PRE-HISTORIC ART pdf file reviewer and powerpoint

pre historic art

1. SubjectTeacher–Art Appreciation

2. CHARACTERISTIC

3. Hall of Bulls
in
during

4. Datedbetween28,000and
10,000BCE,thebeautifulpaintings
oncavewallsfoundnear
Lascaux,Francerepresentthe
earliestsurvivingexamplesofthe
artisticexpressionofearlypeople.
Usingthenaturalrockcontours
thatsuggestthevolumeofthe
animals,these'primitive'peopleof
thePaleolithic(OldStoneAge)
paintedevocativeandstartlingly
accuraterepresentationsofthe
animalsthatweresuchan
importantpartoftheirlives.
Cows,bulls,horses,bison,
anddeerareamongtheanimals
seenonthesubterraneanwallsof
thesecaves.Thesepaintingswere
founddeepunderground,and
wereundoubtedlypaintedbythe
lightoftorches

5. Moreover,imagesarepaintedover
previousimages,anditisthoughtthatthese
caveswerecontinuouslyusedforthousands
ofyears.Cavessymbolizedthebirthcanal,
withlifeemanatingfromwithin.These
animalswereofutmostimportancetothe
survivalofthepeopleofthistime,andtheir
continuedcreationwasessential.Through
sympatheticmagic,perhapstheseearly
humansbelievedthatbydrawingthese
images,theywouldhelptoguarantee
plentifulherdsandgoodhunting.Another
theoryisthatitwasbelievedthatmanhadto
painttheseimagesto'replace'theanimals
thathewouldhuntandkill.Whateverthe
motivation,thepaintingoftheseimageswas
important,andthecarefulobservationof
naturethatisevidenthereisremarkable.
Theseearlyartistspaintedwithcharcoalfrom
theirfires,andusedearthpigmentsofiron
andmanganesetocreatethepermanent
colorswestillseetoday.These,ofcourse,
aretheverysamepigmentsusedin
ceramics,andthediscoveryofthese
mineralsduringthePaleolithicwasan
essentialsteppingstoneforthedevelopment
ofpolychromeslippaintingduringthe
Neolithictofollow.
http://www01.glendale.edu/ceramics/lascauxcaves.html
https://smarthistory.org/hall-of-bulls-lascaux/

6. Sketches on the walls of Altamira
Cavein Spain
◦ThecaveartintheCaveof
Altamirawasdiscoveredin
1879byMarcelinoSanzde
Sautuola.Thediscoveryand
datingofthearttothe
PalaeolithicAge,effectively
representedthediscoveryof
Palaeolithiccaveart,marking
thefirstacknowledgementthat
thepeopleofthatperiodwere
capableofmakingcarvings
andpaintingsonthewallsand
ceilingsofcavesandrock
shelters.
◦https://whc.unesco.org/en/list/310/

7. CHARACTERISTICS

8. CHARACTERISTICS
◦Stonehenge is perhaps the
world’s most famous prehistoric
monument. It was built in several
stages: the first monument was
an early henge monument, built
about 5,000 years ago, and the
unique stone circle was erected
in the late Neolithic period
about 2500 BC. In the early
Bronze Age many burial mounds
were built nearby.
◦Today, together with Avebury,
Stonehenge forms the heart of a
World Heritage Site, with a
unique concentration of
prehistoric monuments.

9. CHARACTERISTICS
◦
Avebury
UNESCOWorld Heritage site
◦

10. ◦emerged
during the
period
7500BCE to
2000BCE
Chinese Art

11. Chinese Art

12. Chinese Art
https://www.chinadaily.com.cn/life/2012-08/07/content_15650504_2.htm

13. Chinese Art
https://www.worldhistory.org/image/6778/zhou-dynasty-jade-dragon/
◦TheZhouDynasty(1046-256BCE)
wasamongthemostculturally
significantoftheearlyChinese
dynastiesandthelongestlastingof
anyinChina'shistory,dividedinto
twoperiods:WesternZhou(1046-
771BCE)andEasternZhou(771-256
BCE).ItfollowedtheShang
Dynasty(c.1600-1046BCE),and
precededtheQinDynasty(221-206
BCE,pronounced “chin”)which
gaveChinaitsname.
https://www.worldhistory.org/Zhou_Dynasty/

15. • Pottery making
during the Bronze Age
Shang (ca. 1766-1122
B.C.) and Chou (1122-
221 B.C.) dynasties was
a large-scale handicraft
industry with a marked
division of labor. During
Shang, several types of
ware, such as gray
ware, were created,
which continued the
traditions from the
Neolithic Period while
the traditions of painted
earthenware nearly
disappeared entirely.

16. •Theearliesthigh-firedglazeswere
achievedduringlateShang.Surviving
examplesdisplayaglazewithabrownish
ashtinge.Thesearetheforerunnersof
Yuehware,alargefamilyofearlygreen
waresknownasceladon.Alsoimportant
wastherelationshipbetweenthebronze
industryandceramics.Throughoutthe
ShangandChoudynasties,expensive
ritualbronzevesselsandbellswere
carefullyimitatedinlessexpensiveclay.
Thesereplicavesselswereapparently
madeforburialonlyandtheyreflecta
widevarietyofbronzeshapesand
decorativestyles.BylateChou,theuseof
moldsandstampeddecorationsuggests
acleardivisionoflaborqualitycontrol
andassemblylineprocessesnecessary
forthemassproductionofceramics.
•http://www.artsmia.org/art-of-asia/ceramics/early-chinese-ceramics-
bronze.cfm.html

19. Narmer Palette depicting King Narmer conquering his
enemies (c.3100 BCE)

20. •TheNarmerPalette(also
known asNarmer'sVictory
Paletteand the Great
Hierakonpolis Palette) is
an Egyptian ceremonial
engraving,alittleovertwofeet
(64cm)tallandshapedlikea
chevronshield,depictingthe
FirstDynastykingNarmer
conqueringhisenemiesand
unitingUpperandLowerEgypt.
Itfeaturessome ofthe
earliesthieroglyphicsfoundin
Egyptanddatestoc.3200-3000
BCE.

21. •Thepaletteiscarvedofasingle
pieceofsiltstone,commonly
usedforceremonialtabletsinthe
FirstDynasticPeriodofEgypt.The
factthatthepaletteiscarvedon
bothsidesmeansthatitwas
createdforceremonialinsteadof
practicalpurposes.Palettes
whichweremadefordailyuse
wereonlydecoratedononeside.
TheNarmerPaletteisintricately
carvedtotellthestoryofKing
Narmer'svictoryinbattleandthe
approvalofthegodsatthe
unificationofEgypt.
•https://www.worldhistory.org/Narmer_Palette/

22. ◦Duringthepre-colonialera,Filipino
peoplearenotawareofartbutrather
theythinkofthosethingsasbeautysuch
asthegoldthattheywear,andthebulul
topraisethedeitiesortopleasetheGods,
andentertainmentsuchastherituals,
dance,andepicswhichservesasa
bindinginstrumentforthewhole
community people.Thegeographical
locationandtheexperiencesofthe
Filipinoinfluencethethemeandcontext
oftheartwork.Visualart,weaving,wood
carving,andmetalworkarethemost
dominantworksofartduringthisera.The
artfromthesouthandtheartfromthe
northspecificallyCARisdifferent.Theart
inthesouthiscolorfulbecauseofthe
climatewhereasinthenortharenot
becauseofthecoldclimate.
https://calabarzone.wordpress.com/2020/11/05/the-timeline-of-philippine-art-history/

23. •dated 895-775 BC.
•The ManunggulJar is a
secondary burial jar
excavated from a
Neolithic burial site in the
Manunggulcave of the
TabonCaves at Lipuun
Point in Palawan,
Philippines. It dates from
890–710 B.C. and the two
prominent figures at the
top handle of its cover
represent the journey of
the soul to the afterlife.

24. ◦oldest known works of art
form from Philippines
prehistory are the Angono
petroglyphs

26. •The AngonoPetroglyphs site
museum is situated at the
municipality of Binangonan
Rizal, Philippines. This oldest
work of art in the country was
discovered by the national
artist, Carlos "Botong" Francisco
while having a field trip in 1965.
While resting in the place, he
recognized the drawings that is
called 'primitive quality' by the
artists. After discovering the site,
Mr. Botongimmediately
reported it to the national
museum and the institution
conducted its research
immediately.

27. •TheNationalmuseumofthe
Philippinesconfirmed the
authenticityofthisworkofart
and confirmed that127
drawingsarestillvisibleinthe
formofanimatefigures.Aside
fromthedrawings,artifactsto
supporttheauthenticityofthis
sitehasalsobeenfoundlike
stonetools,obsidianflakes,
fragmentsofearthenwareand
shells.Theartifactsyieldedhas
beenstudiedbyarcheologists
andsuggesteditwasused
duringtheNeolithicage(10,
200 BC - traditionally
consideredthelastpartofstone
age).

28. •Angono Petroglyphswere
declaredastheoldestknown
workofartinthePhilippinesand
itisconsideredasoneofthe
NaturalCulturalTreasureofthe
Philippines.Thepetroglyphsare
alsoincludedintheWorld
InventoryofRockArtunder
UNESCOandconsideredas"100
mostendangered siteinthe
world".Atpresent,theauthorities
areconducting effortsin
preservingthisNeolithic-old
nationaltreasure.
•https://biyaherosombrero.blogspot.com/

29. ◦Ancient Greek art
proper "emerged"
during the 8
th
century
BCE (700-800), as
things calmed down
around the Aegean.
http://www.visual-arts-cork.com/greek-art.htm#origins

30. ◦
https://greektraveltellers.com/blog/30-of-the-most-famous-tales-from-greek-mythology

31. ◦human
characters are
expression of
divine system

32. ◦sculptures were
figures of nude
male statues in
Daedalic
Period

33. ◦Classical age came
sculptures of gods
and goddesses

34. ◦In architecture, Ancient
Greek temples consist of
three architectural orders
called the Corinthian, Ionic
and Doric Orders
◦The Parthenon, 447-432 BC,
Athens

35. ◦The Parthenon was built in the mid-fifth Century BC and replaced
an earlier construction on the site which had been destroyed
during thePersian Wars.
◦It served a practical purpose, serving as the city’s treasury. It also
served as the treasury of theDelian League, which later became
theAthenian Empire.

36. ◦Throughthecenturies,theParthenonhasalsobeenusedasa
ChristianChurch,beingconvertedduringthefinaldecadeofthe
6thcenturyAD.OncetheTurksrecapturedtheAcropolis,inthe
early1460stheyusedsomeoftherubblefromtheParthenonto
erectasmallermosquewithintheshelloftheruinedParthenon.
◦Forthenextcenturyandahalf,theParthenonwaslootedfor
buildingmaterialandvaluableobjects.

37. ◦TheParthenonwasheavilydamagedin1687duringaconflict
betweentheOttomanEmpireandtheVenetians.TheOttoman
TurksfortifiedtheAcropolisandusedtheParthenonasa
gunpowdermagazine.AVenetianmortarroundblewupthe
magazine,whichthoroughlydestroyedmanyoftheintegraland
decorativepartsofthebuilding.

38. ◦ManyofthesurvivingsculpturesfromtheParthenonwere
removedfromthesiteintheearly19thCenturybytheEarlofElgin,
withthemostfamousbeingtheElginMarbleswhicharenowon
displayintheBritishMuseum.
◦https://www.historyhit.com/locations/the-parthenon/

39. ◦Greek and
Etruscan
influences
were evident

40. ◦Contributed in structural
engineering particularly in
developing concrete reinforced
by embedded brick arches and
creating new vaults and dome

41. ◦Designing and
planning cities in
orderly blocks and
in creating the
balanced layout
of the great civic
centers called
forums

42. ◦The Roman Forum, known
asForum Romanumin Latin,
was a site located at the
center of the ancient city of
Rome and the location of
important religious, political
and social activities.
Historians believe people
first began publicly meeting
in the open-air Forum
around 500 B.C., when the
Roman Republic was
founded.

43. ◦According to a widely
accepted legend,ancient
Romewas founded by
brothers Romulus and Remus
in 753 B.C. After a rising
conflict, Romulus killed
Remus, became king and
named Rome after himself.
◦The traditional story also
credits Romulus with starting
an alliance with his rival, Titus
Tatius, and making the site of
the Roman Forum a neutral
meeting zone.

44. ◦At first, the Forum essentially
served as a marketplace for
day-to-day shopping. Over
time, it became much more
versatile and functional, as
public affairs were held in the
area.
◦Historians estimate that the
rise of public events in the
Roman Forum first took place
around 500 B.C., when the
Roman Republic started.

45. ◦The Forum was
considered the heart
of Rome. While there
were many other
forums in ancient
Rome, the Roman
Forum was the most
significant.

46. ◦It was a multi-purpose site that
accommodated various functions. Events
taking place in the Forum included:
•Elections
•Public speeches
•Criminal trials
•Gladiator matches (before the Colosseum
was built)
•Social gatherings
•Business dealings
•Public meetings
•Religious ceremonies
•Educational events
•Buying, selling and trading of items
https://www.history.com/topics/ancient-rome/roman-forum

47. Colosseum: The Roman Icon

48. The Colosseum in Rome, Italy, is a
large amphitheater that hosted
events like gladiatorial games.

49. •TheColosseum,alsonamedtheFlavianAmphitheater,isalarge
amphitheaterinRome.ItwasbuiltduringthereignoftheFlavian
emperorsasagifttotheRomanpeople.
•ConstructionoftheColosseumbegansometimebetweenA.D.70and
72undertheemperorVespasian.Itopenednearlyadecadelaterand
wasmodifiedseveraltimesinthefollowingyears.Themassivestructure
measuredapproximately189by156meters(620by513feet),towered
fourstorieshigh,andincludedeightyentrancestotheamphitheater—
seventy-sixforthepatrons,twoforparticipantsofevents,andtwo
exclusivelyfortheemperortouse.Thesheernumberofentrancesproved
tobenecessary:theColosseumcouldholdmorethan50,000spectators
atitsmaximumcapacity.

50. •WhentheColosseumfirstopened,theemperorTituscelebratedwitha
hundreddaysofgladiatorialgames.Emperorstraditionallyattendedthe
games.TheemperorCommodusisknowntohaveperformedinthearena
onhundredsofoccasions.Asidefromthegames,theColosseumalso
hosteddramas,reenactments,andevenpublicexecutions.
•Eventually,theRomans’interestinthegameswaned.Afterthefallofthe
WesternRomanEmpire,theColosseumbegantodeteriorate.Aseriesof
earthquakesduringthefifthcenturyA.D.damagedthestructure,andit
alsosufferedfromneglect.Bythe20thcentury,nearlytwo-thirdsofthe
originalbuildinghadbeendestroyed.Nevertheless,arestorationproject
beganinthe1990storepairtheColosseum.Todayitisoneofmodern-
dayRome’smostpopulartouristattractions,hostingmillionsofvisitorsa
year.
•https://www.nationalgeographic.org/encyclopedia/colosseum/

51. ◦Indigenous art are created by the people in the community which
often uses materials found in the locality and are still created in the
community and survived as industries for the locals.

52. ◦Many forms
combine aesthetic
concerns with
utilitarian purposes
(Baesa-Pagay,
et.al.,2003)

53. ◦Philippine material culture consists of wide array of utilitarian and
ceremonial objects (Dela Cruz, M.J. (1988)
◦Ifugao Carved Wooden Ritual Bowl with Handle (Duyu)

54. ◦This bowl, from the Ifugao people of the Philippines, has been carved from
a single piece of wood, was used to serve food and wine. It has a dark
patina and a smoothness particularly on the outside. The exterior patina is
from years of use andhandling, but also from being rubbed with animal
fats after each meal to help protect the vessel, which in combination with
soot from the hearth gives such bowls their characteristic dark color.

55. ◦The interior of the bowl does not have the same dark patina, which is also
consistent with the bowl having been used –it is where food has settled,
liquid has been absorbed into the wood, and utensils have scraped along
the bottom.

56. ◦Theexamplehasaringfoot,ahandle,andathickrimwithnotchedor
crenulatedindentations,whichpossiblyaidwithdrinkingfromthebowl,or
areamotifpreferredbytheIfugao,aswitnessedbytheirjewelryitems
carvedfromshellswhichhaveasimilarcrenulatededging.Moltzau
Anderson(2010,p.171)suggeststhatsuchbowlswereusedcommunally,
andthateachindividualhadtheirownslot.
◦https://www.michaelbackmanltd.com/object/ifugao-carved-wooden-ritual-bowl-with-handle-duyu-2/

57. ◦Influenced by the
climate (wet or dry),
location (sitio, barrio, or
poblacion, cities),
topography (mountains,
plains, riverbanks, coast)
religion of various beliefs
and sects, and
membership to cultural
groups

58. ◦The Philippine pottery tradition
peaked during the Metal Age, from
200BC to AD900, when Filipinos at
that time explored specialized
pottery forms, designs and
techniques—a period referred to as
the Golden Age of Pottery.
However, a downturn in the pottery
industry was seen during the
colonial period when trade in the
Philippines started to decline as
local populations and economies
were disrupted and displaced
because of the Manila Galleon
Trade.

59. ◦There was a decrease in domestic
earthenware production, which
somehow continued through the
post-colonial period when only
utilitarian ceramics, stoneware and
porcelain products survived.
◦Today, Philippine pottery continues
to flourish locally, with key players
determined to put Philippine
ceramics on the global map. We
speak with some of them to know
more about how Philippine pottery,
its process and current state.
◦https://www.tatlerasia.com

60. WHAT IS THE HISTORY
OF BASKETRY IN THE
PHILIPPINES?
In 1898, after the
Spanish American War,
the Philippines, which
also had a strong
basket-making
tradition, were
governed by the United
States. Rural dwellers
grew their own basket-
making materials and
manufactured baskets
for sale in the cities.

61. The basket is one of
humankind's oldest art
forms, and it is certainly
an ethnic and cultural
icon filled with myth
and motif, religion and
symbolism, and
decoration as well as
usefulness. Basketry, in
fact, encompasses a
wide range of objects
from nearly rigid, box-
like carriers to mesh
sacks. Baskets range in
size from "burden
baskets" that are as
much as 3 ft (91.44
cm)in diameter to tiny
collectibles 0.25 in
(0.64 cm) in diameter.

62. The craft of basketry
gave rise to pottery
making because
baskets were used as
molds for some of the
earliest pots.
Consequently, the
history of pottery and
basketry, as unearthed
and decoded by
archaeologists, is
irrevocably interwoven.
Where the vegetable
fibers have not survived,
many pots that show the
patterns of the baskets
used to mold them have
been found.
-http://www.madehow.com/Volume -
4/Basket.html

63. :
https://museumfoundationph.org/project/rara-art-and-tradition-of-
mat-weaving-in-the-philippines/

64. The Philippines both being rich in resources and creative
people have been blessed with something that the country
could surely be proud of. The production ofBanig
productssuch as a Banigbag, Banigclutch, and Banigcarpet
has found its way to lead in the market as the demand for
these products has slowly risen.

65. A Banigis basically a hand-woven mat made of Buri, or
Pandan or seagrass leaves and not a textile. The leaves are
dried and dyed and woven afterward to produce a uniquely
designed or patterned mat. These mats are usually used for
sleeping and eating but are now being made into another new
and creative materials that could also be useful to people.

66. A place in the Philippines widely known for its complex designs
formats is Basey, Samar. In this part of the country, their woven
mats are made of “tikog” leaves, reed grasses that are found
in swampy areas which were dyed with various colors and
woven into designs you never thought would be possible.

67. ◦Through time,Banigweaving has
been one of the main sources of
income of the locals, most
especially for the housewives. This
traditional art has grown in the old
town of Baseyway back years ago
and was passed on from generation
to generation. The “Paraglaras” or
the weavers, usually women, were
taught and have started the
weaving at an early age long
before the Spaniards came.
◦https://www.our7107islands.com/basey-samar-
the-new-banig-capital-of-the-philippines/

68. ◦The Spanish conquistador
Miguel Lopez de Legaspi
called the Filipinos “buen
ebanistas” after seeing the
woodwork produced by the
natives. Filipinos had been
engaging in the art of
woodcarving long before the
arrival of the Spaniards. The
craft is more than 2000 years
old —dating back to the time
when carvers had to make
use of stones, shells and even
the teeth and tusks of animals
to shape the wood. Today,
Filipino woodcarvers continue
to carve a name in the ranks
of the finest in the craft.
◦The more popular Filipino
woodcarvers are the Ifugaos,
the Tagbanwas, the
Maranaosand the Paetenos.
◦https://medium.com/@mariarosanna/the
-woodcarvers-of-the-philippines-
3e4b10cd580f

69. ◦The Ifugaosof Northern Luzon
are famous for the way they
carved the mountain slopes that
form the legendary Banaue rice
terraces. They are also well
known for their mastery of wood
carving. Ifugao woodcarvings
are usually of their deities, the
most famous of which are the
various interpretations of the
granary deity known as thebul-
ul. This granary deity occupies a
significant role in the lives of the
Ifugaosand thebul-ulis ever
present in the rice granaries,
usually accompanied by a
female idol to assure an
abundant harvest.
◦https://medium.com/@mariarosanna/the -
woodcarvers-of-the-philippines-3e4b10cd580f
Pair of Carved Wooden Male &
Female
Bul-ulRice Divinity Figures
Ifugao People, Northern Luzon,
Philippines
19th century

70. ◦South of the Phjlippines, one finds
the Tagbanwa woodcarvers.
Whereas the Ifugaosengage in
woodcarving primarily because it
is an essential part of their beliefs
and customs, the Tagbanwasof
Palawan carve for the sheer fun of
it. And this is probably why the
Tagabanwawoodcarvings stand
out as one of the most exciting of
indigenous Philippine
woodcarvings. These wooden
works of art are highly stylized and
reflect sophisticated aesthetics,
leading one art critic to say that
they have “close affinities to near-
abstract art.”
https://www.flickr.com/photos/reynaldnunez/5279875712

71. ◦Tagbanwa wood carving is unique
because it incorporates a
technique of completely
blackening the surface of the
wood and then bringing out white
portions while etching the design.
Only a few of the Tagbanwa
woodcarvings are intended for use
in rituals. Most of them serve as
toys for the children, décor for the
house, or as a means of self-
expression.
https://www.flickr.com/photos/reynaldnunez/5279875712

72. ◦The Tagbanwa’s favorite wood comes
from thealimutyuganitree. After the
bark is removed, the wood is shaped.
Then the wood is rubbed with the
leaves of the cassava plant until it
turns green. Lumps of resin
calledsalungare placed on the
ground and ignited and the wood is
passed over the smoke until it
becomes black with soot. The process
of rubbing cassava leaves all over the
wood and blackening the carving by
passing it over the burning resin is
repeated until the black coloring does
not rub off. Then the designs are
etched out using a very small knive
calledpisaw.These designs are
usually polka dots, v-marks and white
triangles which, when carved on the
blackened wood, come out was white
incisions.
https://www.flickr.com/photos/reynaldnunez/5279875712

73. ◦Further down south of the Philippine
Islands, are the MaranoaMuslim
woodcarvers. Figural representations in
their craft are taboo to the Maranao
woodcarvers. Natural forms are
allowed only on the condition that they
are “de-natured.” Because of this
limitation, the Maranao woodcarvers
use the okkilmotif in most of their
works. The okkilmotif is rich in
Sassanian character —the flowing
floral forms and S movements. The
Filipino Muslim adaptation of the okkil
has a strong indigenous character,
deriving inspiration from local plants,
sea corals and native objects.

74. ◦The okkilis carved into
musical instruments and
everyday objects such as
kitchen wares and bamboo
tubes. The design can also be
seen in the wooden handles
of swords and knives. Aside
from the okkil, the sarimanok
—a stylized representation of
a bird or rooster is also one of
the more popular Maranao
woodcarving designs.

75. Okir(also spelled as okkil, okil, or ukkil) is the term for geometric and flowing designs (often
based on an elaborate leaf and vine pattern) and folk motifs that can be usually found in
Maranao, Maguindanao and Muslim -influenced artwork, especially in the southern
Philippines, and in some parts of Southeast Asia. Its primary patterns include the “Sarimanok”,
“Naga” and “pakorabong”.
[Source: SagisagKulturaBook, 2015]

76. ◦If there’s a symbol that the Maranao
people in the Philippines are associated
with, it’s the Sarimanok. Sarimanokis an
important part of the Maranao people’s
cultural heritage, it is invoked in many
rituals and it showcases their unique
artistic geniuses.
◦The word Sarimanokcomes from “Sari”
which means a garment of different
colours, and “manok”, which means
rooster. The figure of sarimanokis
normally characterisedby its colourful
feathers, scroll, leaf and other motifs on
its head, and the fish that it carries on its
talons or in its beak.
◦The origin of the sarimanokis not known,
but it is widely featured in numerous
legends.

77. ◦According to one legend, once upon a
time, there was a prince named Rajah
Indarapatrawho fell in love with the moon
goddess who came to earth every Friday
to bathe in a scented well.The prince
knew that they couldn’t be together
because the moon goddess was not from
this world. He fell into deep despair, then
one day while he was carving a rooster
made of wood, he challenged it to take
him to the moon. The rooster, with
beautiful feathers, came alive and flew
the prince to the moon to be with his
beloved. The prince was never seen
again.

78. ◦Another legend says that the
Maranaos, who are predominantly
Muslim, believed that when the
Prophet Muhammad went to the
seven heavens, he found the rooster
in the first heaven and it was so large
that its crest touches the second
heaven. Legend says that the crow
wakes up all living creatures except
man, and it is believed that
Judgement day comes when the
rooster stops crowing.

79. ◦However, there is also a legend that states
that the existence of sarimanokstarted pre-
Islamic beliefs.According to the
Maranaos,the Sarimanokis their totem bird
named Itotorowhich has a twin-spirit,
Inikadowa.When Rajah Indarpatramarried a
water nymph, they had two sons: one who
can be seen and the other, unseen. Seen
became the ancestors of the modern-day
Maranao people and Unseen is the spirit that
they pay tribute to during rituals and rites.
These two brothers made a pact that they will
always protect each other from bad spirits
and they chose the Sarimanokto be their
totem bird and through the help of its twin,
Inikadowa, it became the link between the
seen and the unseen worlds. The fish on the
beak of the Sarimanoksymbolizes the food
that the Maranao people offer to the spirit
world.
◦https://my.christchurchcitylibraries.com/blogs/post/the-legends-of-the-sarimanok/
Maranao Sarimanok, 19th century, Western Mindanao,
Ramon N. Villegas collection.

80. ◦In Luzon —the biggest of the three
major Philippine islands —the
town of Paetein Laguna has been
known as the center of
woodcarving in the Philippines.
The ban on logging has led many
woodcarvers to switch to paper
mache, but today, Paete
continues to be one of the best
sources of fine woodcarvings. In
this town, woodcarving has been
elevated to a fine art form which is
no wonder, because the name
Paetecomes from the wordpaet,
which literally means chisel.
https://newsinfo.inquirer.net/1111371/wood-carving-art-alive-in-paete

81. ◦In Laguna Province, Paeteis
the fourth-class municipality.
It is proclaimed as
the“Carving Capital of the
Philippines”in 2005. It is
derived from the word Paet
in tagalogwhich means
chisel. Shops also sell
religious icon and also the
detailed carved items.
Wood workshops are still on
the sight especially in the
south Luzon. The smaller
shops are settled in artisan’s
homes.

82. ◦When the Spaniards came,Paete
was said to be a barangay that is
peaceful under Gat
Lacampauid.The Spanish friars
had this tradition of classifying
towns that they built for honoring
the saints.The town is made
famous by craftsmen that are
surely highly skilled in terms of
woodcarvingand its
embellishment. Paetewas an
exception. Legend has it that
there was this one Franciscan
priest who did the job by his
superior to visit their settlements
alongside to Laguna de Bay.

83. ◦Statues are one of the
art forms that feature
predominantly in the
Catholic Churches.
These statues serve as
a reminder for the key
events, beliefs, and
individuals in church
history.
◦https://calabarcitizens.wordpress.com/2020/08/24/the-art-of-wood-
carving-paete-laguna/
https://news.abs-cbn.com/life/multimedia/slideshow/03/31/18/carving-the-master

84. The first historical traces of weaving in the Philippines
was found in a cave in Cagayan Province
andPalawan Islanddated 1255 –605
BCE.Archaeologists found a stone tool
(Bark-Cloth Beater) used for the preparation of bark
cloth that was used to pound the bark to loosen the
pulp from the fiber to use for weaving textiles.

85. ◦PanayIslandinthePhilippinesisconsideredtheheartofthePhilippinetextiles.
Accordingtothelegendsthatwerepassedonoverthegenerations,afewDatus
(chief)fromBorneoincludingDatuLubaywenttotheislandandintroducetheart
ofweaving.

86. ◦The Banton cloth is
an approximately
400-year-
oldikat(tie-resist
dyeing) textile, the
oldest in Southeast
Asia. It is believed to
be a burial cloth
and was found
inside a wooden
coffin together with
white and blue
ceramics. The
Banton cloth was
found in Banton
Island in Romblon
and it is now
displayed in the
National Museum in
the Philippines.

87. Ifugao cotton
blanket called
kinuttiyan
◦
◦
https://ifugaonation.com/products/kinuttiyan

88. BAgobo trouser called
sawal weaved from
abaca cloth
◦The Bagobo constitute
one of the largest
groups among the
indigenous peoples of
southern
Mindanao.They are
composed of three (3)
sub-groups,
namelythe
TAGABAWA, the CLATA
or GUIANGAN and the
UBO.Although they
belong to one socio-
linguistic group,
BAGOBO, they also
differ in some ways,
such as the dialects,
dance steps, costumes
and their color
preferences to mention
a few.
-https://ncca.gov.ph/

89. ◦The Bagobo traditionally
live in the east and south
sides of Mt. Apo and
eastern Cotabato, but now
inhabit Davao. Their
weaving tradition is tied to
themagandi,a dominant
warrior class, identified by
the red color of their
clothing.
◦Like the Mandaya and the
B’laan, theikatis a
prominent fixture in their
textiles, characterized with
rhomb designs and
curvilinear patterns. Some
of the recognizable motifs
in their textiles include
those inspired by the
natural environment:
lightning, plants, stars, and
human figures.
Inabal, woven cloth made from abaca and
natural dyes, is a textile highly valued in
Bagobo society. Photo by JL JAVIER

90. https://everythingzany.com/weaving-in-the-philippines/

91. ◦The Yakanare an
indigenous tribe in the
Philippines. Staying in the
Sulu archipelago in the
southernmost region of the
country, Yakanpeople are
recognized for their
remarkable technicolor
geometric weaves and
the distinctive face
decorations used in their
traditional ceremonies.
The Yakanare kind and
loving people that
embody a non-
materialistic culture and
live in close-knit
communities.

92. ◦Yakan
women
traditionally
made
textiles for
their cultural
dress
(known
assemmek)
. They also
made
accessories
and interiors
from abaca,
pineapple,
and
bamboo
fibers grown
on the
island.

93. •Trousers–YakanSawal,striped trousers with
zigzag and diamond repeat patterns made
from bamboo fibers.
•Men’s button-up shirt–Badju
Yakandesigned to match the trousers.
•Head scarf–YakanPis, geometicintricate
weave worn to cover the hair on a daily
basis.
•Apron–SeputanganTeedhas many
different designs but is the most time-
consuming and decorative weave of the
Semmek.
•Sash–SakanPinalantupanis made from a
mix of pineapple and bamboo fibers.
•Bride’s button-up jacket–PagalBatois
made from satin or cotton cloth and
sometimes mixed with lurex threads.
•Brass buttons–Batawi,hand-made and
worn on the women’s jacket.

94. ◦Yakanweaving
uses bright, bold,
and often
contrasting colors
in big symmetrical
patterns. Inspiration
for designs comes
from island living
and Islamic sacred
geometry.
https://www.rappler.com/life-and-style/125827-yakan-tribe-wedding-zamboanga-sulu/

95. ◦Prior to the Spanish colonization, the
Filipino upper-class society,
warriors, common people and
slaves wore gold even to their
grave. Of course, the intricacy
depends on their social status but
imagine how rich the Philippines
was then. It was part of their
everyday clothes. This was proven
through the Boxer Codex
manuscript in gold leaf.
◦The famous “sacred thread”
unearthed in 1981 in Surigao del Sur
is made of pure solid gold, weighs
more than four kilograms, and is
estimated to be about 1, 000 years
old. (Ayala Museum.)
https://philippineart.tumblr.com/post/104596940766/jewelry

96. ◦This is an earring
depicting the
mythical garuda, a
bird like creature
which is found in
Hindu and Buddhist
mythology. Both
men and women
wore earrings at
that time.

97. ◦Men were required to
have one or two holes
per love while women
had three to
four.Panikais the
common term for the
rings worn in the lower
lobe. Some of these
rings were hollow and
others were solid
gold. In a burial cave
in Lekak, Cotabato,
among the ceramic
heads, they found that
one had elongated
earlobe holes. It was
meant to be heavy so
that the it would pull
the earlobe to the
shoulders.

99. ◦The gold plugs are known
aspamarangor
◦baratwhile the simple
loops are callDalindalin.
◦Thepalbadwere for
women worn on the
uppermost hole. It is a
rosette,whiledinalopangis
formed to depict a yellow
dalopangblossom.
◦TheKayong-kayongis a
pendant put in a single
ring that is meant for one
ear only.
◦This earrings is called
theUod.

100. Necklace with beads
shaped like auger
shells (suso),
Northeastern
Mindanao, circa
10th–13th century,
Ayala Museum
collection.

101. Large
necklace of
granulated
interlocking
beads,
Surigao
Treasure,
Surigao del
Sur, circa
10th–13th
century, Ayala
Museum
collection.

102. A gold belt which can be found displayed in
the Ayala Museum.
◦Along with their gold jewelry our
ancestors also wore gold belts
and sashes as part of their
clothing. Some sashes were only
used for ceremonial purposes
and one such example is the
Surigao Sacred Thread which
weighs more than four kilos.
These were worn by the data’s
and rajahs as a symbol of their
wealth and power. As a matter
of fact we have a visual of
something like the sacred thread
found in one of the illustrations in
the Boxer Codex.

103. ◦The BolinaoSkull with
decorated gold teeth.
◦Before the Spaniards
arrived our ancestors
decorated their teeth, from
staining them black or red,
to adding gold
decorations. Antonio
Pigafettamentioned the
decorative dentistry
among the Visayans. In
one of his passages he
describes Rajah Siaui
(Siawi/Si Awi)/Siaguof
Butuan having gold
ornamental teeth.

104. ◦“He had three spots of gold
on every tooth and his teeth
appeared as if bound with
gold.” Then in the Sanchez
1617 Visayan dictionary,
there is a passage that says,
“Pilaysoholko nga
papamusadako
dimo“ [How much will you
charge me for gold teeh]?
◦Pusadwas the general term
for teeth goldwork, whether
they were inlays, crowns, or
plating. Themananusadwas
the dental worker, a
professional who got paid for
his services.

105. ◦Halop, covering, included both plating held on
by little gold rivets run through the tooth, and
actual caps extending beyond the gum line,
also secured by pegs.Bansilwere gold pegs
inserted in holes drilled with an awl calledulok,
usually in a thumbnail-shaped field that had
been filed into the surface of the incisors
beforehand. If they were simple pegs without
heads they looked like gold dots on ivory dice
when filed flush with the surface of the tooth
(like Rajah Siawi). But if the pegs were tack-
shaped, their flat heads overlapped like
golden fish scales (like the teeth on the Bolinao
skull); or if round-headed, they could be
worked into intricate filigree like designs similar
to beadwork. Of course, this goldwork was
considered all the more effective if displayed
on teeth polished bright red or jet black.

106. ◦The most well-known
evidence of this gold
decorative dentistry is
the Bolinaoskull found
in the archaeological
excavation of
BalingasaySite, Bolinao,
Pangasinan. Gold
scales were observed
on the buccal surfaces
of the upper and lower
incisors and canines.
The dental
ornamentation consists
of pegging with gold
plates in fish scale
design or pattern with
gold wire rivets.
https://pinoy-culture.tumblr.com/post/96627853461/the-philippine-golden-age-relics-of-our