TRADITIONAL ARTS
WEAVING
Weaving originated from the precolonial times and remains as a precious living tradition. The Cordillera groups of the north are well-known for the art of weaving. With a backstrap loom, they produce blankets and articles of clothing that fulfill a practical function and also play a part in religion and ritual. ​
(Tapa Bark-Cloth in Ancient Philippine Islands)
(Stone Tapa Bark-Cloth Beater)
The first historical traces of weaving in the Philippines was found in a cave in Cagayan Province and Palawan Island dated 1255 – 605 BCE. Archaeologists found a stone tool (Bark- Cloth Beater) used for the preparation of bark cloth that was used to pound the bark to loosen the pulp from the fiber to use for weaving textiles.
Panay Island in the Philippines is considered the heart of Philippine textiles. According to the legends that were passed on over the generations, a few Datus (chief) from Borneo including Datu Lubay went to the island and introduced the art of weaving.
PRECOLONIAL
PERIOD•
The craft involves weaving natural materials, such as bamboo, rattan, or other local fibers, to create various types of baskets, containers, and woven items. While Bakat Weaving symbolized the long years of art and craft tradition, not only to the history of Cebu; but to human development as well, dating back in the early part of the thirteenth century during pre-colonial times in the Philippines.
The Bakat Weaving in Cebu not only serves practical purposes but also holds cultural significance. The finished products are often used for storage, transport, and as traditional items in everyday life. Additionally, some woven pieces may have aesthetic and decorative value, showcasing the artistic skills of the weavers.
(A photo of sample Bakat Weaving)
Bakat Weaving (Cebu)
Basket weaving is a traditional craft that has been practiced in many cultures around the world, and Cebu in the Philippines is known for its rich tradition of basketry.
Abel Iloko Weaving (Ilocos)
PRECOLONIAL
PERIOD•
PRECOLONIAL
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(Sample photo of Abel Iloco Weaving)
This tradition is also found in the adjacent Ilocos provinces which take pride in their sturdy abel (weave).
Abel Iloko is a handwoven fabric from the Ilocos region, particularly the Ilocano-speaking communities. It is commonly used for blankets, traditional clothing, and other accessories. The patterns and designs often have cultural and symbolic significance.
This refers to the traditional handwoven textiles of the Ilocano people in the northern part of the Philippines. The Ilocanos are known for their skills in weaving blankets, clothing, and other textile products.
In Mindanao, the T'boli of Cotabato weave abaca cloth, called T’nalak, in a difficult tie-dye process. This cloth has a large repertoire of motifs, such as the gmayaw bird, whose rhythms create the feeling of flapping wings, the frog which signifies fertility, and the dancing man which calls for rain. These motifs attest to the Tboli’s deep-seated sense of harmony between humans and nature. The fabric is made from abaca fibers and is known for its intricate and symbolic designs. T'nalak weaving is a sacred tradition, and the designs are often inspired by dreams and cultural beliefs.
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(T’boli’s traditional T’nalak Weaving)
(T’nalak Festivals held in Mindanao)
the dreams and visions of the weavers. woven cloth from abaca fibers. Beyond its decorative allure, T'nalak patterns hold profound cultural and spiritual meanings, symbolizing the dreams and visions of the weavers.
Complementing this ancient craft, the T'nalak Festival, an annual celebration in Koronadal City, South Cotabato, serves as a vibrant platform to honor T'boli culture and craftsmanship. The festival not only features exhibitions and contests showcasing T'nalak weaving but also encompasses a broader spectrum of cultural activities, performances, and rituals that underscore the unique identity and way of life of the T'boli people. Through this dynamic connection between T'nalak weaving and the T'nalak Festival, the T'boli culture finds a lively expression, fostering appreciation and preservation of its heritage.
T’nalak Weaving (Mindanao; T’boli of Cotabato)
T'nalak weaving and the T'nalak Festival are intimately intertwined expressions of the rich cultural heritage of the T'boli people in Mindanao, Philippines. T'nalak weaving, a traditional craft meticulously performed by T'boli dreamweavers like Lang Dulay, involves the intricate process of creating woven cloth from abaca fibers. Beyond its decorative allure, T'nalak patterns hold profound cultural and spiritual meanings, symbolizing
JAPANESE
COLONIAL
PERIOD•
The Japanese colonial period in the Philippines occurred during World War II from 1942 to 1945. This brief and tumultuous period had a significant impact on various aspects of Filipino life, including traditional crafts such as weaving. However, due to the relatively short duration and the challenging circumstances of the Japanese occupation, specific information about weaving practices during this time may be limited. The Japanese occupation brought changes to the socio-economic and cultural landscape of the Philippines, and the effects on traditional weaving were likely influenced by wartime conditions. Some general observations include:
Material Shortages
The Japanese occupation led to shortages of various materials, including textiles and fibers traditionally used in weaving. This scarcity could have affected the production and availability of traditional woven products.
Cultural Suppression
The Japanese administration implemented policies aimed at suppressing local cultures and promoting Japanese ideologies. This could have impacted traditional weaving practices, as cultural activities were subject to control and influence.
Economic Challenges
The economic challenges during the Japanese occupation could have affected the weaving industry. Weavers may have faced difficulties in sourcing materials, marketing their products, and sustaining their livelihoods.
Adaptation and Preservation
In some cases, weavers may have adapted their traditional techniques to cope with changing circumstances. The need for resourcefulness and resilience during difficult times might have influenced the evolution of weaving practices.
It's important to note that the Japanese occupation was a challenging period for the Philippines, marked by various hardships and resistance efforts. The impact on traditional crafts like weaving would have been shaped by the broader context of the war and the occupation. Specific details about weaving practices during the Japanese colonial period may be challenging to ascertain due to limited historical records and the disruption caused by the war. The post-war period and the subsequent years saw the Philippines rebuilding and recovering from the effects of the war, and traditional crafts, including weaving, likely underwent further changes in response to the evolving socio-economic and cultural landscape.
CONTEMPORARY
PERIOD•
CONTEMPORARY
PERIOD•
CONTEMPORARY
PERIOD•
Contemporary traditional art in the Philippines refers to artistic expressions that merge traditional elements with contemporary influences, reflecting the evolving cultural landscape of the country. This fusion is characterized by the integration of age-old techniques, themes, and materials with modern perspectives, mediums, and societal contexts.
Here are specific examples that highlight various aspects of weaving during the contemporary period in the Philippines:
HABI: The Philippine Textile Council
HABI is an organization dedicated to promoting and preserving Philippine textiles. They organize the Likhang HABI Market Fair, an event that showcases traditional and contemporary woven products, fostering connections between weavers, designers, and the public.
Abra Weaving
The province of Abra is known for its vibrant weaving traditions. Weavers in Abra have continued to produce textiles using traditional techniques, creating products such as blankets, garments, and accessories. Some weavers have embraced modern designs and color palettes.
T'boli Dreamweavers Cooperative
The T'boli Dreamweavers Cooperative in Mindanao is known for its T'nalak weaving. T'nalak is a traditional textile made from abaca fibers. The cooperative has adapted to contemporary markets by producing a range of products, including bags, accessories, and home decor items.
Rurungan sa Tubod Foundation
The Rurungan sa Tubod Foundation in Palawan works with indigenous weavers to create contemporary products using traditional weaving techniques. They produce handwoven fabrics that are transformed into stylish garments and accessories, blending tradition with modern fashion.
Banaue Indigenous Products Cooperative
The Banaue Indigenous Products Cooperative in Ifugao focuses on preserving traditional weaving practices. They produce textiles with intricate patterns inspired by the rich cultural heritage of the Ifugao people, and their products include blankets, shawls, and scarves.
CONTEMPORARY
PERIOD•
Balud Art Network
The Balud Art Network is an organization that focuses on preserving the Panay-Bukidnon weaving traditions. They engage in community-based projects, empowering weavers and promoting sustainable practices in weaving.
These examples showcase the diversity and creativity within contemporary Filipino weaving, with initiatives that range from traditional preservation to innovative adaptations for the modern market. Weavers and organizations continue to contribute to the vibrant landscape of Philippine textiles, ensuring that traditional techniques thrive while embracing contemporary relevance.
CARVING
Carving is a subtractive method that entails the removal of sections from a substance, typically wood or stone. This process involves cutting or chiseling away material to form a desired shape from a solid mass. It is a systematic elimination of material from the outer layers inward. Additionally, carving serves as a therapeutic activity, aiding in the alleviation of stress, anxiety, and feelings of isolation. The patterns, colors, and aesthetic appeal of carved wood, along with the actual carving process, can contribute to a shift in mindset, alleviating depression and fostering a connection with the surrounding environment.
THE OKIR (MOTIF): AN ART OF MARANAO DEPICTING THEIR CULTURE AND SOCIETY
PRECOLONIAL
PERIOD
The art of wood carving in the Philippines has a rich history dating back to pre-colonial eras. Indigenous Filipinos practiced the craft, carving essential items like boats, plows, arrows, and spears. They adorned these objects with ornamental patterns, serving both practical purposes within tribal hierarchies and as celebratory elements for special occasions.
Palawan wood carvings are made by various tribes throughout the island.
BULOL - The "Bulol," also known as the "Ifugao rice god," is a carved human figure believed to embody a particular class of anito when worshiped. These figurines are typically crafted in pairs and are kept in households or granaries. Made from narra wood, the Bulols symbolize prosperity, joy, and overall welfare.
During ancient times, carved figurines like the "Tanod" were crafted as totems, safeguarding villages and providing protection against malevolent forces. Furthermore, Upon witnessing the impressive woodwork of the native Filipinos, the Spanish conquistador Miguel Lopez de Legaspi referred to them as “buen ebanistas”. The Filipinos had already been practicing the art of woodcarving for over 2000 years before the arrival of the Spaniards. During the early days of this ancient craft, carvers utilized materials such as stones, shells, and even animal teeth and tusks to shape the wood.
Made by William Rush
SPANISH
PERIOD
AMERICAN
PERIOD
JAPANESE
PERIOD
Upon the arrival of the Spaniards in 1521, they employed art to spread Catholicism in the Philippines, using visually appealing images to overcome communication challenges. Friars utilized carved santos, via crucis, estampas, and paintings to communicate Catholic concepts and the stories of Christ.
Paloy Cagayat at his workshop in Paete
The Paete Wood Carving industry has flourished from the Spanish era to the present day. This skilled town in Paete, located in the North-East of Laguna, has rightfully earned its declaration as the Wooden Carving Capital of the Philippines.
The traditional practice of carving anitos evolved into crafting sculptures of saints, mainly for church altars and retablos, replacing indigenous anitos. Church carvings extended to retablos, doors, pulpits, and carrozas for processions. Church facades, such as that of the Miag-ao Church in Iloilo, showcased carved images of saints and decorative elements like floral motifs. Moreover, Paete, a small town known forwoodcarving in Southern Luzon, Laguna, was a notable producer of exceptional santo carvers during that era. Among them, Mariano Madriñan gained prominence, earning a gold medal for his Mater Dolorosa (Sorrowful Mother) at the 1883 Amsterdam Exposition.
In the American colonies, skilled artisans excelled not just in early American paintings but also across diverse crafts. By the 1750s, the fine furniture industry, centered in Philadelphia, gained high esteem, and cabinetmakers were sought after for crafting intricate pieces for affluent clients. Ship figureheads, wooden sculptures adorning ship prows symbolizing the vessel's essence, held significant importance in Early Colonial America. Carving these figureheads was recognized as a skilled craft, demanding apprenticeship under an experienced master.
In addition, William Rush, born in Philadelphia in 1756, was the only American-born sculptor known from the pre-Revolutionary and Federal periods, born into a family of ship carpenters. Starting as an apprentice to woodcarver Edward Cutbush, Rush initially carved ship figureheads before progressing to commissioned sculptures. His notable works include the figures of Comedy and Tragedy (1808) at the Chestnut Street Theater and busts of significant figures such as George Washington (1817) and Benjamin Franklin (1787).
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Furthermore, during the Heian period (784-1185), the Shingon Buddhists, an esoteric sect, prospered, requiring a multitude of images for intricate rituals. In the eleventh century, sculptors introduced jointing techniques (yosegi) to carve intricate wooden figures. Despite the decline in state patronage during the Kamakura Shogunate (1185-1392), high-quality sculptures persisted, characterized by dynamic innovation and realistic details. Renowned woodcarvers Unkei and Kaikei excelled in creating formidable guardian deity statues in the thirteenth century. Buddhist temples showcased various art forms, including murals, embroidered banners, silks, manuscripts, drawings, and scrolls. Privately owned miniature temple-like images and portable shrines, sometimes carved from precious materials, were also prevalent.
Lion and Serpent Jade ornament Excavated from King of Chu's tomb Western Han Dynasty (206 BCE-9 CE) Beijing Museum of Ancient Art.
In the seventh and eighth centuries, Japanese sculptors embraced wood as a preferred material. They carved and polished it to create smoothly flowing volumes with gentle contours, occasionally enhanced by linear patterns.
CONTEMPORARY
PERIOD
In the wake of the democratization of art genres and materials, modern artists, such as Constantin Brancusi, Henry Moore, Xawery Dunikowski, Barbara Hepworth, Paul Gauguin, Ernst Barlach, and Louise Nevelson, embraced wood as a preferred medium. Moore's Reclining Figure (1936) and Gauguin's Tahitian-inspired reliefs and masks highlight their woodworking expertise. Louise Nevelson fashioned assemblages from salvaged wood parts. Contemporary artists like Tony Cragg and Steph Cop, recognized for Wooden ARO, present varied styles and techniques. The Museum of Arts and Design's "Against the Grain: Wood in Contemporary Art, Craft, and Design" exhibition showcased artists like Nina Bruun, Sebastián Errázuriz, Ai Weiwei, and Kcho, illustrating the adaptability of wood in modern artistic expressions.
Image via karmatrendz.wordpress.com
Tessellations Carved into Fruits and Vegetables by Takehiro Kishimoto
Furthermore, in contemporary times, carving has expanded beyond traditional woodcarving to embrace various artistic expressions, including the popular culinary art form of food carving. While woodcarving continues to be a respected craft, food carving has gained prominence. It involves skillfully shaping fruits, vegetables, and other edible items into decorative and artistic designs using knives and carving tools. This practice not only focuses on creating visually appealing presentations but also highlights creativity and craftsmanship in the culinary world.
ORNAMENTS
The collection of ornaments found in the Philippines dates back to the Neolithic period from around 4000 years ago to the late colonial period. These collections come in various forms such as beads, necklaces, bracelets, rings, earrings, funerary masks, and encompass a wide range of materials including shell, bone, clay, stone, glass, and metal. Beads are among the most common ornaments found in burial sites. The earliest glass and stone beads and bracelets in the Philippines are found in burial sites dated 2500–1500 years ago. Moreover, gold and bronze ornaments form another significant type of ornaments found in the collection that were used in the late first millennium BCE to the mid-second millennium CE.
PRECOLONIAL
PERIOD
One of the oldest shell ornaments in Duyong Cave, Palawan | 4854 BCE
Tabon Cave Complex, Palawan 500–200 BCE (Early Metal Age)
Gubat, Sorsogon Age of Contact (1000 CE)
Philippine gold jewelry has roots burrowed deep in the nation’s history. In pre-colonial times, the archipelago was renowned by traders near and far for its mineral wealth, particularly that of gold.
The Philippines was and is a literal goldmine of treasure. The islands spanning Luzon to Mindanao partially formed what was called “Survarnadvipa”, a Sanskrit phrase that means “Islands of Gold”. According to scholars, this cluster of islands extended to other areas in Southeast Asia such as Sumatra in Indonesia. This almost mythical reputation, “Islands of Gold”, remains true; the Philippines possesses the second-highest gold deposit in the world.
Wearing gold jewelry in the pre-colonial Philippine archipelago was—as it still is today—a form of distinction. Teeth, for instance, were seen as canvases that could be modified to accentuate one’s beauty and prestige, beginning at a young age.
The Bolinao Skull, a notable archeological discovery, is evidence of this tradition. Found in what is now Pangasinan province, it shows the preservation of fish scale-like gold patterns smelted on the teeth of a noble warrior.
https://www.shopcambio.co/blogs/news/a-brief-history-of-philippine-gold-jewelry-1
CONTEMPORARY
PERIOD
Contemporary art is the work of artists who are living in the 21st century. A rich resource for general audiences to contemplate modern concepts and reevaluate the familiar, contemporary art reflects contemporary culture and society. A piece of art created by a contemporary artist is a dynamic blend of mediums, techniques, ideas, and topics that pushes limits and is difficult to define. Contemporary art often challenges traditional notions of aesthetics and can be provocative, pushing viewers to question their own beliefs and assumptions. It embraces a wide range of forms, from traditional painting and sculpture to multimedia installations and performance art, making it a diverse and ever-evolving field that constantly pushes boundaries. Ornaments in contemporary art are not limited to traditional materials such as gold and silver but can also include unconventional materials like plastic, glass, and even recycled objects. These ornaments often incorporate innovative techniques and designs that reflect the fast-paced and constantly changing nature of contemporary society. They serve as a reflection of the artist's unique perspective and can evoke a wide range of emotions and interpretations in viewers.
https://www.slideshare.net/wilfreddextertanedo/philippine-art-history-67264203
POTTERY
There was once discovered a 3500-year-old burial jar in Tabon Caves in Palawan City. Its cover was carved with a boat and two human figures, representing two souls on their way to the afterlife. It is believed that the Manuggul jar is considered one of the finest jars made during pre-colonial. It reflected the artistic mind of our ancestors during the old times.
Source: https://www.tatlerasia.com/lifestyle/arts/shaping-hands-philippine-pottery-in-the-modern-age
PRE-COLONIAL PERIOD
One of the oldest shell ornaments in Duyong Cave, Palawan | 4854 BCE
Molding clay and mud, our ancestors made some valuable pottery with its unique design and usage. It has been used for food storage, water purification, and cooking foods.
This pot was made roughly 15th to 16th centuries. It is a double-spouted ritual pot. A spherical form that features a cut rope layout in the middle. The vessel's two handles shape up like animal heads.
SPANISH COLONIAL PERIOD
Spanish Friars and Chinese introduced new art forms in Spanish Colonial but artworks such as Pottery, Weaving, and metalwork were retained.
Foreign Ceramics were among the main trade imports until the arrival of the Spanish during the 16th century.
CONTEMPORARY PERIOD
These pots were discovered last September. These are Fujian Ware (Song-Yuan period 10th-14th century) showcased more than 100 jars, pots, and plates. These pots were used to excavate pieces of gold from 10th to 12th century. https://www.chinadailyhk.com/articles/35/47/131/1508744005890.html
On the grounds of the parish church in San Remigio Town, Cebu, there was “unearthed ancient pottery, believed to be dated back to the Philippine Metal Age," attributed to this article. (click the image)
It relates to the Sibalom "bari" potters' ongoing use of an age-old method of shaping clay goods.
Clay from open fields next to rivers, or a clay field and wetland are used to make earthenware. These clay items are made with clay, red soil, fine sand, and the appropriate amount of water.
