Oblation - Revision history

Mdesilva at 13:40, 6 August 2014

2014-08-06T13:40:01Z

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	The '''Oblation''' is a concrete statue done by Philippine National Artist '''Guillermo Tolentino'''. It has been a symbol synonymous with the University of the Philippines.		The '''Oblation''' (UP Oblation) is a concrete statue done by Philippine National Artist '''Guillermo Tolentino'''. It has been a symbol synonymous with the University of the Philippines.

	[[Image:UPOblationOr-01.jpg\|250px\|thumb\|right\|The Original Oblation at the 3rd floor of the Main Library of U.P. Diliman - (www.wikipedia.org/wiki/Oblation_(University_of_the_Philippines)]]		[[Image:UPOblationOr-01.jpg\|250px\|thumb\|right\|The Original Oblation at the 3rd floor of the Main Library of U.P. Diliman - (www.wikipedia.org/wiki/Oblation_(University_of_the_Philippines)]]

Jhalcantara: /* Style */

2013-10-09T08:58:23Z

Style

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	Guillermo Tolentino's inspiration in his works is the methaphor of Pygmalean and Galatea where you have an artist creating a masterpiece and wishing it come to life. When the wish was granted, Pygmalion fell in love with her artwork who is Galatea. This simply means that Guillermo ~~velieves~~ that art should represent life and should create an impression about life.		Guillermo Tolentino's inspiration in his works is the methaphor of Pygmalean and Galatea where you have an artist creating a masterpiece and wishing it come to life. When the wish was granted, Pygmalion fell in love with her artwork who is Galatea. This simply means that Guillermo believes that art should represent life and should create an impression about life.

	Generally, the artistic style of Tolentino, as seen in the Oblation, is a combination of Classicism, Realism and Romanticism. Classicism for Tolentino is "a living assimilative process which forges all forces into a dynamic unity."<sup>29</sup> It is not just a style or a set of rigid rules, while his realism is in his concern for observed detail as a way of stating truth. The Oblation is classical nude in form & spirit (neo-classicism). Though realistic details overshadows classical schema, concept of making human figure symbolic of an idea or value is classical. His Romanticism is similar to those of the French (like Gericault and Delacroix) that is filled with emotions and passions Guillermo also became well-known because of his debates with painter-educator, Victorio Edades because of their conflicting ideas on how art should be. Guillermo stressed that art should symbolize beauty and reality of life in contrast with Edades' modernist view.<sup>30</sup>		Generally, the artistic style of Tolentino, as seen in the Oblation, is a combination of Classicism, Realism and Romanticism. Classicism for Tolentino is "a living assimilative process which forges all forces into a dynamic unity."<sup>29</sup> It is not just a style or a set of rigid rules, while his realism is in his concern for observed detail as a way of stating truth. The Oblation is classical nude in form & spirit (neo-classicism). Though realistic details overshadows classical schema, concept of making human figure symbolic of an idea or value is classical. His Romanticism is similar to those of the French (like Gericault and Delacroix) that is filled with emotions and passions Guillermo also became well-known because of his debates with painter-educator, Victorio Edades because of their conflicting ideas on how art should be. Guillermo stressed that art should symbolize beauty and reality of life in contrast with Edades' modernist view."The aim of the ancient masters was to transfer beauty and perfection in nature to their works of art", Tolentino wrote for an article for the Sunday Times Magazine.<sup>30</sup>

	Still much different from the Western style is his nationalist orientation which gives a genuine feeling for the subject. It was said to have been sparked by militant nationalist movements of the Rome in his student days, and his admiration of the Philippine Revolution of 1898, especially Bonifacio. He loved the intense & charismatic, tragic hero & leader of the revolution. Tolentino was involved in secret rites of the Kapatiran Millenarist Groups with occult symbols, magic of numbers & ancient tagalog or malay script.<sup>31</sup>		Still much different from the Western style is his nationalist orientation which gives a genuine feeling for the subject. It was said to have been sparked by militant nationalist movements of the Rome in his student days, and his admiration of the Philippine Revolution of 1898, especially Bonifacio. He loved the intense & charismatic, tragic hero & leader of the revolution. Tolentino was involved in secret rites of the Kapatiran Millenarist Groups with occult symbols, magic of numbers & ancient tagalog or malay script.<sup>31</sup>

Jhalcantara: /* References */

2013-10-09T08:54:18Z

References

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	• Guillermo, Alice. ''Iskultura sa Pilipinas: Mula anito hanggang assemblage at iba pang sanaysay''. Manila: Metropolitan Museum of Manila. 1991. Print.		• Guillermo, Alice. ''Iskultura sa Pilipinas: Mula anito hanggang assemblage at iba pang sanaysay''. Manila: Metropolitan Museum of Manila. 1991. Print.
	• Stangl, Jane. ''Kayumanggi: Biographies of Philippine Visual Artists''. Quezon City: Peso Book Foundation. 2000. Print.		• Stangl, Jane. ''Kayumanggi: Biographies of Philippine Visual Artists''. Quezon City: Peso Book Foundation. 2000. Print.
			• "Bulacanana: A Heritage of Artistic Excellence". Office of the Governor, Province of Bulacan though the Provincial Youth, Sports, Employment, Arts and Culture Office (PYSEACO). Print.



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Jhalcantara: /* Symbolism */

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Symbolism

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	The Oblation, '''Oblacion''' in Spanish and '''Pahinungod''' or '''Paghahandog''' in Filipino, has been the major rallying point for dissent, protest actions, and social criticism, expressions of public service, nationalism, and patriotism. Its presence in all the U.P. autonomous units and other campuses symbolize unity in mission, vision, and traditions.<sup>17</sup>		The Oblation, '''Oblacion''' in Spanish and '''Pahinungod''' or '''Paghahandog''' in Filipino, has been the major rallying point for dissent, protest actions, and social criticism, expressions of public service, nationalism, and patriotism. Its presence in all the U.P. autonomous units and other campuses symbolize unity in mission, vision, and traditions and has since become a symbol of academic freedom in the campus.<sup>17</sup>

	<br />Here is Guillermo Tolentino's own words of the Oblation's symbolism<sup>18</sup>:		<br />Here is Guillermo Tolentino's own words of the Oblation's symbolism<sup>18</sup>:

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	Some of his other famous works include Saluto Romano, which also won abroad, and the Bonifacio Monument in Caloocan whose design won the first prize in 1930. The Cry of Balintawak, the other name for the montage of 70 figures, is known as the apex of his career. It was completed on eve of the Commonwealth 1933 which stirred hope for independence versus colonial rule. This work also made him win the National Artist title in 1973.<sup>32</sup>		Some of his other famous works include Saluto Romano, which also won abroad, and the Bonifacio Monument in Caloocan whose design won the first prize in 1930. The Cry of Balintawak, the other name for the montage of 70 figures, is known as the apex of his career. It was completed on eve of the Commonwealth 1933 which stirred hope for independence versus colonial rule. This work also made him win the National Artist title in 1973.<sup>32</sup>

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	----		----
			Guillermo Tolentino's inspiration in his works is the methaphor of Pygmalean and Galatea where you have an artist creating a masterpiece and wishing it come to life. When the wish was granted, Pygmalion fell in love with her artwork who is Galatea. This simply means that Guillermo velieves that art should represent life and should create an impression about life.

	Generally, the artistic style of Tolentino, as seen in the Oblation, is a combination of Classicism, Realism and Romanticism. Classicism for Tolentino is "a living assimilative process which forges all forces into a dynamic unity."<sup>29</sup> It is not just a style or a set of rigid rules, while his realism is in his concern for observed detail as a way of stating truth. The Oblation is classical nude in form & spirit (neo-classicism). Though realistic details overshadows classical schema, concept of making human figure symbolic of an idea or value is classical. His Romanticism is similar to those of the French (like Gericault and Delacroix) that is filled with emotions and passions.<sup>30</sup>		Generally, the artistic style of Tolentino, as seen in the Oblation, is a combination of Classicism, Realism and Romanticism. Classicism for Tolentino is "a living assimilative process which forges all forces into a dynamic unity."<sup>29</sup> It is not just a style or a set of rigid rules, while his realism is in his concern for observed detail as a way of stating truth. The Oblation is classical nude in form & spirit (neo-classicism). Though realistic details overshadows classical schema, concept of making human figure symbolic of an idea or value is classical. His Romanticism is similar to those of the French (like Gericault and Delacroix) that is filled with emotions and passions Guillermo also became well-known because of his debates with painter-educator, Victorio Edades because of their conflicting ideas on how art should be. Guillermo stressed that art should symbolize beauty and reality of life in contrast with Edades' modernist view.<sup>30</sup>

	Still much different from the Western style is his nationalist orientation which gives a genuine feeling for the subject. It was said to have been sparked by militant nationalist movements of the Rome in his student days, and his admiration of the Philippine Revolution of 1898, especially Bonifacio. He loved the intense & charismatic, tragic hero & leader of the revolution. Tolentino was involved in secret rites of the Kapatiran Millenarist Groups with occult symbols, magic of numbers & ancient tagalog or malay script.<sup>31</sup>		Still much different from the Western style is his nationalist orientation which gives a genuine feeling for the subject. It was said to have been sparked by militant nationalist movements of the Rome in his student days, and his admiration of the Philippine Revolution of 1898, especially Bonifacio. He loved the intense & charismatic, tragic hero & leader of the revolution. Tolentino was involved in secret rites of the Kapatiran Millenarist Groups with occult symbols, magic of numbers & ancient tagalog or malay script.<sup>31</sup>



	Some of his other famous works include Saluto Romano, which also won abroad, and the Bonifacio Monument in Caloocan whose design won the first prize in 1930. The Cry of Balintawak, the other name for the montage of 70 figures, is known as the apex of his career. It was completed on eve of the Commonwealth 1933 which stirred hope for independence versus colonial rule. This work also made him win the National Artist title in 1973.<sup>32</sup>		Some of his other famous works include Saluto Romano, which also won abroad, and the Bonifacio Monument in Caloocan whose design won the first prize in 1930. The Cry of Balintawak, the other name for the montage of 70 figures, is known as the apex of his career. It was completed on eve of the Commonwealth 1933 which stirred hope for independence versus colonial rule. This work also made him win the National Artist title in 1973.<sup>32</sup>

Kasenga at 11:37, 1 February 2013

2013-02-01T11:37:19Z

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	</blockquote>		</blockquote>

	The supposedly final design of the preliminary sketches was a completely nude man. President Palma was pleased with it but when it was presented to former U.P. President Jorge Bocobo, he was also fascinated but suggested the covering of the male private part with a fig leaf.<sup>3</sup> This ~~orginal~~ model was cast in silver, in the form of a trophy, to be given away during the annual athletic meet between U.P. and Siliman University.<sup>4</sup>		The supposedly final design of the preliminary sketches was a completely nude man. President Palma was pleased with it but when it was presented to former U.P. President Jorge Bocobo, he was also fascinated but suggested the covering of the male private part with a fig leaf.<sup>3</sup> This original model was cast in silver, in the form of a trophy, to be given away during the annual athletic meet between U.P. and Siliman University.<sup>4</sup>

	'''B. Model'''		'''B. Model'''
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	'''D. The Oblation through the years'''		'''D. The Oblation through the years'''

	The bronze oblation was rededicated on June 19, Rizal Day at the "Oblation Plaza". It was also the unveiling of a new historical marker, Bonifacio's translation of ''"Mi Ultimo Adios"'' and ''"El Filibusterismo"'', and Bonficacio's own ''"Pag-ibig sa Tinubuang Bayan"''. The ~~orginal~~ marker was lost and only two lines from Rizal's ''"A La Juventad Filipina"'' served as kind of caption for 53 years.<sup>14</sup>		The bronze oblation was rededicated on June 19, Rizal Day at the "Oblation Plaza". It was also the unveiling of a new historical marker, Bonifacio's translation of ''"Mi Ultimo Adios"'' and ''"El Filibusterismo"'', and Bonficacio's own ''"Pag-ibig sa Tinubuang Bayan"''. The original marker was lost and only two lines from Rizal's ''"A La Juventad Filipina"'' served as kind of caption for 53 years.<sup>14</sup>

	For years, the Oblation has been the focus of protests like in 1957, during the daily demonstrations of students demanding the appointment of a UP president, a black cloth was draped on the statue, while in 1960's, the student protesters put a skirt on it. The acts were condemned as "desecratory" but students said that "it wasn't a sacred idol but ~~symbollic~~ of the university's ideals which they thought were being mocked."<sup>15</sup>		For years, the Oblation has been the focus of protests like in 1957, during the daily demonstrations of students demanding the appointment of a UP president, a black cloth was draped on the statue, while in 1960's, the student protesters put a skirt on it. The acts were condemned as "desecratory" but students said that "it wasn't a sacred idol but symbolic of the university's ideals which they thought were being mocked."<sup>15</sup>

	The Oblation is also used as a logo for various university organizations, among these are The Philippine Collegian and other student publications, the U.P. Cooperative, and the U.P. Centennial emblem. In the year 2004, it was signed to the Intellectual Property Office.<sup>16</sup>		The Oblation is also used as a logo for various university organizations, among these are The Philippine Collegian and other student publications, the U.P. Cooperative, and the U.P. Centennial emblem. In the year 2004, it was signed to the Intellectual Property Office.<sup>16</sup>
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	<blockquote>		<blockquote>
	''"The completely nude figure of a young man with outstretched arms and open hands, with tilted head, closed eyes and parted lips murmuring a prayer, ~~wiith~~ breast forward in the act of offering himself, is my interpretation of that sublime stanza. It symbolizes all the unknown heroes who fell during the night. The statue stands on a rustic base, a stylized rugged shape of the Philippine archipelago, lined with big and small rocks, each and everyone of which represents and island.''		''"The completely nude figure of a young man with outstretched arms and open hands, with tilted head, closed eyes and parted lips murmuring a prayer, with breast forward in the act of offering himself, is my interpretation of that sublime stanza. It symbolizes all the unknown heroes who fell during the night. The statue stands on a rustic base, a stylized rugged shape of the Philippine archipelago, lined with big and small rocks, each and everyone of which represents and island.''
	<br /><br />''The katakataka (wonder plant) whose roots are tightly implanted on Philippine soil, is the link that binds the symbolized figure to the allegorical Philippine Group.''		<br /><br />''The katakataka (wonder plant) whose roots are tightly implanted on Philippine soil, is the link that binds the symbolized figure to the allegorical Philippine Group.''
	<br /><br />''Katakataka is really a wonder plant. It is called siempre vivo (always alive) in Spanish. A leaf or a piece thrown anywhere will sprout into a young plant. Hence it symbolizes the deep-rooted patriotism in the heart of our heroes. Such patriotism continually and forever grows anywhere in the Philippines.''		<br /><br />''Katakataka is really a wonder plant. It is called siempre vivo (always alive) in Spanish. A leaf or a piece thrown anywhere will sprout into a young plant. Hence it symbolizes the deep-rooted patriotism in the heart of our heroes. Such patriotism continually and forever grows anywhere in the Philippines.''
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	''"It has served as a symbol of the spirit of dedication of the Univeristy of the Philippines to the ideals of service to our people and of loyalty to the cause of human betterment. It has stood for many years past the visible and tangible embodiment of purity of purpose and unhidden motives.''		''"It has served as a symbol of the spirit of dedication of the Univeristy of the Philippines to the ideals of service to our people and of loyalty to the cause of human betterment. It has stood for many years past the visible and tangible embodiment of purity of purpose and unhidden motives.''
	<br /><br />''Heretofore, this statue has been molded in sand and portland cement, materials of lesser permanence and fragile beauty. Now it is executed in bronze so it will be more enduring and more ~~resistent~~ to the corroding elements of nature. As we celebrate this change, we rededicate this center of education, for which this landmark stands, to a more determined pursuit of truth in whatever shape and form, to the promotion of academic freedom, and to a tireless cultivation of love for all men regardless of race, rank, and religion. May this figure be forever stand to move those who come to this University to brighter visions of service and loyalty."''		<br /><br />''Heretofore, this statue has been molded in sand and portland cement, materials of lesser permanence and fragile beauty. Now it is executed in bronze so it will be more enduring and more resistant to the corroding elements of nature. As we celebrate this change, we rededicate this center of education, for which this landmark stands, to a more determined pursuit of truth in whatever shape and form, to the promotion of academic freedom, and to a tireless cultivation of love for all men regardless of race, rank, and religion. May this figure be forever stand to move those who come to this University to brighter visions of service and loyalty."''
	</blockquote>		</blockquote>

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	'''B. Education'''		'''B. Education'''

	His first drawing teacher was a Thomasite, Mrs. H.A. Bordner, at the Malolos Intermediate School, who also made possible the publication of his first pen and ink work that inspired the student. This caught the eye of Liwayway editor Severino de los Reyes who ~~litographed~~ and printed the work of the young Tolentino. His secondary education was at Manila High School. He worked for distant relatives while studying. "Alilang-kanin ako noon." he said, but with much pride.<sup>23</sup> Still self-supporting, he was able to enter the U.P. School of Fine Arts in 1915. He noticed that his seatmate was equally good, eventually the two became masters in their own field. That friend of his was no other than Fernando Amorsolo.<sup>24</sup>		His first drawing teacher was a Thomasite, Mrs. H.A. Bordner, at the Malolos Intermediate School, who also made possible the publication of his first pen and ink work that inspired the student. This caught the eye of Liwayway editor Severino de los Reyes who lithographed and printed the work of the young Tolentino. His secondary education was at Manila High School. He worked for distant relatives while studying. "Alilang-kanin ako noon." he said, but with much pride.<sup>23</sup> Still self-supporting, he was able to enter the U.P. School of Fine Arts in 1915. He noticed that his seatmate was equally good, eventually the two became masters in their own field. That friend of his was no other than Fernando Amorsolo.<sup>24</sup>

	In 1919, Tolentino went to Washington D.C. with only $7 and a letter to a Visayan waiter serving a downtime restaurant. He eventually got a job in a cafe in Rock Creek Park which as a favorite promenade of former U.S. President Woodrow Wilson. Tolentino would oblige his ~~cutomers~~ for sketches and this is how the private secretary of first lady, also a customer of the cafe, met him, noticed his works and made possible a meeting between the artist and the president himself.<sup>25</sup> He was able to study for two years at the Beaux Arts School in New York through the scholarship of American millionaire Bernard Baruch. He became assistant to established sculptor Gutzon Borglum who was able to meet Juan Luna and Felix Resureccion Hidalgo in Paris.<sup>26</sup>		In 1919, Tolentino went to Washington D.C. with only $7 and a letter to a Visayan waiter serving a downtime restaurant. He eventually got a job in a cafe in Rock Creek Park which as a favorite promenade of former U.S. President Woodrow Wilson. Tolentino would oblige his customers for sketches and this is how the private secretary of first lady, also a customer of the cafe, met him, noticed his works and made possible a meeting between the artist and the president himself.<sup>25</sup> He was able to study for two years at the Beaux Arts School in New York through the scholarship of American millionaire Bernard Baruch. He became assistant to established sculptor Gutzon Borglum who was able to meet Juan Luna and Felix Resureccion Hidalgo in Paris.<sup>26</sup>

	Tolentino was able to save some money to be able to go to Europe in 1921. He toured museums and galleries in London and Paris, and was able to see the works of his personal favorite Bistolfi who was famous for his poetry in sculpture. This period was not all easy for Tolentino, it was also one of his hard times. News reached Francisco Varona, a journalist, who was able to raise funds care of the Italian Colony in Manila. Tolentino was able to study for three and a half years at the Regge Instituto Superiore de Belle Arti di Roma, with the degree of Lecenziato del Corso Superiore Librero di Scultura, graduating with highest honors.<sup>27</sup> His work "Four Horsemen of the Apocalypse" won second prize in the Eternal City.		Tolentino was able to save some money to be able to go to Europe in 1921. He toured museums and galleries in London and Paris, and was able to see the works of his personal favorite Bistolfi who was famous for his poetry in sculpture. This period was not all easy for Tolentino, it was also one of his hard times. News reached Francisco Varona, a journalist, who was able to raise funds care of the Italian Colony in Manila. Tolentino was able to study for three and a half years at the Regge Instituto Superiore de Belle Arti di Roma, with the degree of Lecenziato del Corso Superiore Librero di Scultura, graduating with highest honors.<sup>27</sup> His work "Four Horsemen of the Apocalypse" won second prize in the Eternal City.

	Around 1924, he came back to Manila and built his own studio which he worked on for one year before becoming an instructor at the UP School of Fine Arts in 1926. He ~~rised~~ to become a professor, a secretary, an Acting Directory for Amorsolo in 1951, and eventually a Director in 1953. He became Professor Emeritus in 1955. It is said that he introduced Plastic Arts as a subject in the School of Fine Arts.<sup>28</sup>		Around 1924, he came back to Manila and built his own studio which he worked on for one year before becoming an instructor at the UP School of Fine Arts in 1926. He rose to become a professor, a secretary, an Acting Directory for Amorsolo in 1951, and eventually a Director in 1953. He became Professor Emeritus in 1955. It is said that he introduced Plastic Arts as a subject in the School of Fine Arts.<sup>28</sup>

	'''C. Awards and Citations'''		'''C. Awards and Citations'''
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	Generally, the artistic style of Tolentino, as seen in the Oblation, is a combination of Classicism, Realism and Romanticism. Classicism for Tolentino is "a living assimilative process which forges all forces into a dynamic unity."<sup>29</sup> It is not just a style or a set of rigid rules, while his realism is in his concern for observed detail as a way of stating truth. The Oblation is classical nude in form & spirit (neo-classicism). Though realistic details overshadows classical schema, concept of making human figure ~~symbollic~~ of an idea or value is classical. His Romanticism is similar to those of the French (like Gericault and Delacroix) that is filled with emotions and passions.<sup>30</sup>		Generally, the artistic style of Tolentino, as seen in the Oblation, is a combination of Classicism, Realism and Romanticism. Classicism for Tolentino is "a living assimilative process which forges all forces into a dynamic unity."<sup>29</sup> It is not just a style or a set of rigid rules, while his realism is in his concern for observed detail as a way of stating truth. The Oblation is classical nude in form & spirit (neo-classicism). Though realistic details overshadows classical schema, concept of making human figure symbolic of an idea or value is classical. His Romanticism is similar to those of the French (like Gericault and Delacroix) that is filled with emotions and passions.<sup>30</sup>

	Still much different from the Western style is his nationalist orientation which gives a genuine feeling for the subject. It was said to have been sparked by militant nationalist movements of the Rome in his student days, and his admiration of the Philippine Revolution of 1898, especially Bonifacio. He loved the intense & charismatic, tragic hero & leader of the revolution. Tolentino was involved in secret rites of the Kapatiran Millenarist Groups with occult symbols, magic of numbers & ancient tagalog or malay script.<sup>31</sup>		Still much different from the Western style is his nationalist orientation which gives a genuine feeling for the subject. It was said to have been sparked by militant nationalist movements of the Rome in his student days, and his admiration of the Philippine Revolution of 1898, especially Bonifacio. He loved the intense & charismatic, tragic hero & leader of the revolution. Tolentino was involved in secret rites of the Kapatiran Millenarist Groups with occult symbols, magic of numbers & ancient tagalog or malay script.<sup>31</sup>

	Some of his other famous works include Saluto Romano, which also won abroad, and the Bonifacio Monument in Caloocan whose design won the first prize in 1930. The Cry of Balintawak, the other name for the montage of 70 figures, is known as the apex of his career. It was completed on eve of the Commonwealth 1933 which stirred hope for ~~indepence~~ versus colonial rule. This work also made him win the National Artist title in 1973.<sup>32</sup>		Some of his other famous works include Saluto Romano, which also won abroad, and the Bonifacio Monument in Caloocan whose design won the first prize in 1930. The Cry of Balintawak, the other name for the montage of 70 figures, is known as the apex of his career. It was completed on eve of the Commonwealth 1933 which stirred hope for independence versus colonial rule. This work also made him win the National Artist title in 1973.<sup>32</sup>

	== Other Oblations ==		== Other Oblations ==

Mdesilva: /* Markers */

2012-03-12T17:17:29Z

Markers

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	<blockquote>		<blockquote>
	HULING PAHIMAKAS		'''HULING PAHIMAKAS'''
	<br />NI DR. JOSE P. RIZAL		<br />NI DR. JOSE P. RIZAL

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	<blockquote>		<blockquote>
	PAG-IBIG SA TINUBUANG BAYAN		'''PAG-IBIG SA TINUBUANG BAYAN'''
	<br />NI ANDRES BONIFACIO		<br />NI ANDRES BONIFACIO

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	At the back:		At the back:
	</blockquote>		<blockquote>
	<br />''Saan man mautas ay di kailangan,''		<br />''Saan man mautas ay di kailangan,''
	<br />''Cipres o laurel, lirio ma'y patungan''		<br />''Cipres o laurel, lirio ma'y patungan''
	<br />''Pakikipaghamok, at ang bibitayan,''		<br />''Pakikipaghamok, at ang bibitayan,''
	<br />''Yaon ay gayon din kung hiling ng bayan.''		<br />''Yaon ay gayon din kung hiling ng bayan.''

	</blockquote>		</blockquote>

Mdesilva at 17:15, 12 March 2012

2012-03-12T17:15:05Z

← Older revision		Revision as of 01:15, 13 March 2012
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	• Stangl, Jane. ''Kayumanggi: Biographies of Philippine Visual Artists''. Quezon City: Peso Book Foundation. 2000. Print.		• Stangl, Jane. ''Kayumanggi: Biographies of Philippine Visual Artists''. Quezon City: Peso Book Foundation. 2000. Print.

			----

	For Art Stud 2 THU-4		For Art Stud 2 THU-4

Mdesilva at 17:14, 12 March 2012

2012-03-12T17:14:36Z

← Older revision		Revision as of 01:14, 13 March 2012
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	• Guillermo, Alice. ''Iskultura sa Pilipinas: Mula anito hanggang assemblage at iba pang sanaysay''. Manila: Metropolitan Museum of Manila. 1991. Print.		• Guillermo, Alice. ''Iskultura sa Pilipinas: Mula anito hanggang assemblage at iba pang sanaysay''. Manila: Metropolitan Museum of Manila. 1991. Print.
	• Stangl, Jane. ''Kayumanggi: Biographies of Philippine Visual Artists''. Quezon City: Peso Book Foundation. 2000. Print.		• Stangl, Jane. ''Kayumanggi: Biographies of Philippine Visual Artists''. Quezon City: Peso Book Foundation. 2000. Print.


			For Art Stud 2 THU-4
			<br />2nd Semester, A.Y. 2011-2012
			<br />'''Prof. Roberto E. Paulino'''

			Reported by:
			<br />'''Mary Therese de Silva'''