Sheryll M. Datoy.

BSA 232-1

ART APPRECIATION:
PHILIPPINE ART: ROOTS OF ARTS

• Textile Art: Soul, Dreams, and Imagination

The process of creating something using fibers gained from sources like plants, animals, insect or synthetic
materials. Textile art is art that uses varying materials and fibres to produce decorative, artistic objects. It's one of the
oldest forms of art in history and has played a part in practical and decorative man-made objects for hundreds of
thousands of years. Textiles are thus a major component of material culture. They may be viewed as the products of
technology, as cultural symbols, as works of art, or as items of trade. The textile arts are a fundamental human activity,
expressing symbolically much of what is valuable in any culture. See also Dyes and pigments.Textile design is defined
here as the creation of designs and products for woven, knitted, stitched, printed or decorative textiles that might have.

T'nalak process
o one of the eminent products that the province of South Cotabato has become celebrated is the T'nalak weaving.
o A unique weaving patter that illustrates geometric patterns depicting both art and a definite paradigm of culture
dreamt to life by T'boli people, an ethic tribe in the Philippines.
o It is made of abaca fibers with miniscule knots and dyed red and black with striking profundity.
o The process starts by tediously stripping the abaca fiber from the pulp and gently coaxing the fibers to become
soft and workable. The fibers are then carefully aligned on the loom much like a blank canvass for the initial
stages of translating a dream into a work of art.
T'boli art for the T'boli weaving
o another skill that has been raised to the level of art
o The traditional cloth, the t nalak is made of krungon (abaca fiber) extracted from the mature fruit bearing wild
abaca.
o T'boli folk literature reflects typical beliefs, customs and traditions of their society.
Dagmay
o a handwoven textile made from abaca.
o Making it involves a mud dyeing techniques wherein tribe members soak their tannin -dyed yarns into iron rich
mud for days.
o The Mandaya women weave the fibers into intricate figures and patterns depicting their folklores and beliefs.
Pis yabit
o the multicolored cloth of the Tausug
o traditionally worn by the Tausug men as a headdress or clothing accessory folded neatly and draped over the left
shoulder
o the wearers elevated position in the society
Seputangan
 o a handwoven square cloth used as a headcover by women or as a sash.
o Traditionally it has an off white background usually with square patterns which are
"stood up on end"
o The patterns are of great variety and so cannot be pre programmed as for other types of weaving.
o about one meter wide it is very difficult to weave
Inaul
o also pronounced as inol
o a time honored weaving tradition of the Maguindanao people usually made into malong or wrap around skirt commonly and
regularly used by both sexes.
o The Maranaos of Marawi City has this weaving tradition

Philippine Traditional Artifacts and Cultural Crafts

o According to the National Commission for the Culture and Arts - Cultural identity is essential to every society.
o The art and culture of a people represent the sum total of a nation's history and civilization.
o A nation is only great as its culture while its true image and soul is reflected in its art.
o Some examples of arts and crafts t'nalak, Igorot cloth, malong, baskets, pottery, handmade brooms, sombrero, seagrass
slippers, banig, buri, etc.
Motif
o an element of an image may be repeated in a pattern or design or may occur once in a work.

7 Elements in Visual Arts

o Line
o Shape
o Texture
o Form
o Space
o Color
o Value

Sources:
o https://www.coursehero.com/file/153847020/AA9pdf/
o https://www.studocu.com/ph/document/pamantasan-ng-cabuyao/art-appreciation/textile-art-soul-dreams-and-
imagination/87502641
 • Soul and Space and Symmetry Art Orik/ Ukil
"In the Philippines, folk architecture is considerably different per ethnic group, where bamboo, wood, stone, coral, rattan, grass, and
other materials can be constructed. These houses can be any of the following:
1. Bahay Kubo, a hut style built using vernacular mediums;
2. Bale hut, known as a highland depending on ethnic grouping:
3. Batanes Coral houses, protecting indigenous peoples against the harsh winds in the area;
4. Torogan royal house, graven with a complex okir motif;
5. Palaces of Macedonia."
"Folk architecture includes religious buildings (spirit homes), sanctuaries for the spirits or the gods of protection. Most of the buildings in
the house are made from indigenous materials and usually open-air.
Some of them were initially pagoda-like, a style that later became Islamic and extremely rare. Folk structures include simple, sacred
sticks to indigenous castles or fortifications, such as idjang: geologically changing artworks, such as the Rice Terraces of the
Philippines' Cordilleras called payyo. There are five rice terrace clusters, namely Nagacadan, Hungduan, Mayoyao central, Bangaan,
and Batad, declared World Heritage."
There are also houses with an indigenous and Hispanic motif such as Bahay na Bato's architecture and its prototypes. Many of the
Bahay na Bato buildings in Vigan have been recognized as World Cultural Heritage Sites.

Folk Architecture

1.Torogan
= Torogan is a typical shelter, once a dwelling place of a sultan or data in
Lanao. It has been declared as a national cultural treasure by the National
Museum. Moreover, it has become a common building in the area with the
famous okir sculptures shown inside the panolongs and the sarimanok. The
frame has wooden columns above the ground, and walls are wrapped with
furnace and coconut leaves on the roof. It has no inner partition, like a nipa hut.

Jolo, Sulu has Torogans, mostly Nipa and Bamboo versions. Like in Marawi, the
Torogan in Sulu is used for various social and religious meetings, including
marriages, wakes for funeral celebrations, conferences, and legal proceedings. The original Torogans in Marawi City were
founded by the government and the lower class people for the datu in the 1800s. A Torogan replica can be found right
next to the Clamshell in the Intramuros. In addition to that, the Dayawan Torogan of Marawi and Laguindab Torogan of
Ganassi exist in various places in Lanao. All need massive recovery funds.
The Torogans from various towns in Lanao are listed on the UNESCO World Heritage List as part of the Philippines'
provisional list.

2. Ifugao Bale
= There are three types of Ifugao houses: the (1) hut built directly on the
grounds, while (2) inappal is considerably built from the ground during rice
cultivation. Such systems, though, are permanent accommodation because of
financial constraints. (3) Bale is also regarded as a permanent, affordable, and
high-rise family home.

Essentially, it is a one-room house with a storage attic which looks very much
like a large pyramid-like tower backed by four wooden posts or tukods and an
ingeniously built home that can survive natural calamities, including typhoons
and even earthquakes. They are made of autochthonous found wood without using nails or bolts and are mortarized and
bonded together. In the rice fields, the alang or granary house was used as a storing facility for harvested rice and rice
gods and sometimes as a grave. The only families in this type of structure are of the upper class.
Ifugao Bale was a typical, naked windowless home. It has been made from amuwagan trees and was placed 50
centimeters under the ground with four posts. The triangular roof defends the occupants from temperature and elements. It
can be decommissioned and installed in another position because of its architecture. While it looks small on the outside, it
has more room inside three (3) floors. A detachable ladder can be reached in level two, where the family members can eat,
rest, dine, and prepare meals. The ground is paved with wooden disks (oliang) that deter rats from entering the house. The
third floor has a pavement that serves as a warehouse and a shelter for the wall. In the house, animal skulls are shown for
the gods.

3. Bahay Kubo
= Nipa hut is a kind of hut indigenous to Philippine cultures. The hut is a
type of housing known as payag or kamalig in other Philippine languages.
It is often an icon of the Philippine culture. The architectural concepts gave
way to numerous traditional Philippine houses and constructions, which
evolved after the pre-colonial period. The colonial period "bahay na bato,"
a noble variant of the Spanish Bahay Kubo with some Chinese principal
architectural influence, has been the city's dominant architecture in the
past. The Cultural Center of the Philippines and the National Arts Center
are modern buildings that used bahay kubo to influence. There are also
contemporary buildings such as the Coconut Palace, the San Niño Temple,
and the Modernist End Palace.

• Symmetry Art OKIR/UKKIL

Okir
Okir or okkil is the term for geometric and flowing designs (often based on an
elaborate leaf and vine pattern) and folk motits that can be usually found in Maranao
and Muslim-influenced artwork, especially in the southern Philippines, and in some
parts of Southeast Asia.

Okir/Ukkil
• is one of these traditional designs that comes from an old Malayan word that has the same derivative meaning as the
Tagalog word "ukit" which means to carve often rendered in hardwood and brass, depict animals, plants and mythical
figures in highly decorative, long curvilinear lines and secondary arabesques.
Okir is a Maranao pronunciation while Okkil is Maguindanaon.
It refers to carving and consequently as to any type of design • prominent among the Moro ethno-linguistic communities.

Sources:
• https://studylib.net/doc/26034732/symmetry-art-okir#google_vignette
• https://www.coursehero.com/file/153591179/art-appreciation-week-15docx/

Philippine Art: Indigenous Art, Muslim, Christian and Contemporary Art

 Indigenous Philippine Arts
o ManunggulJarisoneof theknownindigenous arts inthePalawan.Itislikewise
consideredasoneofthenationaltreasuresofthePhilippines.This2800yearsoldjar
was founded by Dr. Robert b. Fox and Miguel Santiago in 1962
o This Tapayan (jar) is a secondary burial jar found in Tabon cave, one of the Manunggul
caves in Palawan. It is used byancient people of Palawanin buryingtheir deathsaround890-
710B.C.Itfeaturesavesselcarryingtwohumanfiguresinsitting
positionwithonebehindsteeringtheboatandtheotherwaitingtoreachtheafterlife.

o The Bululorbul-ulisacarvedAnitofigureofthelfugaowhorepresentstheir
ancestral spiritand granary god. It is carved wooden figure fromnarra tree
anditusedtoguardthericecropfromrats,thieves,andspoilagebythe
Ifugao people of the northern province.
o According to Ocampo (2016), the bulul was created by a deity known as Humidhid who
lives in Daiya.
o "Humidhid was disturbed by the crying of a narra tree that wanted to be
carvedintobulul.Hecutthetreeandmadeseveralbululthathebroughtinto
his house. When these bulul became too demanding of food and wine, he threwtheminto
theriverwhere they floated downstreamto Lagudandwere forgotten. Many years later,
Humidhid's daughter, Bugan, followed her lime
containerthatfellintotheriverandreachedLagudwhereitwasreturnedto
her by a bulul. They fell in love, got married and had children. One of the children of
Bugan and the bulul went upstream to visit Humidhid, who realized that the bull had
become human (or rather half-human). He advised his grandchildren to carve bull
whenever they travelled to earth for protection.
So it came to be that one of Humidhid's grandchildren carved bulul out of a narra tree,
and it later demanded too much food and drink. Humidhid
appearedtohisgrandchildinavisionandadvisedthatthebululbegivena
separate house. Thus were bulul placed in granaries" (Ocampo, 2016).
Sources: https://www.scribd.com/document/649306966/MODULE-4-ART-APPRECIATION