Post by voltairemad on Jun 1, 2010 6:40:24 GMT 9
lifestyle.inquirer.net/artsandbooks/artsandbooks/view/20100531-272966/Renovating-a-church-museum
Renovating a church museum
By Isidro Abano, OP
Philippine Daily Inquirer
DateFirst Posted 22:05:00 05/31/2010
Cultural heritage experts, artists and arts faculty from UST renovate the Museo de Nuestra Señora de Manaoag of Pangasinan
I THINK IT’S now about time that we offer Our Lady a better museum.” These were the words of Fr. Stephen Redillas, OP, prior of the Convent of Our Lady of the Rosary in Manaoag, as he thanked and encouraged the group from the University of Santo Tomas that heeded his invitation to make a total renovation of the museum established in 2000.
The former museum needed a facelift to improve the old-fashioned presentation where the collection was displayed as objects of curiosity.
On one corner was this long glass cabinet where the recently donated, embroidered veils and capes were on display, lined up like a showcase of haute couture. Adjacent to it, there was another glass cabinet full of perfume bottles that looked like something straight out of a department store.
And, all the other display cabinets were filled with all sorts of things, such as liturgical vestments, vessels, images, beads, which were practically forced to fit a hall measuring about 14 x 10 meters.
In 2000, it might be all right to start a museum collection that way. But the time later came to make sense out of it. Making sense was the challenge our group had to face.
Experts and professionals
Our group was composed of people from UST. We have connections with the UST Museum, UST Archives and the Cultural Heritage Studies program of the UST Graduate School. Except for Ricky José and myself, all were former students of the Cultural Heritage Studies program.
The support staff was made up of personnel from the UST Museum and students of the UST College of Architecture and the UST College of Fine Arts and Design (CFAD), plus the incumbent staff of the Manaoag museum.
The plan started with assignment of jobs. Advertising arts professor Nady Nacario and architect Issa Avendaño took charge of the tedious documentation and cataloguing of the collection before it was deposited to its temporary place to make sure that nothing would get lost and for easy reference when the objects to be displayed would be selected.
Avendaño acted as project manager. She and Fr. Alex Bautista were responsible for architectural design and construction supervision.
Anna Bautista was consultant for the interior design and Ricky José (Regalado Trota José to the academic world) was the one who did the researches and text, and helped me in the conceptualization of the story line.
Thanks to Ricky for all the well-thought-out comments and suggestions which were all integrated into the final format. Thanks to all the other consultants: Willa Solomon, Mon Villegas, Maita Reyes and Fr. Rolando Mactal, OP, chaplain of the shrine who was the person in charge on behalf of the convent for the renovation project.
Logo
It was Jimmy de los Santos, former CFAD dean, and his son James who helped in the execution of the logo’s concept, which I composed from six designs. These six designs were lifted from two references that I consulted: the 1906 compilation of clichés kept in the UST Museum and the book “Simbologia Mariana” by Luciano Bartoli.
What’s interesting about this logo is the rosary formed into a monogram of Ave Maria that hangs on the lower rim of the crown surmounted by 12 suspended stars. The formation of the 12 stars around the crown simulates the golden aureola or nimbus and crown that adorned the head of the image of Our Lady.
The letter M on which the crown rests is written almost pyramidal in order to allude to the cone-shaped cape that the image dons. However, this letter M has triple sense: It could mean Mary, Manaoag or Museum. In order not to miss the point, below the logo is the title of the museum: Museo de Nuestra Señora de Manaoag.
Earlier, I wanted it to be called Museo Apo Baket because it would have a more local flavor and it would be much easier to make an abbreviation—MAB—for immediate recall. But it was disapproved because they said the name would be too localized, and the pilgrims who are coming from all parts of the country or even the globe might not have any idea of the “Apo Baket,” an Iluko word of endearment used by the locals to address Our Lady to mean Venerable Elder Lady.
Visitor’s delight
What makes this museum interesting and delightful to the visitor is the storyline through which the objects flow on the exhibition. It makes the visitor wanting more to stay.
To make this happen, the storyline unfolds with an introduction about St. Dominic and the Order of Preachers with its mission that reached the province of Pangasinan, particularly the town of Manaoag. The visitor is welcomed in this area by an old wooden statue of St. Dominic that leads to a panel giving information about the spread of Dominican mission in Asia. And, to give testimonies to the lone Dominican presence, in this area are displayed some liturgical implements, like silver candleholders with unmistakable markings of the Dominican seal. This area is a kind of explanation of how to connect the Lady of the Rosary of Manaoag to the Dominicans who have always been the assiduous promoters of the Rosary devotion.
The next panel presents a built monument of evangelization, entitled “The Church On a Hill.” Ricky José includes here a very interesting historical note regarding the original site of the first church building that is now the site of a cemetery. The church was transferred to its present location because the latter is the highest point of the town of Manaoag.
As the visitor reaches the center of the hall, he encounters the apex of the exhibition, because right there in the middle is a beautiful three-foot ivory statue of Our Lady of the Rosary of Manaoag, mounted on huge carved wooden bulk of clouds from which three cherubim heads pop out.
Although historically improbable, some claim that this pedestal of cloud is part of the original tree upon which the Blessed Lady appeared and called a native farmer.
And, as a way to promote personal interaction with this wonderful event, the visitor has the chance to express and write his prayers on pieces of paper which are provided on a console table at the right side of the image.
If the visitor wishes to linger a little longer, he may sit on an antique wooden bench placed a few meters just in front of the beautiful image, which is brightly projecting out of the dark royal blue background with golden outline of a gothic altar.
On the upper left side of this panel is a brief description of Our Lady’s apparition. The following section displays some accessories, like golden crown, staff, rostrillo, aureola and embroidered cape that are used to embellish the image.
Evolution of devotion
Known for favors granted to the pilgrims, the Manaoag shrine has seen the evolution of various expressions of devotion through time. This is what is portrayed in the closing section.
One interesting table display contains the letters of the devotees who are seeking divine assistance for the many concerns of life, such as success, cure, enlightenment, relationship.
These letters to Our Lady burst out of a small bag from which old and new copies of novena, rosary and other devotional objects overflow. It could be delightfully called a bag full of prayers.
Although at first we thought of completely removing the perfume bottles in the display, we finally included them since they are also expressions of devotion. But, this time they are mounted inside an old low wooden cabinet that is hardly noticeable. It is supposed to give the visitor a sense of discovery since the cabinet contains perfume bottles of different sizes and shapes.
Finally, the visitor is led out of the exhibition hall by a panel presenting a collage of processions. A mounted flat television on the wall depicts the history, the miracles and personal reflections related to Our Lady of Manaoag.
To further allude to the Marian procession, in between the seriales, which leads the procession and the vestments worn by church ministers stationed at the end, are pairs of shoes of all kinds on the floor to simulate the steps of people taking part in the religious procession.
The last area gives the visitor a lingering feeling as he leaves the place and enters the church where he has the chance to see and pray before the miraculous image of Our Lady of the Rosary to whom the museum is dedicated.
The Museo de Nuestra Señora de Manaoag is open Monday-Sunday, except Tuesday, 8 a.m.-4:30 p.m. For further information, call (075) 5290249, 5192547 or fax (075) 5920132.
The author is director of the UST Museum of Arts and Sciences.
Renovating a church museum
By Isidro Abano, OP
Philippine Daily Inquirer
DateFirst Posted 22:05:00 05/31/2010
Cultural heritage experts, artists and arts faculty from UST renovate the Museo de Nuestra Señora de Manaoag of Pangasinan
I THINK IT’S now about time that we offer Our Lady a better museum.” These were the words of Fr. Stephen Redillas, OP, prior of the Convent of Our Lady of the Rosary in Manaoag, as he thanked and encouraged the group from the University of Santo Tomas that heeded his invitation to make a total renovation of the museum established in 2000.
The former museum needed a facelift to improve the old-fashioned presentation where the collection was displayed as objects of curiosity.
On one corner was this long glass cabinet where the recently donated, embroidered veils and capes were on display, lined up like a showcase of haute couture. Adjacent to it, there was another glass cabinet full of perfume bottles that looked like something straight out of a department store.
And, all the other display cabinets were filled with all sorts of things, such as liturgical vestments, vessels, images, beads, which were practically forced to fit a hall measuring about 14 x 10 meters.
In 2000, it might be all right to start a museum collection that way. But the time later came to make sense out of it. Making sense was the challenge our group had to face.
Experts and professionals
Our group was composed of people from UST. We have connections with the UST Museum, UST Archives and the Cultural Heritage Studies program of the UST Graduate School. Except for Ricky José and myself, all were former students of the Cultural Heritage Studies program.
The support staff was made up of personnel from the UST Museum and students of the UST College of Architecture and the UST College of Fine Arts and Design (CFAD), plus the incumbent staff of the Manaoag museum.
The plan started with assignment of jobs. Advertising arts professor Nady Nacario and architect Issa Avendaño took charge of the tedious documentation and cataloguing of the collection before it was deposited to its temporary place to make sure that nothing would get lost and for easy reference when the objects to be displayed would be selected.
Avendaño acted as project manager. She and Fr. Alex Bautista were responsible for architectural design and construction supervision.
Anna Bautista was consultant for the interior design and Ricky José (Regalado Trota José to the academic world) was the one who did the researches and text, and helped me in the conceptualization of the story line.
Thanks to Ricky for all the well-thought-out comments and suggestions which were all integrated into the final format. Thanks to all the other consultants: Willa Solomon, Mon Villegas, Maita Reyes and Fr. Rolando Mactal, OP, chaplain of the shrine who was the person in charge on behalf of the convent for the renovation project.
Logo
It was Jimmy de los Santos, former CFAD dean, and his son James who helped in the execution of the logo’s concept, which I composed from six designs. These six designs were lifted from two references that I consulted: the 1906 compilation of clichés kept in the UST Museum and the book “Simbologia Mariana” by Luciano Bartoli.
What’s interesting about this logo is the rosary formed into a monogram of Ave Maria that hangs on the lower rim of the crown surmounted by 12 suspended stars. The formation of the 12 stars around the crown simulates the golden aureola or nimbus and crown that adorned the head of the image of Our Lady.
The letter M on which the crown rests is written almost pyramidal in order to allude to the cone-shaped cape that the image dons. However, this letter M has triple sense: It could mean Mary, Manaoag or Museum. In order not to miss the point, below the logo is the title of the museum: Museo de Nuestra Señora de Manaoag.
Earlier, I wanted it to be called Museo Apo Baket because it would have a more local flavor and it would be much easier to make an abbreviation—MAB—for immediate recall. But it was disapproved because they said the name would be too localized, and the pilgrims who are coming from all parts of the country or even the globe might not have any idea of the “Apo Baket,” an Iluko word of endearment used by the locals to address Our Lady to mean Venerable Elder Lady.
Visitor’s delight
What makes this museum interesting and delightful to the visitor is the storyline through which the objects flow on the exhibition. It makes the visitor wanting more to stay.
To make this happen, the storyline unfolds with an introduction about St. Dominic and the Order of Preachers with its mission that reached the province of Pangasinan, particularly the town of Manaoag. The visitor is welcomed in this area by an old wooden statue of St. Dominic that leads to a panel giving information about the spread of Dominican mission in Asia. And, to give testimonies to the lone Dominican presence, in this area are displayed some liturgical implements, like silver candleholders with unmistakable markings of the Dominican seal. This area is a kind of explanation of how to connect the Lady of the Rosary of Manaoag to the Dominicans who have always been the assiduous promoters of the Rosary devotion.
The next panel presents a built monument of evangelization, entitled “The Church On a Hill.” Ricky José includes here a very interesting historical note regarding the original site of the first church building that is now the site of a cemetery. The church was transferred to its present location because the latter is the highest point of the town of Manaoag.
As the visitor reaches the center of the hall, he encounters the apex of the exhibition, because right there in the middle is a beautiful three-foot ivory statue of Our Lady of the Rosary of Manaoag, mounted on huge carved wooden bulk of clouds from which three cherubim heads pop out.
Although historically improbable, some claim that this pedestal of cloud is part of the original tree upon which the Blessed Lady appeared and called a native farmer.
And, as a way to promote personal interaction with this wonderful event, the visitor has the chance to express and write his prayers on pieces of paper which are provided on a console table at the right side of the image.
If the visitor wishes to linger a little longer, he may sit on an antique wooden bench placed a few meters just in front of the beautiful image, which is brightly projecting out of the dark royal blue background with golden outline of a gothic altar.
On the upper left side of this panel is a brief description of Our Lady’s apparition. The following section displays some accessories, like golden crown, staff, rostrillo, aureola and embroidered cape that are used to embellish the image.
Evolution of devotion
Known for favors granted to the pilgrims, the Manaoag shrine has seen the evolution of various expressions of devotion through time. This is what is portrayed in the closing section.
One interesting table display contains the letters of the devotees who are seeking divine assistance for the many concerns of life, such as success, cure, enlightenment, relationship.
These letters to Our Lady burst out of a small bag from which old and new copies of novena, rosary and other devotional objects overflow. It could be delightfully called a bag full of prayers.
Although at first we thought of completely removing the perfume bottles in the display, we finally included them since they are also expressions of devotion. But, this time they are mounted inside an old low wooden cabinet that is hardly noticeable. It is supposed to give the visitor a sense of discovery since the cabinet contains perfume bottles of different sizes and shapes.
Finally, the visitor is led out of the exhibition hall by a panel presenting a collage of processions. A mounted flat television on the wall depicts the history, the miracles and personal reflections related to Our Lady of Manaoag.
To further allude to the Marian procession, in between the seriales, which leads the procession and the vestments worn by church ministers stationed at the end, are pairs of shoes of all kinds on the floor to simulate the steps of people taking part in the religious procession.
The last area gives the visitor a lingering feeling as he leaves the place and enters the church where he has the chance to see and pray before the miraculous image of Our Lady of the Rosary to whom the museum is dedicated.
The Museo de Nuestra Señora de Manaoag is open Monday-Sunday, except Tuesday, 8 a.m.-4:30 p.m. For further information, call (075) 5290249, 5192547 or fax (075) 5920132.
The author is director of the UST Museum of Arts and Sciences.