Saint Estanislao Kostka College, Inc.

GEN ED 6 ARTS APPRECIATION SUMMER CLASS 2021-2022

Subject and Content

In the Philippines, which is predominantly a non-museum-going public, looking at art has

always been a tricky business. This is true not only for novices, but also at times, confronts the
long-time art aficionados. One of the major hurdles that spoils an individual's engagement with
an artwork is the notion that in order to appreciate it, one must be able to extract a specific
image, isolate the artist or maker's intention, and unearth a particular meaning. Failure to do so
automatically implies a failure of comprehension and therefore, failure of the experience. This,
however, relegates art engagement and therefore appreciation to the very few who had
training and instruction in producing and in reading art. This should not be the case.
The primary stage of engaging with art is. its perception. Looking at art is much like any
instance of taking in information or stimulus that originates from the world around us. For most
art forms, the beginning of engagement is through looking at the artwork. The eyes play a big
role in mechanically making a vision possible. However, like any tool, it is but one component.
What makes the difference is the awareness in the process of looking where subjectivity is
essential in navigating through the artwork. Subjectivity is illustrated in the way that selective
perception renders one or two details more prominent than others, prompting the viewer to
focus on some details as essential or as standouts. Even the disposition or mood of the viewer,
his education, his background, and his exposure to varying contexts contribute to what
information is taken in and how they are interpreted. To herd all of these into coherence and
intelligibility, the relationships of visual details presented, the ideas and feelings that they cull,
and other springs of information may be consulted.
In most cases, there are clues that mediate between the artwork and the viewer, allowing
the viewer to more easily comprehend what he is seeing. These clues are the three basic
components of a work of art: subject, form, and content. These components are largely
inseparable from each other and usually related to each other.
In this chapter, subject and content will be discussed, while form will be better examined
in Chapter 6. To differentiate them briefly, subject refers to the visual focus or the image that
may be extracted from examining the artwork, while content is the meaning that is
communicated by the artist or the artwork. Finally, the development and configuration of the
artwork--how the elements and the medium or material are put together—is the form. In
simpler terms, the subject is seen as the "what"; the content is the "why"; and the form is the
"how."
In the field of the sciences, experimentation is the key to proving a hypothesis or a larger
theory. Often, an experiment is done multiple times to further prove the reliability of an
outcome. Therein, empirical or observable data in the form of visible or tactile qualities, events
or occurrence, yielding an output or by-product must follow after a step or a series of
processes. In the arts, there are also observable qualities that the artwork holds that will point
to its subject, and sometimes even to its content. In order to flesh out what the subject of the
artwork is, it is important to first look at the constituent figures that are perceivable on the
surface of the canvas or the sculpture, and the manner in which the artist chose to depict those
figures. From these, the type of subject can then be inferred.
Types of Subject
One of the most iconic and recognizable paintings all over the world is the "Mona
Lisa" done by Leonardo da Vinci. Some questions are often raised regarding this artwork, like
Saint Estanislao Kostka College, Inc.
GEN ED 6 ARTS APPRECIATION SUMMER CLASS 2021-2022
"Who is Mona Lisa?" "Why was Leonardo da Vinci compelled to paint her?" But as scholars
attempt to solve the true identity of the sitter, it is relevant to note that there is a consensus
that the Mona Lisa—whoever she is—is based on a real person.
Leonardo da Vinci, "Mona Lisa" (1503). Musée du Louvre Collection.
Portraits such as the "Mona Lisa" are good examples of what is called representational art.
These types of art have subjects that refer to objects or events occurring in the real world.
Often, it is also termed figurative art, because as the name suggests, the figures depicted are
easy to make out and decipher. Despite not knowing who Mona Lisa is, it is clear that the
painting is of a woman that is realistically-proportioned; only the upper torso is shown; a
beguiling and mysterious smile is flashed; and that the background is a landscape-probably a
view from a window. Pushing it even further, one can even imagine a scene in which Leonardo
da Vinci alternates between applying dabs of paint on the canvas and looking at the sitter in
order to capture her features for the portrait.
On the other hand, seeing a painting that has nothing in it but continuous drips of paint or
splotches of colors either confounds the viewer or is readily trivialized as something that
anyone with access to materials can easily make. The works of Jackson Pollock, who is known
for his "action paintings,” are often subjected to these remarks. Using large-scale canvasses that
were usually laid out on the floor or resting on a wall, Pollock tilted his paint can and allowed
paint to drip. Assisting it with movement, he used other implements such as hardened brushes,
knives, sticks, and trowels to add detail, texture, and dimension to his paintings. There were no
clear figures that jot out from the canvas, there were only drips and splashes. This kind of work
can be subsumed under the category of non-representational. As the opposite of the previously
discussed type of subject, non-representational art is also often termed non-figurative art.
Jackson Pollock, detail of "Number 1A" (1948). Oil and enamel paint on canvas. Museum of
Modern Art (MOMA) Collection. Photo courtesy of Sharon Mollerus.
Non-representational art does not make a reference to the real world, whether it is a
person, place, thing, or even a particular event. It is stripped down to visual elements such as
shapes, lines, and colors that are employed to translate a particular feeling, emotion, and even
concept.
It is in this light that representational works are often favored because they are easier to
recognize. Viewers find a greater degree of comfort when what they see registers as something
familiar. They then continue to process this understanding, sometimes even becoming
confident enough to share their insights to others. It can be argued then that an artist is faced
with a strong persuasion of creating works that veers toward representational art. However, it
is not simply an issue of assumed preference; rather, it cuts across matters relating to prevailing
themes, norms, and practices of specific historical moments.

Non-representational Art and Abstract Art

Pablo Picasso, "Head of a Woman, Mougins" (1962). Metal cut-out, folded and painted.
Musée National Picasso-Paris.

One source of confusion is the notion that non-representational art is the same as
abstract art. This is essential to discuss because it introduces the fact that representational art
and non-representational art is not a clear-cut divide; rather, they exist in a spectrum. An
abstract work of Pablo Picasso is great example to illustrate this. Although he is more known for
Saint Estanislao Kostka College, Inc.
GEN ED 6 ARTS APPRECIATION SUMMER CLASS 2021-2022
his paintings, he also dabbled into other works including sculptures. Cut metal that is hinged on
a metal base, there is a palpable distortion of the image—whatever it is-seems to be melting.
Even without reading the title from the caption, mere seconds of looking at the combination of
lines, shapes, and colors of the sculpture will point to a head of a woman. Even with the
abstraction of the image, this work is arguably representational. As a guide, an artwork,
depending on the degree of distortion or abstraction, may be judged as leaning more toward
one over the other. Abstract art is in itself a departure from reality, but the extent of that
departure determines whether it has reached the end of the spectrum, which is non -
representationality -a complete severance from the world.
A proponent of non-representational art was Russian artist Vasily Kandinsky. Although
his chosen art form was paintings, he likened non-representational art to music, an art form
that he was also very keen to. He asserted that with sounds, musicians are able to evoke
imagery in their listeners or audiences. Object-free, he alludes to the sounds and spiritual
experiences that music makes possible in his paintings. It is therefore not surprising that a lot of
his paintings are inspired by music and are titled as impression, improvisation, and
composition.
Sources and kinds of Subject
When hit with a wall or a block, the writer is often advised to look back and take from
what he knows. From there, a well and wealth of materials may be drawn. But for artists, where
do they source the subjects of their paintings? What do they paint?
For non-representational art, a higher level of perceptiveness and insight might be
required to fully grasp the feeling, emotion, or concept behind the work. It is perhaps easier to
infer where the subject matter comes from if the artwork is an example of representational art.
From the figure(s) depicted in the artwork, there is already a suggestion as to its inspiration.
However, in discussing the sources and kinds of subject in artworks, it is important to note
that these two are often inextricably related. Often, even a singular source of inspiration can
yield multiple translations. A good starting point is, of course, the nature.
There is nothing more rudimentary than human interaction with the physical world
around the artist. Early childhood often revolves around getting to know not just the body and
what it can do, but also in getting accustomed to a multitude of sensory prompts around the
artist especially those situated in his environment.
Artists throughout history have explored diverse ways of representing nature: from
plants to animals; the qualities of bodies of water and the terrain of landmasses; and even the
perceivable cycles and changing of seasons. Often, these depictions are seen as expressions of
the sacred or the profane, sired by reality or supplemented by the artist's imagination. One
artist who was attuned with nature was Vincent van Gogh. He saw art and nature as
inseparable, often finding solace and happiness in painting in it (working in the middle of
unspoiled fields) and painting from it (landscapes). In a letter to his brother Theo, he wrote "...if
I felt no love for nature and my work, then I would be unhappy.” (Van Gogh Museum, 1882)

Vincent van Gogh, "Die Ebene von Auvers" (Wheat Fields Near Auvers) (1890). Oil on
canvas. Österreichische Galerie Belvedere Collection.
Other artists with a considerable number of landscapes and seascapes are Claude Monet,
Camille Pissarro, Paul Cézanne, and JMW Turner. In the Philippines, National Artists for Painting
Fernando Amorsolo and Fabian de la Rosa gained prominence from their painted rural scenes
such as women in the fields gathering harvest.
Saint Estanislao Kostka College, Inc.
GEN ED 6 ARTS APPRECIATION SUMMER CLASS 2021-2022
Breaking nature into smaller parts is Jan van Kessel the Elder who did numerous still
lives and small-scale, highly detailed studies, and scientific illustrations of flowers, insects,
shells, fruits, garlands, and bouquets.

Jan van Kessel, "A Cockchafer, Beetle, Woodlice and Other Insects, with a Sprig of Auricula"
(early 1650s). Oil on copper, Museum of Art and Archaeology, University of Oxford Collection.
Greek and Roman mythology were also ripe with references: from episodes that transport
the viewer to heroic encounters of Achilles and Aeneas; warnings about man's folly like the
vanity of Icarus; the wit and cunning of Odysseus; the beauty of Aphrodite and the athleticism
of Myron. From narrations in literature, artists, on the other hand, gave faces to Greek and
Roman deities or the gods and goddesses whose fates are seemingly as tragic as those of men.
Some of the art forms they took on were wall paintings or frescos and sculptural works such as
busts, statuaries, and ceramics and pottery, among others.
"Discobolus" (Roman, 2nd Century AD), after a Greek original by the sculptor Myron of 450-
440 BC. British Museum Collection, London,
Another integral aspect of human life is the distinct relationship with a higher controlling
power. If the belief system of Greeks and Romans was polytheism with a multitude of gods and
goddesses, the Judeo-Christian tradition stems from a belief in a lone creator of the universe or
what is called monotheism. This tradition had an immense influence in Western civilization
especially in art. Guided by a host of styles and techniques, various media and art forms were
also experimented with: paintings, frescos, church architecture (over-all plan of the space,
stained glass windows, tabernacles, and altars), sarcophagus, icons and other carvings,
vestments, tapestry, illuminated manuscripts, and other sacred scriptures, among others.
Commissioned by Pope Julius II, the intricate fresco that lines the Sistine Chapel was
created by Michelangelo. The immense detail and vast surface he had to cover had him working
on it from 1508 to 1512. here
Michelangelo, "Sistine Chapel" (1508-1512)
Unlike in Islam for example, practicing Jews and Christians were allowed to depict their
God and other important biblical figures: laying visual foundations in inculcating the faith. But
perhaps the influence of this tradition is most intriguingly manifested in the architectural
marvels that are spread out all over the world.
The formative years of church architecture can be traced in the fourth and fifth century
but different styles and plans were developed since then. Prevailing ideas and philosophies
became resources that were used by architects to reimagine what the church should look like.
For instance, Gothic churches were characterized by three things: soaring heights (ceilings),
volume (flying buttresses and ribbed vaults), and light (bright stained glass windows, airy and
pleasant interiors). Gothic style architecture is often attributed as the brainchild of Abbot Suger.
There is a definitive sense that pointed to the feeling of awe on the part of the believer and the
perceived majesty and power of God—all of which happened during the time when religion was
at the heart of everyday life. This echoes her belief that "art was central to religious
experience."
Saint Estanislao Kostka College, Inc.
GEN ED 6 ARTS APPRECIATION SUMMER CLASS 2021-2022
Interior of Westminster
Proceeding from a kind of a hybrid between literature and sacred text is India's miniature
paintings. In Central India, the kind of art that was produced was deeply rooted in Vedic texts
such as Upanishads, Puranas, and other important texts like the Sanskrit epics Mahabharata
and 'Ramayana. Indian artists had a wide array of materials to work with in showcasing not just
their artistry and skill. The significance of these paintings rests on its ability to foster devotion
and the observance of a code of ethics through the visualizations of heroic narratives. These
paintings were small but were highly pictorial, stylized, and employed a good contrast of colors.
Some artists also included verse from the epics as part of the cartouche which added interest
and meaning to the paintings.
"Shah Jahan Receiving Dara Shikoh," Folio from the Late Shah Jahan Album (circa 1650).
Watercolor, Opaque watercolor, gold, and ink on paper. Nasli and Alice Heeramaneck
Collection, Museum Associates Purchase.
Historically significant events particularly in the affairs of humanity are abundant
references for art production. From early breakthroughs such as the discovery of fire and the
overthrow of geocentric theory in favor of a sun-centered universe, succeeding advancements
brought about by discovery, innovation, and man's incessant search for glory plotted a dynamic
course of history.
Francisco de Goya, "El Tres de Mayo" (1814) Oil on canvas. Museo del Prado Collection,
An example is Goya's El Tres de Mayo which captures the death of Madrilenes, the
local insurgents during the Peninsular War. Former allies in the overrun of Portugal and France
turned against Spain. Napoleonic forces invaded Madrid without much difficulty and the
painting captures the dramatic demise of its people under a firing squad.
History, as a resource for artists in search of subjects, brings into consideration events
that are familiar and sometimes even common or shared in world context: the establishment of
nations and states (discovery, conquests, and colonization), and the resulting ideologies that
they breed (democracy, liberty, freedom, and rights). These works serve as documentary and
commemorative artworks that illustrate subjects such as important leaders and figures; events
as they were recorded to have happened; and representations of ideologies or values.
In the history of art, it is important to remember that the source and kind of subjects
were not merely a product of the artist's inclination and choice. A closer examination of the
various art movements and artworks created within those movements will indicate that notions
of freedom and independence, which are presumed to be enjoyed by artists, were not without
limits or restrictions. For instance, a particular kind of subject and the way it is visually
translated may be traced in relation to the art patrons (those who commission the artworks),
the favored artistic style and canons, and more importantly, the norms and trends prevailing in
the artist's milieu,
During the Spanish colonial period in the Philippines, art was predominantly representational.
During the first century of their dominance, art came as an aid for communication-a means of
propagating religion to locals who spoke a different language. The visual arts, from paintings to
early sculptures such as santos and other votive figures and icons, were created to assist
Catholic ministry. Existing art and craft traditions persisted, with some augmented and infused
with foreign influences that were not limited to the Spanish culture through contact. The
momentum that secular (or non-religious) art later gained in the nineteenth century can also be
attributed to this contact, with the opening of the Suez Canal and the growth of export
economy in agriculture. The consequence of these developments was the rise of the middle
Saint Estanislao Kostka College, Inc.
GEN ED 6 ARTS APPRECIATION SUMMER CLASS 2021-2022
class. With their new-found economic and social mobility, patrons of the art were no longer
limited to the clergy, but brought about a demand coming from these wealthy ilustrado
families. Of interest was the increase in demand for commissioned portraits (of an individual or
an entire family), finding it necessary to document themselves in light of their elevated status.
Wearing the most intricate and elaborate of garbs, significant adornments such as jewelry and
embroidered implements, among others, completed the intended narrative. This artistic trend
cemented the distinction of artists such as Simon Flores, Justiniano Ascuncion, and Antonio
Malantic who became the foremost portraitists of the time. Here, it is evident how during the
Spanish colonial period, the subjects of artworks, even the manner in which they are translated,
were mostly dictated by the patrons who commission them for religious and secular art.
Content in Art As outlined in the beginning, in discussing works of art, the subject may simply
be referred to as the "what”—what is readily seen and relates to the artwork, its inspiration,
and the many kinds of translation. But apart from what is made explicit, to recognize and grasp
the message of the artwork, the viewer may sometimes need to go beyond what is visible. Why
was the artwork created in the first place? When this question is asked, we are after the
meaning or message that is expressed or communicated by the artwork. One of the foremost
scholars that expounded on content analysis or how meaning is arrived at is art historian Erwin
Panofsky in his seminal work Meaning in the Visual Arts (1983). His methodology will be later
identified as Iconology through the interpretation of iconography.
To take on the challenge of understanding the content of art, it must be reiterated that
there are various levels of meaning. Perhaps the most common is what we call factual meaning.
This pertains to the most rudimentary level of meaning for it may be extracted from the
identifiable or recognizable forms in the artwork and understanding how these elements relate
to one another. Conventional meaning, on the other hand, subjects of indicate by subject those
pertains to the acknowledged interpretation of the artwork using motifs, signs, symbols and
other cyphers as bases of its meaning. These conventions are established through time,
strengthened by recurrent use and wide acceptance by its viewers or audience and scholars
who study them. Finally, when subjectivities are consulted, a variety of meaning may arise
when a particular work of art is read. These meanings stem from the viewer's or audience's
circumstances that come into play when engaging with art. When looking at a particular
painting for example, perception and meaning are always informed (and even colored) by a
manifold of contexts: what we know; what we learned; what we experienced; and the values
we stand for. It is therefore expected that meaning may not be singular; rather, a painting may
communicate multiple meanings to its many viewers. This is what we call subjective meaning of
art.
Michelangelo, "Creation of Adam" from the ceiling of the Sistine Chapel.
Michelangelo's "Creation of Adam" can be read using various levels of meaning previously
discussed. There, Adam is figured with an aged God, both of them with an arm stretched and
their respective index fingers appearing to be fixed at an impending contact. Apart from God
who is wearing a tunic, everyone else is in the nude. God is afloat, surrounded by drapery and
figures presumed to be angels and cherubs. Adam on the other hand is earth-bound, sitting and
reclined, positioned diagonally parallel to that of God. From a factual perspective, Michelangelo
depicted a scene from the Creation Story, in particular, the creation of man. Apart from being a
key element of Michelangelo's fresco at the ceiling of the Sistine Chapel, the subject matter
suggests that this is an example of biblical art
This work is indeed iconic, and this is asserted by the conventional meanings attached to
it. Here, the specific poses of God and Adam (convex and concave postures, respectively) allude
to the correspondence of the body and the commonly held belief that man was created in the
Saint Estanislao Kostka College, Inc.
GEN ED 6 ARTS APPRECIATION SUMMER CLASS 2021-2022
image and likeness of God. During this time, the ideals of humanism were underscored and the
arts and sciences were furthered. It is therefore understandable that the classical canons of the
form of the body (ideally proportioned and muscular) are portrayed, especially by Michelangelo
who was first and foremost a sculptor. Here, the view is that the greatness of old civilizations
such as that of the Greeks and the Romans may not only be replicated, but even surpassed.
Some art scholars noted how Michelangelo exhibited just that-an elevated artistryinthat the
dynamism and energy of the figures in the frescoes in the Sistine chapel are unlike the works of
predecessors.
An interesting overlap between the conventional and subjective meanings is the proposal
from gynecologist Frank Lynn Meshberger, whose published essay appeared in the October
1990 issue of the Journal of American Medical Association. Written was his theory that an
image and a message were hidden in plain sight: how the silhouette of God, the shroud and the
drapery that trail behind, all seemingly align with the shape of the human brain. According to
Meshberger, the work can also be aptly called “The Endowment of Adam” for it brought to light
that as God's creation, the most important qualities imparted to man was intellect. Like most
Renaissance artists, Michelangelo unlocked the secrets and precision of human anatomy
assisting in dissections during his time. For Meshberger, it was with his medical background and
perhaps exposure to art and history that allow him to catch the symbol, hidden in
Michelangelo's work.
Let's Wrap It Up
There is sense of panic when one is confounded with the question, "What am I seeing?"
or rather, "What am I supposed to see?" Perhaps, addressing this stigma is the first step in
inviting more Filipinos to engage with art and have a more enduring appreciation for it
In gaining the basics of deciphering the subject and content of art, it is hoped that an
individual's sensitivity and perceptiveness to art will be developed. As was discussed in the
chapter, one may begin by looking at perceivable features of the artwork. Taking note of what
is apparent will provide clues as to what the intended meaning of the artist might be. Knowing
more about the context of its creation from the artist's inspiration, reference or source, will
prove useful in understanding the meaning of the artwork. However, one must forget that each
viewer is armed with his or her experience, background and education. These will assist in
fleshing out different levels of meaning that maybe derived from the artwork. These might not
be as evident as say, the figures depicted on the surface; however, these alternative readings
contribute to the significance of the artwork.
The majority of the public are consumers and not producers of art, and so ensuring the
readiness of the public to not only successfully engage with the art, but meaningfully do so, is
the primary function of art appreciation and education. Throughout this book.

Artist and Artisan

In the advent of technology, it is remarkable what has now been made possible With a
click of a button, an array of overwhelming information is made available, informing every
aspect of human life. In the fast-paced and highly complex twenty-first century, there is a real
and nagging fear that soon, everything may very well be replaced by computers and robots that
can arguably do things with more precision, at a shorter amount of time and less capital in the
long term. This nihilist notion is contested by what are arguably the most resilient qualities of
man, which is his creativity and imagination. And as long as there is a cultivation of both of
these qualities, no robot or artificial intelligence can replace man just yet.
Saint Estanislao Kostka College, Inc.
GEN ED 6 ARTS APPRECIATION SUMMER CLASS 2021-2022
The arts is one of the most significant ways in which we try to grapple with how the
present unfolds. In Robert Henri's The Art Spirit (1923), he stated that “Art when really
understood is the province of every human being. It is simply a question of doing things,
anything, well. It is not an outside, extra thing. When the artist is alive in any person, whatever
his kind of work may be, he becomes an inventive, searching, daring, self-expressing creature.
He becomes interesting to other people. He disturbs, upsets, enlightens, and he opens ways for
a better understanding. Where those who are not artists are trying to close the book he opens
it, shows there are more pages possible." There is a gap when one continues to persist with the
idea that art is something that is detached from the every day. In what has been reduced to a
blur, it became more integral that man pursues a better understanding of the world where he
lives. One of the avenues that makes this both possible and exciting is the engagement with art
and culture.
In Peter Drucker's seminal book Post-Capitalist Society (1993), he stated that "the real
controlling resource and the absolutely decisive factor of production is neither capital not land
nor labor. It is knowledge. Instead of capitalists and proletarians, the classes of the post
capitalist society are the knowledge workers and the service workers." Arguably, one type of
knowledge that fuels the twenty-first century is creativity. This is evident in the recognition that
professionals in the creative sector are integral drivers and movers in society and an integral
segment of this sector are artists. But who are they?
Artists have treaded a long history. Their roots can likewise be traced in one of the major
milestones in human civilization. In the first episode of the video series “New Ways of Seeing,"
a project by The New York Times' T Brand Studio and jewelry giant Tiffany & Co., art critic Jerry
Saltz (2016) underscored the significance of not only the discovery of the cave paintings, but
also the paintings themselves. He asserted that "these first artists invented a way to get the
three-dimensional world into two dimensions and attach value to their own ideas. And all of the
history of art flows forth from this invention." He is apparently referring to the drawings and
painted images animals, hunting scenes, and a variety of symbolic figures created during the
Stone Age. Examples of these are scattered all around the world, from France, Spain, Namibia,
Australia, and Argentina to name a few. Of course, these works were not yet subsumed in the
highly systematized art world, let alone considered as of "art.”
Out of the shadows of these caves, astounding headway was seen moving down history
from Bronze Age down to the Middle Ages in terms of how man continued to utilize his
surroundings to create varying expressions of his ideas and feelings. Through the exploration of
his immediate environs, trade, and other experimentations, new modes, media, and techniques
brought to light a wide array of artworks that instantiate the wealth that can be done when the
artist's vision is tapped, harnessed, and realized. But the most integral development that
allowed this identity of an "artist" to fully emerge is the systematization and sophistication that
his world—the art worldhas become.
The impulse to create is at the core of human civilization, much like the impulse to
communicate through language. Early on, artists were embedded in the development of
culture, and in turn, art was nurtured by the varying cultures in which it existed. The works
produced varied from the prosaic to those that explored a wide range of aesthetic possibilities.
Seen every day, the interaction with these objects was intimate in the sense that their presence
was experienced in a multitude of ways and in all of the affairs of man: ornamentations in tools
and other surfaces, weaving patterns in textiles, visual features and the design/plan for
architectural structures, and ritual and burial implements, among others. Artists even created
places and spaces where communities may gather. There are numerous monuments and
memorials that are plotted over the world such as the infamous Vietnam Veterans Memorial in
Saint Estanislao Kostka College, Inc.
GEN ED 6 ARTS APPRECIATION SUMMER CLASS 2021-2022
Washington DC. There are others like the cave paintings that have an aura of mystery like the
Pyramids of Giza, or have alluded comprehension like the Stonehenge.
The Stonehenge (Wiltshire, England) of the Neolithic Era or New Stone Age
It was in this light that artists worked and most of the time, the products were
considered not as artworks at all but rather as craft or placed under some other category. The
use of the word "embedded" may be taken to mean that what was created automatically
circulated in the operations of society and was not integral to an art object that the identity of
its maker be known. It did not take long before this changed.
The Artisan and the Guilds
Have you ever wondered why some examples of artistic and creative production have
survived to this day? Museums are packed with numerous artifacts and interesting objects from
all over the world that have survived centuries for us all to see. Magnificent structures that are
often appreciated not only for their historical significance but more so for their aesthetic
characteristics that render them unique, become tourist destinations for those who wish to
explore and see the remarkable façade, interior, and even the minutest of details up close.
Perhaps what made the difference was the materials, medium, and the principles behind the
process of their creation. Another contributory factor is the emergence of technology and
knowledge in managing and conserving all of these objects and structures, enabling the
retention of the integrity of the artwork and the intention of the artist in terms of the design
and overall aesthetic.
Consider the Gothic cathedrals and other megastructures that were built all over
Europe during the Middle Ages. Craftsmen and builders in the past did not have sophisticated
terminologies and principles that architects and engineers abide by today. Yet, they fulfilled
overlapping roles such as the draftsman, architect, engineer, and even as the builder. What
they had was a sense on how materials behaved, how the environment, light, and weather
patterns affected structures, and other more intuitive principles of creation. Experimentation
and luck must not also be forgotten. Gothic cathedrals along with other structures inspired by
its architectural tenets have survived through time, not only by their sheer durability, but more
so through the articulation of the processes that they followed. An example of this would be
the Cologne Cathedral. In Germany, it is but one of the many examples of early Gothic
architecture. The account was that master mason Gerhard Ryle started the project in 1248 but
was only completed roughly 600 years later, claiming the record as one of the longest
construction projects to date.

The Cologne Cathedral between ca. 1890 and ca. 1900, Köln, Germany
Detail of the stained glass windows of Cologne Cathedral, Köln, Germany (2015). a
That is meant here is a kind of formalization of craft education in which regulation was set
in place. Here, skills qualification was needed for an apprentice to register under a particular
craft guild. These guilds were prevalent during the Middle Ages particularly during the
thirteenth to fifteenth century, where towns had formalized groups of artisans or craftsmen
who took on a particular specialization or trade: shoemakers, textile and glass workers,
carpenters, carvers, masons, armorers, and weapon-makers, among others. Here, the practice
of artists was not grounded on the idea of individual capacities or success; rather, in the
commitment to work together as a collective. Guilds were a type of social fellowship, an
association structured with rules, customs, rights, and responsibilities. With a lifetime
commitment a particular trade, an artisan develops immense skill and expertise in his craft.
Saint Estanislao Kostka College, Inc.
GEN ED 6 ARTS APPRECIATION SUMMER CLASS 2021-2022
A master artisan or craftsman would then be open to hiring apprentices who would be
under his tutelage and instruction. In these guilds, artistry and technology flourished under one
roof in the context of the cathedral construction site, the master mason oversaw the work by
numerous men of varying artistic proclivities and skills, from the smiths (metal work),
carpenters, carriers, and glaziers (stained glass artists), among others
The guild niche under the Four Crowned Saints. (circa 1416) This was commissioned by the
Arte del Maestri di Pletra e Legname (guild of wood and stone cutters), in Orsanmichele,
Florence.
This brought to light various ways of thinking about transferring knowledge and skills by
visualizing and articulating the principles, processes, and tricks of the trade both in words and in
print through manuals and publications. Of course, these printed publications were done
cheaply and did not have the same thoroughness as with handbooks and manuals of biblical
proportions. Aside from funds, another hurdle was the fact that some of the knowledge that
went into production was difficult to put into words. This can be attested in a way that often,
we find ourselves at a loss when tasked with explaining a particular step or process in
something that we created. Consider this, in addition to the fact that receiving the explanation
of how something is made does not automatically make us impresarios who can carry out the
task bump-free.
Albrecht Dürer, "Self-Portrait" (1500). Oil on lime panel. Alte Pinakothek (Munich) Collection.
In the visual arts, an example of an artist strongly influenced by this was Albrecht
Dürer. Born in 1471, his father was a goldsmith; that is why he also apprenticed as such. Later
on, he shifted to the visual arts. During that time, it was customary to travel after completing an
apprenticeship to gather more experience and knowledge elsewhere. His life was ripe with
travels, fame, and fortune. One of the biggest credits to his practice was his dedication and
interest in scholarship with his attendance to a close friend's meetings of artists and scholars.
He also published quite a number of books and treatises including those that talked about
practical skills as an artist which would be useful to other artisans and craftsmen who dared to
read it. Mostly on perspective and human proportion, his works were written in the first-person
singular format, practical in the way it was written and was supported by illustrations. It also
helped that his illustrations were laid out opposite the text that explains it.
Although he was caught between the time when canons were still being followed, he
suggested to his readers that his was merely recommendations, and that if they found a better
way to go about it, then one should depart from what he had learned. Although the timeline is
a bit skewed, the culture of artisans became prevalent in the Philippines as well, particularly
during the Spanish colonial period. Formerly done with the spirit of the communal and the
everyday, patronship changed the way art was perceived. This was both the case for religious
and secular art, wherein the existence of artisans proved to be of immense use. It was through
mimesis or copying that artisans first learned to depict religious images and scenes. Friars,
being non-artists themselves, provided the references that artists could use. During the
propagation of the faith, Spanish friars commissioned a lot of artisans to carve, paint, and
engrave images for churches and public sites. Each locality had a characterizing style or
feature in the way their depictions were made, the manner in which Boholano artists would
paint saints and scenes were different from those of Rizal or in Laguna. Like other Baroque
churches that benefitted from the talents of artists, Spanish colonial churches were also lined
with frescos and ceiling paintings, with a number of them undergoing restoration in the early
1900s. Project Kisame is a collective endeavor amongst enthusiasts and advocates who aimed
to promote this art form through documentation, engagement, and appreciation of surviving
Saint Estanislao Kostka College, Inc.
GEN ED 6 ARTS APPRECIATION SUMMER CLASS 2021-2022
ceiling paintings in more than 60 churches in the Philippines. Technology and heritage
conservation occupied a substantial part of this project.
The Church of the Most Holy Trinity in Loay, Bohol, locally referred to as Santisima Trinidad
Parish.

Details of the ceiling of the Church of the Most Holy Trinity (Loay, Bohol). This showcases the
signatures of some of the artists who worked for the restoration of the ceiling paintings
between 1922 to 1927. Photo courtesy of Joel Aldor/Project Kisame (2012) 62

One example of a Spanish architecture that has been documented is the Church of the
Most Holy Trinity in Loay, Bohol. Built in 1822, the ceiling paintings were rendered trompe l'oeil
style depicting biblical scenes. In 2003, it became a National Historical Landmark. It was
therefore unfortunate that this church was one of those heavily damaged during the
devastating earthquake that rattled Bohol in 2013. The only section of the structure that
remained erected was the bell tower. Although it is but a fragment of the real thing, the photos
taken by Project Kisame were able to document the beauty of the ceiling paintings prior to its
destruction.
From the church, the next patrons of the arts were the then new elite, the ilustrados or
the middle class, along with foreign guests who wanted souvenirs to take along with them. In
the previous chapter, it was mentioned that portrait paintings became a fad. But looking closer
at the paintings will reveal the specificity of the style in which they were painted. Two other
important genres for painting at that time were the tipos del pais and letras y figuras. The
former was watercolor paintings that showcased the different local inhabitants of the country
in different garbs, and clues to their occupation and status; while the latter combined the
principle of tipos del pais and incorporated it as a means to illustrate the letters of one's name
or surname.
One key example that illustrated the systematization of art instruction-a combination of
sorts of the guild and the art school-was the establishment Damian Domingo of the Academia
de Dibujo. Known as the best tipos del pais painter, this school specialized in teaching the
miniaturismo style of painting along with the tenets of classical European painting. Eventually,
other schools emerged teaching other genres such as bodegones (still life) and paisajes
(landscape).
The Artist and His Studio
Moving back to Europe, the big shift that propelled the evolution of the pivotal role of the
artist in the arts started during the Middle Ages up to the Renaissance period. Most pivotal
developments included the transformation of the craftsman to an artist or an independent
artist; the widespread patronization of secular art (alongside the continuous production of
works with religious subjects); and the assertion of cognition, the will, and individuality. Before
the Renaissance Period, artworks were left unsigned. Artists claiming authorship for their works
by affixing their mark onto the surfaces of their paintings were a big milestone in the history of
the artist. Combined, these resulted in a wider variety of artworks, not just in form, but more so
in style and technique. The site that saw this shift was a very personal space for the artist
himself, which is the studio.
Saint Estanislao Kostka College, Inc.
GEN ED 6 ARTS APPRECIATION SUMMER CLASS 2021-2022
James Abbott McNeill Whistler, "Artist's Studio" (from Sketchbook), 1854 - 55. Black ink on
off-white wove paper. Gift of Margaret C. Buell, Helen L. King, and Sybil A. Walk (1970).
Metropolitan Museum of Art
Today, artist studios have been a place of interest for the public. It is interesting to see
and learn where creativity manifests itself, especially since an artist's studio is an extension of
the artist himself. The studio model dates back from the Renaissance. Therein, artists flexed
their relationship with their patron as a site where negotiations and works were made. There
were those whose work stations were segmented into two, the studiolo and the bottega; the
latter is where the work usually happened. Apprentices studied under masters, assisting with
menial tasks or the preparation of the painting surfaces. In the seventeenth century, these
demarcations became lose, eventually merging together. This was especially true with artists
who explored oil painting techniques whose long process can be described by cycles of mixing,
layering, and drying of paint. This format remained throughout the latter part of the 1800s.
In France, on the other hand, academies and art salons became popular as they did not
only support the production of art but also the discourse around them. Criticism and analysis
were highlighted as integral aspects of art engagement and therefore the display of the
artworks through official art salons was sought for. To be included in the exhibition was
deemed an honor, especially since it did not take a while before it was considered an arbiter of
standards and taste.
The beginnings of Industrial Revolution had an interesting ramification for artists. A
compendium of events released the artists from the limitations that affected the way in which
they produced their works. These included the availability and portability of materials (i.e.,
foldable easels and paint in tubes) and the reliance on the wealthy patrons to place a
commission. More painters enjoyed painting on their own behalf, creating works they wanted
to create. It was during this time that a host of styles developed side-by-side, allowing artists to
fully grasp the potential of artistic license, with minimal (to no) consideration for the prevailing
tastes and stylistic preferences, During the latter part of the 1800s, artists began to question
the merits of stringent artistic training and education, but it was during the 1900s that art was
truly liberated from the traditions of the past. Perhaps, it was then that artists found freedom
to articulate their distinct aesthetic way of creative production.
Other players in the World of Art
Prominent Roles in the Art World with Their Mandatory Relationships
The terrain in which the artist traverses is becoming increasingly complex. In the last
century, some of the roles that have been existent since the beginning of art history have been
properly dealt with—ascribed with a name and legitimized into a sophisticated network of
relationships and exchanges. This network is what we call the art world.

Exhibition opening of "Arctic Hysteria: New Art from Finland" (2009, Helsinki, Finland).
In Howard S. Becker's Art Worlds (1982), he asserted that "all artistic work, like all
human activity, involves the joint activity of a number, often a large number, of people.
Through their cooperation, the artwork we eventually see or hear comes to be and continues to
be. The work always shows signs of that cooperation. The forms of cooperation may be
ephemeral, but often become more or less routine; producing patterns of collective activity we
can call an art world. The existence of art worlds, as well as the way their existence affects both
the production and consumption of artworks, suggests a sociological approach to the arts. It is
not an approach that produces aesthetic judgments; although that is a task many sociologists of
art have set for themselves." There is an assumption that an artist works in solitary; that the
Saint Estanislao Kostka College, Inc.
GEN ED 6 ARTS APPRECIATION SUMMER CLASS 2021-2022
only time the external world is allowed in would be when the work is displayed and when in
circulation. This would necessitate the seemingly central position that the artist enjoys in the
grand scheme of art experience. Although a popular opinion still, it has considerably waned,
with the emergence of another art player as a super power the curator.
But the task at hand is not to christen a specific group of people in the art world as its
focus. What must be recognized is that, as Becker contended, there are numerous people who
either work in consent or dissension, and in doing so, continuously (re)define, (in)validate,
maintain (or abolish), reproduce, and circulate the "cultural category of art, and to produce the
consent of the entire society in the legitimacy of the art world's authority to do so" (Irvine,
2013). The terrain where art is distributed is a global network comprised of individuals, groups,
and institutions such as schools, museums, galleries, art spaces, auction houses, and other
commercial market platforms, and professions. The last aspect is very important because this
implies that the art world does not only rely on ideas, sentiments, and aesthetic values, but also
on skills that are professionalized, stratified, and more importantly, monetized. An example of a
multi-level platform, where different players in what we call an art world can engage, interact,
and flex their art muscles, is the international art fair like the Art Basel in Hong Kong.
Art Basel in Hong Kong (2015)
It is important to note that with the complexity of the art world, players are no longer
limited to those who undertook formal instruction in either (or both) production and/or study
of art. Take for instance administrative or managerial roles, both of which can exist in either
institutional or non-institutional scenarios. These roles may be broken down to working boards
(board of trustees); directors and assistant directors: managing curators, and other posts whose
interest is the management and operations of museums, galleries and other art spaces. For
independent artists, those outside the wing of a gallery as a "stable artist," sometimes require
the assistance of an artist manager in order to manage their career and sometimes to help
them in promoting themselves to the art world as well.
A curator, on the other hand, is one of the most elusive of roles to pin down.
Institutional curators are typically affiliated with museums and galleries, while independent or
freelance curators have the leeway to move around various projects, platforms, and art spaces
in a multiplicity of terms. Generally, the role of the curator is more of the interpretation and
development of the artwork(s) or the collection(s) through establishing the significance,
relationship, and relevance of these materials in isolation and/or as part of a wider narrative.
Some of the roles expected of curators are the ability to research and write, as an arbiter of
design and layout, and deciding for the display and hanging of materials for exhibition.
If curators are the hardest to define, it is buyers and collectors who are probably the
easiest to qualify. Often they are construed as one and the same, but separately taken, buyers
are those who initially assess and survey the artwork that collectors are interested in. It is their
role to oversee the sale of the artwork, on behalf of the collector who may either be too busy
or who would rather keep his identity hidden. Formerly ascribed with the term "patron," buyers
and collectors are those who acquire and purchase artworks for a variety of reasons: for the
appreciation and enjoyment of art; for the scholarship and education opportunity it may
provide (donors of study collections); for safeguard and preservation of their posterity; for
investment; for communicating a way of life/lifestyle; among others. These days, collectors are
becoming more involved well beyond extending their wallets. They have found another voice as
an arbiter of taste. A collector who has established himself as someone who not only
appreciates art but knows art, understands its behavior and patterns, becoming a key player in
making or breaking an artist's career or shaping the course of a museum's collection (through
pledges of support and donation).
Saint Estanislao Kostka College, Inc.
GEN ED 6 ARTS APPRECIATION SUMMER CLASS 2021-2022
In addition, art dealers are those whose direct hand is in the distribution and circulation of
the artworks through a variety of means, such as direct sales, through galleries, and the more
recent player in the Philippines, auction houses. The knowledge and insight that art dealers are
expected to have include a specialization in art form, style, medium, or period; market trends;
and even the interrelationships of other key players in the art world who will benefit from the
circulation and distribution of the artwork (or artist) he promotes.
There are some overlaps in the way buyers, collectors, and dealers operate and behave.
This is understandable, perhaps especially in the Philippines where delineation of roles is a bit
ambiguous. There are many other roles that are in existent in the art world today, and there
seems to be no stopping of the cropping up of new ones. Other roles and their connectedness
to others are roughly illustrated in Figure 44.
As the art world is seen as a socio-economic network, it is important to note the major
difference between museums and galleries. These are the main institutions that display,
distribute, and circulate different artworks; however, they behave in different ways. The most
substantial demarcation that separates one from the other is the ethics that admonishes
museums from entering into the more market aspect of the art world. What this means is that
museums should involve themselves in the sale of artworks. The predominant role that
museums are mandated to fulfill is the display of artworks for the education of the public and
the appreciation of these objects only, both in isolation or as part of a collection and a wider
narrative rendered possible by its inclusion in exhibitions or informed by museum programming
(i.e., lectures, workshops, screenings, etc.).
Production Process
The process of creating an artwork does not necessarily follow a linear progression. One
of the things that one must accept is the fact that the arts have an anarchic dimension to it,
allowing it to fully harness its creative potential. The very reason why different art styles,
periods, and movements were made possible, is because there was a form of flexibility given to
artists in terms of how to conceptualize and execute their ideas into reality. But this does not
mean there is no guiding principle that governs the general process of art production. The
process is essentially tripartite: (1) preproduction, (2) production, and (3) postproduction. The
artist always begins with an idea that he wants to express or communicate with his audience. It
may not necessarily be fully formulated, and so some form of exposure, research, and other
approaches may be explored to get the idea long before actually making the artwork. This
process is of course the preproduction stage. The idea may take a while to form, or may come
as swift as a bolt of lightning.
Some artists, however, birth their ideas when material manipulation is already
underway. This is when preproduction sometimes seep into the production stage. The
execution of the art may take a variety of forms such as painting, sculpture, tapestry,
photograph, film, a routine (dance), or a track or composition (music). Even tricky art forms
such as conceptual art, which purports to be solely concerned with the ideas, take a variety of
formats, and may even be harder to pull off. Some artworks rely on a precise and skilled
execution, while others need only intuition and a kind of judiciousness in the manipulation of
material.
Gathering and sourcing the materials needed for the creation of the artwork is either
subsumed under preproduction or the production stage. Either way, materials form one of the
most crucial aspects that inform the direction, quality, and the final output itself.
Saint Estanislao Kostka College, Inc.
GEN ED 6 ARTS APPRECIATION SUMMER CLASS 2021-2022
The last stage is the most drawn-out, the postproduction. Once an artwork is finished, it
will then be decided on how it will be circulated not only in the art world, but the many publics.
If the artist decides that he alone should see the work, then so be it . But most of the time, if
not always, the creation of the object requires that it be seen, heard, touched, and/or
experienced in a variety of ways. Often, it enters into a new 69
sphere, inside the domain of museums, galleries, performance halls, theaters, and other art
spaces where interaction can take place. Take note, however, that approval, enjoyment, or
pleasure are not the sole reactions that an artist intends for his work, Sometimes, it is
repulsion, contempt, or even grief, which the artist hopes for. Either way, it is intellectual and
emotional reaction that is often the impetus for creating an artwork. A message is almost
always embedded in the artwork and it is the hope of the artist that his audience comes across
it, or takes from it something that is his and his alone.
There are many aspects that go into postproduction. These may include allowing the
artwork to set, tweaking the artwork, preparing the artwork for transport and display, and even
the promotion and inclusion of the artwork in publications or discussions,
Medium and Technique
Like what was previously mentioned, medium is one of the aspects of art that directly
correlates with its composition and presumed finality of the artwork. Medium is the mode of
expression in which the concept, idea, or message is conveyed. It may be concrete or tangible,
such as paintings, sculptures, monuments, and structures, or it may be ephemeral or something
transient, such as a track (recording of sound), a film, or a performance. The appreciation or
engagement with the artwork is also affected by the medium spatiotemporally. For concrete
works, the objects physically manifest themselves for a prolonged or lasting period. For
ephemeral works, on the other hand, it is durational.
A chosen medium must not be expected to yield the same results. Giving two different
artists the same exact material and the general qualifier of “painting," the end product will still
vary minimally or in an exponential scale. This is where technique comes in, as it is the reason
why art history is described by a seemingly limitless example of works of art. The technique of
the artwork shows the level of familiarity with the medium being manipulated. It alludes to the
necessity of additional tools or implements (e.g., hammer and chisel may come in handy for
sculptors), or consideration of time (e.g., behavior of different kinds of paint especially in drying
time requirements), and the specificity of the site of creation (e.g., indoor or outdoor
production requirements).
Engagement with Art
The defining roles and nature of exhibitions have had an interesting evolution, changing
alongside the demands of the society that purports to partake in its display. In Anna Cline's The
Evolving Role of the Exhibition and Its Impact on Art and Culture (2012), she wrote that
"exhibitions act as the catalyst of art and ideas to the public; they represent a way of displaying
and contextualizing art that makes it relevant and accessible to contemporary audiences. The
art exhibition, by its nature, holds a mirror up to society, reflecting its interests and concerns
while at the same time challenging its ideologies and preconceptions. Keeping art relevant to
society and to a diverse audience at any given point in history is one of the main goals of the art
exhibition and one of the reasons it is so important to the history of art.” Therefore, it is
apparent that exhibitions are not only of import to artists who rely on its being, but more so to
the varied audiences who get to see them.
Saint Estanislao Kostka College, Inc.
GEN ED 6 ARTS APPRECIATION SUMMER CLASS 2021-2022
In Paula Marincola's What Makes a Great Exhibition? (2006), it reads that "exhibitions are
strategically located at the nexus where artists, their work, the arts institution, and many
different publics intersect." This opportunity is singular, as most interactions in the art world
are limited to two players at a time. Exhibitions create an opportunity in which the different
roles in the art world get to meet, interact, and even enter into a discussion.
One of the most common platforms to engage with the art is through exhibitions either at
museums or galleries. Nowadays, there are other exhibition spaces that have opened up for
artists to showcase their works. Often, one goes to a museum or a gallery, the white cube often
renders everything peaceful and calm. However, the exhibition process is an intricate sequence
of events made possible by multiple individuals and groups within and outside the artist and
staff.
Exhibitions may be long-term or permanent hangs, or it may be temporary or periodically
changing. An artist may have a solo exhibition or may be included in a two-person showing or
even a group exhibition. There are some instances when an artwork is a stand-alone or a site-
specific work that rerders its display under a slightly different structure or format.
Aside from exhibitions, other opportunities for art engagement transpire in the classroom
(instruction); studio visits; lectures, workshops, and other events that augment the exhibitions
(programs); auction sales; art fairs, biennials, and triennials; and other larger showings of not
only artworks but also where art personalities can flex their influence and authority.
Publications are also a good way to introduce the artwork and opens it up for appreciation,
critique, and analysis.
Awards and Citations
As with any organized endeavor, the arts and culture have entered into a phase in which
another aspect of its practice can be realized. After an artist has spent considerable time in
honing his skills, establishing the relevance of the body of his works, and even gaining respect
from his colleagues in the art world, he may be considered or nominated for awards and
citations.
Saint Estanislao Kostka College, Inc.
GEN ED 6 ARTS APPRECIATION SUMMER CLASS 2021-2022
In history, support for the arts and culture is not limited to the allocation of funding or
patronship. One of the most common measures in which artists and other creative producers
are given incentives and honor for their work is through state-initiated and given awards and
citations. The two major awards given to artists in the Philippines are the Orden ng
Pambansang Alagad ng Sining (Order of National Artists) and Gawad sa Manlilikha ng Bayan
(National Living Treasures Award).
The conferment of the Order of National Artists is the "highest national recognition
given to Filipino individuals who have made significant contributions to the development of
Philippine arts; namely, music, dance, theater, visual arts, literature, film, broadcast arts, and
architecture and allied arts. The order is jointly administered by the National Commission for
Culture and the Arts (NCCA) and the Cultural Center of the Philippines (CCP) and conferred by
the President of the Philippines upon recommendation by both institutions" (NCCA, 2015).
The very first recipient of this award was painter Fernando Amorsolo, who was touted as the
“Grand Old Man of Philippine Art." He was the sole awardee in the year 1972, a National
Artist for Visual Arts.

Emblem of the Order of National Artists of the Philippines

At present, there are 66 awardees of this prestigious honor across different art forms.
Some of them were given the 'award posthumously, while others were fortunate enough to
receive the award themselves. Some of the honors and privileges that a national artist
awardee receives are the following: (1) the rank and title, as proclaimed by the President of
the Philippines; (2) a medallion or insignia and a citation that will be read during the
conferment; (3) cash awards and a host of benefits (monthly life pension, medical, and
hospitalization benefits, life insurance coverage); (4) a state funeral and burial at the Libingan
ng mga Bayani (Heroes' Cemetery); and (5) a place of honor or designated area during
national state functions, along with recognition or acknowledgment at cultural events. The
most recent conferment was in 2016.

Conferment of the 2009 and 2014 Order of National Artists Award (2009 and 2014) led by
President Benigno Aquino III with the recipients (Alice Reyes, Cirilio Bautista, Ramon Santos;
Representatives of deceased/absent recipients also present. Aquino mentioned 9 National
Artists on his speech.) Photo courtesy of the Official Gazette of the Republic of the
Philippines.
The Gawad sa Manlilikha ng Bayan or the National Living Treasures Award was created
in 1992 under the Republic Act No. 7355. Also under the jurisdiction of the National
Commission for Culture and the Arts (NCCA), the NCCA (2015) "through the Gawad sa
Manlilikha ng Bayan Committee and an Ad Hoc Panel of Experts, conducts the search for the
finest traditional artists of the land, adopts a program that will ensure the transfer of their skills
to others and undertakes measures to promote a genuine appreciation of and instill pride
among our people about the genius of the Manlilikha ng Bayan.” It was first conferred to three
outstanding artists in music and poetry back in 1993. They are Ginaw Bilog, a master of the
Ambahan poetry; Masino Intaray, a master of various traditional musical instruments of the
Palawan people; and Samaon Sulaiman, a master of the kutyapi and other instruments.
Saint Estanislao Kostka College, Inc.
GEN ED 6 ARTS APPRECIATION SUMMER CLASS 2021-2022

The first batch of recipients of GAMABA: Ginaw Bilog, Masino Intaray, and Samaon Sulaiman.
Photos courtesy of NCCA.

The medal given to the recipients of the distinction Gawad sa Manlilikha ng Bayan
(GAMABA). Photo courtesy of NCCA,
The recipients of the GAMABA are sought under the qualification of a "Manlilikha ng Bayan"
who is a "citizen engaged in any traditional art uniquely Filipino whose distinctive skills have
reached such a high level of technical and artistic excellence and have been passed on to and
widely practiced by the present generation in his/ her community with the same degree of
technical and artistic competence" (NCCA, 2015). This artists' practice may fall under the
following categories: folk, architecture, maritime transport, weaving, carving, performing arts,
literature, graphic and plastic arts, ornament, textile or fiber art, pottery and other artistic
expressions of traditional culture.
Some of the incentives accorded to the awardee are the following: (1) a specially
designed gold medallion; (2) an initial grant of P100,000 and a P10,000 monthly stipend for life
(this was later increased to P14,000); (3) benefits such as a maximum cumulative amount of
P750,000 medical and hospitalization benefits; and (4) funeral assistance or tribute fit for a
National Living Treasure.
Let's Wrap It Up
The evolution of the artist throughout history is one of the most interesting progressions in the
affairs of man. From the banalities of the works he created to assist and inform the every day,
he was caught in the midst of prevailing and shifting ideologies, and utilized the power of the
creativity and imagination in attempt to grapple with the world around him. There is much
responsibility and expectation ascribed to artists. As Woodrow Wilson (1913) relates, “You are
not here merely to make a living. You are here in order to enable the world to live more amply,
with greater vision, with a finer spirit of hope and achievement. You are here to enrich the
world, and you impoverish yourself if you forget that errand.”