Carp

When the Spaniards arrived in the Philippines in 1521, the colonizers used art as a tool to propagate the Catholic faith through beautiful images. With communication as problem, the friars used images to explain the concepts behind Catholicism, and to tell the stories of Christ’s life and passion. Images of the Holy Family and the saints were introduced to the Filipino psyche through carved santos, the via crucis (Stations of the Cross), engravings on estampas and estampitas, and through paintings on church walls.
Though the ethnic art forms such as pottery, weaving and metalwork were retained, the Spanish friars and the Chinese, the colony’s primary trading partner, were slowly introducing newer art forms. Icons brought by the friars were used as models for sculpture. Filipino artisans were taught the Chinese brushwork technique in painting. Engraving was also introduced.
The concept of patronage emerged. Artisans were commissioned and paid to carve, engrave, and paint. They replaced the arts that were once done in a communal spirit and community setting for rituals. The church, particularly the friars, became the new patron of the arts.
Since most art produced during the first two centuries of Spanish occupation were for the church, the friars enforced strict supervision over their production. Until the 19th century, art was only for the church and religious use.
Early in the 19th century, with the opening of the Suez canal in 1869 and the development of the agricultural export economy, native indios acquired economic wealth and became what was to be called the "ilustrados,"meaning enlightened and educated. These developments paved the way for Filipinos ilustrados to send their children to universities in Europe. The rise of the "ilustrado" (Filipinos with money and education) class was inevitable. The ilustrados became the new patron of the arts. These events paved the way for the secularization of art in the 19th century.
A. Painting
The Spanish friars