Los Pintados: Indigenous People's Art of Tattooing

The islands that would one day form the nation of the Philippines were, for centuries before the arrival of European colonizers, home to diverse and vibrant indigenous cultures. Among the most visually striking were the inhabitants of the Visayas region, who greeted the first Spanish explorers with bodies covered in intricate, dark blue patterns – a testament to their advanced and deeply meaningful practice of tattooing. So profound was this visual impression that the Spanish conquistadors, led by Miguel López de Legazpi, named these islands “Las Islas de los Pintados,” or “The Islands of the Painted Ones,” giving the people themselves the enduring moniker Los Pintados. This art of Indigenous People’s Art of Tattooing was far more than mere decoration; it was a complex system intertwined with their social status, achievements, spiritual beliefs, and sense of beauty.

This article delves into the world of Los Pintados and their remarkable tradition. We will explore the historical context of the pre-colonial Philippines, the observations of early chroniclers like Antonio Pigafetta and the anonymous artists and writers of the Boxer Codex, the deep cultural significance of their traditional tattoos, the techniques they employed, and the eventual impact of Spanish colonization on this ancient art form. We will also touch upon the concept of extinction and the contemporary efforts towards revival of this unique aspect of Philippine history and indigenous cultures.

Who Were the Los Pintados?

The term Los Pintados is a Spanish exonym, a name given by outsiders. It primarily referred to the inhabitants of the central Philippine islands, collectively known as the Visayas. While often grouped under this single name by the Spanish due to their shared practice of extensive body tattooing, these were not a monolithic group. The Visayas region was populated by various communities, each with their own distinct languages, customs, and specific tattoo styles and meanings, though the overarching practice of tattooing was a unifying cultural marker in the eyes of the newcomers.

These ancient Filipinos were skilled seafarers, traders, and warriors. Their societies were typically organized into barangays, independent communities often led by a datu or chief. Warfare, trade, and agriculture were central to their way of life. It was within this dynamic societal structure that the art of tattooing flourished, serving not just as a personal statement but as a visible record of one’s life and accomplishments within the community.

The name “Las Islas de los Pintados” was officially bestowed by Legazpi in 1565 during his expedition to colonize the archipelago, cementing the image of the tattooed Visayans in early colonial records. However, the first European encounter with these people and their tattoos occurred earlier, during Magellan’s expedition in 1521, as meticulously documented by the chronicler Antonio Pigafetta.

The Significance of Tattooing in Pre-Colonial Philippines

For the Los Pintados, tattooing was an intensely meaningful practice, deeply woven into the fabric of their society. It served multiple interconnected purposes:

Mark of Status and Achievement: Tattoos were a visual resume, signifying one’s position within the social hierarchy and listing personal accomplishments. The more extensive and intricate the tattoos, the higher the individual’s status and the greater their achievements. Leaders, warriors, and individuals of high standing were often the most heavily adorned.
Symbol of Bravery and Ferocity: Particularly for men, tattoos were intrinsically linked to prowess in warfare. Each tattoo could represent a battle fought, an enemy slain, or a successful raid. Receiving a new tattoo, especially in a painful area, was an act of enduring physical pain, demonstrating bravery and resilience – essential qualities for a warrior. The patterns themselves, sometimes mimicking animal forms or aggressive symbols, were meant to inspire fear in enemies.
Expression of Beauty and Identity: While functional in terms of status and warfare, tattoos were also considered a form of beauty. Both men and women participated in the practice, although the patterns and coverage might differ based on gender and social role. Tattoos were a way to adorn the body, making individuals more attractive according to the aesthetic standards of their culture. They also served as a permanent marker of identity, linking individuals to their community, lineage, and personal history.
Spiritual and Protective Meanings: Some tattoos were believed to possess spiritual significance, offering protection against evil spirits, harm, or illness. Specific designs might be imbued with magical properties or represent connections to ancestral spirits or deities.

This multifaceted significance highlights why the traditional tattoos of the Los Pintados were so pervasive and important. They were not merely skin deep; they were living tapestries of history, identity, and belief.

Techniques and Designs

The process of applying tattoos among the ancient Filipinos was a painful and deliberate one, requiring skilled practitioners.

Tools Used: The primary tools involved were typically made from natural materials. Thorns (such as those from the calamansi plant or other citrus trees), fishbone, or sharp pieces of wood or bamboo served as the needles or pricking instruments. A small mallet or piece of wood was used to tap the needle, driving the pigment into the skin.
Pigment: The ink itself was traditionally made from soot or charcoal, often mixed with water or plant extracts (like sugarcane juice) to create a paste. This resulted in the characteristic dark blue or black color seen in historical depictions.
The Process: The tattooing process was lengthy and arduous. Designs were first drawn onto the skin. Then, the practitioner would tap the sharp instrument with the mallet, repeatedly pricking the skin along the design lines. The pigment mixture was then rubbed into the open wounds. The process was often done in stages, allowing the skin to heal between sessions, particularly for extensive tattoos covering large areas of the body. The pain involved further underscored the significance of the act, serving as a rite of passage and a test of endurance.
Designs: The designs were incredibly varied and often region-specific, though some common motifs existed.
- Geometric Patterns: Lines, dots, circles, and abstract shapes were fundamental elements. These could form intricate patterns covering limbs, chests, and backs.
- Animal Motifs: Crocodiles, snakes, birds, and other animals important in their environment or mythology were frequently depicted, often stylized. These could represent power, agility, or spiritual connections.
- Stylized Human Figures: While less common as full figures, parts of the human form or symbolic representations of people might be incorporated.
- Specific Markings: Certain marks or patterns had very specific meanings, such as the number of enemies killed in battle.

The intricate patterns and the pain endured in their creation underscore the dedication and importance placed on this art form by the indigenous cultures of the Visayas.

Early Spanish Accounts and Perceptions

The arrival of the Spanish provided the first written accounts of the Los Pintados and their tattooing practices, offering invaluable, though often biased, glimpses into their world.

Magellan’s Expedition (1521) and Antonio Pigafetta: The Italian scholar and chronicler Antonio Pigafetta, who was part of Magellan’s expedition, provided one of the earliest detailed descriptions. In his journal, Prima circumnavigazione del globo, he noted the heavily tattooed bodies of the Visayans they encountered, particularly around the island of Cebu, where they interacted with Rajah Humabon. Pigafetta described the tattoos as decorations, acknowledging their prevalence, though his understanding of their full significance was likely limited by his outsider perspective and the language barrier. His accounts, however, brought the existence of “painted” people in this archipelago to European attention.
Legazpi’s Encounter and Naming (1565): When Miguel López de Legazpi arrived decades later to establish a permanent Spanish presence, the extensive tattooing of the Visayan people was equally striking. It was Legazpi who formally named the region “Las Islas de los Pintados,” a name that appeared on subsequent Spanish maps and documents, solidifying the association between the Visayas and this practice.
The Boxer Codex (Late 16th Century): Perhaps the most detailed and visually rich account comes from the Boxer Codex, an anonymous manuscript from the late 16th century. This document contains descriptions and, crucially, illustrations of various ethnic groups in the Philippines at the time of Spanish contact, including the Los Pintados. The illustrations in the Boxer Codex show men and women with extensive body tattoos, depicting specific patterns on different parts of the body. The text accompanying these illustrations often provides details about their clothing, customs, and, to some extent, the meaning of their tattoos. These depictions are vital resources for understanding the diversity and complexity of pre-colonial Philippine tattooing.

Comparison of Early Spanish Accounts:

Chronicler/Source	Period of Observation	Geographic Focus (Visayas)	Description of Tattoos	Depth of Understanding (Estimated)	Visual Representation
Antonio Pigafetta	1521	Cebu, other Visayan islands	Notes prevalence, sees them as decoration.	Limited	None (written account)
Miguel López de Legazpi	1565 onwards	Entire Visayas region	Struck by prevalence, names islands based on practice.	Limited	None (written account)
Boxer Codex	Late 16th Century	Various Visayan groups	Detailed descriptions and illustrations of specific patterns and placement.	More detailed than earlier accounts, but still external.	Extensive illustrations

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The Spanish perceptions were a mix of curiosity, admiration for the physical endurance involved, and later, condemnation. Initially, the novelty of the tattoos was simply noted. As the Spanish sought to impose their own social and religious norms, however, tattooing became increasingly viewed through a negative lens, associated with paganism and savagery, contributing to its eventual decline.

Tattooing and Warfare/Social Hierarchy

As mentioned, tattooing was deeply intertwined with the warrior culture and social structure of the Los Pintados.

War Records: For male warriors, tattoos were essentially a visual record of their military achievements. Certain patterns or markings were added for each enemy killed in battle or for participation in successful raids (mangayaw). A heavily tattooed warrior was someone who had proven himself repeatedly in combat, earning respect and fear.
Status and Prestige: The amount and intricacy of tattooing directly correlated with a man’s standing. Commoners might have few or no tattoos, while members of the warrior class and chieftains (datus) were often covered head to toe, excluding only the soles of their feet. These extensive tattoos were a visible declaration of their power, wealth, and influence.
Examples (Contextual): While specific surviving images linking tattoos directly to figures like Rajah Humabon from Pigafetta’s time are scarce, accounts describe chieftains as being among the most heavily tattooed. The ability to bear such extensive and painful work further highlighted their elite status and resilience. The legendary chieftain Datu Lapulapu (though primarily associated with Mactan near Cebu) would also have belonged to a culture where such practices were common among leaders, signifying his standing and martial prowess, even if direct visual evidence of his tattoos is not available.

This strong connection between ink, warfare, and hierarchy underscores the functional, rather than purely aesthetic, nature of tattooing among the Los Pintados. It was a language spoken on the skin.

The Impact of Spanish Colonization

The arrival and subsequent establishment of Spanish colonial rule had a profound and ultimately detrimental impact on the traditional practices of the Los Pintados, including their art of tattooing.

Cultural Shift: Spanish missionaries and administrators actively sought to transform the indigenous way of life, promoting Christian beliefs and European customs. Traditional practices deemed pagan or uncivilized were discouraged, if not outright suppressed.
Christianization and Discouragement: As Christianity spread throughout the Visayas, tattooing was often viewed by the clergy as a barbaric practice, associated with idolatry and a rejection of Christian modesty. Converts were encouraged to abandon their tattoos or refrain from getting new ones. The focus shifted from adorning the body for worldly or spiritual power within the indigenous framework to preparing the soul for the afterlife according to Christian doctrines.
Loss of Meaning and Technique: Over time, as the traditional social structures were dismantled and the warrior culture suppressed, the original meanings and significance of specific tattoo designs began to fade. The intergenerational transmission of tattooing skills and knowledge also declined as the practice became less common and even stigmatized.
Decline in the Visayas: By the 17th and 18th centuries, the extensive body tattooing that characterized the Los Pintados had largely disappeared in the Christianized lowlands of the Visayas. The name “Las Islas de los Pintados” became a historical descriptor rather than a contemporary observation.

The decline of this vibrant art form in its primary stronghold, the Visayas, represents a significant cultural loss, a consequence of the imposition of foreign norms during Spanish colonization. While the practice did not completely disappear from the archipelago, its widespread and deeply integrated form among the Visayans waned significantly.

Legacy and Modern Revival

Despite the historical suppression and decline in the Visayas, the legacy of the Los Pintados and the art of Indigenous People’s Art of Tattooing did not vanish entirely from the Philippines.

Survival in Other Indigenous Groups: Tattooing traditions persisted and continue to thrive among other indigenous communities in the Philippines, particularly in the mountainous regions of Luzon, such as the Kalinga and Igorot peoples. Their tattooing practices, while having distinct styles and meanings, share the core principles of signifying status, achievement, and identity. Figures like Whang-od Oggay, a Kalinga tattoo artist, have gained international recognition, highlighting the continued existence and cultural value of these traditions.
Modern Interest and Revival Efforts: In recent decades, there has been a growing interest among Filipinos, particularly younger generations, in rediscovering and reclaiming aspects of their pre-colonial heritage. This includes a renewed appreciation for traditional tattoos. Artists and cultural enthusiasts are researching historical sources like the Boxer Codex and studying the surviving traditions in other indigenous communities to understand the techniques, designs, and meanings of Visayan tattoos.
Cultural Significance in Contemporary Philippine Identity: The image of the heavily tattooed Los Pintados has become a powerful symbol of pre-colonial strength, resilience, and cultural richness in contemporary Philippine identity. Efforts to revive the practice are seen not just as an artistic endeavor but as a way to connect with ancestral roots and celebrate the diverse heritage of the Filipino people. This revival aims to honor the deep cultural significance that these markings held for ancient Filipinos.

The journey of the Indigenous People’s Art of Tattooing from being a central pillar of Visayan identity to its suppression under Spanish rule and its modern-day revival reflects the broader narrative of preserving indigenous cultures and heritage in the face of historical challenges.

Conclusion

The Los Pintados, the “Painted Ones” of the Visayas, stand as a powerful symbol of the rich and complex pre-colonial Philippines. Their practice of extensive body tattooing was a sophisticated art form deeply embedded in their society, serving as a visual language of social status, bravery, beauty, and personal history. Early Spanish accounts, particularly those in the Boxer Codex and the writings of Antonio Pigafetta, provide invaluable, albeit filtered, insights into this tradition, which was so striking to Miguel López de Legazpi that he named the islands after it.

The imposition of Spanish colonization and the subsequent Christianization led to the decline and near extinction of this practice in the Visayas. However, the legacy of the Los Pintados and their art persists, serving as an inspiration for modern revival efforts and a reminder of the resilience and depth of indigenous cultures in the Philippines. The story of Los Pintados and their traditional tattoos is an essential chapter in Philippine history, highlighting the intricate ways in which art, culture, and identity were intertwined for the ancient Filipinos.

Key Takeaways:

Los Pintados was the name given by the Spanish to the tattooed people of the Visayas.
Tattooing in the pre-colonial Philippines was a crucial indicator of social status, achievement, and bravery.
Early accounts from Antonio Pigafetta and the Boxer Codex provide historical evidence of these tattoos.
Designs were diverse, including geometric patterns, animal motifs, and markings of war achievements.
The techniques involved painful hand-tapping with thorns or bone and soot-based ink.
Spanish colonization led to the decline of tattooing in the Visayas due to cultural and religious changes.
The tradition survived in other indigenous cultures and is experiencing a modern revival.
The cultural significance of these traditional tattoos is being recognized and celebrated today.

Frequently Asked Questions (FAQ):

Why were they called Los Pintados? They were called Los Pintados by the Spanish explorers, specifically Miguel López de Legazpi, because their bodies were extensively covered in intricate tattoos, making them appear “painted.”

What was the main reason for getting tattoos among the Los Pintados? There were multiple reasons, including indicating social status, recording achievements (especially in warfare as a sign of bravery), expressing beauty, and possibly for spiritual protection. It was a complex form of cultural expression and identity.

Did both men and women get tattooed? Yes, both men and women of the Los Pintados practiced tattooing, though the extent and specific patterns might vary according to gender, age, and status.

What tools and materials were used for tattooing? Traditional tools included thorns (like from citrus plants), fishbone, or sharp wood/bamboo for pricking, and a mallet for tapping. The ink was typically made from soot or charcoal mixed with liquid.

Did the Spanish encourage or discourage tattooing? The Spanish, particularly the missionaries during Spanish colonization, generally discouraged tattooing, viewing it as a pagan practice that was incompatible with Christian beliefs. This contributed significantly to its decline in the Visayas.

Did the tradition of tattooing disappear completely in the Philippines? No, while it largely disappeared in the Christianized lowlands of the Visayas, tattooing traditions continued to be practiced by other indigenous cultures in the Philippines, notably in the Cordillera region of Luzon (like the Kalinga and Igorot).

Are there efforts today to revive the tattooing practices of the Los Pintados? Yes, there is growing interest in the revival of pre-colonial tattooing practices, including those of the Visayas, driven by cultural preservation efforts and a desire to connect with ancestral heritage. Historical sources like the Boxer Codex are crucial to these efforts.

Sources:

Pigafetta, Antonio. The First Voyage Around the World, 1519-1522. Edited and translated by Theodore J. Cachey Jr., Hackett Publishing Company, 2007. (Note: Various editions and translations exist. This is a widely accessible one).
The Boxer Codex. Transcribed and annotated by Carlos Quirino and Mauro Garcia, Filipiniana Book Guild, 1963. (A facsimile edition with analysis is also available, though often held in research libraries).
Scott, William Henry. Barangay: Sixteenth-Century Philippine Culture and Society. Ateneo de Manila University Press, 1994. (Provides extensive context on pre-colonial Visayan society, drawing heavily on Spanish sources).
Blair, Emma Helen, and James Alexander Robertson, editors. The Philippine Islands, 1493-1898. Vol. 3 and 5. Arthur H. Clark Company, 1903-1909. (Contains original Spanish texts and English translations of early accounts, including those of Legazpi’s time). Available online through various digital archives.
Scott, William Henry. Looking for the Prehispanic Filipino: And Other Essays in Philippine History. New Day Publishers, 1992. (Contains essays discussing various aspects of pre-colonial life based on historical sources).
Lapeña-Bonifacio, Amelia. The “Painted” Body of the Bisayan. University of the Philippines Press, 1995. (A specific academic work focusing on the tattoos of the Visayans).

Category: Filipino Culture and Heritage