The church of Tanay, dedicated to San Ildefonso de Toledo,
has a long history, but its seeds were planted by Franciscan friars as early as
the late 16the century. Tanay itslef—known a Monte Monte Tan-ay in ancient
times, was a visita of Pililla, until it became an independent parish in 1606.
The town was eventually relocated to a place called San Antonio in 1620.
1.Pilate condemns Jesus to die
2.Jesus accepts his cross
The church of Tanay, was we know it today, evolved from a
series of structures—at first, from a bamboo and cogon structure, to a stone church erected in 1678, under the
initiative of Fray Pedro de Espallargas. The stone church was completed in
1680. But subsequent damages wrought by nature necessitated the construction of
a new, sturdier church—and this is the present-day church that was built from
1773-1783.
3.Jesus falls for the first time
4.Jesus meets his mother, Mary
The impressive church is a fine showcase of baroque architecture,
evident in its profusely-decorated retablo mayor or main altar (finished in
1785), naïve relleves folksy (relief carvings) and retablos. Spaniards took
note of the excellent woodcarving skills of natives and employed them in creating
decorations and religious articles for the church.
5.Simon helps carry the cross
6.Veronica wipes the face of Jesus
The most well-known examples are the 14 Stations of the
Cross rendered in wood reliefs. The Stations of the Cross are a 14-step
Catholic devotion that commemorates Jesus Christ's last day on Earth as a man.
The 14 devotions, or stations, focus on specific events of His last day,
beginning with His condemnation.
7.Jesus falls for the second time
Note Caiaphas, holding a pince-nez with dark lenses.
The works are not dated nor do they appear in church record, but it is believed that the first twelve stations were carved by a local artist from Tanay. This can be gleaned from the folksy features of the characters, flaws in proportions and perspectives.They also look Malayan, with dark features, and some characters carry native objects like the carabao horn “tambuli” and the native bolo, instead of the metal trumpets, lances and swords of the original Biblical figures.
8.Jesus meets the women of Jerusalem
9.Jesus falls for the third time
Another often-noticed anachronism can be found on the 7th
Station (“Jesus falls for the 2nd time). If one looks closely,
behind the crossbar is the High Priest Caiaphas, who seem to be holding a pair
of dark glasses, that look like a pince-nez.
10.Jesus is stripped of his clothes
11.Jesus is nailed to the cross
The last two stations (Jesus is taken down from the
cross, Jesus is placed in the tomb) have marked Caucasian features. The carvings
are more proportioned, refined and
detailed—from the facial features to the musculature of Jesus. These are
clearly the works of a trained artisan.
12.Jesus dies on the cross
13.Jesus is taken down from the cross (no photo)
14.Jesus is placed in the tomb Note the Caucasian features of the characters. This indicates that a different carver made the last 2 stations.
The 14 Stations of the Cross, reputed to be the most
beautiful in Asia, are prized treasures
of the Tanay Church, which in itself is a historic masterpiece, declared a
National Cultural Treasure by the National Commission for Culture and the Arts
on July 31, 2001.
ALL PHOTOS TAKEN BY DR. RAYMUND FELICIANO, 1993.
From the Feliciano Album Collection at the Center for Kapampangan Studies.
ALTAR OF THE NATIVITY. Mabalacat Church. Photo by Dr. R. Feliciano
The whole Christendom celebrates the birth of Jesus with great joy and mirth, but nowhere is it celebrated with more pageantry than in the Philippines. Churches and communities prepare by staging the Nativity Scene before the altar, to be reflected on during the Simbang Gabi.
BACOLOR BELEN, dressed by the late Thom Joven.Photo: T. Joven
Some churches with side altars already containing belen images need only to clean and spruce up the figures. But those churches without lifesize images of San Jose, Sta. Maria and Nino Jesus, have to source them out from families, or make do with what they have--converting generic looking saints into the Holy Family.
A RECONSTITUTED BELEN, Staged using separate individual santos. Photo by Rainier Sexon
But that is not the only challenge; there is the stable that needs to be built, plus the manger and all the "props" that would make the Nativity scene looks more authentic--animal figures, mostly sheep, goat, cattle.
SMALL ESCAYOLA CHURCH BELEN. Photo by Lulot Ruiz.
The Nativity scene takes inspiration from the accounts of the birth of Jesus in the gospels of Matthew and Luke. The narrative describes an angel announcing Jesus' birth to a group of shepherds who then went on to visit the humble site, where they found the Child Jesus in a manger. Matthew's story includes the presence of the 3 wise men who were guided by the star to the stable, hence, these characters are likewise included in the tableau.
NATIVITY SCENE with the 3 Magis, Photo by Leo Cloma
St. Francis of Assisi is credited with making the first Nativity Scene in 1223 to shift emphasis to Christ rather than gift-giving. In the Philippines, those in charge of staging the Belen take great efforts to make the tableau truly artistic. All sorts of materials go into the making of the stable--cut bamboo, old house parts, sawali, palm leaves, outlumber posts, old capiz windows.
BARASOAIN CHURCH BELEN, Photo by Leo Cloma
The scenography is fashioned from crumple brown paper then painted to simulate stones and boulders, then further decorated with pieces of pottery, flowers and greeneries, The floor is strewn with hay and then the stable is anachronistically festooned with lanterns and Christmas lights
ESCAYOLA BELEN. Photo by Leo Cloma
Elaborate belens also include an animated Star of Bethlehem--a lit lantern that can swing into place through the use of pulleys--to the center of the tableau, which is the highlight of the Midnight Mass. After the Mass, the Baby Jesus is taken out of the manger for the traditional kissing of its feet or cheeks--the Pahalik.
BELEN IN AN ILOCOS CHURCH, Dressed in Filipiana. Photo: Leo Cloma
Distinctive nativity scenes and traditions have been created around the world, but they have not escaped controversy---mostly issues on propriety (characters are sometimes made to wear outlandish costumes), extravagance, and accuracy (like the presence of non-Biblical characters).
MABALACAT CHURCH BELEN, Photo by Leo Cloma
But whether we like it or not, the Belen is here to stay. Like the Christnas tree, parol, noche buena and aguinaldo, Christmas is not Christmas without the traditional nativity scene to inspire awe and devotion of Christ--not just during the holidays, but for the whole year through!
THE SHRINE OF THE STO. CRISTO DE LONGOS, Binondo, Manila
In the oldest Chinatown in the world—Binondo—one can find an ancient Sto. Cristo fished out from a well in the barrio of Longos some time in the 16th century. Legend has it that the Chinese deaf-mute who discovered the blackened corpus of Christ in his pail, shouted in surprise—and regained his speech.
After a cross was made for the image, the Sto. Cristo was housed at the Capilla de San Gabriel, until the 1863 earthquake damaged the chapel. The undamaged cross was then transferred to the Binondo Church. The original image of Sto Cristo De Longos was displayed near the side entrance of the church.
A landmark shrine was erected at the corner of Ongpin St and san Nicolas St.—the site of the well where the Sto. Cristo was retrieved.
Here, devotees come to see the wooden cross, honoring Christ in a fusion of Filipino-Chinese customs and traditions. The Christian cross is adorned with sampaguita garlands while Buddhist incense sticks are lit and prayers are offered by visitors of the shrine.
A confraternity--Hermandad del Santo Cristo de Longos—founded in 1704, propagates the devotion to the miraculous Holy Cross.
Two of the most important religious images from Ilocoslandia are the Virgen Milagrosa of Badoc and the miraculous Apo Lakay, the black crucified Christ of Sinait, two of the oldest towns of IlocosRegion.
Their stories are intertwined, in that they arrived in the Philippines together in a box, on the 3rd of May in 1620—coinciding with the date of finding of the True Cross by Empress Helena.
It is believed that they came from Nagasaki, Japan where missionaries brought images for evangelization purposes. It is supposed to have been found on Ilocos shores at about the same time that a persecution was being waged against the Christian in Japan.
Like the biblical story of Moses, the boxes containing the images was found adrift in the sea by fisherfolks in Dadalaquiten, Sinait. An argument ensued between the Sinait and Badoc fishermen who found the boxes, but they matter was soon settled peacefully: The Virgen Milagrosa was sent to Badoc, but the crucified black Christ was too heavy to be transported so it remained in Sinait.
The cross is about three meters long and two meters wide, and the Christ is about the size of an average Filipino.
It is enthroned in the sanctuary of the church which has become one of the most popular pilgrim sites of Ilocoslandia. The crucifix is credited with stopping the 1656 epidemic in the Ilocos and for helping repel the attacks of Moro pirates.
Apo Lakay also attracts devotees looking for healing, from all parts of the country, most especially during theHoly Week and during Apo Lakay’s feast day, May 3.
On the other hand, the image of the Blessed Virgin is revered in Badoc for her countless miracles that she had been heaping on her people. Proclaimed as La Virgen Milagrosa during the 1980 Eucharistic Celebration on 20, May 1980, she is considered the Patroness of Ilocos Norte. That same year, she was canonically crowned in December.
Agoo, before the founding of La Union province, was once a part of Pangasinan. It is one of the oldest municipalities in the Philippines, and in ancient time, its excellent harbor was frequently visited by Japanese and Chinese traders. Christianization was undertaken by both Franciscan and Augustinian missionaries, until secular priests took over in 1898.
Agoo has been made famous for the alleged Marian apparitions of Virgin Mary to Judiel Nieva, who reported seeing a statue of Our Lady of Agoo atop a Guava tree, weeping with blood. Pilgrims flocked to Agoo to see the "seer", but the highly sensationalized apparitions were declared a hoax in 1993.
But nothing can take way the display of deep Ilocano devoutness and traditional pomp during the season of Lent.. The Good Friday procession is the highlight of the Semana Santa, a devotion manifesting the fervor and faith of the hardy Agoo folks.
There are about 30 carozas beautifully adorned, all lined up at the Plaza dela Virgen, a remarkable tradition dating from the Spanish times and the Penitential Procession of Women in honor of the Mother of Christ, all dressed in black.
The funeral entourage also consists of mourning virgins--saintly women depicting the female characters associated with the ministry and Passion of Jesus, a selection of which are featured on this page.
All photos were taken in 1994 by Dr. Raymund Feliciano, exclusively for this blog.
SAN CLEMENTE, patron of Angono fishermen. Also called "San Clementeng Putol" because the half-bodied santo was meant to be placed in a pulpit, thus requiring only the upper half of the body to be seen.
The ancient town of Angono, which had its beginnings in
1575, is famous for its resident artists
(Botong Francisco, the Blancos), colorful Gigantes Festival and caves with
mysterious petroglyphs. But it is also known for its patron—San Clemente--whose
unique, half-body image can be found enshrined in the church located at
Poblacion Ibaba.
A legend has it that the image of the pope saint was fished
out of Laguna de Bay by fisherman
Justino Villaluz a long time ago. His net caught something heavy as he was
fishing for kanduli (catfish), and when he hauled it back to the boat, he was
surprised to see a portion of a log caught in the net.
But greater was his awe when he saw, upon closer inspection,
that the log was actually a carved bust of a man with a crown—the image of the
papal saint of Rome, San Clemente. Because the lower half of the body was
presumed missing, it earned the monicker San Clemente Putol (or San Clementeng
Matanda). It was only later that Villaluz
learned that the figure was actually carved that way, representing the
saint preaching while in a pulpit, which hid the lower part of his body.
From the home of the Villaluzes, the image of San Clemente
was taken to the town’s first church on a hill in Biga, constructed in 1751,
which had already been dedicated to San Isidro Labrador. A second church at
Ibaba was finished in 1854, and it was here that San Clemente was enthroned,
amidst protests from Biga townsfolk who laid claim to the image. Hacenderos
pacified the displeased residents.
Eventually, a full-bodied replica was made of San Clemente,
which is the image brought out for Angono’s colorful and raucous fiesta, held
on the saint’s birthday, November 23 ( a second thanksgiving fiesta held every
February has long been discontinued). To
differentiate the two San Clementes, the older, half-bodied version is also
known today as San Clementeng Matanda.
The fiesta is capped with a procession of ‘gigantes’—giant,
paper mache figural creations, representing popular characters—including San
Clemente and his family. This Higantes Festival has become inextricably
associated with Angono—along with San Clemente who seemingly chose the town
himself to be the seat of his papal mission in the Philippines.
WATCH A VIDEO OF THE 2008 HIGANTES FESTIVAL
OF ANGONO HERE:
The Life of San
Clemente
San Clemente (or St.
Clement of Rome) was the Christian world’s 4th pope. His time was
marked with persecutions against Christians, resulting in his deportation to
Crimea.There, he ministered among Christian slaves who were forced to work in
barren salt mines. Upon imploring God’s
mercy for the slaves, pure, clean water inexplicably flowed from the stones—a
miracle that converted many Crimeans.
As a result, Emperor Trajan had St. Clement arrested and put
to death. An anchor was tied to his neck and thrown into the Crimean Sea. But
angels appeared to retrieve the body of the martyr pope from the sea, which
miraculously floated already in a marble tomb, along with his anchor. He died
in c. 98.
Iconography and Emblems
The papal saint is represented arrayed in papal vestments,
wearing a papal tiara, or more often, a mitre. Emblems and attributes include
an anchor on his side, palm of martyrdom, papal staff, keys to heaven (symbols
of his papacy).
San Clemente is the patron saint of marble workers, anchor
smiths, blacksmiths and seamen. Angono has had a long fishing industry
tradition, and at one point was dubbed as
“Imperio ng Kanduli” (Catfish Empire). There, San Clemente is recognized
as the patron saint of Angono’s fishermen.
SOURCES:
"Heritage Discoveries in Angono, Rizal", by Edgar Allan Sembrano, 21 Dec. 1015, Philippine Daily Inquirer
Various Religious Beliefs and Practices in the Philippines, Vol. 1.
STA. MARIA MAGDALENA (St. Mary Magdalene) is one of the principal figures of Holy Week processions in the Philippines, and an image of her is almost mandatory in Lenten rites. That's because she was present at the two most significant events in Christ's life--his Crucifixion and Resurrection.
Beside these, Magdalene's presence was noted many times during Christ's ministry and was well-known to His apostles, which spoke well of her courage and support.
Her name--Magdalene--was derived from her town of residence called Magdala, in northern Galilee, and her culture and manners were those of a Gentile. She had an early reputation as a sinner and has been called a harlot and adulteress.
After meeting Jesus, she felt deep remorse for her life of decadence. At the home of Simon where Jesus was invited to sup, Mary came to weep at his feet, which she wiped with rich unguents using her long, luxuriant hair.
Addressing the people who were shocked at the sight of a sinner touching Him, Jesus said: "Many sins are forgiven her, because she has loved very much." To Mary, He said: "Your faith has made you safe; go in peace."
Thus, Mary became a follower of Jesus from that moment on, never leaving him during His Passion. She was at the foot of the cross when Jesus expired, and was there that fateful Easter Sunday morning when she discovered His missing body which she had prepared to anoint with spices. The weeping Mary was called by name by a man, whom she instantly recognized as the Risen Jesus.
In Christian art, where she was the most commonly depicted female figure after the Virgin Mary, she shown wearing lavish fashions. In the Philippines, the liturgical colors assigned to her are pink and yellow.
Her hair is long and unbound, either blonde or reddish-blonde. She is shown holding a vial of perfume and a handkerchief, which she used to wipe the feet of Jesus. One hand holds her long, unveiled tresses.
Other representations include her being a desert hermit, shown naked, holding a skull and covered only with her long hair--which could have been confused in the West with the 4th century hermit, St. Mary of Egypt.
There are also depictions of Mary Magdalene kneeling at the foot of the Cross, sometimes clutching the Cross itself. When shown standing, she is placed at the left and behind Mary and John, in a gesture of grief.
Until recently, the Roman Catholic Church identified Sta. Maria Magdalena as Sta. Maria Betania (sister of San Lazaro and Sta. Marta) , a notion abandoned in the early 1990s. St. Mary Magdalene is the patroness of penitents and perfumers. She is the titular patron of the revolutionary town of Kawit, Cavite where she is endearingly called "Santa Nena". Her Feast Day is July 22.
CREDITS: All photographs taken by Dr. Raymund Feliciano.
The devotion of Filipinos to their Catholic religion does not only revolve around the church and its rituals but also on images of veneration known as "santos". Introduced during the Spanish colonial times, santos, often of wood or precious ivory, are sacred to most Filipinos, lavishly processioned during Lent, fiestas and other holidays. Whether they be products of unschooled hands or of trained master carvers, santos have come to be cherished as part of every Filipino family's home. Through new and old santo articles & reprints, vintage photos, personal stories and interviews, this blog honors these treasured images of faith and celebrates the exuberant art of the Filipino santero that still lives on today.
