Elements and Principles of Art

1. Line

An element of art that is used to define shape, contours, and outlines, also to suggest mass and volume. It may
be a continuous mark made on a surface with a pointed tool or implied by the edges of shapes and forms. Line
may come in two characteristics: form – curved, dotted, or broken lines; and direction – vertical, horizontal, or
diagonal lines. Different characteristics of lines may convey different meanings:

a) Horizontal
Line creates an impression of serenity and perfect stability.
b) Vertical Line creates an impression of strength and perfect stability.
c) Diagonal Line creates an impression of action.
d) Curved Line creates an impression of gradual change of direction.
e) Circular Line creates an impression of abrupt change of direction.

Moreover, lines can be classified into different types:

a) Outlines are made by the edge of an object or its silhouette.
b) Contour Lines describe the shape of an object and the interior detail.
c) Expressive Lines catch the movement and gestures of an active figure.
d) Sketch Lines capture the appearance of an object or impression of a place.
e) Calligraphic Lines are the elegant handwriting or lettering done by hand.
f) Implied Lines are lines that are not actually drawn but created by a group of objects seen
from a distance.
2. Shape

Shape is an area that is enclosed by a line or lines. Shapes are two dimensional figures with height and width.
There are different kinds of shapes and these are geometric shapes, organic shapes, positive shapes,
negative shapes, static shapes, and dynamic shapes.
a) Geometric Shapes are circles, squares, rectangles,
triangles, and other geometric shapes.
b) Organic Shapes are shapes found in nature and are free
flowing, informal and irregular (abstract shapes).
c) Positive Shapes are the solid forms in a design.
d) Negative Shapes are the space around the positive shape.
e) Static Shapes are shapes that appears stable and resting.
f) Dynamic Shapes are shapes that appears moving and active

3. Color
Colors are the way we see light reflected from a surface or refracted through a prism. Colors we see in nature
are reflections of light on the surfaces around us. We can classify colors into primary colors, secondary
colors, tertiary colors, analogous colors, complementary colors, monochromatic colors, warm colors, and
cool colors.

a) Primary colors are red, blue, and yellow.

b) Secondary colors are the resulting colors when the two of the primary colors are mix. The
secondary colors are purple, green, and orange.
c) Tertiary colors are the resulting colors when two of the primary and/or secondary colors are mix. The
tertiary colors are amber, vermilion, magenta, violet, teal, and chartreuse.
d) Analogous Colors are colors that lie nest to each other based on the color wheel. Example of analogous colors
are yellow, orange, and red.
e) Complementary colors are colors that are opposite to each other based on the color wheel. Examples of
complementary colors are red and green, blue and orange, and purple and yellow.
f) Monochromatic Colors are several values of one color.
g) Warm colors are colors that give the feeling of warmth. The warm colors are yellow, amber, orange,
vermilion, red, and magenta.
h) Cool colors are colors that give the feeling of coolness. The cool colors are purple, violet, blue, teal, green,
and chartreuse.

4. Space
Space refers to distances or areas around, between or within components of a piece and refers to the
arrangement of objects on the picture plane (two-dimensional). In visual arts, space may either be positive
space or negative space. Positive space refers to a part which is enclosed in a shape. Meanwhile, negative space
refers to the opposite part which the shape is enclosing. Moreover, perspective is a technical means by which
we perceive distance in painting, by which we are made to see the position of objects in space.

a) In one-point perspective, we perceive that the position of objects meets at one point on the horizontal line.
b) In two-point perspective, we perceive that the position of objects meets at two points on the horizontal line.

5. Texture
Texture is the element that appeals to our sense of feel on things- rough or smooth, bumpy or slippery. It is
the character of the surface of an artwork.
a) Real texture is the actual texture of an object. Artist may create real texture in art to give it visual
interest or evoke a feeling.
b) Implied texture made a piece of art to look like a certain texture. Like a drawing of a tree trunk may look
rough but in fact it is just a smooth piece of paper.

6. Value
Value pertains to the lightness or darkness of a color in a given artwork. Value can be changed by adding white
or black to a color and these described as tint and shade.
a) Tint pertains to the lightness of a color.
b) Shade pertains to the darkness of a color.
7. Form
Form is the three-dimensionality of an object. It has dimensions of height, width, and length.

*According to Mader (2019), the elements of art are the visual tools that the artist uses to create a
composition. Consequently, principles of art represent how the artist uses elements of art to create an effect
and convey the artist's intent.

Principles of Art
1. Rhythm
This refers to the repetition of certain elements to produce a pattern.
2. Movement
Movement is the illusion of motion in a painting, sculpture, or design.
3. Balance
Balance refers to the visual weight in a picture. It refers to the even distribution of positions of elements in an
artwork. The principle of balance can be symmetrical or asymmetrical.
a) Symmetrical balance refers to an artwork wherein its both sides has the same elements in the same position.
b) Asymmetrical balance refers to an artwork wherein it is balance through the contrast or differences of any
of the elements of art.
4. Proportion
Proportion refers to the relationships of the size of objects in a body of work.
5. Contrast
This principle shows differences between elements of art in an artwork. It shows how stronger each element of
art in relation to one another.
6. Variety
This principle of art refers to the diversity or the different elements used in an artwork to make it more
interesting.
7. Emphasis
Emphasis refers to the greater impact or highlight given to a certain element in an artwork.
8. Harmony This principle of art refers to the unity of an artwork. It is about the arrangement of the related
elements that makes an artwork to be viewed as a whole.

The Order of National Artist

The Order of the National Artists Award (Orden ng Gawad Pambansang Alagad ng Sining) is the highest
national recognition given to Filipino individuals who have made significant contributions to the development of
Philippine arts. The order is concurrent administered by the National Commission for Culture and the Arts
(NCCA) and Cultural Center of the Philippines (CCP) and conferred by the President of the Philippines upon
recommendation by both institutions.
The award is one of the Honors conferred by the Republic of the Philippines that represents the nation’s
highest ideals in the humanities and aesthetic expression through the recognizable achievements of individual
citizens. The said achievements are measured in terms of their vision, unusual insight, creativity and
imagination, technical proficiency of the highest order in expressing Filipino culture and traditions, history, way
of life, and aspirations.
Under the Proclamation No.1001 dated April 27, 1972 the Order of the National Artist Award (Orden ng Gawad
Pambansang Alagad ng Sining was established. It gives an appropriate recognition and prestige to Filipinos who
have acclaimed themselves and made a remarkable contribution to Philippine arts and letters. The first award
was given to Fernando Amorsolo. On May 15, 1973 under the Proclamation No. 1144, CCP Board of Trustees was
named as the National Artist Awards Committee. The Presidential Decree No.28 that was issued on June 7,
1973 reiterated the mandate of CCP to administer the National Awards as well as the privileges and honors to
National Artist.

The Order of National Artists aims to recognize:

1.The Filipino artists who have made significant contributions to the cultural heritage of the country.
2.The Filipino artistic accomplishment at its highest level and to promote creative expression as significant to
the development of a national cultural identity.
3.The Filipino artists who have dedicated their lives to their works to forge new paths and directions for
future generations of Filipino artists.

The following are the seven categories under which National Artists can be recognized:
1. Literature – poetry, fiction, essay, playwriting, journalism and/or literary criticism;
2. Film and Broadcasting / Broadcast Arts – direction, writing, production design, cinematography, editing,
camera work, and/or performance;
3. Architecture, Design and Allied Arts– architecture design, interior design, industrial arts design, landscape
architecture and fashion design
4. Music - singing, composition, direction, and/or performance;
5. Dance - choreography, direction and/or performance;
6. Theater – direction, performance and/or production design;
7. Visual Arts – painting, sculpture, printmaking, photography, installation art, mixed media works, illustration,
graphic arts, performance art and/or imaging

Qualifications for the National Artist Award

1. Living artists who are natural-born Filipino citizens.
2. The content and form of their work have procured in building a Filipino sense of nationhood.
3. An artist who have developed a mode of creative expression or style and living a legend on succeeding
generations of artists.
4. An artist who manifest excellence in the practice of their art form
5. The artwork made has attained an international and national recognition.

Insignia of the Order of the National Artists

The insignia of the Order of the National Artists is formed from a Grand Collar featuring circular links
depicting the arts and an eight-pointed sunburst suspended from a sampaguita wreath in green and white
enamel. The center of the badge is divided into three equal portions, in red, white and blue representing the
Philippine Flag with three stylized letter K’s that stands for the CCP’s motto “ Katotohanan, Kabutihan at
Kagandahan “ ( The true, the good and the beautiful ). The Grand Collar is made from silver gilt bronze.
.

National Artists of the Philippines

The following are the National Artists of the Philippines grouped according to their categories and arranged to
the chronology of National Artist Award:

Architecture
1973 Juan Nakpil
1976 Pablo Antonio
1990 Leondro V. Locsin
2006 Ramon Valera
2014 Jose Maria Zaragoza
2006 I.P Santos

Dance
1973 Francisca Reyes Aquino
1976 Leonor Orosa-Goquingco
1988 Lucrecia Reyes Urtula
2006 Ramon Obusan

Film
1982 Gerardo de Leon
1997 Lino Brocka
2001 Ishmael Bernal
2003 Eddie S. Romero
2009 Manuel Conde

Literature
1973 Amado V. Hernadez
1973 Jose Garcia Villa
1976 Nick Joaquin
1982 Calos P. Romulo
1990 Francisco Arcellana
1997 N.V. M Gonzales
1997 Carlos Quirino
1999 Edith L. Tiempo
2001 F. Sionil Jose
2003 Virgilio S. Almario
2006 Bienvenido Lumbera
2009 Lazaro Francisco
2014 Cirilo F. Bautista

Music
1973 Antonio J. Molina
1976JovitaFuentes
1988 Antonio R. Buenaventura
1989 Lucrecia R. Kasilag
1991 Lucio D. San Pedro
1997 Felipe Padilla de Leon
1997 Jose Maceda
1997 Levi Celerio
1999 Ernani Joson Cuenco
1999 Andrea O. Veneracion
2014 Francisco Feliciano
2014 Ramon Santos

Theater
1987 Honorata " Atang" de la Rama
1997 Levi Celerio
1997 Wlfrido Ma. Guerero
1997 Rolando S. Tinio
1999 Daisy Avellana
2001 Severino Montano

Visual Arts
1972 Fernando C. Amorsolo
1973 Carlos " Botong" V. Francisco
1973 Guillermo E. Tolentino
1976 Victorio C. Edades
1976 Napoleon V. Abueva
1981 Vicente Manansala
1990 Cesar Legaspi
1991 Hernando R. Ocampo
1997 Arturo R. Luz
1999 J. Elizalde Navarro
2001 Ang Kiukok
2003 Jose T. Joya
2006 Abdulmari Asia Imao
2006 Bencab
2009 Federico Aguillar Alcuaz
2014 Francisco Coching
As envisioned in Republic Act No. 7355

Known as Manlilikha ng Bayan Act was established in 1992 and shall mean citizen engaged in any traditional art
uniquely Filipino, whose distinct skills have reached such a high level of technical and artistic excellence, and have
passed it on to in his or her community with the same degree of technical and artistic competence.

National Commission for Culture and the Arts (NCCA)

The highest policy and coordinating body for culture and the arts of the state. It has to search for the finest
traditional artist of the land who adopts a program that will ensure the transfer of their skills to others,
undertakes measures to promote a genuine appreciation of and crafts and give pride among our people about the
genius of Manlilikha ng Bayan.

The Gawad sa Manlilikha ng Bayan (GAMABA) Awardees

As Filipino who recognize the unique identities of our fellow Filipinos, it is the right to see their contribution to the
community. The country is rich with various elements of tangible and intangible cultural heritage which has passed
on the new generation. Culture as part of our Philippine identity includes a variety of arts that enhance by our
National Living Treasure artists who are recognized in their special contribution to the national heritage. These are
Filipino citizen who is engaged in any traditional art forms and has contributed to the development of cultural
diversity and the creativity of humanity.
Awardee Contribution Region
GAMABA Awardees for the year 1993
Ginaw Bilog Surat Mangyan and Ambahan Panaytayan, Mansalay,
(d. 2003) poetry Oriental Mindoro,
Preserve the Hanunuo Region IV-B
Mangyan script and Ambahan MIMAROPA
(poem consisting of seven-
syllable lines) and promote it
on every occasion so that the
art will not be lost but
preserved for posterity.

Masino Intaray Epic Chanter and Storyteller Pala’wan, Palawan Island,

(d. 2013) An outstanding master of the Region IV-B
basal (gong music), kulilal MIMAROPA
(highly lyrical poem) and bagit
(instrumental music played on
the kusyapi), also played the
aroding (mouth harp) and
babarak (ring flute) and above
all, he was a prolific and pre-
eminent epic chanter and
storyteller
Samaon Sulaiman Playing Kudyapi Mamasapano, Maguidanao,
(d. 2011) He achieved the highest level Western Midanao
of excellence in the art of Bangsamoro Autonomous
kutiyapi or kudyapi (two- Region in Muslim Mindanao
stringed lute) playing and also (BARMM)
proficient in kulintang, agong
(suspended bossed gong with
wide rim), gandingan (bossed
gong with narrow rim),
palendag (lip-valley flute), and
tambul.

GAMABA Awardees for the year 1998

Lang Dulay T’nalak Weaving T’boli/Lake Sebu, South

(d. 2015) She is credited with Cotabato, Mindanao,
preserving her people’s Region XII SOCCSKSARGEN
 traditional T’nalak using abaca
fibers as fine as hair which
traditionally has three
primary colors, red, black, and
the original colors of abaca
leave recreated by her nimble
hands-the crocodiles,
butterflies, and flowers.

Salinta Monon Inabal Weaving Tagabawa Bagobo/ Bansalan,

(d. 2009) She was awarded for fully Davao del Sur,
demonstrating the creative Region XI
and expressive aspects of the Davao Region
Bagobo abaca ikat (to tie or
bond) weaving called inabal
(traditional textile of Bagobo)
at a time when such art was
threatened with extinction.

GAMABA Awardees for the year 2000

Uwang Ahadas Playing Yakan Instruments Yakan/ Lamitan, Basilan

He referred to for his ability Island,
and mastery in playing different Bangsamoro Autonomous
Yakan instruments (made of Region in Muslim Mindanao
bamboo, wood, and metal) and (BARMM)
for imparting his insight to the
youngsters of his locale. He
keeps on performing and instruct
despite his diminishing visual
perception, keeping the Yakan
melodic custom alive and
thriving.
Federico Caballero Chanting the Sugidanon Epic of Sulod-Bukidnon/ Calinog,
the Panay Bukidnon Iloilo, Panay Island,
He continuously works for the Region VI
documentation of the oral Western Visaya
literature, in particular the
epics, of people. These ten epics,
rendered in a language that,
though related to Kiniray-a, is no
longer spoken.

Alonzo Saclag Playing Kalinga Musical Kalinga, Northern Luzon

Instruments Island,
His lifestyle work is to paint a Cordillera Administrative
portrait of his people to record Region (CAR)
a tradition of opposites and
dualities, a peoples’ character
recorded in cadences each
aggressive and gentle. Play
Kalinga musical instruments
dance patterns and moves
related to rituals.

GAMABA Awardees for the year 2004

Hajja Amina Appi Mat weaving Ungos Matata,

(d. 2013) She was recognized as the master mat Tandubas, Tawi-
 weaver. Her colorful mats with their Tawi,
complex geometric patterns showcased Bangsamoro
her precise sense of design, proportion, Autonomous
and symmetry and sensitivity to color. Region in Muslim
Mindanao
(BARMM)

Eduardo Mutuc Metal Plating Apalit, Pampanga,

He is an artist who has devoted his Region III
existence to developing religious and Central Luzon
secular artwork in silver, bronze, and
wood. His intricately detailed retablos,
mirrors, altars, and carosas are in church
buildings and non-public collections. A
range of these works are quite large, some
exceeding forty feet, whilst some are very
small and feature very nice and refined
craftsmanship.

Darhata Sawabi Pis syabit Weaving Tausug/ Parang,

She remained devoted and persevered Sulu,
with her mission to teach the artwork of Bangsamoro
pis syabit weaving. Her strokes firm and Autonomous
sure, her color sensitivity acute, and her Region in Muslim
dedication to the best of her products Mindanao
unwavering. (BARMM)

GAMABA Awardees for the year 2012

Magdalena Abel Weaving Pinili, Ilocos

Gamayo She has been a master in abel weaving Norte
from Pinili, Ilocos Norte. She is not only Region I
weaving traditional Ilocano textiles but Ilocos Region
also designs new patters. One of her
designs employs a difficult weaving
technique called pililian meaning partially.
The weave produces a one of a kind design
that takes after a string of flowers thus
its name, inubon a sabong. She did not
formally study such traditional art.
Instead, she watched closely as her aunt
made and imitated the patterns.

Teofilo Garcia Kattukong or Tabúngaw Hat Making San Quintin,

When he finishes fieldwork as a farmer, Abra,
he focuses on the cultivation and Cordillera
development of tabúngaw (Ilokano term Administrative
for úpo). At the age of fifteen (15) he Region (CAR)
learned the art of Kattukong or tabúngaw
hat making and basket weaving from his
grandfather.

GAMABA Awardees for the year 2016

Ambalang Ausalin Yakan Weaving Lamitan, Basilan
Apuh Ambalang, is significantly respected Island,
in all of Lamitan. Her ability is regarded Bangsamoro
unique: she can bring forth all designs and Autonomous
actualize all textile categories ordinary to Region in Muslim
the Yakan community, who are known to be Mindanao
among the finest weavers within the (BARMM)
Southern Philippines. She can perform the
suwah bekkat (cross-stitch-like
embellishment) and suwah pendan
(embroidery-like embellishment) techniques
of the bunga sama category. She has the
complex knowledge of the whole weaving
process, mindful at the same time as the
cultural significance of each textile design
or category.

Estelita Tumandan Bantilan B’laan Mat Weaving Upper

Since she was a child, she was bright and Lasang, Sapu
careful in tangle weaving. Her perseverance Masla,
took place because of her supportive Malapatan,
husband. The thin strips of the pandanus Saranggani
romblon (Pandanus copelandii merr. Bariu) Region XII
rise matrixed through deft fingers SOCCSKSAR
performing an individual rhythm, the beat GEN
guided by her eyes. The unwoven strips are
held tight at the other end of her body, as
toes curl and close around, not only these
strips but, as it were, the abstraction that
other people call design. The arc of her torso
determines the dexterity of feet and toes.
Hand/eye coordination happens inside a
frame of milliseconds.

Yabing Masalon Dulo B’laan Ikat or Tie-dye Fabric Weaving Amguo,

Yabing Masalon Dulo, called as “Fu Yabing”, Landan,
was only fourteen (14) years old when she Polomolok,
started weaving. All her younger years were South
spent in sharpening her skills and imparting Cotabato
the knowledge to younger generations of Region XII
B’laan weavers. SO
She follows her mother’s movements back
and forth. She colors the fibers, counts the
thread, and observes the rhythmic dance of a
weaver’s dreams woven into unique soulful
pieces.

The following are some of the significant contributions of the artists through their arts.

1. Unique Identity.
Traditional arts reflect our diverse heritage and cultural traditions. This is evident in all arts created by the
artists who receive the GAMABA award. One of these arts is weaving. Though weaving has long been part of our
traditions, the use of different materials and the different tedious process make each art unique.
Haja Amina Appi of Ungos Matata, Tawi-Tawi shows how pandan can be weaved into mats with vibrant colors,
beautiful geometric designs and fine symmetry. These mats are usually used by their people for prayer or as a gift
to the newly-weds.
In Luzon, weaving is preserved through Magdalena Gamayo who used traditional patterns. Her work is marked by
her ability to replicate designs with excellence and consistency.
Another artwork of the same kind is t’nalak (a fine abaca cloth) by Lang Dulay of Lake Sebu, South Cotabato. She
worked on traditional designs like bulinglangit (clouds), kabangi (butterfly), crocodiles, and flowers.
As you can see, though these artists worked on the same art (weaving), their artworks in their community is still
uniquely created showing the identity of their community (Estrella, 2020).
2. Exemplary Skills.
The artwork of Eduardo Mutuc from Pampanga shows how his skills developed from being a farmer to one of the
furniture carvers. To earn an income, he really practiced his skills and became one of the most respected creators
of religious and secular arts today. He was awarded in 2004 for his detailed and lifelike pieces of varying sizes:
altars, mirrors, retablos, and carosas made with wood, silver, and bronze.
Uwang Ahadas, on the other hand, shows his exemplary skill in music. At a young age, he learned to play music with
his siblings. Though kwintangan was usually played by a woman, he mastered playing it. It is made of logs used to
call abundant harvest of grains.
Another musician who has shown superb skills is musician Samaon Sulaiman who was a master of the kutyapi, a two-
stringed lute. He was also proficient in playing other instruments such as the kulintang, agong (a suspended gong
with a wide rim), gandingan (agong with a narrow rim), and tambul.
3. Way of Life
Alonzo Saclag of Lubuagan, Kalinga mastered local musical instruments, along with dance patterns associated with
rituals. These performances are performed during celebrations or communal agreement such as peace pacts. To
pass this tradition, Saclag took a formal education reaching radio stations and creating Kalinga Budong Dance
Troupe.
Hearing the tales as told by his mother, epic chanter Federico Caballero of Calinog, Iloilo learned Suguidanon, a
Central Panay epic. Though Central Panay is located in the mountains, the epic tells about characters and settings
that reflect that his people might have lived once in seashores in the past. Also, this epic was usually chanted by a
binukot, a woman of high status. Regardless of education and social status, women were not given authority.
Instead, they were trained for embroidery and memorization of epic. Caballero is known to keep the local oral
traditions through his chants (Gowey, 2016).
4. Enduring Values
Values are usually reflected in literary arts such as poem. Thus, the Mangyan script is one of the four remaining
syllabic scripts in the country which was preserved through Ginaw Bilog of Mansalay, Oriental Mindoro. He was
most popular in writing ambahan (a metaphoric poem comprising seven-syllable lines) on traditionally used bamboo
tubes. His poems about advising the young, bidding a friend goodbye, and asking for a place to stay show how
Filipinos express their affection to their family and friends.
Values is not only reflected in the art product but also on the process in which it is created. In textile weaving, we
can see the artists’ dedication to their work as they intricately put different elements of arts such as color,
harmony and shape to create a distinct and vibrant 3 design. Spirituality is also evident among Filipino artists as
they use subjects related to their faith such as the textile designs by Darhata Sawabi of Sulu and carvings by
Eduardo Mutuc.
There are countless values that are reflected on the artists’ work but one thing that is evident to their works is
their unselfish desire to share their knowledge and skills to the next generations to enjoy and to see as part of
their beings as Filipinos.
5. Vision.
The traditional art shows the artist’s vision. Moreover, it also inspires us to make the existing art as an inspiration
to enhance the art or create our own artwork. Teofilo Garcia is a gourd hatmaker from San Quintin, Abra. Since
he is a farmer, he sees the need of gourd casques. He used the tabungaw (gourd) plant for useful protective hats
to help the farmers overcome heat during farming. Because the hat was made creatively and finely, he joined a
festival to show his artwork. Who would have thought that a simple hat to help our farmers would soon become a
recognized art? He did.
Also, Salinta Monon, a respected textile weaver from Davao Del Sur, isolated herself from her family for months
to finish her art. She once dreamt of establishing the art through teaching new would-be weavers.
In conclusion, the artworks of our GAMABA awardees are indeed living treasures. Their arts do not only express an
idea or feelings but they also carry significant contributions that are imbibed through generations. and inspired
the contemporary arts that we use and see today.

The traditional and contemporary artists’ mode of production continues to be affected with the dynamics of
change in the environment. Nonetheless, environment is considered of its utmost importance – this is where
resources are gathered and shared, and where culture is performed. So, let’s recognize some factors that affect
the traditional or contemporary artist’s production process.

THE PRODUCTION PROCESS AND THE CHANGING ENVIRONMENT

1) Tourism
Land areas are converted into sites for tourist consumption. In this situation, ecological domains may become more
vulnerable to damage with the combined forces of natural disasters and tourist mobility. Moreover, tourist mobility
might influence the community’s observance of tradition and tend to diminish the quality of native art forms.
Removed from their original context, the works are transformed into mass produced souvenirs in order to meet the
demands of the tourist trade. Neon colors and designs woven from synthetic fibers have been made available in
recent years to create appropriations of traditional textile designs for commercial purposes.
2) Militarization
The insecurity and tensions brought about by militarized zones apprehend the people’s ability to create art. It
prevents people from having communal gatherings, where exchanges and passing of knowledge can take place.
3) Christianization
The influence of Christianity and the conversion of the natives to a foreign religion have affect the preservation
of their indigenous rituals and traditions. However, in some cases, the community finds a way to harmonize their
indigenous ways with traditions of Christianity. For example, the Manobo community of Mt. Apo initiated a “culture
regeneration movement.” As Christian converts, they sought the revival of their traditions by holding clan reunions,
employing native wedding rites, and recalling narratives of their culture through painting.
These factors that affect the tradition and contemporary art production process of Philippine artists are given an
effort to solve and address by the different institutions that support and promote art. It is important to know
these institutions, museums, galleries, and organizations in order to know the authorities of art in the Philippines
that we can look to when intending to learn more about our country’s rich culture and art

SUPPORT SYSTEMS OF PHILIPPINE ART

There are several established authorities, institutions, markets, galleries, and award-giving bodies that supervise
the protection, promotion and nurturing of culture and art and that establish the support systems of arts in the
Philippines. These authorities, institutions, markets, galleries, and award-giving bodies make sure that traditions
involving art and culture are kept alive despite of modernization and technological advancements, set the standards
for the different forms of arts, exhibit objects of cultural and artistic interest, financially supported visual
artists, recognizing outstanding art making, and teach and nurture artistic skills and knowledge of Filipino about
culture and art. Hence, below are some authorities, institutions, markets, galleries, and award-giving bodies in the
promotion of Philippine arts:
1) National Commission for Culture and the Arts
The National Commission for Culture and the Arts is the overall policy making body, coordinating, and grants giving
agency for the preservation, development and promotion of Philippine arts and culture; and an executing agency for
the policies it formulates (Dumandan, 2019).
2) Cultural Center of the Philippines
The mission of the Cultural Center of the Philippines is the leading institution for the arts and culture in the
Philippines by promoting artistic excellence and nurturing the broadest publics to participate in art making and
appreciation (Dumandan, 2019).
3) National Museum
The National Museum is an educational, scientific, and cultural institution that acquires, documents, preserves,
exhibits, and fosters scholarly study and public appreciation of works of art, specimens, and cultural and historical
artifacts representative of the unique cultural heritage of the Filipino people and the natural history of the
Philippines (Dumandan, 2019).
4) Metropolitan Museum of the Philippines
The Metropolitan Museum of Manila is one of the major museums in the Philippines. The museum was among the
first to develop and extend its audience by embracing the philosophy of art for all, adopt a bilingual approach in
exhibition texts, and implement a vigorous education and community outreach program. The museum seeks to
amplify the Filipinos' sense of artistic and cultural heritage from the past and in contemporary global contexts and
experiences (Dumandan, 2019).
5) Ben Cab Museum
The BenCab Museum houses the permanent collection of Philippine National Artist Benedicto Cabrera (BenCab) in
several galleries, as well as venues for art shows and exhibitions. The Bencab Museum is committed to the
promotion of arts, and the preservation, conservation and protection of the environment and culture and traditions
of the Cordilleras. This commitment of the museum is an expression of the artist’s gratitude to the country that
nurtured and inspired an artistic career that continues to grow, mature, and fascinate (Dumandan, 2019).
6) Art Fair Philippines
Art Fair Philippines is the premier platform for exhibiting and selling the best in modern and contemporary
Philippine visual art. The fair aims to mirror the vibrant local art scene and continue to generate support for
Filipino art practitioners (Dumandan, 2019).
7) ManilART
ManilART is the Philippines' premier international art fair. It showcases the best in contemporary visual arts for
the development and promotion of Filipino art and culture locally and internationally. ManilART elevates the
standards and celebrates the dynamic Philippine art scene through various art exhibitions connecting world class
artists, institutions, and the community. It reinforces the awareness of and the appreciation for Philippine visual
arts by merging it with other disciplines through lectures, workshops, demonstrations, and other activities with the
support from both local and foreign exhibitors (Dumandan, 2019).
8) Finale Art File
Finale Art File is considered as a premier gallery institution in the Philippines. It showcased hundreds of exhibits
by some of the most talented names in contemporary visual arts. It has successfully balanced the demands of a
commercial establishment and an artistic venue. This gallery occasionally features experimental works that push
artistic boundaries and challenge audience expectation (Dumandan, 2019).
9) Kublai Art Gallery and Davao Contemporary Art Gallery
The Kublai Art Gallery and Davao Contemporary Art Gallery is a unique cultural expression of Davao’s visual artists.
The gallery showcases various works by Mindanao’s famed artist Kublai Ponce-Millan, as well as different artists
from the city (Dumandan, 2019).
10) Thirteen Artists Awards
The Thirteen Artists Awards mark the turnings in and of Philippine contemporary art, to update its modernizing
potential and to assess how artists today engage with other forces in the art world (Dumandan, 2019).