FINAL REQUIREMENT

PHILIPPINE PRE-COLONIAL ART

Since art was an essential part of pre-colonial Filipinos' everyday lives, their tools
and weapons were more functional in nature. The notable forms of art in the Philippines
all through pre-colonial period depict the Filipinos' rich culture even before colonization.
Sculpture, as one of the distinguished forms of art is commonly made by shaping or
integrating hard materials like metal, marble, wood, or glass, as well as plastic
materials. Bul-ul, an Ifugao sculpted Anito figure signifies their ancestor's spirit as well
as the gods of the granary. At the conclusion of the yearly Ifugao harvest ritual, seated
Ifugao "bululs" placed in rice granaries are considered harvest guardians. Other forms
of ethnic art in the Philippines include the Igorots' bamboo art and the Ifugaos' carvings
of human and animal representations. The Sarimanok, the Maranaos' ethnic art, was
one of the most compelling examples of pre-colonization. It derives from the words Sari,
which means "assorted," and Manok, which is the Filipino word for "chicken." According
to legend, Raja Indarapatra had a romantic relationship with the Maranao moon
goddess, who visits the Earth every Friday. By riding the Sarimanok, Raja Indarapatra
was able to permanently join the goddess to her realm.

As local communities grew, art became more colorful, as evidenced by jewelries,

beads, amulets, and other accessories. Their bark cloths became more vibrant and
creative as time went on. For both men and women, partial nudity has always been an
option. Visayan men would have wanted to show off their hard-earned tattoos. But that
is not to conclude that Filipinos lacked elaborate clothing. On formal occasions,
headdresses, blouses, scarves, tunics, or ankle-length cloaks were worn, and both men
and women wore skirts of varying styles. Examining our ancestors' clothing, like any
other material archive, can provide us a glimpse into their complicated world.  For
example, the pre-colonial Filipina's fashion choices furnish visual evidence of her social
status. Skirts are a good example of a garment that gives a good insight into a woman's
daily tasks. Specifics in the garment's portrait demonstrate its everyday use, and the
fabric from its structure to its complexity — carries massive cultural value. In most parts
of the country, men wore the bahag, which is generally interpreted as a "G-string," but
this is incorrect. A bahag was genuinely a piece of cloth that is four to five meters  long
and almost a meter wide in many communities. While tube skirts or wrap-around skirts
were popular among women.

Body art, such as tattoos, was more than just high fashion; it was a symbol of
power, fortitude, and social standing for them. Tattoos were a sign of bravery reaped in
battle for Visayan men. The first tattoos a man did receive were on his legs next to the
ankle, and as he gathered more tattoos, they were placed further up his body. Only the
most privileged warriors had tattoos on their facial features, the most extravagant being
on their eyelids. Tattoos were not prevalent among Tagalogs; instead, the men wore a
red potong, which resembled a turban, to show off their military achievements. Filipino
tattoos have a long history that predates the colonization of the Philippine Islands by
Spaniards. When the first Spanish ships arrived, they were welcomed by the heavily
tattooed Visayas tribal group, who labeled the islands "La Isla De Los Pintados," or
"Islands of the Painted Ones." Tattoos have been seen as a source of attainment and
rank. Men wore ink on their heads and chests as a symbol of their warrior strength.

Women only had fine-lined tattoos on their hands (Visayas and Mindanao clans)
or full chest and arm rest tattoos (Luzon Mountain clans) and they were viewed as signs
of magnificence. Most tattoos were acquired through the entry of rituals services, or for
achieving endeavors. The styles differed relying upon the district and clan that
individuals came from. In the mid-1900s, tattoos were normally seen among the Bontoc
Igorot and Tribes of Kalinga. Tattoos worn by the Bontoc Igorots men represented the
quantity of human heads he seized during a scout. The Kalinga clan would tattoo their
heroes after their first kill and the position and designs would be more sophisticated and
more wide the more heads they procured. Inking instruments during this time were
generally produced using animal horn or wood, etched around 10 cm long and 2 mm
wide. Needles were attached to the apparatus and the tattoo was placed by tapping with
a wood sledge. The color ink came from tree tar and sediment and was rubbed into the
injury after the tattoo was applied. Most clans had an appointed artist for those who are
worthy of getting the tattoos.

Also, as for ladies, weaving was a pastime. As per various records of early
voyagers of the pre-colonial period, the Filipinos utilized fibers created from normal
materials, like abaca (Manila hemp), pineapple, maguey, cotton and tree rind, to weave
garments, textiles, floor coverings, baskets and hats, alongside blankets and bedding.
We can see that weaving was an inseparable part of the Filipinos' way of life. Dresses
like the Malong and the Tapis, were made of hand-knitted texture. The class of the
weaves depends on how delicate, firmly woven, and neat their patterns were. Most
loved subjects included thick multi-hued stripes and clear examples. Different regions of
the nation are well known for their woven materials, from the pinya fabric to brilliant
embroideries and waist fabrics of various clans. The Filipinos were additionally aces in
container weaving. They made storage containers, lunch baskets, even trapping bins,
which were developed to trap fish in rice paddy field, each highlighting their own
methods. Aside from texture and baskets, Filipinos also weave delightful mats that can
be used as bedding. These are normally seen as a lady's work that were made of
pandan leaves or buri palm.

Pre-colonial artworks are derived from the way of life of the Negritos,
Indonesians, and Malay, who are the pioneers of the Filipinos. Their solid influence
reflects on the decorative carvings on combs, crisscross designs on old lime tubes
(Negritos), the clothing of the Kalingas, Manobos, and Maranaos, and Bagobos
(Indonesian) and the wood carvings seen on boats, wooden shields, and utensils
(Malay). With these, it aided our country to foster our own particular manner of living,
our own way of life like weaving, pottery, woodcarving, and so on that we could use for
our everyday living. Our country’s pre-colonial work of art reflects our nature and the
existence of the normal people through different media strategies and processes that
are based on the factors of time, environment, resources, thoughts and historical and
social setting. Thus, it is important for us to appreciate and cultivate our own.