DEVELOPMEMENT OF PHILIPPINE SCULPTURE

Filipino sculptures have undergone an evolution in shape, form, content and mediums. Like other cultures the first sculptures created by Philippine native cultures were primitive. These primitive sculptures utilized native materials like stone and clay. The sculptures created depicted normal life and acts of worship. Colors were limited in these primitive sculptures. The transitional sculpture movements in the Philippines between the primitives and the modern movements were influenced by outside cultures and internal evolutions. In the middle of the transition between the primitive and the most modern sculptures was the 19th century art movement. The hero of this sculpture movement was Guillermo Tolentino. His most popular and well known piece was the Bonifacio Monument. This monument was a tribute piece to the Filipino revolution that was fought against the Spanish in 1896. Tolentino completed this multi-figure sculpture in 1933 and it became the cornerstone of his career. One of the latest artistic movements in Filipino sculptures is the modernist movement. This movement has had at least three generations. Michael Cacnio belongs to the third generation of the Filipino modernist movement. His sculptures are done in brass and they echo the heart and soul of Filipino heritage and culture. Some of his contemporaries include Abdulmari Imao and Benhur Villlanueva.

he Elephanta cave was constructed by Kalachuri king Krishnaraja according to Walter Spinks theory, in mid-6th century. The approach to Elephanta is island, this island has been a commercial, religious and military center foe centuries and still has the traces of Buddhist culture. The cave is solely dedicated to Siva with the resurgence of Brahmanical religion. Access is through 3 entrances on the East, North, West sides (excavated trenches). On plan, the side walls and cells are replaced by verandas, thus providing wall space for sculptured (nine) panels. The architect has done this, keeping the idea of Buddha shrine in the back wall and the front veranda. Sunlight enters from so many directions and change from moment to moment. Though we do not know which cave is earlier, we can see the connections. Continuities from the past can be traced in style, composition, iconography, spatial arrangement and the use of mathematical measurements for the sculptures and architecture. Not only the mythology of God is illustrated in elaborate sculpture panels, but the whole plan of the temple is itself a myth in terms of light, space and movement. The interior of the cave is clearly laid out, by placing a number of columns. The columns have tapering shaft and fluted closed-lotus like capitals (compressed cushion). Above the capitals are brackets supporting beams running along the ceiling. These beams mostly run in an East-West direction along the ceiling, creating a movement from the eastern entrance towards the century. Inside this columned space, towards the west entrance, is a square sanctuary detatched from the walls, in side is a monolithic linga. The linga is the most significant part of the cave. It is placed in a sanctuary opened in all four sides. Its walls are totally unadorned. Other than the carved columns and the wall panels, the interior architecture is plain and massive.