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Cordillerabilia, Etc., Brgy. Santolan, Pasig (2026)

12/06/2026

VINTAGE IFUGAO BULUL WINE SERVER (Seated Male) Circa early 1970s

Price: P10K (originally priced at P15K)

Sizes (heights): 13” tall seated male Bulul wine server

Material: Probably Amugawon (molave) ironwood

Provenance:
This Ifugao vintage Bulul Couple, circa early 1970s, came from Banaue. Ifugao.

Description:
Bulul are anthropomorphic wooden carvings from the Ifugao people of the northern Philippines that act as guardians of rice granaries. They are believed to protect rice crops from pests and ensure a bountiful harvest, symbolizing wealth, happiness, and well-being for the community. These figures, often carved in male and female pairs, are a significant part of Ifugao culture and are also seen as a connection to ancestors and spirits.

Bulul are "granary guardians" that are believed to ward off pests and ensure a good rice harvest. They are also seen as representing the spirits of ancestors or guardian deities. They are carved figures that represent human-like forms, often in pairs of male and female. They are typically depicted in various stances, such as standing or sitting, with arms folded or crossed over their knees. They are often made from hardwoods like narra.

Bulul are central to the Ifugao rice culture and are highly respected as works of art. The creation of a bulul involves a ritualistic process, including selecting a tree with the help of a mumbaki (priest).

Once created, bulul are consecrated through a ritual that can include chanting, animal sacrifice, and offerings like rice wine, which can create a ritualistic patina on the figure.

11/06/2026

VINTAGE IFUGAO BULUL COUPLE Circa late 1970s

Price: P15K a pair (originally priced at P20K a pair)

Sizes (heights): Male Bulul is 11” tall, and Female Bulul is 10” tall

Material: Probably Amugawon (molave) ironwood

Provenance:
This Ifugao vintage Bulul Couple, circa late 1970s, came from Banaue. Ifugao.

Description:
Bulul are anthropomorphic wooden carvings from the Ifugao people of the northern Philippines that act as guardians of rice granaries. They are believed to protect rice crops from pests and ensure a bountiful harvest, symbolizing wealth, happiness, and well-being for the community. These figures, often carved in male and female pairs, are a significant part of Ifugao culture and are also seen as a connection to ancestors and spirits.

Bulul are "granary guardians" that are believed to ward off pests and ensure a good rice harvest. They are also seen as representing the spirits of ancestors or guardian deities. They are carved figures that represent human-like forms, often in pairs of male and female. They are typically depicted in various stances, such as standing or sitting, with arms folded or crossed over their knees. They are often made from hardwoods like narra.

Bulul are central to the Ifugao rice culture and are highly respected as works of art. The creation of a bulul involves a ritualistic process, including selecting a tree with the help of a mumbaki (priest).
Once created, bulul are consecrated through a ritual that can include chanting, animal sacrifice, and offerings like rice wine, which can create a ritualistic patina on the figure.

10/06/2026

OLD BONTOC WOODEN BUCKETS/BASKETS Circa early 2000s

Price: P2.5K each bucket/basket (originally priced at P3K)

Dimensions:
Bucket/basket 1 – 12” H x 9” W x 8” D
Bucket/basket 2 – 12” H x 10” W x 8’ D
Bucket/basket 3 – 11” H x 10” W x 8” D
Note: The height of each bucket is measured from the apex of the rattan handle to the base of the bucket.

Materials: Carved/hollowed from a segment of a tree trunk of either Amugawon/Mulawin ironwood (Vitex parviflora) or Gatatt / Gatat wood (Garcinia spp.).

Condition: Unused, but still in excellent condition.

Provenance: Circa early 2000s, from Bontoc, Mountain Province

Description:
These Bontoc wooden buckets/baskets are hollowed tree-trunk utilitarian pails/containers with an integrated rattan handle cord. They are domestic buckets or pails, traditionally hollowed from a dense, straight-grained section of a local hardwood log, usually either Amugawon/ Mulawin ironwood (Vitex parviflora) or Gatatt / Gatat wood (Garcinia spp.). Rather than being pieced together with staves like a Western barrel, the interior is excavated with hand adzes and chisels, leaving thick, heavy walls and a solid, unattached bottom base carved straight from the same block. Because a solid wooden handle carved out of the same block would easily snap along the grain under the weight of water, grain, or livestock feed, the carver relies on material engineering. Holes are bored directly through the upper walls of the rim, or a deep groove is scored around the exterior collar. Thick, multi-strand plied rattan vines (bejuco) are threaded through or braided tightly around these points to form a flexible, high-tensile handle cord capable of bearing heavy loads.

These utilitarian items are most profoundly associated with Mountain Province, particularly within the Bontoc culture area. In classic Bontoc domestic architecture, the traditional house (afong) features an open layout where the ground floor is largely earth or stone-paved, directly hosting the family hearth. Because daily chores involve hauling water from rivers, handling cooked pig feed, or moving heavy materials across rocky mountain settlements, a fragile, woven basket would quickly rot or wear out at the bottom, while a standard lowland or modern container would fail under the friction. Bontoc woodcarvers utilized heavy, native hardwoods to hollow out dense, seamless, thick-walled cylindrical vessels. By avoiding separate staves or joints, they engineered a watertight, highly durable bucket capable of absorbing immense physical impact. The integration of a thick, plied rattan cord (bejuco) woven through bored holes or recessed grooves at the rim is a hallmark of Mountain Province utility design. Weavers in Mountain Province are master material engineers; they recognize that wood splits easily under tension if a rigid wooden handle is carved onto the body. By threading a flexible, braided rattan harness into the wood, they dynamically distribute the weight of heavy liquids or grains, preventing the vessel from breaking during transit over rugged mountain trails. A pitch-black, soot-encrusted, exceptionally heavy bucket, carved from a single piece of log with thick rattan handle attachments, from Mountain Province (Bontoc/Sagada/Besao axis) is the historical and geographic source.

10/06/2026

VINTAGE KALINGA KALASAG WOODEN SHIELDS (Batch 2)
Circa early 1970s

Dimensions & Prices:
Kalasag 1 – 36” H x 12” W x 2.5” T – P5.5K (originally priced at P6K)
Kalasag 2 – 30” H x 10” W x 2.” T – P3.5K (originally priced at P4K)
Kalasag 3 – 36” H x 12” W x 2.5” T – P5.5K (originally priced at P6K)

Material: Paper tree (Gmelina arborea)

Condition: Used, but still in good condition. The rattan lashings were already repaired and replaced several times, especially during their usage in the 1970s and throughout the 1980s.

Provenance:
Crafted in the early 1970s, these kalasags were originally owned by a Kalinga hunter from Tabuk, Kalinga Province, who inherited them from his father in the late 1980s. The father had himself created these shields, which hold a significant place in the family's history. The lineage of these artifacts traces back to the hunter's grandfather, a Manigamut, or warrior, who utilized the two smaller shields for training purposes while employing the larger shield in actual combat scenarios. For many years, the previous owner cherished these kalasags as treasured family heirlooms until they were sold to a local collector specializing in antique and vintage items from the Cordillera region in the early 2000s. Subsequently, the current owner acquired them through a purchase and is now offering them to other passionate collectors of Cordillera armaments, ensuring that these remarkable pieces of cultural heritage continue to be appreciated and preserved.

Description:
The Kalinga kalasag is a masterclass in functional engineering and symbolic tribal identity. While other Cordilleran shields share a basic tripartite silhouette, the Kalinga variant is often distinguished by its aggressive, elongated proportions and specific structural reinforcement.
The kalasag is typically carved from a single piece of lightweight but durable wood, such as almaciga, sablang, dapdap, polay trees, or paper tree, to ensure the warrior remains mobile during a pabbatog (skirmish). Because the wood used is relatively soft to keep the weight manageable, the Kalinga kalasag utilizes bebe (rattan lashings). Horizontal rattan braids are threaded through the body of the shield. This prevents the wood from splitting upon the impact of a heavy spear and keeps the shield intact, even if it sustains deep longitudinal cracks. The aesthetics of a kalasag speak to the status of the Manigamut (warrior).

The Three-Pronged Crest: The top of the shield features three distinct points. In Kalinga warfare, these weren't merely decorative; they were used to pin an opponent’s neck or limbs to the ground once they were downed.

The Two-Pronged Base: The bottom features two points, designed to pin the ankles or legs, effectively immobilizing the adversary.

The Boss (Gaman): The central section of the shield bows outward. This creates a cavity on the reverse side for the handle and provides a sloped surface on the front to deflect incoming spears (faluwis).

Laso (Pigments): Many authentic Kalinga shields are blackened using a mixture of soot and resin, which provides a protective layer against humidity and wood-boring insects.

Inlay and Carving: While the Kalinga are known for their intricate body tattoos (fatek), their shields are often more utilitarian. However, some examples feature etched geometric patterns or even shell inlays that mirror the motifs found on Kalinga textiles.

The Grip: The handle is carved directly into the wood on the reverse side of the central boss. It is positioned so that the warrior’s knuckles are protected by the outward curve of the wood.

The Kalinga shield is built for a warrior who moves constantly. Its slender profile allows the user to tuck their body behind it while sprinting through dense brush. A wider Ifugao shield might offer more "coverage," but it would snag on vines or slow a warrior down during a quick mountain raid.

06/06/2026

VINTAGE IFUGAO BINUWAYA/FINUWAYA (Boar Tusks) NECKLACE Circa early 1970s

Price: P10K (originally priced at P15K)

Specifications:
Drop Length – 17” L
Width – 10” W
Circumference – 52”
Chain Length (lace) – 19”
Pendant Length (centerpiece) – 11”
Pendant size – 4-8” each element measured from the top of a wooden Bulul carved figurine to the distal tip of the boar tooth.

Materials:
Consists of 13 boar tusks elements, intricately woven with fine rattan to create a cohesive design with wooden Bulul figurines interspersed among the elements. The original rattan-braided cord/lace has long deteriorated or is missing, but has been replaced with a contemporary black nylon cord/lace, featuring toggle locks made from snake vertebrae, all finished with a patina of dark chocolate brown, giving it a rich, sooty appearance.

Condition:
Used but still in good condition, this item is pre-owned, with the original rattan strip cord or lace replaced by a durable black nylon alternative. The surface exhibits a dark chocolate patina, a result of soot accumulation from prolonged storage near the hearth during periods of disuse.

Provenance:
Crafted likely in the early 1970s, this binuwaya necklace was obtained in the late 1980s from an elder of the Ifugao community, specifically from the Kadangyan upper class in Hingyon, Ifugao. The elder created a modern replica of his warrior father's traditional binuwaya necklace, which he wore during significant prestige feasts from the 1970s to the 1990s, such as the Hango Festival. This ritual feast, celebrating agricultural abundance or a family's rise in social status, necessitated that the host and accompanying elders don their family heirlooms to represent their lineage. The original rattan-braided cord is believed to have deteriorated or been lost long ago, and it was replaced with a contemporary nylon lace in the early 2000s.

Description:
In the Cordillera Region of the Philippines—specifically among the Ifugao and Bontoc people—the binuwaya (benowaya) or finuwaya (fenowaya) necklace is much more than just jewelry. It is a formidable warrior’s necklace that serves as a badge of honor, social status, and spiritual protection.

The binuwaya (benowaya) or finuwaya (fenowaya) necklace is a modern reinterpretation of the ancient 'crocodile-teeth' necklace, originally known as the buwaya (boaya) or fuwaya (foaya) necklace, which featured Indo-Pacific crocodile teeth as pendants. The term buwaya (boaya) or fuwaya (foaya)) translates directly to ‘crocodile,’ and these necklaces were traditionally worn by elite men during important rituals, including headhunting and rice-production ceremonies. They were believed to embody the 'spirit of the crocodile,' symbolizing strength, ferocity, and protection. As crocodiles have become increasingly rare in the Philippines, contemporary artisans have adapted this tradition by using alternative materials to replicate the appearance of crocodile teeth. Today, these artisans create necklaces using boar tusks, toothy, leaf-shaped mother-of-pearl shells, or even bones and teeth from animals like pigs or dogs. Consequently, these modern adaptations are now referred to as binuwaya (benowaya) or finuwaya (fenowaya) necklaces, with the terms meaning 'crocodile-like.

05/06/2026

VINTAGE MOUNTAIN PROVINCE’S KANKANA-EY KAMUWAN JAR-SHAPED BASKETS Circa Late 1980s

Prices:
Kamuwan 1 – P2K (originally priced at P2.5K)
Kamuwan 2 – P2.5 (originally priced at P3K)
Kamuwan 3 – P3K (originally priced at P3.5K)

Dimensions:
Kamuwan 1 – Lidless jar (vase) – 9” tall x 11” top diameter x 6.5” base diameter
Kamuwan 2 – Floral-motif carved lid – 8.5” tall x 10” mid-diameter x 6.5” lid diameter x 6” base diameter
Kamuwan 3 – Smiling sun-motif carved lid – 9” tall x 10” mid-diameter x 8.5” lid diameter x 6” base diameter

Materials: For the Bodies and hooks/straps - Rattan-woven (binali)
For the lids and bases - Amugawon / Mulawin wood (Vitex parviflora) or Gatatt / Gatat wood (Garcinia spp.)

Condition: Slightly used but still in excellent condition

Origin: Mountain Province, Cordillera, Philippines

Provenance: Crafted in a Kankana-ey tribe somewhere in the western part of Mountain Province, circa late 1980s.

Description:
The Kamuwan is an indoor storage basket used primarily for husked or milled rice and legumes. It is highly distinct due to its hybrid construction. Its body and rim are woven or coiled split rattan, intentionally shaped to mimic the profile of prized, heirloom ceramic or Chinese porcelain jars. It typically features a carved, heavy wooden base (often square at the bottom to stabilize the vessel on the floor) and can be paired with either a matching carved wooden lid or a tightly coiled, dense rattan lid.

The Kamuwan jar-shaped basket is most heavily associated with the municipality of Bontoc, the capital of Mountain Province. While the form is also utilized by neighboring Kankana-ey weavers in parts of western Mountain Province and northern Benguet, ethnographic literature consistently anchors the Kamuwan directly to the Bontoc culture group.

While the Bontoc are famous for engineering their kamuwan to transition cleanly down into a rigid, four-cornered square wooden or bamboo rim base, the Kankana-ey (particularly of western Mountain Province and northern Benguet) frequently favor circular proportions throughout the entire vessel. It often preserves the identical functional use (indoor storage for husked rice and beans) and replicates the Chinese trade-jar silhouette, but it rests on a perfectly round, ring-shaped wooden or heavy bamboo base. The rim and lid on these round-base variants are almost universally circular to maintain symmetrical visual balance.

04/06/2026

VINTAGE IFUGAO DANCING BULUL COUPLE (Mother & Son) Circa late 1970s

Price: P10K for a set of 2 (originally priced at P15K)

Dimensions: Mother - 30 cm. tall x 34 cm. arms-outstretched wide
Son – 25 cm. tall x 27 cm. arms-outstretched wide

Material: probably red Narra wood or ipil wood

Condition: Used but still in good condition

Provenance: Collected from a rice granary somewhere in Hingyon, Ifugao, circa late 1970s.

Description:
Dancing Bululs represent a distinctive and rare variation of the traditional bulul, which are ancestral wooden figures crafted by the Ifugao people in the Northern Philippines. These statues serve as guardians of rice crops and are integral to ensuring a fruitful harvest. Specifically associated with the Hingyon or Kiangan tribe, Dancing Bululs are characterized by their unique, dynamic postures, with arms outstretched to evoke a sense of movement akin to dancing or flying. Most of these figures are produced in the Kiangan region and are notable for their simple, box-like bases, often created as individual pieces rather than the typical male-female pairs found elsewhere.

This Dancing Bulul Couple (Mother & Son) differs from other conventional seated or paired Dancing Bulul Couples, each consisting of a male & female. Carved primarily from red narra or ipil wood, it features a non-waisted base and is depicted in a ritualistic stance, with hunkered knees and arms extended to mimic the flight of swifts or swallows. This posture is believed to reflect the movements of ritual dancers, and some historians suggest that it may have been influenced by early Christian imagery of the crucifixion.

Dancing Bululs are commissioned by affluent Kadangyan families for significant rituals, particularly the ballihung feast, which marks a coming-of-age ceremony for children in the community. They also play a role in the practices of shamans (mumbaki) during healing and magical ceremonies. These figures are consecrated to serve as protectors and are often distinguished by their rich, dark patina, which results from being soaked in animal blood and rice wine during sacred rituals. Authentic ceremonial figures typically exhibit this dark, encrusted finish, a testament to their involvement in agricultural rites involving sacrificial offerings.

02/06/2026

SOLD - VINTAGE IFUGAO KINAHU RITUAL MEAT PLATTER Circa Early 1960s

Price: P3K (originally priced @ P5K)

Dimensions: 47 cm L x 34 cm. W x 7.5 cm. H

Color: Dark chocolate brown patina

Material – probably red Narra wood

Design – Dog motif (legless version)

Condition – Used but still in good condition

Provenance:
An affluent Kadangyan family in Hingyon, Ifugao, originally owned this ritual wooden meat platter. This unusual design kind of legless kinahu ritual container is an oval, legless version of the common ones, which are used as spice servers or salt containers. It is believed to have been crafted sometime in the early 1960s and eventually acquired by an avid collector sometime in the late 1980s.

Description:
A Kinahu is a traditional, hand-carved wooden bowl from the Ifugao people of the Philippines, shaped as a four-legged animal (often a dog, from the root word "ahu") used for ceremonial offerings of rice wine and food, though also for utilitarian purposes like holding meat or salt, embodying spiritual significance through its zoomorphic design. These bowls are zoomorphic, typically featuring a carved dog's head and tail on opposite ends. Some variations may resemble other animals, like the carabao.

The Kinahu bowl or box is carved from a single piece of hardwood, like Narra. It is usually oblong, but some are rectangular, with stylized animal heads and tails at the ends, resembling a dog or beast, sometimes on four carved legs. It is primarily a ritual vessel for rice wine (bayah) or food during ceremonies, but also a practical container for meat and salt. It represents bravery and status; the term ‘kinahu’ means "in the shape of a beast" or "dog-like.”

While dog-like forms are common, kinahu bowls can feature other zoomorphic figures or geometric carvings. Smaller versions were used as spice servers or salt containers. In essence, the kinahu is a significant piece of Ifugao tribal art, blending spiritual beliefs with everyday function.

02/06/2026

VINTAGE IFUGAO 12-FT. HAGABI BENCH Circa early 1970s (For Pick-up Only)

Price: P100K (originally priced at P120K)

Specifications:
Length = 12 feet or 3.66 meters long
Height = 17-20 inches or 1.42-1.67 feet high
Width = 20 inches or 1.67 feet wide
Material – Tuwol solid hardwood
Weight – very heavy

Condition:
Used but still in good condition

Provenance:
This exquisite, prestigious vintage Ifugao hagabi bench, dating back to the early 1970s, was meticulously carved from a single tuwol hardwood trunk and once owned by an affluent Ifugao family belonging to the Kadangyan class in Hingyon, Ifugao.

Description:
The hagabi serves as a long wooden lounge bench, symbolizing wealth, status, and prestige within the Ifugao community in the Philippines. Characterized by its stylized animal heads at each end, the bench's creation involves elaborate community rituals and feasts that honor the owner's elevated social standing, known as Kadangyan. Beyond its practical use for lounging, the hagabi also plays a central role in various rituals, and its distinctive motifs can be found in smaller crafted items, including carved boxes, spoons, and miniature gift benches.

24/05/2026

VINTAGE IFUGAO BULUL FAMILY STATUES Circa early 1970s
(For Pick-up Only)

Price: P20K (originally priced at P30K)
Should be bought as a set of 2 statues

Sizes (heights):
Father & Son Bulul Statue – 24” tall
Mother & Child Bulul Statue – 21” tall

Material: Presumably carved from a red Narra wood or Ipil wood.

Provenance:
Presumably created in the early 1970s, this exceptional and rare set of two Bulul statues was obtained in the late 1990s from a wealthy family belonging to the Kadangyan Class in Banaue, Ifugao. Originally positioned near a family 'bale' house, these statues were believed to serve as guardians of the rice granary, ensuring safety and good fortune for the family members residing in the 'bale' house. Following the demolition of the 'bale' house in the early 1990s, the Bulul statues were displaced until they were purchased by the current owner in the late 1990s from the original owner.

Description:
Bulul are anthropomorphic wooden carvings from the Ifugao people of the northern Philippines that act as guardians of rice granaries. They are believed to protect rice crops from pests and ensure a bountiful harvest, symbolizing wealth, happiness, and well-being for the community. These figures, often carved in male and female pairs, are a significant part of Ifugao culture and are also seen as a connection to ancestors and spirits.

Bulul are "granary guardians" that are believed to ward off pests and ensure a good rice harvest. They are also seen as representing the spirits of ancestors or guardian deities. They are carved figures that represent human-like forms, often in pairs of male and female. They are typically depicted in various stances, such as standing or sitting, with arms folded or crossed over their knees. They are often made from hardwoods like narra.

Bulul are central to the Ifugao rice culture and are highly respected as works of art. The creation of a bulul involves a ritualistic process, including selecting a tree with the help of a mumbaki (priest).
Once created, bulul are consecrated through a ritual that can include chanting, animal sacrifice, and offerings like rice wine, which can create a ritualistic patina on the figure.

The Bulul Family
A set of Bulul statues configured as a complete family unit—one carving depicting a mother with a child and the other a father with a son—is an exceptionally rare, fascinating, and non-traditional variation of Ifugao ritual art.

From an ethnographic and material culture standpoint, a pair like this reveals a great deal about the tension between traditional ritual purpose and the evolution of Cordilleran woodcarving.

1. Departure from Canonical Ritual Form
In traditional Ifugao cosmology, Bulul figures (rice granary deities) are almost universally carved as individual male and female pairs, or occasionally as solitary figures.

The Classical Setup: They represent stylized, abstract ancestral spirits or primordial deities (Bugan and Wigan). They are typically carved seated (in a squatting posture with crossed arms over the knees) or standing upright on a stylized mortar-shaped base.

The Introduction of Children: Depicting dependent children (a child held by or standing next to a mother, and a son with a father) departs from traditional ritual iconography. In traditional ritual contexts, the abstraction of the figure emphasizes the timeless, unyielding power of an ancestor spirit guarding the rice harvest. Introducing explicit narrative elements like "mother-and-child" or "father-and-son" shifts the focus from abstract cosmic guardians to a literal representation of human lineage and domestic generation.

2. Narrative and Symbolic Meaning
Even if a configuration deviates from classic ritual constraints, the symbolism of a "complete family unit" carries profound thematic weight in the context of Cordilleran culture:

Continuity of the Kailian (Lineage): The dual pairings (Mother/Child and Father/Son) represent the absolute unbroken chain of generational inheritance. In the Cordilleras, wealth, land (especially rice terraces), and ancestral spiritual obligations are passed down strictly along hereditary lines.

Dual Dimensions of Protection: The mother-and-child pairing traditionally evokes themes of nurture, fertility, and the preservation of the household. The father-and-son pairing emphasizes the transmission of customary law (Adat or Ugali), agricultural knowledge, and protective vigilance. Together, they form a microcosm of the Ili (village/community) structure.

Many family-style or multi-figure Bulul groups emerged during the golden age of the Cordillera craft revival (from the 1950s through the 1970s). Master carvers from carving centers like Hapao, Hungduan, or Asin Road began stretching the traditional canonical forms to cater to discerning collectors, academics, and patrons who favored expressive, narrative woodcarvings that visually explained indigenous family life.

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