Tampuhan (painting): Difference between revisions

Tampuhan
Tampuhan
Artist	Juan Luna
Year	1895
Location	Private collection

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Tampuhan, meaning "sulking",^[1] is an 1895 classic oil on canvas impressionist painting by Filipino painter and revolutionary activist Juan Luna. It depicts a Filipino man and a Filipino woman having a lovers' quarrel.

Description

Luna's Tampuhan is a depiction of two persons staying inside the sala or living room of a Bahay na Bato. The two people are Filipino lovers sulking – experiencing "tampo" – because of an argument. The man is looking out at the street beside a Capiz-shell window, leaning on the ventanilla. The woman, on the other hand, wearing a Maria Clara gown, has her eyes focused on the floor. According to Rosalinda Orosa, the man is Ariston Bautista Lin, a friend of Luna who studied medicine in Europe. Orosa further described that the woman is Emiliana Trinidad. Trinidad is the ancestor of the owner of the painting, and is claimed by Orosa to be the same woman who posed for Luna's La Bulaqueña, another of his artworks that illustrate Filipino culture.^[2]

Relation to Filipino culture

In Filipino courtship, culture, values and psychology, tampuhan (from the Filipino-language root word tampo) or sulking is in essence a disagreement between a couple where they do not speak to each other. This is sometimes called "the silent treatment". Other expressions of sulking in the love life of Filipinos include other non-verbal actions such as keeping to one's self, being unusually quiet, or refusing to interact with friends in group activities, family outings or other activities, and even merely locking one's self in his or her bedroom. To end the sulking, one of the lovers has to coax the other, or both persuade each other to resolve by coming up with an agreement or compromise.^[3] The setting is also significant to Philippine culture as the couples are depicted to live in a traditional colonial Filipino house known as bahay na bato, with its iconic interior and structure fit for the tropical climate, while the woman is wearing the traditional Maria Clara gown of Filipino women.

References

^ Discussion of "Tampuhan" (Sulking) painting by Juan Luna Archived June 23, 2010, at the Wayback Machine, from "Juan Luna" article, kulay-diwa.com
^ Ocampo, Ambeth. Discussion on Juan Luna's "Tampuhan" painting Archived January 28, 2012, at the Wayback Machine, from the Who was Luna's La Bulaqueña? article, Looking Back, Anvil Publishing, Inc., National Commission for Culture and the Arts, November 11, 1989: (...) "Tampuhan shows two people, perhaps lovers, seated in the sala of a house. The man is looking out of the window into the street, while the woman has her eyes on the floor, which very likely gives the title "[T]ampuhan" to this canvas (...)
^ “Tampuhan” and “tampo”, seasite.niu.edu

External links

A poem by Marne L. Kilates based on Luna's Tampuhan painting with a reference to Luna's other painting entitled The Parisian Life.

[Kulay-1] Discussion of "Tampuhan" (Sulking) painting by Juan Luna Archived June 23, 2010, at the Wayback Machine, from "Juan Luna" article, kulay-diwa.com

[Ocampo-2] Ocampo, Ambeth. Discussion on Juan Luna's "Tampuhan" painting Archived January 28, 2012, at the Wayback Machine, from the Who was Luna's La Bulaqueña? article, Looking Back, Anvil Publishing, Inc., National Commission for Culture and the Arts, November 11, 1989: (...) "Tampuhan shows two people, perhaps lovers, seated in the sala of a house. The man is looking out of the window into the street, while the woman has her eyes on the floor, which very likely gives the title "[T]ampuhan" to this canvas (...)

[Seasite-3] “Tampuhan” and “tampo”, seasite.niu.edu

[1]

[2]

[3]

@@ Line 1: / Line 1: @@
+{{Short description|Painting by Juan Luna}}
-{{Infobox Artwork
+{{Use Philippine English|date=March 2023}}
+{{Use mdy dates|date=March 2023}}
+{{Infobox artwork
 | image=[[File:Tampuhan by Juan Luna.jpg|320px]]
 | title=Tampuhan
-| artist=Juan Luna
+| artist=[[Juan Luna]]
 | year=1895
 | height_metric=
@@ Line 8: / Line 11: @@
 | metric_unit=cm
 | imperial_unit=in
-| museum=Rosalinda Orosa collection
+| museum=Private collection
 }}
-'''''Tampuhan''''', meaning "[[:wikt:sulk|sulking]]",<ref name=Kulay>[http://www.kulay-diwa.com/juan_luna Discussion of "Tampuhan" (Sulking) painting by Juan Luna], from "Juan Luna" article, kulay-diwa.com</ref> is an 1895 classic [[oil on canvas]] [[impressionist]] painting by [[Philippines|Filipino]] painter and hero [[Juan Luna]].  It depicts a [[Filipino man]] and a [[Filipino woman]] having a lovers' quarrel.
+'''''Tampuhan''''', meaning "[[:wikt:sulk|sulking]]",<ref name=Kulay>[http://www.kulay-diwa.com/juan_luna Discussion of "Tampuhan" (Sulking) painting by Juan Luna] {{Webarchive|url=https://web.archive.org/web/20100623070507/http://www.kulay-diwa.com/juan_luna |date=June 23, 2010 }}, from "Juan Luna" article, kulay-diwa.com</ref> is an 1895 classic [[oil on canvas]] [[impressionist]] painting by [[Philippines|Filipino]] painter and revolutionary activist [[Juan Luna]].  It depicts a [[Filipino man]] and a [[Filipino woman]] having a lovers' quarrel.
 ==Description==
-Luna's Tampuhan is a depiction of two persons staying inside the ''[[living room|sala]]'' or [[living room]] of a [[Bahay na Bato]] house.  The two people are [[Filipino people|Filipino]] [[courtship in the Philippines|lover]]s sulking – experiencing "''[[tampo]]''" –  because of an argument.  The man is looking out at the street besides a [[Windowpane oyster|Capiz Window]].  The woman on the other hand wearing a [[Maria Clara gown]] is focusing her eyes on the floor of the room.  According to Rosalinda Orosa, the man is [[Ariston Bautista Lin]], a friend of Luna who studied [[medicine]] in [[Europe]].  Orosa further described that the woman is Emiliana Trinidad.  Trinidad is the ancestor of the owner of the painting, and is claimed by Orosa to be the same woman who posed for Luna's ''[[La Bulaqueña]]'', another Luna artwork that illustrates [[Filipino culture]].<ref name=Ocampo>Ocampo, Ambeth. [http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?i=282&subcat=13 Discussion on Juan Luna's "Tampuhan" painting], from the ''Who was Luna's La Bulaqueña?'' article, Looking Back, Anvil Publishing, Inc., National Commission for Culture and the Arts, 11 November 1989: (...) "''Tampuhan'' shows two people, perhaps lovers, seated in the sala of a house. The man is looking out of the window into the street, while the woman has her eyes on the floor, which very likely gives the title "[T]ampuhan" to this canvas (...)</ref>
+Luna's Tampuhan is a depiction of two persons staying inside the ''[[living room|sala]]'' or [[living room]] of a [[Bahay na Bato]].  The two people are [[Filipino people|Filipino]] [[courtship in the Philippines|lover]]s sulking – experiencing "''tampo''" –  because of an argument.  The man is looking out at the street beside a [[Capiz shell window|Capiz-shell window]], leaning on the ''[[Ventanilla (Philippine architecture)|ventanilla]]''. The woman, on the other hand, wearing a [[Maria Clara gown]], has her eyes focused on the floor.  According to [[Rosalinda L. Orosa|Rosalinda Orosa]], the man is [[Ariston Bautista Lin]], a friend of Luna who studied [[medicine]] in [[Europe]].  Orosa further described that the woman is Emiliana Trinidad.  Trinidad is the ancestor of the owner of the painting, and is claimed by Orosa to be the same woman who posed for Luna's ''[[La Bulaqueña]]'', another of his artworks that illustrate [[Filipino culture]].<ref name=Ocampo>Ocampo, Ambeth. [http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?i=282&subcat=13 Discussion on Juan Luna's "Tampuhan" painting] {{Webarchive|url=https://web.archive.org/web/20120128204542/http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?subcat=13&i=282 |date=January 28, 2012 }}, from the ''Who was Luna's La Bulaqueña?'' article, Looking Back, Anvil Publishing, Inc., National Commission for Culture and the Arts, November 11, 1989: (...) "''Tampuhan'' shows two people, perhaps lovers, seated in the sala of a house. The man is looking out of the window into the street, while the woman has her eyes on the floor, which very likely gives the title "[T]ampuhan" to this canvas (...)</ref>
 ==Relation to Filipino culture==
-In [[Filipino courtship]], [[Filipino culture|culture]], [[Filipino values|values]] and [[Filipino psychology|psychology]], ''[[tampuhan]]'' (from the [[Filipino-language]] root word ''tampo'') or sulking is in essence a disagreement between lovers where they do not speak to each other.  This is sometimes called "the silent treatment".  Other expressions of sulking in the love life of Filipinos include other non-verbal actions such as not conversing with other people, keeping to one's self, being oddly quiet, non-participation with friends in group activities, non-participation in family outings or other activities, and even merely locking one's self in his or her personal bedroom.  To end the sulking, one of the lovers has to coax the other, or both persuade each other to commit to an agreement or compromise.<ref name=Seasite>[http://www.seasite.niu.edu/Tagalog/love.htm “Tampuhan” and “tampo”], seasite.niu.edu</ref> The setting is also significant to the Philippine culture for the reason couples are inside a traditional colonial Filipino house known as [[Bahay na bato]], with it's iconic interior; [[Windowpane oyster|Capiz WIndowpane]] and Ventanilla while the woman is wearing the traditional [[Maria Clara gown]] of the Filipino women.
+In [[Filipino courtship]], [[Filipino culture|culture]], [[Filipino values|values]] and [[Filipino psychology|psychology]], ''[[tampuhan]]'' (from the [[Filipino-language]] root word ''tampo'') or sulking is in essence a disagreement between a couple where they do not speak to each other.  This is sometimes called "the silent treatment".  Other expressions of sulking in the love life of Filipinos include other non-verbal actions such as keeping to one's self, being unusually quiet, or refusing to interact with friends in group activities, family outings or other activities, and even merely locking one's self in his or her bedroom.  To end the sulking, one of the lovers has to coax the other, or both persuade each other to resolve by coming up with an agreement or compromise.<ref name=Seasite>[http://www.seasite.niu.edu/Tagalog/love.htm “Tampuhan” and “tampo”], seasite.niu.edu</ref> The setting is also significant to Philippine culture as the couples are depicted to live in a traditional colonial Filipino house known as [[bahay na bato]], with its iconic interior and structure fit for the tropical climate, while the woman is wearing the traditional [[Maria Clara gown]] of [[Women in the Philippines|Filipino women]].
 ==References==
@@ Line 31: / Line 34: @@
 [[Category:Impressionist paintings]]
 [[Category:Paintings by Juan Luna]]
+[[Category:Paintings of couples]]

v t e Juan Luna
Works	Spoliarium El Pacto de Sangre La Muerte de Cleopatra La Batalla de Lepanto La Bulaqueña The Parisian Life La Madrileña (En el Balcón) Mi Novia Tampuhan Peuple et Rois Ecce Homo Las Damas Romanas Ensueños de Amor Daphne and Chloe Hymen, oh Hyménée! Odalisque
Series	Chula series España y Filipinas Peuple et Rois (Sketches)
Related	Paz Pardo de Tavera (wife) Andrés Luna de San Pedro (son) Antonio Luna (brother) Joaquin Luna (brother)