| Tampuhan | |
|---|---|
 | |
| Artist | Juan Luna |
| Year | 1895 |
| Location | Private collection |
Tampuhan, meaning "sulking", [1] is an 1895 classic oil on canvas impressionist painting by Filipino painter and revolutionary activist Juan Luna. It depicts a Filipino man and a Filipino woman having a lovers' quarrel.
Luna's Tampuhan is a depiction of two persons staying inside the sala or living room of a Bahay na Bato. The two people are Filipino lovers sulking – experiencing "tampo" – because of an argument. The man is looking out at the street beside a Capiz shell window, leaning on the ventanilla . The woman on the other hand, wearing a Maria Clara gown, has her eyes focused on the floor. According to Rosalinda Orosa, the man is Ariston Bautista Lin, a friend of Luna who studied medicine in Europe. Orosa further described that the woman is Emiliana Trinidad. Trinidad is the ancestor of the owner of the painting, and is claimed by Orosa to be the same woman who posed for Luna's La Bulaqueña , another of his artworks that illustrate Filipino culture. [2]
In Filipino courtship, culture, values and psychology, tampuhan (from the Filipino-language root word tampo) or sulking is in essence a disagreement between a couple where they do not speak to each other. This is sometimes called "the silent treatment". Other expressions of sulking in the love life of Filipinos include other non-verbal actions such as keeping to one's self, being unusually quiet, or refusing to interact with friends in group activities, family outings or other activities, and even merely locking one's self in his or her bedroom. To end the sulking, one of the lovers has to coax the other, or both persuade each other to resolve by coming up with an agreement or compromise. [3] The setting is also significant to Philippine culture as the couples are depicted to live in a traditional colonial Filipino house known as bahay na bato, with its iconic interior and structure fit for the tropical climate, while the woman is wearing the traditional Maria Clara gown of Filipino women.
Juan de la Cruz or Maria de la Cruz is the national personification of the Philippines, often used to represent the "Filipino everyman". He is usually depicted wearing the native salakot hat, barong tagalog, long pants, and tsinelas.
Juan Luna de San Pedro y Novicio Ancheta was a Filipino painter, sculptor and a political activist of the Philippine Revolution during the late 19th century. He became one of the first recognized Philippine artists.
The bahay kubo, kubo, or payag is a type of stilt house indigenous to the Philippines. It often serves as an icon of Philippine culture. The house is exclusive to the lowland population of unified Spanish conquered territories. Its design heavily influenced the Spanish colonial-era bahay na bato architecture.
Julio Nakpil y García was a Filipino musician, composer and a General during the Philippine Revolution against Spain. He was a member of the Katipunan, a secret society turned revolutionary government which was formed to overthrow the Spanish government in the Philippines. His Katipunan adoptive name was J. Giliw or simply Giliw. He was commissioned by Andres Bonifacio, President of the Insurgent Tagalog Republic, to compose a hymn which was intended to become the National Anthem of the Tagalog Republic. That hymn was entitled "Marangal na Dalit ng Katagalugan". Thus, to some, he is remembered as the composer of the first national anthem of the Philippines. He is also a known huge critic of Emilio Aguinaldo.
The baro’t saya or baro at saya is a traditional dress ensemble worn by women in the Philippines. It is a national dress of the Philippines and combines elements from both the precolonial native Filipino and colonial Spanish clothing styles. It traditionally consists of four parts: a blouse, a long skirt, a kerchief worn over the shoulders, and a short rectangular cloth worn over the skirt.
España y Filipinas is a series of oil on wood paintings by Filipino painter, Ilustrado, and revolutionary activist, Juan Luna. It is an allegorical depiction of two women together, one a representation of Spain and the other of the Philippines. The painting, also known as España llevando a la gloria a Filipinas or España Guiando a Filipinas, is regarded as one of the “enduring pieces of legacy” that the Filipinos inherited from Luna.
Las Damas Romanas, also known as The Roman Maidens, The Roman Women, or The Roman Ladies, is an oil on canvas painted in the style of Neo-Classicism by Juan Luna, one of the most famous Filipino painters of the Spanish period in the Philippines. It was painted by Luna when he was a student of the school of painting in the Real Academia de Bellas Artes de San Fernando in Madrid, Spain in 1877. Alejo Valera, a Spanish painting teacher, took Luna as an apprentice and brought him to Rome where Luna created Las Damas Romanas in 1882. Skilled in the style of the Academy he was the first Filipino painter to win international recognition in Europe and the US.
The Blood Compact is an 1886 historical painting by the Filipino painter Juan Luna. It was a gift to the Manila city council.
La Bulaqueña, literally "the woman from Bulacan" or "the Bulacan woman", also sometimes referred to as Una Bulaqueña, is the Spanish title of an 1895 painting by Filipino painter and revolutionary activist Juan Novicio Luna. Bulacan is a province in the Philippines in Luzon island and its residents are called Bulaqueños, also spelled as Bulakenyos in the Filipino language. It is a "serene portrait", of a Filipino woman wearing a María Clara gown, a traditional Filipino dress that is composed of four pieces, namely the camisa, the saya, the pañuelo, and the tapis. The name of the dress is an eponym to María Clara, the mestiza heroine of Filipino hero José Rizal's novel Noli Me Tangere . The woman's clothing in the painting is the reason why the masterpiece is alternately referred to as María Clara. It is one of the few canvases done by Luna illustrating Filipino culture. The painting is displayed at the National Museum of Fine Arts.
The Parisian Life, also known as Interior d'un Cafi, is an oil on canvas impressionist painting made by Filipino painter and revolutionary activist Juan Luna in 1892. The painting presently owned by the Government Service Insurance System is currently exhibited at the National Museum of Fine Arts after the state pension fund transferred management of its collection to the National Museum in March 2012.
The Chula series or Chula studies is a succession of paintings created by Filipino painter and revolutionary activist Juan Luna about the so-called "chulas" or working-class women of Madrid, Spain. Luna is well known for illustrating "striking and commercially lucrative" depictions of "women of the streets" of Madrid. Exemplars of these are Luna's Una Chula I and Una Chula II paintings.
María Clara de los Santos is a fictional character in José Rizal's novel Noli Me Tángere (1887). The beautiful María Clara is the childhood sweetheart and fiancée of the protagonist, Crisóstomo Ibarra, who returns to his Filipino hometown of San Diego to marry her. After Ibarra is implicated in a fake revolution and is thought to be dead, María Clara opts to become a nun rather than marry another man. She remains unhappy for the rest of her life and her death is later mentioned in the sequel, El filibusterismo (1891).
The National Museum of Fine Arts, formerly known as the National Art Gallery, is an art museum in Manila, Philippines. It is located on Padre Burgos Avenue across from the National Museum of Anthropology in the eastern side of Rizal Park. The museum, owned and operated by the National Museum of the Philippines, 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.
Ancestral houses of the Philippines or Heritage Houses are homes owned and preserved by the same family for several generations as part of the Filipino family culture. It corresponds to long tradition by Filipino people of giving reverence for ancestors and elders. Houses could be a simple house to a mansion. The most common ones are the "Bahay na Bato". Some houses of prominent families had become points of interest or museums in their community because of its cultural, architectural or historical significance. These houses that are deemed of significant importance to the Filipino culture are declared Heritage House by the National Historical Commission of the Philippines (NHCP), previously known as the National Historical Institute (NHI) of the Philippines. Preservation is of utmost importance as some ancestral houses have come into danger due to business people who buy old houses in the provinces, dismantle them then sell the parts as ancestral building materials for homeowners wishing to have the ancestral ambiance on their houses. These ancestral houses provide the current generation a look back of the country's colonial past through these old houses.
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.
The Casa Villavicencio or Casa V is a Spanish Colonial Era house in Taal, Batangas, Philippines. Built in 1850, Don Eulalio Villavicencio inherited the house upon the death of his parents. In 1919, Governor General Francis B. Harrison slept in the house as a guest of Sen. Vicente Ilustre, son-in-law of Doña Gliceria, to inaugurate the electric plant in Taal.
The Nakpil-Bautista House is a bahay na bato ancestral home found in the district of Quiapo, Manila, the Philippines. It was built in 1914 by Arcadio Arellano. The house originally sat on two lots, having a total area of 500 square metres (5,400 sq ft).
Bahay na bato, also known in Visayan languages as balay na bato or balay nga bato and in Spanish as casa Filipino, is a type of building originating during the Spanish colonial period of the Philippines. It is an updated version of the traditional bahay kubo of the Christianized lowlanders, known for its use of masonry in its construction, using stone and brick materials and later synthetic concrete, rather than just full organic materials of the former style. Its design has evolved throughout the ages, but still maintains the bahay kubo's architectural principle, which is adapted to the tropical climate, stormy season, and earthquake-prone environment of the whole archipelago of the Philippines, and fuses it with the influence of Spanish colonizers and Chinese traders. It is one of the many architecture throughout the Spanish Empire known as Arquitectura mestiza. The style is a hybrid of Austronesian, Spanish, and Chinese; and later, with early 20th-century American architecture, supporting the fact that the Philippines is a result of these cultures mixing. Its most common appearance features an elevated, overhanging wooden upper story standing on wooden posts in a rectangular arrangement as a foundation. The posts are placed behind Spanish-style solid stone blocks or bricks, giving the impression of a first floor. Still, the ground level contains storage rooms, cellars, shops, or other business-related functions. The second floor is the elevated residential apartment, as it is with the bahay kubo. The roof materials are either tiled or thatched with nipa, sago palm, or cogon, with later 19th-century designs featuring galvanization. Roof styles are traditionally high pitched and include the gable roof, hip roof, East Asian hip roof, and the simpler East Asian hip-and-gable roof. Horses for carriages are housed in stables called caballerizas.
María Clara refers to a character in a Philippine novel. Other uses include:
In Philippine architecture, the ventanilla is a small window or opening below a larger window's casement, created—often reaching the level of the floor—to allow either additional air into a room during hot days or some air during hot nights when the main window's panes are drawn. It also allows for more light to strike the floor.
| Works |  | |
|---|---|---|
| Series |
| |
| Related |
| |