Summary of Insights:

Growing up, we were never really fond of Philippine history. What played a big part in our lack
of enthusiasm was how schools and textbooks taught it. There was rarely an instance where we would
read about individuality, let alone the craftsmanship of the early Filipinos. History class always focused
on the usual issues centered around our country back then, like colonialism. However, the documentary
we just watched showed us a whole different side to Filipinos. We saw a glimpse of how uniquely
talented we were even during the early periods and absolutely adored seeing this side of Philippine
history, one you can’t often see being shown today.

The documentary changed the way history presents itself. It showed evidence that the
Philippines was already rich in culture and history even before the arrival of our colonizers. It debunks
the idea that our culture was simply created by our colonizers and not us. The documentary showed
many artifacts that proved the existence of a rich culture that existed in the Philippines. Moreover, it
presented the craftsmanship and sophisticated designs in the artifacts proving that early Filipinos
engaged in trade relationships with neighboring countries. It was particularly intriguing and amazing to
see how skilled the early Filipinos were in goldsmithing. For us, it highlighted the creativity and
imagination of early Filipinos even without the use of modern technology. In the end, as we reflected on
what we’ve watched, we realized that there are still traces of our past society present in our diverse
culture today.

Maitum Jar
 Photos are taken from Langyaw.com - Photo by Stan Cabigas.

[3.1] Maitum Jars are anthropomorphic earthenware burial jars found in 1991 at Ayub Cave (referred to
as Pinol Cave) located in Barangay Pinol, Maitum in the province of Sarangani.

[3.2] It is known for its unique and sophisticated renderings, where it depicts the face and the body of
the person buried in the burial vessels. Moreover, the jars follow the gender of the deceased individual,
with female remains placed in receptacles with breast-like forms while males have penis-like
projections at the base of the jar. It has a movable cover and lid to cover the jar, and its measurements
vary from different sizes and weights. In addition, the colors of the jars range from shades of gray to
brown because of the materials used.

[3.3]
[3.3. A] It is said that the Maitum Jars were used by indigenous natives of Sarangani.
[3.3. B] The jars are an important part of the burial ritual which they conduct for their deceased
relatives.
[3.3. C] It serves as a burial place where skeletal remains are transferred.
[3.3. D] Carbon dating reveals that the jars are 2,000 years old during the metal age period of the
Philippines.

[3.4]
[3.4. A] The use of pottery (earthenware) and intricate designs in the Maitum Jars are suggestive that
techniques and tools during that time (metal age period) are developing that help create sophisticated
designs. [3.4. B] The use of Maitum jars as a way of burial is indicative of their belief in the afterlife.

[3.4. C] Today, we have what is called a funerary urn or cremation urn, which functions the same as
Maitum Jars. The main difference is that the material used today is ceramics embedded with a custom
array of designs, with its size being much more compact.

[3.4. D] Looking at their crafts and their practice of burial, We can see how they value one’s life as they
create these artifacts for their deceased loved ones. Lastly, the craftsmanship present in the designs of
the jars can indicate they are part of a developing society.

Golden Tara
 Photos are taken from pinoy-culture.tumblr.com - Photo by Chris Pace

[3.1] The Golden Tara is a 21-karat gold statue of a Hindu-Malayan deity discovered in 1917 in
Esperanza, Agusan del Sur, Southern Philippines.

[3.2] The golden statue depicts a woman deity named “Tara”, an escort goddess from the Buddhist
Pantheon, sitting cross-legged, richly embellished with a headdress and several accouterments on her
arms and legs. This artifact is a solid gold structure containing 21 karats, weighing 4 pounds, and has a
measured height of 8 inches.

[3.3]
[3.3. A] Since this artifact was carefully crafted to represent Bodhisattva Tara, it must have been
displayed or used during sacred offerings or religious Hindu/Buddhist ceremonies.
[3.3. B] Our Filipino ancestors may have used this back in the day. Back then, most of our ancestors
were Animists and Polytheists who believed in numerous gods and goddesses. Moreover, this artifact
shows that Filipinos may have practiced Hindu/Buddhist beliefs.
[3.3. C] Although there is not much information on this, the statue could have been used in places
where ancient Filipinos did offerings or ceremonies.
[3.3. D] This artifact was dated to the early 13th century and it might have been used during that period.

[3.4]
[3.4. A] The Golden Tara debunks all the myths that regard ancient Filipinos as savages or uncivilized. It
shows the ancient craftsmanship of the people of Mindanao, centuries before colonialism. The stunning
golden statue provides evidence that our ancestors had the ability and technology to create such
intricate metalwork.
[3.4. B] It is proof that ancient Filipinos were not isolated or disconnected from the rest of Southeast
East Asia. Moreover, the depiction of a Hindu/Buddhist deity shows that our ancestors already had
extensive contact with the Hindu/Buddhist culture. Lastly, the use of gold indicates that gold mining
was also a present industry back then.
[3.4. C] Today, we have similar golden statues that portray Hindu/Buddhist deities that can commonly
be seen and used in temples.
[3.4. D] The Golden Tara is believed to be evidence that the present Caraga region had been part or
connected to the greater Majapahit Empire that dominated Southeast Asia. The statue embodies the
extensive cultural and political connections between the ancient Filipinos and the outside world.

GOLDEN REGALIA

Photos are taken from Asiasociety.org - Photo by Neal Oshima.

[3.1] Among the discovered Surigao artifacts displayed at the Ayala museum, The golden regalia, an
ancient 24-karat gold halter-like adornment, is considered to be one of the most prized artifacts in the
collection. It was accidentally found in 1981 at Surigao del Sur together with other golden artifacts by
Berto Morales.

[3.2] The golden regalia caught the attention of many due to its intricate and refined design. The design
is created using a combination of gold beads, threads, and cords that somewhat resembles a futuristic
ammunition belt. It is nearly five feet long and weighs about four kilos, which contain a loop that
functions as a lock when worn.

[3.3]
[3.3. A] It is used as an ornament or accessory that is designed to be worn over one shoulder across the
chest and to the hip where one end threads through a loop.
[3.3. B] it might be used by wealthy and influential families in the society of the past
[3.3. C] where it displays their wealth and power in the society.
[3.3. D] The Surigao gold artifacts’ date stamp during the pre-Hispanic era during the 10th to 13th
centuries.

[3.4]
[3.4. A] The intricate designs of the golden regalia could indicate that during that time, the societies
developed a skillful way and technique in goldsmithing using tools to create sophisticated and
elaborate designs.
[3.4. B] Moreover, the vast amount of gold artifacts and ornaments suggest that Filipino’s highly value
gold which symbolizes wealth and power in past societies.
[3.4. C] Today, the use of gold as ornaments and accessories is still popular however only with jewelry
like rings, necklaces, and earrings. Sashes are still worn but are made using fabrics instead of gold.
[3.4. D] The golden regalia is evidence that the Philippines has a rich and sophisticated society and
culture even before colonists arrived. In addition, It can also indicate that society back then has a large
trading network and interacted with other civilizations in Asia.

BAYBAYIN (MONREAL STONES)

Photos are taken from gmanetwork.com & en.wikipedia.com respectively

[3.1] The Monreal Stones are two limestone tablets that contain Baybayin, a historic Philippine script,
characters found on Ticao Island in Monreal town, Masbate.

[3.2] The triangular-shaped and larger of the two limestone tablets weigh 30 kilos, is measured 11
centimeters thick, 54 centimeters long, and 44 centimeters wide. The smaller and oval-shaped
limestone is measured 6 centimeters thick, 20 centimeters long, and 18 centimeters wide. Most
importantly, Baybayin characters can be seen engraved on both sides of the larger limestone and one
side of the smaller ones. Displayed below are the translated Baybayin characters written on the
limestone tablets:
Transcription of the Baybayin Characters on the small, round stone:
Line 1: KA – HA – NGA – NA – NI
Line 2: NA – PA – LA – U – DA – NA
Line 3: NA – KA – TA – A – NA - /
Deciphered Bisayan Words:
Kahang na ni [?]
Napala[w]ud na [?]
Nakataa[n] na /
Transcription of the Baybayin Characters on the large, triangular stone:
Line 1: A – NA – TA – U – GA – BA – TA – HA – LA – NA
Line 2: DI – TA – A – NA – BA – I – HA – LA – I – HA – LA
Line 3: HA – KA – SA – GA – NA – BA – HA – YA – NA
Line 4: HA – TA – A – NA – NGA – I – HA – LA
Line 5: NA – NGA – LA – U – TA – A – KA – NA
Line 6: LA – HA – KA – LA – NA – MA
Line 7: A – NA – NGA
Deciphered Bisayan Words:
Anata! Uga[k], bata! Hala na!
Ditaa[n] na ba? Ihala[d]! Ihala[d]!
Haka [sa] sagana bahaya[n] na.
Hataa[n] na nga ihala[d].
Nangala[w]u[d], taaka na
la ha kala[g] na ma-
angga.

[3.3]
[3.3. A] The triangular limestone might have functioned initially as a platform used for ritual offerings in
a native place of worship. This function can be inferred from the Baybayin characters that contain an
outline for a live ritual. On the other hand, the oval-shaped limestone might have functioned as a stone
sinker used at the end of a heavy-duty fishing net or “panamaw”. The panamaw net would have been
anchored by the smaller Monreal Stone. The stone’s use can be inferred from the Baybayin characters
that seemed to depict an apology in case the net had been swept away to outer boundaries.
[3.3. B] Based on the previously mentioned functions, babaylans (native worship leaders) and
fishermen may have used the limestone tablets.
[3.3. C] The artifact might have been used in a native place of worship for the larger limestone and the
sea as a net anchorage for the smaller limestone.
[3.3. D] The Monreal limestone tablets might have been utilized during ritual offerings and fishing
journeys.

[3.4]
[3.4. A] Based on the materials used; limestone and sharp tool, the people during this period did not
have modern writing tools or may have opted not to use them because of tradition and reasons alike.
[3.4. B] The Baybayin characters engraved on the limestones were considered to be the ancient written
language of Filipinos before the colonialization of the Spanish. It shows how Filipinos back then were not
illiterate and had their means of communication in terms of reading and writing.
[3.4. C] Today, there is a series of documents preserved in Spanish and Philippine archives that include
Baybayin characters. The earliest example that can still be found today is the 1593 book entitled,
Doctrina Christiana en Lengua Española y Tagala that has been translated to Tagalog in baybayin.
[3.4. D] The society at that time was still during the pre-colonial period. Therefore, it can be said that the
early Filipinos from that time period much or less still had their independence and individuality, most
especially when it came to reading and writing.
References:

A golden discovery in the Philippines. Asia Society. (2015, September 11). Retrieved February 17, 2022,
from https://asiasociety.org/blog/asia/golden-discovery-philippines

Cabigas, S. (2014, December 29). Maitum's unique anthropomorphic burial jars • Langyaw. Retrieved
February 16, 2022, from https://langyaw.com/2011/12/23/maitums-unique-anthropomorphic-burial-
jars/

Enriquez, K. (2013, July 2). Golden Tara of agusan. Retrieved February 17, 2022, from
http://www.boardinggate101.com/2013/04/golden-tara-of-agusan.html

Fresnoza, P. (2017, July 16). Baybayin: Does this Ancient Filipino Script Have a Future? Retrieved
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script-have-a-future

Garcia, M. A. (2016, January 27). The story behind the Philippine Gold - Positively Filipino: Online
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Johnson, K. (2015, September 24). Review: 'philippine gold: Treasures of forgotten kingdoms'. Retrieved
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treasures-of-forgotten-kingdoms.html

Maitum Anthropomorphic Pottery - Google Arts & Culture. (n.d.). Retrieved February 16, 2022, from
https://artsandculture.google.com/entity/maitum-anthropomorphic-pottery/m03f90z?hl=en
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from https://opinion.inquirer.net/122195/the-gold-tara-of-agusan

Prehistory of sarangani. (n.d.). Retrieved February 16, 2022, from

https://www.wikiwand.com/en/Prehistory_of_Sarangani

Philippineart. (2014, December 7). The Golden Tara of agusan. Retrieved February 17, 2022, from
https://philippineart.tumblr.com/post/104596741076/the-golden-tara-of-agusan

SURAT BINISAYA: DECIPHERING ANCIENT BISAYAN WRITING ON RECENTLY-DISCOVERED ARTIFACTS IN

THE PHILIPPINES. (2017, November 13). Retrieved February 17, 2022, from
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