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Believed to be the same woman as in La Bulaqueña. The María Clara gown, historically known as the traje de mestiza during the Spanish colonial era, [1][2] is a type of traditional dress worn by women in the Philippines. It is an aristocratic version of the baro't saya. It takes its name from María Clara, the mestiza protagonist of the novel ...
Tagalog maginoo (nobility) wearing baro in the Boxer Codex (c.1590). Baro't saya evolved from two pieces of clothing worn by both men and women in the pre-colonial period of the Philippines: the baro (also barú or bayú in other Philippine languages), a simple collar-less shirt or jacket with close-fitting long sleeves; [5] and the tapis (also called patadyong in the Visayas and Sulu ...
Anita Magsaysay-Ho (born Anita Corpus Magsaysay; May 25, 1914 – May 5, 2012) was a Filipina painter who specialized in Social Realism and post-Cubism in regard to women in Filipino culture. [2] Magsaysay-Ho's work appeals to Modernism by utilizing more abstract designs and styles rather than realistic approaches. [3]
Okir. Detail of a panolong with a naga motif, from the National Museum of Anthropology. Okir, also spelled okil or ukkil, is the term for rectilinear and curvilinear plant-based designs and folk motifs that can be usually found among the Moro and Lumad people of the Southern Philippines, as well as parts of Sabah.
v. t. e. Women in Philippine art is the many forms of art in the Philippines that utilizes women in the Philippines and even women from other parts of the world as the main subject depending on the purpose of the Filipino artist. The portrayal of women in the visual arts depend on the context on how Philippine society perceives women and their ...
Imelda Cajipe-Endaya (born 1949), painter, printmaker, mixed-media installation artist, curator, art project organiser and writer, activist. Paulina Constancia (born 1970), Filipino-Canadian painter. Xyza Cruz Bacani (born 1987), Filipina street photographer and documentary photographer.