tausug
Tausug visual arts are represented by carvings, metalworks, woodworks, tapestry and embroidery, mat making and basketry, textile and fashion, pottery, and other minor arts (Szanton 1963). In general, Tausug visual arts follow the Islamic prohibition of representing human or animal forms. Consequently, Mindanao and Sulu have developed ukkil or abstract motifs which are carved, printed, or painted into various media. These motifs are suggestive of leaves, vines, flowers, fruits, and various geometric shapes.
Tausug carving is best exemplified by the sunduk or grave marker. Although not as stylized as those of the Samal, the Tausug sunduk are wood or stone carv-ings of geometric or floral forms. Women's grave mark-ers are flatter with carved geometric designs, those of the men are more floral. Sakayan or outriggers present yet another media for Tausug carving. Adornments are usually made on the prow and sometimes on the sambili or strips across the hull. The carvings are done either on the boat itself, or on a separate piece of wood which is then attached to the vessel. Abstract manok-manok (bird) motifs are the most common. Ajong-ajong/sula-sula are carved tips supporting the wrapped sail; the hidjuk (dark cord) on the sangpad (prow-plate) also serve as decoration. Carved saam or cross--pieces supporting the outriggers are called the mata (eyes) of the boat. Colors used on the finished carvings are yellow, red, green, white, and blue (Szanton 1973:33-47).
Tausug mananasal or blacksmiths produce bolo, kalis, and barong (bladed weapons). Fishing implem-ents are also made, such as the sangkil (single-po-inted spear) and the sapang (three-pronged spear). The more expensively fashioned blades have floral and geometric incisions; the ganja or metal strips which lock the handle and the blade are a decorative as well a functional device. Bronze casting is not as well developed as it is in Lanao. Among the several func-tional pieces produced were the batunjang (standing
Tausug carving is best exemplified by the sunduk or grave marker. Although not as stylized as those of the Samal, the Tausug sunduk are wood or stone carv-ings of geometric or floral forms. Women's grave mark-ers are flatter with carved geometric designs, those of the men are more floral. Sakayan or outriggers present yet another media for Tausug carving. Adornments are usually made on the prow and sometimes on the sambili or strips across the hull. The carvings are done either on the boat itself, or on a separate piece of wood which is then attached to the vessel. Abstract manok-manok (bird) motifs are the most common. Ajong-ajong/sula-sula are carved tips supporting the wrapped sail; the hidjuk (dark cord) on the sangpad (prow-plate) also serve as decoration. Carved saam or cross--pieces supporting the outriggers are called the mata (eyes) of the boat. Colors used on the finished carvings are yellow, red, green, white, and blue (Szanton 1973:33-47).
Tausug mananasal or blacksmiths produce bolo, kalis, and barong (bladed weapons). Fishing implem-ents are also made, such as the sangkil (single-po-inted spear) and the sapang (three-pronged spear). The more expensively fashioned blades have floral and geometric incisions; the ganja or metal strips which lock the handle and the blade are a decorative as well a functional device. Bronze casting is not as well developed as it is in Lanao. Among the several func-tional pieces produced were the batunjang (standing