ABOUT THE WORK

Tables made in the Parian during the early colonial period were inspired by square tables that were placed before the family altar to hold offerings of food and incense. They were usually of balayong with thick, massive legs, somewhat cabriole in form, at each corner resting on a pseudo-platform formed by stretchers resting on square feet. Their shoulders were inevitably carved with a kurtimukaa, a fierce, bat-like swallowing fierce monster face with huge fangs and gaping mouth, quite common in the iconography of Indian and Southeast Asia, including the Philippines, until the end of the 18th century. The name is derived from the Sanskrit word meaning ‘Glorious Face’, but in China it is known as T’ao T’ieh or Monster of Greed. The latter, due to its swallowing of time, was often depicted with a long tongue. By the 18th century, the dimensions of the legs began to get less massive and by the end of the century, some were positively delicate in construction. The monster-like masks, which made local collectors dub such tables as mesang demonyo, also disappeared and were replaced sometimes by floral or foliate designs at the shoulders. The piece stands on four square block feet resembling a short and stubby cabriole leg cut at the waist, with the front and sides of the shoulder showing vestiges of foliate scrolls carved on it. The feet support a platform consisting of stretchers running along the sides, their visible edges carved with molding. Connecting the legs is a narrow multi-lobed apron consisting of S-shaped cusps and ogee curves alternating with simplified foliate scrolls. The top of the table consists of a wide panel framed by thick planks edged with a series of convex and concave moldings. - From the archives of Martin I. Tinio, Jr.