Module 7 Deirdre E.

Blancaflor
VISUAL ELEMENTS IN Instructor
PHILIPPINE Email Address:
TRADITIONAL MOTIFS AND [email protected]

CRAFTS Contact Number:

09467642843
PART I

Module Duration:
May 2 - 4,2022
GE 006
Course Description

Art Appreciation is a three-unit course that develops students’

ability to appreciate, analyse, and critique works of art. Through
interdisciplinary and multimodal approaches, this course equips
students with a broad knowledge of the practical, historical,
philosophical, and social relevance of the arts in order to hone students’
ability to articulate their understanding of the arts. The course also
develops students’ competency in researching and curating art as well
as conceptualizing, mounting, and evaluating art productions. The
course aims to develop students’ genuine appreciation for Philippine
arts by providing them opportunities to explore the diversity and
richness and their rootedness in Filipino culture.
 MODULE SCHEDULE

Week 15-16 Module 7 Visual Elements in Philippine Traditional Motifs and Crafts
• Decorative Motifs and Symbols Classification Synchronous Via Google Meet
• Indigenous Philippine Arts and Craft Synchronous Via Google Meet
• Soul, Space and Symmetry Art Synchronous Via Google Meet

LEARNING OBJECTIVES

After completing this module, you should be able to:

• analyze how line is interpreted and utilized in traditional crafts;
• develop students’ ability in manipulating the elements of art; and
• document changes and the shifting environment such as terrain, texture and sound through fusion of various elements of art.

INPUT INFORMATION

Lesson 1: Motifs and Symbols

Since the day man began to give shape to the materials provided by nature for meeting his rudimentary requirements, he has
never been able to resist the inward urge to adorn and beautify his possessions and surroundings. All these efforts have led to the
creation of motifs from different origins, organizing them in suitable layouts. This gave the uniqueness to the motifs used in traditional
Indian textiles.

Decorative Motifs and Symbols Classification

There are times when we do not understand what is being meant by a word, a thought, an act, or a thing. We need other things
to describe them in order to properly understand their meanings. This is particularly true when we are dealing with works of art and in the
literary world. This is why symbols and motifs are created: to help us understand.

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 unlike a theme which is an idea
or message, a motif is a detail that is repeated in a pattern of meaning that can 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
(Encyclopedia Britannica, 1997).
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 in order to explain and understand something that we have to interpret.

Types of Symbols

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

5. Ideograms represent a 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 phonogram is a sign that is used to

signify linguistic or other sounds.

Indigenous Philippine Arts and Craft

One of the most precious traditional livelihoods that are still 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
mens' wear. 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 Cordillerans 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 Ilocos 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 (FREEMAN).

Lesson 2: Soul, Space and Symmetry Art

What we know, and what we see often are very different. Objects appear to get smaller as they recede into the distance - though
we know that identical objects will not change size based on their distance from us. Parallel lines appear to eventually come together on
the horizon line, even though we know that the train tracks never actually meet. The so-called primitive art is often based on what the artist
knows, not sees. Things often appear on a flat plane; objects don't become smaller as they go deeper in space. Often, the space is flat - a
sort of bird's eye view, with objects not overlapping, but simply placed on top of one another in a flat arrangement. For example, Grandma
Moses' paintings and Persian miniatures. So, describing what is 'real' and 'not real' is more complex than at first glance. With the
Renaissance, artists became concerned with trying to create the illusion of depth in painting. Modern art, however, did not want to create
any illusions - what we see is what we get. It may be a blue circle on a white field; it does not pretend to be anything else. Which, then, is
the illusion? Which is the reality?

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 are quite small. Though
we know in reality 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 house 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 torogans
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 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
subject of many scholarly articles as it is considered to be one of the most
ingenious 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
floor boards were fitted between the joists.

❖ The wooden sides of the house slant outward and rise up to the waist, this forms the lower half of the wall. In its entirety, no nails
and bolts are used for all connections.

❖ The upper half of the wall is formed by the inner side of the roof. This creates a dark, windowless chamber which suggests a
womb.

❖ The roof system rests on the "house cage." The steeply pitched pyramidal roof is covered with thick layers of thatch or cogon,
this insulates the house from the heat of the sun and from the torrential rain.

❖ 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 are 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 8-12 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.

❖ Wooden Discs (lidi). Around the four posts are wooden discs to prevent
rats from entering the house. The discs are about 2 to 14 inches thick and
36 to 40 inches in diameter. Either a square opening or a bore.

Bahay Kubo
The Nipa hut, or Payag, Kamalig 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 to many of Filipino traditional houses and
buildings that rose after the pre-colonial era. These includes 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 actually 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.

The Architecture
Also known as nipa hut, this architecture can still be found along the countryside. It is constructed of indigenous materials that
can easily be found in their local surroundings-wood, planks, grass, bamboo and large logs. Normally cubic in shape, this shelter is raised
on stilts or posts of one to two meters depending on the area where the said shelter is constructed- it may be on solid ground, on a hillside
or mountainside, or in shallow water. Raising the interior from the ground safeguards the shelter's inhabitants from flood, and from snakes
and other wild animals.
A typical bahay kubo only has one, large, open, multi-purpose room for dwelling, called bulwagan. It has a cellar, called silong
where most household chores are done. This area serves as the area for livestock pens, storage space, workspace and granary. The
walls are made of nipa and cogon leaves or sawali or woven bamboo, and there are large windows on all sides, which keep the interior
well-ventilated. The windows have tukod or "legs" that hold the swinging shades open during the day and secure it back in place at night.
Another feature of the the bahay kubo is ladder or hagdan which can easily be removed at night or when the owners are out. Likewise,
some huts have an open back porch or batalan where household chores are done and where the jars of water are placed.

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.
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 multi-roomed 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 Phifippines, 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, so as 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 "eco-friendly" 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 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 communal room where a
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 bahay kubo and the bahay na bato, the Ivatan House 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 of 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.
A balanced composition feels right. It feels stable and aesthetically
pleasing. While some of its elements might be focal points and attract your eye,
no area of the composition draws your eye so much that you can't see the
other areas.
Balancing a composition involves arranging both positive elements and negative space in such a way that no area of the design
overpowers other areas. Everything works together and fits together in a seamless whole. The individual parts contribute to their sum but
don't try to become the sum.
An unbalanced composition can lead to tension. When a design is unbalanced, the individual elements dominate the whole and
the composition becomes less than the sum of its parts. In some projects, unbalanced might be right for the message you're trying to
communicate, but generally you balanced compositions.

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 southern 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 ago, until today and possibly in the coming generations of
Maranao people. Every artifact or Maranao made ornament or device or
decoration is designed with authentic okir revealing that the Maranaos have a
distinct and original culture and civilization not being imitated from other culture.

LEARNING ACTIVITIES

Characterize how Filipinos utilize space to determine its implications for their identities, history, religion and philosophy.

ASSESSMENT AND EVALUATION

• Short quiz through Google Form. Synchronous

• Summative Test
• Accomplished task
 ASSIGNMENT

Discuss the concept of Okir in relation to Islamic art. Is Okir still relevant in Muslim Mindanao? Support your answer.

LEARNING RESOURCES

As students of art, how can you help the minority tribes in Muslim Mindanao develop their handicraft such as weaving? List down your priorities in
helping/assisting them.

• Module
• Supplemental reading materials posted in closed group
• Audio-video Presentation

REFERENCES

• Art Appreciation for College Students by Roman D. Leano, et.al