National artist for the visual arts Vicente Mananasala (1910-1981) lived through momentous milestones in the Philippines’ history which left indelible imprints on the way he viewed and depicted his milieu. Known for his signature style of transparent cubism, Manansala was witness to a nation in transition towards modernity even as it grappled with its colonial past. As such, his works may be seen as attempts to locate connections between entrenched traditions and contemporary cultural practices.
Today, Manansala’s works illuminate facets of our past that may be regarded as vanishing traditions. In the painting “Muslim Wedding” (c. 1960s), the national artist portrays a scene from what appears to be a an Islamic celebration among the rich noblefolk of Mindanao in the Philippine south whose matrimonial rituals are usually celebrated over several days. This commissioned piece, made at the behest of an esteemed matriarch from one the country’s leading families, is considered a rare subject in Manansala’s oeuvre which stands as a unique contribution to the genre of Philippine paintings that rendered Islamic signifiers as post-colonial critiques.
A woman, presumably the bride herself, stands at the center of the painting with her eyes closed, her form sinuous, with hands held high and open as though in prayer. It is interesting how Manansala depicts a matrimonial ritual in this manner, framing his composition and the idea of a wedding itself as a performance, effectively vesting agency on the central feminine figure, the focal point in what essentially is a communal event. The groom, a stately figure, gaze at her with profound intent as do the other witnesses all garbed in colorful traditional finery. Throughout the broad 4x6-foot canvas, spectacular tapestries shelter the wedding party, intimately gathered with an air of quiet awe, celebration and veneration. The painting is also rendered in lithesome patterns and shapes, a deviation from Manansala’s trademark geometric cubist style where the pictorial landscapes are spatially delineated.
Because of its size, Manansala painted this masterpiece in situ at the matriarch’s home in Quezon City where it was hung for many years in her Islamic-art-themed reception area, a welcoming and mesmerizing spectacle for many guests that included local and foreign celebrities and political figures.
“Muslim Wedding”, depicting the pomp and pageantry of Muslim nuptial celebrations in the Philippine south, is a truly exceptional Manansala masterpiece that celebrates the diverse traditions and rich heritage of our nation.