The Oblation

Sir/Madam:


I hope this email finds you in the best of health.

Our batch, the UP College of Law Class of 1985, will be the celebrating sponsor during the 2010 Alumni Homecoming of the U.P. College of Law. As part of this event, we will also be undertaking projects that will benefit our College—our way of giving back to our school.

As our means to raise funds for our endeavors, our batch is proud to offer to all interested alumni of the university, an Oblation statuette which was reproduced by no less than Napoleon V. Abueva, the National Artist.

The Abueva reproduction weighs 3.5 lbs., stands 20 inches high, is made of fiberglass and painted with antique bronze finish. It has a brass plate at the base which has an embossed logo of the University. It can be personalized, according to the course and class to which the alumnus belongs. [1][1]

We feel that the oblation is a timely project especially so that the University is celebrating its 100th year in 2008. It is also unique and rare. Owning one is like having a part of history.

The statuette costs P10,000.00 each. It includes FREE engraving of the alumnus’ name and the course/s and year graduated, comprising two lines.

All deliveries are FREE within Metro Manila. For deliveries outside of Metro Manila, the cost of freight cost is P450.00 which is for the account of the alumnus.

To order your personalized Oblation statuette, please text or call Sheila at the Secretariat at Tel. No. 906-5200307. You can fax the filled up form to 888-0912. We will collect upon confirmation of your order and prior to delivery. We will advice you regarding collection of payment upon receipt of your order.

We are attaching a brochure and a ready-to-print Order Form for your use and reference.

We would also be grateful for referrals to your classmates and friends from the university.



Best Regards,


Bernadette G. Juarez, LL.B.
Project Chair
U.P. College of Law, Class of 1985





“In barricades embattled,fighting with delirium, others donate you their lives without doubts, without gloom; The site doesn't matter,cypress, laurel or lily,gibbet or open field, combat or cruel martyrdom, are equal if demanded by country and home.”
From the 2nd Stanza of Rizal's "Last Farewell”, (English Translation by Nick Joaquin)


A Brief History of the Oblation (1908-2008)

In 1935, Rafael Palma, the first Filipino president of the University of the Philippines, commissioned the Filipino sculptor and National Artist, Guillermo E. Tolentino to translate the second stanza of Rizal's "Last Farewell" into a monument that would be the identifying landmark of the University.

The result that was to be a masterpiece is the Oblation which was made of concrete and was painted with a bronze finish. The original production cost amounted to P2, 000.00 and this came from the contributions of students, officials, alumni, and employees of the University.

Professor Tolentino describes the symbolisms of the Oblation as follows:

"The completely nude figure of a young man with outstretched arms and open hands, with tilted head, closed eyes and parted lips murmuring a prayer, with breast forward in the act of offering himself, is my interpretation of that sublime stanza. It symbolizes all the unknown heroes who fell during the night. The statue stands on a rustic base, a stylized rugged shape of the Philippine archipelago, lined with big and small hard rocks, each of which represents an island.

The “katakataka” (wonder plant) whose roots are tightly implanted on Philippine soil, is the link that binds the symbolized figure to the allegorical Philippine Group.

“Katakataka” is really a wonder plant. It is called siempre vivo (always alive) in Spanish. A leaf or a piece of it thrown anywhere will sprout into a young plant. Hence, it symbolizes the deep-rooted patriotism in the heart of our heroes. Such patriotism continually and forever grows anywhere in the Philippines.

The 3.5 meter height of the statue stands for the three hundred fifty (350) years of Spanish rule in the Philippines. The rocks on the base were taken from Montalban (Rizal) gorge-- the site of the fierce fighting between Filipino guerillas and the Japanese army during the Second World War."


From Padre Faura to Diliman

The cornerstone of the Oblation was earlier laid by Mrs. Aurora Quezon on November 30, 1931. In 1939, the Oblation was unveiled and dedicated to the national heroes at the UP Padre Faura Campus by Mrs. Gregoria de Jesus de Nakpil, widow of Andres Bonifacio. The statue withstood the ravages of war and remained intact at the UP Padre Faura quadrangle until liberation day.

On February 11, 1949, as part of the celebration of the 40th anniversary of the University, the original Oblation was transferred to the Diliman campus.

In 1950, the UP Board of Regents ordered that the Oblation be cast in bronze. This bronze statue was cast in Italy, under the personal supervision of Professor Tolentino.

On November 29, 1958, on the occasion of the University's golden jubilee, the 9-foot tall bronze Oblation was unveiled in UP Diliman, in front of Quezon Hall, the main administration building of the U.P. Diliman campus.

The original Oblation is now located at the 3rd floor of the UP Main Library in Diliman.



Napoleon V. Abueva, the National Artist

Napoleon Isabelo V. Abueva was born on January 26, 1930 in Tagbilaran, Bohol. He graduated from the University of the Philippines School of Fine Arts in 1953 with a Bachelor of Fine Arts in Sculpture. He received much recognition as early as his college years, during which he was mentored by Guillermo E. Tolentino, the first National Artist for Sculpture and creator of the UP Oblation.

For three years in a row (1951-1953), he won first prize and best entry awards in sculpture in the Art Association of the Philippines annual competition. One of his works during this period is the “Kaganapan” (1953), considered also as the most representative of his works. Along the various awards he has reaped, he also received recognition from the Institute of Contemporary Arts’ International Sculpture Competition in London, England for his work known as “The Unknown Political Prisoner.”

In 1955, he finished his Master of Fine Arts at the Cranbrook Academy of Art in Michigan as a Fulbright/Smith-Mundt Scholar. He later took graduate units in Ceramics at the University of Kansas and Art History at Harvard University.

In 1976, Napoleon V. Abueva, then 46 years of age, became the youngest Filipino to be named a National Artist. Not only is he known as the Father of Modern Philippine Sculpture—he is a master in both academic representational style and modern abstract.

In 1978, he was appointed Dean of the College of Fine Arts at the University of the Philippines, a position he held until 1989.

In 1993, he was given an honorary doctorate in humanities and was promoted to University Professor. He retired from the University in June 1995, and was given the status of Professor Emeritus in April 2003.

His works have been executed using a wide range of materials, including hard wood like molave, acacia, langka wood, ipil, kamagong, palm wood and bamboo, adobe, metal, stainless steel, cement, marble, bronze, iron, alabaster, coral, and brass. He even combines different materials, like wood with metal and stone.

Among the major works of Abueva are as follows: Kiss of Judas (1955); The Transfiguration at the Eternal Garden Memorial Park (1979); Fredesvinda in Fort Canning, Singapore (1981); Nine Muses at the UP Faculty Center (1994); Sunburst at the Peninsula Manila Hotel (1994); the bronze figure of Teodoro M. Kalaw in front of National Library; Murals in Marble at the National Heroes Shrine, Mt. Samat, Bataan; 14 Stations of the Cross at the EDSA Shrine. He also performed the death mask procedures to the late Cardinal Sin and Fernando Poe Jr.

Several public art of Abueva can also be found at UP Diliman campus. Among these are: The Crucifix with Two Corpora, including the altar base (1957) and subsequently, the bust of Fr. Delaney at the Parish of the Holy Sacrifice; The University Gateway (also UP Gates); Tribute to Higher Education, at the entrance of University Avenue (1967); The Spirit of Business, in front of the College of Business Administration (1979); Diwata, at the Faculty Center (1992); Alma Mater, at the lobby of Ang Bahay ng Alumni (1996); Three Women Sewing the First Philippine Flag, also known as Tres Marias Plaza, at the UP Donors’ Garden, as part of the centennial celebration of the 1896 Philippine Revolution (1996).

The honors and awards accorded to Abueva are tremendous. A few are: First Prize, Sculptural Exhibition by the Art Association of the Philippines (1951); First Prize in the Fifth Annual Art Exhibition (1952); First Prize and Special Award on the Fourth Sculptural Exhibition (1952); Awardee, The Unknown Political Prisoner, in the International Sculpture Competition by the Institute of Contemporary Arts, London (1953); First Prize and Special Award, Kaganapan (Marble), in the Semi-Annual Art Exhibition by the Art Association of the Philippines (1953); First Prize, Kiss of Judas (Wood), in the Religious Art Exhibition in Detroit, Michigan, USA (1955); First Prize, Water Buffalo (Marble), in the Annual Show, at St. Louis , Missouri, USA (1956); First Prize, Figure (Wood), in the Annual Show of the Art Association of the Philippines (1957); Most Outstanding Alumnus of the School of Fine Arts, U.P. Golden Jubilee (1958); Republic Award for Sculpture (1959); Ten Outstanding Young Men of the Philippines (TOYM) Awardee in Sculpture (1959); Winner, U.P. Gateway Design Competition (1962); Winner, Cultural Heritage Award (1966); ASEAN Awards for Visual Arts in Bangkok (1987); Fourth ASEAN Achievement Award for Visual Arts in Singapore (July 1995).

In an interview, Abueva was asked: “Why do some individuals become great artists, while others, unfortunately, do not?”

Abueva answered: “The inner drive…A more accomplished artist has inner drive and stamina. Now this is very important. The plight of the artist is somewhat similar to that of the long distance runner. You have to cross the finish line. What counts more in life is the end result. Leonardo da Vinci once said that the greatest tragedy of artists is when theory outstrips performance (laughs). Artists are judged by the end result. Theory is important but concepts must be executed very well for any theory to be realized. The artist must possess the inner drive, passion, and “loneliness” of a long distance runner to go very far…”[1]

After his mentor’s (Tolentino) demise, Napoleon V. Abueva was the one authorized to do the replica of The Oblation at the following campuses—UP Baguio, UP Visayas, UP Miag-ao, UP Mindanao and UP Los Banos.

Now 76 years old, Napoleon V. Abueva continues to lead a busy life as a sculptor and still do projects in the same humongous proportions as The Transfiguration. His passion for his work remains at a high-pitch.


Napoleon Abueva and the Oblation
There is no other symbol that is more closely identified with the University of the Philippines than the statue of the Oblation. To the alumni, the naked figure of a young man in a symbolic gesture of sacrificial offering of service to country and humanity has become the major rallying point for all kinds of dissent, protest actions, and social criticism, as well as expressions of public service, nationalism, and patriotism.
The Oblation, apart from being the landmark in every university campus, has become the major symbolic link of the alumni with their Alma Mater.
As the University reaches its 100th year anniversary in 2008, the U.P. College of Law is proud to present to all alumni , a limited edition of the miniature version of the U.P. Oblation, reproduced by no other than Napoleon V. Abueva, National Artist for Sculpture.

The Abueva reproduction stands 20 inches high, weighs 3.5 lbs., is made of fiberglass and painted with antique bronze finish. The brass plate has an antique finish and bears an embossed logo of the University. It can be personalized, according to the course and class to which the alumnus belongs. [2]

The proceeds will be used by the U.P. College of Law Class of 1985 to fund its socially-relevant projects.

You can share in this undertaking by owning one of these limited oblation reproduction -- a rare chance to own a piece of history.

For information on how to own an Abueva reproduction of the Oblation, call or text Sheila at our Secretariat at 906-5200307 or fax your order form to tel. 888-0912.
[1] *From Bulawan 1, a publication of The National Commission for Culture and the Arts (2001).