Monday, February 05, 2007 Echaves: Before they go By Lelani P. Echaves
MY GOOD friend Atty. Ma. Jane Paredes, Smart’s PR manager for VisMin, reminded me about the exhibit at the Sto. Niño Museum. But overtaken by events, it was only last week that I finally had the time to go see.
I’m told this is the first-ever exhibit of Sto. Niño images here, and are from the collections of Ernesto Chua, Val Sandiego, Louie Nacorda, William and Naomi Medici, May Mendoza, Tonette Panares, Fr. Carlito Pono, Fr. Dodong Desuyo and the Bersales Family.
The SOP is not to touch any of the images, expectedly because the images are decades and decades old. If they don’t look old, chipped or yellowed, that’s because some of them have undergone restoration work.
One such image is the Sto. Niño de Gracia, which is over a century old and has undergone two restorations. Found in an antique shop in Manila, this image sets itself apart from the other images by what its hands hold. Instead of the usual globe in its left hand and the right hand raised in blessing, the Sto. Niño de Gracia’s right hand holds a stem of lilies while its left hand holds a saucer on which perches a feeding bird.
Other distinctive images of Cebu’s favorite child are the Sto. Niño de Almohadon, del Remedio, de Pasion, de Sta. Iglesia de Bogota, Colombia and de Davao. The ivory Sto. Niño de Almohadon shows, whether intentionally or not, a Buddhist influence. The child sits comfortably on a cushion with his legs crossed, but its hand is raised in the manner of a teacher patiently explaining the ways to the kingdom of God.
The Mindanao influence is shown in the Sto. Niño de Davao. Made of go-od wood and slightly lacquered, this child image is carved in the image and likeness of any member of Mindanao’s tribal communities, from the Bagobos, Manobos, Mansakas, Tasadays, B’laans and T’bolis to the Tagacaulos.
Like this image of the Holy Child so young yet already aware of his awesome mission, the Sto. Niño del Remedio holds not a globe but a cross. His left hand is placed on his chest, as if pleading for mercy. His eyes show great sorrow and sadness, reminiscent of the Agony in the Garden, when the grown Jesus saw how his crucifixion was to happen.
Another sad child is the Sto. Niño de Pasion. While his rich and velvety maroon garment, embroidered and sequined, shows his kingly stature, it cannot compensate for the pained look on the Holy Child’s face. A rosary is wound around his left wrist, while his right hand holds three nails and his right wrist wears a crown of thorns like an oversized bracelet.
Though aware of the inevitable suffering awaiting the Holy Child, still Fr. John Rizzo of the Salesians gave one instruction to the antique store. Saying “Do they want to crucify Him so young?,” he ordered the cross to be taken out from the Divino Niño Jesus de Bogota, Colombia image.
The images elicit varying thoughts and feelings. Go view before they go. Last exhibit day is Feb. 17. My unsolicited advice: Devote at least two hours. All those 51 images, plus capes and mantles, letters, posters and stampitas, garments and robes, medallions, crosses, pictures, other antique pieces, and a lot of readings can overwhelm one with less time.
