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