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