The Batangas Mesa Altar Revisited: A Primer Questions from members regarding that set of altar tables that are derived from Batangas are cropping up. Specifically, people want to know why they are called “Batangas” tables and where the influences that make up the style are derived. Literature Review: The seminal work on in-depth analyses of Philippine furniture is Ramon Villegas’s article “Philippine Classical Furniture in the Que Collection” which appeared in the Jan.- Feb. 1991 issue of Arts of Asia. Previous writers such as Martin I. Tinio, Felice Sta. Maria (in her seminal book, Philippine Antiques and Collectibles) and Milagros Cuvarrubias Jamir (Domestic Furniture in the Philippines, Arts of Asia, Jul.- Aug. 1983) attempted to classify Philippine furniture through stylistic comparisons. Then, as now, documentary evidence is scarce and difficult as no descriptive receipts or invoices have been found. And as Martin I. Tinio pointed out, there is little mention of furniture in the wills and testamentary documents he has studied. And if they do, the descriptions provided are vague and generalized. The study of the Que collection, a collaborative effort between Ramon Villegas and Esmundo Esguerra, is the first study of its kind to trace the origin of particular pieces; to analyze the woods used; and to study the construction methods used by master joiners and carpenters to create these works of art. As Villegas is wont to argue, their methodologies were a more “scientific” approach to studying Philippine furniture as they use ‘empirical’ defined as observable and measurable data such as condition, construction and situation (the location where the object was found). Genesis of the Batangas Mesa Altar: One of the projects that Paulino Que tasked Villegas and Esquerra was to track down the genesis of the older Batangas mesa altars made from Tindalo. From previous literature, two were already known – the one with cabriolet legs on stretchers terminating on ogee feet (now known as the “Uno”) and the other is a smaller version with straight, tapering legs (now known as the “Tuwid” and also attributed to the Batangas I Master but may have been a product of his son or a skilled apprentice). Prior to Villegas and Esguerra’s efforts, no one has bothered to date them or even ascertain where they were made. Focusing on the general area where both pieces were found, Villegas and Esquerra ascertained that both pieces came from Batangas (hence the name). More specifically, Villegas and Esquerra ascertained that the more elaborate Uno (and the subsequent ‘Tuwid” version) came from a sophisticated workshop in Taal (already an important and cosmopolitan town). The less elaborate Dos is attributed to a master from San Pascual. Consequently and because of the extensive work conducted by Villegas and Esguerra documenting these pieces and their sources, these tables have come to be known as BATANGAS mesa altars. Characteristics of the Batangas Mesa Altars: The Uno, considered by many as the “Holy Grail” of Philippine furniture, is characterized by a strong rococo influence. There is strong and palpable Chinese or Chinoiserie influence (so popular during the Rococo). And one finds typical rococo motifs such as the “asymmetrical” design of spiky leaves and the cut-out, lattice-like motif on the “noude” or “knot” found at the center of the apron as well as on the flanges. The table top has a mitered frame with a floating central panel secured by transverse braces. And there is a sense of “monumentality” and massiveness that is almost architectural with exaggerated moldings that offset the delicate carvings on the flange and apron. The Dos, on the other hand, is a more delicate and pared-down version of the Uno. Gone are the heavy moldings and the intricate carvings. The shape of the Dos still retains the general shape of the Uno – wtih cabriolet legs standing on stretchers terminating in ogee feet – and the table top is still the mitered edge with a floating central panel. But it is a lighter, airier vertion (Uno Lite?) that echoes the more refined and restrained influence of the nascent neoclassical style. The Tuwid – also attributed to the Batangas I Master but may have been made by his son or a skilled apprentice – looks very much like a smaller version of the Uno. It has the mitered top and the rococo influenced asymmetrical carvings of vines and lattices. But unlike the Uno, the legs are straight and splayed in the style which has come to be known as “Tuwid”. Gone are the heavy moldings and the top and apron are flatter and the carving less refined. The Maranao Influence: Richard Syling has posited that the Batangas mesa altars exhibit a vague influence from the Southern Philippines and he claims to detect a palpable “Maranao” feeling to these tables. It is easy to discount such a claim if one does not know and/or understand the history of the province of Batangas. According to Halili (2004 , p. 53) in her book, Philippine History, Muslim traders from Borneo reached Mindoro, Batangas, Manila and parts of Pampanga shortly before the arrival of the Spaniards. They were responsible for disseminating the teachings of Mohammed as well as the cultural and artistic influence of Islam. The town of Balayan, Batangas holds a pivotal role in accelerating the spread of Islam throughout the province. And according to Tan in his book, A History of the Philippines (2009, p. 48), the internal trade in Central Luzon (including Batangas) received paramount attention not from the Muslim sultans of Manila but Muslims from the South particularly those from Mindoro and Mindanao. This may account, in large part, for traces of Islamic influence in general and of Mindanao in particular to trade goods made in the area. And finally, we cannot discount the significant oral tradition and mythology held by the Batanguenos concerning their origins. According to folk tradition, much of the inhabitants of the area surrounding Lake Bombon (which subsequently became Lake Taal) were descendants of a group of 10 Bornean chieftrains or datus who migrated to the Visayas sometime between the 10th -13th centuries. Two of these datus -- Dumangsil and Balkasusa – subsequently settled in Batangas. It cannot be too far fetched to assume that these datus brought with them their Islamic cultural and artistic tradition which may have influenced the development of art in the area. __________________________________________________ Halili, C. N. 2004. Philippine history. Manila: Rex Books Tan, S. K. 2009. A history of the Philippines. Manila: Univ. of the Philippines Press.
Posted on: Thu, 31 Jul 2014 00:41:31 +0000
Trending Topics
Recently Viewed Topics
© 2015