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Document (8)

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bernardmarcella1
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Neolithic Age

1. Angono Petroglyphs

The Angono Petroglyphs consist of 127 human figures that were engraved on
the walls of a rock shelter in Angono, Rizal, Philippines. These figures were
created by carving lines into the rock using stone tools. The petroglyphs are
thought to date back thousands of years, making them one of the oldest
known forms of rock art in the Philippines.

These petroglyphs are symbolic rather than decorative. They likely represent
the spiritual beliefs, social structures, or rituals of the people who created
them. The figures may have served as a form of communication or record-
keeping, reflecting the community’s identity, mythology, or cultural
practices. They suggest that the creators had complex beliefs and used art to
convey important messages about their world and experiences.

2. Manunggul Jar

The Manunggul Jar was found in Manunggul Cave at Lipuun Point in Palawan,
dating to the late Neolithic period (around 890-710 BC). The jar features a lid
with a sculpted boat and two human figures, representing a journey to the
afterlife.

The design of the Manunggul Jar emphasizes the cultural significance of


death and the afterlife in Neolithic society. The boat symbolizes the transition
of souls, indicating that the community believed in an afterlife and that the
dead needed guidance on their journey. This artifact reflects the importance
of funerary practices, suggesting that the people had a structured belief
system concerning life, death, and what comes after.

Metal Age

1. Anthropomorphic Pots

The Anthropomorphic Pots were discovered in Ayub Cave, Sarangani


Province, consisting of earthenware pots with unique jar covers. A total of 29
covers were found, each exhibiting distinct designs that resemble human
figures or faces.

These pots served as covers for secondary burial jars, indicating a cultural
practice of honoring the deceased. The anthropomorphic designs suggest a
connection to ancestor veneration, showing that the community may have
believed in maintaining a relationship with their ancestors. The uniqueness of
each pot implies individual identity or status, reflecting the artistic
expression and societal values of the people during the Metal Age.

Plutocratic Period

1. Banton Cloth

The Banton Cloth is the earliest known example of warp ikat textile, a
technique of tie-resist dyeing, in Southeast Asia. It was discovered inside a
wooden coffin along with blue and white ceramics on Banton Island,
Romblon, indicating it was part of burial customs.

The Banton Cloth represents early Filipino mastery in textile weaving and
dyeing. The use of such intricate techniques shows the level of
craftsmanship and cultural value placed on textiles. Its inclusion in a burial
suggests the cloth had significant symbolic or spiritual meaning, possibly
linked to status, wealth, or beliefs surrounding the afterlife.

2. Chieftains and Sultanates

Before the arrival of the Spanish, the Philippines was organized into multiple
chieftains and sultanates. These pre-colonial societies were engaged in
various artistic and functional endeavors, such as pottery, textile weaving,
woodcarving, metalwork, domestic architecture, and shipbuilding.

The existence of chieftains and sultanates highlights the social and political
complexity of early Filipino societies. Their artistic expressions, through
mediums like pottery and textile, reflect their cultural identity and
craftsmanship. The creation of utilitarian objects like ships and houses shows
the blending of functionality with artistry, reflecting a society deeply
connected to both its natural and spiritual environments.

3. Butuan Ivory Seal

The Butuan Ivory Seal is a small stamp seal made of ivory, found in Butuan
City, Agusan del Norte. The seal is inscribed with the word “Butban,” which is
believed to refer to Butuan, a major trading center in the 9 th-12th centuries.
This seal is a significant artifact that demonstrates Butuan’s role in trade and
governance. It reflects early Filipino engagement in commerce, likely with
neighboring regions and foreign traders. The presence of writing on the seal
suggests the development of a sophisticated system of communication and
record-keeping, highlighting the influence of external cultures such as India
or Southeast Asian kingdoms.

4. Tattoo Art

The Visayans were known for their elaborate tattoos, which covered much of
their bodies. The Spaniards referred to them as “pintados” due to these
tattoos. Tattooing was a practice reserved for men who had proven their
bravery in battle. A man with a full body tattoo was seen as having achieved
great valor.

Tattoos in early Filipino culture were more than just decorative; they were
symbols of courage, status, and power. A man covered in tattoos signified his
success in battle and commanded respect and fear from others. Tattoos were
a form of body armor, both physically intimidating to enemies and a mark of
social standing within the community. Over time, perceptions of tattoos
shifted, but in this period, they held great cultural significance.

Early Spanish Colonization

1. Religious Art

During the 16th century, Spanish colonization in the Philippines aimed to


suppress indigenous culture and replace it with Western influences. The
Catholic Church, being the dominant institution during this period, became
the primary patron of the arts. As a result, artistic expression was limited to
religious forms such as altar pieces, religious statues, and engravings found
in prayer books. Indigenous forms of art were either suppressed or adapted
to fit within the Christian narrative.

Religious art during early Spanish colonization reflects the dominance of the
Church in shaping Filipino culture. By controlling artistic output, the Spanish
sought to reinforce their authority and spread

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