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Indigenous Art of the Mountain Province

The document discusses the Indigenous art of the Mountain Province, highlighting the seven ethnic groups known as Igorots, their woodcarving traditions, and the significance of ritualistic and decorative art forms. It also outlines the impact of Spanish colonization on Philippine art, noting the transformation of coastal villages into trade centers and the evolution of religious practices among the native population. Additionally, it mentions the high literacy rates and the adoption of Christianity in lowland areas by the early 1600s.

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26 views2 pages

Indigenous Art of the Mountain Province

The document discusses the Indigenous art of the Mountain Province, highlighting the seven ethnic groups known as Igorots, their woodcarving traditions, and the significance of ritualistic and decorative art forms. It also outlines the impact of Spanish colonization on Philippine art, noting the transformation of coastal villages into trade centers and the evolution of religious practices among the native population. Additionally, it mentions the high literacy rates and the adoption of Christianity in lowland areas by the early 1600s.

Uploaded by

zepzep970
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© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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The Indigenous Art of the Muslim Regions & the Mountain Province

Seven ethnic groups compose the Mountain Province people, commonly called Igorots
by Christians. They are:
1. Ifugao
2. Bontoc
3. baloi (Nabalot)
4. Apayao
5. Tinguian or Itneg
6. Kalinga
7. Kankanay

○ Wood is the primary material, used for shields, spoons, ladles, bowls, and
figures. Woodcarving is an established vocation in seven tribes, with sculptors
in every village. Wood is smoothed, rubbed with oil, and painted with red and
black colors.
○ Ifugaos and Tinguians excel in iron-smelting and bronze-casting, using iron for
axes and spears, bronze, brass, gold for pipes, and bamboo for ordinary ones.
○ Mountain art can be divided into two groups, the ritualistic and the decorative
○ Ritualistic group belong the bulol and the bihang.
○ The bihang is meant to be gruesome to incite fear of punishment in any
body who goes against the norms of the village.
○ The bulol is a multi-pur pose benevolent spirit primarily used to guard
granaries and ricefields.
○ Ifugao bowls, carved with handles, are oval, round, square, or rectangular, often
depicting a pig or hollowed-out reptile, with its tail and leg-like footrings.
○ The Ifugaos, Bontocs, and Ibalois depict human and animal figures geometrically
simple, with abrupt angles. Abstract designs are found in textiles, bamboo
containers, brass, gold pipes, and gold ornaments.

Philippine Art during the Spanish Colonial Regime


- Upon the arrival of Spaniards in 1521 and colonization of the Philippines in 1571,
seacoast villages became trade centers, exchanging goods with Chinese, Cambodian,
and Siamese merchant ships.
- Interior tribes lived a primitive existence with stone tools, metal weapons, earthen ware,
and glass beads.
- Coastline villages developed into socially conscious communities, with family customs
becoming village laws enforced by chiefs, leading to class stratification.
- Religion evolved from personal or family animistic beliefs into community rituals, with
the pre-hispanic religion respecting priests' powers.
- Missionaries noted the high literacy rate among lowland barangays, and the natives
wore homespun clothing and adorned themselves with gold, jade, and ivory jewelry.
- By early 1600, Spanish sovereignty was established over most lowland areas, and the
population in these areas was baptized and converted to Christianity.

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