CHAPTER 10:

Visual Elements in Philippine Traditional Motifs and Crafts

Decorative designs in traditional Filipino handiworks which include woven fabrics,
potteries, wooden carvings, jewelries, and metal crafts, feature visual elements which
may be analyzed. These lines, colors, shapes, patterns, and symbolisms can give us
understanding about the meaning and purpose of such creations. We will begin to
deeply appreciate our identity when we have learned to decipher their beliefs, values,
and ways of living as we look at their works closely.
Motif- an element of an image, may be repeated in a pattern or design, or may
occur once in a work.
In this topic, we will examine various motifs present in traditional ethnic creations;
a brief review of the visual elements will function as a tool in effectively critiquing works
to be presented.

Visual Elements

LINES
The foundation of drawing; used to portray shape,
pattern, form, structure, growth, depth, distance,
rhythm, movement and a range of emotions.
Defined by a point moving in space. It is probably the
most fundamental of the elements of design as it is
usually the starting place for much of artistic creation.

SHAPES
May be natural or man-made, regular or irregular, 2-
dimensional or 3-dimensional, representational or abstract,
geometric or organic, transparent or opaque, positive or negative,
decorative or symbolic, colored, patterned or textured.
A shape is created when a line is enclosed: a line forms the
boundary, and the shape is the form circumscribed by that
boundary
 TONE
The lightness or darkness of a color; used to create a contrast of light and
darkness or create a pattern within a composition

COLOR
Has the strongest impact on our emotions; used to
create mood in our artwork. Color can be used to
evoke a certain mood or to create a message or
sharp response in the viewer.
It is also the aspect of things that is caused by
differing qualities of
light being reflected or emitted by them. To see color,
you must have light. When light shines on an object
some colors bounce off the object and others are
absorbed by it. Our eyes only see the colors that are
bounced off or reflected.

PATTERN
Made by repeating or echoing the elements of an
artwork to show a sense of balance, harmony,
contrast, rhythm or movement.
Natural patterns are observed from nature, while
man-made patterns are planned compositional
works done to develop a more decorative design.

TEXTURE
The roughness or smoothness of a material; can be
experienced optically and physically.

FORM
It is the physical volume of a shape.
 It includes the space it occupies and can be classified as representational or
abstract. Pertains to the way that a shape or physical configuration occupies space.

HISTORICAL BACKGROUND
Traditional creations and artistic expressions dating back to the precolonial
period still exist despite colonization’s. The determination of tribal groups to maintain
their identity and reject foreign influences has contributed to the preservation of our
global distinctiveness. Archaeological discoveries which include potteries, ceramics,
jewelries, woven materials, and the like feature a variety of decorative techniques and
show association with indigenous beliefs and way of living.
POTTERIES
Were objects for daily use such as cooking and liquid storage. The Manungul
Jar, used as a coffin, had waves designing its outer body and a lid with two figures
sailing into the afterlife. Pottery-making continues to be a tradition in different parts of
the country even these days. Of all the works, it artistically portrays our earth’s makeup

The Manunggul Jar shows that the

Manungul Jar (Excavated from
Palawan) Source: Filipinknow.net
Filipinos’ maritime culture is paramount that
it reflected its ancestors’ religious beliefs.
Many epics around the Philippines would tell
how souls go to the next life, aboard boats,
pass through the rivers and seas. This belief
is connected with the Austronesian belief of
the anito. The fine lines and intricate designs
of the Manunggul Jar reflect the artistry of
early Filipinos. These designs are proof of
the Filipinos’ common heritage from the
Austronesian-speaking ancestors despite
the diversity of the cultures of the
Filipinos.The upper part of the Manunggul
jar, as well as the cover, is carved with
curvilinear scroll designs (reminiscent of
waves on the sea) which are painted with
hematite.
Kalinga rice storage jar stamped with repetitive lines and shapes.
Kalinga jars, used as storage containers, often for rice, are known for displaying incised
geometric patterns symbolic of tribal designs taken from nature. Kalinga pottery is an ancient clay
art tradition widely distributed in Kalinga, a province located in the Philippines’ Cordillera
Mountains.TheThis
Manunggul jar has
pottery art is largely
a fewmade from clay
distinctive and itone
features, measures
of which51.5 cmunique
is its wide and 66.5 cm
geometric
high. Its embossed, curved designs especially those at the upper portion of the jar were painted in
motifs.
pure hematite and iron (National Museum Information).
There are two human images riding a boat located on top of the jar’s cover. The first human
image, holding an oar with a missing blade, is situated at the back area. He seems to be steering
the oar rather than paddling the boat. The second human image, with arms folded across the
chest, is situated at the front. Both human images seem to have a band tied over their heads
down to their jaws. The image of a head complete with carved eyes, nose and mouth is also seen
at the front area of the boat.
The two human images were said to symbolize two souls on a voyage toward the afterlife. The
arms folded across the chest of the second human image and the band being tied from the top of
the head down to the jaw, on the other hand, represented the Philippine tradition of arranging a
dead body (Chua 1-2). The three main features of the Manunggul jar is composed of the boat
itself, the boat driver and the soul. This was based on the Austronesian belief wherein the soul of
a human separates from the body after death and returns to the Earth in another form for the
purpose of looking after his or her descendants. The souls were believed to travel through boats
just like the one depicted on the jar’s cover.
The “ship-of-the-dead” image in the Manunggul jar was found to have close similarities with
the ship motifs of woodcarvings found in Taiwan, East Timor and other places in South East Asia.
Such ship motifs were seen during ancient funerals using boat-shaped coffins.

WOVEN TEXTILES
Woven Textiles are made from natural fibers (cotton, abaca, pineapple) and may
come in variety of colors from natural dyes (flowers, tree roots, berries). The industry
date from early times and remains a tradition among our indigenous groups.
Rich heritage is shown among the designs of each woven ethnic pattern :

Ifugao symbols present in their traditional textiles:

 A star pattern. A star, also revered as a god, is
Lighting/messenger god: symbol is used to signal
known to be a child of the sun and the moon.
man's efforts to reach their superior gods which is
impossible. One needs the help of a messenger god to
talk to the superior gods.

S-symbol is a pattern only worn by a warrior

headhunter and his wife or daughter.

Symbol for man

Lizard, for the Ifugaos, symbolizes wealth and

good fortune.
WOODCARVINGS

Wood carving is a form of woodworking by means of a cutting tool (knife) in one

hand or a chisel by two hands or with one hand on a chisel and one hand on a mallet,
resulting in a wooden figure or figurine, or in the sculptural ornamentation of a wooden
object.

A chisel is a tool with a characteristically

shaped cutting edge (such that wood chisels have
lent part of their name to a particular grind) of blade
on its end, for carving or cutting a hard material
such as wood, stone, or metal by hand, struck with
a mallet, or mechanical power

Nature, animals, human figures are the motifs commonly seen in our traditional
wooden carvings. Ifugao woodworks portray their deities and were used in rituals done
from planting to harvesting of rice

Ifugao anthropomorphic spoons from Luciano

Federico Collection
The Ifugaos of Northern Luzon are famous
for the way they carved the mountain slopes that
form the legendary Banaue rice terraces. They are
also well known for their mastery of wood carving.
Ifugao woodcarvings are usually of their deities, the
most famous of which are the various
interpretations of the granary deity known as the
bul-ul.

Representations of floral and animal forms are seen in Maranao and Tausug
groups’ woodcarvings; figures of animals and handcrafted masks are portrayed in the
artworks from tribes settling in Palawan

A Maranao torogan house with projected

beams carved with into okir designs.
Maranao woodcarvers use the okkil motif in
most of their works. The okkil motif is rich in
Sassanian character the flowing floral forms and S
movements. The Filipino Muslim adaptation of the
okkil has a strong indigenous character, deriving
inspiration from local plants, sea corals and native
objects
 Tagbanuan artwork
Their wood carving is unique because it
incorporates a technique of completely blackening
the surface of the wood and then bringing out white
portions while etching the design.
Tagabanwa or Tagbanuan woodcarvings
stand out as one of the most exciting of indigenous
Philippine woodcarvings. These wooden works of
art are highly stylized and reflect sophisticated
aesthetics, leading one art critic to say that
they have “close affinities to near-abstract art.”

Wood carving by Jose Alcantara

Alcantara is known to be the last maestro of
traditional wood carving in the country. Born in
Pasay City, he trained in the atelier of the prince of
Philippine sculpture during the colonial period,
Isabelo Tampinco, after which he worked as a
carver in the furniture shop of Gonzalo Puyat.
Alcantara’s talent took him to numerous art shows
and gave him countless accolades here and
abroad

ANOTHER EXAMPLES OF WOOD CARVINGS:

TINIKLING WOOD CARVING

From Paete, Laguna

LAST SUPPER
From Paete, Laguna

PERSONAL ORNAMENTATION
TATTOING
Tattoing is one of the ways indigenous Filipinos beautify themselves. Such
markings show status, power, and skill in headhunting.
Tattooing is one of the oldest art forms known to human. It is a type of body
modification that involves creating permanent letters, symbols or other images on the
skin. Ink is injected under the surface of the skin, by piercing it with a small needle.
The T’bolis feature tattooed zigzag lines, geometric shapes, and animal figures in
their forearms and chests.
Kalinga tattoos portray objects seen in daily life, such as rice terraces, ladders,
and centipedes, and the like. Designs on women display their social status; men could
only achieve markings if they won battles or defended the village from their enemies.

Forearm and chest Python (Symbol of

tattoo ZIGZAG Kalinga)

The last and oldest mambabatok

Apo Whang Od
Whang-od Oggay, also known as Maria
Oggay, is a Filipina tattoo artist from Buscalan,
Tinglayan, Kalinga, Philippines. She is often
described as the "last" and oldest mambabatok and
is part of the Butbut people of the larger Kalinga
ethnic group.
Kalinga Tribe tattoo represent:

MEN WOMEN

PHILIPPINE ART HISTORY

Arts in the Philippines refer to the various forms of the arts that have developed
and accumulated in the Philippines from the beginning of civilization in the country up to
the present era.
18th Century
Earliest among the collection are religious in themes and composed of 18th
century icons and images created by local artisans under the tutelage of the friars. The
devotional pieces of the collection are of outstanding significance
TUTELAGE / tu·te·lage
Protection of or authority over someone or something; guardianship.
The art of the eighteenth century is both an elaboration and a simplification of
the Baroque style, with greater delicacy giving an impression of elegance. The total
effect of eighteenth-century art is more fluid than the restless Baroque, as well as more
capricious and playful, rather than serious.

Coronation of the Virgin Mary

By Isidro Arceo, 1870
The painting depicts the Blessed Virgin Mary
ceremoniously crowned by God the Father, God the
Son, and God the Holy Spirit, in the form of a dove,
as queen of heaven and earth.
An extremely rare icon belonging to the
primitive school of Philippine art. It is typical of the
religious art produced during the 18th century for
household use (devotional piece).
 Retablo
18th Century
It is an upright panel, intricately carved and
highly decorated. Its wooden frame contains ledges
and panels behind and above the altar. The main
feature of old Roman Catholic churches in the
country is the retablo, the altarpiece.

1900s
During the late Spanish colonial period, the school of Academism or “salon”
painting emerged and produced the likes of Juan N. Luna and Felix Resurreccion
Hidalgo, who are now considered as 19th century masters.
CHARACTERISTIC
Harsh colors and flat surfaces (Fauvism); emotion distorting form

Juan Novicio Luna was a Filipino painter,

sculptor and a political activist of the Philippine
Revolution during the late 19th century. He became
one of the first recognized Philippine artists.

The painting features a glimpse of Roman

history centered on the bloody carnage brought by
gladiatorial matches. Spolarium is a Latin word
referring to the basement of the Roman Colosseum
where the fallen and dying gladiators are dumped
and devoid of their wordly possesions.
 Mother’s Revenge
by Jose Rizal,1894

The sculpture in terra cotta (clay), Mother’s

Revenge, is an allegorical representation of what
was happening in the Philippines during that period.
Shown is a mother dog trying to rescue her helpless
pup from the bite of the crocodile. The mother dog
represents “mother Philippines” and the patriots who
are doing their best to save the defenseless
countrymen - the pup - from the cruelty of the
Spaniards as represented by the crocodile.

Governor Dasmarinas
By:Felix Resurreccion Hidalgo

In the painting Governor Dasmariñas, Hidalgo

was able to expose the supremacy of the church
over the Spanish government. It depicts the figures
of a Dominican friar dictating on Governor
Dasmariñas, who seems to be helpless, to sign a
document allegedly authorizing the immediate
military assistance to the king of Cambodia

In the succeeding American period, Fernando

C. Amorsolo, who was later declared as the First
National Artist, rose into fame and established his
own style or “school” which was largely
characterized by countryside scenery with golden
sunlight.
 The Making of the Philippine Flag by
Fernando Amorsolo
It shows three women (Marcela
Agoncillo, her daughter Lorenza, and Delfina
Herbosa de Natividad, Dr. Jose Rizal’s niece). This
Filipino painting may be the most notable but there
are some stories going around saying that
Amorsolo’s depiction isn’t accurate because one of
the three women sewing the Philippine flag is a
child. 
La Descension De Jesus.
Graciano T. Nepomuceno.
Wooden Plate Sculpture,1900.
The sculpture in hi-relief is an interpretation of
Reuben’s wooden plate sculpture original. It depicts
the moment when Christ was taken down from the
cross by Joseph of Arimathea in the presence of His
disciples and Mother Mary.
Graciano T. Nepomuceno was the leading
sculptor and santero (icon maker) during the early
1900’s. He was the predecessor of Guillermo
Tolentino, National Artist, in the University of the
Philippines.

1920s
The period is represented by the proliferation of genre themes, landscapes and
still life’s as well as the emergence of pre-modernism.

Art Deco
Also called style moderne, movement in the decorative arts and architecture that
originated in the 1920s

Bust. Of Mons. G. Aglipay

The Bust of Mons. G. Aglipay highlights the
distinctive features that are trademarks of Guillermo
Tolentino sculptures whether in terra cotta or bronze
– perfect anatomy with particular emphasis in the
eyes and character of the subject.
Fernando Amorsolo
Fernando Amorsolo y Cueto was one of the most important artists in the history
of painting in the Philippines. Amorsolo was a portraitist and painter of rural Philippine
landscapes.

OLD WOMAN (1941) DALAGANG BUKID (1927)

1930s (Pre-modernism)
Art Deco, also called style moderne, movement in the decorative arts and
architecture that originated in the 1920s

Artists represented in the collection:

VICTORIO EDADES
Victorio Candido Edades was a Filipino painter. He led the revolutionary Thirteen
Moderns, who engaged their classical compatriots in heated debate over the nature and
function of art.

THE WRESTLER (1927)

DIOSDADO LORENZO
Diosdado Lorenzo was born in 1906 and was largely inspired creatively by the
1920s.
MOTHER AND CHILD (1946)

GALO OCAMPO
Galo B. Ocampo was born in Santa Rita, Pampanga. In 1929, he studied Fine
Arts at the University of the Philippines in Manila.
PRAYER (1975)

CARLOS FRANCISCO
Francisco was a most distinguished practitioner of mural painting for many
decades and best known for his historical pieces.
KATIPUNAN (1964)
GABRIEL CUSTODIO
Gabriel Custodio (1912) was born in Tanza, Cavite. He graduated from UP
School of Fine Arts, 1939. Grandaunt Valentina Velasco, a nun who painted and
sculpted was the one who taught Gabriel the fundamentals of art.

FISHERMAN (1980)

VICENTE MANANSALA
Vicente Silva Manansala was a Filipino cubist painter and illustrator. He was a
member of the prominent Cruz, Manansala, Lopez family clan.
MADONNA OF THE SLUMS (1950)

RICARTE PURRUGAN
Ricarte Madamba Puruganan was born in Dingras, Ilocos Norte. He is the first of
six children of Honorio S. Puruganan, a musician, composer, poet and painter, and
Victoria M. Puruganan, a school teacher and housewife
ADOBE STONE (1949)
ROMEO TABUENA
Romeo Villalva Tabuena was a Filipino painter and printmaker who was born in
Iloilo City. He studied architecture at the Mapúa Institute of Technology in Manila and
painting at the University of the Philippines.
PORTRAIT OF A DRUMMER (1974)

1942-1945
A suspension on artistic activity was prevalent during the Japanese occupation.
However, some visual artists still managed to produce artworks based on the atrocities
brought by the war. Artists represented in the collection: Dominador Castañeda,
Demetrio Diego, Diosdado Lorenzo, Romeo Tabuena, Gene Cabrera and others
“Rape and Massacre in Ermita” by Diosdado Lorenzo
 “Doomed Family” by Dominador Castañeda

“Capas” by Demetrio Diego

1946-1949
After the Japanese occupation, the art community sprang back
to life. Various themes and styles were explored and pioneered by Filipino artists who
gained experience abroad. Mural painting emerged, spearheaded by Carlos Francisco.
Carlos Modesto “Botong” Villaluz Francisco was a Filipino muralist from Angono, Rizal.

Art Association of the Philippines (AAP) was established in 1948.

 The Art Association of the Philippines (AAP) is an organization founded with the
goal of providing a support system for artists through exhibitions and contests. It was
formed through the efforts of art collector Purita Kalaw-Ledesma in 1948. It eventually
became the largest art group in the Philippines. Among the artists who got their break
through the semi-annual and annual exhibitions and prizes were Carlos “Botong”
Francisco, Cesar Legaspi, H.R. Ocampo and Vicente Manansala.

“Burning of Sto. Domingo” by Fernando Amorsolo

1950s
The Philippine Art Gallery (PAG) was founded with young modernists as the
leading figures. Emergence of different schools of thought (e.g. school of Botong
Francisco, school of Manansala, emergence of the “Mabini” art group.
Christmas Card Series

Harana in Manila
1960s
Modern art reached its peak.
Ink Fish

First Mass in Limasawa

Planting of the First Cross

1970’s
This is also known as the Philippine Modern Art Era, arts in this period are
modern, conservative and experimental public art. This art have the influences of
Western styles like pop art, maximalism, minimalism, abstraction, expressionism,
constructivism, magic realism, and environmental art.
Most of the artists in the 1960’s continued to produce important works in this
period. Emergence of different movements such as People’s Art or Art for the Masses,
Protest Art, Social Realism, and the institutionalization of the National Artist Award
(1972).
Fernando C. Amorsolo-1972 (Painting) - is best known for his illuminated
landscapes, which often portrayed traditional Filipino customs, culture, fiestas, and
occupations. His pastoral works presented “an imagined sense of nationhood in
counterpoint to American colonial rule” and were important to the formation of Filipino
national identity. Idealized agricultural Philippine scenes are the heart of Amorsolo’s
work. They present a lifestyle that was disappearing quickly. Many of the rice fields in
the paintings are now the sites of new communities; nipa huts, are replaced by new
homes. But Amorsolo continued to paint the traditional rural life in the Philippines. Many
consider Amorsolo’s portrayals of the countryside as “the true reflections of the Filipino
Soul.”
PLANTING RICE DALAGANG BUKID

Carlos V. Francisco popularly known as "Botong", was a distinguished muralist from

and best known for his historical pieces. Also known as the Poet of Angono, Rizal he
single-handedly brought back the art of mural painting in Philippines. He was one of the
modernist artists together with Galo Ocampo and Victorio Edades known as " The
Triumvirate" who broke away from romanticism style of Fernando Amorsolo's Philippine
Scenes.
HARANA FIESTA

He was the second Filipino who received the title of National Artist in Painting in 1973
after Fernando Amorsolo. Among of his awards are first prize for his work "Kaingin" at
the annual Art Association of the Philippines, "Most Outstanding Alumnus" in 1959, and
Republic Cultural Heritage Award in 1964.
1980s
The period is characterized by a revival of traditional art and ethnic art.
Contemporary sculpture became an integral part of buildings and parks. When it comes
to visual arts, the 1980s were marked by the appearance of Neo-expressionism, an art
phenomenon which spurred around the globe. At a time when there were so many civil
rights and liberties being curtailed, Filipino artists were given high status in society. Of
significance was the creation of the National Artist Award

Eduardo Castrillo
Eduardo De Los Santos Castrillo is a noted sculptor, who had defined the second
wave of modernist sculpture in the Philippines. Castrillo has represented the Philippines
in many exhibitions abroad, and has also been commissioned to create monuments all
over the country and overseas.
The Redemption, Loyola Memorial Park, Marikina, Metro Manila

Cry of Tondo (1978), Plaza Moriones,

Tondo, Metro Manila

Federico Aguilar y Alcuaz

 Who signed his works as Aguilar Alcuaz was an artist of voluminous output. He is
known mainly for his gestural paintings in acrylic and oil, as well as sketches in ink,
watercolor, and pencil. He was also a sculptor of note and has rendered abstract and
figurative works in ceramics, tapestries and even in relief sculptures made of paper and
mixed media, which he simply calls “Alcuazaics.”

TRES MARIAS

STILL LIFE WIT H LANDSCAPE

1990s
New generation of
painters, sculptors and printmakers expressing their personal feelings and expressions
emerged.

Rafael Pacheco- was a Filipino Asian Modern & Contemporary artist who was born in
1933.A world-renowned artist and the Father of Palm and Finger Painting in the
Philippines. His exceptional way of conveying his artistic talent made him an icon that
inspired the youth and other artists to use the medium he introduced.  Sir Pacheco’s
masterpieces are mostly kois and gold fish
 Koi and Coral

Romulo Galicano (born February 4, 1945, in Carcar Cebu) is a Filipino painter whose
works are technically academic and philosophical approach. His paintings shows
invoice and broad meaning that can be depicted through canvas. He had numerous one
man show and won various awards.
Yolanda typhoon

2000 to present
Philippine art has come a long way, from the primitive ingenuity of the Filipinos to
the present avante-garde artists exploring all possible techniques and schools ranging
from the traditionalists, representationalists, abstractionists, abstract expressionists,
semi-abstractionists, figurative expressionists, non-objectivists and other forms of –
isms.

Art today is an open forum of visual statements.

Ang Kiukok is undoubtably one of the most prominent painters in contemporary.
Philippine art. He was born in 1931 in Davao City, the only son of Chinese immigrants,
in a brood of five daughters. He studied Fine Arts at the University of Sto. Thomas from
1952-54.
Fishermen (1993-2005)

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%3A1633059126181&ei=NoFWYeLACtfj-
Aa7ibLIBw&oq=moth&gs_lcp=ChNtb2JpbGUtZ3dzLXdpei1zZXJwEAEYADIECCMQJzI
ECCMQJzIECCMQJzIFCAAQkQIyBQguEJECMgQIABBDMgQIABBDMgQIABBDOgQI
ABBHOgcIIxDqAhAnOgQILhBDUMQjWN5AYN5saAFwAXgAgAG6FogBo1SSAQM5LT
SYAQCgAQGwAQ7IAQjAAQE&sclient=mobile-gws-wiz-serp#imgrc=UdFZgI-aLOmqIM
https://www.google.com/amp/s/chrisvincentnation.tumblr.com/post/163854878883/
mothers-revenge-by-jose-rizal-the-sculpture-in/amp
https://en.m.wikipedia.org/wiki/Shape_and_form_(visual_arts)#:~:text=In%20the
%20visual%20arts%2C%20shape,triangles%2C%20circles%2C%20and
%20squares.&text=Specifically%2C%20it%20is%20an%20enclosed,by%20other
%20elements%20of%20art
https://www.khanacademy.org/humanities/ap-art-history/start-here-apah/elements-of-
art-apah/a/line https://www.slideshare.net/ayesharmanex3/traditional-arts-of-philippines-
final