Rebirth of a Museum
The new Ayala Museum cradles the art and spirit of the Filipino people
By Trina D. Dela Rama
Three things give me much pleasure: discovering pockets of nature in the midst of the concrete jungle; learning the intimate histories of people, places, objects, and ideas; and spending time basking in the beauty of art.
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| Carved by artisans from Paete, Laguna, the dioramas are feats in woodcarving, miniature painting, and decoration |
Imagine my excitement in finding one place that allows me to indulge in all three experiences.
The new Ayala Museum is a grand testament to the Filipino story. Finding root in the visionary ideas of the late artist Fernando Zobel de Ayala y Montojo, it has been a valued component of the Makati Central Business District since 1967, albeit in its different forms. From its original residence at the Insular Life Building, to the old Ayala Museum building on Makati Avenue, the Ayala Museum has finally settled in its new home on Makati Avenue corner De La Rosa Street.
Barely five months old, the new Ayala Museum beckons from its niche against the lush Greenbelt Park, attracting many a passerby to enter its glass doors. Since the Museum’s formal dedication last 28 September 2004, I couldn’t wait to stumble into some free time to visit. I finally had my chance.
Approaching the new Ayala Museum fills one’s head with poetry. Indeed, there is no limit to the beauty of art, for it spills over to its surroundings. Designed by Leandro Locsin and Partners, the Museum is the Zobel de Ayala family’s gift to the Filipino people, in celebration of the Ayala Corporation’s 170th anniversary. The imposing steel, glass, and granite structure is a sculptural masterpiece. Dr. Florina Capistrano-Baker, Museum Director, shares: “The concept of the architects was to design a building that was sculptural in form. So if you look at the building, it’s really a piece of sculpture. You have a solid mass juxtaposed with a translucent, luminescent element. The low, solid, heavy mass which is the main building is set against a tall, slender, soaring tower. These two elements are connected by a glass bridge with the x-stairway.”
Indeed, the façade of the Ayala Museum is breathtaking. The architecture is such that the structure is resplendent viewed from any corner, inside or outside. Stepping into the silent majesty of the Museum Lobby, the travertine and Angola black marble flooring glows with the reflection of subdued lighting from the high ceiling. A large picture window to one side of the area seamlessly adjoins the serene outdoor Zen garden with minimalist interiors. I stood transfixed on the perfect balance of the natural and man-made, and found the racket of city life outside the walls almost immediately fading into a barely audible buzz.
Having worked in an art gallery some time ago, I developed a great fondness for deriving stories from the history of art pieces and the profound manner in which they affect people. I believe that more than anything, a museum experience is personal and intimate. It’s a sensual odyssey, a process of self-discovery. With its theme, Re-Collecting the Past, Re-Presenting the Future, the Ayala Museum aims to make such self-discovery even more meaningful by reuniting Filipinos with overseas collections by fellow countrymen, and by situating contemporary Philippine art in the global arena in the spirit of mutual cooperation.
The Ayala Museum generates many a tale on its own, but it is also a receptacle of stories. As a traveler within its walls, the manner by which I choose to interact with it is my own story, my contribution to the chronicles of the Filipino people. Like any other traveler, I was eager to author my own adventure sequence.
“There is a narrative going through the entire building, and it is primarily chronological,” discloses Dr. Capistrano-Baker. “You may proceed from the ground floor, and work your way to the fourth floor; or you may proceed in reverse and start on the fourth floor, working your way down to the ground floor. Moving from the fourth floor is the more natural sequence – from the earliest works to the contemporary.”
Taking the cue from Dr. Capistrano-Baker, I took an intimate look at the Ayala Museum’s core collections (enhanced by loans from private and public collections) from the fourth floor down to the ground level.
Ivory and Costumes
The Museum’s fourth floor features changing exhibitions. These inaugural exhibitions focus on Philippine art from pre-history to the 19th century, covering the Spanish colonial period. Two exhibits can be found on this level: Philippine Art in Ivory and Turn of the Century Images of Philippine Costumes.
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| The extensive collection of Santo Niños, Madonnas, various saints, church objects, procession, and crucifixion pieces alike are embellished with fine, intricate, and elaborate details in gold, silver, and other precious metals |
The showcase of popular religious images carved from ivory by Filipino artisans call for the greatest esteem, being representative of a remarkable religious heritage. Philippine Art in Ivory features an extensive collection of Santo Niños, Madonnas, various saints, church objects, procession and crucifixion pieces, each embellished with fine, intricate, and elaborate details in gold, silver, and other precious metals. Spanish and Chinese influences are evident in the features of the statues and statuettes, proof of the lucrative ivory trade between ecclesiastical and domestic markets during the period. Thoughtfully and thematically arranged, the ivory pieces are must-see keys to Philippine antiquity.
The tawny hues of the ivory collection are complemented by the vivid colors of the adjacent exhibit of never-before seen cultural treasures. Turn of the Century Images of Philippine Costumes gathers for the first time the Damian Domingo watercolor album of Philippine costumes belonging to the Newberry Library in Chicago, the Justiniano Asuncion watercolor album of Philippine costumes in the New York Public Library, and the Ayala Museum’s watercolor album of Philippine costumes attributed to the Damian Domingo atelier.
Juxtaposed with exquisite 19th century Philippine costumes – from the Rina Ortiz collection (on permanent loan to the Ayala Museum), and the collections of the Bank of the Philippine Islands, Intramuros Administration, and the Leiden Museum of Ethnology in The Netherlands – the exhibit traces the fine thread that links original works and replicas, and studies the tensions between them. An interesting display not just for the couturier, the pieces are well-preserved testaments to the Filipino’s attention to quality and undeniable eye for detail.
Paintings
I moved to the museum’s third level which highlights paintings from the 19th to 20th centuries. The strength of the collections in this section lies in three artists: Juan Luna, Fernando Amorsolo, and Fernando Zobel. Aptly entitled Pioneers in Philippine Art, this inaugural exhibit focuses on the role of each acclaimed artist as a trailblazer of his time. Each maestro represents a period. Juan Luna was the first Filipino artist to gain international recognition overseas, a precursor of the social realist movement. Amorsolo was a pioneer in the use of light, experimentation, and impressionism, while Zobel was a prominent pioneer of the abstraction movement.
Reveling in the shadows of the works of Luna, Amorsolo, and Zobel fuels the flames of passion and patriotism in one’s soul. The paintings are eloquent and stirring, visual vignettes that capture Filipino genius with every stroke of the brush.
Dioramas
No one’s memory of grade school field trips is complete without having experienced at least one visit to the Dioramas of Philippine History at the Ayala Museum. Carved by artisans from Paete, Laguna, the dioramas are feats in woodcarving, miniature painting, and decoration. Sixty dioramas cover the entire span of Philippine history, from pre-history to the inauguration of the Philippine Republic, and the Declaration of Independence. The exhibit culminates with People Power, a multimedia experience that covers the events leading to the People Power Revolution of 1986. The lights, sounds, and visual display provide individuals -- especially children -- a better appreciation of the relevance and magnitude of the EDSA Revolution.
Side by side with the Diorama Experience is the exhibit of handcrafted models of ocean vessels, certain to amuse children and adults alike with their faithful representation of trade ships.
From Singapore
I returned to the ground floor, eager to view the most recent works in the museum. The far-end of the lobby contains Philippine Works from the Singapore Art Museum – changing exhibitions of contemporary art by distinguished Filipino artists. This area encapsulates works from the 20th to 21st centuries and its roster of artists includes Arturo Luz, Lao Lian Ben and Ang Kiukok, among others.
It is ironic that in a place where time stands still, time can also move quickly enough for one to wonder where the visiting hours have gone. While the tour lasts for a good hour and a half, the museum offers more reasons to return. Art classes and programs and the unique offerings of the Museum Shop and the Museum Café all encourage frequent visits to this dynamic institution.
“People say we don’t really have a museum-going tradition in this country,” observes Dr. Capistrano-Baker. “But it’s wonderful to see that if you give people the museum, they will come.” Indeed, the Ayala Museum continues to invite large numbers of guests daily, ranging from young students to adults and tourists.
The Ayala Museum has launched Individual, Family, and Corporate membership programs for special privileges and discounts all year round. For more details, please call 757-7117 to 21 local 31 or visit www.ayalamuseum.org
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