The Age of the Ilustrado
Florentino's Metamorphoses and Calag's Canciones de Ma-i are but two of the many great Filipino literary works of the late 19th to early 20th centuries, and the flowering of Filipino culture in this period goes far beyond literature. In addition to the literature and anthropological scholarship pioneered by the circles of Calag and Florentino, other groups explore the new methods of the sciences brought by scholars and ilustrados from Europe and experiment with the arts, tinkering with the old forms of poetry, prose, and drama, mixing the old lowland Christian traditions with the theories and practices of various other cultures. Florentino and Calag drew upon an increasingly rich literary and poetic tradition when writing their great works, a tradition encompassing such disparate works as the brutal realism and clarity of Atanasio Banaag (1830-1898) and his masterpiece Le Nueva Gehenna, the archaic and distant feel of the 'ancient Filipino' and 'Roman' sagas of Enrico Halili (1828-1871), the flowery but deep romanticism of Cayo de Bongabon (1831-1869) and his corridos of the King Arthur and Charlemagne sagas, and so many others.
In addition to the literature of the period, the arts flourished as well, whether visual or musical. Deeper contacts with the West and its Romanticism strengthens both the existing Western-descended tradition of Filipino music and the study of the music of the Muslims and the highlanders, and many musicians have traveled west to make their names in the concert halls, theaters, and salons of Europe, such as the mostly Catholic Tarlac-based Banda Rondalla de San Clemente, the mostly Evangelical Laguna-based Coro nang Mabuting Balita, the strong heldentenor Francisco Dumlao (1852-1929), the brilliant soprano sisters Emilia (1852-1901) and Victoria (1855-1933) Salang, the concert pianist Alejandro Domingo (1850-1923), the guitarist Arturo Catabay (1861-1929), and a number of musical families scattered across the rising cities and towns of the Philippines. The Ilocano composer Ladislao Agbuya (1851-1919) collaborated often with the dramatist Felipe Tiongson (1852-1931) to write a number of tragic operas, works such as the Roman tales Coriolano (1877), Anac ni Cincinnato (1879), Panata nang manga Horacio (1880), the Biblical Atalia (1878), Ang manga anac ni Eli (1881), Samson Nagtagumpay (1883), the Chinese Hongsian sa Hapei (1885) depicting the defeat of Lü Bu at Xiapi Castle, and the Arthurian Labanan sa Camlann (1887). These and many more immortalized the two and formed part of the core of the Philippine musical and literary canon. Along with this, the sacred composer Julian Santos (1841-1901) arranged the music for the Himno, the Philippine National Anthem whose lyrics were written by the great Balagtas himself in Spanish and Tagalog, but whose tune was adapted from the music of the Feast of La Naval de Manila.
As for the visual arts, painters as varied as the avant-garde Modernists Baltazar Tan (1835-1912) and Osias Chua (1861-1931), the fiercely Romantic Alfonso de Castro (1842-1927), and the Classical Nicanor Flores (1853-1933) paint in many styles, borrowing from such diverse sources as Chinese landscape painting, the art of Africa and the Pacific islanders, and Western realism, and sculptors in marble make their pilgrimage to the island of Romblon, where the marble is the finest in the Orient. Here, the wealthy commission great works of marble to showcase their wealth and power, and the art of classical Western sculpture finds itself rising once more.
This age of cultural richness bloomed in rich soil in many ways: with the increasing wealth of the islands and their diverse economy, the middle class looks for ways to show off their wealth in a way that is not so unseemly to the old money, yet still a good investment for the future. And so, patronage of the arts and sciences among high and even middle society flourishes, even as wealth disparity remains a problem and corruption slowly creeps in again after the Novales Reforms of the 1870s.
Tourism also becomes a force in the middle class as many young Filipinos of the upper and middle classes travel west to learn the newest and most advanced methods in medicine, technology, and the sciences, subsidized by the Novales government. Many also travel west simply to make the Grand Tour of Europe and pilgrimages to West Asia in the 1880s and 1890s, transformed as these regions are by the revolutions and the Popular Wars, the treaties and wars of the mid-19th century. The Indian states, the Japanese imperial republic, and the Taiping kingdom opened up to trade with the Philippines before this time, and with that came a number of scholars who wished to study Asia as a whole. After the Nusantaran Jihad, the number of scholars and other tourists only increased with the desire to understand the so-called 'souls of the nations of Asia', and according movements of Pan-Asianism and Pan-Austronesianism (or, as it would be called in later years, Muanism).
In addition to the literature of the period, the arts flourished as well, whether visual or musical. Deeper contacts with the West and its Romanticism strengthens both the existing Western-descended tradition of Filipino music and the study of the music of the Muslims and the highlanders, and many musicians have traveled west to make their names in the concert halls, theaters, and salons of Europe, such as the mostly Catholic Tarlac-based Banda Rondalla de San Clemente, the mostly Evangelical Laguna-based Coro nang Mabuting Balita, the strong heldentenor Francisco Dumlao (1852-1929), the brilliant soprano sisters Emilia (1852-1901) and Victoria (1855-1933) Salang, the concert pianist Alejandro Domingo (1850-1923), the guitarist Arturo Catabay (1861-1929), and a number of musical families scattered across the rising cities and towns of the Philippines. The Ilocano composer Ladislao Agbuya (1851-1919) collaborated often with the dramatist Felipe Tiongson (1852-1931) to write a number of tragic operas, works such as the Roman tales Coriolano (1877), Anac ni Cincinnato (1879), Panata nang manga Horacio (1880), the Biblical Atalia (1878), Ang manga anac ni Eli (1881), Samson Nagtagumpay (1883), the Chinese Hongsian sa Hapei (1885) depicting the defeat of Lü Bu at Xiapi Castle, and the Arthurian Labanan sa Camlann (1887). These and many more immortalized the two and formed part of the core of the Philippine musical and literary canon. Along with this, the sacred composer Julian Santos (1841-1901) arranged the music for the Himno, the Philippine National Anthem whose lyrics were written by the great Balagtas himself in Spanish and Tagalog, but whose tune was adapted from the music of the Feast of La Naval de Manila.
As for the visual arts, painters as varied as the avant-garde Modernists Baltazar Tan (1835-1912) and Osias Chua (1861-1931), the fiercely Romantic Alfonso de Castro (1842-1927), and the Classical Nicanor Flores (1853-1933) paint in many styles, borrowing from such diverse sources as Chinese landscape painting, the art of Africa and the Pacific islanders, and Western realism, and sculptors in marble make their pilgrimage to the island of Romblon, where the marble is the finest in the Orient. Here, the wealthy commission great works of marble to showcase their wealth and power, and the art of classical Western sculpture finds itself rising once more.
This age of cultural richness bloomed in rich soil in many ways: with the increasing wealth of the islands and their diverse economy, the middle class looks for ways to show off their wealth in a way that is not so unseemly to the old money, yet still a good investment for the future. And so, patronage of the arts and sciences among high and even middle society flourishes, even as wealth disparity remains a problem and corruption slowly creeps in again after the Novales Reforms of the 1870s.
Tourism also becomes a force in the middle class as many young Filipinos of the upper and middle classes travel west to learn the newest and most advanced methods in medicine, technology, and the sciences, subsidized by the Novales government. Many also travel west simply to make the Grand Tour of Europe and pilgrimages to West Asia in the 1880s and 1890s, transformed as these regions are by the revolutions and the Popular Wars, the treaties and wars of the mid-19th century. The Indian states, the Japanese imperial republic, and the Taiping kingdom opened up to trade with the Philippines before this time, and with that came a number of scholars who wished to study Asia as a whole. After the Nusantaran Jihad, the number of scholars and other tourists only increased with the desire to understand the so-called 'souls of the nations of Asia', and according movements of Pan-Asianism and Pan-Austronesianism (or, as it would be called in later years, Muanism).
Last edited: