Sagot :
Answer:
Modernism in the Philippines followed the same pattern of a reaction to the establishment, yet
the specific character of modernism in the Philippines fa r outweighs in importance the
similarities it has with the general aspect of the modernist phenomenon . Thus, we are here
primarily concerned with defining what modernism is in the Philippine context, since each country
gave rise to its own modernism in reaction to specific artistic conditions, adapted these aspects of
European modernism that it found most congenial to its soil, and finally pursued its own ways of
appropriating and indigenizing a European phenomenon. Modernism, then, was not a neutral
process, welcomed with a fresh and unproblematic enthusiasm as a liberating impulse to an art
floundering in academic formulas. Indeed, the course it took in the Philippines was shaped by the
material conditions obtaining in the country and overdetermined by Philippine culture and
traditions .
Basically, modernism was a "reaction against" established canons. In the Philippines, it was
not a reaction against a grand centuries-old classical tradition and its subsequent decline into
academism, as in Europe, but a movement away from three art institutions: the prevailing Amorsolo
school that had become the Academy; the remaining influence of the nineteenth century Academia
de Dibujo y Pinura, the local surrogate of the European Academy , and the miniaturist school of
portrait painting patronized by the elite. It is notable that when modernism was introduced in the
Philippines in the late 1920s, the practice of figurative painting using pigments on a twodimensional surface was just over a hundred years old. Up to the mid-nineteenth century, the
subjects were mostly religious, since art was bound up with the colonial project of Christianization .
Apart from the Canonical forms introduced with colonization, there existed the large but
marginalized body of indigenous arts and crafts related to ritual or daily use : woodcarving of spirit
images carved in wood or designs and ornamentations that formed part of the early tradition of
Malay woodcarving, textile weaving, basketry, earthenware pottery, and jewelry, traditions
shared with the rest of Southeast Asia. Colonization, which began with the burning of native
artifacts that the colonizers condemned as works of the devil, of which surviving examples form
part of foreign ethnographic collections, drove a wedge between the "high art" of painting and
sculpture and the artistic expressions of the people called "folk art" or "ethnic art," as in the
surviving productions of the indigenous Filipinos.
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