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Arts
(Module 1-4)
Quarter 2

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 MODULE 1
Arts and Crafts,
Mirrors of the Region’s Identity
(Attire, Fabrics, Tapestries and Crafts, Accessories and Body Ornamentation
of MIMAROPA and Visayas)

Learning Competency
The learner:
1. identifies the characteristics of arts and crafts in specific areas in MIMAROPA and the Visayas,
Marinduque (Moriones masks), Palawan (Manunggul Jar), Mindoro (Hanunuo-Mangyan writing,
basketry, and weaving), Bohol (churches), Cebu (furniture), Iloilo (culinary arts and old houses),
Samar (Basey mats), etc. A7EL-IIa-2

What I Need to Know

MIMAROPA and Visayas are rich in fine forms of art expressions. What is notable in these
places are the ability of the people to create unique blend of designs, colors, shapes and figures.
This gift that is innate and natural among the people of these places has created a great impact
in our history and culture.
Creating designs is a fundamental gift of nature to people as they are bind to it. People
can create something unique out of raw material that can be found locally. By merely looking or
passing by a pasalubong center, or by simply visiting various places, you will see a tremendous
amount of artistry in the materials and products that these places offer.
In this module, you will recognize and determine the characteristics of the arts and crafts
of MIMAROPA constituted by the provinces of Mindoro, Marinduque, Romblon, Palawan. You will
be delighted as you traverse the regions’ exquisite produce in terms of attire, fabrics, tapestries,
crafts, accessories, and body ornamentation.

What is It

Are you ready for your journey? This part of the module presents, some arts and
crafts that can be found in MIMAROPA and Visayas. Simple and short descriptions of each art
work are available for you to recognize it easily. As you continue your journey in discovering
these artworks in the next module, you will uncover their artistic value through deeper analysis
of the elements and principles of arts present in the said artworks.

TEXTILE (Attire, Fabrics, and Tapestries)

Description Patterns/ Colors
linggon Mangyan men usually wear G- Pakudos
strings (loincloth) or bahag and
a jacket style shirt-blouse
called linggon embroidered
with pakudos.
Mangyan women also wear
linggon as well as a red cloth
bahag around their chest and white simple vertical and horizontal lines
skirt, bark bra string, skirts which form a cross. It was derived
weave backstrap looms and from the Spanish word “cruz” (cross).
skirts made of long strips of Its design is dominantly red in a white
woven nito. and blue blouse called linggon.

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sinumbrahan na pula Tumandok women wear a
traditional red blouse called
sinumbrahan na pula.
Tumandok men also wear a
kimona at red and black native costume
with panubok designs.
patadyong
Ramit The Buhid and Hanunuo
Mangyans of Mindoro use
Ramit in their textile.
Banton cloth Like the Kadangyan of Bontoc.
Mt. Province, the Banton in
Romblon island has also a
burial cloth known as banton
cloth which is said to be 400
years old and was found in a
wooden coffin in the said
province.
Hablon Hablon is a textile common in
western provinces of Visayas.
A Hiligaynon word for “habol”,
meaning the weaving process
and the textile itself.
CRAFTS
Nito products Mangyans are known as
weavers of nito (Lygodium
circinnatum) They make
products such as baskets,
jars, trays, plates, and cups
Buntal Bags Marinduqueños are loom
weavers. They use buli or buri
palm (Corypha taliera) and
raffia (Raphia farinifera) which
are abundant in their area.
Marble products Romblomanons are famous
for their marble products
Their attire is dominantly red in color.
Meanwhile, patadyong, a wrap-around
colorful skirt with linear and geometric
designs; checkered or square
designs, usually in bright color
combinations is used also by Visayan
women as a skirt, paired with kimona
made from pineapple fiber and along
with handkerchief called tubao that is
usually placed above the right
shoulder
Ramit is a woven textile made from
indigo-dyed homespun cotton, with
intricate geometric patterns
Banton cloth is a burial cloth woven
from red, black and white abaca
threads. It is said to be 400 years old
and was found in a wooden coffin in the
said province.
It is a glossy, smooth, colorful textile
composed of vertical and horizontal
lines which comes from the combination
of silk and cotton. It is used to make
patadyong.
Nito products are made with particular
patterns and designs of men, animals,
trees, and other objects.
They produced buntal fiber which is
used in making quality bags, placemats
and table runners.
Table, tiles, hand carvings, slab, small
souvenir eggs and animals, chess
sets, mortar and pestle, nameplates,
and religious icons
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Tingkop Palawan’s famous handicraft
is the tingkop
Kapis candle holder Aside from weaving,
Aklanons create crafts using
kapis shell which is abundant
in their area.
Colorful mats Samar is also known for its
beautiful and colorful banig or
hand-woven mats that are
made from tikog or pandan
(Pandanus caricosus) leaves.
Worl-class furnitures Cebu is a world-class
furniture producer.
BODY ORNAMENTATION
Beaded bracelet Women wear colorful beaded
bracelets and necklaces.
Pintados Visayans are called Pintados
by the Spaniards because of
their tattoos which they
consider as symbols of male
pride and bravery. It shows
important events in a person’s
life as well as the status and
ranks in the community.
Processing Questions:
1. How do you think these arts and crafts from MIMAROPA and VISAYAS give significant
contributions in Philippine culture?
2. In your own opinion, what makes the arts and crafts of MIMAROPA and Visayas unique from
each other?
3. What particular characteristics of arts and crafts from MIMAROPA and Visayas do you like the
most? Why do you say so?
MODULE 2
tingkop is a cone-shaped unique
basket out of rattan used as storage.
Kundu healers perform ritual and used
tingkop to house the spirit of Linamen,
a beautiful and powerful female spirit
They make lamps, decors, trays, and
souvenir items out of kapis (capiz
shell).
Banig is a woven sleeping mat of
different colors which are famous
products of Basey, Samar. It is made
of tikog, a reed grass that grows in
swampy areas along the rice fields.
Nowadays, banig are used as wall
decorations, bags, purse, laptop
sleeves and more.
Cebuanos use indigenous materials
such as coconut shell, bariw, rattan
(Calamus rotang L.), capiz (Placuna
placenta), and wood.
Colorful, designs are geometric shapes
The designs of tattoos are mostly
pictures of people, animals, and plants.
Lastly, tattoo artists used dyes from
plants and needle-like tools from
sharpened bird bones, seashells, and
thorns.
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 INTRINSIC DESIGN: An Access to a High Quality of Life
Architectures, Sculptures and Everyday Objects in
MIMAROPA and Visayas
Learning Competency
The learner:
1. identifies the characteristics of arts and crafts in specific areas in MIMAROPA and
Visayas, Marinduque (Moriones masks), Palawan (Manunggul Jar), Mindoro (Hanunuo
Mangyan writing, basketry, and weaving), Bohol (churches), Cebu (furniture), Iloilo (culinary
arts and old houses), Samar (Basey mats), etc. A7EL-IIa-2

What I Need to Know

Previously, you have learned and discovered the different arts and crafts of MIMAROPA
and Visayas and their distinct characteristics. This time, you will have the chance to discover
and learn about their architecture, sculpture and everyday objects.
Philippine architecture is a heritage of the country from its colonizers. Well-known historic
structures in the country are from the Spanish Colonial period and is additionally influenced by
Japanese, Malay, Hindu, Chinese, and American cultures.
Sculpture is another area of arts in which artists are so passionate about. Before the
Spanish colonization, Filipino carvers created sculptures of their traditional gods (anito).
Aside from the above-mentioned areas, various artists have explored certain everyday objects
and turned them into functional and iconic figures through their skills, talents, and use of tools.

What is It

ARCHITECTURE
HOUSE OF MANGYAN HOUSE OF TAU’T BATO ANCESTRAL HOUSE OF
ZOLETA

Origin: Oriental and Origin: Singnapan Basin,

Occidental Mindoro
Materials: stilt, bark of tree,
cogon grass, nipa & bamboo
Functions: shelter of
Mangyans (ethno-linguistic
group in Mindoro)
CATHEDRAL OF ST. JOSEPH
Palawan
Materials: sapling (young
tree), stilt, and nipa
Functions: It is the shelter of
Tau’t bato (ethno-linguistic
group in Palawan)
CAMIÑA BALAY NA BATO
Origin: Abra de Ilog, Occidental
Mindoro
Materials: wood, capiz
Functions: ancestral house of
the Abeleda and Zoleta family.
THE RUINS

Origin: Gov. Fetalvero, Brgy.
1, Romblon
Materials: bricks, blocks
made of corals and glass
Functions: church and center
of religious events in the
province
Origin: Villa Arevalo District,
Iloilo
Materials:
Upper- wood, tree trunk
Lower- stone
Functions: residential house
and one of the tourist
attractions in Iloilo
Origin: Talisay City, Negros
Occidental
Materials: pure concrete and
egg white mixture
Functions: Ancestral home of
the family of Don Mariano
Ledesma Lacson & Maria Braga
Lacson. It was burned by
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SCULPTURE
MANGYAN AND TAMARAW
STATUE
Origin: Calapan City Plaza,
Calapan, Oriental Mindoro
Materials: cement and metal
Functions: It depicts the
indigenous group of the
province which are mangyans
and the endemic dwarf buffalo
(Bubalus mindorensis).
TABUYO
Origin:
Occidental
and, Oriental
Mindoro
Materials:
nito
Functions:
decoration
and storage purposes
Processing Questions:
1. What are the common characteristics of the pictures above?
2. If you will have the chance to change the design of any of the five everyday objects, what
would it be and why?
3. If you will enhance the beauty of these artworks, what modifications will you consider?
ARTS AND CRAFTS OF MIMAROPA AND THE VISAYAS
guerillas so that Japanese
would not use the mansion as
office.
BATTLE OF PULANG LUPA TAU TAU STATUE
Origin: Torrijos, Marinduque
Materials: concrete blocks
Functions: commemorates
the 1900 battle between
Origin: Palawan
Filipinos and Americans
Materials: Hard Wood
through the command of
Functions: made to reflect the
Lieutenant Colonel Maximo
status and wealth of the
Abad.
deceased. It guards the tombs
and protects the living.
GUITAR OF CEBU CAPIZ CANDLE HOLDER
Origin: Lapu-Lapu
City in Mactan,
Cebu
Materials: soft and
hard woods like
jackfruit, narra,
black wood ebony,
and imported Origin: Panay island
woods Materials: capiz or kapis
Function: used for Function: It serves as a candle
entertainment purpose, holder or decoration.
decoration and souvenirs.
MODULE 3
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 (When Bisaya Meets Tagalog) Elements of Art

Learning Competency
The learner:
1. analyzes elements and principles of art in the production of one’s arts and crafts inspired by
the arts of MIMAROPA and the Visayas (A7EL-IIb-1); and
2. appreciates the artifacts and art objects in terms of its utilization its distinct use of art
elements and principles. (A7PL-IIb-2)

What is It

Have you ever looked at an artwork and wondered how the artist came up with the
idea of making it? All works of art, whether two-dimensional like a painting or three-dimensional
like a sculpture, contain one or more of the six elements of arts. In this lesson, you will learn
about the different elements of art that are seen in Fabrics, Crafts and Accessories, Body
Ornamentation, Architectures, Sculptures and Everyday Objects in MIMAROPA and the Visayas.
MIMAROPA is rich in cultural and art heritage. Its name, being derived from the
constituent provinces of Mindoro, Marinduque, Romblon and Palawan is already a manifestation
of a complete creativity of the people living in it. Consider for instance the beautiful attires worn
by distinct natives of Mindoro. The rutay Mangyans, despite the inevitable exploitation of the
lowland traders, have preserved a big part of their culture and beliefs that can be seen in their
clothing. The males use the the g-string-balled ba-ag for the lower part, and they wear the
sleeved balukas for the upper part. For females, on the other hand, the ramit is worn which is
designed to be worn differently. It can be a sleeveless subon and the sleeved lambong. The cloth
used to form these clothes is made of cotton which the tribal people plant and they color it with
an indigo dye extracted from the plant tagom (inidigofera suffruticosa). The Hanunuo men and
women wear the hagkus or willed rattan belt with a pocket. Women wear the hulon, a belt made
from nito around their waist. The male Irayans, on the other hand, wear bahag or loin cloth
which is tailored from tree bark, the kaitong or belt, and the talawak or head band. The females
wear tapis or skirt like covering from tree bark also, the lingob or belt and the sagpan or
pamanpan to cover the breast.
The outfits and attire worn by the prominent natives of MIMAROPA manifest the different
elements incorporated in it including the complex combinations of lines, texture of the fabric, the
value and the color of the textile used. Truly, even the most indigenous reflect the absolute
beauty of the region’s cultural heritage.

In terms of crafts, accessories and body ornamentations, the MIMAROPA region is known
for its excellent produce. Common among the men of Palawan are skillful wood carvers while the
children and women are proficient weavers beginning at their early age. They were trained
through seeing the old folks and observing the crafts made by their elders. Another craft that is
common among the people of Cuyo, Palawan is “binatuan” weaving. The word, being Cuyonin in
origin means “creation”. This craft proves that they are naturally inclined to create native
products that show their innate gift in harnessing the indigenous materials into useful ones.

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 Young Palawan boys and girls are trained to weave at an early age.
The males are assigned to gather and prepare the materials while women
are tasked to accomplish the actual weaving. A famous handicraft
produced by the Palaweňos is called tingkop. Tingkop is a cone- shaped
colander harvest basket made of blackened and natural bamboo. Made
from soft and hard- woven strips of “buldong”, “binsag” and “busnig”
varieties of bamboo, held together by rattan to provide shape and
sturdiness, this basket is also used by healers during a ritual called kundu
to house the spirit of Linamen, a beautiful and powerful female spirit.
Common among the crafts, accessories and body ornamentations found in MIMAROPA is
the incorporation of colorful materials that cover the products of a specific place. With its unique
taste for colors, materials and design, the place is truly a haven of art and creativity.
When it comes to architecture, MIMAROPA has been known for its grandeur in decorating
and building sites that are formidable. Beginning with
Marinduque, Simbahan ng Boac has been considered a place of
worship for the common people of Boac, Marinduque. Having
built in 1792 and initiated by a parish named Saturnino
Trinidad, this massive church facades a wall of rough terra cotta
while the bell tower is of cut adobe stones. The design is
patterned to Filipino-Hispanic influence evident in the semi-
flattened roof, rounded arches over windows and door and
stucco wall exterior. The over-all appearance of the design is
asymmetrical from roof to the floor which is a common Spanish
design.
Common among the people of Mindoro is the leaning
of the people to religious principles. That enough is obvious
in the erection of churches that last for decades or even
centuries, enough to prove the Catholic influence that is
within the common folks. Like for instance, is the Lumang
Simbahan ng Sablayan, Occidental Mindoro. It was
established as a recollect parish in 1843 but was damaged
by a tsunami in 1877. It was later restored on the same
year until 1879. Simple as it is from the outside, the
complete opposite of its design
would be seen from the inside in its splendid mix up of interiors,
colors, ceiling contours and floor designs.
Palawan has been beautifully gifted with magnificent natural
bestowments, and when it comes to architecture, it is sure of its
leaning to beautiful designs. Particular among the people of today is
the Iwahig Prison and Penal Colony. Established in 1904 by then
American Governor of the Philippines Luke Wright, this penal colony
was first used to accept spill overs from Bilibid Prison. Built
according to colonial architecture, the gate is distinct in its arched
design with small pediments above it. Made from massive bricks that
could withstand time, this incredible infrastructure is still strong up to this date.
Romblon, aside from being the marble capital of the Philippines, is also blessed with
historical sites that were built during the Spanish times dating from 15th century. Those
heritage sites are still intact up to this date, including the Fort San Andres, Romblon, Romblon
In Romblon, St. Joseph Cathedral is known for its religious heritage. It is one of the 26
colonial churches in the 15th century declared as National Cultural Treasures in 2001 and is
considered as the oldest Catholic church in the province. By looking at the design of the tower,
the Spanish colonial influence can be easily perceived beginning with its semi-circle structure
from foundation up to the tower end, the open arched windows and the ledge of each progressive
level.
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The inside of the church has much more details than its outside. Its unique features contain
marble retablos, religious paintings, antique icons and pillars gilded with golden color at the
upper end.
In Panay, the tumandok are the native or indigenous
dwellers who are gifted with the skills in making patadyong, a
wrap-around piece of cloth worn by women as skirt and is
usually paired with a kimona. It is often colorful and features
linear and geometric designs.
Kimona represents the fashion of Visayas, typically
transparent with its clothing made from pineapple fiber. The
kimono dress is often accompanied with a handkerchief called
tubao and is often placed above the right shoulder. Sinumbrahan
na Pula is a traditional red blouse worn by tumandok women while Koton is a blouse
embroidered with designs that shows the community’s traditional life.
Adding more to the vibrancy of Panay culture is the panubok, the traditional embroidery
of Panay-Bukidnon or tumandok. It comes from the local word “tubok” which means “to
embroider”. The embroidery has different designs and patterns inspired by what they see in
nature. Some of the designs are binunghay or design from bamboo mat, Bulak Ka Bukinggan or
mountain flowers, Sudli Kama or skin/scales of a python snake, Matang Punay or the eye of a
bird, Sikag-sikag or fishbone, Bulak ka Putik or sunflower and Tanum plants.
Weaving is the primary form of arts and crafts in
the island even before the Spaniards came to the
Philippines. It was once tagged as the “Textile Capital of
the Philippines”. Weaving from indigenous fibers such as
jusi and piña became popular in the latter part of the
19th century. Piña weaving is an age-old tradition in
Aklan, the leadingbanigmanufacturer of piña cloth in the
country including the weaving of baskets, trays, and mats which became popular in the place.
The colorful mats are more expensive than the simple ones. The weaver s have produced other
products such as bags, decors, place mats, furniture matting, and other adornments.
This fortress had been rebuilt from different times after being destructed and damaged
during the revolution in 1898 and the earthquake in 1948. It has been described as a fortress
baroque church. Baroque architecture is an incorporation of curved forms, domes and oval
shapes which made it bigger and higher. Baroque architecture is a love child of Italian
architecture and is renowned all across the world.
Art opens up the minds of people by simply looking at the different avenues that it covers,
be it from Architecture, Daily objects, Sculpture, Fabric and Body ornamentation. It enables us
to appreciate more the local offering of the mentioned regions and its impact in our nationality as
Filipinos. There is pride and glory in perceiving how they have combined the different elements to
create wonderful pieces of artworks.

Direction: On a piece of paper, write a reflection on what you have learned after reading
about the elements of arts used in the arts and crafts of MIMAROPA and the Visayas.

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 MODULE 4
ARTS AND CRAFTS OF MIMAROPA AND THE VISAYAS
Principles behind the Elements
(Principles of Arts)

Learning Competency
The learner:
1. analyzes elements and principles of art in the production of one’s arts and crafts inspired by
the arts of MIMAROPA and the Visayas. (A7EL-IIb-1);
2. reflects on and derive the mood, idea or message emanating from selected artifacts and art
objects; (A7PL-IIh-1)
3. incorporates the design, form and spirit of artifacts and art objects from MIMAROPA and
Visayas. (A7PL-IIh-3)

What is It

When an artist decides doing something, it is always affected by culture and his own
understanding of arts. But his understanding and culture alone cannot suffice the achievement
of a successful interpretation. There must be a set of governing rules in the use of a specific
material or element that will enable a successful manifestation of visual effect to the viewers. It is
agreed that these principles are vital in the successful illustration of arts. Being unique in
function, these underlying values play its inimitable role respectively.
Today, we will be dealing with the different principles of arts of MIMAROPA and Visayas in
terms of architecture, daily objects, sculpture, fabric and body ornamentation.
The principles of art are the underlying support of the elements. While the elements are
the visual tools, the principles of art reflect how the elements are to be used to create a work of
art. The principles of art and design are balance, contrast, emphasis, movement, pattern,
rhythm, and unity/variety.
The utilization of the different principles and elements of arts is still ruled by these
important factors: the mood, the general message and/or idea where the different art products
are anchored from.
Mood generally refers to the atmosphere or the feelings that an artwork evokes. You can
basically tell the mood of an object by simply looking at the color and pattern. Because the eye is
the window of the soul, the sensory images are transported to the brain that creates feelings
toward a specific art beheld.
While the mood tells of the feelings upon looking at an art, message is simply what an art
is all about. Message and/or idea tells of the purpose why an art is created, what is its use and
how will it be of use to people. Message is whatever the artist intends it to mean, and this
meaning is shaped by the materials, techniques, designs and forms it makes use of including
ideas and feelings it creates that can be perceived by looking clearly at it.
One central feature of art is its ability to arouse emotion. That can be made possible
through the proper and well-aligned combination of the elements and principles and the
incorporation of the message and/or idea and mood.

THE PRINCIPLES OF ART MAGNIFIED…

Balance refers to the visual weight of the artwork. It is a sense that something is not giving
discomfort to the eyes of the viewers. There are 3 kinds of balance.
1. Symmetry is a type of balance in which both sides of a composition have the same elements in
the same position.
2. Asymmetry is a type of balance in which the composition is balanced due to the contrast of
any of the elements of art. It can be perceived in the different sizes of circles with one which is
smaller and the other one, bigger.
3. Radial symmetry is a type of balance in which elements are equally spaced like that of the
bicycle wheel and the spokes.

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 The church is decorated with a sculpted wall. Centered by a coconut tree that is portrayed
as the tree of life where St. Christopher holds the Child Jesus, the remaining decors of the façade
depicts the daily life of Miag-ao people and shows variety in the utilization of art elements.
Contrast is the difference between elements of art in a composition, such that each
element is made stronger in relation to the other. When placed next to each other, contrasting
elements command the viewer's attention. The areas of contrast are among the first thing that
the viewer’s eyes are drawn. Contrast can be achieved by placing objects together and creating
contrasting effect. Negative/Positive space is an example of contrast including the command of
variety of colors.
This old church of Sablayan, Occidental Mindoro is
located at the foot of “Bundok Bayan”, at Barangay
Poblacion. The old church is a 16th century antiquated
legacy of the Spanish missionaries. Here, lime or “apog” is
used as cement for walling. Some old folks believed that in
the olden times, before the interior reconstruction of the
church, there used to be underground dwellings for nuns
and a tunnel at the back of the church that led to the
lighthouse of the nearby mountain park.
The interior of the church portrays the principle of
contrast beginning with the opposing colors of ceilings and floor, balanced out by the wall of
decorative stones and white colored pillars and columns to project the height of the inside.
In this embroidery, the third principle highlighted is emphasis.
It is when the artist creates an area of composition that is visually
dominant and commands the viewer's attention. This is often achieved
by contrast.
Panubok is one among the many definitions of Capisnon culture.
Being the traditional embroidery of Panay-Bukidnon, this art that is
rooted from their deep connection to the environment has shown how
inspired their people are in creating their wonderful designs. This
fabric, being inspired from nature has variety of incorporated designs
but is centered by a colorful flower and adorned with lines and mixture of colors. The attention of
the viewers is locked on the circular pattern of bright colors but the supporting details are
embroidered right round it.
Movement is the result of using the elements of art where the
eyes are commanded to move around the image. A sense of movement
can be created by diagonal or curvy lines, either real or implied, by
edges, by the illusion of space, by repetition and by energetic mark-
making.
The known body decoration in Visayas is Pintados. Relived by
their purpose of showing bravery and heroism, this practice of
smearing the skin and inserting pigment to create an indelible design
has long been a trademark of their culture. Since the tattooing
surface is the skin of a human, the natural tendency is for every line
and curve to follow the person’s anatomy and kinesthetics.

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 In this art, the lines painted in the bodies are causing the eyes of the viewers to create an
illusion of movement.
Rhythm is created by movement implied through the repetition of
elements of art in a non-uniform but organized way. It is related to
rhythm in music. Unlike pattern which demands consistency, rhythm
relies on variety.
The cultural treasure found in the early 1960s in Manunggul, a
part of the archaeologically significant Tabon Cave Complex in Lippun
Palawan is one of the numerous jars found in a believed to be burial site.
The design of this jar is unique in all aspects. The covering is designed
with 3 objects: the soul, the boatman and the boat itself. The body,
however, is designed with lines which is a depiction of the sea waves. This
rhythmic design shows the maritime culture of the Filipinos; how one’s
soul after he dies is being transported by boats in water and seas as they go to the afterlife. The
lines in the jar body are non-uniform but are organized and clearly show a rhythmic flow.
Pattern is the uniformed repetition of any of the elements of art or any combination.
Anything can be turned into a pattern through repetition.
Tingkop is one among the notable products of Tagbanua tribe in
Palawan. It is a cone-shaped basket with a visibly - creative pattern in the
outside that serves as its decorative design. This is made possible by an
alternate placing of natural bamboo strips and blackened ones, thereby
creating figures that are repeated similarly.
Living in the foothills of Malasimbo, Puerto Galera, the Iraya
Mangyans are indigenous people of Oriental Mindoro who are known for
their skills in nito-weaving. This craft has been a preserved tradition that
dictates their unique culture and art. The tradition of nito weaving has
been the primary source of their income as the vine called nito is easily
found in the forest where they are living. This material is harnessed to provide use to their
basketry and weaving. The diagonal pattern in the canister is only one among the many designs
they make.
Another example of pattern is the most popular and still existing finished item of Ilo-ilo’s
weaving industry, the patadyong or the wrap-around. To Panay weavers to which Ilo-ilo is a part,
this patadyong is not only a fabric but is a parcel of Panayanon history and culture. The
patadyong is a native tube-like skirt made from hablon clothing that is distinctly Ilonggo in color
and character. The garment is made of diverse colored strips of cotton that has become their
indigenous work of art.
Unity/Variety is present when you want an art to feel unified such that all the elements
fit together comfortably. Too much unity creates monotony, too much variety creates
disharmony. Both of these principles are needed for the areas of interest in your composition
along with places for your eyes to rest.
The variety of elements in the façade of Miag-ao church consists of an ornately decorated
bas-relief in the middle of two huge watchtower belfries on each side. The bas-relief is a mixed
influence of Medieval Spanish, Chinese, Muslim and local traditions and elements, a unique
characteristic of the church façade. A prominent part of the façade is a coconut tree depicted as
the tree of life where St. Christopher holds on. The saint is dressed in local and traditional
clothing carrying the Child Jesus on his back. The rest of the façade features the daily life of
Miag-ao during that time including native flora (like papaya, coconut and palm tree) and fauna.
Despite the various decorative designs in the façade, the tall coconut figure enables the eye to
rest, thereby, creating unity in the sculpture.

Processing Questions:
1. What observations have you noted in the façade of the churches in this module?
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2. Do the principles of art play a big role in designing architectures? Why? Why not?
3. How do architectural structures differ from one other in terms of the utilization of the
principles of arts?

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