A) Large-scale paintings found in public galleries B) Artworks and crafts created to be both beautiful and useful C) Artworks created solely for museum display D) Digital images used for social media marketing
A) A cave in Palawan B) Lake Sebu, Mindanao C) The rice terraces of Ifugao D) Tugaya, Lanao del Sur
A) he digital illustrators of concept art B) The Maranao brass workers C) The Ifugao carvers of bulul D) The T’boli women who weave T'nalak
A) Cotton threads B) Brass sheets C) Abaca fibers D) Silk fibers
A) Editorial Illustration B) Children’s Book Illustration C) Textbook Illustration D) Concept Art
A) Power and transformation B) Beauty and a bridge to the divine C) Speed and communication D) Wealth and nobility
A) A celebration of a new rainbow bridge B) A symbol of power and transformation C) A desire for rain-heavy nimbus clouds D) A tribute to the children of the sun
A) Because it was made during the Spanish colonial time. B) Because it was found in a cave C) Because it is a handmade object that is both beautiful and served a practical ritualistic purpose. D) Because it is a two-dimensional form of art.
A) To show he is a messenger of the lightning deity B) To signify a bridge to the afterlife C) To protect himself from cobras in the field D) To symbolize agricultural gods believed to bring bountiful harvests
A) Textbook or educational illustration B) Still life painting C) Concept Art D) Editorial Illustration
A) Children’s Book Illustration B) Editorial Illustration C) Portraiture painting D) Metalwork motifs
A) Carving B) Embossing C) Okir D) Ikat
A) T'nalak B) Hapao bulul C) Kulintang frames D) Manunggul Jars
A) She wants to communicate with the agricultural gods B) She believes it will help her avoid a difficult time when bearing a child C) She is a high-ranking official in her tribe. D) She is mourning an ancestor who has become a demigod
A) To ask for protection from the messenger of lightning B) To show they are ready for the harvest ritual C) To signify their wealth and honor their high-status family D) To represent their dreams to the community
A) Textbook Illustration B) Children’s Book Illustration C) Concept Art D) Editorial Illustration
A) The T’boli of Lake Seb B) The Residents of Palawan C) The Maranaos from Tugaya, Lanao del Sur D) The Ifugao of the Cordillera
A) Tiniktiku B) Eben Lobun C) Tinaggu D) Binanniya
A) Atibungallon B) Buh Wit C) Bagillat D) Bulul
A) To honor high-status families who own a lot of land B) To signify the speed and communication of the lightning deit C) To symbolize agricultural gods believed to bring bountiful harvests D) To represent rain-heavy nimbus clouds for seasonal nourishmen
A) Resist-dyeing and ikat weaving B) Digital 3D printing and laser cutting C) Subtraction of solid wood blocks D) Okir carving and embossing on hammered brass sheets
A) Tinaggu B) Binanniya C) Eben Lobun D) Tiniktiku
A) Buh Wit (cobra) B) Bagillat (lightning) C) Atibungallon (rainbow) D) Binituwon (star)
A) The T’boli "dreamweavers" who create T'nalak from abaca fibers B) The digital illustrators of educational textbooks. C) The Ifugao woodcarvers who specialize in Hapao bulul. D) The Maranao brass manufacturers from Lanao del Sur.
A) Because the fibers used must be imported from outside the Philippines. B) Because it can only be performed by male warriors in the Cordillera region. C) Because the patterns must be created by resist-dyeing individual fibers before the weaving even begins D) Because it requires the artist to use digital screens to plan the colors. |