Category Archives: Museums

Gallery III – Paintings of the Philippine Colonial Tradition of the Sacred Arts (National Museum of Fine Arts, Manila)

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Gallery III- Paintings of the Philippine Colonial Tradition of the Sacred Arts

Gallery III – Paintings of the Philippine Colonial Tradition of the Sacred Arts, at the third floor of the National Museum of Fine Arts, exhibits the paintings that show images of saints, the Blessed Virgin and the Holy Family. It features polychromes and paintings of early religious images interpreted by local Filipino artists and artisans.

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Gallery entrance

One of the prominent pieces in the collection is La Apoteosis de Sto. Tomas Aquino (1819, oil on panel), an artwork dedicated to the Dominican College of Seville and one of the few works of Damian Domingo (1796 – 1834), the Father of Filipino Painting, that survive today.

La Apoteosis de Sto. Tomas Aquino (Damian Domingo, 1819, oil on panel)

Another notable painting is the Nuestra Senora del Rosario (ca. 1860, oil on linen) of Antonio Malantic y Arceo (1820 – 1885), one of the famous portrait painters in the Philippines.

Nuestra Senora del Rosario (Antonio Malantic y Arceo, 1860, oil on linen)

Simon Flores y de la Rosa (1839 – 1902), the first Filipino to garner a prize from an international exhibition (silver medal in 1876 at the Philadelphia Universal Exposition for his painting La Musica del Pueblo), has two works at the gallery –  El Bautismo de Jesus por San Juan Bautista (late 19th century, oil on canvas) and San Roque (1893, oil on panel).

El Bautismo de Jesus por San Juan Bautista (Simon Flores y de la Rosa, late 19th century, oil on canvas

San Roque (Simon Flores y De la Rosa, 1893, oil on panel)

Faustino Quiotan (1770 – 1825), a Chinese mestizo master from Sta. Cruz District in Manila and one of the first Filipino artists to show emotions in his subjects, has two works on display –  San Isidro Labrador (late 18th or early 19th century, oil on canvas) and San Albino de Angers (late 18th or early 19th century, oil on canvas).

Top left: San Isidro Labrador (Faustino Quiotan, late 18th or early 19th century, oil on canvas). Bottom left: San Albino de Angers (Faustino Quiotan, late 18th or early 19th century, oil on canvas). Right: San Cristobal (Mariano Asuncion y Molo, mid tolate 19th century, oil on canvas)

 

Left San Bonifacio, Obispo y Martir (Juan Arceo, 1830, oil on panel). Top CenterSta. Leogarda de Jesus (Nicolas Luis). Bottom Center San Pedro Apostol (Jose Domingo Gabor, late 19th century, oil on panel).

The other known artists whose works are featured include Jose Domingo y Gabor (son of Damian Domingo, ca. 1790 – 1832), Nicolas Luis, Francisco Domingo y Casa, Hilarion Asuncion y Eloriaga (ca. 1840 – ?), Isidro Arceo (1840 – 1900), Juan Arceo (1795 – 1865), Justiniano Asuncion y Molo (1816 – 1896, a prized pupil of Damian Domingo in Academia de Dibujo y Pintura), Mariano Asuncion y Molo (1802 – 1885, brother of Justiniano), Vicente Villasenor (1825 – ?), Juan Senson (an Angono artist), Castor Resurrecion and Adorable Castro Andrade.

El Transito del Glorioso Patriarca San Jose (Francisco Domingo y Casa, oil on canvas)

Nuestra Senora de Guadalupe (Castor Resurrecion, oil on canvas)

Half of works on display are by unknown artists.  The collection belongs to the Bangko Sentral ng Pilipinas Collection.

La Coronacion de la Virgen (unknown Leyteno artist, mid 19th century, oil on panel)

La Paloma (La Coronacion de la Virgen) (Vicente Villasenor, oil on panel)

Gallery III – Paintings of the Philippine Colonial Tradition of the Sacred Arts: Ramon and Milagros Del Rosario Family Hall, South Wing Galleries, 2/F, National Museum of Fine Arts (NMFA), Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100.  Email: inquiry@nationalmuseum.gov.ph.  Website: nationalmuseum.gov.ph.  Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free.  Coordinates: 14°35′13″N 120°58′52″E.

Visitors shall be limited to 100 per museum per session. Visitors are required to pre-book online at https://reservation.nationalmuseum.gov at least a day before the visit. Confirmation of booking will be sent through email. Group reservations are limited to five (5) persons only.  Walk-in visitors will NOT be accommodated.

Gallery II – Gallery of the Via Crusis of an Unknown Bohol Master (National Museum of Fine Arts, Manila)

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Gallery II – Gallery of the Via Crusis of an Unknown Bohol Master

Gallery II – Gallery of the Via Crusis of an Unknown Bohol Master, at the second floor of the National Museum of Fine Arts, features 14 paintings depicting the Stations of the Cross (Via Crusis).

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Gallery entrance

These masterpieces were done by an unknown master from Bohol and the particular church where these paintings originated is also unknown.

Station I (Jesus is Condemned to Death)

Station II (Jesus Carries His Cross).  Check out the Chocolate Hills” in the background

Inscribed with the year 1830, they are among the oldest surviving complete (most were sold individually) series of depictions of the Stations of the Cross in the Philippines.

Station III (Jesus Falls the First Time)

Station IV (Jesus Meets his Mother)

Done on wood panels, they depict the Passion of Christ in great detail in the folk and native style primarily due to the simplistic rendering and flatness of the plane.

Station VI (Veronica Wipes the Face of Jesus)

Station VII (Jesus Falls the Second Time)

Interesting characteristics include the depiction of the distinctive Boholano landscape of conical hills (known in the mid-20th century as the “Chocolate Hills”).

Check out “Chocolate Hills” and “Chocolate Hills Adventure Park”

Station VIII (Jesus Meets the Women of Jerusalem)

Station IX (Jesus Falls the Third Time)

This landscape can be seen in Station II (Jesus Carries His Cross), Station III (Jesus Falls For the First Time), Station IX (Jesus Falls the Third Time), Station X (Jesus is Stripped of his Garments), Station XI (Jesus is Nailed to the Cross) and Station XIV (Jesus is Laid in the Tomb).

Station X (Jesus is Stripped of his Garments)

Station XI (Jesus is Nailed to the Cross)

There are also references to the Medieval practices of portraying damned souls by means of grotesque features such as elongated noses (redolent of the snouts of swine) of those Roman soldiers and other persons who, without  mercy or remorse, contribute to the suffering of Jesus.

Station XII (Jesus Dies on the Cross)

Station XIII (Jesus is Taken Down from the Cross)

These paintings are entirely unique and outstanding in its cultural significance particularly as they are the only such works held in a public collection and kept in perpetual trust for the Filipino people. 

Station XIV (Jesus is Laid in the Tomb)

Gallery II – Via Crusis of an Unknown Bohol Master: Friends for Cultural Concerns of the Philippines, Inc. (FCCP) Hall, 2/F, National Museum of Fine Arts (NMFA), Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100.  Email: inquiry@nationalmuseum.gov.ph.  Website: nationalmuseum.gov.ph.  Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free.  Coordinates: 14°35′13″N 120°58′52″E.

Gallery I – Religious Art from the 17th to 19th Centuries (National Museum of Fine Arts, Manila)

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Gallery I – Religious Art from the 17th to 19th Centuries.  In the foreground are nearly life-size wooden statue of an Augustinian monk and St. Dominic.  At the back is the huge, 18th century, Neo-Classical retablo mayor (altar piece) of the Church of St. Nicholas of Tolentino in Dimiao, Bohol, now a National Cultural Treasure

Gallery I: Religious Art from the 17th to 19th Centuries, at the second floor of the National Museum of Fine Arts, features Christian themed art from the 17th-19th centuries that show the faith and devotion of Filipinos to Christianity.

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Gallery entrance

Displayed at the sides of the gallery are a free-standing crucifix, a door of a tabernacle and a Pieta hanging from a wall; carved, free-standing wooden statues of saints or santos (St. John the Evangelist, St. Mary Magdalene, St. Dominic, St. Anne, St. Isidore the Laborer, St. Rita of Cascia,  St. Catherine of Alexandria, St. Roche, St. James Matamoros, etc.), the Christ Child (Santo Nino), angels and the Virgin Mary (La Immaculada Concepcion); and wooden Corinthian pillars, all made by unknown artists.

Hanging on the wall is a door of a tabernacle, a Pieta and an angel. In front is a free-standing crucifix flanked by angels

At the middle of the gallery are two, nearly life-size wooden statues of St. Dominic (San Domingo de Guzman), founder of the Dominican Order, and an Augustinian monk.

Wooden statues of San Isidro Labrador, San Roque and San Domingo de Guzman

A notable exhibit here, near one end of the hall, is the huge 18th century, Neo-Classical retablo mayor (altar piece) of the St. Nicholas of Tolentino Church in Dimiao in Bohol which was declared as a National Cultural Treasure by the National Museum of the Philippines on July 18, 2011.

Wooden statues of Santo Ninos (Christ Child)

Gallery I – Religious Art from the 17th to 19th Centuries: Luis I. Ablaza Hall, 2/F, National Museum of Fine Arts (NMFA), Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100.  Email: inquiry@nationalmuseum.gov.ph.  Website: nationalmuseum.gov.ph.  Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free.  Coordinates: 14°35′13″N 120°58′52″E.

Gallery XIV: Pillars of Philippine Modernism (National Museum of Fine Arts, Manila)

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Gallery XIV (Pillars of Philippine Modernism)

Gallery XIV: Pillars of Philippine Modernism, a permanent exhibit at the third floor of the National Museum of Fine Arts, features Philippine modern art from the 1920s-1970s.

 

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On display are works of five of the revolutionary Thirteen Moderns  (a group of artists that broke away from the Conservatives led by Fernando Amorsolo) – Victorio C. Edades (1895-1985), Diosdado Lorenzo (1906-1984), Galo B. Ocampo (1913-1985), Anita Magsaysay-Ho (1914-2012) and Ricarte Puruganan (1912-1998).

The Sketch (Victorio Edades, 1928, oil on canvas)

National Artist for Painting (1976) Victorio Candido Edades, the “Father” of Modern Philippine Art,” was an artist influenced deeply by his studies and exposure to the style in the United States.

Modern Maria Clara (Victorio C. Edades, oil on canvas)

He presented figures in muddy earth colors (yellow ochres and raw sienna accented by bold black contours), his subjects were distorted figures (those whose proportions defy classical measure) and his brush strokes were agitated and harsh as reflected in his oils on canvas – The Sketch (1928) and Modern Maria Clara (1958).

An Old Woman with Mortar (Diosdado M. Lorenzo, 1937, oil on board)

Nueva Ecija (San Isidro)-born Diosdado Magno Lorenzo, who had already spearheaded Philippine Modernism even before its emergence became mainstream in Philippine arts, painted in different media and genres.

Barrio Scene (Diosdado Lorenzo)

A Barrio Girl (Diosdado M. Lorenzo, 1946, oil on board)

The imagery of his work consisted, for the most part, of the countryside of San Isidro – its guileless, uncorrupted people; its magnificent trees and its pristine environment.

Gumamela (Diosdado M. Lorenzo, 1975, oil on canvas)

Landscape (Diosdado M. Lorenzo, 1966, oil on board)

This imagery can be seen in five of his paintings displayed in the gallery – Barrio Scene (1970, oil on masonite board), An Old Woman with Mortar (1937, oil on board), Landscape (1966, oil on board) Gumamela (1975, oil on canvas) and A Barrio Girl (1946, oil on board).

Portrait of Lucio R. Ildefonso, Alejandra Tagle Ildefonso and their Children (Diosdado M. Lorenzo, 1936, oil on canvas)

Also on display is his commissioned oil on canvas painting of Portrait of Lucio R. Ildefonso, Alejandra Tagle Ildefonso and their Children (1936).

Portrait of Enrico Costamagna (Diosdado M. Lorenzo, ca. 1930, plaster of paris)

Self Portrait (Diosdado M. Lorenzo, ca. 1930, plaster of paris)

Displayed together are two plaster of paris busts, titled Kiss,” sculpted by the artist himself during a sojourn in Italy in the early 1930s – Self Portrait (when Lorenzo was a young man in his 20s) and Portrait of Emilio Costamagna (a portrait of the father of Mario Costamagna, Lorenzo’s friend and fellow student at the Academy of San Luca in Italy).

Self Portrait (Galo B. Ocampo, 1982, oil on canvas)

Pampanga (Santa Rita)-born Galo B. Ocampo was also known for rejecting academic tradition and embracing Western modernism. Stylistically, his paintings, often blending Christian themes with references to Filipino indigeneity, showcase the influence of Cubism, Surrealism, and Expressionism on his works.

Portrait of a New York Lady (Galo B. Ocampo, 1947, oil on canvas)

On display oil on canvas paintings of his Self Portrait (1982) and Portrait of a New York Lady (1947), gifted by Ocampo’s family to the nation in 2013.

The Black Nazarene of Quiapo (Ricarte M. Puruganan)

Ilocano (Dingras, Ilocos Norte) painter Ricarte Madamba Puruganan, using bold strokes of thick impasto for which he was known, preferred fusing Philippine folk art themes with Modernist techniques, painting scenes closest to his heart – the rustic, the indigenous; quaint seascapes and evocative agricultural. On display are his The Black Nazarene of Quiapo (1937, oil on canvas) and Graveyard Scene (undated, oil on canvas)

Graveyard Scene (Ricarte M. Puruganan, undated, oil on canvas)

Filipina painter Anita Magsaysay-Ho, the only female member of the “Thirteen Moderns,” specialized in Social Realism and post-Cubism in regard to women in Filipino culture. Her work appeals to Modernism by utilizing more abstract designs and styles rather than realistic approaches.  The Portrait of Marylisde Jesus Sevilla (1958, oil on canvas), the first work of the artist to be included in the national collection, was generously gifted, by the sitter, to the nation in 2013.

Portrait of Marylisde Jesus Sevilla (Anita Magsaysay Ho, 1958, oil on canvas)

Also represented in this gallery are painters of the Neo-Realist school, the second wave of Philippine Modernists.  This post-war group of artists advocated a style that is representational in form but more open to various degrees of abstraction.  They include Manuel Antonio Rodriguez Sr. (1912-2017), Romeo V. Tabuena (1921-2015), and Nena L. Saguil (1914-1994).

Carabaos in Pink (Romeo V. Tabuena, 1957, oil on board)

Romeo Villalba Tabuena, whose works primarily features figures pieced together from muted, monochromatic shapes, is best known for depictions, in oil acrylic and watercolor media, of Philippine rural landscapes (farms, carabaos, nipa huts, etc.) such as Nipa Huts on Stilts (1952, oil on canvas) and Carabaos in Pink (1957, oil on board).

Nipa Huts on Stilts (Romeo V. Tabuena, 1952, oil on canvas)

Simplicia “Nena” Laconico Saguil, considered a pioneer of Filipino abstract art, is most known for her cosmic, organic, and spiritual abstract works depicting internal landscapes of feeling and imagination. Saguil created impressionistic and naturalistic figurative works, including landscapes and still lifes.  On display at the gallery is A Filipina Maiden (oil on canvas)

A Filipina Maiden (Nena Saguil, oil on canvas)

Filipino printmaker Manuel Antonio Rodriguez Sr., also known by his nickname Mang Maning, was dubbed as the “Father of Philippine Printmaking.”  The first Filipino to have exhibited his prints in international biennial shows, Rodriguez had a unique and unparalleled knack for abstract and figurative forms.

Returning From the Fields (Manuel Rodriguez, Sr., 1949, oil on canvas)

The graphic quality of his oil on canvas works (Returning From the Fields, 1949; and Feeding Time, 1967), borrows from his forte of printmaking.

Feeding Time (Manuel Antonio Rodriguez, Sr., 1967, oil on canvas)

Another Modernist painter featured in the gallery is Spanish-born (b. 1929, Reus, Catalonia) painter Juvenal Sanso, one of the foremost masters of Modernism in Philippine Art.

Blue Floral (Juvenal Sanso, 1965, acrylic on canvas)

The graphic, textured works of Juvenal Sanso, best known for his surreal landscapes, are full of lush plant life and tropical skies painted in a bright palette culled from his idyllic childhood in the Philippines as seen in his Blue Floral (1965, acrylic on canvas).

Man with a Hoe (Juvenal Sanso, 1950, oil on masonite)

His unusual Man with a Hoe (1950, oil on masonite), painted after World War II, features a naked man holding a hoe with his head downwards.  It may be interpreted to depict the emotions and the traumatic experiences of the artist.  Another of his works featured is Muscle Bound (1960, pen and ink on paper).

Muscle Bound (Juvenal Sanso, 1960, pen and ink on paper)

Seemingly out of place in the gallery is Nestor Garcia Leynes (1922-2016), regarded as one of the leaders of the “Magic Realist” movement of the Philippines.  Typically, he painted idyllic scenes of Philippine rural life, much like his mentor Fernando Amorsolo, ranging from women sifting rice to harvest scenes, depicting romantic scenes in painstaking detail. However, his oil on canvas piece A Peasant’s Funeral (1948) is not representative of his work.

A Peasant’s Funeral (Nestor G. Leynes, 1948, oil on canvas)

Gallery XIV – Pillars of Philippine Modernism: 3/F, National Museum of Fine Arts (NMFA), Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100.  Email: inquiry@nationalmuseum.gov.ph.  Website: nationalmuseum.gov.ph.  Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free.  Coordinates: 14°35′13″N 120°58′52″E.

National Museum of Fine Arts (Manila)

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The National Museum of Fine Arts (Filipino: Pambansang Museo ng Sining), an art museum formerly known as the National Art Gallery, is  housed in the Old Legislative Building and is located on  across from the National Museum of Anthropology (former Department of Finance Building) in the eastern side of Rizal Park. Owned and operated by the National Museum of the Philippines, the museum was founded in 1998 and houses a collection of paintings and sculptures by classical Filipino artists such as Juan Luna, Félix Resurrección Hidalgo and Guillermo Tolentino.

Check out “National Museum of Anthropology,” “Old Legislative Building” and “National Art Gallery”

The author at the National Museum of Fine Arts

The National Fine Arts Collection (NFAC), the growing collection of visual arts and archives, constitutes a large part of our country’s artistic patrimony and featuring the achievements and aspirations of Filipino visual artists. It is composed of a significant number of paintings, sculptures, icons, sketches, mixed media, painted photographs, prints, drawings, studies, installation art, sculptures, documents, memorabilia and photographs by Filipino visual artists who significantly impacted the nation’s artistic heritage.  It includes important works of unknown artists of the 18th century, masters of the 19th century, National Artists, up to the leading modern artists of the 1990s to the 21st century.

Its increasing photography collection, by renowned art photographers, is a recent development.  It includes the contemporary works of Isa Lorenzo, Neal Oshima, George Tapan, Bengy Toda, and Ferrante Ferranti.

The present National Museum of Fine Arts houses 29 galleries (most offered to sponsors and patrons, individuals or corporations, for the naming right) and hallway exhibitions comprising of 19th century Filipino masters, National Artists, leading modern painters, sculptors, and printmakers. Also on view are art loans from other government institutions, organizations, and individuals.

First Floor: The Judiciary Floor

  • The Government William H. Taft Entrance
  • The Architect Juan M. Arellano Foyer
  • The Sandiganbayan Reception Hall
  • Seminar Rooms
  • The National Fine Arts Repository
  • The National Archaeological Repository
  • Auditorium (North Annex)
  • Administrative Offices (South Annex)

Second Floor: The House of Representatives Floor

  • The Padre Jose Burgos Entrance
  • The President Manuel Roxas Foyer
  • The Spoliarium Hall
  • Gallery I: Religious Art from the 17th to 19th Centuries (Luis I. Ablaza Hall)- features Christian themed art from the 17th-19th centuries.
  • Gallery II: Gallery of the Via Crusis of an Unknown Bohol Master (Friends for Cultural Concerns of the Philippines, Inc. Hall) – features 14 paintings depicting the Stations of the Cross (Via Crusis).
  • Gallery III: Paintings of the Philippine Colonial Tradition of the Sacred Arts (Ramon and Milagros Del Rosario Family Hall) – exhibits the paintings that show images of saints and the Holy Family.
  • Gallery IV: Paintings of the Philippine Colonial Tradition of Portraiture (Fundacion Santiago Hall) – exhibits more than 30 portraits that showcase the status of the living and memories of the dead.
  • Gallery V: The National Hero in Art (Dr. Jose Rizal Hall) – displays sculptures and paintings made by the Philippine National Hero, Dr. Jose P. Rizal, as well as the artists who created paintings, portrait busts, and sculptures of the National Hero.
  • Gallery VI: Gallery of Paintings of Los Dos Pintores Juan Luna and Felix Hidalgo (Far East Bank and Trust Company – Andres and Grace Luna de San Pedro Memorial Hall) – features major works and oil studies by Juan Luna as well as Félix Resurrección Hidalgo, Luna’s contemporary and friend.
  • Gallery VII (Special Exhibition Hall)
  • Gallery VIII (Silvina and Juan Laya Hall) – features paintings by Filipino artists who want to show the painful and hard life during the Imperial Japanese Occupation during 1941 to 1945, liberation of the Philippines by American and Filipino forces and the damage that happened in Manila during the war.
  • Gallery IX (Early 20th Century Philippine Portrait Hall) – features a collection of works of portraiture and Filipino types by artists under the Classical Realist School during 1903 to 1960 and works of artists that are the pioneer and prolific during that period.
  • Gallery X (Museum Foundation of the Philippines Hall)
  • Gallery XI: Drawings of Fernando C. Amorsolo (Society for the Preservation of Philippine Culture Hall) (SPPC Hall) – features over 100 black-and-white pencil and ink sketches and oil studies of the National Artist Fernando Amorsolo before creating his masterpiece.
  • Gallery XII – Eskultor ng Lahing Filipino:  Honoring the Life and Work of Guillermo Tolentino (Security Bank Hall) – features the work of National Artist of the Philippines for Sculpture (1973) Guillermo E. Tolentino.
  • The President Sergio Osmena Function Hall – houses the Madonna with Angels (ca. 1946), a plaster relief  by Francesco Riccardo Monti, donated by the heirs of Petronillo L. Del Rosario, Sr.

Check out “Gallery I: Religious Art from the 17th to 19th Centuries,” “Gallery II: Gallery of the Via Crusis of an Unknown Bohol Master,” “Gallery III: Paintings of the Philippine Colonial Tradition of the Sacred Arts,” “Gallery IV: Paintings of the Philippine Colonial Tradition of Portraiture” “Gallery V: The National Hero in Art,” “Gallery VI: Gallery of Paintings of Los Dos Pintores Juan Luna and Felix Hidalgo,” “Gallery VIII,” “Gallery IX,” “Gallery XI: Drawings of Fernando C. Amorsolo” and “Gallery XII – Eskultor ng Lahing Filipino:  Honoring the Life and Work of Guillermo Tolentino”

Third Floor: The Senate Floor.

  • The President Manuel L. Quezon Foyer
  • Gallery XIII (Vicente and Carmen Fabella Hall) – features works by National Artist for Sculpture (1976) Napoleon Veloso Abueva (1930-2018) and a monumental painting by National Artist for Painting (1973) Carlos V. “Botong” Francisco (1912 – 1969).
  • Gallery XIV: Pillars of Philippine Modernism – features Philippine modern art from the 1920s-1970s, most notably Victorio C. Edades, an artist who started the Modern Art in the Philippines.
  • Gallery XV (Emilio Aguilar Cruz Hall) – is dedicated to the life and works of Emilio Aguilar Cruz (1915-1991).
  • Gallery XVI (Philippine General Hospital Hall) – is dedicated to The Progress of Medicine in the Philippines, a set of four large-scale paintings by celebrated muralist and National Artist Carlos V. “Botong” Francisco (1912-1969) that depicts the evolution of healing practices in the Philippines from the pre-colonial period tribal practices to the modern period.
  • Gallery XVII (Special Exhibition Hall Dedicated to Women’s Art)
  • Gallery XVIII: Pillars of Philippine Modernism – features Modernist art pieces from the 1940s to 1980s, with works by a number of National Artists such as Carlos V. “Botong” Francisco (1912-1969), Jose T. Joya (1931-1995), Cesar T. Legaspi (1917-1994), and Abdulmari Asia Imao (1936-2014). Also displayed are palettes of Jose T. Joya and Mauro Malang Santos (1928-2017).
  • Gallery XIX (Philippine Modern Sculpture Hall)
  • Gallery XX (Placuna Placenta: Capis Shells and Windows to Indigenous Artistry)
  • Gallery XXI (GSIS North Hall) – features National Artist Federico Aguilar Alcuaz’s (1932-2011) Art Protis from the collection of the Government Service Insurance System (GSIS). Art protis or non-woven tapestry is a unique process developed in Brno, the second biggest city in the Czech Republic. There, Alcuaz met a Czech artist who introduced him to the new textile collage technique. This exhibition shows Alcuaz’s skills and talent in using this foreign technique to create outstanding collage artworks.
  • Gallery XXII (International Rice Research Institute Hall) – features two large-scale paintings and their watercolor studies by National Artist Vicente S. Manansala (1910-1981) from the collection of the International Rice Research Institute (IRRI).
  • Gallery XXIII (GSIS Northwest Hall) – pays homage to the works of National Artist for Painting Vicente S. Manansala (1910-1981). It contains his works from the National Fine Arts Collection and the Government Service Insurance System (GSIS) art collection.
  • Gallery XXIV (Philam Life Hall) – shows seven large paintings by National Artist Vicente S. Manansala (1910-1981) commissioned in the 1960s by the Philippine-American General Life Insurance Company (Philam Life) for its building at United Nations Avenue, Ermita, Manila. Also featured here are rural-themed wood reliefs by renowned sculptor, Jose P. Alcantara (1911-2005), which previously adorned the Philam Life Theater.
  • The Senate Session Hall (Main Level) – features modern and contemporary Philippine art from the 20th to the 21st centuries. All the ornamentation and decoration in this Hall was done by Isabelo Tampinco.
  • The Senator Claro M. Recto Function Hall

“Gallery XIII,” “Gallery XIV: Pillars of Philippine Modernism,” Gallery XV,” “Gallery XVI,” “Gallery XVIII: Pillars of Philippine Modernism,” “Gallery XIX,” “Gallery XXI,” “Gallery XXII,” “Gallery XXIII” and “Gallery XXIV”

Fourth Floor: The Executive Floor.

  • The Senator Benigno S. Aquino Jr. Foyer
  • Gallery XXV
  • Gallery XXVI
  • Gallery XXVII (Special Exhibition Hall)
  • Gallery XXVIII (Special Exhibition Hall)
  • Gallery XXIX (Philippine Modern Sculpture Hall)
  • The Senate Session Hall (Mezzanine Level)
  • The President Jose P. Laurel Function Hall
  • Management Offices

Check out “Circa by Impy Pilapil” and “Placuna Placenta: Capis Shells and Windows to Indigenous Artistry“

National Museum of Fine Arts: Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100.  Email: inquiry@nationalmuseum.gov.ph.  Website: nationalmuseum.gov.ph.  Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free.  Coordinates: 14°35′13″N 120°58′52″E.

Escolta Museum (Manila)

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Escolta Museum

One of the highlights of our Binondo Heritage Walk was our visit to the reopened (after the easing of COVID-19 guidelines) Escolta Museum at the mezzanine of the Calvo Building.

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Calvo Building

The place to be if you are a history buff and a fan of Old Manila, this quaint museum, established in 1994, showcases the bygone era of the most elegant district of old Manila through its permanent exhibit entitled “Bote’t, Diyaryo, Extraordinaryo.”

L-R: Mr. Diego Gabriel Torres (Renacimiento Manila president) and our guide Mr. Stephen John A. Pamorada of The Heritage Collective

Immediately upon climbing a narrow stairway from the lobby, you will find a small room displaying historic news clippings from old newspaper publications (El Renacimiento, Filipinas,  Republica Filipina, etc.), journals and magazines dating back to the twilight of Spanish rule and the nascent years of America’s occupation.

Newspaper Clippings

It includes an 1899 newspaper showing that even then, Rizal was already regarded as a hero and martyr.

The author

Jandy

On display at the long hallway are memorable, fascinating and nostalgic artifacts and pieces such as old photographs of socialites and personalities; artifacts, manuscripts, ticket receipts from boutiques (Syvel’s, Heacocks’s, Hamilton Brown, etc.); Filipino music posters; and postcards of Carnaval de Manila beauty queens.

Manila Carnival Postcards of Beauty Quuens

There are also old labels; memos and newspaper advertisements (imported cars, sporting equipment, shoes, shoes, empty bottles, silver spoons, phonographs, radio sets, etc.) mostly from businesses that used to hold address in Escolta.

Print advertisements of stores in Escolta from 1910s to 1950s

Print advertisement of Calvo Building tenants during the Japanese Occupation (194-44, right) and during the post war era (1950s  to 1960s, left)

Enclosed glass shelves display late nineteenth century to pre-World War II bottles (milk, soda, medicine, and alcoholic beverage) of all shapes and sizes, partly a result of conscientious bottle recycling prompted by the lack of local bottle makers (Philippine glassmaking only began in 937 with the bottling plant of San Miguel Brewery, the first in the country, initially producing tall, slim, moss green beer bottles).

From 1917 to 1933, empty bottles and jars made up one-third of the imported glassware (including tableware, mirrors , windows and plate glass, eyeglasses and lamp chimneys) reaching the Philippines. When purchasing cooking oil, fish sauce, vinegar, carabao milk , kerosene or locally distilled liquor, housewives had to present containers.

Milk bottles

Dark green bottles usually held gin or the popular anise wine (with one version stamped La Tondena) while cobalt blue bottles ( meant strictly for external use) held poisons, acids, essences and light-sensitive compounds.

Eventually, the latter became containers for laxatives, salts and Blue Waltz, an archaic fragrance bottled along the Pasig River. One of the best known pieces in this display is the 1920s Ginebra bottle, whose label art was designed by no other than National Artist Fernando Amorsolo.

Manila druggists, like their European counterparts, displayed apothecaries with colored water in their windows and sold patent medicines in cheaply made amber aquamarine, green or clear bottles stamped with their brands and cities of origin.

Ginger beer clay bottles

In the early 1900s, Tansan, a Japanese drink brand company, introduced their capped, bomb-shaped beverage of charged and soda water embossed with their brand name (now the local word for bottle cap).

Soft drink bottles

Not all bottles were made of glass. Thick, cream-colored ceramic containers, sometimes sporting broad, golden brown hands across the rim and shoulders, were used for beer well into the late 1800s by Scottish and English breweries while previous beverages such as rum, whiskey and ginger beer were stored in clay bottles (a practice that continued till the 20th century).

Apothecary bottles

On the walls are mounted well-preserved, hand-drawn (now a forgotten art form) movie posters from the box office of yesteryears.

Movie posters

Movie posters

Kept behind glass cases are music sheets of songs (“Sa Dakong Silangan,” “Ang Maya,” “Awit ng Pag-Ibig,” etc.) complete with their excellent cover art.

Music sheets

Piled up at one corner of the museum are three large pieces of wooden tranvia tracks excavated during a road repair in 1998.

Wooden tranvia tracks

Before moving to its present location in Diliman, Quezon City), the GMA Kapuso Network had its beginnings at a makeshift studio at the fourth floor of the building on March 1, 1950 as radio station DZBB-AM before expanding into television, and which would later be renamed GMA.   The museum also houses some of GMA memorabilia. 

At right is the advertisement announcing the opening of DZBB on March 1, 1950

The coffee table book “Kapuso – The GMA Story”

In the past, scaled models of still existing and non-existing Escolta buildings (Capitol Theater, Crystal Arcade, Lyric Theater, Monte de Piedad, etc.), from a collaborative thesis by University of Santo Tomas students in 1996, were also on display.

Old Manila photos

Battle of Manila photos

Escolta Museum: Mezzanine, Calvo Bldg., Escolta, 1006 Manila.  Tel: (02) 241-4762 and (02) 241-4578. Open Mondays to Fridays, 9 AM to 5 PM, and Saturdays, 9 AM to12 noon.  Admission (for a group of at least 4): PhP50 (regular) and PhP20 (students).

First United Building Community Museum (Escolta, Manila)

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Desk of Sy Lian Teng at First United Building Community Museum

The modest  First United Building Community Museum, opened last May 16, 2015, reflects the colorful history of Escolta through the story of the First United Building and of patriarch Sy Lian Teng, an entrepreneur who ran Berg’s, Escolta’s (and Manila’s as well) premiere department store.  It hopes to tell the story of Escolta, from its heyday to what, it is hope, would be its resurgence.

Check out “First United Building“

Portrait of Sy Lian Teng and a framed article narrating his sad war time experience

The various memorabilia displayed in the museum includes the desk of Sy Lian Teng in his old office in the building and some of the old equipment and personal belongings that he used in running his business, such as typewriters, rotary dial phones, letter openers and a manual calculator as well as documents and receipts.

Display of old office equipment such as rotary dial phones and manual calculators.  On the left is a Burroughs Adding Machine

A 1950s vintage Ice-O-Mat Ice Crusher and and a replica of a dismissal bell hanging on its original decorative wooden hanger

Aside from black-and-white photos, the exhibit also features various framed newspaper and magazine articles and artworks that offers a glimpse of what old Escolta was like during its glory days.

Photos of Sy Lian Teng with first wife Lee Siok Kang and their nine children

Born in January 1904, Sy Lian Teng, like many Filipino-Chinese, migrated here from his hometown in Amoy, Fujian, China in 1918.  Although he never went to school, he taught himself Spanish and was fluent in Tagalog.  In 1926, he made a new life and a mark in the city when he and his friends established Cosmos Bazaar (it is still in operation at 571 Quintin Paredes Street). In 1929, he eventually found love when he married Lee Siok Kang and started a family of 9 children (4 boys and 5 girls) from 1930 to 1944. In 1939, Sy brought his immediate family to the Philippines including his brothers, father and stepmother.

However, on January 23, 1945, during World War II, his brother Sy Hua San was captured by the Japanese and never returned. On February 8, 1945, Sy and Guillermo, his eldest son, fled to his mother-in-law’s house in San Juan to evade capture by the Japanese but, four days later, during the Battle of Manila, his wife, 8 of his children, the househelp, some Pampango families and the Pellicers (Sy’s business associates who lived with them) perished (approximately 60 people, all in all) when the desperate Japanese set fire to their house at 161 Balagtas Street.

After the war, Sy returned to his childhood home in China to take a break and somehow re-energize himself.  Here, he was introduced to the Methodist religion and, throughout his remaining years, was quite devout and active in church affairs. Returning to Manila, Sy managed to move on and start anew.  In 1946, Cosmos Bazaar was rebuilt and reopened. In 1949, at the age of 45, he married Emerenciana Antonio Soyangco, his bookkeeper from Naotas and a dear friend of his late wife, and had four children with her (Clarita, Gloria, Roberto and Caesar).

In 1951, Sy bought and managed Berg’s, the well-loved Escolta-based department store.  In 1979, he also managed to purchase half of the ground floor where Berg’s was located (as well as 3rd, 4th and 5th floors) of the Perez-Samanillo Building (now the First United Building being managed by his son Robert and Robert’s wife, the former Lorraine Young) from Pedro Cojuangco (brother of the late president Corazon C. Aquino).  When Berg’s closed in January 1982 due to labor problems, he brought his personal belongings to Room 326 (he later transferred to Room 309).

In 1994, Sy survived cranial surgery (to remove a four-month old blood clot) and, the next year, celebrated his 90th birthday. In 2002, his wife Emerenciana passed away and, on January 2004, he celebrated his 100th birthday but passed away October that same year.  Sy left behind not only a rich legacy, but also an appreciation of Escolta even in the midst of the challenges of the recent years.

The Sylianteng Family Tree

Also on exhibit are artifacts from Berg’s Department Store such as receipts and documents that show past transactions made at the popular store as well as old, black-and-white photos.

Artifacts from Berg’s Department Store

Old black-and-white photos of Berg’s

One of the more interesting items on exhibit, dominating a corner of the museum, is an old sepia photo of Evelyn Berg-Empie, mestiza daughter of Ernest Berg, the German founder of Berg Department Store, and the author of her autobiography “A Child in the Midst of Battle: One Family’s Survival in War-Torn Manila.”

Evelyn Berg-Empie

At the bottom of the photo is a dedication that read: “Dearest Daddy with much love Evelyn, 1948.” A new feature that was recently added is The Wall. Here visitors post their visions and suggestions as to how they envision Escolta’s revival.

At the upper shelf, right, is the sepia photo of Ms. Evelyn Berg-Empie. Beside te photo is a copy of her book.

The museum’s layout was made possible with the help of Architect Marika Constantino, a visual artist, and the 98B COLLABoratory, an artists’ community based also in the First United Building.

Black-and-white photos of old Escolta

The Hawk Eye, a metal last shaped like a human foot. Shoemakers use it in the manufacture and repair of shoes

First United Building Community Museum: Mezzanine Level, First United Building, 413  Escolta Street, Binondo, Manila.  Tel: (632) 7744 5148 and (632) 7241-5150. E-mail: firstunitedbuilding@gmail.com. Admission: Php50 (regular) and Php0 (students). Open Mondays to Saturdays, 9 AM to 5 PM. Coordinates: 14.5987°N 120.9794°E.

Museo El Deposito (San Juan City, Metro Manila)

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Museo El Deposito. On the right is the above ground entrance to the El Deposito Underground Reservoir

Museo El Deposito (translated as El Deposito Museum), a history museum situated within the grounds of the Pinaglabanan Shrine, was opened on February 20, 2019.  Housed inside a two-storey building on top of the El Deposito underground reservoir  and beside the Museo ng Katipunan, another museum, it features the Carriedo water system (which included the El Deposito underwater reservoir). 

Check out “El Deposito Underground Reservoir”

Ground floor lobby and reception area

The Museo El Deposito,under the management of the National Historical Commission of the Philippines, aims to inspire everyone to value water as a natural resource and appreciate the people who make access to it easier for everday Filipinos.  It narrates the history of the underground reservoir and the Carriedo Waterworks as a whole.

The ground floor houses the Reception, Resource Center and Audio Visual Room.  The second floor has three galleries presenting bits of the country’s civil engineering history via various military and civilian artifacts recovered from the El Deposito reservoir, scaled models, electronic mini displays, a virtual reality room and interactive touch screen modules.

Gallery 1: Life Before the Waterworks (Buhay Bago ang Tubigan)

Gallery 1: Life Before the Waterworks (Buhay Bago ang Tubigan) narrates the period prior to the establishment of the Carriedo Waterworks system in 1882 when the city’s inhabitants relied on wells, esteros, and rivers for their water supply. Outbreaks of waterborne diseases were not uncommon at the time.

Water from the Aguador. On the foreground is a water filter carved out of porous rock, owned by Jose Rizal’s family

There are seven panels. Panel 1 (Aguadores) explains how typical Filipino aguadores fetched water from various water sources near Manila.

Waterworks System by Fr. Juan Peguero (1690)

Panel 2 (Peguero) narrates how Dominican Fr. Juan Peguero designed a waterworks system in 1690 that stretched 750 m. from the springs of San Juan del Monte.

Gov.-Gen. Antonio Ma. Blanco’s Barrel Filter (1850)

Panel 3 (Water Filtration Systems) displays various replicas of 19th-century water-filtration systems such as a water filter, owned by Jose Rizal’s family, carved out of porous rock. Near it is a cross section of a wooden barrel with layers of filtering material.

Gov.-Gen. Pascual Enrile’s Barrel Filter (1833)

Panels 4 and 5 (Cortes and dela Corte) narrates studies by Tomas Cortes (commandant of engineers) on the water quality of different sources of water in 1844 and of Lt.-Col. Felipe de la Corte (a military engineer) who continued Cortes’ work in 1859.

Analysis by Tomas Cortes (1844)

At Panel 6 (Francisco Carriedo), visitors will get to know Francisco Carriedo, a Spanish Capitán General of Manila who spearheaded the development of Manila’s waterworks by donating a portion of his fortune from the galleon trade.

Carriedo’s Donation (1733)

On display are facsimiles of Carriedo’s documents. Panel 7 (Carriedo Fountain) has a replica of the Carriedo Fountain.

Carriedo’s Fountain. On the left is a miniature replica of the fountain

On the museum floor is an actual original specimen of an 1888 Carriedo waterworks fire hydrant, a full-sized 3D-printed replica and a replica of 1833 and 1850 barrel filters.

Original Carriedo Waterworks hydrant

3D model of Carriedo Waterworks hydrant

Also on display is an original 1882 Carriedo commemorative coin; a 1911 Carriedo postage stamp, original old silver coins of King Charles IV of Spain; and a copy of Carriedo’s book Carriedo y Sus Obras.

1882 commemorative coin and 1911 Francisco Carriedo commemorative stamp

Silver coins of King Charles IV of Spain

Gallery 2: The Carriedo Waterworks (Ang Patubigang Carriedo) features artifacts, photographs and plans of the Carriedo Water System, prints and scale models.

Gallery 2: The Carriedo Waterworks (Ang Patubigang Carriedo)

There are 5 panels – Panel 1 (General Plan of Waterworks), Panel 2 (Approved Plan of Waterworks), Panel 3 (Genaro Palacios), Panel 4A & 4B (Casa de Servicios and Water Reservoir) and Panel 5 (Construction Materials).

Genaro Palacios, the Engineers and the Workers

Examples of Construction Materials

At the center of the room is the miniature scaled model of Pinaglabanan Memorial Shrine.

Check out “Pinaglabanan Memorial Shrine”

Scaled Model of Pinaglabanan Memorial Shrine

Gallery 3: National Shrine (Pambansang Dambana), where things get interactive, has a Virtual Reality (VR) Exhibit Room where museum visitors use virtual reality headsets and watch a 360-degree historical recreation of key events during the Battle of San Juan del Monte, the first battle of the Philippine Revolution, made by I Am Cardboard PH, a local VR company.

Gallery 3 – National Shrine

The scenes feature historical figures such as Andres Bonifacio and Emilio Jacinto.  Along the wall is the historical visual timeline of events in the history of El Deposito.

Virtual Reality Room

Historical Visual Timeline

Opposite the timeline are various World War II-era artifacts such as helmets (including a Guinit sun helmet used by the Philippine Army during the Philippine Commonwealth Period), ammunition shells and other war paraphernalia which were excavated from the El Deposito area.

Objects Excavated in El Deposito

On the top shelf, left, is a Commonwealth era Guinit sun helmet

Outside the museum building is the above ground entrance to an aqueduct of the El Deposito itself as well as statues of Genaro Palacios showing plans of the Carriedo Waterworks to Spanish Gov.-Gen. Domingo de Moriones and of four Katipuneros waiting for the Battle of San Juan del Monte.

Statues of Four Katipuneros waiting for the Battle of San Juan del Monte

Genaro Palacios showing plans of Carriedo Waterworks to Spanish Gov.-Gen. Domingo de Moriones

Museo El Deposito: 29 1500 Pinaglabanan Shrine, Pinaglabanan St.,Corazon de Jesus, San Juan, Metro Manila. Tel: (02) 7753 5439.  E-mail: museoeldeposito@gmail.com. Open Tuesdays to Sundays, 9 AM – 4 PM. Admission is free. 

How to Get There: Jeepneys, at Camp Crame, have routes that pass by the Pinaglabanan Shrine.  RRCG buses that ply the Ortigas Avenue-Sta. Mesa route also pass by the Pinaglabanan Shrine.  By car, take the Bonny Serrano Avenue westbound, beside Camp Crame, until you reach Pinaglabanan Shrine.  From Ortigas Avenue westbound, turn left at Bonny Serrano Avenue and go straight until you reach Pinanglabanan Shrine on the right.

Museo ng Katipunan (San Juan City, Metro Manila)

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Museo ng Katipunan

The two-storey Museo ng Katipunan (translated as ”Museum of the Katipunan”), a history museum dedicated to Andres Bonifacio and the Katipunan, is situated within the grounds of the Pinaglabanan Shrine.

Opened as the Museo ng Rebolusyon (translated as Museum of the Revolution) on August 30, 1996 (during the centennial of the Battle of Pinaglabanan), the museum, prior to 2006, mainly featured the Battle of Pinaglabanan and had pictures, cutouts, and busts of Andres Bonifacio, Emilio Jacinto, and Apolinario Mabini as exhibits.

Statue of Andres Bonifacio

In 2006, the museum underwent a Php5 million renovation and was expanded to cover the Katipunan organization as a whole.  On November 30, 2006, Bonifacio Day, it  was re-inaugurated as the Museo ng Katipunan. It was reconstructed as a modernized museum and was reopened on August 27, 2013.

Ground floor exhibits

Lined with innovative and conventional exhibits, the Museo ng Katipunan tells the story of the Katipunan, the clandestine organization of the Filipino revolutionaries. It features artifacts which relate to the Philippine Revolution and the Katipunan.

Life of Andres Bonifacio

The museum includes archival documents such as cedulas, oaths, membership forms, cryptic messages, as well as medals,  and bladed weapons used by the Katipunan.

Weapons used by the Katipunan

One of the main attractions of the museum is its collection of anting-anting which played a significant role in the motivation of the Katipuneros.

Anting-Antings

These formed copper or bronze medallions were engraved with religious symbols and Latin text.  There’s also a vest shirt with hand-drawn folk Catholic symbols and magical incantations.

Hankerchief with Jesus Christ image

Handpainted cloth vest

Also displayed are various artworks. Monochrome pastel portraits of known Katipuneros where created by renowned Filipino artist Pancho Piano.

Monochrome pastel portraits of known Katipuneros  (Pancho Piano)

The Life of Andres Bonifacio  and Ang Dapat Mabatid ng mga Tagalog, both by Pancho Piano; and Katipunan by Juanito Torres are oil paintings that depict scenes from the Philippine Revolution.

Katipunan (Juanito Torres)

Ang Dapat Mabatid ng mga Tagalog (Pancho Piano)

There are also busts of Pio Valenzuela, Andres Bonifacio (by Julie Lluch), Gregoria de Jesus and Emilio Jacinto, and a 20th century decorative panel by Isabelo Tampinco.

Busts of Andres Bonifacio, Gregoria de Jesus, Emilio Jacinto and Pio Valenzuela

Decorative panel (Isabelo Tampinco)

The museum also features interactive features such as a holographic image of Andres Bonifacio, an audio recording of the poem Pag-ibig sa Tinubuang Lupa and touch screen terminals.

Pag-ibig sa Tinubuang Lupa

The entwined lives of Andres Bonifacio and Emilio Jacinto are highlighted by different exhibits like the interactive map tracing their beginnings in Tondo, Manila, the Kartilya, and the Katipunan Decalogue. You can also draw your own version of the Katipunan seal via an interactive projector.  Museum staff can print it for you as a remembrance.

The Kartilya

Ang Dapat Mabatid ng mga Tagalog

In addition, the Museum houses a stereoscopy room featuring late 19th century photographs, a library, and a 30-pax E-learning room where students from grades 5 -7 can take online interactive lessons, produced by the NHCP, about Bonifacio and the Katipunan, the first in the country.

Flags of the Katipunan

The Museo ng Katipunan provides an educational approach to understand the Katipunan, its primary movers, and their actions. Apart from Andres Bonifacio, Emilio Jacinto, and other renowned revolutionaries, the museum also honors, through a Memorial Wall, the valiant efforts of the Katipuneros who fought for the independence of the Philippines.

Emilio Jacinto

Women of the Revolution

The Museo ng Katipunan provides an educational approach to understand the Katipunan, its primary movers, and their actions. Apart from Andres Bonifacio, Emilio Jacinto, and other renowned revolutionaries, the museum also honors, through a Memorial Wall, the valiant efforts of the Katipuneros who fought for the independence of the Philippines.

Dioramas showing the chronology of events of the Philippine Revolution

Sanduguan

On both floors are dioramas that show the chronology of the events of the Philippine Revolution using 300 Ninay dolls produced by the Balikatan sa Kaunlaran Foundation.  At the ground floor is “The Cry of the Revolution,” “The Uprising of the Filipino People,” “The March to El Polvorin,” “The Skirmish at El Polvorin,”  “The Attack on El Deposito,” “The Battle of San Juan del Monte,” “The Declaration of the First Martial Rule in the Philippines” and “The First Martyrs of the Katipunan.”  At the second floor is “Unang Sigaw.”

 

Museo ng Katipunan: 29 Pinaglabanan St., Brgy. Corazon de Jesus, San Juan City, Metro Manila. Curator: Christian Bernard Melendez.  Tel: (632) 7254 -4470.  Mobile  number: (0917) 553-7856. Email Add: pinaglabananmemorialshrine@gmail.com.  Open Tuesdays to Sundays, 8 AM to 4 PM.

How to Get There: Jeepneys, at Camp Crame, have routes that pass by the Pinaglabanan Shrine.  RRCG buses that ply the Ortigas Avenue-Sta. Mesa route also pass by the Pinaglabanan Shrine.  By car, take the Bonny Serrano Avenue westbound, beside Camp Crame, until you reach Pinaglabanan Shrine.  From Ortigas Avenue westbound, turn left at Bonny Serrano Avenue and go straight until you reach Pinanglabanan Shrine on the right.

 

Gallery VI – Lowland Evergreen Rainforests – (National Museum of Natural History, Manila)

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Gallery VI (Lowland Evergreen Rainforests)

Gallery VI (Lowland Evergreen Rainforests) of the National Museum of Natural History is a facsimile of the most common forest type in Southeast Asia and the Philippines, where rainfall is more or less uniform throughout the year and the dry season is short.

Check out “National Museum of Natural History”

Rainforest Diorama

It features the Rainforest Diorama, a walk through mini-replica of the dipterocarp forests which is a major component of tropical rainforest, with tree species reaching up to 40 to 70 m. in height as well as the threatened plants and animals as a result of deforestation and forest degradation.

This gallery also showcases the historical researchers in the fields of zoology and botany along with some newly described flora and fauna in the country.

Here, you learn about the different kinds of species inhabiting the land through life-size representations of different plants and animals that you can find in Philippine rainforest accompanied by realistic sounds.

Fungi of the Tropical Lowland Evergreen Rainforest

Malayan Civet (Viverra tangalunga)

Philippine Cuckoo-dove and White-eared Brown Dove

Pandan, Gugo and Rattan Fruits

Gallery VI (Lowland Evergreen Rainforests): 4/F, National Museum of Natural History,  Agrifina Circle in Rizal Park, T.M. Kalaw Street, corner General Luna Street, Manila. Open Tuesdays – Sundays,   9 AM to 12 noon (cut off time is 11 AM) and 1 to 4 PM (cut off time is 3 PM). Tel: 82981100 local 3000 and 85277889.  E-mail:  cmvod@nationalmuseum.ph or inquiry@nationalmuseumph.gov.ph. Coordinates: 14°34′59.9″N 120°58′55.9″E.