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