Fangkao
Spear with steel point shaped like a laurel. Spearhead was fastened to the wooden shaft. A iron ferrule and basketry weave of rattan ferrule were used to strengthen the shaft where the square-shaped tang is secured. Almost half of the shaft was burned by incendiary bombs that hit the Linden-Museum during WW II.
Additional Info
- Number: 029761
- Dimensions: L: 96.7 cm W: 6.5 cm D: 3.5 cm
- Material: Wood, Metal, Rattan
- Year of Accession: 1903
- Collector: Sieglin, Ernst
- Ethnic Group: Bontoc
- Functional Context: Rice Rituals, Headtaking
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Sinalawitan
Spear with multi-barbed steel point shaped like a fish tail. Spearhead was fastened to the wooden shaft. A iron ferrule and a basketry weave of rattan ferrule were used to strengthen the shaft where the tang is secured.
Panilipo
Spear with a single barbed steel point shaped like a fish tail. Spearhead was fastened to the wooden shaft. A iron ferrule and a basketry weave of rattan ferrule were used to strengthen the shaft where the round-shaped tang is secured. The based was burned by incendiary bombs that hit the Linden-Museum during WW II.
Fangkao
Spear with steel point shaped like a laurel. Spearhead was fastened to the wooden shaft. A iron ferrule and basketry weave of rattan ferrule were used to strengthen the shaft where the square-shaped tang is secured. Almost half of the shaft was burned by incendiary bombs that hit the Linden-Museum during WW II.
Kalasag
Wooden shield carried for protection during warfare. Mound shaped and forked with three prongs atop and two prongs at it base. Rattan basketry was woven near the prongs to help keep the wood together. The designs that have been etched and blackened resemble distinct tattoo designs of Kalinga warriors. Colourful basketry weave was used to design the prongs. Some of the basketry weave have worn out. Handle at the back was carved.
Falfeg or Falfog
Spear with a single barbed steel point shaped like a fish tail. Spearhead was fastened to the wooden shaft. A basketry weave of rattan ferrule was used to strengthen the shaft where the square-shaped tang is secured. A cone shaped iron cap was placed on the base of the shaft to protect the spear when while it was used as a staff by men walking along the trails. Possibly a Bontoc falfeg.
Panilipo
Spear with a single barbed steel point shaped like a fish tail. Bigger sized spearhead was fastened to the wooden shaft. A basketry weave of rattan ferrule was used to strengthen the shaft where the round tang is secured. The base was burned by incendiary bombs that hit the Linden-Museum during WW II. Possibly a Bontoc falfeg.
Kalasay
Wooden shield. Mound shaped and forked with three prongs atop and two prongs at it base. Rattan basketry was woven to help keep the wood together. Handle at the back was carved. With patina. Paper label stating that it was displayed at the St. Louis Fair is pasted at the back of the shield.
Bul-ul with hair
A finely carved male Bul-ul with human hair on the head, and possible layers of blood patina. Ears pierced with circular holes on which the mumbaki ritual priest would sometimes put rice panicles during the harvest rituals. The base was shaped likened to an Ifugao rice mortar. Comes from western Ifugao.
Punamhan
A wooden ritual box with cover used by the Ifugaos in rituals performed to urge for bountiful rice production. It is carved with animal shaped busts projected at each end from upper side of box. It contains remains of pakhuy (unhusked rice), momah (areca cathecu), cut runo (Miscanthus chinensis) stems, a stone amulet, a small flat iron (resembling part of a blade used to harvest rice) and possibly dried part of the momah plant. The box’s contents are remains of ritual performances using the object. Each ritual that was performed left ritual paraphernalia inside the box. Runo stems were sometimes used in healing rituals to call for the soul. In some villages in Ifugao, runo remains in ritual boxes may have been used to record the number of pigs that were used to pay the rice fields associated to the ritual box.
Wooden pig
A wooden animal figure from southern Ifugao. Finely carved showing pig’s body parts. It was usually placed in the Ifugao rice granary accompanying the bul-ul and the punamhan or the tingab ritual boxes.
Bul-ul
Carved wooden male Bul-ul standing on a square platform. Carved to show a round shaped hair cut and ears pierced with circular holes on which the mumbaki ritual priest would sometimes put rice panicles during the harvest rituals. Possible traces of blood patina. During the performance of rice rituals, the mumbaki priest sometimes touch the bul-ul with his hands dipped in a sacrificed pig’s blood.
Dancing male Bul-ul
Wooden male Bul-ul from Kiangan. Finely carved with arms that can be detached. Hands on sideways appear to show a dance movement in the Ifugao traditional dance. It stands on a square platform.
Ritual box
A small rattan woven ritual box with cover. A wooden anthropomorphic figure and a feather was attached to the box. It contains remains of dried momah (areca nut), a stone hip’ag amulet, a wooden (kinahu) amulet and rolled and tied leaf. Collector labelled this as “magic box with content”.
Kinahu hip’ag
Wooden figure shaped like a dog used as an amulet. It is usually kept in a basket or in a ritual box. A wooden anthropomorphic figure seated on a carved platform. With patina. Figures like this embody the powers of the Hip’ag war deities that were invoked during rituals dealing with any form of violence and related acts. Hip’ag deities were often associated to hunting, sorcery and curing unusual illness. Hip’ag objects may also take the shape of other animals such as a boar.
Gangsa
Bontoc gong made out of bronze. The collector noted that the handle is made from jawbone. Gongs are played during Bontoc rice rituals, especially during the planting and harvest season. Gangsa is an instrument shared by several groups in the Cordillera. It varies in size and in the way it is tuned to suit the preferred sound pitch when played. Few skilled men continue to produce this.
Punamhan
A wooden ritual box with cover used by the Ifugaos in rituals performed to urge for bountiful rice production. It was carved with anthropomorphic figures at each end of the box. It contains remains of pakhuy (unhusked rice), momah (Areca cathecu), egg and possibly dried bark of the tree. The box’s contents are remains of ritual performances using the object. Each ritual that was performed left a ritual paraphernalia inside the box.
Tinagtagu
A male wooden sculpture with a read cloth on the waist. The figure is sitting on a round platform. Part of the nose, arm and leg were chipped off suggesting it may have been used in a ceremonial practice. Collector notes that this object is from the Bontoc and labeled it tinagtagu.
Human Remains
A head tied on a wooden board together with a wooden spear blade and dry leaves.
Small anthropomorphic figure
Wooden anthropomorphic figure with knees bended. With patina. Collector labelled this as “ancestor figure huguhug”. Huguhug literally means the rock above the hearth which is used for drying firewood and rice or seeds. It resembles the kinabbigat wooden figures in Ifugao villages In some villages of central Ifugao, the propertied class would have a kinabbigat inside their houses. It is used to support the roof and the balog/pfalog attic part of the dwelling house. Kinabbigat may have been derived from kabbigat, a god and the source or giver of rice in central Ifugao.
Small seed container
Rattan container with cover and handle. Remains of rice seeds are still in it. Some Ifugao villages store their rice seeds in rattan containers that allow natural aeration for the seeds to maintain the desired moisture and quality. Over the years, the Ifugaos have planted several varieties of rice and they have been observing the characteristics of these rice varieties as this was very important in the traditional rice production.
Bul-ul couple
A pair of wooden Bul-ul, male and female, sitting on a carved square platform. During rice harvests, these are positioned to face the harvested bundles of rice, mimicking a couple who watches over the harvest. Possible traces of blood patina. During the performance of rice rituals, the mumbaki priest sometimes touch the Bul-ul with his hands dipped in a the sacrificed pig’s blood. These are usually placed near the door of rice granaries together with wooden pigs.
Bul-ul couple standing
A pair of wooden Bul-ul, male and female, standing on a carved platform, the female is standing on a platform carved in the shape of an Ifugao rice mortar. Head was carved to show a round shaped hair cut and inlaid eyes with shells. Female (right) was carved showing the breasts. Possible traces of blood patina. These are usually placed near the door of rice granaries together with wooden pigs.
Bul-ul with wanoh
Ifugaos sometimes put a men’s lower garment (wanoh) on their bul-ul and style the head part to show the hair cut. Carved to show details of the human face, feet and hands plus ears pierced with circular holes. The mumbaki ritual priest sometimes put rice panicles on these pierced ears during the harvest rituals. Bul-ul is standing on a carved platform shape like the round Ifugao mortar.
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