The bul'ul is treated with care and respect to avoid the risk of the spirits of the ancestors bringing sickness. The figures are placed together with the rice in the house or granaries to bring a plentiful harvest. The bulul is important to Ifugaos because they believe they can protect and multiply the rice and help make the harvest abundant.

FORM:
The bulul has a simplified form, and is traditionally carved from narra or ipil wood. The bulul is touched by hands dipped in the blood of a chicken or pig in a ritual called tunod during the rice planting season. Over time the blood imparts a dark color to the figures, overlaid with a patina of grease from food offerings. Bulul are handed down to the first child of a family. Typically the older statues have beetle holes made by insects in the granary.

REFERENCES:
https://en.wikipedia.org/wiki/Bulul

MUSIC - They used wind instruments.

DANCE - They imitate the movements of animals and nature.

REFERENCES:
https://www.preceden.com/timelines/667670-history-of-philippine-art#:~:text=Pre%2DColonial%20or%20Pre%2DConquest%20Period&text=Arts%20in%20this%20time%20were,in%20written%20and%20oral%20form.

found on the lids of jar depicting two boatmen riding a banca on their way to the great divide the journey to the afterlife. Obviously, it is used for burial rites by the ancient people in palawan.

This  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 at National Museum of the Philippines. It is now

housed at the National Museum of Anthropology and is one of the most popular exhibits there.

Design of the Jar
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.

REFERENCES:
https://en.wikipedia.org/wiki/Manunggul_Jar
https://www.studocu.com/ph/document/saint-marys-university-philippines/contemporary-arts/arts-reviewer-arts-from-the-pre-colonial-period/5626687

VISUAL ARTS - Most of the artworks express a hidden desire for rebellion against Spain, such as the Basi Revolt that is a series of 14 paintings by Esteban Villanueva; the Carta Hydrograpica y Chorographica de Ias Yslas Filipinas that is the first scientific map of the Philippines by Francisco Suarez and Nicolas deal Cruz Bagay; the Spolarium of Juan Luna that won as the Gold Medalist in Spain; and the Virgenes Christianas expuestas al Populacho of Felix Resurreccion Hidalgo that won as a Silver Medalist in Madrid, Spain.

ARCHITECTURE - Plaza Complex was introduced; churches were built in cruciform
following the shape of the Latin Cross; Churches are baroque in design but Filipino design was incorporated; and houses are known to be Bahay na Bato/Bahay na Tisa.

SCULPTURE - Santos are made of ivory or wood; relleves are known to be the facade of churches; and the Carroza or the plateria that is a pedestal used in religious Catholic procession where an image is loaded.

MUSIC AND DANCE - Pasyon or Pabasa that narrates about the passion of Christ is introduced in 1742; the kundiman Filipino love song flourish; and the Opening of the Suez Canal - Galleon Trade was performed with the dances Pandanggo, tango, polka, dansa, rigodon, habanera, and jota.

THEATRE - Zarzuela of Sarsuela was developed. It is a Spanish lyric-dramatic genre that alternates spoken and sung scenes, the latter incorporating operatic and popular songs, as well as dance. Another is the popularly known Easter pageant, Senakulo, or the Passion Play that is a dramatic presentation depicting the Passion of Jesus Christ: his trial, suffering, and death. It is a traditional part of Lent in several Christian denominations, particularly in the Catholic tradition. Lastly, the Komedya that was created by Spanish priests in 1637. It is a play written to dramatize the recent capture by a Christian Filipino army of an Islamic stronghold. It has different versions which are the Moro-moro of the Tagalogs and the Araguio or Arakyo of Nueva Ecija.

REFERENCES:
https://www.preceden.com/timelines/667670-history-of-philippineart#:~:text=Pre%2DColonial%20or%20Pre%2DConquest%20Period&text=Arts%20in%20this%20time%20were,in%20written%20and%20oral%20form

The pavilion and the tindalo cross itself sustained cracks due to the 2013 Bohol earthquake.The original cross was also found to have deteriorated due to termites in 2015. The pavilion was closed for renovations and was reopened in March 2016.

On the ceiling of the pavilion's interior, is a mural depicting the baptism of Rajah Humabon and his household by Fr. Pedro Valderrama and the planting of a wooden cross by Ferdinand Magellan. The artwork was done by Jess Roa and Serry M. Joso.

The Magellan's Cross could refer to the original wooden cross planted by explorers of the Spanish expedition of the first circumnavigation of the world, led by Ferdinand Magellan, upon arriving in Cebu in the Philippines on April 21, 1521.

The original cross was encased inside another wooden cross made of tindalo wood in 1835. This is to protect the original cross from people who chipped away parts of the cross who believe that the cross possesses miraculous powers. Some people, however, believe that the original cross has been destroyed.

REFERENCES:
https://en.wikipedia.org/wiki/Magellan%27s_Cross_Pavilion

These churches have stood out in the history of the Philippines by furthering Christianity in the island nation, providing political stability during the colonial rule of the Spanish. While the structures have been subjected to rebellious attacks revolts by locals, they were officially listed as World Heritage Sites by UNESCO in 1993.

The Baroque Churches of the Philippines portrays the fusion of local materials, decorations and techniques of construction with baroque European church designs, heralding a unique tradition of church-building. The churches’ characteristic features include strong buttresses to withstand the effects of earthquakes, as the region is prone to regular volcanic and earthquake activities, and a separate bell tower.

The 1st church of this conglomerate to be built in the island of Luzon, in 1571 is San Agustin Church, to mark the Spanish conquest and the occupancy of Manila. Throughout history, the cathedral was almost constantly under attack, which led to the destruction of the church on several occasions but it was quickly rebuilt and renovated. Surrounded by defensive walls, the church of Nuestra Señora de la Asuncion (with its convent sits on a hill in Santa Maria. The Philippine-Hispanic combination of elite craftsmanship is vividly reflected throughout this church.

San Agustin Church in Paoay is a good example of ‘Earthquake Baroque’, with 14 buttresses aligned linearly to minimise the effects of a sudden quake. It also has a massive bell tower made of coral stone. Miagao houses the church of Santo Thomas de Villanueva Church, serving as an example of ‘Fortress Baroque’. It features a statue of St. Christopher resting on a pediment, with a Child Christ on its back. You can get a glimpse of history at Baroque Churches of the Philippines. These historical landmarks are not only magnificent creations, but also focus on the development of the Philippine-Hispanic relationship, which lasted from the 16th to 18th centuries

REFERENCES:
https://ph.hotels.com/go/philippines/philippines-baroque-churches

REFERENCES:
https://www.studocu.com/ph/document/saint-marys-university-philippines/contemporary-arts/arts-reviewer-arts-from-the-pre-colonial-period/5626687

IMAGES:
https://history.house.gov/Exhibitions-and-Publications/APA/Historical-Essays/Exclusion-and-Empire/The-Philippines/

of heroes like Rizal and Bonifacio were built. Among the prominent Filipino Sculptors during the American period were Guillermo Tolentino and Graciano Nepomuceno. Tolentino stated that there should be no distortions in sculpture. He was known of his design of the Bonifacio monument in Caloocan, Sanduguan and the famous "Oblation" of the University of the Philippines. Nepomuceno's subjects were the characters of Rizal's Noli Me Tangere like Crisostomo Ibarra, Filosofo Tasio, Sisa, and Maria Clara. These were made of wood.

Guillermo Estrella Tolentino was born in Malolos, Bulacan on 24 July 1890.  He was the fourth of eight children.  His father was a tailor whose only artistic trait is the love of playing the guitar. Guillermo or Memong, as his family called him, inherited this artistic skill.  Sculptor and painter Graciano Nepomuceno was born on Dec. 18, 1881, in Binondo, Manila.

Nepomuceno was a leading sculptor and santero (icon maker) during the early 1900s. His famous works include the figure of San Francisco in Quiapo Church and the bust of Jose Rizal done in bronze relief.

PAINTING - Painting themes still largely favored. Genre painting, Landscape and still life; portraits

are reserved for high ranking officials with a more academic approach to make the subject more

formal.

REFERENCE:
https://www.studocu.com/ph/document/saint-marys-university-philippines/contemporary-arts/arts-reviewer-arts-from-the-pre-colonial-period/5626687

offering of oneself to his union. The idea for the Oblation was first conceived during the presidency of Rafael Palma, who was the one  to commission Tolentino to make the

sculpture. 

Palma requested that  the  statue would be  based  on  the second  verse  of Rizal's Mi Ultimo Adios; The concrete sculpture painted to look like bronze, measures

3.5 meters in height, symbolizing the 333 years of Spanish rule in the Philippines.  The sculpture is replete with references of selfless dedication and service to the nation, and as Tolentino himself describes it.

REFERENCES: 
https://www.studocu.com/ph/document/saint-marys-university-philippines/contemporary-arts/arts-reviewer-arts-from-the-pre-colonial-period/5626687

IMAGE:
https://interaksyon.philstar.com/rumor-cop/2021/01/27/184415/misrepresentation-afp-corrects-another-false-tagging-of-ex-up-lecturer/

of the Philippines. This emphasized their propaganda in Asia. Under the Japanese occupation of Manila, the Modern Art

Project would slow down in pace. Early moderns and conservatives alike continued to produce art and even

participated in KALIBAPI ( Kapisanan sa Paglilingkod ng Bagong Pilipinas) sponsored art competitions.

Nevertheless, art production once again tilted to fulfill the agenda and demands of the new colonial order. The Japanese forces led the formation of the greater

East Asia Co – Prosperity Sphere, a propaganda movement that sought to create a Pan – Asian identity that rejected Western traditions. The productions of images, texts, and music underwent scrutiny.

In music, the composer National Artist Felipe de Leon was said to have been commanded to write AWIT SA PAGLIKHA

NG BAGONG PILIPINAS. Declared as the anthem specifically for the period, it conveyed allegiance to the nation reared in East Asia, where Japan was actively

asserting its political power.

REFERENCES:
https://www.studocu.com/ph/document/icct-colleges-foundation/contemporary-arts/chapter-8-japanese-era/24305084

IMAGE: 
https://artsandculture.google.com/entity/m04y5fzp

Architecture - Public works example of this is the Church of the Risen Lord located in the University of the Philippines, Diliman, Quezon City

REFERENCES:
https://www.preceden.com/timelines/617125-history-of-philippine-art

Within the present painting, the artist embraces these religious motifs as means to convey his absolute faith, and trust in God. The depiction of the fishermen as they collect their haul from the ocean may be a reference to the artist’s personal journey, and spiritual awakening. In the painting men and fish are locked in an eternal conflict between ignorance and enlightenment, with the fish representing the latter.

The artist’s appropriation of geometrical shapes to portray the fishermen, their figures absent of features or defining marks, inspires movement within the painting. In the work the use of colors compliments the presence of the fishing net, set against the blue background, and further emphasizes the idea of motion, subsequently intensifying the drama of the scene. The sun painted in bright orange may also symbolize the artist’s trust in God, a shining beacon amidst the physical and emotional battles that are the hallmarks of human existence.

REFERENCE:
https://www.sothebys.com/en/auctions/ecatalogue/2013/modern-and-contemporary-southeast-asian-hk0473/lot.390.html

IMAGE:
https://www.sutori.com/en/story/history-of-philippine-art--HQzww2VtrgSQdVcL157PQxPe

Performing companies representing dance, music and theater reside within the CCP.  It has four resident dance companies:  Ballet Philippines, Philippine Ballet Theatre, the Ramon Obusan Folkloric Group and the Bayanihan Philippine National Folk Dance Company.  Tanghalang Pilipino is the CCP’s resident theater company while music is represented by the Philippine Philharmonic Orchestra, the UST Symphony Orchestra, the Philippine Madrigal Singers and the National Music Competitions for Young Artists Foundation (NAMCYA).

Through its Cultural Exchange Program, the CCP supports the growth and development of arts councils all over the country through relevant workshops and seminars.  Through exchange programs with these organizations and with other institutions, Filipinos have been able to glimpse the beauty of different cultures from various countries, witnessing many a triumphant performance from highly-acclaimed artists all over the world.  

The CCP continues to emphasize the Filipino pagmamalasakit (compassion) in its programs that highlight the virtues of galing, galang and dangal (excellence, respect and integrity), reaffirming its commitment to the growth and development of the Filipino nation and its arts and culture. 

REFERENCE: 
https://culturalcenter.gov.ph/about-us/

During the pre-colonial era, Filipino people are not aware of art but rather they think of those things as beauty such as the gold that they wear, and the bulul to praise the deities or to please the Gods, and entertainment such as the rituals, dance, and epics which serves as a binding instrument for the whole community people. The geographical location and the experiences of the Filipino influence the theme and context of the artwork. Visual art, weaving, wood carving, and metalwork are the most dominant works of art during this era. The art from the south and the art from the north specifically CAR is different. The art in the south is colorful because of the climate whereas in the north are not because of the cold climate.

During the colonial to present the Philippines went through a lot from the 333-year colonization of Spain, which brought with them their Christian beliefs. After which the Philippines are colonized by the Americans after the Spanish-American war, the Americans brought with them modern art with romantic and abstract styles as well as architecture with city planning and finally theater arts which included Drama Simbolico, plays that yearned for freedom. Japan on the other hand is more restrictive with art, only featuring government approved and propaganda. And finally, the contemporary period in which includes modern and post-modern art, which reflected the current society and situations of the time, art during this era are more expressive and experimental.

REFERENCE:
https://calabarzone.wordpress.com/2020/11/05/the-timeline-of-philippine-art-history/