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