Spanish colonial art forms from the 17th century replaced indigenous anito carvings with sculptures of Catholic saints known as santos. These early sculptures were produced anonymously by artisans in areas like Paete, Laguna and blended Spanish, Chinese, and Filipino artistic influences. In the 19th century, santos adorned churches and homes and sculptors were expected to meet higher artistic standards with the opening of international trade. Today, 17th century santo statues remain permanent fixtures in church altars as collectibles that increase in value over time.

1. RELIGIOUS STATUES
(SANTOS)
Laririt, Kaye Anne M.
4 IND-1

2. HISTORICAL BACKGROUND
Spanish colonial period art forms.
• Sculpture of saints replaced the anito
carvings during the 17th century.
• The earliest known sculptor was Juan de los
Santos from San Pablo, Laguna.
• Carvers were anonymous artisans before
the 19th century, as this collection of artwork
was originally meant for pious
purposes, rather than aesthetic.
• Paete, Laguna produced the finest santo
carvers.

3. ARTISTIC STRUCTURE
• Conceived as first and
foremost as an instrument
that could effect
miracles.
• Figures are shown frontally and were
highly stylized.
• Elaborate and the materials used
ranges from wood, ivory to metal
(iron) or a combination of
materials.

4. ARTISTIC STRUCTURE
• The produced images were a
special blending of
Spanish, Chinese and
Filipino characteristics.
• Some pieces show some dominant
traces of Chinese features, or
Filipino pre-Hispanic.

5. EXAMPLES
• Clockwise from upper left
corner: an 18th century
wooden retablo/altar as the
centerpiece of Luis Ma.
Araneta’s ivory collection at
the Sala Recibidor; the original
retablo/altar of the San Agustin
Church made in 1650 by Juan
de los Santos now displayed at
the old sacristy; the present
retablo/main altar of the San
Agustin Church, and; the
retablo/main altar of the
Aranetas’ Pagrel Collection at
the sala profundis of the old
refectory.

6. DEVELOPMENT
• Santos started to adorn churches’
altars and natives’ homes during the
17th century. It replaced the anito
carvings.
• Higher artistic standards were
demanded from the sculptors during the
mid-19th century due to the opening
of the country to international
trade.

7. DEVELOPMENT
• Tipos del pais sculptures became
more in demand during the second
half of the 19th century.
• The Father of Modern Philippine
Sculpture, Napoleon Abueva:
–Floating Sculpture Baby Moses (1951)
(Wood)
–Kiss of Judas (1955) (Wood)
–The Transfiguration (1979) (Welded Brass)

8. CURRENT STATE
• 17th century statues became
permanent exhibits and
adornments in altars in churches.
– Example:
• An 18th century statue ‘Virgin of the
Lost Child’ became a permanent exhibit
in the hall of the Pagrel collection at the
San Agustin Church museum,
Intramuros, Manila.

9. CURRENT STATE
• Many Santos reproductions are being
sold as antique at online auctions
especially those coming from abroad.
• Antique and Vintage Santos only increase in
value as time goes by, due in large part to
the difficulty in obtaining them and
because they are a disappearing and
irreplaceable commodity.

10. END.