A Contemporary Pira

[VANDOO]

A VERY PRETTY AND INTERESTING PIRA, IT IS DIFFERENT FROM THE OLDER PIRA FORM AND MAY HAVE INFLUENCES FROM MALAYSIA OR INDONESIA. I LIKE TO THINK OF THIS FORM AS A HORNBILL BIRD THE BLADE BEING THE HEAD AND THE HANDLE SPIKE THE LONG TAIL FEATHERS. PERHAPS DIVING DOWN TO CATCH SOMETHING TO EAT.

THERE IS ALWAYS THE QUESTION DID THE OLDER PIRA FORM ORIGINATE IN THE PHILIPPINES OR WAS IT INFLUENCED FROM SOMEWHERE ELSE?

I LIKE THE NEW PIRA AND THE WORKMANSHIP IS VERY GOOD I ESPECIALLY LIKE THE BLADE. IT IS INTERESTING TO SEE ALL THE PLANNING AND DRAWINGS AS WELL AS THE WORK IN PROGRESS. WE USUALLY ONLY GET TO SEE A ANTIQUE WITH NO PROVENANCE AND ONLY WHAT IS WRITTEN IN BOOKS TO GO ON, SO THIS GIVES SOME UNDERSTANDING AS TO HOW THE WORK WAS DONE.
THOUGH SOME NEWER TOOLS AND TECKNIQUES MAY NOW BE USED. THE ONLY THING MISSING IN THE NEW PIRA ARE THE OLD RITUALS AND MAGICICAL BELIEFS THAT WENT INTO THE MAKEING OF THE OLD TRIBAL ONES WHICH ARE LOST AND NO LONGER PRACTICED.

[Antonio Cejunior]

Originally Posted by VANDOO

A VERY PRETTY AND INTERESTING PIRA, IT IS DIFFERENT FROM THE OLDER PIRA FORM AND MAY HAVE INFLUENCES FROM MALAYSIA OR INDONESIA. I LIKE TO THINK OF THIS FORM AS A HORNBILL BIRD THE BLADE BEING THE HEAD AND THE HANDLE SPIKE THE LONG TAIL FEATHERS. PERHAPS DIVING DOWN TO CATCH SOMETHING TO EAT.

Thanks Vandoo. I must confess that in this case I took the entire concept in a basis of shape, trying not to get too involved in historical terms, knowing that if I did too much research, then my creativity would be tied up by acquired knowledge.

THERE IS ALWAYS THE QUESTION DID THE OLDER PIRA FORM ORIGINATE IN THE PHILIPPINES OR WAS IT INFLUENCED FROM SOMEWHERE ELSE?

I'm sure someone can clarify this. So far what I know comes from the HOS exhibition.

I LIKE THE NEW PIRA AND THE WORKMANSHIP IS VERY GOOD I ESPECIALLY LIKE THE BLADE. IT IS INTERESTING TO SEE ALL THE PLANNING AND DRAWINGS AS WELL AS THE WORK IN PROGRESS. WE USUALLY ONLY GET TO SEE A ANTIQUE WITH NO PROVENANCE AND ONLY WHAT IS WRITTEN IN BOOKS TO GO ON, SO THIS GIVES SOME UNDERSTANDING AS TO HOW THE WORK WAS DONE.

True, specially since Paolo has kept his tools very close to the tribal smith, mainly the charcoal forge.

Actually me and my wife were in Manila last year for a weekend, and we were superbly treated by my friend Anton and his lovely wife and by Paolo and his lovely wife Suzy.

THOUGH SOME NEWER TOOLS AND TECKNIQUES MAY NOW BE USED. THE ONLY THING MISSING IN THE NEW PIRA ARE THE OLD RITUALS AND MAGICICAL BELIEFS THAT WENT INTO THE MAKEING OF THE OLD TRIBAL ONES WHICH ARE LOST AND NO LONGER PRACTICED.

Yes, the elephant trunk was removed. I could not mime a ritual, specially not being native and having no knowledge. The most honest thing was to keep it as I viewed it, away from the initiates.

[Battara]

I like it alot - very interesting.

[Antonio Cejunior]

Thank you Jose

Haven't heard from you yet.
Very best

[Andrew]

Wow. That's really fantastic, Antonio. My congratulations to you for the design and to Paolo for the execution.

[Antonio Cejunior]

Hi Andrew,

Most kind of you my friend
I have notified Paolo as he is the one to be applauded. It was such a wonderful partnership.

Meantime check your PM for something else.

[P.Abrera]

Gentelmen,

I just wanted to thank you for your kind words.

It was most kind of Antonio to share our unusual project here as well, and it was certainly a pleasure to work on.

I shared a brief backgrounder on another forum, I hope you dont mind if I paste it here just to contextualize the spirit of the piece:

As Antonio mentioned, our approach and intent was primarily sculptural, and while Antonio's design drew inspiration from older ethnic forms, the idea was not to get overly bogged down in trying to make an academic study of the significance of the totemic forms and thier symbolisms, but to translate certain ethnic forms and treatments into interesting sculptural elements devoid of thier spiritual significance so as not to blindly parrot what we dont understand or are culturally removed from. Rather than setting out to make a historical replica, instead, we tried to stay connected to the cultural tradition by sticking to some old-school techniques while creating something new. It's mostly hand-work in an open fire, laminating steel with softer iron, and etching with "calamansi" juice (a local type of lime) but not feeling too tied to sticking to what would be considered historically correct. It's something new but nods in approval to what came before

I look forward to sharing more in the future. Thanks

Best,

P. Abrera

[Antonio Cejunior]

Hi folks,

Sorry but I've been terribly busy.
Anyway the Pira has arrived and is absolutely awesome!!!

I had a quick picture taken to share with you all.




No pose and I'm not a muscle builder. Just made sure my both hands were not disturbing the Pira.

Wonderful contemporary masterpiece.

[Antonio Cejunior]

Folks,


Here are some more pics of the Pira



beautiful shape and flow



Hand textured-pitted



The selective san mai layer



more here



Paolo Abrera is a most fantastic and intelligent smith working in the Philippines. Hope you folks enjoy