ABOUT THE WORK

The small panel depicting the Blessed Trinity can be classified as the handiwork of a “primitive” or one not formally trained in the craft of painting. Whatever it lacks in refinement it makes up for directness of expression. A similar primitive depiction of the Blessed Trinity, this time by Boholano artists is among the treasures of the Central Bank of the Philippines collection. The anthropomorphic portrayal of the Blessed Trinity as three identical full length figures is a local phenomenon which runs counter to orthodox iconography. Although such representation of the Divinity was forbidden by the Council of Trent (1545-1563) , it has remained a popular concept with the Filipino masses up to now. Such iconography also appears in primitive relief carvings and anting-antings (amulets) which represent the divinity precisely as clones of each other with individual halos, seated in a row surrounded by clouds — or more precisely as clones of Jesus Christ. The culture of folk Catholicism evident in such representation underscores what can happen, and has happened, in rural areas far from the urban centers of Catholic indoctrination, beyond the reach of cabeceras and visitas of the clergy, where instruction in the fundamentals of the Faith has not been continuous or prolonged enough to develop a proper understanding of Catholic doctrine among the masses. The delicacy of the volumes of the clouds in heaven is achieved by slight brushwork, suggesting a blessed atmosphere. The soaring, illusory effect is aided by the floating cherubs at the feet of the three divine personas. To distinguish the three divine personas from one another, a golden symbol is painted on each breast: a lamb for God the Son, a sun for God the Father, a dove for the Holy Spirit. The numerological significance of the up raised fingers of the central figure is enigmatic. The colors of the fabrics are somewhat subdued but the reds worn by the rightmost figure is at their maximum intensity. The chromatic combinations are ingenious as they are indigenous. The unknown artist further evoked the sanctity of the subjects by limning the halos in very fine rigid lines of gold radiating from the heads. Icons as the identical Blessed Trinity are now being appreciated and sought after for their special qualities: their lack of pretentiousness, brut improvisational charm, often lively colors, and disarming naiveté. No attempt is made to project a realistic human representation: like most icon painters from far flung areas do. Each figure is regal yet approachable and possesses robust, homespun charm. The entire picture smiles demurely. Current tastes for modern art, including aspects of it influenced by primitive art, have certainly opened our eyes to the richness and variety of expressive form in these works by untutored icon makers. The entire composition is enclosed in an elaborately crested oval wood frame, giving a more secular, domestic feel to the manner of display of the Blessed Trinity. Primitive religious icons comprise a vital object of study for connoisseurs who would probe into the indigenous elements in Philippine art expression.