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