# data[].attributes.body
The Manunggul Jar is a secondary burial jar excavated from a Neolithic burial site in the Manunggul cave of the Tabon Caves 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.

Manunggul Jar displayed at Philippine National Museum of Anthropology

The Manunggul Jar is widely acknowledged to be one of the finest Philippine pre-colonial artworks ever produced and is considered a masterpiece of Philippine ceramics. It is listed as a national treasure and designated as item 64-MO-74 by the National Museum of the Philippines. It is now housed at the National Museum of Anthropology and is one of the most popular exhibits there. It is made from clay with some sand soil.

# data[].attributes.attachment_link.readable_text
The Manunggul Jar is a secondary burial jar excavated from a Neolithic burial site in the Manunggul cave of the Tabon Caves 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.

The Manunggul Jar is widely acknowledged to be one of the finest Philippine pre-colonial artworks ever produced and is considered a masterpiece of Philippine ceramics. It is listed as a national treasure and designated as item 64-MO-74 by the National Museum of the Philippines. It is now housed at the National Museum of Anthropology and is one of the most popular exhibits there. It is made from clay with some sand soil.

The Manunggul Jar was found by Robert B. Fox and Miguel Antonio in 1964. It was found alongside the remains of Tabon Man. It was recovered by Fox in Chamber A of Manunggul Cave in Southwestern Palawan. Manunggul Cave is one of the Tabon Caves in Lipuun Point. The Tabon Caves are known to be a site of jar burials with artefacts dating in a range from 2300 to 50 B.C. (4250-2000 BP). Chamber A dates as a Late Neolithic burial site (890-710 BC). Seventy-eight jars and earthenwares, including the Manunggul Jar, were discovered on the subsurface and surface of Chamber A. Each artefact varied in design and form but was evidently a type of funerary pottery.

First excavation and response to discovery

The first ever excavation that discovered this burial jar was in the year 1964 by Dr. Robert Fox. During that time, he and his team were excavating the Tabon Cave Complex, specifically in the Lipuun Point. Fox's excavation was most unusual in many ways.

The inside of the jar contained human bones which were covered in red paint. Like Egyptian burial practices, the jar also had numerous bracelets.

"... is perhaps unrivaled in Southeast Asia, the work of an artist and a master potter." - These words were said by Robert Fox when asked as to how he would describe the jar's origin, based from its appearance.

The Manunggul Jar shows that the Filipinos' maritime culture is paramount that it reflected its ancestors' religious beliefs. Many epics around the Philippines would tell how souls go to the next life, aboard boats, pass through the rivers and seas. This belief is connected with the Austronesian belief of the anito. The fine lines and intricate designs of the Manunggul Jar reflect the artistry of early Filipinos. These designs are proof of the Filipinos' common heritage from the Austronesian-speaking ancestors despite the diversity of the cultures of the Filipinos. The upper part of the Manunggul jar, as well as the cover, is carved with curvilinear scroll designs (reminiscent of waves on the sea) which are painted with hematite.

Early Filipinos believed that a man is composed of a body, a life force called ginhawa, and a kaluluwa. This explains why the design of the cover of the Manunggul Jar features three faces - the soul, the boatman, and the boat itself. On the faces of the figures and on the prow of the boat are eyes and mouth rendered in the same style as other artifacts of Southeast Asia of that period. The two human figures in a boat represent a voyage to the afterlife. The boatman is holding a steering paddle while the one on his front shows hands crossed on his chest. The steersman's oar is missing its paddle, as is the mast in the center of the boat, against which the steersman would have braced his feet. The manner in which the hands of the front figure are folded across the chest is a widespread practice in the Philippines when arranging the corpse.

The lid of the Manunggul Jar provides a clear example of a cultural link between the archeological past and the ethnographic present. It also signifies the belief of ancient Filipinos in life after death.

The practice of jar burial is an instance of secondary burial, in which only the bones of the deceased are reburied. The jar itself was not interred.

Media related to Manunggul Jar at Wikimedia Commons

# data[].attributes.attachment_link.description
The Manunggul Jar is a secondary burial jar excavated from a Neolithic burial site in the Manunggul cave of the Tabon Caves 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.

# data[].attributes.body
is another magnificent work of Jose Luciano Dans. It is divided into three sections. The upper part depicts the heaven, with the crucifixion of Christ. In the middle, world is given emphasis by two figures in the center of the painting: Adam and Eve standing below the Tree of Knowledge.Right below is hell, easily identified by the suffering faces of the humans painted there. Different punishments were given to the sinners with different transgressions, ones which were probably done during their mortal experience.

# data[].attributes.body
Fernando Amorsolo (1892-1972) was a dominant figure in the visual arts of the Philippines during the decades before the Second World War and into the post-war period.  The ‘Planting Rice with Mayon Volcano, Exhibits the happiness  across from the difficulties in planting rice. The Filipino Villagers in their bright clothes and straw hats plant together with a fresh and green landscape of plenty. behind the filipino villagers is the peaceful flume of steam.

# data[].attributes.headline
Japanese Period (RAPE AND MASSACRE IN ERMITA)

# data[].attributes.subject
Japanese Period (RAPE AND MASSACRE IN ERMITA)

# data[].attributes.body
The painting itself describes the colonization of Japanese and what suffering did our ancestors have experienced from them.

# data[].attributes.headline
Contemporary Period (BURDEN OF THE MASTERS OF MANKIND)

# data[].attributes.subject
Contemporary Period (BURDEN OF THE MASTERS OF MANKIND)

# data[].attributes.body
Kawayan de Guia's surreal, tableaux-like paintings emerge as "portraits" of indigenous figures in museological settings. Based in the Cordillera mountain range north of Manila, de Guia's paintings engage with the changing nature of this region in the face of modernization and development, as well as the region's spirituality. The figures are surrounded by European paintings, globes, and bulols, pre-Hispanic representations of spirits or ancestors carved in the Cordillera region. De Guia's works consider the fallout when ancestral spirits collide with Western culture.

# data[].attributes.body
As time progress, we can really see what inspirations they get from the artwork, it was usually have the contents of what is the summary of happening at the time,it may be affected by religion, culture, beliefs, colonization and many factors that can be related to that period.