357. THE SANTO COLLECTION OF THE MUSEUM OF PHILIPPINE ARTS AND CULTURE, San Fernando, Pampanga

Museum of Philippine Art and Culture, San Fernando

An invitation from Mrs. ANDREA DIZON DOMINGO to the launch of her foundation’s MUSEUM OF PHILIPINE ARTS AND CULTURE, was an event certainly not to be missed by the staff of the Center for Kapampangan Studies, and that included me. Though many remember her of late, as the Chairman and CEO of PAGCOR (Philippine Amusement and Gaming Corporation), she was also at some point,  a commissioner of the Bureau of Immigration and a Pampanga congresswoman.

A cabinet-ful of antique santos

But I remember Mrs. Domingo as an owner of a well-know antique shop in Intramuros—GALERIA ANDREA—and who later put up a swanky branch at the LRI Plaza in Makati. I was a habitue of her antique shop that was always full to the rafters with antique santos, exquisite colonial jewelry, paintings, blue and white jars, and pottery diggings—all tastefully displayed under glass or organized on shelves and walls. 

Ivory Sto. Nino flanked by San Jose and Sta. Maria

I only have one santo purchase to show after all my frequent visits to her shops— an armless Santo Niño with a bone face on a globe base. I was content with browsing at her shops as she had probably one of the most select antique pieces in Intramuros. So, when I learned that she was opening a museum, I had no doubt that it will be nothing less than the best—I had already in my mind the quality and diversity of pieces she will be showcasing.

An ivory Calvario scene.

I had expected a small museum in a San Fernando subdivision, but I was floored when I saw it was in a huge 2-story building with expansive spaces. She explained that the building was a re-purposed ballroom dance hall that she had built at a time when she took up the hobby, and wanted a venue for other dance enthusiasts.

A folk Virgen and Sto. Nino in a box urna

Entering the well-lit, cavernous hall were walls and walls of paintings from past and present masters, presidential merit winners, Mabini painters,  and National Artists, a virtual who’s who in Philippine art history. Outside of Manila, this museum has perhaps the largest assemblage of paintings done by National Artists—works of Amorsolo, Ang Kiukok, Botong Francisco, hang side by side with the paintings of Magsaysay-Ho,  Edades, Joya, and Legaspi. 

A cabinetful of antique santos

In another wing, the rooms displayed pre-colonial artifacts like bul-ols, oriental trade jars, potteries from various diggings, tribal art and textiles. 

More santos on display.

But of course, the one room that piqued my interest most was the santo collection in a wing of its own. The most precious ones—including the valuable ivories, were shown in well-lit floor to ceiling glass cabinets. The amazing exhibit featured mostly folk santos, many left overs from her antique shops, but still of impeccable quality no less. The antique santo collection is featured in these photos.

L-R: Ivory San Juan Bautista, and a pair of wooden San Roques

The MUSEUM OF PHILIPPINE ART AND CULTURE is set to open fully in July. It is located along the highway of San Fernando, brgy. San Agustin, next to Ramar Village, and across St.  Scholastica Academy. 

A gathering of Virgins and Sto. Ninos

A Sto. Nino among Virgenes

Ivory santos of the most precious variety

More ivories for the eyes to feast on.

The Ivory Section of the exhibit

Folk antiquities

Of wood and ivory.

A trio of charming Sto. Ninos

Inmaculada Concepcion

A wide-eyed San Pedro

Sagrada Familia in ivory

Inmaculada Concepcion

San Miguel Arcangel

A Bohol Sto. Nino and matching urna

Virgen del Rosario

331. THE WEEPING LADY OF AMORSECO, San Fernando, Pampanga

OUR LADY OF AMORSECO

The persistent belief that images of Jesus, saints and particularly, the Virgin Mary might become animated and imbued with the power of movement has been espoused since since the olden times. This is also true for some non-Christian figural statues.

 

AMORSECO VIRGIN, 

Sightings of weeping, blinking and moving statues of the Virgin have been reported in such places as Vietnam, Ballin-spittle, County Cork, Akita in Japan, and of course, in the Philippines, attracting wide interest from zealous devotees. For example,  the ancient image of the Apo Caridad of Ilocos has also been reported as having been found sometimes with amorseco burs stuck to the lower hem of the dress—a proof, devotees say, that the revered Marian image went out unseen for walks.

 

AMORSECO mysteriously covers the Virgin's face.

In a small subdivision school in San Fernando, Pampanga, small image of the Blessed Virgin has been similarly creating a stir in the region since unexplained things began happening in early October of 1987.  The sacred image, not even a foot tall, was acquired a month earlier by dry goods dealer Lhoree Lee from Mrs. Rosalio C. Toledano, who had trade it to Lee in exchange for fabrics.

 

A PRAYER CARD TO THE AMORSECO VIRGIN

Strange events attended the transfer of the image to the Lee residence like the smell of roses and candles that permeated the place, which the family first dismissed. But on October 9, amorseco (cogon flowers) burs began appearing and sticking on the hair of the image, increasing in coverage every day to include the whole face and our Lady’s vestment.

  

AMORSECO VIRGIN

On October 13, the tiny statue began to weep. Lee, believing that these were divine signs, consulted with then Archbishop Oscar Cruz on    what to do. Meanwhile, people started coming in droves to see the Virgin—now known as Our Lady of Amorseco.

The Virgin then began to send messages through the school caretaker, Romeo G. Pabustan, who has since become her medium. Portent of her arrival is the scent of flowers that permeates the chapel where it is kept. During these times, Pabustan goes under a trance and begins writing our Lady’s messages and calls for prayer.

 

OUR LADY OF AMORSECO

The miraculous image is enshrined at Our Lady of Amorseco House of Prayer which has drawn thousands of visitors, including media personalities, showbiz people,  church leaders, government officials and high society VIPs. It is also a center for outreach programs and many religious crusades.

 

SOURCES: 

”Maria, Sumulung Ca”Crusade. 20th Year Anniversary of Our Lady of Amorseco. Souvenir program October 9, 1987-October 9, 2007.

flickr photo" Dexter Ian Mallari,Harry Bernardino, 

http://www.insidereaders.com/2018/05/08/glydel-mercado-attested-miracle-of-our-lady-of-amorseco-in-pampanga/

322. THE SANTOS FROM THE ARCHDIOCESE OF SAN FERNANDO MUSEUM, part II

 More santos and sacred art from the collection of the Archdiocese Museum of San Fernando, Pampanga, with Msr. Eugene Reyes as Director, Archivist and Curator.

321. THE SANTOS FROM THE ARCHDIOCESE OF SAN FERNANDO MUSEUM, part I

The Archdiocese of San Fernando Museum and Archives was established in 1979 by Archbshop  Oscar Cruz at the second floor of the University of the Assumption Chapel. It was designed to be a repository of the ”handiwork and possessions” of the Kapampangans that depict their rich culture and traditions. 

Also at that time, Arch. Cruz forbade the transfer of old material heritage of the church and asked parish priests to turn these vintage and antique items over to the diocese—in whatever state they were in.

Over 800 objects of value were collected form this effort—mostly wooden and some ivory santos, both processional and tabletop size;  vintage images, monastic art, shadow boxes,  urnas (altars), altar vessels, old liturgical books, sacramentals, and architectural details from churches and chapels. 

Arch. Pablo Virgilio David considers the  San Agustin Museum in Intramuros an extension of the  San Fernando Museum as many of the items there were obtained from Augustinian-built churches from Lubao, Betis and other nearby towns.

After the Pinatubo eruption, the collection swelled even more as churches, chapels, and visitas brought everything from treasured altar images, silver and gold vessels, paintings, furniture,  and all kinds of ecclesiastical art for safekeeping at the university at the height of the 1991 catastrophe. When the  chaos and dust settled down, many churches opted to leave the objects permanently as their contribution to the museum.