The ever-present conflict of the state with the Catholic Church is illustrated in the

historical and political painting "La Iglesia Contra el Estado" by Felix Resurreccion
Hidalgo. This resulted in a profound impact on the Philippine legislation and social
conventions as well as an evident alteration of our nation's political status concerning its
connections to the church. This concept seemingly highlights the importance of
fundamental rights and freedom of religion, as well as separation between church and
state. Furthermore, I see this as a thought-provoking reminder of the importance of
balancing religious influence with democratic governance in modern Filipino society and
politics.
On the other hand, the "Payong-a-Diyakatan" is a culturally significant artifact
used by the Maranao for their rituals and ceremonies. This traditional umbrella is a
visual marvel, identifiable by its vibrant cloth adorned with intricate patterns and an
array of sequins and beads that gleam and reflect the rich cultural heritage of the
Maranao. Complementing this piece is a sturdy, intricately carved wooden handle,
showcasing the remarkable craftsmanship of these indigenous communities. Together,
these elements create a unique and culturally significant item.
"Payong-a-Diyakatan" and "La Iglesia contra el Estado" have contributed to
Filipino culture. While they come from different contexts and have different purposes,
they are interwoven into Filipino customs' rich tapestry. "La Iglesia contra el Estado" has
added to the ongoing discussion regarding the place of religious organizations in
democratic societies by emphasizing ideas such as the separation of church and state,
which is pertinent to contemporary Filipino culture. The "Payong-a-Diyakatan," on the
other hand, is a symbol of the close ties that indigenous tribes have to their indigenous
identity and cultural history. The workmanship and beauty revered in Filipino culture are
on display in these ceremonial umbrellas. Both "La Iglesia contra el Estado" and
"Payong-a-Diyakatan" emphasize the significance of cultural preservation and
adaptability in the changing terrain of Filipino culture, even if one emphasizes political
and religious dynamics and the other displays traditional beliefs and expert artistry.
Delving into the world of art and cultural artifacts has been a humbling and
enlightening journey, to say the least. Learning about these artworks and culturally
significant artifacts has made me realize just exactly how little I know about the art and
history of my own country. Despite the past and art being taught throughout elementary
to high school, the learnings I gained during the research conducted for the construction
of this essay have all been new. This experience has not only deepened my
appreciation for the rich tapestry of art and history in my homeland but has also served
as a stark reminder that, as Filipinos, we often possess extensive knowledge of foreign
history and art. At the same time, our own culture remains relatively unexplored. It
emphasizes the need for a renewed focus on understanding and preserving our unique
heritage, as an ever-expanding world of knowledge is waiting to be explored within our
shores. This journey encourages me to continue this exploration, both as a student and
a steward of our cultural heritage.
REFERENCES:
Castro, A. D. (2012, June 29). *297. UMBRELLA SEASON.
http://viewsfromthepampang.blogspot.com/2012/06/297-umbrella-season.html
CCP Encyclopedia of Philippine Art | CCP Encylopedia of Philippine Art. (n.d.). CCP
Encyclopedia of Philippine Art. https://epa.culturalcenter.gov.ph/3/82/2130/
National Museum of Fine Arts | 360VRs produced by: www.firefly.ph. (n.d.).
https://nmfa.nationalmuseum.gov.ph/
Oliveros, S. (2018, August 22). The Philippines’ own Muslims. WORLD CIVILIZATIONS.
https://historyandciv.wordpress.com/2018/08/22/the-philippines-own-muslims/
Sarno, J. (n.d.). Maranaos. prezi.com. https://prezi.com/qk5cjo0qdk_4/maranaos/