UNIT VIII.

HISTORICAL
DEVELOPMENT OF
PHILIPPINE ART

Melanie J. Yambot/Instructor
 Learning
Objectives

 Trace and summarize the development of the arts, art appreciation and aesthetics
in contemporary practice.
 Appreciate better the history and development of Philippine arts

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 PHILIPPINE TEXTILE ART
-Some years back, Philippine traditional weaving practices and colorful indigenous
textiles were put into the spotlight when it was put on permanent exposition at the
National Museum through the exertion of Sen. Loren Legarda. Entitle, "Hibla ng
Lahing Pilipino:
-The Artistry of Philippine Textiles," the discussion highlighted the distinct creativity
and DNA of the people among other cultures through the fabric. (Soralla, 2017).
Eventually, the exposition was graced by Queen Sofia of Spain, Paolo Zegna of
Ermenegildo Zegna, and Lady Lynn Forester de Rothschild, among many others, and
continued to gain popularity.
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 Filipino artistry and creativity are apparent in various art forms. What
makes the weaving culture novel is its power to unite people as strong,
resilient communities bound by living tradition and colorful textile
patterns and motifs.

PINILIAN
 Community: Ilocano
 Origin: Ilocos Region
 The Ilocano of northwestern Philippines is famous for their handweaving, a
tradition with ancient roots
 Capas or cotton as the primary material.
 They supply the pedal loom, locally called pangablan; employ different weaving
techniques, and have numerous designs/patterns.
 There are two kinds of pinilian: sparse and continuous supplementary weft
techniques. The weavers of Pinili, Ilocos Norte, are mentioned to be adept in
the concurrent warp, and weft-float type of civilian called the impalagto, a
technique unique in the town.

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 BONTOC WEAVE
 Community: Bontoc
 Origin: Mountain Province
 The Bontoc textile turns around centeredness, which symbolizes
permanence, order, and balance, key factors in the life of the Bontoc
people. Weavers teach this idea through the direction of their weave, from
the edge to the middle, to the cloth construction's symmetry and the
repeated warp-striped design.
 Because of the complex method of adding the kan-ay, the center panel
would be woven last. When all the components are ready, they would be
sewn jointly in the reverse order of their creation, and it ends with the
langkit.
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 KALINGA TEXTILES
 Community: Kalinga
 Origin: Province of Kalinga
 The Kalinga textiles exhibit motifs carry out as though they are embedded in the geometry
of weaving itself. It has a strange dialogue between red and blue, 90 expressing itself in
broad red and blue bands of simple or twill weave, and it creates a densely-composed circle
of tight stripes.
 The Kalinga weavers, specifically in the upper Kalinga area, put textures on the striped
bands using the twill-weave technique.
 Tiny motifs, patterns, and embellishments have characterized Kalinga textile, including
miniature lattice, unceasing lozenge design locally called inataata,pawekan, or mother-of-
pearl platelets, and among others.

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 PIÑA
 Community: Aklanon
 Origin: Aklan
 Considered the refined of Philippine textiles, the piña fabric is made from the fibers of the leaves of the
red Bisaya pineapple through an arduous process. The extraction of the tissues is the most delicate and
tedious process.
 The leaves provide two kinds of fibers: the Bastos, the coarse thread, the liniwan, or the fine cotton. a
shard of Chinese porcelain usage, the stripper eliminates the leaf's epidermis, exposing the lustrous
bastos fiber. After taking down the rough textures' sheets, the stripper then runs a coconut shell on the
inner layer of the leaf to expose the liniwan.
 The Aklanons of western Panay Island are famous for the piña with inlaid supplementary weft designs or
more often embroidered with floral or vegetal designs on the lattice ground. Lumban in Laguna and Taal
in Batangas have known embroidery centers. The piña is the commonly material for the barong Tagalog.

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 HABLON
 Communities: Kiniray-a and Hiligaynon
 Origin: Panay Islands
 Hablon is Hiligaynon word for "something woven," comes from the root word habol, "to
weave." It specifies to the hand-woven fabric by Kiniray-a and Hiligaynon weavers.
 In a Panayanon myth, ten datus from Borneo landed on Panay Island, firm settlements, and
ushered in an era of development. One of the legendary statuses was Datu Lubay, who is said
to introduce the art of weaving textiles.
 The hablon is usually a plain cloth and has plaid and striped patterns. It is normally used for
the patadyong, the Visayan wraparound skirt, and panuelo.

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 SAPUTANGAN TAPESTRY WEAVE
 Community: Yakan
 Origin: Basilan
 famous for being highly-skilled, with impressive weaving repertoires, Yakan weavers produce
textiles with five variants of weaving, often differentiated by technique, pattern, and function.
 The Bunga-same is also weft weave, made using pattern sticks or heddles in the loom to
produce the pattern. A warp-floating design characterizes the colorful striped siniluan. 91
 Saputangan is a square thread best known for its intricate and rich design, involving optical
illusion to create depth in the patterns.
 The saputangan is example of a tapestry thread. It is known the oldest and most traditional
technique in producing ornamented woven textiles, aside from the plain weave technique
wherein stripes and plaids are formed.

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 MABAL TABIH
 Community: Blaan
 Origin: Sarangani and South Cotabato
 Tabih, in Blaan, known to the native tubular skirt and the textile, while mabal means
"woven" or "to weave." The Blaan thread the tabih using abaca fibers and the backstrap
loom. The thread are dyed using the warp tie-dye resist ikat method and natural dyes from
endemic plants. Designs usually illustrates crocodiles and tiny curls.
 The Blaan are famous to be accomplished embroiderers, and the tabih is commonly
meticulously embellished with embroidery. A skill traditionally reserved to women of high
status, threading has a huge spiritual context in Blaan society, think to be the gift from
Furalo, the goddess of weaving. Aside from the tubular skirts, the abaca fabrics is used for
making a clothing for men, as well as covering for essential materials such as knives.

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 BAGOBO INABAL
 Community: Bagobo Manobo
 Origin: Davao del Sur
 The Bagobo, a little group of the Manobo, are experts in extracting the
abaca's fibers from the leaf sheaths and selecting the very fine ones for
weaving their textiles.
 They use the backstrap loom for weaving inabal abaca fiber textiles with ikat-
or tiedyed resist designs forming mother-and-baby crocodile figures in
geometricized abstracted forms.
 Beeswax, which is used to the beater during the weaving process, adds to the
sheen during the finishing procedure. The Bagobo textile is commonly used for
creating the native tubular skirt, of which there are two types, sinukla, and the
bandira.
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 DAGMAY
 Community: Mandaya
 Origin: Eastern Mindanao
 The Mandaya, which can be form in the provinces of Davao Oriental, Davao del Norte,
Compostella Valley, Surigao del Sur, and Agusan del Sur, have a strong weaving tradition
as seen in their coarsely textured dagmay, hand-woven using a special kind of backstrap
loom, produced from abaca fibers, and following ellaborate designs revolving around man
and nature, especially the crocodile.
 Dagmay patterns usually tell the story about the weaver and her community and the
spirits that live on Earth. The dagmay is traditionally used for women's skirts, but it is also
used as blankets or wraps for the dead
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 MARANAW TEXTILE
 Community: Maranaw
 Origin: Lanao del Norte and Lanao del Sur
 The Maranaw of Lanao del Norte and Lanao del Sur knew a wide range of weaving
techniques including the weft and warp ikat tie-dye resist and continuous and discontinuous
supplementary weft design.
 They are known for the malong, a tubular lower clothing. Among its several types, the malong
a andon is the most highly valued. This is followed by the malong a landap known for its
tapestry bands called langkit, often used to join the large panels of silk together. Another kind
is the malong a bagadat, made from similar wide groups in contrasting colors and separated
by narrow bands of warp ikat.

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 PIS SYABIT WEAVE
 Community: Tausug
 Origin: Sulu Archipelago
 The Tausug women are proficient in tapestry weaving and embroidery, while men do the large hangings in
appliqué. They specialize in the production of pis syabit (headscarf) and kambot/kandit.
 Men and warriors traditionally wear the pis syabit. A most complicated design skill, the pis syabit tapestry weaving
of Tausug, has no preset pattern sticks or predesigned warp yarns into which the weaver inserts the desert yarn.
 The weaver has to imagine the pattern in her mind as she inserts one colored weft yarn one at a time to fill up space
in the warp, in a sequence her mind only knows. The weaver produces a perfectly symmetrical composition of
squares and Xs with hooks and seven to eight colors.

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 T’NALAK
 Community: Tboli

 Origin: South Cotabato

 The Tboli women weaved the traditional textile, t'nalak symbolizes birth, life, union in marriage and death, and shows the indigenous group's
uniqueness and identity. It is often utilized as blankets and clothing and worn in royal wedding ceremonies on rare occasions.  The Tboli weavers
are known "dream weavers," but this applies only to a few dedicated weavers. It is known that the designs and patterns are bestowed on them by Fu
Dalu, the abaca's spirit, through their dreams.
 The tedious design of the t'nalak starts with extracting the abaca fibers, which are then combed to remove the sap. They are associated from end to
end and knotted and prepared for a design before resist-dyeing, known as the ikat method.
 A t'nalak traditionally has three colors: black, red, and white. The thread is then woven using the backstrap loom. The fiber is then washed in the
river, beaten with a wooden stick to flatten the knots, and burnishing the surface with a cowrie shell.
 Filipino fabrics are experiencing something of a resurgence. As of late, entrepreneurs and designers have been incorporating them in everything
from bags and laptop cases to shirts, skirts, and even gowns. It isn't hard to see the appeal of ethnic fabrics (Guttierez, 2017)

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 Ukkil of the Sulu Archipelago
There are 3 types of Ukkil motifs;
1. Sumping (floral) – these are conventional motifs embroidered on garments, wall coverings, and canopies, which
usually includes, sampaka (grangipani) and the sumping kayapu’ (lotus flower).
2. Birdo (tree palnt) – these are curvilinear foliate design associated with fertility or prosperity and symbolic of life and
paradise in Sufism. Artists employ at random variety of stylized dahun (leaf) and bagun (vine) to compose a birdo
pattern.
3. Hashas (serpent) - it is universally includes snakes, dragons, and aquatic animals like fish, eel, dolphin, lizard and
crocodile. Portrayal of these exotic creatures in the arts and oral tradiations of Muslim Filipinos shows fascination with
the serpent, especially its saringa (dragon) form. Serpent motifs symbolizes water, virility, fertility and royal power.
These are typical embellishments on prow, sidings, crossbeams, eaves, and even the pulleys of old watercrafts

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 PHILIPPINE FOLK
ARCHITECTURE
BAHAY KUBO (NIPA HUT) BALE OR IFUGAO HOUSE
 It is a one-room house with an attic
 It is also known as kamalig
for storage
 It serves as an icon for Filipino lowland  The exterior of the home looks like a
and rural culture. pyramid resting on four posts
 The interior is enclosed by slanting
 It is made up of bamboo rods and
walls and ceiling that appears to be
bamboo mats or sawali, and a thatched spherically formed by the loft
roof made up of anahaw or nipa

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 IVATAN HOUSE IN BATANES
 Most of the house is built with limestone walls and cogon
roofs
 It has narrow doors and windows with wooden shutters and
often secured by wooden bars.

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 TOROGANS OR MARANAO’S HOUSE
 It means "a place to sleep."
 It is a stately house for the elite members of the Maranao tribe in
Mindanao.
 It is a symbol of status in leadership.
 It also serves as a courthouse, hall for community meetings, and its
courtyard as rituals areas for weddings.
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 BADJAO’S STILT HOUSES AND HOUSEBOATS
 The strong platform is made on both ends of the boats.
 The kitchen is usually found at the back.
 Its foundation is carefully placed in between coastal rocks
and corals.

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 THE LEAN-TO
 A portable house built by the Aetas
 It is a tripod base house where the Aetas could carry away
their home when they were hunting animals.

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Direction: Read and comprehend each question and answer creatively,
write your answer on the space provided
1. What is your own concept of space?
2. How does affect your life by having a good space in daily living?
3. What do you think the significance of different textile art of the country
nowadays?

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 Thank you
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