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I. Lesson 2 Pre Conquest

1. Pre-colonial Philippine art included rituals, dances, weaving, carvings, and metalwork that expressed indigenous Philippine beliefs and cultures. 2. Rituals like Mayvanuvanua and Cañao aimed to ensure successful harvests and were performed by shamans. Dances often mimicked animals' movements and told stories. 3. Weaving, woodcarving, pottery, and metalcasting were highly developed crafts. Weavings communicated beliefs, and carvings included bululs and santos. Metals were cast using the lost wax technique to make boxes and vessels.

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829 views

I. Lesson 2 Pre Conquest

1. Pre-colonial Philippine art included rituals, dances, weaving, carvings, and metalwork that expressed indigenous Philippine beliefs and cultures. 2. Rituals like Mayvanuvanua and Cañao aimed to ensure successful harvests and were performed by shamans. Dances often mimicked animals' movements and told stories. 3. Weaving, woodcarving, pottery, and metalcasting were highly developed crafts. Weavings communicated beliefs, and carvings included bululs and santos. Metals were cast using the lost wax technique to make boxes and vessels.

Uploaded by

Pretz Dicen
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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LESSON 2: A BRIEF

HISTORY OF ART
I. PRE-CONQUEST

• In art historical terms, we refer to art before


the coming of the first colonizers as “pre-
conquest.”
• In cultural terms, we refer to it as
“indigenous” to emphasize the idea that our
ancestors have been making art even
before colonization.
For one to understand the importance and
influence of Philippine Art to the present, here
are some known artforms present in the Pre-
conquest or the period before the coming of
the first colonizers.
PRE-CONQUEST ARTFORMS

Mayvanuvanua
According to Maria F. Mangahas, the term
“Mayvanuvanua” refers to a sacrificial rite
performed at the beginning of the summer
fishing season by mataw fishers in Batanes.
It is an act of attraction to successfully capture
the fish dorado for a limited period of time.
Cañao or Kanyaw
A similar ritual known as cañao or kanyaw is
found in the Cordillera Autonomous Region.
Officiated by a shaman or mumbaki, the
cañao also involves animal sacrifice, where
the entrails are read through a process of
divination that is performed either for healing,
to announce the birth of a child, or a coming
age, during wakes, weddings, and burial
ceremonies.
Mumbaki or Shaman
• According to Grace Grabrito, the term
“Mumbaki” is a local term that translates to
a religious specialist meaning “sayer of
prayers” for the Ifugaos. Almost every adult
in the region is a mumbaki who practices
the tenets of the religion which they are
associated with. Each mumbaki invokes
prayers and rituals to various deities, though
central to it is their belief in one supreme
deity, Maknongan and the common sets of
indigenous beliefs.
• These mumbakis offers prayers during
wedding, thanksgiving, funeral, and other
occasions. They also open the graves of
their ancestors and bring home the remains
for a canao. They have memorized almost
every oral traditions, stories and lineages
which are passed on from generation to
generations which they perform as rituals
Kashawing
In Lake Lanao in Mindanao, a Kashawing ritual to
ensure abundance during rice planting and
harvesting is still observed and performed.
This ritual involves a reenactment of the pact made
by the ancestors of the community and the unseen
spirits that inhabit the lake
In Palawan, the Tagbanwa believe that every
thirteenth moon, three goddesses descend
from heaven to bless the planting of rice. The
shamans go into a trance amidst ritual
chanting and dancing and are believed to
be taken over by the goddesses themselves.
• kudyapi
a three stringed guitar
• Kulintang
an array of bossed gongs
• gansa
or flat gong, bamboo percussion instruments
agong
a large bossed gong
Pangalay from the Sulu archipelago is
mimetic of the movement of seabirds

man-manok of the Bagobos of


Mindanao imitate the movements of
predatory birds
• “Banog-banog” is a dance that
portray hunters shielding in their
chickens from the famishing hawk. The
hawk ends up entrapped and dies in
the hands of hunters. Based on
WikiPilipinas, the dance is usually
performed by the healed patients of
the babaylan (priest) and sometimes
on social occasions.
• The ladies wear patadyong of dark
colors and kamisa made of piña or
birang (abaca cloth). The sleeves are
bell-shaped. A headdress, a necklace
and a belt made of silver coins are
worn on the forehead, around the
neck and around the waist.
talip dance of the Ifugaos- is used in courtship
and is mimetic of the movements of wild
fowls.
The man lures a woman with an attractive
blanket to place on her shapely shoulders,
the Ifugao celebrate the intaneg or wedding
with the festival dance called dinnuyya. In
the presence of a mumbaki drinking
ceremonial wine, the bride is dressed with the
dong-dong and the groom with the horned
kango on their heads.
• Inamong is an ethnic dance performed
during the harvest time by Tigwahanon
Manobos of Bukidnon. The dance shows a
couple, with their bodies and arms slightly
bent forward, mimicking the motions of a
pair of flirting among (monkeys).
• kadaliwas dance of the T’bolis represent the
comedic movements of monkeys
• tinikling, a popular Tagalog folk dance
often showcased for tourists, is evocative of
the movements of the crane, balancing itself
on stilt-like legs or flitting away from the
clutches of bamboo traps.
BULUL
• People of the Cordilleras carve the bulul,
regarded as a granary god that plays an
important role in rituals
• The anthropomorphic bulul also appears in
containers, bowls, and spoons
• The Ifugaos also produce the hagabi, a
wooden bench that marks the
socioeconomic status of the owner. It is a
symbol of wealth and prestige.
• Christianized communities in Laguna and
Pampanga are known for carving santos or
sculptures of saints as well as other wooden
sculptures of secular or non-religious orientation.
• In the Southern Philippines, curvilinear
decorations called the okir (termed ukkil in
Tausug/Samal/Badjao) are employed in
woodcarving.
• okir designs can also be found in the panolong
or protruding beams of the sultan’s house
called the torogan.
• Sensuous figures sometimes painted in
primary colors follow the basic designs of the
mythical sarimanok, the naga or
serpent,and the pako rabong or fern
Manunggul Jar
• Manunggul Jar, discovered at Manunggul Cave,
Lipuun Point, Palawan is dated to the late Neolithic
period (890–710 BC). It is a secondary burial vessel,
where buried and exhumed bones are placed.
Glazed with reddish hematite and incised with
curvilinear designs, it has two anthropomorphic or
human forms atop the lid: a boatman paddling to
transport his deceased charge, whose journey
through water is interpreted as a metaphor of travel
to the afterlife.
• On the other hand, other forms of pottery
that remain in use are the palayok for
cooking, and containers such as the banga
and tapayan for fermenting food or keeping
liquids.
WEAVING
• Another cherished living tradition is weaving.
• Textiles are not only functional, they also
impart knowledge about people’s belief
systems:
the reverence for spirits and nature,
 criteria for the beautiful
 and their societies 'sociopolitical structures
• In traditional weaving, the fibers are
gathered from plants like cotton,
abaca, and pineapple leaves while
the pigments are extracted from clay,
roots, and leaves of plants.
• Examples of woven textiles include the pis
siyabit, a headpiece woven by the Tausug
of Sulu and
malong with exquisite tapestry panels called
langkit woven by the Maranao of Lanao del Sur

malong Langkit
• Aside from textiles, other forms of weaving
include mat and basket weaving. The
colorful double-layered tepo mat of the
Sama of Tawi-Tawi made of pandan leaves
is a remarkable example of a mundane or
everyday object with high artistic value.
• In Itbayat, Batanes, ovaloid baskets made of nito
and bamboo are used as a head sling to carry
harvests. Weaving techniques are also applied in
creating tools for agricultural purposes.
• In the Ilocos region, sturdy bamboo strips are woven
to create fish traps called bubo.
In the 16th century, the illustrated manuscript called
the Boxer Codex featured representations of various
ethnolinguistic groups

An upper class Tagalog couple was portrayed wearing


gold jewelry while the Visayans are shown fully covered
in tattoo, corroborating early accounts that referred to
the Visayas as “Islas de los Pintados.” Aside from its
aesthetic function, tattoos were valued because it was
believed to protect the individual from evil spirits, and
in some cases, it was considered as a badge of
maturity and bravery.
• The T’boli are known to wear brass chains, bells, and
colorful beads to complete their elaborate
ensemble.
• lotoans or betel nut boxes of various shapes, made
of brass or bronze produced chiefly by the Maranao
of Lanao del Sur.
• The design is achieved through a special technique
of metal casting called the lost wax or cire perdue
process which involves the use of moulds filled with
liquefied metal that eventually hardens.
• Other vessels that employ the same techniques are
the brass kendi and the gadur are used in
ceremonies and are cherished as status symbols or as
heirloom pieces. The kendi is a vessel used for
pouring liquids. It has a round body with no handle;
while the gadur is a container with a tapered top, a
round body, and a flared base.

KENDI
GADUR

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