Women In Philippine Art
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Women In Philippine Art
Women in Philippine art is the many forms of art in the Philippines that utilizes women in the Philippines and even women from other parts of the world as the main subject depending on the purpose of the Filipino artist. The portrayal of women in the visual arts depend on the context on how Philippine society perceives women and their roles in human communities, such as their own. Women in paintings In the field of painting, Filipino visual artists depicted women in their painting as women who are influential and with authority, women who are engaged in domestic activities, and women who are shown to be under the control of influential men in the Philippines or foreign men. Amorsolo's women In painting the faces and figures of Filipino women, Philippine National Artist Fernando Amorsolo (1892-1972) was able to develop his own template on how to paint and create Filipino women in his art: women with rounded faces but not oval, with "exceptionally lively eyes" (not dreamy or sleep ...
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Art In The Philippines
The Arts in the Philippines are all the arts in the Philippines, from the beginning of civilization to the present. They reflect a range of artistic influences on the country's culture, including indigenous art. Philippine art consists of two branches: traditional and non-traditional art. Each branch is divided into categories and subcategories. Overview The National Commission for Culture and the Arts, the cultural agency of the Philippine government, has categorized Filipino arts as traditional and non-traditional. Each category has sub-categories. *Traditional arts: **Ethnomedicine – including albularyo, babaylans, and hilot **Folk architecture – including stilt, land, and aerial houses **Maritime transport – boat houses, boat-making, and maritime traditions **Weaving – including back-strap loom weaving and other, related forms of weaving **Carving – including woodcarving and folk non-clay sculpture **Folk performing arts – including dances, plays, and dramas ...
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