Chapter 6: Lesson 1 Motif and Symbols

Decorative Motifs and Symbols Classification

Motif – a motif is an image, spoken or written word, sound, act or another visual or structural device that has
symbolic significance. It is used to develop and inform the theme of a literary work. The concept of a motif is
related to a theme, but a pattern of meaning that can be produce a theme while creating other aspects at the same
time.
It is closely related to a theme or a symbol and uses different narrative elements, It is constantly repeated to
represent a dominant or central idea or theme in a work of art. It relates more to thought which is used to
support a theme.
Motifs typically are used in one of three ways:
➢ A single object that appears multiple times throughout the work with most of the emphasis placed on the
item.
➢ A collection of related objects that appear multiple times to emphasize the theme.
➢ A collection of seemingly unrelated items that serve to draw attention to the theme in a subtler manner.

Classification of Motif
The motifs or units of a textile design may be classified as: Geometric, Realistic or Natural, Stylized, Abstract.
1. Geometric Motif. These motifs include lines in various forms, such as vertical. horizontal, diagonal and
curved. They form fabric designs, such as stripes, plaids, checks and circles and their associated designs.
Geometric designs lead the eye in the design or pattern that is created by them.
2. Realistic or Natural Motif. Natural motifs portray as direct replica of things as they exist in nature, such as
flowers on trees, animals in jungle, human figure and other natural things. They are also called novelty patterns.
As these motifs lack a designer's creativity and require three-dimensional platform to copy reality, they do not
find wide acceptance in apparel designing.
3. Stylized Motif. These are simplified variations of natural or man-made objects that are no longer
recognizable, these motifs are full of creativity, as they are the result of a designer's interpretation of naturally
existing things. Stylized motifs are obtained by rearranging the real objects either by simplifying or
exaggerating them to achieve the purpose of the design.
4. Abstract Motif. These are combinations of color, size, and shape without relationship to natural or man-
made objects. They are full of color and interest to the fabric. Abstract implies an element of impression and a
greater freedom that is found in most geometric designs. This type of design is used in modern art.

Symbol
The term 'symbol' comes from the Greek word ‘symbolon’ which means contract, token, insignia and
means of identification.
Through symbols ideas and meanings are represented. In a symbol, there is both concealment and revelation.
Symbols facilitate communication by giving a common reference point for a variety of original disparate ideas.
Symbols are universal, in the sense they transcend history.
Symbols depicted on objects allow us to decode some of the meanings behind them and understand better the
cultures that made and used them. On some occasions, the object itself, such as an item of clothing or a piece of
regalia, becomes the symbol. The motivations behind the use of symbols are varied: to impose power, to assert
position, to protect the wearer or as identification with a family or community. Where not all members of a
society are literate, symbols are crucial in communicating ideas or affinities. They can be representational or
abstract, individual, or repeated.
A symbol is an object, a picture, a written word, or a sound that is used to represent something else either
by resemblance, convention, or association. Every language has symbols; in fact, our names are symbols that
represent us as individuals. Words and language in a broader sense are created by symbols by which humans
communicate with each other. Through our experiences and from different sources we create symbols to explain
and understand something that we must interpret.
As symbols can be used to change the meaning of a word or phrase, they can change the way we view
things. To get the meaning of a word, it is necessary to use symbols so that it can be understood well. The
meaning of a symbol depends largely on its usage, its history, and purpose.
A very fine example of a symbol is the cross. It is used to symbolize Christianity, the religion which is
based on the teachings of Jesus Christ who was crucified. The cross is also used to remind Christians
about how Christ suffered to save them.
Types of Symbols Examples
1. Iconograms are illustrative representations. They are iconic signs
which, as an illustrative representation, emphasize the points in
common between the signifier and the signified.

2. Pictograms are pictorial representations, such as ISOTYPE.

Pictograms are iconic signs which represent complex facts, not
through words or sounds but through visual carriers of meaning.

3. Cartograms are topographical complex functions (statistics, etc.)

and iconic facts, for example an atlas or the ground plan of a house.

4. Diagrams are functional representations. They are visual signs

which representations, but are more functional carriers that
illustrate, for example, a sequence of facts or functions.

5. Ideograms represent concept. Typically, ideograms correspond to

the sign as a symbol which relates to the object or concept referred
to, independently of any format identification with it
 6. Logograms are conceptual representations like writing. They are
visual, referential linguistic signs that do not take the phonetic
dimension into consideration.

7. Typograms are typographical representations, A typogram is a

sign that is also composed of a sign, derived from a written
repertoire such as the alphabet.

8. Phonograms – are phonic representations. A phonograms is a

sign that is used to signify linguistic or other sounds.

Indigenous Philippine Art and Craft

One of the most precious traditional livelihoods that are kept until today is weaving. Originating in the pre-
colonial times, the art of weaving of the Cordillera tribal groups in the Philippine North is still existing despite
the threat of the more practical, mass production of cloth. The natives use backstrap loom to produce blankets
and articles of clothing.
Piña cloth is also produced in looms throughout the province of
Antique. It is a delicate and exquisite hand-woven cloth that is made
from the fibers obtained from the leaves of pineapple plants. It is
popularly used in Barong Tagalog, the country's traditional formal
menswear. With the organic and airy textile being used, the 'barong'
is now becoming more popular around the world.

Abaca fiber derived from the abaca plant is widely grown in certain
regions in the country. It is woven mainly to make 'sinamay fabric
and abaca rope, as well as specialty papers like vacuum bags,
currency, and tea bags. There are also handcrafts like bags, carpets
and clothing made of abaca.
 Baskets are also made by the Cordilleran’s as livelihood. They also
use these as storage for food when they need to go to mountain
terraces to raise crops. Certain types of baskets also serve for
carrying grains, for hunting animals, and for fishing in the streams.
Bamboo baskets are used as fish traps; the shape and size of baskets
determine to the kind of fish to be caught.

Filipino potters make pots of different sizes, shapes, and designs,

which are usually geometric with stylized nature-themed motifs.
Functional pieces are made as the need would arise.

An example of this is the 'palayok', which is used for cooking.

Banga and 'tapayan' are used for storing liquids. There is also the
clay-made stove or kalan ". The 'burnay pottery in llocos Sur is still a
lively tradition that continues up to the present.

Philippine sculpture is the most familiar art form among Filipinos.

The most popular woodcarvings are those of the anitos (nature gods),
santos (saints), and statues of Christ and the Blessed Mother.

Since the early 16th century, jewelry making in the country has
been practiced in the country. It is believed that the skills of the early
Filipino jewelry- makers are adopted from their Asian neighbors like
the Chinese.

Jewelry-making is traditionally a home-based industry. With government support, the Philippines has come to
be known for its exquisite gold jewelry. The more popular jewelry pieces are actually made of gold and silver.
Rings, earrings, bracelets, brooches, pendants, necklaces, tie pins, and cuff links (with or without gemstones) of
these precious metals are common. The Philippines is also known for pearls and semi-precious stones
Chapter 6: Lesson 2 Soul, Space and Symmetry Art
Art and Space
Art and Space is at times idealistic and redundant- after all, what is sculpture but an exploration of space,
volume, and three-dimensionality. The inclusivity of its broad premise feels nearly too vast. Yet besides its
attention to art history, there is something about the selection of art work that feels specific, current and
necessary.
Space is found in nearly every piece of art created. Painters imply space, photographers capture space, sculptors
rely on space and form, and architects build space. It is a fundamental element in each of the visual arts.

Space and Perspective

Creating perspective in art relies on the judicious use of space, in a linear perspective drawing, for instance,
artists create the illusion of space to imply that the scene is three-dimensional. They do this by ensuring that
some lines stretch to the vanishing point.
In a landscape, a tree may be large because it is in the foreground while the mountains in the distance ate quite
small. Though we know that the tree cannot be larger than the mountain, this use of size gives the scene
perspective and develops the impression of space.
Likewise, an artist may choose to move the horizon line lower in the picture. The negative space created by the
increased sky can add to the perspective and allow the viewer to feel as if they can walk right into the scene.

The Torogan
The Torogan is the ancestral housé of the upper-class Maranao in the Lanao Region of Mindanao. It is
the dwelling place of the datu along with his wives and children. There could not be any house larger
than torogan of the datu within the sultanate, for this signifies rank, prestige and wealth. The existing
torogens were built by the community and the slaves for the datu in 1800s.
The torogan is the traditional residence of the reigning sultan of the Maranao people and his family. It is where
the community traditionally gathers for wedding, thanksgiving rites, enthronement, and vigils for the dead. It is
a masterpiece of Filipino craftsmanship. Carved on the torogan wooden posts is the niyaga, a stylized mythical
snake design that can be found in many Muslim artworks.
The windows of torogan are slits and richly framed in wood panels with okir designs located in front of the
house. The communal kitchen is half a meter lower than the main house is both used for cooking and eating.
The distinct high gable roof of the torogan, thin at the apex and gracefully flaring out to the eaves, sits on a huge
structure enclosed by slabs of timber and lifted more than two meters above the ground by a huge trunk of a tree
that was set on a rock. The end floor beams lengthen as the panolongs seemed to lift the whole house.
The torogan is suffused with decorations. There were diongal at the apex of the roof, also an intricately carved
tinai a walai, okir designs in the floor, on windows and on panolongs. There were also brightly colored weaves
or melongs hanging from the rafters, it was hung up using ropes around a particular territory for privacy.
The most noticeable feature of the torogan is the panolong, wing- like house beam with pako rabong or fem or
aga serpent motif. These are ends of the floor beams that project and splay out like triangular butterfly wings on
the façade and side elevations. The interior of the house is a cavernous hall with no permanent wall partitions.
Supporting the kingpost of the high ridged roof is the rempatan or tinai a walai central beams considered as the
intestines of the house. What serves as the ceiling is a cloth suspended from the rafters to absorb the heat from
the roof. A carabao horn ornament at the roof apex of the rumah adat in Batak, Indonesia is distinguished from
the Maranao dongal.

The Ifugao Bale

The Ifugao "Bale" or Native House is said to be the "first pre-fabricated house in the world," according
to renowned anthropologist Otley Beyer.
It has been the subject of many scholarly articles as it is one of the most indigenous and nearly perfect
architectural constructs made by man. This type of dwelling does not make use of nails thus it is also
called the "No- Nail" House.
The house can be dismantled and transferred to another place of choice without destroying any part of it. The
Ifugao "no-nail" house evolved from a more primitive dwelling called the "abong" which is less permanent and
is not raised.
Banaue Ethnic Village features actual Ifugao native houses that have been relocated and preserved, which show
visitors how the Ifugao native house evolved throughout time. Ifugao house building is one of the most admired
ethnic architectural designs for having employed an indigenous system of construction that is more complex
than its seeming simplicity.
Structural Frame
The Ifugao house is sturdily crafted of timber from amugawan trees raised on four posts, which was
buried 50 centimeters below the ground and locked in with stones.
It reveals a complex technology that renders it a tensile strength capable of withstanding devastating
typhoons, torrential rain, and violent earthquakes. The four wooden posts that rest upon the pavement and
support two wooden girders, which also support three wooden transverse joists.
The floor joists, floor silts, vertical studs and horizontal beams rest on the post and girders at about head level
from a cage. The floorboards were fitted between the joists. The wooden sides of the house slant outward and
rise to the waist, this forms the lower half of the wall. In its entirety, no nails and bolts are used for all
connections.
The Ifugao house has a square floor plan. Although the size of the house is determined by the socio-
economic status of the people, an average Ifugao house is approximately 12-14 feet wide and 12- 14 feet
long.
The parts of the house is composed of the posts (tukud). The house is erected on four strong posts which are
usually made of large round logs having an approximate size of S-12 inches wide by 6-10 feet in length. These
are buried about 2-3 feet below the ground and locked in with stones as foundation. Some posts have intact
roots. These are simply set on the ground with the truncated roots acting as footing.
Bahay Kubo

The Nipa hut, or Payag, Kanalig or Bahay Kubo, is a type of stilt house indigenous to the cultures of the
Philippines [Lee, 2011). It often serves as an icon of Philippine culture or, more specifically, Filipino rural
culture. [Cruz, 2013) Its architectural principles gave way too many of Filipino traditional houses and buildings
that rose after the pre-colonial era. These include the colonial era "Bahay na Bato" which is a noble version of
bahay kubo with Spanish and some Chinese main architectural influence. And the contemporary buildings such
as the Coconut Palace, Sto. Niño Shrine, Cultural Center of the Philippines and National Arts Center which are
modern edifices that used bahay kubo as a major influence.
The name of the primitive Nipa hut is based on the Spanish phrase Cubo, meaning cube, probably
because of its rectangular appearance and Bahay is the Filipino word for house. By tradition this type of
village dwelling is constructed out of organic materials, a perfect example of a totally green structure, a
showcase of extreme simplicity and sustainability that has been around for a very long time.
The construction of a bahay kubo is totally based on the local needs and conditions, fabricated with the
ever-dependable bamboo or kawayan and banded together by tree strings with dried coconut leaves or
cogon grass. Walls are made of nipa leaves or bamboo slats and the floor is made of finely split resilient
bamboo. The typical structure is raised with thick bamboo poles, one to two meters above the ground,
depending on the area where the shelter is constructed, providing the inhabitants a safe shelter from wild
animals, snakes and protecting them against torrential rains and floods. Bamboo is strong, lightweight, and
flexible; it has diverse, functional, and traditional uses. It holds and mirrors much of the Philippine culture and
it is part of many ceremonies, beliefs, and traditions.
Life in a bahay kubo is not restricted by the walls of the house; it includes the lives of neighbors and
friends who often are considered as relatives. Solid communal ties will bring them together in giving aid
to a family if a new house must be constructed. It takes a reasonable large number of people to transfer the
nipa hut, if the family wants to move to another place. This is done by putting bamboo poles lengthwise and
crosswise under the house, forming a strong frame to lift the stilts from the ground and literally carry it to its
new destination.
Each man carries a piece of the weight of the bahay kala and becomes a hero for all the others because he
lightens the burden for them. This event holds a social and festive atmosphere, after the house arrived at its
new site; the moving family shows their appreciation by hosting a modest fiesta for all volunteers that helped
them. This collective activity is known as bayanihan, meaning unity and harmony; it demonstrates the
unique culture and lifestyle of the Philippine community.
Bahay na Bato

Bahay na bato (Tagalog, literally "house of stone") is a type of building originating during the
Philippines Spanish Colonial Period. It is an updated version of the traditional bahay kubo. Its design has
evolved throughout the ages, but still maintains the bahay kubo's architectural basis which corresponds
to the tropical climate, stormy season, and earthquake prone environment of the whole archipelago of the
Philippines and fuses it with the influence of Spanish colonizers and Chinese traders.
Thus, created was a hybrid of Austronesian, Spanish and Chinese architecture. Its most common appearance is
that of an elevated overhanging wooden upper story Nipa hut (with balustrades, tentanillas and capiz shell
sliding windows) that stands on Spanish style solid stone blocks or bricks and posts as foundation instead of just
wood, bamboo stilts or timber posts. Roofing are either Chinese tiled roof or thatch (Nipa or Cogon) which
many today are being replaced by galvanized roofing or other modern roofing, It followed the bahay kubo's
arrangements such as open ventilation and elevated apartments used as living space with ground floor used for
storeroom, cellar and other business purposes.
Like bahay kubo, much of this ground level was reserved for storage; in business districts some spaces were
rented to shops. Horses for carriages were housed in stables called caballerizas. [1] Bahay na bato had a
rectangular plan that reflected Austronesian Filipino traditional house integrated with Spanish style.
(Wikipedia) In general, the bahay na bato may be described as a house with wooden legs and a stone skirt, a
style of construction which makes the house a sure survivor of earthquakes.
The wooden frame gives it both flexibility and stability, while the one-storey high stone wall is less likely to
collapse. Large wooden posts are sunk into the ground but stand high enough to carry the roof, The posts are
independent of both stone wall below and wooden walls above. Because they are exceptionally precious hard
wood, they are worth displaying. The bahay na bato represents the apex in the development of indigenous
Filipino architecture, because it expands the prototypal structure of the ethnic house from a one-room dwelling
to a multiroomed house of grand scale, while preserving the basic features and because it adapts Western
cultural influences to form a synthesis of native and immigrant art.
The bahay na bato is a product of economic progress and cultural adaptation, and as such is a symbol of
affluent westernized Filipino. It stands as a reminder of the social situation which has not significantly
changed even with the introduction of democracy, public education, and free enterprise.
Other Indigenous Houses in the Philippines
Bahay-kubo is the first thing that comes to mind when you hear traditional Filipino houses, but there are other
traditional houses that protected our ancestors from harsh elements. Among them are:
Badjao Houseboat

The houseboats of Badjao, sea gypsies of the Philippines, cruise along the islands in the Sulu archipelago. These
range from 12 - 60 feet long but not more than 6 feet wide. Their unique ecological setting and fishing economy
compel the Badjao to adjust to the limited space of their floating homes where the prows are carved with okkil
design. Strong platforms are made on both ends of the boat for the fish, kitchen utensils and fishing gadgets
with the kitchen area usually found at the back.
Architecture
While the public image of architecture is often fixated on the individual, the. Badjao consider design to be a
communal practice. Houses for the Badjao (for those who do not live on their boats) are built almost
entirely out of driftwood and debris from coastal cities around Southeast Asia. When a storm hits a home
or community, neighboring Badjao will spare as much material of their own as possible, to help fortify damaged
homes. Their homes are built on stilts that are carefully placed in between coastal rocks and coral. This activity
is a communal effort, to ensure no wildlife is harmed as they set foundations.
The public image of architecture is often fixated on the individual. Architectural critique can be skewed based
on who designed a building, regardless of quality or appearance. In a community where all members contribute
to each other's work, stability emerges in the form of structural and cultural support.
Adaptability
The term "adaptability" has been thrust into the architectural world as part of the ever-growing "green"
movement. Yet the common outcome of this message has been energy efficient and "ecofriendly" appliances
being added on to otherwise unchanging design. What could be fundamental components to the nature of design
are often instead considerations for a checklist at the end of the design process. The solution then may not come
from our design process, but from us.
The Badjao show how it is possible for human beings to adapt productively to their environments. Fragility is a
word that is often combated in architecture today. We generally aspire for solidity, thick and immovable
construction, and maximum fortification. What this results in though is an opportunity for disaster to strike
should our infrastructure fail. The ocean, being a naturally tumultuous place, made the Badjao accustomed to
loosening the reins on their construction so to speak. Where we ride the bull so tensely that we are occasionally
knocked off, the Badjao people have learned to love the ride. They build short term, and live long term. This is
rather antithetical to modern notions of immediate satisfaction and safety. When every home and bridge is built
with the goal of eventually becoming parts to fortify other bridges and homes, then there really isn't ever any
truly failed infrastructure.
The Higaonon Tree House

In the hinterlands of Agusan and Misamis Oriental, the Higaonon build their tree houses of lashed sapling, nipa
or cogon grass, split bamboo, rattan and bark of trees. The low roof, at times, also serve as walls. Wobbling
catwalks connect the smaller houses of about 6 feet by 8 feet wide to a central com- square box of earth serves
as a fireplace and a kitchen. Such breezy and swaying complex structures sufficient for 60 people are held
together by split rattan and were traditionally built as defenses against enemy attacks.
Ivatan House
The Ivatan house is made primarily of lime, stone, wood, and thatch. It commonly consists of two structures,
the house proper and the kitchen or storage area. The main house has the larger area and is usually made of
lime, stone, wood, and thatch. The heavier materials (lime and stone) provide better shelter from the constant
rains. The kitchen or storage area is usually made of wood and thatch. Compared to the bakay kubo and the
bakay na bato, the Ivatan House T has significantly lower ceilings (around 1.60- 2.00 meters high only) and
smaller door and window openings to keep the interior warm. Plus, there are Ivatan houses that have an attic.
Mandaya House

The Mandaya house is wholly made of carefully selected bamboo flattened into slats and held together by
horizontal bamboo strips or a rattan. Ascent to this single room with a small kitchen area is through a removable
single-notched trunk of a tree. Traditionally, its elevated floor line served as one of the safety measures against
attacks by other ethnic groups in the periphery of Davao Oriental. These warring conditions made the bagani or
warrior class a high and most coveted social ranking.
Symmetry Art
Symmetry in art is when the elements of a painting or drawing balance each other out. This could be the
objects themselves, but it can also relate to colors and other compositional techniques. It is a balance that is
achieved by the arrangement of elements on both side of the center, in other words, the image would look
identical on either side, formed through horizontal or vertical division. Because of its very structured and
equally proportioned nature, symmetrical balance is best suited for if the desired effect requires a sense of order,
clarity, and consistency. For the eye, the idea of balance and repetition that follows an identical rhythm is
a place of rest and this type of image is easy to follow.
Okir
The Okir (motif) is an exclusive artistic cultural heritage of the Maranaos of Lanao, Philippines. It is as
an artistic design of the Maranao native inhabitants of Suuthern Philippines beginning from the early 6th
century before the Islamization of the area.
Okir is a design or pattern often rendered or curved in hardwood, brass, silver and wall painting in
curvilinear lines and Arabic geometric figures.
The Okir Motif is an art depicting the indigenous originality and skill of the Maranaos. It is a fine art of
figuring, painting, curving, and sculpturing depicting the social and psychological identity of Maranao Society.
It is being patronized long time. until today and possibly in the coming generations of Maranao people. Every
artifact or Maranao made ornament or device, or decoration is desigmed with authentic okir revealing that the
Maranaos have a distinct and original culture and civilization not being imitated from other culture.
In the book of Dr. Nagasura Madale, it explains that the Okir has patterns which are used by the
Maranao artists. They call them: (1) Matilak (circle), (2) Potyok (bud), (3) Dapal (leaf), (4) Pako (fem or
spiral form). (5) Todi (fern leaf with spiral at upper edge, (6) Pako lungat (ferm leaf with a cut at ore
edge). Other elements found by Dr. Madale are: Naga, obid-obid binotoon, kianoko, pakonai and tialitali.
The terminology used by artists is not familiar with our common usage because they have their technical terms
in their exclusive use. There is a need for visual display of examples of their arts. to appreciate this artistic
originality. It is hereto attached some samples of the okir motif as best reference.
The Maranaos are proud to preserve their cultural heritage by way of keeping their artifacts
permanently located in their households. In the museum of the Mindanao State University, we find the
display of different tools, devices and implements of the Maranaos that are being designed with okir with varied
kinds and samples.