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