text:
Square pyramid
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Square pyramid
Type
Johnson
J92 – J1 – J2
Faces
4 triangles
1 square
Edges
8
Vertices
5
Vertex configuration
4(32.4)
(34)
Schläfli symbol
( ) ∨ {4}
Symmetry group
C4v, [4], (*44)
Rotation group
C4, [4]+, (44)
Dual polyhedron
self
Properties
convex
Net
In geometry, a square pyramid is a pyramid having a square base. If the apex is perpendicularly above the center of the square, it is a right square pyramid, and has C4v symmetry. If all edges are equal, it is an equilateral square pyramid,[1] the Johnson solid J1.
Contents
1 General square pyramid
2 Right square pyramid
3 Equilateral square pyramid, Johnson solid J1
4 Graph
5 Related polyhedra and honeycombs
5.1 Dual polyhedron
6 References
7 External links
General square pyramid[edit]
A possibly oblique square pyramid with base length l and perpendicular height h has volume:
V = 1 3 l 2 h {\displaystyle V={\frac {1}{3}}l^{2}h} .
Right square pyramid[edit]
In a right square pyramid, all the lateral edges have the same length, and the sides other than the base are congruent isosceles triangles.
A right square pyramid with base length l and height h has surface area and volume:
A = l 2 + l l 2 + ( 2 h ) 2 {\displaystyle A=l^{2}+l{\sqrt {l^{2}+(2h)^{2}}}}
V = 1 3 l 2 h {\displaystyle V={\frac {1}{3}}l^{2}h} .
The lateral edge length is:
h 2 + l 2 2 {\displaystyle {\sqrt {h^{2}+{{l^{2}} \over {2}}}}} ,
and the slant height is:
h 2 + l 2 4 {\displaystyle {\sqrt {h^{2}+{{l^{2}} \over {4}}}}} .
The dihedral angles are:
between the base and a side: arctan  ( 2 h l ) {\displaystyle \arctan \left({{2\,h} \over {l}}\right)} ;
between two sides: arccos  ( − l 2 l 2 + 4 h 2 ) {\displaystyle \arccos \left({{-l^{2}} \over {l^{2}+4\,h^{2}}}\right)} .
Equilateral square pyramid, Johnson solid J1 [edit]
If all the edges have the same length, then the sides are equilateral triangles, and the pyramid is an equilateral square pyramid, Johnson solid J1.
The Johnson square pyramid can be characterized by a single edge-length parameter l. The height h (from the midpoint of the square to the apex), the surface area A (including all five faces), and the volume V of such a pyramid are:
h = 1 2 l {\displaystyle h={\frac {1}{\sqrt {2}}}l}
A = ( 1 + 3 ) l 2 {\displaystyle A=(1+{\sqrt {3}})l^{2}}
V = 2 6 l 3 . {\displaystyle V={\frac {\sqrt {2}}{6}}l^{3}.}
Graph[edit]
A square pyramid can be represented by the Wheel graph W5.
Related polyhedra and honeycombs[edit]
showRegular pyramids
Digonal
Triangular
Square
Pentagonal
Hexagonal
Heptagonal
Octagonal
Enneagonal...
Improper
Regular
Equilateral
Isosceles
A regular octahedron can be considered a square bipyramid, i.e. two Johnson square pyramids connected base-to-base. The tetrakis hexahedron can be constructed from a cube with short square pyramids added to each face. Square frustum is a square pyramid with the apex truncated.
Square pyramids fill space with tetrahedra, truncated cubes or cuboctahedra.[2]
Dual polyhedron[edit]
The square pyramid is topologically a self-dual polyhedron. The dual edge lengths are different due to the polar reciprocation.
Dual Square pyramid
Net of dual
References[edit]
Jump up ^ Franz Hocevar, Solid Geometry, 1903, p. 44
Jump up ^ http://woodenpolyhedra.web.fc2.com/JohnsonHoneycomb.pdf
External links[edit]
Eric W. Weisstein, Square pyramid (Johnson solid) at MathWorld.
Weisstein, Eric W. "Wheel graph". MathWorld.
Square Pyramid -- Interactive Polyhedron Model
Virtual Reality Polyhedra www.georgehart.com: The Encyclopedia of Polyhedra (VRML model)
show
v
t
e
Convex polyhedra
Platonic solids (regular)
tetrahedron
cube
octahedron
dodecahedron
icosahedron
Archimedean solids
(semiregular or uniform)
truncated tetrahedron
cuboctahedron
truncated cube
truncated octahedron
rhombicuboctahedron
truncated cuboctahedron
snub cube
icosidodecahedron
truncated dodecahedron
truncated icosahedron
rhombicosidodecahedron
truncated icosidodecahedron
snub dodecahedron
Catalan solids
(duals of Archimedean)
triakis tetrahedron
rhombic dodecahedron
triakis octahedron
tetrakis hexahedron
deltoidal icositetrahedron
disdyakis dodecahedron
pentagonal icositetrahedron
rhombic triacontahedron
triakis icosahedron
pentakis dodecahedron
deltoidal hexecontahedron
disdyakis triacontahedron
pentagonal hexecontahedron
Dihedral regular
dihedron
hosohedron
Dihedral uniform
prisms
antiprisms
duals:
bipyramids
trapezohedra
Dihedral others
pyramids
truncated trapezohedra
gyroelongated bipyramid
cupola
bicupola
pyramidal frusta
bifrustum
rotunda
birotunda
prismatoid
scutoid
Degenerate polyhedra are in italics.
show
v
t
e
Johnson solids
Prismatoids and rotundae
square pyramid
pentagonal pyramid
triangular cupola
square cupola
pentagonal cupola
pentagonal rotunda
Modified pyramids and dipyramids
elongated triangular pyramid
elongated square pyramid
elongated pentagonal pyramid
gyroelongated square pyramid
gyroelongated pentagonal pyramid
triangular dipyramid
square dipyramid
pentagonal dipyramid
elongated triangular dipyramid
elongated square dipyramid
elongated pentagonal dipyramid
gyroelongated square dipyramid
Modified cupolae and rotundae
elongated triangular cupola
elongated square cupola
elongated pentagonal cupola
elongated pentagonal rotunda
gyroelongated triangular cupola
gyroelongated square cupola
gyroelongated pentagonal cupola
gyroelongated pentagonal rotunda
gyrobifastigium
triangular orthobicupola
square orthobicupola
square gyrobicupola
pentagonal orthobicupola
pentagonal gyrobicupola
pentagonal orthocupolarotunda
pentagonal gyrocupolarotunda
pentagonal orthobirotunda
elongated triangular orthobicupola
elongated triangular gyrobicupola
elongated square gyrobicupola
elongated pentagonal orthobicupola
elongated pentagonal gyrobicupola
elongated pentagonal orthocupolarotunda
elongated pentagonal gyrocupolarotunda
elongated pentagonal orthobirotunda
elongated pentagonal gyrobirotunda
gyroelongated triangular bicupola
gyroelongated square bicupola
gyroelongated pentagonal bicupola
gyroelongated pentagonal cupolarotunda
gyroelongated pentagonal birotunda
Augmented prisms
augmented triangular prism
biaugmented triangular prism
triaugmented triangular prism
augmented pentagonal prism
biaugmented pentagonal prism
augmented hexagonal prism
parabiaugmented hexagonal prism
metabiaugmented hexagonal prism
triaugmented hexagonal prism
Modified Platonic solids
augmented dodecahedron
parabiaugmented dodecahedron
metabiaugmented dodecahedron
triaugmented dodecahedron
metabidiminished icosahedron
tridiminished icosahedron
augmented tridiminished icosahedron
Modified Archimedean solids
augmented truncated tetrahedron
augmented truncated cube
biaugmented truncated cube
augmented truncated dodecahedron
parabiaugmented truncated dodecahedron
metabiaugmented truncated dodecahedron
triaugmented truncated dodecahedron
gyrate rhombicosidodecahedron
parabigyrate rhombicosidodecahedron
metabigyrate rhombicosidodecahedron
trigyrate rhombicosidodecahedron
diminished rhombicosidodecahedron
paragyrate diminished rhombicosidodecahedron
metagyrate diminished rhombicosidodecahedron
bigyrate diminished rhombicosidodecahedron
parabidiminished rhombicosidodecahedron
metabidiminished rhombicosidodecahedron
gyrate bidiminished rhombicosidodecahedron
tridiminished rhombicosidodecahedron
Miscellaneous
snub disphenoid
snub square antiprism
sphenocorona
augmented sphenocorona
sphenomegacorona
hebesphenomegacorona
disphenocingulum
bilunabirotunda
triangular hebesphenorotunda
(See also List of Johnson solids, a sortable table)
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Art of the Philippines
From Wikipedia, the free encyclopedia
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Kut-kut is a technique combining ancient Oriental and European art process. Considered lost art and highly collectible art form. Very few known art pieces existed today. The technique was practiced by the indigenous people of Samar Island between early 1600 and late 1800 AD. Kut-kut is an exotic Philippine art form based on early century techniques—sgraffito, encaustic and layering. The merging of these ancient styles produces a unique artwork characterized by delicate swirling interwoven lines, multi-layered texture and an illusion of three-dimensional space.
The art of the Philippines refers to the works of art that have developed and accumulated in the Philippines from the beginning of civilization in the country up to the present era. It reflects to its society and non-Filipinos the wide range of cultural influences on the country's culture and how these influences honed the country's arts. The art of the Philippines can refer to the visual arts, performing arts, textile art traditions, literature, dance, pottery, and other art forms in the country.
Part of a series on the
Culture of the Philippines
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the Philippines portal
Contents
[hide]
1 Functional art
1.1 Hindu-Buddhist iconography
1.2 Lingling-o
1.2.1 Batanes workshop site
2 Painting
3 Dance
4 Weaving
5 Pottery
6 Other art forms
7 Notable Filipino artists
8 Museums
9 See also
10 References
11 External links
Functional art[edit]
Hindu-Buddhist iconography[edit]
See also: Indian cultural influences in early Philippine polities
Many of historians believed that the various cultures of the Philippine archipelago first encountered Hindu and/or Buddhist beliefs as early as the 2nd and 3rd centuries BCE,[1] but some of recent scholarship suggests that these cultural influences mostly filtered in during the 10th through the early 14th centuries. Present-day scholarship believes these religious and cultural influences mostly came through trade with Southeast Asian thassalocratic empires such as the Srivijaya and Majapahit, which had in turn had trade relationships with India.[1][2][3][4]
Scholars such as Milton Osborne emphasise that despite these beliefs being originally from India, they reached the Philippines through Southeast Asian cultures with Austronesian roots.[5]
The artifacts reflect the iconography of the Vajrayana Buddhism and its influences on the Philippines' early states.[6]
The copper Buddha's of Ma-i (metal relics) – "The gentleness of Tagalog customs that the first Spaniards found, very different from those of other provinces of the same race and in Luzon itself, can very well be the effect of Buddhism "There are copper Buddha's" images.[7] the people in Ma-i sound like newcomers [to this port] since they don't know where those metal statues in the jungle come from."[8]
The Angono Petroglyphs is the oldest form of art in the country, dated before 2000 BC.
Archaeological findings show that before the settlement of the Spaniards in the country, the Tagalogs, especially the Batangueños, had attained a semblance of high civilization. This was shown by certain jewelry, made from a chambered nautilus' shell, where tiny holes were created by a drill-like tool. The ancient Batangueños were influenced by India as shown in the origin of most languages from Sanskrit and certain ancient potteries. A Buddhist image was reproduced in mould on a clay medallion in bas-relief from the municipality of Calatagan. According to experts, the image in the pot strongly resembles the iconographic portrayal of Buddha in Siam, India, and Nepal. The pot shows Buddha Amithaba in the tribhanga[9] pose inside an oval nimbus. Scholars also noted that there is a strong Mahayanic orientation in the image, since the Boddhisattva Avalokitesvara was also depicted.[10]
The Golden Tara of Agusan.
The archipelagos of Southeast Asia were under the influence of Hindu Tamil, Gujarati and Indonesian traders through the ports of Malay-Indonesian islands. Indian religions, possibly an amalgamated version of Hindu-Buddhist arrived in the Philippine archipelago in the 1st millennium, through the Indonesian kingdom of Srivijaya, followed by Majapahit. Archaeological evidence suggesting exchange of ancient spiritual ideas from India to the Philippines includes the 1.79 kilogram, 21 carat gold Hindu goddess Agusan (sometimes referred to as Golden Tara), found in Mindanao in 1917 after a storm and flood exposed its location.[11] The statue now sits in the Field Museum of Natural History in Chicago, and is dated from the period 13th to early 14th centuries.
A study of this image was made by Dr. F. D. K. Bosch, of Batavia, in 1920, who came to the conclusion that it was made by local workmen in Mindanao, copying a Ngandjuk image of the early Majapahit period – except that the local artist overlooked the distinguishing attributes held in the hand. It probably had some connection with the Javanese miners who are known to have been mining gold in the Agusan-Surigao area in the middle or late 14th century. The image is apparently that of a Sivaite goddess, and fits in well with the name "Butuan" (signifying "phallus").
—  H. Otley Beyer, 1947[12]
Juan Francisco suggests that the golden Agusan statue may be a representation of goddess Sakti of the Siva-Buddha (Bhairava) tradition found in Java, in which the religious aspect of Shiva is integrated with those found in Buddhism of Java and Sumatra. The Rajahnate of Butuan, in present-day Agusan del Norte and Butuan City, used Hinduism as its main religion along with indigenous Lumad nature-worships. A Hindu Tamil King of the Rajahnate of Cebu was also recorded.[13]
Another gold artifact, from the Tabon Caves in the island of Palawan, is an image of Garuda, the bird who is the mount of Vishnu. The discovery of sophisticated Hindu imagery and gold artifacts in Tabon Caves has been linked to those found from Oc Eo, in the Mekong Delta in Southern Vietnam.[14] These archaeological evidence suggests an active trade of many specialized goods and gold between India and Philippines and coastal regions of Vietnam and China. Golden jewelry found so far include rings, some surmounted by images of Nandi – the sacred bull, linked chains, inscribed gold sheets, gold plaques decorated with repoussé images of Hindu deities.[14][15]
In 1989, a laborer working in a sand mine at the mouth of Lumbang River near Laguna de Bay found a copper plate in Barangay Wawa, Lumban.[11] This discovery, is now known as the Laguna Copperplate Inscription by scholars. It is the earliest known written document found in the Philippines, dated to be from the late 9th century CE, and was deciphered in 1992 by Dutch anthropologist Antoon Postma.[16] The copperplate inscription suggests economic and cultural links between the Tagalog people of Philippines with the Javanese Medang Kingdom, the Srivijaya empire, and the Hindu-Buddhist kingdoms of India. Hinduism in the country declined when Islam was introduced by traders from Arabia which was then followed by Christianity from Spain.[11] This is an active area of research as little is known about the scale and depth of Philippine history from the 1st millennium and before.
Lingling-o[edit]
Three designs of Lingling-o at the Musée du quai Branly in Paris, France.
The Lingling-o (sometimes also spelled "ling-ling-o") are an "omega shaped"[17] type of pendant or amulet that has been associated with various indigenous cultures of the Philippines since the early metal age.[18] The earliest surviving examples of lingling-o, dating back to the metal age, were made out of Nephrite jade, but many later examples were made of shell, gold, copper, and wood;[18] the kind of material suggests differences in the social standing of its wearer.[18] The term was first popularized by H. Otley Beyer, who adapted it from the Southern Ifugao name for such ornaments.[19] The term has since also come to be used as a blanket term for various metal age ornaments found in the Philippines, Taiwan, and Vietnam.[19]
Batanes workshop site[edit]
Earlier historians have posited that the earliest lingling-o artifacts found in the Philippines were created outside of the archipelago, but an expedition to the northern Philippine province of Batanes, led by archeologist Peter Bellwood in the early 2000s, led to the discovery of a lingling-o workshop, complete with construction tools and fragments. The find provides evidence of indigenous Philippine manufacture of lingling-o as early as 2,500 years ago.[17]
Painting[edit]
Tampuhan by Juan Luna.
Artistic paintings were introduced to Filipinos in the 16th century when the Spaniards arrived in the Philippines. During this time, the Spaniards used paintings as visual aid for their religious propaganda to spread Catholicism throughout the Philippines. These paintings, appearing mostly on church walls, featured religious figures appearing in Catholic teachings. In short, due to the Spanish occupation of the Philippines and the Church's supervision of Filipino art, the purpose of most paintings in the Philippines from the 16th to the 19th century were to aid the Catholic Church.[20]
In the early 19th century, wealthier, educated Filipinos introduced more secular Filipino art, causing art in the Philippines to deviate from religious motifs. The use of watercolour paintings increased and the subject matter of paintings began to include landscapes, Filipino inhabitants, Philippine fashion, and government officials. Portrait paintings featured the painters themselves, Filipino jewelry, and native furniture. The subject of landscape paintings featured artists' names painted ornately as well as day-to-day scenes of average Filipinos partaking in their daily tasks. These paintings were done on canvas, wood, and a variety of metals.[20]
During World War II, some painters focused their artwork on the effects of war, including battle scenes, destruction, and the suffering of the Filipino people.
Dance[edit]
Main article: Philippine dance
Filipino folk dancers performing at the Pistahan Festival in San Francisco, California.
Igorot men performing a war dance, c. 1909.
There are numerous types of Filipino dances, varying in influence, from the country's regions. Types of Filipino dance include Cordillera, Muslim, tribal, rural, and Spanish style dances.
Within the Cordilleras' dances, there are the Banga, Bendayan, Lumagen/Tachok, Manmanok, Ragragsakan, Salisid, Talip, Tarektek, and Uyaoy/Uyauy. The Banga dance shows the grace and strength of women in the Kalinga tribe. Women performing the Banga balance heavy pots on their heads while dancing to beat of wind chimes. This mimics Kalinga women collecting and transporting water. Another dance, called Lumagen or Tachok, is performed to celebrate happy occasions. When Lumagen is performed, it is meant to symbolize flying birds and is musically paired to the beat of gongs. Another cordillera dance, Salisid, is the dance to show courtship. In the Salisid dance, a male and a female performer represent a rooster attempting to attract a hen.[21]
Tribal dances include Malakas at Maganda, Kadal Blelah, Kadal Tahaw, Binaylan, Bagobo Rice Cycle, and Dugso. Malakas at Maganda is a national folklore dance. It tells the story of the origin of the Filipino people on the islands. Another dance, called the Binaylan dance, tells the story of a hen, the hen's baby, and a hawk. In this dance, the hawk is said to control a tribe's well-being, and is killed by hunters after attempting to harm the hen's baby.[22]
Two examples of traditional Filipino dances are Tinikling and Binasuan and many more. Filipinos have unique folk dances like tinikling where assistants take two long bamboo sticks rapidly and in rhythm, clap sticks for dancers to artistically and daringly try to avoid getting their feet caught between them. Also in the southern part of the Philippines, there is another dance called Singkil using long bamboo poles found in tinikling; however, it is primarily a dance showing off lavish Muslim royalty. In this dance, there are four bamboo sticks arranged in a tic-tac-toe pattern in which the dancers exploit every position of these clashing sticks. Dancers can be found trying to avoid all 4 bamboo sticks all together in the middle. They can also try to dance an entire rotation around the middle avoiding all sticks. Usually these stick dances performed in teamwork fashion not solo. The Singkil dance is identifiable with the use of umbrellas and silk clothing.[23]
Weaving[edit]
A Filipino loom for weaving rough fabrics of abaka fiber, 1905.
Philippine traditional blouse. Traditionally made of pineapple fiber or Piña.
Philippine weaving involves many threads being measured, cut, and mounted on a wooden platform. The threads are dyed and weaved on a loom.[24]
Before Spanish colonization, native Filipinos weaved using fibers from abaca, pineapple, cotton, and bark cloth. Textiles, clothes, rugs, and hats were weaved. Baskets were also weaved and used as vessels of transport and storage, and for hunting. These baskets were used to transport grain, store food, and catching fish.[25] They also used weaving to make just about all of the clothing that was worn.
They weaved rugs that they used for quilts and bedding. The quality of the quilt/bedding was based on how soft, how tight together, and the clean pattern. The patterns were usually thick stripes with different colors and with a nice pattern.
However, during Spanish colonization, Filipinos used fabric called nipis to weave white clothing. These were weaved with decorative, flower designs.[25]
Pottery[edit]
Main article: Philippine ceramics
The late Neolithic Manunggul Jar (c. 890–710 BC) used for burial, was found in the Manunggul Cave. This elaborate burial jar is topped with two figures. The front figure is the deceased man. The rear figure is holding a steering paddle directing the boat and soul of the man to the afterlife.
Traditional pot-making in certain areas of the Philippines would use clay found near the Sibalom River. Molding the clay required the use of wooden paddles, and the clay had to be kept away from sunlight.[26]
Native Filipinos created pottery since 3500 years ago.[26] They used these ceramic jars to hold the deceased.[27]
Other pottery used to hold remains of the deceased were decorated with anthropomorphic designs. These anthropomorphic earthenware pots date back to 5 BC. - 225 A.D and had pot covers shaped like human heads.[27]
Filipino pottery had other uses as well. During the Neolithic period of the Philippines, pottery was made for water vessels, plates, cups, and for many other uses.[28]
Kalinga Pottery [29]
Ceramic vessels of Kalinga are divided into three types: rice cooking (ittoyom), vegetable/meat cooking (oppaya), and water storage (immosso) pots. According to Skibo, the rice cooking pots are usually larger, thinner and have a smaller opening than vegetable/meat pots. On the other hand, water storage pots have an average and uniform size and a smaller neck size.
Except for water storage pots, which have a uniform size, the other two kinds can come in three different sizes, large, medium and small. Although this is true in some cases, another larger type of vegetable/meat pot and smaller water storage pot exists.
• Manufacture of Kalinga potteries
A group of Igorot pottery makers from Samoki, Mountain Province (c. 1910).
The first step in the manufacture of pots is the acquisition of the starting material, clay. The clay is then pounded, added with enough amount of water, to reach the wanted flexibility, and placed in a rotating plate. Using the hand-modeling and coil-and-scrape techniques, the height, thickness and shape of the pot is established. After this, the rim is designed by placing a wet rag on top of it and then rotating it in the other direction. Furthermore, scraping of the walls can also be done if the walls produced are too thick.
The pot, after the modeling stage, is then dried for a short period of time before the base is shaped. Also, after additional heating, small amounts of clay are added inside and outside the clay to maintain the evenness of the surface. A polishing step can also be done through the use of a polishing stone. In some cases, pots are also painted with red hematite paint for some stylized design.
Pottery Functions [29]
Pots are ceramic vessels that are made by molding clay into its wanted shape and then leaving it in an environment with an elevated temperature thereby making it solid and sturdy. It is widely recognized as one of better tools that humans invented since it managed to store the surplus of food Neolithic humans gathered.
In the book Pottery Function: A Use-Alteration Perspective, the author, James Skibo, reasoned out why the use of pots is far more advantageous than baskets and other organic containers. He said that since potteries are commonly made in clay, heat has little to none effect on the container, and its contents, and that it protects the food from moisture and pests. Furthermore, its range of storable contents is far wider than baskets and animal skins since it can store both liquid and dry goods.
Also, Rice, in his book Pottery Analysis, classified ceramic vessels into 17 categories depending on various factors that concern the use and production of the tool. One of these is the content wherein he further divided a type of pot into four depending on the state (liquid or solid) and temperature (hot or cold) of the food inside it. He also said that a ceramic has three main uses. These three are storage, processing, and transfer.
Based from these three uses that Rice gave, Skibo further characterized the usage of ceramic vessels by dividing the tool’s function into two, (1) intended use and (2) actual use.
Intended use, as the name implies, is how the tool’s supposed to be used. This is the basis of the manufacture of the ceramic vessel since the form follows the function. On the other hand, actual use is how the tool was used. This sometimes disregards the pot’s form as long it can do a specific function.
Kalinga Pottery and its Uses [29]
Burnay (tapayan) jars used as lawn ornaments.
In Kalinga, ceramic vessels can be used for two situations: daily life use and ceremonial use. Daily life uses include the making of rice from the pots and the transfer of water from nearby water bodies to their homes.
• Determining actual function of Kalinga pots
As said, a pottery sometimes has a different actual use than intended use. This is the reason why when archaeologists study the function of a pottery, they tend to focus on how the tool was actually used. They do this by studying the alterations that the pottery has. These alterations, accretion and attrition, are commonly the abrasions and scratches on the vessel. In Skibo’s study of Kalinga potteries functions, he relied on three main tests, namely (1) dissolved residue, (2) surface attrition and (3) carbon deposition.
Dissolved residue – This test was done to determine the organic matters that were once placed in the vessel. Through the combination of a gas chromatograph and a mass spectrophotometer, the composition of the fatty acids inside the vessel was determined. Although a complete identification of the species of plant and animals was not possible, Skibo managed to know which pots were used for rice and vegetable/ meat cooking.
Surface Attrition – Skibo’s study on the attrition of the pots showed how the pot was used. By looking at the trace attritions inside the vessel, the type, frequency, angle and direction of stirring for each pot was determined. Furthermore, Skibo also concluded that two pots can be differentiated from each other, on the basis of what type of food it cooks, from the abrasions. He said that rice pots will have a little amount of stirring while the vegetable/meat pots will have numerous marks.
Carbon Deposition – This test, as said by Skibo, can determine the type of food cooked, how it was cooked and how the pot was placed on the flame. From this, another distinction between rice and vegetable/meat pots was established.
Iron Age pottery [30]
There are three major complexes in Philippine Iron Age according to Solheim, Kalanay, Novaliches and Bau pottery complexes. Kalanay pottery complex pertains to Beyer’s Early Iron Age pottery of the Visayan Islands found in Negros and Mindoro; novaliches pottery complex to Beyer’s Early Iron Age pottery from Rizal province. Bau pottery, on the other hand, does not fit into the two previous complexes and could correspond instead to the Late Iron Age pottery.
Kalanay Pottery Complex [30]
A double ikat weaving from Sulu, made of banana leaf stalk fiber (Abacá).
The type site of the Kalanay pottery complex is the Kalanay Cave found in Masbate. From this site, the pottery is further subdivided into pottery types Kalanay and Bagupantao.
Specific varieties of decoration are as follows:
Paired diagonals and borders, with variations including single diagonals or verticals and borders, or wavy lines and borders
Curvilinear scrolls and triangles
Rectangular scroll
Triangles, with variations including alternating triangles and borders or running triangles
Rectangles and diagonals
Zoomorphs
Punctate fieldwhere areas bonded by incised lines are emphasized by punctuations or dashes
Diagonals without borders, including a band of horizontal V’s and alternating diagonals off a center line
Impressed crenelations
Impressed or carved scallop design
Impressed tool
Carved cutouts in ring stands
Kalanay complex pottery can be divided into 16 groups according to Solheim.
Large jars with wide necks
Large jars with narrow necks
Small jars
Deep bowls
Shallow bowls
Very shallow bowls
Lids
Shallow bowls with ring stands
Tetrapods
Jars with angle between side and bottom
Spherical jars with small mouths, without angle at rim
Angular Vessels
Bau Pottery Complex [30]
Fabric weaved from Ifugao.
It has less variation in both form and decoration compared to the Kalanay pottery complex.
Specific varieties of decoration are as follows:
Paddle Impressed
Tool Impressed, including simple-tool and compound-tool impressed
Stamp Impressed
Applique ribbons of clay
In terms of forms:
Small jars with everted rims
Small jars without everted rim
Small heavy jars with flat bottom
Cups with ring feet
Jars with ring feet
Novaliches Pottery Complex [30]
Most of Novaliches pottery can be distinguished from Bau pottery and Kalanay pottery. While it shares form and decoration with Kalanay pottery, it contains more variability compared to Bau pottery. According to Solheim (2002), “it is the most sophisticated pottery that has yet been found in the Philippines”
Novaliches pottery can be diagnosed by its form being a shallow bowl with a high right-foot. The shallow bowl is generally plain but the feet are highly decorated. Majority of Novaliches pottery were well polished. The form is so symmetrical that it looks as if it was made in a potter wheel, however, examinations showed that it wasn’t.
Specific varieties of decoration are as follows:
Cutouts
Narrow vertical elements; carved, tool impressed, or running impressed lines
Horizontal and diagonal elements, including simple tool impressions, compound tool impressions and carved elements
Horizontal broadline impressed lines
Vessel forms are as follows:
Shallow bowls with high ring stands
Shallow bowls with low-ring stands
Jars with low-ring stands
Angle jars
Jars with short necks and everted rims
Kalanay Cave Site [30]
The Kalanay cave site is a small burial cave. It is located at the northwest coast of Masbate.
• Kalanay Pottery
Kalanay Plain
Majority (80 per cent) of the excavated vessels.
Variations in size and shape
Technique used in the manufacture: Paddle-and-anvil technique
Differences in the base of the vessels (some have rounded bottom while some use a ring foot or a tetrapod for support).
Large observable differences in color that is associated with the inability of the potter to control the fire, causing the uneven distribution of the heat.
• Kalanay Incised
Incised around the neck, rim of a jar or the outside of a bowl in a band of repeating elements
Little care was given so the jars appear poorly made despite its well thought out designs. This can be attributed to the possibility that the certain tradition of this pot was no longer significant to the manufacturer
Kalanay-Impressed: simple tool and simple and compound tool
Simple tool impressing found around the jar or bowl with a flange
• Kalanay slipped
Forms: jars, large with wide mouth and everted rim, or small with everted rim; bowls, deep with inslanting sides, or very shallow which turned out lip
Some were polished, some were not.
Bagupantao Pottery [30]
• Bagupantao Plain
Majority of the pots’ paste is red-brown in color, with gray or black as the minority. Its texture ranges from fine to medium and its thickness is usually 5–8 mm in length. The common forms of the pots are jars with wide to narrow mouths and its normally large (a body diameter of 24 to 35 cm).
Difference between Kalanay Plain: Evenness of color and cleanness of clay
• Bagupantao Impressed
The type of paste is the same as Bagupantao plain, red-brown in color. It is also highly decorated on its rim with circles, punctuations and crenellations.
Larger (28 –31 cm body diameter) and thicker (9-14 thickness) than Bagupantao plain.
• Bagupantao Painted
The paste used is the same as Bagupantao impressed and plain but it is covered with heavy red hematite slip inside and outside of the neck.
Thinner (2–7 mm) and smaller than Bagupantao plain.
• Extraneous Pottery - Three vessels that did not belong to the Bagupantao and Kalanay style were also found.
First pot
Similar clay used as the Bagupantao and Kalanay vessels. The color, red-brown, was also the same, inside and out.
Ornamented with small crystals on the paste and black flakes on the surface.
As thin (3–8 mm) as the Bagupantao painted vessel.
Second pot
Same size and structure as the Bagupantao pots.
Used a different paste (fibrous texture and contained mineral inclusions)
Heavily polished and the surface color ranges from red-brown to light gray.
As thick as the Bagupantao plain jars (5–12 mm).
Third pot
The paste used is chocolate-brown in color and its texture is fine.
It is very thick (15–20 mm) when compared to the other pots.
Poorly made because of the uneven distribution of heat to the pot (pieces break longitudinally).
Other art forms[edit]
Arnis, a well known Filipino martial art which emphasize weapon-based fighting with the use of sticks.
Whang-od, the 'last' mambabatok and a national icon, performing the batek tattoo art of the Butbut Kalinga. She has passed on the batek art to at least three of her apprentices who she trained for 8 years, thus preserving the last living tattoo tradition of the Philippines.
The term indigenous art is sometimes used to refer to the utility of indigenous materials as a medium for the creation of different kinds of artworks, as with the paintings by Elito Circa, a famous folk artist of Pantabangan and a pioneer in using indigenous materials as well as natural raw materials including human blood.[31] Many Filipino painters and foreign artists were influenced by Filipino indigenous art and started using these indigenous materials, which include extracts from onion, tomato, tuba (palm wine), coffee, rust, molasses and other materials available anywhere to be used as paint.
Jewelry design. In 2015/16, the Asia Society in New York presented an exhibit called Philippine Gold: Treasures of Forgotten Kingdoms. The exhibition presents spectacular works of gold primarily discovered over the past forty years on the Philippine islands of Luzon, the Visayas, and Mindanao. The regalia, jewelry, ceremonial weapons, and ritualistic and funerary objects attest to the recently uncovered evidence of prosperity and achievement of Philippine polities that flourished between the tenth and thirteenth centuries, long before the Spanish discovered and colonized the region. Although the forms and styles of the majority of these works developed locally, some indicate that Philippine craftsmen had been exposed to objects from beyond their borders through the robust cultural connections and maritime trade in Southeast Asia during what was an early Asian economic boom.
Kut-kut is an art technique used between the 15th and 18th centuries. The technique was a combination of European and Oriental style and process mastered by indigenous tribes of Samar island.
The tanaga is a type of Filipino poetry.
The batek or batok is a form of indigenous tattooing of the Kalinga people in the Cordilleras. The most prominent tattoo artist in the country is Whang-od, who has been known as the last mambabatok until has started mentoring her niece on the art so that the tattoo artistry of the Kalinga will continue. The art form has been critically acclaimed internationally in the United States, Germany, France, Canada, and many others.
Notable Filipino artists[edit]
Past notable Filipino artists include Juan Luna, Fernando Amorsolo, Augusto Arbizo, Félix Hidalgo, Ang Kiukok, Anita Magsaysay-Ho, Lito Mayo, Mauro Malang Santos, Santiago Bosé, Rey Paz Contreras and David Cortés Medalla. Present-day Filipino artists featuring Filipino culture include Benedicto Cabrera, Elito Circa, Fred DeAsis, Daniel Coquilla, Francisco Viri, and Nunelucio Alvarado.[32] The art or paintings by Zóbel, Amorsolo and many more could be seen in most of the art museums in the Philippines. Zobel's paintings can be seen in the Ayala Museum.
Museums[edit]
Place
Museum
Description
Address
Manila Bahay Tsinoy A typical Chinese Filipino house in the Philippines Kaisa Heritage Center, 32 Anda corner Cabildo Streets, Intramuros, Manila
Casa Manila A typical Spanish colonial house in the Philippines General Luna Street, Intramuros, Manila
San Agustín Museum A church museum with wide collections of catholic religious items San Agustín Monastery, General Luna Street Corner Real, Intramuros, Manila
National Museum of Fine Arts The national museum which showcases Philippine Arts P. Burgos Avenue, Manila
Malacañang Museum A museum inside the Presidential Palace complex Malacañang Palace Complex, J.P. Laurel Street, San Miguel, Manila
Metropolitan Museum of Manila A museum of contemporary arts Bangko Sentral ng Pilipinas Complex, Roxas Boulevard, Manila
Museum of Contemporary Arts and Design A museum of contemporary Filipino arts College of Saint Benilde, 950 P. Ocampo Street, Malate, Manila
The Museum A museum of contemporary Filipino arts De La Salle University, 2401 Taft Avenue, Manila
UST Museum The oldest existing museum in the Philippines. UST Museum has permanent display on natural history specimens, coins, medals, memorabilia, ethnographic materials and oriental arts objects. University of Santo Tomás Main Building, España Boulevard, Sampaloc, Manila
Museo Pambata A museum for children Roxas Boulevard corner South Drive, Ermita, Manila
Pasay CCP Museo ng Kalinangang Pilipino and Asian Traditional Musical Instruments A museum of performing arts. Tanghalang Pambansa CCP Complex, Roxas Boulevard, Pasay
GSIS Museo ng Sining A museum of Filipino Arts Macapagal Avenue, Financial Center, Pasay
Makati Ayala Museum A museum of Filipino Arts Makati Avenue corner De La Rosa Street, Greenbelt Park, Makati
Yuchengco Museum A museum of Filipino and Filipino-Chinese Arts RCBC Plaza, Ayala corner Senator Gil Puyal Avenue, Makati
Pasig Lopez Museum A museum of Filipino Contemporary Arts Benpres Building, Exchange Road corner Meralco Avenue, Pasig
Quezón City Ateneo Art Gallery A museum of Filipino Contemporary Arts Special Collections Building, Ateneo de Manila University, Katipunan Avenue, Loyola Heights, Quezón City
Jorge B. Vargas Museum and Filipiniana Research Center The only museum in the Philippines with wide range of Philippine Arts from 1880 to 1960 Roxas Avenue, University of the Philippines, Dilimán, Quezón City
Taguig The Mind Museum A science museum J.Y. Campos Park, 3rd Avenue, Bonifacio Global City, Taguig
Cebu Paulina Constancia Museum of Native Art [MoNA] A museum of Native Art, Poetry, & Sustainability 110 Gorordo Ave., Cebu City
Aurora Baler Museum A museum of Native Art and culture Baler, Aurora
Nueva Ecija Provincial Capitol Museum A museum of Novo Esijano's Arts and Culture Palayan City
Fred's Arts Gallery A museum of Novo Esijano's Artist Cabanatuan City
Benguet BenCab Museum A museum of BenCab Arts Baguio City
See also[edit]
National Arts Center in Los Baños, Laguna
Architecture of the Philippines
Cinema of the Philippines
Philippine comics
Filipino cartoon and animation
Literature of the Philippines
Music of the Philippines
Filipino martial arts
Culture of the Philippines
National Artist of the Philippines
National Living Treasures Award (Philippines)
Living Human Treasure
References[edit]
^ Jump up to: a b Jocano, F. Landa (2001). Filipino Prehistory: Rediscovering Precolonial Heritage. Quezon City: Punlad Research House, Inc. ISBN 971-622-006-5.
Jump up ^ Scott, William Henry (1994). Barangay: Sixteenth Century Philippine Culture and Society. Quezon City: Ateneo de Manila University Press. ISBN 971-550-135-4.
Jump up ^ Jocano, Felipe Jr. (2012-08-07). Wiley, Mark, ed. A Question of Origins. Arnis: Reflections on the History and Development of Filipino Martial Arts. Tuttle Publishing. ISBN 978-1-4629-0742-7.
Jump up ^ Churchill, Malcolm H. (1977). "Indian Penetration of Pre-Spanish Philippines" (PDF). Asian Studies. Diliman, Quezon City, Philippines: University of the Philippines Asian Center. 15.
Jump up ^ Osborne, Milton (2004). Southeast Asia: An Introductory History (Ninth ed.). Australia: Allen & Unwin. ISBN 1-74114-448-5.
Jump up ^ Laszlo Legeza, "Tantric Elements in the Philippines PreHispanic Gold Arts," Arts of Asia, 1988, 4:129–136.
Jump up ^ Rizal, Jose (2000). Political and Historical Writings (Vol. 7). Manila: National Historical Institute.
Jump up ^ Prehispanic Source Materials: for the study of Philippine History" (Published by New Day Publishers, Copyright 1984) Written by William Henry Scott, Page 68.
Jump up ^ tribhanga
Jump up ^ http://asj.upd.edu.ph/mediabox/archive/ASJ-01-01-1963/Francisco%20Buddhist.pdf
^ Jump up to: a b c Golden Tara Government of the Philippines
Jump up ^ H. Otley Beyer, "Outline Review of Philippine Archaeology by Islands and Provinces," Philippine Journal of Science, Vol.77,Nos.34 (July–August 1947),pp. 205–374
Jump up ^ Juan Francisco (1963), A Note on the Golden Image of Agusan, Philippine Studies vol. 11, no. 3 (1963): 390—400
^ Jump up to: a b Anna T. N. Bennett (2009), Gold in early Southeast Asia, ArcheoSciences, Volume 33, pp 99–107
Jump up ^ Dang V.T. and Vu, Q.H., 1977. The excavation at Giong Ca Vo site. Journal of Southeast Asian Archaeology 17: 30–37
Jump up ^ Cite error: The named reference ap was invoked but never defined (see the help page).
^ Jump up to: a b Zafra, Jessica (2008-04-26). "Art Exhibit: Philippines' 'Gold of Ancestors'". Newsweek. Retrieved 2017-12-27.
^ Jump up to: a b c "National Museum Collections: Ling-ling O". Official Website National Museum of the Philippines (Beta Website). Archived from the original on 2011-11-11. Retrieved 2017-12-27.
^ Jump up to: a b Apostol, Virgil Mayor (2010). Way of the Ancient Healer: Sacred Teachings from the Philippine Ancestral Traditions (2010 ed.). North Atlantic Books. ISBN 1556439415.
^ Jump up to: a b "History Of Philippine Painting". Wiziq.com. Retrieved 2013-08-01.
Jump up ^ "Philippine Dances Cordillera". Seasite.niu.edu. Retrieved 2013-08-01.
Jump up ^ "tribal dances". Seasite.niu.edu. Retrieved 2013-08-01.
Jump up ^ "Hot Spots Filipino Cultural Dance - Singkil". Sinfonia.or.jp. Retrieved 22 February 2015.
Jump up ^ "Banton Cloth : Age of Contact : Banton Is., Romblon". Nationalmuseum.gov.ph. Retrieved 22 February 2015.
^ Jump up to: a b Trish Sotto. "Fa 28 weaving history". Slideshare.net. Retrieved 2013-08-01.
^ Jump up to: a b "De La Salle University : University Library : Philippine Pottery". Dlsu.edu.ph. Archived from the original on 2012-11-20. Retrieved 2013-08-01.
^ Jump up to: a b "Anthropomorphic Pots : Metal Age : Ayub Cave, Saranggani Province". Nationalmuseum.gov.ph. Retrieved 22 February 2015.
Jump up ^ "Metropolitan Museum of Manila, Philippines: Art for All". Metmuseum.ph. 2012-09-01. Retrieved 2013-08-01.
^ Jump up to: a b c Skibo, J. (1992). Pottery Function: A use-alteration perspective. New York: Plenum Press.
^ Jump up to: a b c d e f Solheim, William (2002). The archaeology of central Philippines: A study chiefly of the Iron Age and its relationships. Manila: Bureau of Print.
Jump up ^ "Artist uses own blood, hair in paintings". The Philippine Star. Philippine Star. 2011. Retrieved 2011-07-12.
Jump up ^ "Kulay-Diwa Gallery of Philippine Contemporary Art - Gallery of Philippine Contemporary Art". Kulay-diwa.com. Retrieved 2013-08-01.
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