Like the bead work, the embroidery and applique found on many garments
are added "to make pretty." Some of this work is quite fine, but in
general that of recent years is either inferior to that found on old
garments or is borrowed from, or made by, the Bila-an women. Some
garments, with designs produced by oversewing before dyeing, are seen
here, but they are recent importations from the Kulaman or Tagakaolo
tribes.
Necklaces and leglets are made of rattan and are decorated with burned
lines or by being overlaid with platted strips of orchid and fern
cuticle (Fig. 2).
A few rare specimens, such as personal ornaments or basket rims, have
sewed in designs in which the sewing has been done with fern cuticle
(Plate XXXIVb).
Incised patterns appear on nearly all the bamboo lime and tobacco
holders, but here individual fancy plays such an important part that a
hundred specimens might be examined without finding duplicate patterns.
Fig. 14. shows nine of these tubes covered with cut-in designs, yet only
one figure, that marked X in _b_ could be identified. This was said to
be the familiar crocodile.
Coming to the work in brass and copper we encounter an entirely new type
of design. In some cases straight inlaid or overlaid strips and twisted
wires are used to ornament the specimen; while in the raised and cut-in
lines on the bells we find simple patterns. In the main, however, the
ornamentation on this class of material consists of complicated scrolls
(Plate XLI), designs suggesting flower or tree patterns, or
conventionalized figures. One only needs to compare these objects with
similar specimens from Borneo and the Malayan Islands of the South, to
find the source of this type of ornamentation.[53] In fact the imitation
of Moro wares is practiced today. In Plate XLIa and b are shown two
betel nut boxes--No. 1 the work of the Samal Moro, No. 2 the imitation of
the inlaid work on the top of the first specimen. This last was made in
my presence, and with the expressed intention of duplicating the Moro
box. However, in this case, as in all others, the Bagobo caster did not
attempt to exactly reproduce the work of another, but simply borrowed a
broad idea, and thus he often creates new forms.
[53] See LING ROTH, Oriental Silver Work.
Not once did the writer receive a name for any pattern or design shown
in metal work. A careful study of the method of work, of the articles
produced, and of the folk-lore and religious observances connected with
the work in brass and copper brings one to the conclusion that this
class of work is of comparatively recent introduction and that the
instructors in the art were the Samal Moro.
Mention has already been made of the designs incised on combs and other
objects which are afterwards filled with lime. Just here it is
interesting to note that, so far as is known, the southern end of
Mindanao and adjacent small islands, are the only parts of the
Philippines in which this decoration, so typical of Melanesia, is to be
found.
Realistic carvings were seen used in only two capacities. The first in
certain ceremonies, where extremely crude wooden figures were offered to
the spirits in exchange for the sick person (see p. 103), and the
second, the wooden decoys used in hunting doves (See Plate XVIII).
Summing up our present information we can say: first, that the Bagobo
makes use of certain realistic designs which in some cases have become
conventionalized but still retain their former significance; second,
that the greater part of decoration in beads, shell disks, embroidery or
applique, as well as the incised designs in lime boxes and the like,
have no meaning to the people of the present day, and are added only to
make the objects more beautiful in the eyes of the owners. In this work
there are no set patterns and each artist gives full reign to the fancy
in producing these figures. Third, that the ideas for the patterns
inlaid, incised, and cast in brass or copper, are furnished by the
examples of this work coming from the Malays to the south, but that even
in these the artist has taken great liberties in the execution of the
design. Fourth, that one type of decoration, i. e., the incised figures
filled with lime, suggests the possible influence of Melanesia on the
artistic ideas of this people.