One of the most important and popular devotions in the
Philippines is centered on Our Lady of
the Most Holy Rosary –or simply, Virgen del Rosario or Sto. Rosario, patroness
of countless far-flung barrios, towns, cities and parishes in the country. It
is a Dominican devotion that dates back to th 13th century and propagated
throughout the world. It is no wonder that many home altars feature images of
Sto. Rosario, showing the rosary-holding Virgin with her Child Jesus.
This century-old Sto. Rosario is one such example, carved
by an artisan of extraordinary skill, in the classical style. The image was
found in Bulacan, in a house demolition-cum-antique shop, part of a lot of
antiques that the proprietor was trying to dispose.
One look and you can tell that this is not the work of a
folk santero, for it is exceptionally carved in classical 19th
century style, with many wonderful details. It is surprising that this Sto Rosario
was carved from softwood, given its quality. But then again, the soft,
easy-to-carve material may have inspired and allowed the artist to put in more
details.
This Sto. Rosario stands 16 inches tall, inclusive of the
plain, squarish base with 2 frontal corners lopped off.
The image alone is about 13 inches tall. Both Mother and Child are crowned with
small parts missing, including their hands.
A small, hand-made rosary fashioned from coconut beads, could have been
held in the Virgin’s right hand.
But that do not detract from the beauty and antiquity of
this religious statue, which is heavily patinated and darkened with age.
The Virgin cuts a matronly figure, with a plumpish face
and built. She stands with a bit of a hunch, her head in a frontal gaze, with
facial features well-defined: from her full cheeks, deep-set eyes, lips ending in a slight curl, and neck rings. The Niño’s features are hidden
in the thick patina, but it is also well-executed, with the Virgen supporting Him precariously with her left hand on His knee.
Wearing a cope-like cape that is buttoned on the neck,
then draped and gathered on her waist, the Sto. Rosario stands on a cloud-like peana with feet showing, borne by a
curly-haired cherub with downcast eyes. The paint has peeled off in her lower
extremities, with the primer (gesso) showing, but with traces of gilt still
visible.
Most of her back is covered by her lush, flowing hair
that reaches down her knees. Hair strands are defined by shallow carving, more
detailed on the side. Whoever carved
this work of devotional art should be happy to know that his Sto. Rosario-- a product of his skill and passion-- has survived
all these years, cared for and loved by an antique collector.
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