PHILIPPINE ART
The Philippines has a larger and more vigorous artistic community than any other Southeast Asian
nations because it has four cultural heritages - Asian, European, Mexican, and American. In Manila alone,
the arts and culture capital, there are many art galleries showcasing the works of talented local painters,
sculptors, muralists, and folk artists. Theatrical and orchestral performances are also very popular.
The art of the Philippines refers to the works of art that have developed and accumulated in
the Philippines from the beginning of civilization in the country up to the present era. It reflects to its
society and non-Filipinos the wide range of cultural influences on the country's culture and how these
influences honed the country's arts. The art of the Philippines can be divided into two distinct branches,
namely, TRADITIONAL and NON-TRADITIONAL ARTS. Each branch is further divided into various
categories with subcategories.
 TRADITIONAL ARTS - bearers of traditional arts can be nominated as Gawad Manlilikha ng Bayan
(GAMABA), equal to National Artist.
 NON-TRADITIONAL ARTS - bearers of non-traditional arts can be nominated as National Artist,
equal to Gawad Manlilika ng Bayan.
Calle Sebastian, a painting of Philippine Street by Jose Honorato Lozano best known for pioneering
Filipino paintings which combines East and West style especially Spanish barowue of Spanish art and Late
imperial Chinese Art.
BRANCHES OF PHILIPPINE ART
TRADITIONAL ART
NON-TRADITIONAL ART
Folk architecture - including, but not limited Dance - including, but not limited to, dance
to, stilt houses, land houses, and aerial houses choreography, dance direction, and dance
performance
Maritime transport - boat houses, boatMusic - including, but not limited to, musical
making, and maritime traditions
composition, musical direction, and musical
performance
Weaving - including, but not limited to, basket Theater - including, but not limited to,
weaving, back-strap loom weaving, headgear theatrical direction, theatrical performance,
weaving, fishnet weaving, and other forms of theatrical production design, theatrical light
weaving
and sound design, and theatrical playwriting
Carving - including, but not limited to, Visual arts - including, but not limited to
woodcarving and folk non-clay sculpture
painting, non-folk sculpture, printmaking,
photography, installation art, mixed media
works, illustration, graphic arts, performance
art, and imaging
Folk performing arts - including, but not Literature - including, but not limited to,
limited to, dances, plays, and dramas
poetry, fiction, essay, and literary/art criticism
Folk (oral) literature - including, but not Film and broadcast arts - including, but not
limited to, epics, songs, and myths
limited to, film and broadcast direction, film
and broadcast writing, film and broadcast
production design, film and broadcast
cinematography, film and broadcast editing,
film and broadcast animation, film and
broadcast performance, and film and
broadcast new media
Folk graphic and plastic arts - including, but Architecture and allied arts - including, but
not limited to, calligraphy, tattooing, folk not limited to, non-folk architecture, interior
writing, folk drawing, and folk painting
design, landscape architecture, and urban
design
Ornament, textile, or fiber art - hat-making, Design - including, but not limited to,
mask-making, accessory-making, ornamental industrial design, and fashion design
metal crafts
Pottery - including, but not limited to, ceramic
making, clay pot-making, and folk clay
sculpture
Other artistic expressions of traditional
culture - including, but not limited to, nonornamental metal crafts, martial arts,
supernatural healing arts, medicinal arts, and
constellation traditions.
FUNCTIONAL ART
Kut-kut is a technique combining ancient
Oriental and European art process. Considered lost art
and highly collectible art form. Very few known art
pieces existed today. The technique was practices by
the indigenous people of Samar Island between early
1600 and late 1800 AD. Kut-kut is an exotic Philippine
art form based on early century techniques – sgraffito,
encaustic and layering. The merging of these ancient
styles produces a unique artwork characterized by
delicate swirling interwoven lines, multi-layered
texture and an illusion of three-dimensional space.
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HINDU-BUDDHIST ICONOGRAPHY
Many of historians believed that the various cultures
of the Philippine archipelago first encountered Hindu and/or
Buddhist beliefs as early as the 2nd and 3rd centuries BCE, but
some of recent scholarship suggests that these cultural
influences mostly filtered in during the 10th through the early
14th centuries. Present-day scholarship believes these
religious and cultural influences mostly came through trade
with Southeast Asian thassalocratic empires such as
the Srivijaya and Majapahit, which had in turn had trade
relationships with India. Scholars such as Milton
Osborne emphasise that despite these beliefs being originally
from India, they reached the Philippines through Southeast
Asian cultures with Austronesian roots. The artifacts reflect
the iconography of the Vajrayana Buddhism and its influences
on the Philippines' early states.
THE GOLDEN TARA OF AGUSAN
The copper Buddha's of Ma-i (metal relics) – "The
gentleness of Tagalog customs that the first Spaniards found, very different from those of other provinces
of the same race and in Luzon itself, can very well be the effect of Buddhism "There are copper Buddha's"
images. The people in Ma-i sound like newcomers (to this port) since they don't know where those metal
statues in the jungle come from."
Archaeological findings show that before the settlement of the Spaniards in the country,
the Tagalogs, especially the Batangueños, had attained a semblance of high civilization. This was shown
by certain jewelry, made from a chambered nautilus' shell, where tiny holes were created by a drill-like
tool. The ancient Batangueños were influenced by India as shown in the origin of most languages from
Sanskrit and certain ancient potteries. A Buddhist image was reproduced in mould on a clay medallion in
bas-relief from the municipality of Calatagan. According to experts, the image in the pot strongly
resembles the iconographic portrayal of Buddha in Siam, India, and Nepal. The pot shows Buddha
Amithaba in the tribhanga, pose inside an oval nimbus. Scholars also noted that there is a
strong Mahayanic orientation in the image, since the Boddhisattva Avalokitesvara was also depicted.
Juan Francisco suggests that the golden Agusan statue may be a representation of
goddess Sakti of the Siva-Buddha (Bhairava) tradition found in Java, in which the religious aspect
of Shiva is integrated with those found in Buddhism of Java and Sumatra. The Rajahnate of Butuan, in
present-day Agusan del Norte and Butuan City, used Hinduism as its main religion along with
indigenous Lumad nature-worships. A Hindu Tamil King of the Rajahnate of Cebu was also recorded.
Another gold artifact, from the Tabon Caves in the island of Palawan, is an image of Garuda, the bird who
is the mount of Vishnu. The discovery of sophisticated Hindu imagery and gold artifacts in Tabon Caves
has been linked to those found from Oc Eo, in the Mekong Delta in Southern Vietnam. These
archaeological evidence suggests an active trade of many specialized goods and gold between India and
Philippines and coastal regions of Vietnam and China. Golden jewelry found so far include rings, some
surmounted by images of Nandi – the sacred bull, linked chains, inscribed gold sheets, gold plaques
decorated with repoussé images of Hindu deities.
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LINGLING-O
THREE DESIGNS OF LINGLING-O
IN PARIS, FRANCE
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The Lingling-o are an "omega shaped" type of
pendant or amulet that has been associated with various
indigenous cultures of the Philippines since the early
metal age. The earliest surviving examples of lingling-o,
dating back to the metal age, were made out of Nephrite
jade, but many later examples were made of shell, gold,
copper, and wood; the kind of material suggests
differences in the social standing of its wearer. The term
was first popularized by H. Otley Beyer, who adapted it
from the Southern Ifugao name for such ornaments. The
term has since also come to be used as a blanket term for
various metal age ornaments found in the Philippines,
Taiwan, and Vietnam.
BATANGES WORKSHOP SITE
Earlier historians have posited that the earliest lingling-o artifacts found in the Philippines were
created outside of the archipelago, but an expedition to the northern Philippine province of Batanes, led
by archeologist Peter Bellwood in the early 2000s, led to the discovery of a lingling-o workshop, complete
with construction tools and fragments. The find provides evidence of indigenous Philippine manufacture
of lingling-o as early as 2,500 years ago.
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ARCHITECTURE
A TRADITIONAL IFUGAO HOUSE
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The vernacular architecture of the Philippines is
diverse and developed according to the traditions,
history and influences exposure experienced by each
culture or society. They ranged from simple Bahay
Kubo, which is the basis of all Filipino cultural
architecture which gave way to houses like Bahay na
bato, up to the palaces such as Torogans, fortifications
like the Classical Kota's and Idjangs, Colonial Forts and
mega structure such as Banaue Rice Terraces which is
built from carving of the mountain walls, and Mosques
in Mindanao. Architectures like Baroque was adopted to
the Filipino culture, making their own interpretation
through the Filipino culture climate and environment.
One of the product of Filipino Baroque is the Earthquake
Baroque, which is especially designed to adapt to the
earthquake prone environment of the Philippines.
WEAVING
Philippine weaving involves many threads
being measured, cut, and mounted on a wooden
platform. The threads are dyed and weaved on a
loom. Before Spanish colonization, native Filipinos
weaved using fibers from abaca, pineapple, cotton,
and bark cloth. Textiles, clothes, rugs, and hats were
weaved. Baskets were also weaved and used as
vessels of transport and storage, and for hunting.
These baskets were used to transport grain, store
food, and catching fish. They also used weaving to
make just about all of the clothing that was worn.
They weaved rugs that they used for quilts and
A FILIPINO LOOM FOR WEAVING ROUGH
bedding. The quality of the quilt/bedding was based
FABRICS OF ABAKA FIBER, 1905
on how soft, how tight together, and the clean pattern.
The patterns were usually thick stripes with different
colors and with a nice pattern. However, during Spanish colonization, Filipinos used fabric called nipis to
weave white clothing. These were weaved with decorative, flower designs.
VISUAL ART
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PAINTING
Prehistoric cave drawings were discovered in numbers of sites in Philippines. The notable ones
are those in Angono Petroglyphs is located in a shallow rock shelter. It measures 63 meters wide, 8 meters
deep and a maximum height of 5 meters. It has been created due to faulting and formed in volcanic soil
during the Quaternary period. There are 127 drawings in the form of animate and static figures of circular
or dome-like head on top of a 'V' shaped torso distributed on a horizontal plane on the rock wall area
measuring 25 meters by 3 meters. Only 51 of the total 127 drawings are distinct. Due to the complexity
and plurality of the drawings, it is suggested that the drawings on the rock were not only created by a
single individual. the figures engraved on the rockwall probably carved during the late Neolithic, or before
2000 BC. These inscriptions clearly show stylized human figures, frogs and lizards, along with other designs
that may have depicted other interesting figures but erosion may have caused it to become
indistinguishable. The engravings are mostly symbolic representations and are associated with healing
and sympathetic magic.
CEILING PAINTINGS OF ARGAO CHURCH BY
CANUTO AVILA AND RAYMUNDO FRANCIA
LAS VIRGENES CRISTIANAS EXPUESTAS
AL POPULACHO BY FELIX HIDALGO
Artistic paintings were introduced to Filipinos in the 16th century when the Spaniards arrived in
the Philippines. During this time, the Spaniards used paintings as visual aid for their religious propaganda
to spread Catholicism throughout the Philippines. These paintings, appearing mostly on church walls,
featured religious figures appearing in Catholic teachings. In short, due to the Spanish occupation of the
Philippines and the Church's supervision of Filipino art, the purpose of most paintings in the Philippines
from the 16th to the 19th century were to aid the Catholic Church.
In the early 19th century, wealthier, educated
Filipinos introduced more secular Filipino art, causing art in
the Philippines to deviate from religious motifs. The use of
watercolour paintings increased and the subject matter of
paintings began to include landscapes, Filipino inhabitants,
Philippine fashion, and government officials. Portrait
paintings featured the painters themselves, Filipino jewelry,
and native furniture. The subject of landscape paintings
featured artists' names painted ornately as well as day-today scenes of average Filipinos partaking in their daily tasks.
These paintings were done on canvas, wood, and a variety
of
metals. During World War II, some painters focused their
TAMPUHAN BY JUAN LUNA
artwork on the effects of war, including battle scenes,
destruction, and the suffering of the Filipino people.
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CALLIGRAPHY
The Philippines has numerous indigenous scripts collectively called as suyat. Various ethnolinguistic groups in the Philippines prior to Spanish colonization in the 16th century up to the
independence era in the 21st century have used the scripts with various mediums.
By the end of colonialism, only four of the suyat scripts survived and continue to be used by certain
communities in everyday life. These four scripts are hanunó'o / hanunoo of the
Hanuno'o Mangyan people, buhid / buid of the Buhid Mangyan people, apurahuano / tagbanwa of
the Tagbanwa people, and palaw'an / pala'wan of the Palaw'an people. All four scripts were inscribed in
the UNESCOMemory of the World Programme, under the name Philippine Paleographs (Hanunoo, Buid,
Tagbanua and Pala’wan), in 1999.
KULITAN
CALLIGRAPHY
BAYBAYIN
CALLIGRAPHY
APURAHUAO
CALLIGRAOPHY
BUHID
CALLIGRAPHY
HANUNO’O
CALLIGRAPHY
Due to dissent from colonialism, many artists and cultural experts have revived the usage of suyat
scripts that went extinct due to Spanish persecution. These scripts being revived include the kulitan script
of the Kapampangan people, the badlit script of various Visayan ethnic groups, the iniskaya script of
the Eskaya people, the baybayin script of the Tagalog people, and the kur-itan script of the Ilocano people,
among many others. Calligraphy using the Western alphabet and the Arabic alphabet are also prevalent
in the Philippines due to its colonial past, but the Western alphabet and the Arabic alphabet are not
considered as suyat, and therefore Western alphabet and Arabic calligraphy are not considered as suyat
calligraphy.
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SEALING AND PAPER MAKING
THE BUTUAN IVORY SEAL, DATED 1002
AD, HOUSED AND DISPLAYED AT THE
NATIONAL MUSEUM OF ANTHROPOLOGY
IN MANILA
Like Mongolia, Taiwan, China, Japan and Korea, the
Philippines also had a sealing culture prior to Spanish
colonization, which is reasonable as the Philippines is within
the Sinosphere, or East Asian cultural sphere. However,
when the Spaniards succeeded in colonizing the islands,
they abolished the practice and burned all documents they
captured from the natives while forcefully establishing a
Roman Catholic-based rule. Records on Philippine seals
were forgotten until in the 1970s when actual ancient seals
made of ivory were found in an archaeological site
in Butuan. The seal, now known as the Butuan Ivory Seal,
has been declared as a National Cultural Treasure. The seal
is inscribed with the word "Butwan" through a native Suyat
script. The discovery of the seal proved the theory that precolonial Filipinos, or at least in coastal areas, used seals on
paper.
Before the discovery of the seal, it was only thought that ancient Filipinos used bamboo, metal,
bark, and palm leaves (lontar) for writing. The presence of paper documents in the classical era of the
Philippines is also backed by a research of Dr. H. Otley Beyer, father of Philippine anthropology, stating
that Spanish friars 'boasted' about burning ancient Philippine documents with suyat inscriptions, one of
the reasons why ancient documents from the Philippines are almost non-existent in present time. The
ivory seal is now housed at the National Museum of the Philippines. Nowadays, younger generations are
trying to revive the usage of seals, notably in signing pieces of art such as drawings, paintings, calligraphy,
and literary works. Additionally, traditional handmade paper-making practices using native fibers, such as
abaca, cogon, and pina have been revived by numerous organizations throughout the country.
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SCULPTURE
A BULUL GUARDIAN
FIGURE. WINE SERVER OF
IFUGAO PEOPLE
VEGA ANCESTRAL
HOUSE, CARVINGS
LA MADRE FILIPINA
SCULPTURE OF BURAQ
UNIQUE TO MINDANAO
MUSLIMS IN THE PH
A FINE EXAMPLE OF FILIPINO
BAROQUE ART IN MIAGAO
CHURCH IN ILOILO
The religion of the Ifugao people is based on ancestor worship and the veneration of spirits and
gods of nature. Rice deities are particularly revered. These bululs are activated through ritual, the bulol
guardian figures are believed to contain spirits capable of ensuring abundant harvests, increasing rice
yields and protecting against catastrophe. Shaped like a rice mortar, the distinctive base of the sculpture
is a visual link to its spiritual purpose. The pairing of male with female is a fundamental feature of
Cordilleras ancestral art. These Bulul guardians represent the harmonious union of opposing elements,
the protection of communities from malevolent spirits and the promise of good fortune. Carved from
auspicious red sandalwood, these sculptures are differentiated by their distinct genitalia, alluding to
fertility and abundance. The figures have a rich patina of sacrificial blood and smoke resulting from their
use in religious practice and life-cycle ceremonies. A Bulul is a carved wooden figure used to guard the
rice crop by the Ifugao (and their sub-tribe Kalanguya) peoples of northern Luzon. The sculptures are
highly stylized representations of ancestors, and are thought to gain power from the presence of the
ancestral spirit. The Ifugao are particularly noted for their skill in carving bululs. Bul-uls are used in
ceremonies associated with rice production and with healing. Creation of a bul-ul involves alwen bul-ul
ritual by a priest to ensure that the statue gains power. The bul-ul is treated with care and respect to avoid
the risk of the spirits of the ancestors bringing sickness. The figures are placed together with the rice in
the house or granaries to bring a plentiful harvest. Bul-ul is important to Ifugaos because they believe they
can protect and multiply the rice and help make the harvest abundant.
The Sarimanok is a legendary bird of the Maranao people who originate from Mindanao. It comes
from the words sari and manok. Sari means cloth or garment, which is generally of assorted
colors. Manok means "chicken". The Sarimanok is the legendary bird that has become an ubiquitous
symbol of Maranao art. It is depicted as a fowl with colorful wings and feathered tail, holding a fish on its
beak or talons. The head is profusely decorated with scroll, leaf, and spiral motifs. It is said to be a symbol
of good fortune. And another example of Maranao sculpture was in the Islamic tradition; the Buraq is
often described as "a white animal, half-mule, half-donkey, with wings". The Prophet Muhammad rode
the Buraq to fly through the heavens in a single night, a journey known as Mir'aj. Only in certain regions,
such as Mindanao, is the animal depicted with a human face. Although the Buraq is not uncommon in
Islamic art, sculptures of the creature seem to be unique to the Philippines. It is possible that the
flourishing carving industry of religious images for Catholic Filipinos may have encouraged the making of
such sculptures.
PERFORMING ART
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DANCE
There are numerous types of Filipino dances, varying in influence, from the country's regions.
Types of Filipino dance include Cordillera, Muslim, tribal, rural, and Spanish style dances. Jerrah is the
most well known kind of dance in the cordillera region. Within the Cordilleras' dances, there are the Banga,
Bendayan, Lumagen/Tachok, Manmanok, Ragragsakan, Salisid, Talip, Tarektek, and Uyaoy/Uyauy. The
Banga dance shows the grace and strength of women in the Kalinga tribe. Women performing the Banga
balance heavy pots on their heads while dancing to beat of wind chimes. This mimics Kalinga women
collecting and transporting water. Another dance, called Lumagen or Tachok, is performed to celebrate
happy occasions. When Lumagen is performed, it is meant to symbolize flying birds and is musically paired
to the beat of gongs. Another cordillera dance, Salisid, is the dance to show courtship. In the Salisid dance,
a male and a female performer represent a rooster attempting to attract a hen.
KAPPA MALONG MALONG –
MARANAO DANCE
IGOROT MEN – WAR DANCE
IN 1909
SAGAYAN – WAR DANCE OF
IN MARANAO
PANDARES – MARIA CLARA
DANCE, ILOILO
TINIKLING - FOLK DANCE,
LEYTE
JOTA CAGAYANA – ENRILE,
CAGAYAN
Tribal dances include Malakas at Maganda, Kadal Blelah, Kadal Tahaw, Binaylan, Bagobo Rice
Cycle, and Dugso. Malakas at Maganda is a national folklore dance. It tells the story of the origin of the
Filipino people on the islands. Another dance, called the Binaylan dance, tells the story of a hen, the hen's
baby, and a hawk. In this dance, the hawk is said to control a tribe's well-being, and is killed by hunters
after attempting to harm the hen's baby.
Two examples of traditional Filipino dances are Tinikling and Binasuan and many more. Filipinos
have unique folk dances like tinikling where assistants take two long bamboo sticks rapidly and in rhythm,
clap sticks for dancers to artistically and daringly try to avoid getting their feet caught between them. Also
in the southern part of the Philippines, there is another dance called Singkil using long bamboo poles
found in tinikling; however, it is primarily a dance showing off lavish Muslim royalty. In this dance, there
are four bamboo sticks arranged in a tic-tac-toe pattern in which the dancers exploit every position of
these clashing sticks. Dancers can be found trying to avoid all 4 bamboo sticks all together in the middle.
They can also try to dance an entire rotation around the middle avoiding all sticks. Usually these stick
dances performed in teamwork fashion not solo. The Singkil dance is identifiable with the use of umbrellas
and silk clothing.
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DRAMAS
Many towns have their own versions of the Senakulo, using traditional scripts that are decades or
centuries old. A version is held at the Cultural Center of the Philippines, sponsored by the Department of
Tourism. Popular film and televisions stars often join the cast of the play. In Taguig, they popularize the
modern version of Jesus Christ Superstar reshown at the Fort Santiago Amphitheater for the benefit of
Manileños. In Mexico, Pampanga and Dinalupihan, Bataan, the actor portraying Jesus has been actually
nailed to the cross to simulate Christ's passion as best and as painfully possible. Similar shows are also
held in Makati and in the Santa Ana district of Manila.
MARTIAL ARTS
The Arnis, also known as Kali or Eskrima, is the national
sport and martial art of the Philippines. The three are roughly
interchangeable umbrella terms for the traditional martial arts of
the Philippines ("Filipino Martial Arts", or FMA) that emphasize weaponbased
fighting with sticks, knives, bladed
weapons and
various improvised weapons as well as "open hand" or techniques
without
weapons.
It
is
also
known
as Estoque (Spanish for rapier), Estocada (Spanish for thrust or stab)
and Garrote (Spanish for club). In Luzon they may go by the name
of Arnis de Mano. The indigenous martial art that the Spanish
encountered in 1610 was not yet called "Eskrima" at that time.
ARNIS, A WELL KNOWN
FILIPINO MARTIAL ART
POTTERY
Traditional pot-making in certain areas of the Philippines would
use clay found near the Sibalom River. Molding the clay required the
use of wooden paddles, and the clay had to be kept away from sunlight.
Native Filipinos created pottery since 3500 years ago. They used these
ceramic jars to hold the deceased. Other pottery used to hold remains
of the deceased were decorated with anthropomorphic designs. These
anthropomorphic earthenware pots date back to 5 BC. - 225 A.D and
had pot covers shaped like human heads. Filipino pottery had other
uses as well. During the Neolithic period of the Philippines, pottery was
made for water vessels, plates, cups, and for many other uses.
THE LATE NEOLITHIC
MANUNGGUL JAR
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KALINGA POTTERY
Ceramic vessels of Kalinga are divided into three types: rice cooking (ittoyom), vegetable/meat
cooking (oppaya), and water storage (immosso) pots. According to Skibo, the rice cooking pots are usually
larger, thinner and have a smaller opening than vegetable/meat pots. On the other hand, water storage
pots have an average and uniform size and a smaller neck size. Except for water storage pots, which have
a uniform size, the other two kinds can come in three different sizes, large, medium and small. Although
this is true in some cases, another larger type of vegetable/meat pot and smaller water storage pot exists.

KALINGA POTTERY AND ITS USES
In Kalinga, ceramic vessels can be used for two situations:
daily life use and ceremonial use. Daily life uses include the making of
rice from the pots and the transfer of water from nearby water bodies
to their homes.

DETERMINING ACTUAL FUNTION OF KALINGA POTS
As said, a pottery sometimes has a different actual use than
intended use. This is the reason why when archaeologists study the
function of a pottery, they tend to focus on how the tool was actually
used. They do this by studying the alterations that the pottery has.
These alterations, accretion and attrition, are commonly the abrasions
BURNAY (TAPAYAN) JARS
and scratches on the vessel. In Skibo’s study of Kalinga potteries
functions, he relied on three main tests, namely (1) dissolved residue,
(2) surface attrition and (3) carbon deposition.
1. Dissolved residue – This test was done to determine the organic matters that were once placed
in the vessel. Through the combination of a gas chromatograph and a mass spectrophotometer,
the composition of the fatty acids inside the vessel was determined. Although a complete
identification of the species of plant and animals was not possible, Skibo managed to know which
pots were used for rice and vegetable/ meat cooking.
2. Surface Attrition – Skibo’s study on the attrition of the pots showed how the pot was used. By
looking at the trace attritions inside the vessel, the type, frequency, angle and direction of stirring
for each pot was determined. Furthermore, Skibo also concluded that two pots can be
differentiated from each other, on the basis of what type of food it cooks, from the abrasions. He
said that rice pots will have a little amount of stirring while the vegetable/meat pots will have
numerous marks.
3. Carbon Deposition – This test, as said by Skibo, can determine the type of food cooked, how it
was cooked and how the pot was placed on the flame. From this, another distinction between
rice and vegetable/meat pots was established.
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IRON AGE POTTERY
There are three major complexes in Philippine Iron Age according to Solheim, Kalanay, Novaliches
and Bau pottery complexes. Kalanay pottery complex pertains to Beyer’s Early Iron Age pottery of the
Visayan Islands found in Negros and Mindoro; novaliches pottery complex to Beyer’s Early Iron Age
pottery from Rizal province. Bau pottery, on the other hand, does not fit into the two previous complexes
and could correspond instead to the Late Iron Age pottery.
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KALANAY POTTERY COMPLEX
The type site of the Kalanay pottery complex is the Kalanay Cave found in Masbate. From this site,
the pottery is further subdivided into pottery types Kalanay and Bagupantao.
Specific varieties of decoration are as follows:
DOUBLE IKAT WEAVING FROM SULU,
MADE OF BANANA LEAF STALK FIBER
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Paired diagonals and borders, with variations including
single diagonals or verticals and borders, or wavy lines and
borders
Curvilinear scrolls and triangles
Rectangular scroll
Triangles, with variations including alternating triangles
and borders or running triangles
Rectangles and diagonals
Zoomorphs
Punctate fieldwhere areas bonded by incised lines are
emphasized by punctuations or dashes
Diagonals without borders, including a band of
horizontal V’s and alternating diagonals off a center line
Impressed crenelations
Impressed or carved scallop design
Impressed tool
Carved cutouts in ring stands
BAU POTTERY COMPLEX
It has less variation in both form and decoration compared to the Kalanay pottery complex.
Specific varieties of decoration are as follows:
FABRIC WEAVED, IFUGAO
Paddle Impressed
Tool Impressed, including simple-tool and compoundtool impressed
Stamp Impressed
Applique ribbons of clay
In terms of forms:
Small jars with everted rims
Small jars without everted rim
Small heavy jars with flat bottom
Cups with ring feet
Jars with ring feet
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NOVALICHES POTTERY COMPLEX
Most of Novaliches pottery can be distinguished from Bau pottery and Kalanay pottery. While it
shares form and decoration with Kalanay pottery, it contains more variability compared to Bau pottery.
According to Solheim (2002), “it is the most sophisticated pottery that has yet been found in the
Philippines”. Novaliches pottery can be diagnosed by its form being a shallow bowl with a high right-foot.
The shallow bowl is generally plain but the feet are highly decorated. Majority of Novaliches pottery were
well polished. The form is so symmetrical that it looks as if it was made in a potter wheel, however,
examinations showed that it wasn’t.
Specific varieties of decoration are as follows:
Cutouts
Narrow vertical elements; carved, tool impressed, or running impressed lines
Horizontal and diagonal elements, including simple tool impressions, compound tool impressions
and carved elements
Horizontal broadline impressed lines
Vessel forms are as follows:
Shallow bowls with high ring stands
Shallow bowls with low-ring stands
Jars with low-ring stands
Angle jars
Jars with short necks and everted rims
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BAGUPANTAO POTTERY
• BAGUPANTAO PLAIN
Majority of the pots’ paste is red-brown in color, with gray or black as the minority. Its texture
ranges from fine to medium and its thickness is usually 5–8 mm in length. The common forms of the pots
are jars with wide to narrow mouths and its normally large (a body diameter of 24 to 35 cm). Difference
between Kalanay Plain: Evenness of color and cleanness of clay.
• BAGUPANTAO IMPRESSED
The type of paste is the same as Bagupantao plain, red-brown in color. It is also highly decorated
on its rim with circles, punctuations and crenellations. Larger (28 –31 cm body diameter) and thicker (914 thickness) than Bagupantao plain.
• BAGUPANTAO PAINTED
The paste used is the same as Bagupantao impressed and plain but it is covered with heavy red
hematite slip inside and outside of the neck. Thinner (2–7 mm) and smaller than Bagupantao plain.
• EXTRANEOUS POTTERY
Three vessels that did not belong to the Bagupantao and Kalanay style were also found.
FIRST POT
Similar clay used as the
Bagupantao and Kalanay
vessels. The color, red-brown,
was also the same, inside and
out.
Ornamented with small
crystals on the paste and
black flakes on the surface.
SECOND POT
THIRD POT
Same size and structure as the The paste used is chocolateBagupantao pots.
brown in color and its texture
is fine.
Used a different paste It is very thick (15–20 mm)
(fibrous
texture
and when compared to the other
contained mineral inclusions) pots.
As thin (3–8 mm) as the Heavily polished and the Poorly made because of the
Bagupantao painted vessel.
surface color ranges from red- uneven distribution of heat to
brown to light gray.
the pot (pieces break
longitudinally).
As thick as the Bagupantao
plain jars (5–12 mm).
CULINARY ART
Filipino cuisine is composed of the cuisines of 144
distinct ethnolinguistic groups found within the Philippine
archipelago. The majority of mainstream Filipino dishes that
compose Filipino cuisine are from the cuisines of the Bikol,
Chavacano, Hiligaynon, Ilocano, Kapampangan, Maranao,
Pangasinan, Cebuano (or Bisaya), Tagalog, and Waray
ethnolinguistic tribes. The style of cooking and the food
associated with it have evolved over many centuries from
their Austronesian origins
to
a
mixed
cuisine
of Indian, Chinese, Spanish, and American influences, in line
with the major waves of influence that had enriched the
A BOWL OF HALO-HALO
cultures of the archipelago, as well as others adapted to
indigenous ingredients and the local palate. Dishes range from the very simple, like a meal of fried salted
fish and rice, to the complex paellas and cocidos created for fiestas of Spanish origin. Popular dishes
include: lechón (whole
roasted
pig), longganisa (Philippine
sausage), tapa (cured
beef), torta (omelette), adobo (chicken or pork braised in garlic, vinegar, oil and soy sauce, or cooked until
dry), kaldereta (meat in tomato sauce stew), mechado (larded beef in soy and tomato
sauce), puchero (beef in bananas and tomato sauce), afritada (chicken or pork simmered in tomato sauce
with vegetables), kare-kare (oxtail and vegetables cooked in peanut sauce), pinakbet (kabocha squash,
eggplant, beans, okra, and tomato stew flavored with shrimp paste), crispy pata (deep-fried pig's
leg), hamonado (pork sweetened in pineapple sauce), sinigang (meat or seafood in sour
broth), pancit (noodles), and lumpia (fresh or fried spring rolls).
OTHER ART FORMS
The term indigenous art is sometimes used to
refer to the utility of indigenous materials as a medium
for the creation of different kinds of artworks, as with
the paintings by Elito Circa, a famous folk artist of
Pantabangan and a pioneer in using indigenous
materials as well as natural raw materials including
human blood. Many Filipino painters and foreign
artists were influenced by Filipino indigenous art and
started using these indigenous materials, which
include extracts from onion, tomato, tuba (palm wine),
coffee, rust, molasses and other materials available
anywhere to be used as paint.
WHANG-OD, THE LAST MAMBABATOK
AND A NATIONAL ICON – BATEK TATTO
ART OF BUTBUT KALINGA
JEWELRY DESIGN. In 2015/16, the Asia Society in New York presented an exhibit called Philippine
Gold: Treasures of Forgotten Kingdoms. The exhibition presents spectacular works of gold primarily
discovered over the past forty years on the Philippine islands of Luzon, the Visayas, and Mindanao. The
regalia, jewelry, ceremonial weapons, and ritualistic and funerary objects attest to the recently uncovered
evidence of prosperity and achievement of Philippine polities that flourished between the tenth and
thirteenth centuries, long before the Spanish discovered and colonized the region. Although the forms
and styles of the majority of these works developed locally, some indicate that Philippine craftsmen had
been exposed to objects from beyond their borders through the robust cultural connections and maritime
trade in Southeast Asia during what was an early Asian economic boom.
KUT-KUT. IT is a painting technique combining ancient Oriental and European art process.
Considered lost art and highly collectible art form. Very few known art pieces existed today. The technique
was practiced by the indigenous people of Samar Island between early 1600 and late 1800 AD. Kut-kut is
an exotic Philippine art form based on early century techniques—sgraffito, encaustic and layering. The
merging of these ancient styles produces a unique artwork characterized by delicate swirling interwoven
lines, multi-layered texture and an illusion of three-dimensional space.
TANAGA. The tanaga is a type of Filipino poetry.
BATEK OR BATOK. The batek or batok is a form of indigenous tattooing of the Kalinga people in
the Cordilleras. The most prominent tattoo artist in the country is Whang-od, who has been known as the
last mambabatok until has started mentoring her niece on the art so that the tattoo artistry of the Kalinga
will continue. The art form has been critically acclaimed internationally in the United States, Germany,
France, Canada, and many others.
FILIPINO ART HOUSED OUTSIDE THE PHILIPPINES
Various artifacts and art pieces have either been looted or directly bought from the Philippines by
various foreign entities since the Spanish colonial period. The majority of stolen or bought Philippine
artifacts and art pieces were shipped into foreign hands during the American period, World War II, and
post-war era, where the economy was crippled. During the post-war era, Philippine artifacts and art pieces
became easy pickings for foreigners as Filipinos were forced to sell the items in extremely low prices
because of the immediate need for money during an era marred with high inflation and high cost of living.
These pieces include the Golden Tara (in United States possession), the Balangiga bells (in United States
possession), the two remaining copies of Doctrina Christiana (in United States and Spain's possession),
the Boxer Codex (in United States possession), and many others. Most pieces are currently under the
possession of the United States and Spain. Various attempts to return stolen or looted Philippine artifacts
and art pieces have been made by the Philippine government since the 1990s. The most recent is the
national call to return the Balangiga bells in 2017 and the Golden Tara in 2018.
NOTABLE FILIPINO ARTISTS
Past notable Filipino artists include Juan Luna, Fernando Amorsolo, Augusto Arbizo, Félix
Hidalgo, Ang Kiukok, Anita Magsaysay-Ho, Lito Mayo, Mauro Malang Santos, Santiago Bosé, Rey Paz
Contreras and David Cortés Medalla. Present-day Filipino artists featuring Filipino culture
include Benedicto Cabrera, Elito Circa, Fred DeAsis, Daniel Coquilla, Francisco Viri, and Nunelucio
Alvarado.[60] The art or paintings by Zóbel, Amorsolo and many more could be seen in most of the art
museums in the Philippines. Zobel's paintings can be seen in the Ayala Museum.