The Art of the Takaan

Wooden Paper Mache Molds*

By Gene and Linda Kangas and Nicholas Kondon

Contents

• 1800 Years of Paper Mache History
• 20th Century Revival
• Paper Mache Molds in Paete
• The Technology
• Summary
• Selected Bibliography

*As published in Maine Antique Digest, January, 2000.

1800 Years of Paper Mache History

An insatiable European appetite and search for new and innovative art and decoration enthusiastically embraced the adoption of paper mache as an expressive material. Hardened paper became an inexpensive substitute for wood; and, it was just as easily polychromed and gilded. In the 17^th century, strong markets for paper mache products existed in both England and France. During that period, English artisans experimented with paper mache to produce various types of furniture as well as dimensional embellishments for application to architecture. By 1750, English paper-ware factories were busy keeping up with the demand. George Jackson is recognized as one of the first Englishmen (circa 1756) to carve boxwood molds to manufacture paper mache forms; his were concave or carved in reverse to receive wet pulp. About that time "japanning" became popular. It was a highly decorative painting technique which also helped strengthen and preserve paper objets d'art. Then Germany in the 18^th century and Russia in the first half of the 19^th century became active manufacturers and consumers of a wide assortment of paper mache items. One example of the high level of acceptance and respect for quality paper mache is illustrated by the English firm of Jennens and Bettridge's gift of a set of elaborately decorated trays to Queen Victoria as a wedding present in 1840. Queen Mary was an active collector of paper mache objects, later donating them to several museums. Her Majesty the Queen of Spain was another Jennens and Bettridge client as were English Kings George IV and William IV. The Great English Exhibition of 1851 featured a tremendous diversity of fanciful paper mache items including an entire suite of furniture. Such works often reflected existing interests in Far Eastern decorative arts.

Among the many inventions of modern times for diffusing the luxuries, and even the conveniences of life, there are few which have greater claims to our admiration than paper mache. Whether it meets the eye in the shape of furniture, or in articles of domestic utility, its beauty and agreeableness are equally striking and effective. Nor is it less so when applied to ornamental purposes.¹

In 1850 an American factory opened in Litchfield, Connecticut to manufacture enameled paper mache clock cases. English and German japanners (painters) were paid the astounding wages of ten dollars a day to do finishing work for the company. In 1854, the Litchfield Manufacturing Company exhibited some of their best clocks at the New York World's Fair. The clocks proved so popular that they were soon exported to many distant ports including markets in South America George Washington, America's first President, reportedly requested that two rooms of his Mount Vernon home have paper mache decorated ceilings. In Mexico, by comparison, paper mache has played an important role in religious celebrations in both the 19^th and 20^th centuries. For example, larger than life paper Judas's are traditionally blown up with fireworks during Easter activities.

The history of paper mache art objects, however, can be traced back to the 2^nd century AD. in China when paper was first invented. One of the first Chinese uses was the development of protective paper war helmets strengthened by coats of lacquer. In the 8^th century, the technology was learned by the Persians. By the end of the 10^th century, paper making knowledge had extended to Damascus, Morocco, Spain, France, and Germany. The process became globally popular because it offered all practitioners a method to utilize readily available local resources. This inexpensive alternative to wood also offered a flexibility and plasticity that made it adaptable for the simple formation of many different objects. In Europe and North America these included many familiar and useful items such as advertising and trade figures, dolls and other toys, furniture, trays, screens, buttons, tableware, snuff boxes, and candy containers, now all collectible.

20th Century Revival

An extensive world market already predisposed to quality paper mache products of all types existed at the beginning of the 20^th century, ensuring a successful revival of the art. Geographically, paper mache had come full circle. In the Philippines, specifically in the town of Paete in Laguna Province, the multiple production of paper mache objects (takas) first required the hand carving of hardwood sculptures. These became the positive wooden molds (takaans ta.ka.ahns) that were coated with wax release agents. Then pieces of paper soaked in natural rice starch were laid upon the forms and dried. Once dry, the tough paper shells – which mirrored each woodcarving were cut away with sharp blades. The front and rear halves were peeled off and re- joined. Seams were papered over and the hollow, light-weight paper mache castings were then embellished and protected with paint and gilding. The process was repeated again and again. When paper mache artisans completed their orders, the carvings were retired.

One easy way to identify authentic paper mache molds is to look for the visual evidence of tiny knife slits which, through extensive use, wore down and scarred surfaces. These are found particularly along ears, arms, tops of heads and around the "foot" of the patterns. Any light-colored remnants remaining within the cut marks are traces of paper mache. Because of repeated coatings of pigmented waxes, molds often developed a rich warm patina; the tonal quality of the wax helped produce surfaces resembling mahogany, walnut, and other hard woods.

Lyrical Venetian paper mache masks were derived from carvings as well as paper mache costumes and ceremonial items used in diverse festivals and holidays around the world. A myriad of seasonal images such as pumpkins, ghosts, witches, masks of all types, bats, cats and other creatures were produced for wacky Halloween decorations. Christmas is represented by different styles of Santa Clauses, ornaments, reindeer, elves, angels, and Nativity scenes designed for various countries. Whimsical eggs and appealing bunnies became part of worldwide Easter celebrations. Many of the original molds for these were created in the beginning of the 1930s. However, local oral history recalls that the first takas were made earlier, in the 1920s by Maria Bague for her family's own use. Another person remembered that:

Each year Paete and neighboring towns held festivals that were well attended. Someone from Paete got the idea that they could cover carvings with paper mache and then take the paper figures to the festivals to sell. Everyone needed money and the novel idea proved to be popular. All of the paper mache images sold and that was the beginning of the paper mache cottage industry in Paete.

For several years religious figures and a few animals were the primary things made and sold until festival visitors began requesting additional images. "Do you make dogs or cats?" They asked. "How about other animals or people?" Soon a wide variety of paper mache forms were being fashioned and marketed. Horses were one of the earliest and most popular; they have become classics. Few still exist. The façade of Saint James Church has an old relief stone carving of Santiago (Saint James) astride a horse. Of course, horses and the others were being shaped over takaans carved just for that purpose. Sometime in the 1930s many images other than religious figures could be found among the wooden paper mache molds in storage.

Soon, European and American visitors began requesting that certain things be carved and paper mache be made for important holidays or larger department stores. While some were to be used as seasonal decorations, many were to be sold. Thus the popularization of paper mache spread from our small village to many countries throughout the world.2

²Interviews with Dr. Fermin C. Madridejos, Jr., Director/Owner Lilok Paete Art Gallery by Professor Gene Kangas, November, 1998 and September, 1999.

Paper Mache Molds in Paete

The art of the takaan is the result of an unbroken 400-year Paete tradition. After the Spanish arrived in the area in 1580 and while they were still exploring the vast American continent, Franciscan monks cultivated the talents of these people and helped establish Paete as a leading carving center in the Pacific. Interestingly, the word paet means chisel; the gateway marker to Paete features two large relief sculptures of chisels. From Paete the manifestations of carving skills have been exported to an appreciative and growing clientele on many distant shores. Some of the antique wood statuary in European churches have their roots in the centuries-old carving heritage of Paete. Indeed, the life-size Crucified Christ in St. Peter's Basilica in Rome was sculpted in Paete.3

Eventually, the Spanish Era evolved into the American Period around 1900. Those influences account for strong visual similarities between many takaans and traditional North American folk art and Western popular culture icons. The fact that molds possess a recognizable Western flavor is the result of those historical links with the West. There has been a general integration of many Western trends over the past century such as fashion, entertainment, and sports into the everyday life of many Filipinos. Because of these inherent characteristics, paper mache molds have been and continue to be actively traded in American and European folk art markets, particularly France. Indeed, most molds visually fit into different types of collections. Western folk images portrayed by molds include barnyard animals, domestic pets, angels and cherubs, political figures, figureheads, carousel animals, hearts, stars, suns, and moons. Popular Culture representations include movie stars such as Charlie Chaplin and Laurel and Hardy; jazz musicians like the great Louis Armstrong, as well as depictions of Superman, Mickey Mouse, and other classic comic figures. Almost all are interpretations based upon two-dimensional resources such as magazines, illustrations in books, photographs, and drawings. This methodology required carvers to add their own imagination to determine transitional requirements to change flat references into sculptural form.

At least one slightly larger-than-life Superman figure was sculpted in order to create hollow paper replicas for display in children's toy stores. The light-weight super heroes were painted and then suspended in flying positions from ceilings overhead. "Look up in the Sky, it's a bird, a plane, no it's Superman!" Since just a few casts were required, the original over six-foot-tall mold remains in excellent condition. On rare occasions, the natural surfaces of retired molds were polychromed to complete characterizations. Charlie Chaplin, for example, received a tired, old blue suit, worn black shores, and flesh colored skin. A bold, monumental draught horse was painted black. Are these examples of one-ups-man-ship, carver outdoing carver? Or, perhaps, the act of painting more accurately represents the artist's completed vision of a special or favorite subject. In the case Charlie Chaplin, it is reported that about 500 paper mache figures were cast off the carving for shipment to Canada. Later, the mold was returned to the carver who removed the release agent, made necessary repairs, and painted Charlie to make him more lifelike.⁴

³Cajipe-Endaya, The Paete Phenomenon, p. 17.
⁴Interview with Andres F. Bucayu, by Professor Gene Kangas, September, 1999.

The Technology

One significant attribute observed on paper mache molds is an artistic attention to detail. Subtleties such as extensive feathering, hair elaboration, and/or expressive faces characterize the best of forms. Yet, that amount and quality of detail was unnecessary since it does not perfectly translate through layered applications of paper mache. These refinements exist either because of the artistic and expressionistic urges of each carver as they fulfilled common commercial requests with uncommon personalized solutions or because of a competitive spirit to be the best. Refer to it as ego or pride, it is a universal trait shared by creative individuals worldwide.

Parallels to this passion exist in most arts and crafts. It explains why the North American duck decoy maker elaborated the underside of a bird's bill or a European or American quilter added many extra stitches per inch when just a few would suffice. While most decoys attracted waterfowl and most quilts provided warmth and comfort, it was the exceptional person who intentionally exceeded basic function thus initiating a transformation that elevated the artistic status of their creations.

The end products of the paper mache process are the finished paper forms. They produced income. However, for many years the wooden molds required to produce them were regarded merely as lowly tools; much as simplified wooden shoe lasts and hat blocks have been viewed. One of the pioneer mold makers in Paete was Blas Cajumban. He reportedly carved a vast majority of the earliest takaans, all unsigned. Most others' molds were also not signed and few, if any, were valued beyond original purposes. While individual identities have been lost, regional characteristics and personal styles merit further study. Inscribed initials may be found on some carvings representing the interests of mold owners not carvers. Takaans exist because, although lacking monetary value early on, their aesthetic qualities directed them into storage. Just as waterfowl decoys were often stored after it became illegal to use them, so too, a safe place was found to put paper mache molds. Why? They were saved because the positive artistic expression evident in the sculptures spoke out and prevented their loss. It is understandable that people exerted efforts to preserve molds for reasons related to why they were originally created.

Eventually, retired molds were dusted off and began to be acquired by a growing number of collectors outside the Philippines. Today, as intrinsic values continue to be appreciated, understood, and responded to, takaans are speaking to new audiences worldwide. Examples of paper mache artistry representing different centuries may be viewed in the permanent collections of numerous museums including the Victoria and Albert Museum, National Museum of Wales, the Litchfield Historical Society, and the National Museum of the Philippines. Additional insights may be gathered from a movie titled "Turumba," distributed by American film maker Francis Ford Coppola.

Summary

In summary, objects molded from simple paper and paste have been utilized and enjoyed for the past eighteen hundred years. Kings and Queens, affluent society, and average individuals all benefited from its many qualities; yet, the methods employed to produce those artifacts have received far less attention. Interestingly, the traditional technology practiced in diverse countries of the world is relatively similar. The original idea began, however, in the East, proliferated throughout the world, and then returned to islands in the Pacific to begin again. The takaan, a seven decades old Philippine revival, is the first tool of this global trade to be recognized for its own sculptural aesthetics. As a group, takaans also provide a virtual world art history survey of traditional cultural imagery portrayed in wood...and they are fun.

Selected Bibliography

Bucayu, Andres F., Paete, Philippines. Interview by Professor Gene Kangas, September, 1999.

Cajipe-Endaya, Imelda. THE PAETE PHENOMENON.

Caiyod, Sor B. , Businessman, Paete, Philippines. Interviews by Professor Gene Kangas, November, 1998 and April, 1999.

Casal, Gabriel, OSB and Regalado, Troto Jose. COLONIAL ARTISTIC EXPRESSIONS (1565- 1898), THE PEOPLE AND THE ART OF THE PHILIPPINES. Los Angeles, Museum of Cultural History, University of California, Los, Angeles, California, 1981, pp 85-121.

DeVoe, Shirley Spaulding. ENGLISH PAPIER MACHE OF THE GEORGIAN AND VICTORIAN PERIODS. Wesleyan University Press, Middletown, Connecticut, 1971.

Kangas, Gene and Linda. DECOYS: A NORTH AMERICAN SURVEY, Hillcrest Publications, Inc., Spanish Fork, Utah, 1983.

Larmon, Leila. "Dolls: People for a Make-Believe World" THE ENCYCLOPEDIA OF COLLECTIBLES, Volume DF, Time-Life Books, Inc., New York, New York, 1978, pp 34-55.

Masuoka, Susan N. EN CALAVERA: THE PAPIER MACHE ART OF THE LINARES FAMILY. UCLA Fowler Museum of Cultural History, Los Angeles, California, 1994.

Madridejos, Dr. Fermin C., Jr. Director/Owner Lilok Paete Art Gallery, Paete, Philippines. Interviews by Professor Gene Kangas, November, 1998 and September, 1999.

Paetenians Home On The Net, A Website By And For The People Of Paete, Laguna, Philippines.

Perelman, Leon. "Toys: Beloved Survivors of the Playroom" THE ENCYCLOPEDIA OF COLLECTIBLES, Volume TT, Time-Life Books, Inc., New York, New York, 1978, pp 84- 109 & Cover Illustration.

Reyes, Elizabeth V. "Paete: Winning Ways with Wood" FILIPINO HERITAGE. Manila, Lahing Philippino Publishing Inc., 1978, Vol 10, pp 2568-2573.

Sanford, Carleton L. and Bishop, Robert. AMERICA'S QUILTS AND COVERLETS. Weathervane Books, New York, New York, 1974.

Toller, Jane. PAPIER-MACHE IN GREAT BRITAIN AND AMERICA. Charles T. Branford Company, Newton 59, Massachusetts, 1962.

Velasco, Flor and Susan, Owners of Florsans, Paete, Philippines. Interviews by Professor Gene Kangas, April and September, 1999.