Motif and Symbols

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 image 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 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 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 and 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 created symbols in order to explain and understand something that we have to 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 in order to save them.

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 or referred to, independently of any format identification with
it. (Note that many symbols can fall into multiple categories, but the context and intention will
help us understand how to “read” them.

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 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 handicrafts 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 from 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 most 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).

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, sculptures rely on space and form, and architects build space. It is 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 mountains,
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 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 the 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 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
of the eaves, sits on a huge structures 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
panolongs the seemed to lift up 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 malongs hanging from the
rafters, it was hung up using ropes around a particular territory for privacy.
The most noticeable feature the torogan is the panolong, wing-like house beam with pako
rabong or fern or naga 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 highridged roof is the rampatan 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 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 that it’s 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 is
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 upward 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 is composed of the posts (tukud). The house is erected on four strong
posts which are usually made of large of large 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 foundations. 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. It often serves as an icon of Philippine culture or, more specifically, Filipino
rural culture. Its architectural principles give 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. Ni ño 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 structured 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 has to 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 the 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 kubo 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.
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 –
woods, 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 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 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
topical 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, ventanillas 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 a 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. Bahay na bato had a
rectangular plan that reflected Austronesian Filipino traditional house integrated with Spanish
style.
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 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:

1. Badjao Houseboat
The houseboats of Badjao, sea gypsies of the Philippines, cruise along the island in
the Sulu archipelago. This 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 the 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 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 built 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.
2. 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 defences against
enemy attacks.
3. 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 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.

4. 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 want 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 6 century before the Islamization of the area. Okir is a design or
th

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 artefact 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.
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 (fern or spiral form), 5. Todi (fern leaf with spiral at upper edge, 6. Pako lungat (fern
leaf with a cut at one edge). Another elements found 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.