DECORATIVE ART
In decorative art the Tinguian offers sharp contrast to the Igorot and
Ifugao, both of whom have developed wood carving to a considerable
extent. They also have their bodies tattooed, while the colored
lashings on spear shafts, pipe stems, and other objects show a
nice appreciation for color and design. In all these the Tinguian
is deficient or lacking; he does no wood carving, tattooing is
scanty, while his basket work, except that from two small regions, is
plain. At times he does make some simple designs on canes, on bamboo
rice-planters and weaving sticks, on lime boxes and pipe stems, but
these are exceptions rather than the rule. In the region about Lakub,
he decorates his jars by cutting the ends of sticks to form small
dies which he presses into the newly fashioned clay (Fig. 22, No. 8),
while in Manabo and some other villages the pipe makers cut the bowls
of the clay pipes in floral designs or inlay small pieces of brass to
form scroll patterns (Fig. 22, Nos. 4-7). These last mentioned designs
are so restricted in their manufacture, and are so different from those
found elsewhere in Abra, that they cannot be considered as typical.
The figures incised in bamboo show some realistic motives, such as
the fish, birds, and flowers in Fig. 23, No. 1; the snake and lizard
in No. 2; the man in No. 5; but the strictly geometrical is dominant
in nearly every case. Probably the most typical of this class of work
is shown in Nos. 3 and 4 and Fig. 22, Nos. 1, 2, and 3. It should be
noted, however, that, where one decorated object is seen, many more
entirely plain will be found. In short, ornamentation is uncommon
and of minor importance.
The one place where decoration is dominant is in the weaving, and
this is done entirely by the women. Figures 24 and 25 show typical
designs which occur in the blankets. Except for No. 8 in Fig. 24,
they do not appear to be copies from nature, but all have realistic
interpretations. Fig. 24 shows eight designs drawn by native weavers,
which are identified as follows:
1. A fish.
2. Weaving on a Spanish bed or chair seat.
3. Pineapple.
4. A heart.
5. Fishhooks.
6. A crab.
7. Cross section of a pineapple.
8. A horse.
In Fig. 25 are five typical patterns taken from blankets, while
No. 6 is the ornamental stitching which unites two breadths of cloth,
the latter is identified as "fingers and finger nails." No. 1 is the
turtle, No. 2 a crab, No. 3 a rice-mortar, No. 4 the bobbin winder
shown in Fig. 16, No. 4; No. 5 pineapple.
Plate LXXI is a ceremonial blanket, such as is hung up over the
dead. The figures are identified as _a_ a deer, _b_ horse, _c_ carabao
calf, _d_ man. The textile in Plate LXXII, No. 1 is likewise used
chiefly as a ceremonial piece, the designs representing _a_ man, _b_
horse, _c_ star.
A very pleasing blanket is shown in Plate LXXII, No. 2 in which the
designs are identified as a rice cake, and _b_ as a star, while the
whole pattern is known as _kalayan_--the river. The textile in Plate
LXXIII, No. 1 imitates a mat, while No. 2 is known as _kosikos_--the
circle.
A part of these designs are evidently copies from real objects,
others appear to be merely pattern names, while the weavers do not
hesitate to borrow any likely patterns which strike their fancy. One
quite frequently sees a blanket which shows a "lion," or some other
animal or object, with which the people could only become acquainted
through pictures or descriptions from outside sources.
In addition to these designs already mentioned, there are certain
common types of decoration effected through weaving or embroidery,
for which no explanations are given. They are said to be only "to
make pretty." Among these are the ends of belts and clouts, as shown
in Plate LXXIV, or the raised diamond pattern shown in No. 2 of the
same Plate, or the plaid effect in colors, which appear in some of
the skirts.
It has already been noted (cf. p. 416) that the weaving methods of
the Tinguian are similar to those of the Ilocano, and the same is true
of a considerable part of the decorative patterns. The Christianized
natives have less of the realistic, a greater variety of geometrical
designs, and a greater fondness for bright colors, made possible by
the use of analine dyes, than the mountaineers.
It seems probable that the Tinguian-Ilocano peoples brought the
weaving industry with them into northern Luzon, that the Ilocano branch
has borrowed improved methods of manufacture, as well as decorative
motives from the people with whom they have been in contact through
trade. The Tinguian in turn have borrowed from them, but, in the
main, they still retain the more primitive methods of weaving, and
it is probable their types of ornamentation likewise approximate more
closely those in use in earlier times.