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