Cruz district has become a veritable museum of the artistic and architectural styles that shaped the face of the surrounding city over the past 150 years.It spans from the Spanish colonial period (until 1898), the American interlude (1899-1946), and the post-colonial era (since 1946) until the present.
In short, the cemeteries of the past have a lot to tell us who live in the present, if only we care to know and to listen.
Especially in the fast developing megacities of Asia-Pacific, where history, art and beauty are all too readily sacrificed in the name of rapid “development” and unreflected “progress,” cemeteries, now rare oases of quiet and greenery, have become precious repositories of the past, be it history, art, or architecture.
This applies in particular to Manila, where a destructive tropical climate, war and overcrowding, but especially massive re-development, has since 1945 erased much of its built heritage.
As the frenzy to demolish and rebuilt “bigger and better” (and more profitable) continues unabated, Manila’s vast necropolis in the north of the Sta.
Celui-ci s’est manifesté par l’émergence progressive de petits et de grands mausolées pour la classe moyenne et supérieure des métisses et hommes d’affaires chinois et de leurs femmes, des membres de professions libérales, des politiciens et des Cette architecture funéraire complexe, son ornementation symbolique et sa statuaire ont, au cours des 130 dernières années, transformé le cimetière chinois en un riche réceptacle du patrimoine bâti de la nation.
En outre, l’existence parallèle et le mélange progressif d’influences culturelles et religieuses hispano-catholiques sino-taoïstes et sino-bouddhistes ont parfois entraîné de surprenantes créations artistiques et architecturales qui marquent l’identité des Tsinoy ou encore de la communauté sino-philippine. Reflections of the society which created them, they signify its identity, its secular values and worldviews, spiritual and religious beliefs, and not least its wealth and technical and artistic achievements.In contrast, the Catholic La Loma Cemetery dates back to the late Spanish era.In 1882 the Cementerio General de La Loma, built in old-fashioned Spanish-Mediterranean style, was laid out to accommodate victims of the devastating cholera epidemic of the same year.This article, after a general introduction of the cemetery, its Tsinoy mausoleum patrons, and their architects and builders, will give an overview of the architectural evolution of the often elaborate mausoleums that can be found throughout the Chinese Cemetery.It will explore the different art styles, Western and Chinese, that inspired their architecture over the course of time, and will show that the builders of these tombs did not merely copy Western or Eastern models, but in an eclectic way often combined both, and sometimes merged various traditions into one.To those who are struggling in their FILIPINO-CHINESE/ Tsinoy-Pinoy relationships, please don't think your partners are weak. They are choosing between their own happiness versus their family.