Bulul

Bulul

Bulul

Ritual ancestor statue

See also: Anito

Bulul, also known as bul-ul or tinagtaggu, is a carved wooden figure used to guard the rice crop by the Ifugao (and their sub-tribe Kalanguya) peoples of northern Luzon.

15th century bulul with a pamahan (ceremonial bowl) in the Louvre Museum
Wooden images of the ancestors in a museum in Bontoc, Mountain Province, Philippines

The sculptures are highly stylized representations of ancestors and are thought to gain power and wealth from the presence of the ancestral spirit.[1] The Ifugao are particularly noted for their skill in carving bulul.[2]

Ifugao people rice gods or deities in a museum

Use

Bul'uls are used in ceremonies associated with rice production and with healing. The creation of a bulul involves alwen bulul ritual by a priest to ensure that the statue gains power.

The bul'ul is treated with care and respect to avoid the risk of the spirits of the ancestors bringing sickness. The figures are placed together with the rice in the house or granaries to bring a plentiful harvest. The bulul is important to Ifugaos because they believe they can protect and multiply the rice and help make the harvest abundant.

Form

Male and female bulul statues are often found together, with sex-related symbols such as the mortar for the female and pestle for the male.[3] Male bulul may sometimes be depicted with loincloth, and females with tapis (wrap skirts), earrings and anklets.[4] Although the form varies, the bulul is commonly represented as seated on the ground, with arms crossed over his upraised knees.[5] The bulul has a simplified form, and is traditionally carved from narra or ipil wood. The bulul is touched by hands dipped in the blood of a chicken or pig in a ritual called tunod during the rice planting season.[4] Over time the blood imparts a dark color to the figures, overlaid with a patina of grease from food offerings.[6] Bulul are handed down to the first child of a family. Typically the older statues have beetle holes made by insects in the granary.[7]

Bulul are nowadays mostly manufactured for the tourist trade, but a local family may buy such a bulul and use it for ceremonial purposes, thus in a sense adding authenticity.[6] However, an Ifugao former "mumbaki" (shaman) stated that the last traditional rituals were held in the 1960s.[8] Some of the carvers, such as Rey Paz Contreras, have become well-known artists, with their work exhibited and sold widely in the Western world. Contreras uses discarded wood from the railways for his carvings of bulul and other anito (guardian deity) figures.[9]

See also

References

  1. [1]
    William A. Dyrness; Veli-Matti Kärkkäinen; Juan Francisco Martinez (2008). Global Dictionary of Theology: A Resource for the Worldwide Church. InterVarsity Press. p. 64. ISBN 978-0-8308-2454-0.
  2. [2]
    Damon L. Woods (2006). The Philippines: a global studies handbook. ABC-CLIO. p. 201. ISBN 1-85109-675-2.
  3. [3]
    Virgil Mayor Apostol (2010). Way of the Ancient Healer: Sacred Teachings from the Philippine Ancestral Traditions. North Atlantic Books. p. 124. ISBN 978-1-55643-941-4.
  4. [4]
    "Unraveling the Bulul's Spiritual Origin". The Finest Writer. Archived from the original on May 16, 2011. Retrieved April 3, 2011.
  5. [5]
    Sri Owen (2003). The rice book. frances lincoln ltd. p. 54. ISBN 0-7112-2260-6.[permanent dead link]
  6. [6]
    Dutton, Denis (2003). "Authenticity in Art". In Jerrold Levinson (ed.). The Oxford Handbook of Aesthetics. New York: Oxford University Press. ISBN 978-0-19-927945-6. Archived from the original on January 23, 2021. Retrieved April 3, 2011.
  7. [7]
    "OLD SEATED BULUL WITH RITUAL OFFERING BOWL". Tribal Mania. Archived from the original on October 20, 2008. Retrieved April 3, 2011.
  8. [8]
    Anderson, Eric (2010). In the Shape of Tradition: Indigenous Art of the Northern Philippines. Leiden: C. Zwartenkot Art Books. pp. 99–126. ISBN 978-90-5450-009-4.
  9. [9]
    Alice Guillermo (2001). Image to meaning: essays on Philippine art. Ateneo de Manila University Press. p. 88. ISBN 971-550-376-4.
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