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Table of Contents
Preface; Acknowledgements; Introduction: The Invention of Colonial Art & Culture; Methodological Considerations; Perspective; Encountering Limits; A Communication Model; Information Design; Ethnohistory; The Plan; The Chapters; Chapter 1: Weaving the Net; Entrepôts and Portal Cities; Establishment of the Galleon Trade; Ship-Building and Navigation; Royal Shipyards; Navigation and Cartography; Asian Entrepôts; Trade Goods; Silver and Silk; The Situado; Beyond Silver and Silk; Printing Press; Printing in the Philippines; Chapter 2: Cultivating the Biota; The Spice of Life; The Herbals.
The Natural History TurnTropical Exotica; Encountering the Exotic; From Herbalist to Botanist; Jesuits and Botany; Jesuit Pharmacies; Kamel's Herbarium; Spanish Scientific Expeditions (Late 18th Century); Colonizing the Culinary World; Culinary Adaptation; Cuisine and Colonization; Chapter 3: Circumscribing Space; Tyranny of the Grid; Land and Sea; Fills and Voids; Colonial Architecture; Cities and Civilization; The Orderly Life; Arquitectura Mestiza; Churches and Safety; The Vertical Grid; Manila: The Seminal City; Crucible of Style; Manila Cathedral; San Agustín Church and Monastery.
San Francisco ChurchVenerable Orden Tercera (VOT); San Ignacio Church; Santo Domingo Church; Recoletos; Civic Architecture; Extramuros; Response; Negotiating the Land's Meaning; Negotiating Time; To Sum Up; Chapter 4: Reframing the Imagined World; Before the Colony; Carving and Weaving; Gold Work and Metal Work; Painting and Sculpture; Traditions of Western Visual Arts; Visuality and Spirituality; European Engravings; Engravings and Colonial Art; Engravings and Philippine Colonial Art; Themes and Techniques; Secular Themes; Religious Imagery; The Native Face; Wide-Eyed Santo.
Santos de MarfilIvory Connoisseurship; The Artists' Role; Chapter 5: Alphabetizing the Syllabary; Alphabetizing the Native Scripts; Vocabularios y Artes; Colonial Grammars; Lexicons; Evangelizing with the Language; Mastering the Language; Books in the Vernacular; Barlaan at Josafat; Turning the Tables; Colonial Synthesis; Christ of the Indios; Conclusion of the Passion; Chapter 6: Clothing the Colonial Subject; The Colonial Body; Buried Ornaments; Tattoos; Necessity and Symbol; From Baro to Camisa; The Shift; Clothing and Colonial Identity; Clothing and Filipino Identity in the 19th Century.
Clothing and CommunicationChapter 7: Miming the Colonial Script; A Taste for Fiestas; The Villages; Festivities in the Visayas; Celebrations for Cohesion; Performative Arts in an Urban Setting; Baroque Ostentation; The Invisible Indio; Extravagance; Theater, Staging, Scripts, and Scores; Persisting Theatrical Forms; Performance Arts and the Colonial Imaginary; Chapter 8: Reforming the Colonized World; Experiencing the Indigenous World; The Reformation; Living and Dining as Metaphor; Visual and Ritual Reinforcement; Living Encounters; Native Response; Beaterios, Cofradias, and Ladinos; Bridge-making.
The Natural History TurnTropical Exotica; Encountering the Exotic; From Herbalist to Botanist; Jesuits and Botany; Jesuit Pharmacies; Kamel's Herbarium; Spanish Scientific Expeditions (Late 18th Century); Colonizing the Culinary World; Culinary Adaptation; Cuisine and Colonization; Chapter 3: Circumscribing Space; Tyranny of the Grid; Land and Sea; Fills and Voids; Colonial Architecture; Cities and Civilization; The Orderly Life; Arquitectura Mestiza; Churches and Safety; The Vertical Grid; Manila: The Seminal City; Crucible of Style; Manila Cathedral; San Agustín Church and Monastery.
San Francisco ChurchVenerable Orden Tercera (VOT); San Ignacio Church; Santo Domingo Church; Recoletos; Civic Architecture; Extramuros; Response; Negotiating the Land's Meaning; Negotiating Time; To Sum Up; Chapter 4: Reframing the Imagined World; Before the Colony; Carving and Weaving; Gold Work and Metal Work; Painting and Sculpture; Traditions of Western Visual Arts; Visuality and Spirituality; European Engravings; Engravings and Colonial Art; Engravings and Philippine Colonial Art; Themes and Techniques; Secular Themes; Religious Imagery; The Native Face; Wide-Eyed Santo.
Santos de MarfilIvory Connoisseurship; The Artists' Role; Chapter 5: Alphabetizing the Syllabary; Alphabetizing the Native Scripts; Vocabularios y Artes; Colonial Grammars; Lexicons; Evangelizing with the Language; Mastering the Language; Books in the Vernacular; Barlaan at Josafat; Turning the Tables; Colonial Synthesis; Christ of the Indios; Conclusion of the Passion; Chapter 6: Clothing the Colonial Subject; The Colonial Body; Buried Ornaments; Tattoos; Necessity and Symbol; From Baro to Camisa; The Shift; Clothing and Colonial Identity; Clothing and Filipino Identity in the 19th Century.
Clothing and CommunicationChapter 7: Miming the Colonial Script; A Taste for Fiestas; The Villages; Festivities in the Visayas; Celebrations for Cohesion; Performative Arts in an Urban Setting; Baroque Ostentation; The Invisible Indio; Extravagance; Theater, Staging, Scripts, and Scores; Persisting Theatrical Forms; Performance Arts and the Colonial Imaginary; Chapter 8: Reforming the Colonized World; Experiencing the Indigenous World; The Reformation; Living and Dining as Metaphor; Visual and Ritual Reinforcement; Living Encounters; Native Response; Beaterios, Cofradias, and Ladinos; Bridge-making.