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This standing male figure representing a rice deity (bulul) from the Ifugao people of northern Luzon Island in the Philippines is an outstanding and highly important expression of the foremost tradition of anthropomorphic sculpture in the northern Philippines. Sculpted with exceptional elegance and sensitivity for its genre, it is among the finest expressions of its type. While bulul figures are fairly common, the great majority are of more recent date and are more roughly carved than this work.

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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.

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The Spoliarium (often misspelled Spolarium) is a painting by Filipino painter Juan Luna. Luna, working on canvas, spent eight months completing the painting which depicts dying gladiators. The painting was submitted by Luna to the Exposición Nacional de Bellas Artes in 1884 in Madrid, where it garnered the first gold medal (out of three). The picture recreates a despoiling scene in a Roman circus where dead gladiators are stripped of weapons and garments. Together with other works of the Spanish Academy, the Spoliarium was on exhibit in Rome in April 1884.

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Carlos Francisco’s The First Mass at Limasawa is one of his finest artworks. This piece was commissioned by the national government to commemorate the 400 years of Philippine Christianization which was held in Cebu in 1965.

As seen, the painting portrays the first mass which was celebrated in Limasawa Island on the day of Easter. It is believed in the painting that whatever is the person’s nationality, as long as that person was there to attend the mass, that person is welcomed and fully accepted.

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The Making of the Philippine Flag by Fernando Amorsolo

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It is believed that Fernando Amorsolo made this painting to show the citizen of the Philippines of how the Philippine flag was made and to remind them the traditions and customs that we did not realize it becomes faded.

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Amorsolo's bright and colorful pastoral representations are unmistakable for being suffused with a golden glow, reflecting the sweet disposition, charm, and wholesome beauty of the dalagang bukid, or Philippine provincial lass - widely recognized to be the maestros most iconic subject matter. Surrounded by verdant foliage dappled with sunlight, she is the picture of a longed-for, bygone era - the epitome of everything that is good about the motherland.

The banga or clay jar that the young lady carries, a vessel for carrying water, is seen as a symbol of fragility and innocence, and is a reference to the song made famous by National Artist Atang de la Rama in the 1919 sarswela

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The Burning of Manila was painted by Fernando Amorsolo, a famous Filipino painter. This artwork depicts the idea how the Manila is devastated during that time. This painting shows the Battle of Manila happened during the Japanese era, he depicted the tragedy and horror in this battle.

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This painting of the bombed-out ruins of a government building, possibly the Philippine Legislature, is a study of stark contrast where destruction is set against the nonchalant beauty of the sky - a silent, poignant testament to human folly and the transitory nature of reality.

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This painting of a street kid using his own shirt as blanket was sparked by a sighting of a street kid in the Cubao overpass. This painting is made by Elmer Borlongan.

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This painting's also created by Elmer Borlongan. While many look at this piece as a sensual image, owing to the languid lines that depict four human figures decadently enjoying what looks like post-coital puffs, Emong says Pamilyang Menthol is really just that: a family enjoying a smoke.

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As you can see in the timeline, it shows how our artworks evolve as time goes by. It made me appreciate Filipino arts because of how talented we are. We Filipino's should be proud of these artists and I suggest that we appreciate it more because it's part of our history. Some of the paintings shown in the timeline are hardships that we Filipino's face during these time periods. This just shows how far we've come as a nation and how we eventually achieve that freedom that we've been wanting for a long time. No matter what time it is, these paintings are immortalized to our minds and we should appreciate these arts because it's part of our history.

References
https://www.metmuseum.org/art/collection/search/626371

https://en.wikipedia.org/wiki/Manunggul_Jar

https://en.wikipedia.org/wiki/Spoliarium

https://jm-ict.home.blog/2018/12/29/appreciating-arts-and-culture/#:~:text=As%20seen%2C%20the%20painting%20portrays,is%20welcomed%20and%20fully%20accepted.

https://www.artstation.com/artwork/zDOGgd

https://salcedoauctions.com/item/3219

https://medium.com/@nicholle_crystal/individual-activity-4-bfec491ba61c#:~:text=The%20Burning%20of%20Manila%20was,DOOMED%20FAMILY

https://salcedoauctions.com/item/2204

https://news.abs-cbn.com/ancx/culture/art/08/29/18/the-10-most-significant-paintings-of-elmer-borlongans-25-years