oct.2, Sunday. The Santissimo Rosario parish itself was erected on 2 May 1942, with its seat at the Students’ Chapel and Fathers’ Residence of the UST.

The first parish priest was the very rev. Fr. Emiliano Serrano O.P. U.S.T.’s close association with Our Lady of the Most Holy Rosary began just before Santo Domingo Church was firebombed in December 1941, at the heaight of war. The miraculous image of our Lady was transferred under military escort to San Juan de Letran. But with Letran also under threat, the image was transferred to the U.S.T.’s Students’ Chapel where Our Lady stayed as a refugee, until her enshrinement at her magnificent church in Quezon City, built in 1954.

 A replacement image was installed in the chapel, made of wood and carved in the round. It depicts a standing Mary, with the Christ Child on her left arm, while holding a rosary with the fingers of her right hand. The smaller-than-lifesize crowned image stands on a cloudy base adorned with flowers. 

The devotion to Our Lady never waned even with her transfer, but in fact, became even stronger, as people flocked to U.S.T. to implore her maternal assistance particularly in October. The 1960 solemn festivities were marked with daily masses, novenas, flower offerings and vigils.

Block rosary units, established early in the parish area, practiced the “recitation of the rosary in the “Rosario de la Aurora”(dawn rosary) procession. This devotion took place at 4 a.m. on the first Saturdays of the month—from May to October. The faithful, carrying images our Lady and their candles, assembled at the U.S.T. gate and marched in procession around the campus, singing Ave Marias and praying the Rosary.

 Today, the grandeur that was the pre-war Santo Rosario fiesta lives on, as more devotees from all corners of the Philippines gather every October to personally reaffirm their faith in the unfailing protection of their patroness, Our Lady of the Most Holy Rosary.

Tuesday, October 7, 2014

207. HOLY FAMILY: Ivory Carving Style In Transition

HESUSMARIOSEP! An antique ivory grouping of the Holy Family, 13 inch., tallest figure, dressed manikin figures,  ivory face masks, ivory hands, wooden bodies, human hair wigs, rose gold metal. Century old. Personal Collection.

One of the more exciting santo finds I came across is this very old Sagrada Familia (Holy Family) grouping, rendered in ivory, offered by a Quezon City antique shop. I had coveted it since the day I saw it, alongside another more refinely carved, albeit smaller Holy Family ensemble.


Luckily, it remained unsold for months, long enough for me to save up for it. That's how I came to possess this Holy Family in ivory, complete in its urna with the initials of the owner incorporated as cut-outs in the altar's design.


To a self-taught Filipino carver, ivory was a new medium with which to perfect his art, honed after years of working with wood.


 Few carvers though had access to ivory, and only a few could afford to work this new medium. As such, early ivory figures either had pin-sized ivory heads or had wooden heads with ivory masks.
 

This Sagrada Familia group however has nearly all the trappings of a classically carved ivory images—from the intricately styled human hair wigs to the garments lavished with gold embroidery.



 Even the metal works are wrought in detail, with fine “pukpok”patterns, rendered in tumbaga or low-grade rose gold.


The craftsmanship is even more apparent in the mini-rosary that the little Niño wears, complete with chain links and a cross.


 The refined details of the tableau ends there, as one inspects the carving quality of Jose, Maria and the Niño.


The artist obviously strived to achieve classic realism in the facial features, but strong naïve elements still persist in the completed work.


The facial features are emotionless, stoic, the fingers carved in the so-called “tinidor”style—no delicate curves or joints, just straight digits.


 The treatment of the stoney mound on which the figures are attached is unremarkable—there is no attempt to include landscape details such as rocks, grass and textural elements.


 The transition from popular carving to the classical style has yet to be successfully bridged in this ivory group—which makes this Sagrada Familia special—an example of a Filipino artist’s striving to improve and perfect his art, a process of evolving so he could be at par with the world’s best.


Sunday, September 28, 2014

206. ESTEBAN SAMPZON, An 18th Century Filipino Carver in Argentina

CHRIST OF HUMILITY AND PATIENCE, ca. 1788-93, Attributed to Esteban Sampzon, polychrome and wood, h.99 cm.(3 ft. 3 in.) Church of La Merced, Buenos Aires, Argentina. PHOTO FROM: ART OF COLONIAL LATIN AMERICA, by Gauvin Alexander Bailey.Phaidon Press, p. 64. 

 Esteban Sampzon (fl. 1773-1800) is perhaps, the earliest Overseas Filipino religious sculptor who found work in Argentina, South America in the late 1700s, as documented by the Spanish art historian, Enrique Marcon Dorta. A birth record under his name exists in the parish of San Bartolome in Malabon.

Virtually nothing is known of his early life in the Philippines, or whether he received his artistic training there. Most likely, Sampzon reached Spanish America via the Manila Galleon or Brazil. He was already known making a living as a carver n Buenos Aires in 1773, when he was recorded living in a monastery in Santo Domingo.

 Specializing in extremely naturalistic sculptures of saints characterized by a powerful sense of emotion, Sampzon became one of the leading sculptors of the Viceroyalty of Rio de la Plata. In 1778, he identified himself as “escultor de profesion y de condicion indio de la China”. He was already married to one Bernardina Hidalgo when he moved to Cordoba between 1787 and 1807, after receiving commissions from the Dominicans.

 In 1788, he was involved in a lawsuit after an injury. This resulted in his arrest on orders from Mayor Francisco Antonio González of Cordoba, and a trial ensued before the Royal Audiencia. Sampzon won his case and received financial compensation. After all, he was highly regarded as a creator of sacred images for the Church .

 The rest of his life were spent between the cities of Cordoba and Buenos Aires. Blindness and disease took their toll on this gifted Filipino artisan; he sold some of his property and settled in Buenos Aires, where he died circa 1830.

 Sampzon’s style reflects that of the iconographic tradition of Spanish Juan Martinez Montanes and other Baroque masters. His works are described as imbued “with a certain calmness and rhythmic facial treatment”, typical of Chinese-Filipino talleres of the seventeenth century. His realistic anatomical treatment of figures were also noted.

WORKS ATTRIBUTED TO SAMPZON:
• Christ of Humility and Patience (Church of La Merced)\
• San Judas Tadeo, (Church of la Merced, ”un San Judas tadeo, Buena escultura de Esteban Sampzon, escultor Filipino, fue regalado en 1803 por Francisco del Escalado”)
• Christ of the Good Death • Santo Domingo Penitent (Fernández Blanco Museum, Buenos Aires. The penitent is depicted naked, characterized by a finely carved hair, though not as fine as those in Sampzon’s native land)
• San Matias, Lucas, Marcos, Juan, (the 4 Evangelists, Cathedral of Córdoba, Córdoba

 SOURCES:
ART OF COLONIAL LATIN AMERICA, by Gauvin Alexander Bailey.Phaidon Press, Ltd. 2005, p. 64. 
POWER + FAITH + IMAGE, by Regalado Jose & Ramon Villegas, Ayala Foundation. (c) 2004.

Monday, September 22, 2014

205. THE BABE ‘N BELEN PROJECT


As a collector, I don’t only collect what I like. I also collect because I see possibilities in many things—whether they be tattered, old, or missing a piece. Therein lies my problem—in my house, I have many odds and ends in various stages of decay, but which I never throw away. My instinct often tells me that these once-loved objects can be a. restored b. salvaged c. re-loved d. adapted for re-use. Which often leads to challenging projects like this Belen project which took about half a year to complete.


 It started with an old wooden sleeping Niño that I found in a provincial antique shop. It was not exactly an impressive piece—it had been thrown in for a song, together with a large San Antonio I had purchased separately. Nothing remarkable about its carving . In fact, it even had a chipped foot.


But sleeping Niños are always hard to come by—be they expensive ivory or plain wood. So, I took it home, repaired its foot (using epoxy clay) and set it aside—in an old urna shared with its original occupant, a bigger sleeping Niño.


 So for months, there it lay—until one day, I saw an unusually small wooden structure in another antique shop I frequent. It was topped with a cross, so I assumed its an old altar, but it has such an intriguing design—there are no indications if the open parts were covered in glass, no doors, no hinges.


 It had a sort of a headboard with a circular flower cut-out, a motif I have seen on old bauls and comodas. The top also had a carved leaf-like appliqué which looked askew. Could this be a miniature toy furniture? Or a mini-urna?


 Anyway, I took it home and envisioned a wooden casing for my homeless wooden Niño. The first thing I did was to strip off the layers of greenish paint that have accumulated as a pasty muck on the wooden surfaces. I decided to remove the carved wooden trim too. 


 After I filled in some holes and other imperfections, I sent it to my frame-maker for a quick week-end paint job. Then, I had the 3 open sides outfitted with glass panes, using the same rubber glue for installing windows. The back, which had the “headboard”, was left open (I put a small curtain to cover it, instead.)


 As the “pediment” looked bare without the carved trimming, I checked my stock of “collectible junk” and found an old brass ribbon trim, that I neatly tacked on top. I used vintage lace to decorate the front and the sides of the altar, then sewed a velvet cushion pad and a pillow for the Niño.


 Maybe I’ll decorate it with some mother-of-pearl flowers when I find the time, but for now, I consider my Babe ‘n Belen Project completed---just in time for Chirstmas!!


Sunday, August 24, 2014

204. Part III. "O BEAUTY EVER ANCIENT, EVER NEW", 2011 Ecclesiastical Art Exhibit


More photos from the ecclesiastical art exhibit, "O Beauty Ever Ancient and New..", held at the San Agustin Museum, Intramuros, Manila. 12 November 2011.

SANTA MARTA

SANTO NINO DE CEBU

SAN CAYETANO

STO. NINO ALMIRANTE


VIRGEN DEL ROSARIO

CRISTO CAUTIVO

MATER DOLOROSA

STO. NINO DE LA ESTRELLA

CRISTO DE LA PACIENCIA

MATER DOLOROSA

Friday, August 15, 2014

203. Part II, "O BEAUTY EVER ANCIENT, EVER NEW", 2011 Ecclesiastical Art Exhibit

More photos from the ecclesiastical art exhibit, "O Beauty Ever Ancient and New..", held at the San Agustin Museum, Intramuros, Manila. 12 November 2011.

SAN PEDRO REGALADO & SAN IVO

INMACULADA CONCEPCION

STA. MARIA MAGDALENA

INMACULADA CONCEPCION

SAN AGUSTIN

SAN RAFAEL

BAMBINA MARIA

SAN RAFAEL

SAN PIO QUINTO

VIRGEN DEL ROSARIO

CRISTO CAUTIVO

SAGRADO CORAZON DE MARIA