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{{Short description|Southeast Asian folk motifs and designs}} |
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[[Image:Malong1.jpg|thumb|200px|A [[malong]] bearing okir designs.]] |
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{{Cleanup lang|article|date=May 2021}} |
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'''Okkir''' or ''okkil'' is the term for geometric and flowing designs (often based on an elaborate leaf and vine pattern) and folk motifs that can be usually found in [[Maranao]] and muslim-influenced artwork, especially in the southern Philippines, and in some parts of Southeast Asia. ''Okir a dato'' refers to the ornamental design for men and ''okir a bay'' to that for women. |
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{{Use Philippine English|date=April 2023}} |
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{{Use mdy dates|date=April 2023}} |
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[[File:Mindanao Bangsamoro Islamic Art - 24815385009.jpg|thumb|Detail of a ''panolong'' with a ''naga'' motif, from the [[National Museum of Anthropology (Manila)|National Museum of Anthropology]]]] |
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'''Okir''', also spelled '''okil''' or '''ukkil''', is the term for rectilinear and curvilinear plant-based designs and folk [[Motif (visual arts)|motifs]] that can be usually found among the [[Moro people|Moro]] and [[Lumad]] people of the [[Southern Philippines]], as well as parts of [[Sabah]]. It is particularly associated with the artwork of the [[Maranao people|Maranao]] and [[Sama-Bajau|Sama]] (Badjao) tribes, although it can also be found to a lesser extent among the [[Maguindanao people|Maguindanao]], [[Iranun people|Iranun]], [[Tausug people|Tausug]], [[Yakan people|Yakan]], and Lumad groups. The design elements vary among these ethnic groups, with the greatest refinement being found among the Maranao.<ref name="Baradas">{{cite journal |last1=Baradas |first1=David B. |title=Some Implications of the Okir Motif in Lanao and Sulu Art |journal=Asian Studies |date=1968 |volume=6 |issue=2 |pages=129–168 |s2cid=27892222 |url=https://pdfs.semanticscholar.org/a0c6/f00b5177734d5e7c759472881541b0c37b52.pdf |archive-url=https://web.archive.org/web/20190129181535/https://pdfs.semanticscholar.org/a0c6/f00b5177734d5e7c759472881541b0c37b52.pdf |url-status=dead |archive-date=January 29, 2019 }}</ref> |
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==History== |
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In the Philippines, an ancient proof of okir's style of flowering symbols is the ''torogan'', the ancestral home of the highest titleholder in a Maranao village. It is a symbol of power and prestige usually adorned during festivities. Its prominent part is the ''panolong'', a carved beam that protrudes in the front of the house and styled with okir motif. The okir design is found woven or printed in textiles, carved into wooden cemetery markers and wooden boxes, and it can also be found etched into knife or sword blades and handles, and cast or etched into various brass and silver objects. |
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[[File:Jaw harp handle, Mindanao, Maranao, horn with brass studs, Honolulu Museum of Art.JPG|thumb|left|upright|A Maranao ''[[kubing]]'' [[jaw harp]] handle made from horn and brass with an S-shaped ''[[bakunawa|naga]]'' design and a fish]] |
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The origins of ''okir'' are [[Religion in pre-colonial Philippines|pre-Islamic]]. They are believed to have originated from the much earlier ''okil'' or ''okil-okil'' decorative carving traditions of the [[Sama-Bajau people|Sama]] (Badjao) people, which are often highly individualistic and rectilinear. The Sama are master carvers, and they made lavish decorations on ritual [[animistic]] objects, grave markers (both in wood and stone), and their houseboats. These precursor forms of the ''okir'' designs can still be found in the art traditions of the Maranao in the ''basak'' (lowland) regions of Lake Lanao, and they contrast markedly from the later flowing ''okir'' designs.<ref name="Baradas"/> |
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[[File:Mindanao Bangsamoro Islamic Musical Instruments.jpg|thumb|A Maranao ''[[kulintang]]'' ensemble]] |
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Other variations of the okir involves the use of ''naga'' or sepent motif. Maranao instruments usually are styled with okir. A more prominent variation is the ''sarimanok'', a chickenlike figure that carries a fish in its beak. |
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[[File:Carved stern of a Moro vinta (Hornell, 1920).jpg|upright|thumb|Detail of ''okil'' carvings on a [[Sama-Bajau people|Sama-Bajau]] ''[[vinta]]'']] |
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The rectilinear designs of the Sama were adopted and refined by the Maranao to decorate the ''[[torogan]]'' houses of the ruling ''[[maginoo|dato]]'' class. The most prominent parts of the ''torogan'' are the ''panolong'', the carved floor beams modeled after ''[[awang (boat)|awang]]'' boat prows. These protrude in the front of the house and styled with elaborate ''okir'' designs, usually that of a ''[[bakunawa|naga]]'' (a sea serpent or dragon). These were meant to drive away evil spirits. ''Okir'' were also featured in the central housebeam, the ''tinai a walai'' ("intestine of the house"), which had ritual significance.<ref name="Baradas"/> |
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Unlike the decorative carving traditions of the Sama, the ''panolong'' of the ''torogan'' became a symbol of power and status. As such, they increasingly became more and more elaborate, developing the flowing characteristics that it possesses today. It influenced other Maranao artforms greatly due to its association with rank and prestige, becoming used in textiles, musical instruments, [[Paan|betel quid]] containers, sculptures, weaponry, silver inlays, and so on. These designs became the standard for what came to be known as ''okir''.<ref name="Baradas"/> |
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⚫ | |||
* [http://www.teleologic.net/LOM/LOM_western_mindanao3.html Mainstream Muslim Traditions in Land of the Morning: Western Mindanao] |
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From the Maranao, this spread to nearby regions through the migrations of the [[Iranun people]] (the descendants of the merchant and outcast clans of Maranao). Elements of ''okir'' have been adopted by the neighboring [[Maguindanao people|Maguindanao]], [[Lumad]], [[Yakan people|Yakan]], and [[Tausug people]]s of the [[Mindanao]] and the [[Sulu Archipelago]]; even influencing the carving traditions of the Sama later on. However, it had limited penetration among the [[Visayan people|Visayan]]-descended heavily-[[Islamization|Islamized]] Tausug, the dominant ethnic group of Sulu. They viewed such carvings as "pagan". ''Okir'' among the Tausug is usually limited to the hilts and [[scabbard]]s of weapons.<ref name="Baradas"/> |
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==Elements and motifs== |
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{{art-stub}} |
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===Sama=== |
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[[File:Semporna Sabah Regatta-Lepa-2015-11.jpg|thumb|A [[Sama-Bajau people|Sama]] ''lepa'' with ''okil'' carvings]] |
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The older Sama carving traditions (''okil'' or ''okil-okil'', sometimes spelled ''ukkil'' among [[Malaysia]]n Sama) differ markedly from the ''okir'' of the Maranao, although elements of the ''okir'' were incorporated into later Sama carvings. Sama ''okil'' aren't bound to rules like the ''okir'', and thus tend to be highly variable. Each artist carves according to his own tastes. Despite this, there are still shared motifs that bind them all together as Sama.<ref name="Baradas"/><ref name="Peralta"/> |
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[[File:Old Moro Sailing Boat (A Bajau lepa houseboat).jpg|thumb|left|upright|A [[Sama-Bajau|Sama]] ''[[lepa (ship)|lepa]]'' houseboat with ''okil'' designs on the stern]] |
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[[File:Philippines, archipel des échanges, Musée du quai Branly 02.jpg|upright|thumb|[[Sama-Bajau|Sama]] ''[[sunduk]]'' grave markers]] |
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Sama ''okil'' can be divided into two types. The most ancient ''okil'' which still survive among the [[animist]] Sama, usually the sea-going [[Sama Dilaut]] branches, feature representational artforms like human figures. These are absent in the ''okil'' versions of the Sama that converted to [[Islam]]. Sama ''okil'' also feature designs which are realistic copies of natural forms, rather than stylized designs like in ''okir''.<ref name="Baradas"/> Marine themes are particularly common, including depictions of [[dugong]]s (''duyong''), usually with a person riding on its back.<ref name="Peralta"/> The three most common ''okil'' motifs used by the Muslim Sama are ''dauan-dauan'' (leaf motifs), ''kaloon'' (curlicues and curved lines), and ''agta-agta'' or ''buaya'' (fish or crocodile motifs).<ref name="Nimmo">{{cite journal |last1=Nimmo |first1=H. Arlo |title=The Boats of the Tawi-Tawi Bajau, Sulu Archipelago, Philippines |journal=Asian Perspectives |date=1990 |volume=29 |issue=1 |pages=51–88 |s2cid=31792662 |url=https://pdfs.semanticscholar.org/8c0f/9681a8f4c1cc02e96a5de94177cd775176f2.pdf |archive-url=https://web.archive.org/web/20191115113010/https://pdfs.semanticscholar.org/8c0f/9681a8f4c1cc02e96a5de94177cd775176f2.pdf |url-status=dead |archive-date=November 15, 2019 }}</ref> |
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Nevertheless, Sama ''okil'' share some common motifs with ''okir''. The Maranao ''naga'' (sea serpent) figure is believed to be related to the Sama ''agta-agta'' motifs. They are a particularly common motif in the beautifully-carved prows, sterns, and gunwales of various Sama-Bajau boats.<ref name="Nimmo"/><ref name="paquibot">{{cite book|author =Jesusa L. Paquibot|editor =Kwon Huh|title =Traditional Shipbuilding Techniques|chapter =Lepa: The Sea as Home|journal =ICH Courier Online|publisher =Intangible Cultural Heritage Courier of Asia and the Pacific, UNESCO|volume =29|year =2016|pages =16–17|issn =2092-7959|url =http://ichcourier.ichcap.org/wp-content/uploads/2017/01/v29_web_eng2PS.pdf|access-date =June 7, 2019|archive-url =https://web.archive.org/web/20180507222303/http://ichcourier.ichcap.org/wp-content/uploads/2017/01/v29_web_eng2PS.pdf|archive-date =May 7, 2018|url-status =dead}}</ref><ref name="gma">{{cite web|url=http://www.gmanetwork.com/news/opinion/content/132563/carvers-kumpit-builders/story/|title=Carvers, kumpit builders |author=Jun Mercado|date=November 10, 2008|publisher=GMA News Online|access-date=May 7, 2018}}</ref><ref name="nm">{{cite web|url=http://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Ethno/Boat.html|title=Lepa Boat|publisher=National Museum of the Philippines|access-date=May 7, 2018|archive-date=July 28, 2019|archive-url=https://web.archive.org/web/20190728224025/http://nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Ethno/Boat.html|url-status=dead}}</ref><ref name="cliff">{{cite journal|author=Clifford Sather|year=2001|title=Bajau laut boat-building in Semporna|journal=Traversées|issue=35–36|pages=177–198|url=https://journals.openedition.org/tc/288}}</ref> |
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''Okil'' are also highly important among Sama grave markers (''[[sunduk]]'') which are found in the ancient traditional burial grounds of the Sama people in some (usually uninhabited) islands of Sulu and [[Tawi-Tawi]]. These include some of the oldest examples of ''okil'', which are usually carved from coral and limestone. Wooden carved grave markers are common later on, usually made from or carved from the boat belonging to the deceased. These are usually carved into human figures that represent the deceased. With graves of women identifiable by the presence of combs and mirrors, and graves of men by the depiction of head coverings. Graves of children usually have smaller figures. A common relatively recent tradition is the carving of elaborate stylized bed frames as grave markers. These graves are often decorated with buntings and food offerings, again reflecting the ancient [[ancestor worship]] (''[[anito]]'') traditions of the Sama.<ref name="Peralta"/> |
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===Maranao=== |
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[[File:Maranao_Spinning_Wheel.jpg|thumb|A Maranao spinning wheel (note the ''panolong''-shaped projection)]] |
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[[File:0045MuseumFilipinojf 08.JPG|thumb|A ''[[sarimanok]]'']] |
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[[File:Malong (tube skirt) from Mindanao, Honolulu Museum of Art 14180.1.JPG|thumb|upright|A Maranao ''[[malong]]'' with a ''langkit'' (decorative strip) featuring female ''okir'' designs]] |
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Maranao ''okir'' motifs are so stylized that it is often easy to tell whether a carving is Maranao or not. Other ethnic groups usually introduce other elements or motifs that are non-traditional to the original Maranao ''okir'' designs. In the past, ''okir'' designs, particularly for textiles, are distinctive enough that a Maranao can usually distinguish which region someone is from based only on the patterns of their ''[[malong]]'' and their woven decorative strips (''[[langkit]]'').<ref name="Baradas"/> |
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Maranao ''okir'' can be divided into two traditions, the predominantly curvilinear "male" ''okir-a-dato'', and the predominantly rectilinear "female" ''okir-a-bai''. Unlike Sama ''okil'', ''okir'' designs are deliberately stylized when depicting living things, due to Islamic beliefs against [[idolatry]]. Traditional creatures featured in ''okir'' are the ''naga'' (sea serpent) and the ''sarimanok'' (feminine ''papanok'', a rooster-like bird with a fish in its beak and another fish in its claws). The ''naga'' is common in the ''panolong'' designs, while ''[[sarimanok]]'' are usually placed on top of poles during celebrations. Other creature motifs traditionally depicted in ''okir'' include crocodiles, parrots, grasshopper heads, and swallowtails. After contact with other cultures, ''okir'' has also depicted non-native animals, including lions, peacocks, and elephants.<ref name="Peralta"/> |
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The most common individual elements of ''okir'' include the following:<ref name="Baradas"/><ref name="Peralta"/> |
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;Male (''okir-a-dato'') |
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{{div col|colwidth=30em}} |
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*''Dapal'' or ''raon'' - a leaf |
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*''Dianawi'' - a pattern resembling a ''nawi'', a bladed carpenter's tool |
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*''Gaglat'' - a pattern resembling a ''glat'', a small kitchen knife |
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*''Kianoko'' - fingernail-like patterns |
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*''Matilak'' - a circle |
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*''Naga'' - a sea serpent in the shape of an 'S' |
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*''Onga'' - fruit |
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*''Pako'' - a fern frond or a spiral |
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*''Pako lawi'' - a fern frond resembling a rooster feather |
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*''Pako longat'' - a fern frond with a cut at one edge |
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*''Pako nai'' - a fern frond with two or more cuts on one edge |
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*''Piowas'' - [[betel nut]] seed |
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*''Potyok'' - a bud |
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*''Todi'' - a flower |
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{{div col end}} |
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;Female (''okir-a-bai'') |
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{{div col|colwidth=30em}} |
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*''Olan-olan'' - a circle or moon |
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*''Biangon'' - rectangle |
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*''Pialang'' - square |
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*''Katimbuang'' - diamond |
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*''Onsod'' - zigzag |
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{{div col end}} |
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These elements can be put together to create motifs. Some examples include:<ref name="Baradas"/><ref name="Peralta"/> |
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;Male |
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*'''''Armalis''''' - a combination of a fern, leaf, and bud |
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*'''''Birdo''''' - a motif of combined complex designs propagating horizontally, vertically, or diagonally |
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*'''''Magoyoda''''' - a motif of simple elements repeating horizontally |
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*'''''Niaga''''' - a motif which features the ''naga'' along with ''todi'' designs of leaves, vines, and flowers |
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*'''''Obid-obid''''' or '''''tiali-tali''''' - rope-like designs that are usually used for borders |
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*'''''Pako rabong''''' - a motif of a fern growing vertically, with a central point from which the design radiates outwards |
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;Female |
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*'''''Binotoon''''' - star patterns |
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*'''''Pinagapat''''' - four-sided designs in a series |
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*'''''Pinatola''''' - a pattern of squares of different colors |
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*'''''Saragonting''''' - a cross |
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Complete designs using these motifs are usually given poetic names like ''sapak a madanding'' ("branch of happiness"), ''raon a kayo'' ("tree leaves") or ''tring indawa'' ("yellow bamboo").<ref name="Peralta">{{cite journal |last1=Peralta |first1=Jesus T. |title=Southwestern Philippine Art |journal=Anthropological Papers (National Museum (Philippines)) |date=1980 |issue=7 |pages=32–34 |url=http://www.spafajournal.org/index.php/spafadigest/article/download/405/397}}</ref> |
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==Modern traditions== |
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''Okir''-carving traditions among the Maranao is prominent in the town of [[Tugaya, Lanao del Sur]]. It is the traditional center of Maranao artisans and is the industrial capital of Lanao del Sur.<ref>{{Cite journal|url=https://pdfs.semanticscholar.org/a0c6/f00b5177734d5e7c759472881541b0c37b52.pdf|archive-url=https://web.archive.org/web/20190129181535/https://pdfs.semanticscholar.org/a0c6/f00b5177734d5e7c759472881541b0c37b52.pdf|url-status=dead|archive-date=January 29, 2019|title=Okir Motif in Lanao and in Sulu Art|last=Baradas|first=David|website=Semantic Scholar|s2cid=27892222}}</ref> |
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==See also== |
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*[[T'nalak]] |
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==References== |
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{{Reflist|40em}} |
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⚫ | |||
* {{commonscat-inline}} |
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* [http://Tugayaartifactsblog.wordpress.com/ Tugaya, Lanao del Sur Arts website] {{Webarchive|url=https://web.archive.org/web/20150110132448/http://tugayaartifactsblog.wordpress.com/ |date=January 10, 2015 }} |
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[[Category:Visual motifs]] |
[[Category:Visual motifs]] |
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[[Category:Patterns]] |
[[Category:Patterns]] |
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[[Category:Ornaments]] |
[[Category:Ornaments]] |
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[[Category:Filipino design]] |
Latest revision as of 07:16, 9 November 2024
This article should specify the language of its non-English content, using {{lang}}, {{transliteration}} for transliterated languages, and {{IPA}} for phonetic transcriptions, with an appropriate ISO 639 code. Wikipedia's multilingual support templates may also be used. (May 2021) |
Okir, also spelled okil or ukkil, is the term for rectilinear and curvilinear plant-based designs and folk motifs that can be usually found among the Moro and Lumad people of the Southern Philippines, as well as parts of Sabah. It is particularly associated with the artwork of the Maranao and Sama (Badjao) tribes, although it can also be found to a lesser extent among the Maguindanao, Iranun, Tausug, Yakan, and Lumad groups. The design elements vary among these ethnic groups, with the greatest refinement being found among the Maranao.[1]
History
[edit]The origins of okir are pre-Islamic. They are believed to have originated from the much earlier okil or okil-okil decorative carving traditions of the Sama (Badjao) people, which are often highly individualistic and rectilinear. The Sama are master carvers, and they made lavish decorations on ritual animistic objects, grave markers (both in wood and stone), and their houseboats. These precursor forms of the okir designs can still be found in the art traditions of the Maranao in the basak (lowland) regions of Lake Lanao, and they contrast markedly from the later flowing okir designs.[1]
The rectilinear designs of the Sama were adopted and refined by the Maranao to decorate the torogan houses of the ruling dato class. The most prominent parts of the torogan are the panolong, the carved floor beams modeled after awang boat prows. These protrude in the front of the house and styled with elaborate okir designs, usually that of a naga (a sea serpent or dragon). These were meant to drive away evil spirits. Okir were also featured in the central housebeam, the tinai a walai ("intestine of the house"), which had ritual significance.[1]
Unlike the decorative carving traditions of the Sama, the panolong of the torogan became a symbol of power and status. As such, they increasingly became more and more elaborate, developing the flowing characteristics that it possesses today. It influenced other Maranao artforms greatly due to its association with rank and prestige, becoming used in textiles, musical instruments, betel quid containers, sculptures, weaponry, silver inlays, and so on. These designs became the standard for what came to be known as okir.[1]
From the Maranao, this spread to nearby regions through the migrations of the Iranun people (the descendants of the merchant and outcast clans of Maranao). Elements of okir have been adopted by the neighboring Maguindanao, Lumad, Yakan, and Tausug peoples of the Mindanao and the Sulu Archipelago; even influencing the carving traditions of the Sama later on. However, it had limited penetration among the Visayan-descended heavily-Islamized Tausug, the dominant ethnic group of Sulu. They viewed such carvings as "pagan". Okir among the Tausug is usually limited to the hilts and scabbards of weapons.[1]
Elements and motifs
[edit]Sama
[edit]The older Sama carving traditions (okil or okil-okil, sometimes spelled ukkil among Malaysian Sama) differ markedly from the okir of the Maranao, although elements of the okir were incorporated into later Sama carvings. Sama okil aren't bound to rules like the okir, and thus tend to be highly variable. Each artist carves according to his own tastes. Despite this, there are still shared motifs that bind them all together as Sama.[1][2]
Sama okil can be divided into two types. The most ancient okil which still survive among the animist Sama, usually the sea-going Sama Dilaut branches, feature representational artforms like human figures. These are absent in the okil versions of the Sama that converted to Islam. Sama okil also feature designs which are realistic copies of natural forms, rather than stylized designs like in okir.[1] Marine themes are particularly common, including depictions of dugongs (duyong), usually with a person riding on its back.[2] The three most common okil motifs used by the Muslim Sama are dauan-dauan (leaf motifs), kaloon (curlicues and curved lines), and agta-agta or buaya (fish or crocodile motifs).[3]
Nevertheless, Sama okil share some common motifs with okir. The Maranao naga (sea serpent) figure is believed to be related to the Sama agta-agta motifs. They are a particularly common motif in the beautifully-carved prows, sterns, and gunwales of various Sama-Bajau boats.[3][4][5][6][7]
Okil are also highly important among Sama grave markers (sunduk) which are found in the ancient traditional burial grounds of the Sama people in some (usually uninhabited) islands of Sulu and Tawi-Tawi. These include some of the oldest examples of okil, which are usually carved from coral and limestone. Wooden carved grave markers are common later on, usually made from or carved from the boat belonging to the deceased. These are usually carved into human figures that represent the deceased. With graves of women identifiable by the presence of combs and mirrors, and graves of men by the depiction of head coverings. Graves of children usually have smaller figures. A common relatively recent tradition is the carving of elaborate stylized bed frames as grave markers. These graves are often decorated with buntings and food offerings, again reflecting the ancient ancestor worship (anito) traditions of the Sama.[2]
Maranao
[edit]Maranao okir motifs are so stylized that it is often easy to tell whether a carving is Maranao or not. Other ethnic groups usually introduce other elements or motifs that are non-traditional to the original Maranao okir designs. In the past, okir designs, particularly for textiles, are distinctive enough that a Maranao can usually distinguish which region someone is from based only on the patterns of their malong and their woven decorative strips (langkit).[1]
Maranao okir can be divided into two traditions, the predominantly curvilinear "male" okir-a-dato, and the predominantly rectilinear "female" okir-a-bai. Unlike Sama okil, okir designs are deliberately stylized when depicting living things, due to Islamic beliefs against idolatry. Traditional creatures featured in okir are the naga (sea serpent) and the sarimanok (feminine papanok, a rooster-like bird with a fish in its beak and another fish in its claws). The naga is common in the panolong designs, while sarimanok are usually placed on top of poles during celebrations. Other creature motifs traditionally depicted in okir include crocodiles, parrots, grasshopper heads, and swallowtails. After contact with other cultures, okir has also depicted non-native animals, including lions, peacocks, and elephants.[2]
The most common individual elements of okir include the following:[1][2]
- Male (okir-a-dato)
- Dapal or raon - a leaf
- Dianawi - a pattern resembling a nawi, a bladed carpenter's tool
- Gaglat - a pattern resembling a glat, a small kitchen knife
- Kianoko - fingernail-like patterns
- Matilak - a circle
- Naga - a sea serpent in the shape of an 'S'
- Onga - fruit
- Pako - a fern frond or a spiral
- Pako lawi - a fern frond resembling a rooster feather
- Pako longat - a fern frond with a cut at one edge
- Pako nai - a fern frond with two or more cuts on one edge
- Piowas - betel nut seed
- Potyok - a bud
- Todi - a flower
- Female (okir-a-bai)
- Olan-olan - a circle or moon
- Biangon - rectangle
- Pialang - square
- Katimbuang - diamond
- Onsod - zigzag
These elements can be put together to create motifs. Some examples include:[1][2]
- Male
- Armalis - a combination of a fern, leaf, and bud
- Birdo - a motif of combined complex designs propagating horizontally, vertically, or diagonally
- Magoyoda - a motif of simple elements repeating horizontally
- Niaga - a motif which features the naga along with todi designs of leaves, vines, and flowers
- Obid-obid or tiali-tali - rope-like designs that are usually used for borders
- Pako rabong - a motif of a fern growing vertically, with a central point from which the design radiates outwards
- Female
- Binotoon - star patterns
- Pinagapat - four-sided designs in a series
- Pinatola - a pattern of squares of different colors
- Saragonting - a cross
Complete designs using these motifs are usually given poetic names like sapak a madanding ("branch of happiness"), raon a kayo ("tree leaves") or tring indawa ("yellow bamboo").[2]
Modern traditions
[edit]Okir-carving traditions among the Maranao is prominent in the town of Tugaya, Lanao del Sur. It is the traditional center of Maranao artisans and is the industrial capital of Lanao del Sur.[8]
See also
[edit]References
[edit]- ^ a b c d e f g h i j Baradas, David B. (1968). "Some Implications of the Okir Motif in Lanao and Sulu Art" (PDF). Asian Studies. 6 (2): 129–168. S2CID 27892222. Archived from the original (PDF) on January 29, 2019.
- ^ a b c d e f g Peralta, Jesus T. (1980). "Southwestern Philippine Art". Anthropological Papers (National Museum (Philippines)) (7): 32–34.
- ^ a b Nimmo, H. Arlo (1990). "The Boats of the Tawi-Tawi Bajau, Sulu Archipelago, Philippines" (PDF). Asian Perspectives. 29 (1): 51–88. S2CID 31792662. Archived from the original (PDF) on November 15, 2019.
- ^ Jesusa L. Paquibot (2016). "Lepa: The Sea as Home". In Kwon Huh (ed.). Traditional Shipbuilding Techniques (PDF). Vol. 29. Intangible Cultural Heritage Courier of Asia and the Pacific, UNESCO. pp. 16–17. ISSN 2092-7959. Archived from the original (PDF) on May 7, 2018. Retrieved June 7, 2019.
{{cite book}}
:|journal=
ignored (help) - ^ Jun Mercado (November 10, 2008). "Carvers, kumpit builders". GMA News Online. Retrieved May 7, 2018.
- ^ "Lepa Boat". National Museum of the Philippines. Archived from the original on July 28, 2019. Retrieved May 7, 2018.
- ^ Clifford Sather (2001). "Bajau laut boat-building in Semporna". Traversées (35–36): 177–198.
- ^ Baradas, David. "Okir Motif in Lanao and in Sulu Art" (PDF). Semantic Scholar. S2CID 27892222. Archived from the original (PDF) on January 29, 2019.
External links
[edit]- Media related to Okir at Wikimedia Commons
- Tugaya, Lanao del Sur Arts website Archived January 10, 2015, at the Wayback Machine