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Title:Bulusan Historical & Cultural Society | Official Website of Bulusan Historical & Cultural Society, ...

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Bulusan Historical & Cultural Society | Official Website of Bulusan Historical & Cultural Society, Bulusan 4704 Sorsogon, Philippines Bulusan Historical & Cultural Society Search Primary Menu Skip to content BULUSAN TOWN HISTORY OF BULUSAN HISTORICAL SITES BULUSAN GENEALOGY CULTURE & TRADITIONS NOTABLE SONS & DAUGHTERS OF BULUSAN THE SOCIETY BIRTH AND GROWTH OF THE BULUSAN HISTORICAL & CULTURAL SOCIETY Mission/Vision Statements BOARD OF TRUSTEES MEMBERSHIP BE A MEMBER ADVOCACIES “MGA MOOG NG BULUSAN” CURRENT & FUTURE PROJECTS BENEFACTORS HOW YOU CAN HELP AFFILIATIONS GALLERY DOWNLOADS MEETING MINUTES BOARD RESOLUTIONS FINANCIAL STATEMENTS ANNUAL REPORTS PRESS RELEASES CONTACT US Search for: The Bulusan Hinulid – Pre-Holy Week Feature March 1, 2017 Admin 1 Comment (As we usher in the Season of Lent, this piece is written in appreciation of the town’s image of Christ in the Holy Sepulchre, Sto. Entierro in Spanish, and more commonly known in Bicol churches as “Hinulid.”) Good Friday, 2013 Picture by: Butz Fuentes THE CALANDRA Without a doubt and with no question, as the name itself implies, the image of Hinulid is the focus of Good Friday Sto. Entierro processions everywhere. Good Friday 2013 Picture by: Butz Fuentes In Bulusan as in other places, the Hinulid is encased in a glass coffin-like calandra. The Hinulid‘s original camareros and encargados (caretakers) may have been aware of this term in the past or they may have had a different term for it but it is in fact the name by which it is known to image caretakers in the provinces to the north. Bulusan’s Hinulid in the recent past has had simple calandras, but if the remnants of the original lusutan (cake style) andas (shoulder-borne float) of the town’s Magdalena was to be any indication of the trend in that bygone era, then it must have been that the Hinulid‘s original calandra was also of similar elaborate wooden carvings and also accentuated by glass virinas protecting lighted candles. Before the advent of the town’s Pieta, and before the recent shift to the carroza tradition, the Hinulid was known to be the only paso (image) borne on wheels. EARLY CARETAKERS Believed to be originally under the care of the family of the late Col. Emeterio Funes y Escava, a local hero during the Philippine-American War—and his wife, the late Escolastica Sesbre?o y Gabales, it had been passed on to descendants who had done and continue to do their part in ensuring that the image continues to join Bulusan’s Good Friday processions. In the olden days, processional images for the Holy Week and particularly that of the Sto. Entierro were entrusted/assigned to certain devout land-owning families. Although the Sesbre?o side is widely credited for the Hinulid (what with Escolastica having descended from principales like Cabeza D. Catalino Sesbre?o and his mujer del mismo, D. Felipa Gabales; and with D. Catalino himself being descended from D. Cleto Sesbre?o and D. Damiana Galve), Emeterio himself was descended from principales D. Juan Funes and D. Gavina Fortes, also of Bulusan. NO TRES POTENCIAS, NO FACE NAPKIN, NO HAIR ADORNMENTS For the past 30 years at least, the Se?or has not worn any tres potencias (that set of three rays, usually of silver, emanating from the head, attributed to images of Christ). Nor has it worn any napkin on the face, which was supposed to be tied under the chin and then over the head (as is the tradition mostly in the Tagalog and Kapampangan provinces). It is not known whether the absence of these traditions is brought about by changes in the calandra itself (if it was shortened and thus could no longer accommodate the tres potencias, and thus may have caused the removal as well of the other adornments from the neck up). This and the absence of the face napkin and the silver hair adornments very common in the Lenten images of Christ in Bulusan (except the Nazareno; and curiously absent in the Hinulid as well), might be a mystery that may be well worth an interview with the camarero family. TASTEFULLY SIMPLE AND SOLEMN The Hinulid in Bulusan has always been presented with tasteful simple arrangements of locally-sourced leaves combined with flowers sourced elsewhere and as far as this author has observed in the 30-plus years that he has witnessed Bulusan processions (granted, with a few years of absence), never has the Se?or‘s calandra been overly-decorated. It has always been presented in such a way as to evoke a feeling of the most solemn, the most honorable, the most stately of funerals. It is not known whether the Se?or once had luxurious burdado (embroidered) blankets and pillowcases but it had nevertheless been covered honorably. THE RETURN OF THE LAMB AND THE ANGELS This author can still recall that it was in probably 1984 when he last saw the lamb (the Agnus Dei, i.e., symbolizing Christ, the ultimate sacrificial lamb) on top of the Hinulid‘s calandra. There were no angels guarding the calandra‘s pillars that early. It was thus a welcome development when after 30-plus years, the lamb and the angels did a comeback in Bulusan’s Good Friday 2016. The calandra greeting the huge crowd of devotees at the church’s puerta mayor, Good Friday 2016 The Se?or had a new calandra for the year. It was raised an entire layer, although its clear height was really elevated by just a good six to eight inches. The previous calandra only had two layers–the first serving as the pea?a or base and the second serving as the glassed part itself. This time, the base layer was filled with flowers and local ferns; the angels, brought back from decades of storage, were positioned in the second layer; and the Se?or occupied the third layer. The angels, seven in all, were strategically positioned and all bearing silver instruments of the Lord’s passion. Their old paint still bears the patina of old age–and the author could but hope that the Hinulid‘s caretakers will not think of ever repainting the angels. They look good as they are. An angel with a cross is stationed on the part directly below the Se?or‘s head. The cross is so detailed that if one looks closely, one would see a silver heart and a crown of thorns tied to its center. Below the Se?or‘s right side are three angels, One bears a spear and pliers, another bears a thurible, and another has a ladder and whose empty rounded right hand suggests that it used to hold another instrument. Below the Se?or‘s left side are also three angels. One bears a hammer on its right and nails on its left, another angel has an incense boat on its right hand and a chained vessel on its left, and yet another angel has with its right hand a cross with a sash and a whip with its left hand. The angels are all wearing floor-length sea-green tunics, with golden sashes, with the exception of the one with the cross-with heart-and-crown-of-thorns at the back, whose tunic is cut in front above the knees but is floor-length to the rear, and thus shows the fullness of its brown boots. They all have adornments i...

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