With numerous incursions from Spain’s enemies, particularly those who follow those standards of Mohammed, being taken prisoner and thrown into bondage and slavery was something that was genuinely dreaded. Coastal communities, particularly those within heavy trade winds of Mindanao, become apprehensive since swift boats carrying fierce Moro warriors are always on the horizon, ready to attack and take anything they can posses to be used or sold in the slave markets of Minadanao or Borneo.
The religious Orders whose missions were situated within these perilous belts ensured protection through either the building of watchtower or fortresses. The town of Miag-ao, situated southwest of IloIlo, was no exception. Originally a visita of the tows of Oton, Tigbauan, Guimbal and San Joaquin, Miag-ao became independent only in 1731. As most communities in the country were coastal, the original town of Miag-ao was situated in a lowland plateau called Ubos. Periodic incursion from Moro Pirates resulted in the relocation of the community to safer grounds.
As the town was transferred father inland, the history of repeated attacks from its enemies never left the psyche of the townspeople, especially that of its indefatigable priest Fray Francisco Gonzalez Maximo, OSA who initiated the building of a magnificent fortress church which would serve both as protector of the soul as well as defender of the body. The church that Fray Gonzalez initiated was finished in 1797.
The church of Miag-ao is truly a marvel to behold, not only because of its massiveness and bulk but more so for its rendering that makes the structure graceful and mature. As a fortress church, the importance of ensuring stability and safety was paramount. This could be seen in the thickness of it walls and the massive buttresses which support as well as ravages of natural forces.
High-set windows also ensure that incursions would face tough resistance, for high up within the fenestrations as well as through the narrow arches of its towers, defensive ammunitions would definitely greet unwelcome visitors. Fundamentally, its defensive mechanisms were the articulation of the façade in an embroidered manner, reflective of the Churrigueresque style popular in Latin America. This usually bewilders anyone who lays eyes on this marvel, for it is commonly assumed that if protection were the main intent f the structure, then frivolous amounts of decoration should have been the least of concerns.
The façade of Miag-ao is a story being told. Unlike most churches in the country which were designed following the normal rudiments of the Baroque movement, with columns and openings juxtaposed to achieve balance and proportion, Miag-ao emerges the fundamentals with a liberal dose of story-telling. Much of its articulation is seen not on the architectural embellishment, but more on the leitmotif applied on its decorations. The triangular pediment is host to the story of Saint Christopher carrying the Christ child. Although iconographical depiction is in the stance of the famous story, it does veer away from the original with liberal use of costume and plant accessory. In this pictorial narrative, the characters are dressed in what aoeears to be local workman’s breeches with foliage straigth form the gardens of IloIlo.
The lower half of the façade on the other hand, is more architectonic with elements used imaginatively and at times, freewheeling. Viewing the façade of Miag-ao church requires time and concentration, for the number of details it present provides the visitor a glance not only into the mind of its maker but also the ingenious attempt to merge foreign tradition with the local flavor.
The interior of the church, on the other hand, is an example of modern Baroque. The original interiors of the church, which could have been as exemplary as the façade, were burned twice during the wars, and for the longest time, its interiors were a sad comparison to the cacophony of activity presented on its façade. Only in the present has the church undertaken extensive renovation, with the interiors rendered in Baroque and in shimmering gold. Cleaning of the church’s fabric was undertaken as well, with the church’s masonry scrubbed of its mold and mildew bringing out the resplendent ochre of its sandstone.
Touted as being a fine example of Philippine Baroque with liberal translation of European refinements, Miag-ao Church was elevated as a World Heritage Site in 1994. And though much of its interiors are of modern heritage, its totality as a monument, the grandeur and beauty of this massive fortress church cannot be denied nor disparaged by foreign incursions. The church of Santo Tomas de Villanueva de Miag-ao is definitely a must-see destination, for it is an exhibition of Philippine ingenuity, talent and verve seen nowhere else. The merging of religious fervor, military principles and artistic interpretations to create a monument deserved to be heralded as truly unique Filipino skill in the town of Miag-ao.
