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during the rice planting season. Over time the blood imparts a dark color to the figures, overlaid with a patina of grease from food offerings. Bulul are handed down to the first child of a family. Typically the older statues have beetle holes made by insects in the granary.
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The bu-lul 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
141:), earrings and anklets. Although the form varies, the bulul is commonly represented as seated on the ground, with arms crossed over his upraised knees. The bulul has a simplified form, and is traditionally carved from
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The sculptures are highly stylized representations of ancestors and are thought to gain power and wealth from the presence of the ancestral spirit. The Ifugao are particularly noted for their skill in carving bulul.
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Bu-luls 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.
169:, 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
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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. Male bulul may sometimes be depicted with
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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
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because they believe they can protect and multiply the rice and help make the harvest abundant.
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wood. The bulul is touched by hands dipped in the blood of a chicken or pig in a ritual called
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Way of the
Ancient Healer: Sacred Teachings from the Philippine Ancestral Traditions
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William A. Dyrness; Veli-Matti Kärkkäinen; Juan
Francisco Martinez (2008).
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In the Shape of
Tradition: Indigenous Art of the Northern Philippines
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Global
Dictionary of Theology: A Resource for the Worldwide Church
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76:, is a carved wooden figure used to guard the rice crop by the
347:(2003). "Authenticity in Art". In Jerrold Levinson (ed.).
420:. Leiden: C. Zwartenkot Art Books. pp. 99–126.
447:. Ateneo de Manila University Press. p. 88.
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50:Wooden images of the ancestors in a museum in
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387:"OLD SEATED BULUL WITH RITUAL OFFERING BOWL"
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444:Image to meaning: essays on Philippine art
230:The Philippines: a global studies handbook
285:"Unraveling the Bulul's Spiritual Origin"
161:. However, an Ifugao former "mumbaki" (
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353:. New York: Oxford University Press.
260:. North Atlantic Books. p. 124.
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320:. frances lincoln ltd. p. 54.
206:. InterVarsity Press. p. 64.
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350:The Oxford Handbook of Aesthetics
102:rice gods or deities in a museum
185:- Tagalog counterparts of bulul
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254:Virgil Mayor Apostol (2010).
489:Religion in the Philippines
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173:(guardian deity) figures.
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499:Austronesian spirituality
233:. ABC-CLIO. p. 201.
39:(ceremonial bowl) in the
441:Alice Guillermo (2001).
416:Anderson, Eric (2010).
227:Damon L. Woods (2006).
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84:) peoples of northern
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16:Ritual ancestor statue
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80:(and their sub-tribe
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494:Culture of Ifugao
427:978-90-5450-009-4
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314:Sri Owen (2003).
289:The Finest Writer
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183:Larauan and Likha
167:Rey Paz Contreras
56:Mountain Province
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139:wrap skirts
60:Philippines
483:Categories
190:References
74:tinagtaggu
19:See also:
129:loincloth
82:Kalanguya
401:April 3,
371:April 3,
299:April 3,
177:See also
117:Ifugaos
37:pamahan
35:with a
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163:shaman
78:Ifugao
70:bu-lul
52:Bontoc
171:anito
151:tunod
143:narra
134:tapis
86:Luzon
66:Bulul
33:bulul
21:Anito
449:ISBN
422:ISBN
403:2011
373:2011
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