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SAN BEDA UNIVERSITY
College of Arts and Sciences
In Partial Fulfillment of the Requirements in Art Appreciation
Arts of the Ancient Western Civilization: Primitive/Prehistoric, Egyptian, Mesopotamian
(Sumerian, Assyrian, Babylon), Greek, Roman Etruscan Vis-à-vis Asian Visual Arts Focus
on Indian, Chinese, Japanese and Korean Visual Art
Submitted by:
BATARA, Jacob
BELEN, Shaireen
CRUZ, Jericha
ESPEJON, Marfie
EVANGELISTA, Miguel
NICOLAS, Jeconiah
SOLIS, Emmanuel
4AFM
Submitted to:
Dr. James Loreto C. Piscos
September 27, 2021
A. TOPIC TITLE
“Arts of the Ancient Western Civilization: Primitive/Prehistoric, Egyptian, Mesopotamian
(Sumerian, Assyrian, Babylon), Greek, Roman Etruscan Vis-à-vis Asian Visual Arts Focus on
Indian, Chinese, Japanese and Korean Visual Art”
B. LIST OF MEMBERS AND THEIR ROLE IN VARIOUS REPORTS
List of Members
BATARA, Jacob
Roles/Contribution
Executive Summary (Abstract, Eisegesis,
Egypt Diachronic Analysis, Synchronic
Analysis), and Video Presentation
BELEN, Shaireen
Executive Summary (Sumerian and
Babylonian Diachronic Analysis, Synchronic
Analysis), Trailer (Editor), and Video
Presentation (Editor)
CRUZ, Jericha
Executive Summary (Assyrian and China
Diachronic Analysis, Synchronic Analysis),
Brochure (Design & Content), and Video
Presentation
ESPEJON, Marfie
Executive Summary (Intertextual Analysis,
Etruscan and India Diachronic Analysis,
Synchronic Analysis), and Video Presentation
EVANGELISTA, Miguel
Executive Summary (Formal Analysis,
Exegesis, Japan and Korea Diachronic
Analysis, Synchronic Analysis), Trailer
(Voice-over), and Video Presentation
NICOLAS, Jeconiah (Leader)
Executive Summary (Greek and Roman
Diachronic Analysis, Synchronic Analysis),
Brochure (Design & Content), and Video
Presentation, PPT Templates, Teaching of
Analysis, Costume Technological Innovator.
SOLIS, Emmanuel
Executive Summary (Primitive/Prehistoric
Diachronic Analysis, Synchronic Analysis),
Trailer (Editor) & Video Presentation (Direct)
C. ABSTRACT
Throughout the years, we have discovered the importance of arts because of its vital
function in our daily lives. We have seen how arts contributed to shaping not just our current
society, but the civilizations that were long existed in the past. Unfortunately, there are still some
individuals who have limited knowledge about arts or who does not give proper recognition that it
deserves. With that, this paper aims to empower the study of arts to show people especially the
youth its relevance to our community.
In this paper, we will comprehensively discuss various significant arts of the Ancient
Western Civilization and the Asian Visual Arts. Furthermore, we will also unveil how different arts
such as sculptures, paintings, pottery, and architecture uniquely developed starting from The
Primitive or Pre-Historic period up to the Asian Visual Arts.
Keywords: Arts; Arts of Ancient Western Civilization; Asian Visual Arts; Paintings; Sculptures;
Pottery; Architecture
D. OUTLINE OF THE PRESENTATION
Outline of the Report
Members Contributed
Allotted Time Per Parts
Trailer
Belen, Solis
2 Minutes and 48 Seconds
Brochure
Cruz, Nicolas
1 Minute
Executive Summary
Batara, Espejon,
2 Minutes
Evangelista
Video Presentation
Batara, Belen, Cruz,
Espejon, Evangelista,
Nicolas, Solis
1 hour and 42 Minutes
E. WORLD BEHIND THE TEXT OR DIACHRONIC ANALYSIS
Arts of the Ancient Western Civilization
Primitive/Prehistoric Period
Christian J. Thomsen, a Danish researcher who devised the "Three Age System," a
framework for researching the human past, popularized the term "Stone Age" in the late
nineteenth century. The Paleolithic or Old Stone Age spans roughly 2.5 million years, from the
beginning of stone artefact creation to the end of the last Ice Age, around 9,600 BCE. This is the
longest phase of the Stone Age.
The most frequent kind of evidence are fossilized human bones and stone artifacts that
show a steady growth in skill. Based on the techniques utilized and the quality of the instruments,
there are a variety of stone businesses (sometimes known as "lithic" industries). The earliest of
these (2.5 million years ago) is Oldowan, which is made up of very crude choppers and flakes.
Around 1.7 million years ago, a new type of lithic industry called Acheulean evolved, producing
more sophisticated and symmetrical designs with sharp edges.
According to geology, the Mesolithic, also known as the Middle Stone Age, starts at 9,600
BCE, the last cold snap that signaled the end of the Ice Age. When agriculture is introduced, the
Mesolithic age comes to an end. The last hunter-gatherers lived during this time.
There is no clear date for the end of the Mesolithic period because agriculture emerged at
different times in different parts of the world. Agriculture evolved at different times even within a
single location. Agriculture, for example, began around 7,000 BCE in Southeast Europe, 5,500
BCE in Central Europe, and 4,000 BCE in Northern Europe. All these elements make the
Mesolithic's chronological borders a little unclear. Furthermore, some areas do not have a
Mesolithic epoch. The Near East, for example, developed agriculture shortly after the end of the
Ice Age, approximately 9,000 BCE.
Agriculture, which may be traced back to roughly 9,000 BCE in the Near East, 7,000 BCE
in Southeast Europe, and 6,000 BCE in East Asia, and even later in other regions of the world,
kicks off the Neolithic or New Stone Age. Around this time, wheat cultivation and livestock
breeding began.
Gordon Childe, an Australian archaeologist, invented the term "Neolithic Revolution" in
the 1940s CE to emphasize the significant impact that agriculture had on the human population.
It is currently recognized that the significance of agricultural innovation was exaggerated in the
past, and that Neolithic society evolved more slowly than quickly.
Neolithic began in various parts of the world, with distinct people reaching the Neolithic
period at different times; nonetheless, it is widely regarded to have occurred around 10,000 BCE.
Hunting, fishing, and gathering wild herbs became obsolete when humans learnt to grow crops
and manage domestic livestock. Rather than chipping softer rocks down to the proper shape,
Neolithic cultures ground and polished comparatively hard rocks to make more usable stone tools.
Neolithic peoples were able to build permanent structures and cluster in villages thanks to the
production of cereal grains, and their freedom from nomadism and a hunting-gathering economy
allowed them to pursue specialized skills.
Egypt
The Ancient Egypt is one of the high-powered and well sustained civilization during the
ancient time which is centered on the lower sections of the Nile River where the modern-day
country Egypt is located (World History Encyclopedia, 2009).
During the prime of the Ancient Egyptian civilization, numerous sculptures, paintings, and
architectures were created which redefined the field of history and arts. Furthermore, the ancient
Egyptian civilization is also famed for its great engineering capability which led to countless large
tombs and sculptures that were built. Some of the notable large-scale creations are the great
pyramid of Khufu, pyramid of Khafre, and the pyramid of Khafre’s son Menkaure.
Aside from the sculptures, paintings, and architectures, the ancient Egypt is also notable
for their religiosity and the importance of their life after death. This is the reason why Pharaohs
really pushed the building of their death tombs which is believed to be the zone of passage into
the afterlife. Moreover, they also focus on the art of mummification or the preservation of corpse.
The embalming process for a decent mummification starts with the removal of internal organs
except for the heart because it was believed to be the seat of understanding, then the Body is
packed with dry natron chemical, and lastly, the corpse is washed, treated with oils and ointments,
and bandaged with 20 layers of linen. The duration of all the process usually lasts for 72 days.
They do this because they believe that the mummification of a corpse ensures a good afterlife.
Sumerian (Mesopotamia)
Sumer was one of the world's early civilizations founded in Mesopotamia which is in the
current day, Iraq. Mesopotamia, which means "country between two rivers," is appropriately called
because it is surrounded by the Tigris and Euphrates rivers. Sumur's societal structure was built
around city-states. Every city has its own distinct city center and ruler. And Sumer's government
was a theocracy, which means that God was the ultimate ruler and that the king or leader on earth
was someone who takes guidance from God. Based on world history (2019), Sumer was the
southern counterpart of Akkad, whose people gave the city its name, Sumer, which means
"country of civilized rulers." According to current researchers, the Ubaid period is the region's first
period. And it was the rise of this early civilization that paved the way for the Sumerian city-states.
The Sumerian civilization in Mesopotamia split into six groups during the Uruk period, and it was
the early dynasty period that saw the rise of kingship.
Many of the most important innovations, inventions, and concepts that we take for granted
today were created by the Sumerians (World History, 2019). According to the book Annotated
Mona Lisa (1992), the Sumerians are the area's first inhabitants that achieved irrigation and flood
control as early as 3500 B.C., creating a rich paradise amid the sandy plains of which is in the
current day, Iraq. They also invented the city-state, organized religion, writing, mathematics, law,
and, to a large extent, architecture in their Tigris and Euphrates valley civilizations. Ancient
Sumerians made an incredible contribution to the world. They are associated with inventing
several items, including the wheel, the wheeled vehicle, sailboats, boots, sandals, irrigation
systems, and so on. The earliest written language was undoubtedly one of the most important
inventions of ancient Sumerians.
Assyrian (Mesopotamia)
Based on A History of Western Art (2011), the next uniting force in Mesopotamia was the
Assyrian city-state. The history of Assyria proper is roughly divided into three periods, known as
Old Assyrian (late 21st-18th century BCE), Middle Assyrian (1365-1056 BCE), and Neo-Assyrian
(911- 612 BCE). These epochs generally correspond to the Middle Bronze Age, Late Bronze Age,
and Early Iron Age. For another 13 centuries, it existed as a geopolitical entity dominated mostly
by foreign forces (Boundless World History, n.d). Its capital city, Ashur, was named after the chief
Assyrian deity and is located along the Tigris in modern-day Syria. Ashur was originally one of
Mesopotamia's Akkadian city-states. Ashur had grown into a significant fortified city by the end of
Hammurabi's reign (c. 1750 B.C.). By 1300 B.C., its monarchs had established contact with
Egypt's rulers, showing that the Assyrians had attained worldwide importance.
According to National Geographic (2019), Assyria's status changed multiple times; it was
occasionally an independent state, but it also fell under the Babylonian Empire and subsequently
Mittani authority. But the Assyrians, on the other hand, were able to keep their land due to
technological advancements in battle, while other governments and empires rose and fell from
power. When the Hittites rose to prominence and removed Mitanni control, it created a power
vacuum that sparked war and chaos in the region. As a result, the Assyrians were in a strong
position to expand their influence in the region. Around 900 B.C.E., a new generation of Assyrian
rulers rose to prominence, beginning with Adad Nirari II and ending with Ashurbanipal, the last
great Assyrian ruler.
As stated in A History of Western Art (2011), the Assyrian state is particularly well
documented through both its texts and the remains of architectural and sculptural projects
undertaken to reflect the might and glory of its kings. Assyria and the surrounding region had far
more stone than the rest of Mesopotamia. As a result, the Assyrians' desire to commemorate their
achievements could be met by utilizing local stone.
Architectural styles changed dramatically during the Assyrian Empire's history, which
spanned the 25th century BCE to 612 BCE. Architects in Assyria were first influenced by
Sumerian and Akkadian styles. Over time, Assyrian architecture developed into its own distinct
style (Boundless Art History, n.d.). Finely detailed narrative relief sculpture in stone or alabaster,
depicting most hunting adventures and military events, was also a feature of an Assyrian artistic
style that was first found mostly in royal palaces.
Babylonian (Mesopotamia)
Babylonia was an ancient Mesopotamian state. The city of Babylon, whose ruins can be
found in modern-day Iraq, began as a small port town on the Euphrates River more than 4,000
years ago. The Akkadians called the City Bavil, which meant "gate of the gods." Under
Hammurabi's leadership, it grew to be one of the ancient world's largest cities. The impressive
Ishtar gate, spectacular walls and temples, the assumption that Babylon was a renowned seat of
culture and learning, and the perhaps magical Babylonian hanging gardens constructed by
Nebuchadnezzar II for his wife are just a few of Babylon's many highlights. The well-known history
of Babylon started with Hammurabi, the famous ruler. Under the Amorite king Hammurabi, who
ruled from 1792 to 1750 B.C., Babylon became a strong military power. Following his invasions
of surrounding city-states, Hammurabi unified much of southern and central Mesopotamia,
establishing the Babylonian Empire (History, 2019).
Hammurabi transformed Babylon into a wealthy, powerful, and influential civilization. He
wrote one of the first and most comprehensive written law codes in the world. The law code of
Hammurabi enabled Babylon to outperform other towns in the area. The law code, as mentioned
in the book "A History of Western Art," is a significant marker of legal history and the link of law
to society's fabric. He improved the city walls of Babylon, built temples, expanded public works,
and used his law code to keep peace throughout his vast domain. Hammurabi was able to expand
his Babylonian realm over Mesopotamia, and he ruled the region until his death. His empire fell
apart after he died, making it simple for the Hittites to sack Babylon. Furthermore, the Hittites, like
the Mesopotamians, kept records on clay tablets written in cuneiform and placed on shelves,
properly categorized, and labeled as in a modern library. Thousands of tablets make up these
archives, which are the first known records in an Indo-European language. The Hittites' cultural
and artistic achievements are reasonably well documented due to their survival (A history of
Western Art). After the Hittites conquered the city, the Kassites took control and renamed it
Karanduniash. The Assyrians had acquired control of Babylon around 850 B.C. They ruled until
Nebuchadnezzar restored part of the city's ancient glory in the early seventh century b.c.
Greek
According to Simon Hornblower (2021), the ancient Greek civilization the period following
Mycenaean civilization, which ended about 1200 BCE, to the death of Alexander the Great, in
323 BCE. It was a period of political, philosophical, artistic, and scientific achievements that
formed a legacy with unparalleled influence on Western civilization.
As stated by History (2010), the term Ancient, or Archaic, Greece refers to the years 700480 B.C., not the Classical Age (480-323 B.C.) known for its art, architecture, and philosophy.
Archaic Greece saw advances in art, poetry, and technology, but is known as the age in which
the polis, or city-state, was invented. The polis became the defining feature of Greek political life
for hundreds of years. The colonial migrations of The Archaic period had an important effect on
its art and literature: They spread Greek styles far and wide and encouraged people from all over
to participate in the era’s creative revolutions.
The book The Annotated Mona Lisa (1992), states that for a brief Golden Age, 480-430
B.C, an explosion of creativity resulted in an unparalleled level of excellence in art, architecture,
poetry, drama, philosophy, government, law, logic, history, and mathematics. This period is also
called the Age of Pericles, after the Athenian leader who championed democracy encouraged
free thinking.
It is also stated in History (2010), the epic poet Homer, from Ionia, produced his “Iliad” and
“Odyssey” during The Archaic period. Sculptors created kouroi and korai, carefully proportioned
human figures that served as memorials to the dead. Scientists and mathematicians made
progress too: Anaximandros devised a theory of gravity; Xenophanes wrote about his discovery
of fossils and Pythagoras of Kroton discovered his famous Pythagorean Theorem. The economic,
political, technological, and artistic developments of The Archaic period readied the Greek citystates for the monumental changes of the next few centuries.
Based on A history of Western Art (2011), Ancient Greece has a huge and lasting impact
on Western Culture. Greek language was unchanged to the present day, in fact the word alphabet
comes from the Greek alphabet "alpha" and "beta".
Roman
Based on Britannica (2021), Roman Empire, the ancient empire, centered on the city of
Rome, which was established in 27 BCE following the demise of the Roman Republic and
continuing to the final eclipse of the Empire of the West in the 5th century CE. According to History
(2009), beginning in the eighth century B.C., Ancient Rome grew from a small town on central
Italy’s Tiber River into an empire that at its peak encompassed most of continental Europe, Britain,
much of western Asia, northern Africa, and the Mediterranean islands. Among the many legacies
of Roman dominance are the widespread use of the Romance languages (Italian, French,
Spanish, Portuguese and Romanian) derived from Latin, the modern Western alphabet and
calendar and the emergence of Christianity as a major world religion.
After 450 years as a republic, Rome became an empire in the wake of Julius Caesar’s rise
and fall in the first century B.C. The long and triumphant reign of its first emperor, Augustus, began
a golden age of peace and prosperity Augustus’ rule restored morale in Rome after a century of
discord and corruption and ushered in the famous pax Romana–two full centuries of peace and
prosperity. He instituted various social reforms, won numerous military victories, and allowed
Roman literature, art, architecture, and religion to flourish. On the other hand, the Roman Empire’s
decline and fall by the fifth century A.D. was one of the most dramatic implosions in the history of
human civilization.
Roman architecture and engineering innovations have had a lasting impact on the modern
world. Roman aqueducts, first developed in 312 B.C., enabled the rise of cities by transporting
water to urban areas, improving public health and sanitation. Some Roman aqueducts transported
water up to 60 miles from its source and the Fountain of Trevi in Rome still relies on an updated
version of an original Roman aqueduct.
Roman cement and concrete are part of the reason ancient buildings like the Colosseum
and Roman Forum are still standing strong today. Roman arches, or segmented arches, improved
upon earlier arches to build strong bridges and buildings, evenly distributing weight throughout
the structure. Roman roads, the most advanced roads in the ancient world, enabled the Roman
Empire—which was over 1.7 million square miles at the pinnacle of its power—to stay connected.
They included such modern-seeming innovations as mile markers and drainage. Over 50,000
miles of road were built by 200 B.C., and several are still in use today.
Based on A history of Western Art (2011), Rome art was influenced by Greek sculpture,
paintings, and architectures. The political genius of Rome lay in its ability to encompass, govern,
and assimilate cultures very different from its own. Roman law made it easy for people from
different regions to attain citizenship. Rome was designated as caput mundi (head or capital of
the world).
The book The Annotated Mona Lisa (1992), states Romans put their own spin on Greek
and art and philosophy. Having founded the greatest empire that world had ever known, they
added managerial talents: organization and efficiency. Roman art is less idealized and intellectual
than Classical Greek, more secular and functional. And, where the Greeks shined at innovation,
the romans forte was administration. Wherever their generals marched, they brought the civilizing
influence of law and the practical benefits of roads, bridges, sewers, and aqueducts.
Etruscan
The Etruscan who knew themselves as the Rosena were a culture that flourished in central
Italy in the region of Etruria between the 8th and the 3rd century BCE. Their culture developed
from a prehistoric civilization known as Villanovan (ca. 900–500 B.C.). Etruscan art was created
in central Italy between the 10th and 1st centuries BC by the Etruscan civilization. It was
significantly inspired by Greek art, which was imported by the Etruscans, beginning approximately
750 BC, although it always preserved individual traits.
In central Italy during the Iron Age a culture began to develop in around 100 BC, and they
have been called the Villanovan culture. These peoples were what we know as the Etruscan
culture in their early form. The lack of evidence showing that there was warfare in the region or
migration of new peoples suggests that the Villanovan people never left, and the Etruscan people
never actually arrived but they are one in the same. The Villanovan exploited the numerous
natural materials and resources which meant that villages formed, and houses were built which
were typically circular. The Villanovan grew crops produced pottery and participated in trade. By
750 BC the Villanovan culture had become the Etruscan culture and many Villanovan sites would
develop further into major Etruscan cities. The Etruscan exploited natural and abundant resources
to make metal tools, pottery, and various goods out of precious materials such as gold and silver.
The numerous Etruscan cities were connected via a trade network and by the 6th century they
had begun constructing their monumental sanctuaries, developing an organized city, and had
established many close trade contacts most notably with the Greeks and the Phoenicians.
Arts of the Ancient Eastern Civilization
India
For millennia, art has existed in India, evolving through religious, cultural, and political
upheaval. Modern-day India, Pakistan, and Bangladesh are all part of the Indian Art domain.
India's dry culture has maintained many of its old metal and stone artifacts, as well as other arts
from drier climes. Pottery, cave paintings, sculpture, and textiles are among the Indian art forms
impacted by Hinduism, Buddhism, Jainism, Islam, and the Hellenistic and Indus Valley peoples'
cultural ideals. While many other cultures are known for the art found in their cemeteries and
tombs, Indian art is not. Cremation has been practiced in India for a long time.
China
According to Cultural China (n.d.), China's history is one of the world's longest and most
accurately documented, as Chinese civilization dates back about 5,000 years, and the Chinese
have meticulously recorded all events that occurred in their land throughout millennia. Ancient
farmers' communities developed into the earliest Chinese towns and national unions in the Hwang
Ho and Yangtze River basins, where Chinese civilization began. Pre-imperial China (the
dynasties of Xia, Shang, and Zhou up to 221 BC); Imperial China (Qin dynasty 221 BC – Qing
dynasty 1911); and New China (1911 – contemporary day) are the three periods in Chinese
history.
Based on Advantour (2021), The pre-imperial history of China was marked by unstable
political power, which mostly centered in the hands of religious leaders. The Shang dynasty was
the most powerful of the three at the time, but it could not avoid the internecine warfare that
eventually caused the Shang-Yin kingdom to fall into decay. From 221 BC to 1911 AD, China's
imperial dynasties spanned a vast period of time. China emerged into one of the world's strongest
countries, becoming the head of the Asian Continent under eight powerful dynasties: Qin Han,
Sui, Tan, Song, Yuan, Ming, and Qing. The development of China as a single integrated country
started under emperor Qin Shi Huang Di (221 BC), who united seven Chinese kingdoms and
conquered many adjacent territories. An etched mark in the history of China was left by the Tang
dynasty (618-907 AD), whose ruling is often called as “Golden Age” of China.
The Manchu dynasty of Qin was China's last imperial dynasty after Genghis Khan's
Mongol invasion in the 13th century. When the Manchus swept out the Ming dynasty and became
Chinese rulers in 1644, China was to be invaded for the second time. The Xinhai Revolution took
place in China in 1911, and it resulted in the fall of the Qing Empire. The People's Republic of
China (PRC), led by Mao Zedong, was established in 1949 after the Communist Party of China
defeated Guomindang (Advantour, 2021).
Chinese art traditions are the world’s oldest and best-preserved art traditions, according
to the New World Encyclopedia (n.d.). The "stone age art" of China dates from 10,000 B.C.
Following it, a series of dynasties arose, most of which lasted several hundred years. Chinese
artistic traditions were perpetuated by scholars and aristocrats and adapted by each succeeding
dynasty despite dynastic changes, governmental collapses, Mongol and Manchurian invasions,
wars, and famines. Each dynasty's art has distinct qualities and developments.
Based on the Travel China Guide (2021), Ancient Chinese architecture dates from the
Shang Dynasty (16th century BC – 771 BC) and follows its own set of structural and layout
principles. Many wonders have been built by industrious and skilled laborers throughout history.
One of the most prominent manifestations of Chinese cultural life and ideas is Chinese painting,
which is closely tied to Chinese calligraphy and poetry. Artists created many detailed portraits of
the royal court from the Han (206 BC - 220 AD) to Tang (618-907) dynasties. Landscape
paintings, often known as shanshui (mountain-water) paintings, began during the Tang Dynasty.
(China Highlights, 2021).
Other arts that flourished in China are calligraphy, pottery, bronzes, jade carving, and
other fine or decorative art forms produced in China over the centuries (Silbergeld, n.d.).
Japan
Around 30 000 BCE, the earliest human dwelling in the Japanese archipelago was in
prehistoric times. In the First Millennium, when new innovations were brought in Asia, the Jōmon
period, which is known from its earthenware with cord markings, was followed by the Yayoi
People. The Yayoi people emigrated from the continent to the Japanese islands in the fourth
century BC and established iron technology and agriculture. The Jômon population, who were
indigenous of the Japanese archipelago who were hunter and gatherers, began to develop swiftly
and to overrun because they had an agricultural society. From the fourth to ninth century, several
kingdoms and tribes were progressively brought together by the emperor of Japan's officially
controlled centralized administration. The imperial dynasty that was formed at this period still
exists today, albeit in a largely ceremonial capacity. The Heian period began in 794 with the
establishment of a new imperial capital at Heian-ky (modern Kyoto), which lasted until 1185.
The Heian period is regarded as the pinnacle of Japanese civilization. From this point
forward, Japanese religious life was a blend of native Shinto practices and Buddhism. Since its
earliest days, nature and especially mountains have been a preferred subject of Japanese art.
Shinto is at the heart of the kami or gods, which are believed to reside in natural features like
trees, rivers, rocks, and mountains. Consequently, nature is not a secular topic in Japan. A natural
scene picture is not simply a landscape, but a portrayal of the sacred environment and its kami.
Chinese culture and customs influenced many aspects of Japanese painting over time, including
Buddhist religious painting, landscape ink-wash painting, and ideograph calligraphy. Japanese
art always absorbs and digests them in order to establish a completely unique Japanese style.
Korea
Similarly, according to Kim Yang-The ki's History of Korea, which was published by Kang
Deoksang, Jung Sanae, and Nakayama Kiyotaka, the Paleolithic people are not the direct
descendants of the current Korean (Chosun) people, but rather the Neolithic People of around
2000 BC. As the Three Kingdoms of Korea, Goguryeo, Baekje, and Silla grew to govern the
peninsula and Manchuria from the 1st century until Silla's unification in 676. On 698, Go of Balhae
created the Kingdom of Balhae in old Goguryeo territories,[15][16] resulting in the coexistence of
Balhae and Silla throughout the Northern and Southern States period.
After a coup d'état ousted the Goryeo dynasty in 1388, General Yi Seong-gye created the
Joseon dynasty (1392–1910) in 1392. In the early years of the dynasty, King Sejong the Great
(1418–1450) instituted significant administrative, social, scientific, and economic reforms,
establishing royal authority, and personally creating Hangul, the Korean alphabet.
From 1592 until 1637, the Joseon kingdom endured foreign invasions and internal
factional struggle after nearly two centuries of tranquility. The Japanese invasions of Korea, which
signaled the end of the Joseon dynasty early period, are the most noteworthy of these invasions.
The united forces of China's Ming dynasty and Korea's Joseon dynasty successfully repulsed the
Japanese invasions, albeit at great cost to both countries. Joseon afterwards became increasingly
insular and sluggish. Joseon Korea was obliged to make unequal treaties with foreign countries
by the mid-nineteenth century, due to the country's unwillingness to modernize and the advance
of European powers. The Korean Empire (1897–1910) was established following the killing of
Empress Myeongseong in 1895, the Donghak Peasant Revolution, and the Gabo Reforms of
1894 to 1896, heralding a brief but rapid period of social reform and modernization.
F. WORLD OF THE TEXT OR SYNCHRONIC ANALYSIS
Arts of the Ancient Western Civilization
Primitive/Prehistoric Period
Form Element. Chinese Horse, whose sagging body suggests pregnancy
Form Style. The two diagonal forms in this detail, one almost parallel to the horse’s
neck and the other overlapping its lower outline, have been variously identified as plants and
arrows. The sign above the horse has been interpreted as signifying a female. It is not known
why signs were juxtaposed with animals, but the elusive character of such images illustrates the
difficulty in reading works produced by prehistoric artists
Structural Analysis. “Chinese Horse,” Lascaux, Dordogne, France, c. horse 5 ft. 6 in.
(1.42 m) long.
Genre. The genre is Historical because it was from 15,000–13,000 b.c. it was also
painted on limestone rock; the animal acquired its nickname because it resembles Chinese
ceramic horses of the Han Dynasty.
Egypt
Form Element. The Great Sphinx of Giza is one of the world’s largest sculptures ever
discovered; it is approximately 240 feet or 73 meters long and 66 feet or 20 meters high
(Britannica, 2017). This iconic sculpture depicts a lion's body and a human head with a royal
headdress on it. Moreover, it is extremely famous that most people immediately recognize it to be
related with the Ancient Egypt with just a single look. The Great Sphinx of Giza was built during
the reign of King Khafre during the 4th dynasty, but some scholars argue that Djedefre, Khafre’s
brother who tried to usurp the throne after the death of their father is the one who built it.
Form Style. The Great Sphinx of Giza is a sculpture of a seated or rested lion with a face
of a man on a headdress facing the east direction. This monument holds great importance for the
Egyptian civilization because it was built to serve as the protector of the three large pyramids of
Giza which is the pyramids of Khufu, Khafre, and Menkaure. This is the reason why it is placed
near the abovementioned pyramids (Travel Triangle,2020).
Structural Analysis. The Great Sphinx of Giza were carved with large limestones. The
face of this massive sphinx was formerly painted red, and the body was painted blue and yellow.
It is also claimed that the Sphinx used to have a lengthy beard and a nose, both of which are now
missing. The Great Sphinx's condition has clearly worsened over time. According to Britannica
(2017), archeological experts says that Napoleon's forces shot off the nose with a cannon,
causing the damage. Another theory claims that in the 14th century, a Sufi Muslim, mutilated the
monument to show his opposition against the worshiping of idols.
Genre. The genre of this iconic sculpture revolves around the influence of religiosity of
Egyptians to their gods and the significance of social hierarchy. This influence is also what shapes
the whole culture and civilization of the Ancient Egypt. As you can see, one of the colors that was
painted on The Great Sphinx of Giza is golden yellow which is what Egyptians usually uses
because it symbolizes their sun god – “RA” (Global Beauty Secrets, 2021). Furthermore, the face
that was carved on the massive sphinx is King Khafre who was extremely idolized and adored
during his time. Though some contend that it was the face of King Khufu, the father of King Khafre.
Sumerian (Mesopotamia)
Form Element. Based on the book ‘A History of Western Art, the ziggurat is a
Mesopotamian architectural form that is derived from the Assyrian word for "raised up" "high."
Mesopotamians believed that each city was guarded by a god to whom the people owed a duty,
and they constructed ziggurats, or imitation mountains, to serve as platforms for the god. The
ziggurat is considered the most iconic architectural structure. Just like an Egyptian pyramid,
ancient ziggurat has four sides and rises to the gods' realm. Unlike Egyptian pyramids, however,
Ziggurats had a level exterior to accommodate the labor that was done on the construction as
well as governmental supervision and religious rites that were important in ancient communities.
Ziggurats may be found scattered over what is now Iraq and Iran, and they stand as a powerful
witness to the ancient civilization that created them.
King Ur-Nammu of the Third Dynasty of Ur built the Ziggurat at Ur and the temple on top
of it around 2100 B.C.E. for the moon god Nanna, the divine patron of the city-state. The structure
would have been by far the city's tallest point, and, like the spire of a medieval cathedral, they
have been visible for miles, serving as a focal point for both travelers and the religious. The
Sumerians originated the ziggurat tradition, but other Mesopotamian civilizations, such as the
Akkadians, Babylonians, and Assyrians, also created ziggurats for local religions.
Form Style. White ceramic jars were placed in the walls, their rims producing a surface
pattern of white circles surrounding the interiors' dark spherical spaces. Ziggurats were common
throughout Mesopotamian history, and as belief systems and technology advanced, they became
more complex (A History of Western Art). The ziggurat was constructed by stacking sixty-four
stone and mud platforms, which gradually lowered until the ziggurat formed a towering pyramid
with a flat top for a temple. It was created so that each corner faced a cardinal point, and the walls
were built slightly inward to give the impression of eternality. To protect the monument from the
weather, it was then covered in a thick coating of burnt brick.
Structural Analysis. The Ziggurat of Ur was a huge rectangular pyramidal building with
three levels of terraces that stood between 70 and 100 feet high. It was 210 by 150 feet high. At
the first terrace level, three magnificent staircases went up to a gate. Following that, a single
stairway led to a second terrace, which supported a platform on which a temple stood, as well as
the tallest and last terrace. The ziggurat's core is composed of mud bricks, which are then covered
with baked bricks coated in bitumen, a naturally occurring asphalt. The baked bricks were around
11.5 x 11.5 x 2.75 inches in size and weighed up to 33 pounds each. The ziggurat's lowest level,
which supported the first terrace, would have required 720,000 baked bricks. The number of
resources required to construct the Ziggurat at Ur is huge.
Genre. From roughly 2200 BCE to 500 BCE, the Ziggurat was a pyramidal stepped temple
tower that was an architectural and religious monument distinctive of the major towns of
Mesopotamia (today primarily in Iraq). This ziggurat was built by King Ur-Nammu and his son
Shulgi early in the 21st century BCE to honor the city's patron god Nanna. The ziggurat was
supposed to be Nanna's dwelling, thus, it was built in the heart of the city and served as the
administrative center. Uruk's ziggurat had a temple known as the "White Temple," which was
accessible via a stairwell and oriented toward the four cardinal points. It was separated into many
chambers off the main corridor, or cella, which contained the altar. Three large staircases, each
with one hundred steps, led to a temple shrine forty feet above the earth, devoted to protecting
gods and goddesses and ministered to by specific orders of priests and priestesses, at Ur's
Ziggurat.
Assyrian (Mesopotamia)
Form Element. Lamassu was a notable guardian figure of a king's palace in Assyrian
architecture in the 800s and 700s B.C.E. The sculptures were viewed as hybrids, with a bull's
body and ears, an eagle's wings, and a human's crowned head, extravagant divine headgear,
and complex braided hair and beards shared by royalty (Louvre, n.d.). The Lamassu is an
example of a relief sculpture. Relief sculpture, often known as Relievo, is a combination of twodimensional art and three-dimensional sculpture. As a result, just like a painting, a relief requires
a background surface, and its composition must be extended in a plane to be visible. Specifically,
the Lamassu is a high-relief sculpture since it is almost three dimensional but still is attached to
backgrounds.
Form Style. The gigantic sculpture was set and carved on the walls at the entrances to
both the city and palace gateways as protecting deities or genii, serving as symbolic guards of
the Assyrian king's domain. The Lamassu performed a dual purpose: symbolically upholding the
palace and architecturally supporting the palace's barrel vault. When viewed from an oblique
perspective, this sculptural shape appears to have five distinct legs. This allows for two
simultaneous depictions: standing guard, when viewed from the front & striding forward, when
viewed from the side.
Structural Analysis. The massive Lamassu combines animal and human features with a
bull's body and legs and a human head. The hair, beard, and brows are stylized, and the figure
wears a cylindrical two-horned divinity crown. The headpiece identifies it as a deity. It stands 14
feet (4.26 meters) tall by 4 meters wide and weighs approximately 40 tons. It stands tall, gazing
forward and dutifully on both sides of a palace entryway, symmetrical and balanced.
According to A History of Western Art (2011), from the side, the Lamassu's relief is more
evident than from the front. The figure has an organic quality to it, with hints of bone and muscle
beneath the skin, as well as various stylized surface patterns in the body hair. The sculpture is
made of gypsum alabaster. A wing that fills the limestone block rises from above the foreleg in a
sweeping curve. The wing leads the eye to the Lamassu's side view, which is united further by
the foreleg's "reuse" in the side view. The Lamassu follows the architectural role of an entryway,
which is to designate a point of access, by facing the entering visitor and appearing to walk past
as one enters.
Genre. The art is an example of historical sculpture as it stood as a protective spirit and a
representation of an Assyrian king's ascension to power and the legitimacy of his rule. The human
head represented intelligence, the wings represented speed, and the bull's body represented
strength and power. According to Louvre (n.d.), In Mesopotamia, the hybrid body and the two sets
of horns were symbols of divinity. The Lamassu blended the abilities of several animals to protect
the city and its palace, and they were benevolent beings, as seen by their gentle smile.
Babylonian (Mesopotamia)
Form Element. The Ishtar Gate is one of the eight circular arches located inside Babylon
and serving as the city's main entrance. It is the only surviving example of monumental
architecture from Nebuchadnezzar's reign (605–562 b.c.). The Ishtar Gate's majesty was so wellknown that it was included in the first list of the Seven Wonders of the Ancient World. Although
the Lighthouse of Alexandria eventually replaced it, some authors (Antipater of Sidon and
Calliamchus of Cyrene) believed that the "Gates of Ishtar" and "Walls of Babylon" should still be
recognized as one of the wonders. Although Nebuchadnezzar pays honor to other Babylonian
deities through diverse animal representations, the Ishtar Gate is named after the Babylonian
goddess Ishtar. It was given that name in honor of the goddess of love and fertility. During the
first half of the sixth century BCE, Nebuchadnezzar's plan to beautify his empire's capital have
included Ishtar Gate. A dedication plaque on the Ishtar Gate, written from Nebuchadnezzar's
perspective, explains the gate's purpose and depicts it in some detail (World History, 2013).
Form Style. Ishtar Gate was built in blue-glazed enamel bricks with white and gold
geometric patterns around the edges. Rows of relief-painted bulls and dragons stand out against
the blue background. Even though placing blue glazed bricks was challenging, they still did it
since the blue glaze’s bricks give a long-lasting and may have a good impact on tourists. In the
book “Handbook to Life in Ancient Mesopotamia,” Stephen Bertman, states that the gate has a
glossy and bright drawing that could survive the weather” (Facts on File, 2003).
The sides of the street were ornamented with lions passant made of brick. There were
120 lions along the street and 575 dragons and bulls in 13 rows above the gate. Young bulls
(aurochs), lions, and dragons (sirrush) are among the animals portrayed on the gate. Lions are
commonly connected with Ishtar, bulls with Adad, and dragons with Marduk, and these animals
are symbolic portrayals of these deities. Ishtar was a goddess of fertility, love, war, and sex. Adad
was a God of the weather, and Marduk was Babylon's supreme or national God. Because the
street level was raised more than once, not all of these reliefs were visible at the same time, even
the bottom rows, which were unevenly laid, may have been treated as foundation deposits.
Furthermore, the concept of a magnificent gate with a round arch serving as a procession
marker persists. An arch can be thought of as a curving lintel linking two vertical supports, or
pillars, as described in the book "A History of Western Art." The Ishtar Gate's round arch is
semicircular and more durable than a horizontal lintel. This is because a round arch distributes
the weight's thrust between the two vertical supports rather than putting all the load on the
horizontal.
Structural Analysis. Color and shape are the most distinguishing elements of Ishtar
Gate's art. The lapis lazuli background is bright blue, and the yellow and brown images of flowers,
dragons, aurochs, and lions brighten it up. This also attracts the viewer's attention to the religious
symbols. The various organic forms used throughout the gate, which are characterized using
color, give shape. The emphasis, pattern, variation, and balance are the most distinguishing
principles of art. Color is utilized to create emphasis by having a darker background and a lighter
foreground, which draws the viewer's attention to the images. The different shaped dragons, bulls,
lions, and flowers provide variety, which relates to a pattern as these four shapes are repeated
throughout the gate. As a result, Ishtar Gate has a balanced feel about it, as it is symmetrical, and
the repetitive shapes are proportionate.
In addition, the Ishtar Gate was more than 38 feet (12 meters) tall, according to Britannica.
The gate itself was a double one, with a large antechamber on the south side. The Processional
Way, a brick-paved passage almost half a mile long with walls over 50 feet tall (15.2 m) along
both sides is accessible through the gatehouse. The Processional Way was used for the New
Year's celebration, with statues of the deities parading down the red and yellow stone-paved path
(rows of red stone on the outer layers and a yellow row in-between).
Genre. The Ishtar Gate was built by King Nebuchadnezzar II for religious purposes as
well as to praise himself. The Babylonians would bring statues of their gods through the Ishtar
Gate during religious festivities on holidays. The gate was decorated with creatures that
represented various Babylonian gods and goddesses. Ishtar was symbolized by the lions, Marduk
by the dragons, and Adad by the bulls. The gate was also a dedication to the great King, as the
commitment plaque on the gate glorifies himself.
Greek
Form Element. Based on A history of Western Art (2011), radical foreshortening - as in
the central horse seen from the rear - and use the shading to convey the sense of mass and
volume enhance the naturalistic effect of the scene. Repeated diagonal spears, clashing metals,
and crowding of men and horse evoke the din of battle.
At the same time, action is arrested by dramatic details such as the fallen horse and the
Persian soldier in the foreground who watches a reflection of himself dying on a shield. Alexander
sweeps into battle at the left his wavy hair typical of royal portraiture as established in Greek art
of the fourth century B.C. He focuses his gaze on the Persian leader, who turns toward Alexander.
But the chariot driver whips the horse in the opposite direction as he tries to escape. The artist
used light and shadow to create depth, use of movement for both sides, powerful expressions,
emphasis on large turning chariot and naturalism.
Form Style. Based on A Handbook of Roman Art (1983), there were two main techniques
in Greco-Roman mosaic: The normal technique was opus tessellatum, using larger tesserae,
which was laid on site, and the one used in Alexander the Great art work Opus Vermiculatum,
which used tiny tesserae that is typically cubes of 4 millimeters or less, and was produced in
workshops in relatively small panels which were transported to the site glued to some temporary
support. The tiny tesserae allowed very fine detail, and an approach to the illusionism of painting.
Often small panels called emblemata were inserted into walls or as the highlights of larger floormosaics in coarser work.
Based on Ancientworldmagzine (2018), the masterpiece is arranged in gradual curves
called Opis Vermiculatum (“wormwork”) because they seem to replicate the slow motion of a
crawling worm. Mosaics were originally made of natural river pebbles, usually colored either white
or black. But in the early third century BC, small squares (tesserae) cut from stones of different
colors began to be used to create more detailed mosaics for the super-rich which is used in
Alexander the Great Mosaic.
According to Mosaic History and Technique (1971), process of gathering materials for
mosaics was a complex undertaking since the color scale was based solely on the pieces of
marble that could be found in nature. The Alexander Mosaic would have been impossible to create
without this technological innovation.
Structural Analysis. The Parthenon frieze runs around the upper edge of the temple wall.
Its relatively small size (3 feet 5 inches tall) and placement (inside from the triglyphs and metopes)
made it hard to see from the ground. Unlike the metopes, the frieze has a single subject on all
four sides. On three sides (north, west, and south) it depicts a procession of horsemen, musicians,
sacrificial animals, and other figures with various ritual functions. On the east side there is a scene
centered on a child handing a folded cloth to an older man. On one side of them seated gods and
goddess are in attendance; on the other, two girls are carrying something. Although the state of
preservation is poor, the interpretation of the subject has hotly debated. Most scholars agree that
it represents the Panathenaic procession, but some think it is a mythical, "original" procession,
while others believe that it is the procession which took place in the same period as the temple
was built, and that this illustrates the (over-)confident spirit of the Athenians, who dared to put
themselves where ordinarily only gods and heroes might be found.
Genre. As stated on Ancientworldmagzine (2018), the mosaic is an example of History
painting that shows battle/war/society in human form to preserve civilization. The scene is
interpreted as depicting the Battle of Issus (333 BC), during which Alexander’s forces managed
to rout the Persian army. Alexander himself is shown to the left, riding into battle on his horse
Bucephalus. His eyes are trained on those of his counterpart, Darius III. The Persian King is
shown fleeing on his chariot, his forces in disarray.
Roman
Form Element. Based on Britannica (2019), the construction of the Colosseum began
under the Roman emperor Vespasian between 70 and 72 CE. The completed structure was
dedicated in 80 CE by Titus, it is also called the Flavian Amphitheatre. It is an elliptical structure
made of stone, concrete, and tuff,
According to thecolosseum (2021), the Colosseum was built from an estimated 100,000
cubic meters of travertine stone, plus a similar measure of Roman cement, bricks, and tuff blocks.
Travertine is a class of limestone that draws its name from Tibur (near modern-day Tivoli), where
it was mined.
In addition to the different types of stone and cement, an estimated 300 tons of iron clamps
were used to bind the large blocks together. These clamps were scavenged in later centuries
when the Colosseum fell into disrepair, leaving large pockmarks in the building’s walls that are
still recognizable today.
Form Style. The colosseum (2021), states that travertine stone used as the primary
material in its construction was white, and at nearly 50 meters in height (at a time when most
buildings were single-story) and with a footprint of 6 acres it would have gleamed in the sun and
inspired awe in anyone who laid eyes upon it. Its effect on an ancient Roman viewing it for the
first time would have been the same as standing at the foot of the Empire State building today.
All three of the major architectural orders of the time were represented: (1) The ground
floor columns were done in the Tuscan style, a Roman variation on the austere Greek Doric style.
(2) The second floor featured slightly more elaborate Ionic columns. (3) The third floor employed
the more intricate and decorated Corinthian style.
Structural Analysis. As stated in depts.washington.edu (2004), the Colosseum stands
four stories tall at its highest point. It measures 620 by 513 feet (189 by 156 meters) and could
hold as many as 50,000 spectators. The Colosseum was famously used for gladiatorial combat.
The inner part of the Colosseum measures 620 ft long and 513 ft wide. Each of the
Colosseum’s three stories has eighty arches. On the bottom floor, 76 of them functioned as
general entrances with the others being reserved for the emperor, the senate, and gladiators. At
the height of its use, the monument had statues in each of the archways on the second and third
floors. Greek influence can be seen in the Colosseum.
Genre. According to colosseum (2021), the Colosseum was conceived as a testament to
Rome’s might. At the time of its completion, it was the most complex man-made structure in the
world and one of the largest.
Based on Britannica (2019), The Colosseum was built as part of an imperial effort to
revitalize Rome after the tumultuous year of the four emperors, 69 CE. As with other
amphitheaters, the emperor Vespasian intended the Colosseum to be an entertainment venue,
hosting gladiator fights, animal hunts, and even mock naval battles.
As stated in depts.washington.edu (2004), Colosseum represents the power, brilliance,
and brutality of the Roman Empire. The sheer size of the Colosseum, its architectural design, and
its function are still marvels to behold today. However, what took place on stage with the
systematic killing of hundreds of thousands of animals and people bears a grim reminder of the
violence and cruelty that is core to the history of the Colosseum and the Roman Empire.
Etruscan
Form Element. The temple of Apollo in Veii has been rebuilt according to Vitruvius'
description of Etruscan temple dimensions (30 BC–AD 14). The entry wall is emphasized as being
in the front of the temple in this layout, whereas the Greeks used colonnaded walls to blur the
distinction between front and sides.
Form Style. The temple is similarly divided into two sections: a deep front porch with
Tuscan columns placed far apart, and a back portion divided into three independent rooms. This
three-room design, known as a triple cell, appears to depict a divine triad associated with the
temple, maybe Menrva, Tinia (Jupiter/Zeus), and Uni (Juno/Hera).
Structural Analysis. The temple itself is completely dilapidated, only the model and the
floor plan remain accurate and interpretable information. Original Etruscan temples had stone
foundations (longer lasting) and wood, mud brick, or terracotta superstructures that were brightly
colored. Square footprint is reminiscent of Vitruvius’s description of a floor plan with proportions
that are 5:6 (deeper than it is wide). Temple contained masks, antefixes, decorative details.
Genre. Veii, the architecture of an Apollo Temple reflects a connection to the gods. It
would also be tied to love and an image of gods/goddesses' values. Etruscan Gods and
Goddesses were initially worshipped in natural settings with ritual places.
Arts of the Ancient Eastern Civilization
India
Form Element. The Taj Mahal in India is a mausoleum built for Mumtaz mahal, the 5th
emperor Shan Jahan's second wife. It is India's most well-known architecture that has been
designated a UNESCO World Heritage Site. The Taj Mahal was built over a period of 22 years.
Form Style. The Taj Mahal's architectural style is influenced by or linked with Mughal
architecture. It is a combination of three architectural styles: Indian, Persian, and Islamic.
Structural Analysis. White marbles, limestones, silver, and gold were used in the
construction of the Taj Mahal. The center dome rises 240 feet above the ground and is encircled
by four lesser domes. It also has four facades; inside the Taj Mahal, relief carvings and
semiprecious stones may be observed on an octagonal chamber ceiling.
Genre. The architecture of a mausoleum represents elegance and spirituality. Love and
an image of paradise are also linked with it, in addition to the two symbolisms listed. Consider the
backdrop of the most recent judgment.
China
Form Element. According to History (2019), The Great Wall was envisioned by Emperor
Qin Shi Huang, the first emperor of a unified China under the Qin Dynasty, as a means of
preventing incursions from barbarian nomads or northern nomadic invaders. Many subsequent
dynasties constructed and maintained multiple lengths of border walls. The Ming dynasty built the
most well-known parts of the wall. 100 million tons of bricks, stone, and soil were hauled over arid
deserts and Steep Mountain ridges (China Highlights, 2021).
Form Style. Based on Britannica (2021), the Great Wall is a system of numerous walls,
many of which are parallel to one another, that stretch across northern China and southern
Mongolia over two millennia. As it snakes over the Chinese countryside, the wall generally follows
the crestlines of hills and mountains, and about a quarter (1/4) of its length is made up entirely of
natural barriers such as rivers and mountain ridges. The rest (about 70% of the overall length) is
constructed wall, with the few remaining stretches serving as ditches or moats.
According to China Highlights (2021), earth, stone, brick, lime, sand, and wood were used
to construct the Great Wall. The materials used depended on the construction era and were
selected by the resources available in the area.
In mountain ranges, workers gathered stones of the mountain to construct the Great Wall.
The Great Wall's exterior layer was made with stone blocks and bricks and filled with uncut stone
and earth, using the mountains themselves as concrete foundations. On the plains, earth rammed
into solid blocks was used in construction. The laborers utilized bricks and lime as well. In the
desert, reeds and red willow branches were carried in from rivers and oases and stacked with
sand to create a robust wall. Wooden planks functioned as the flank wall in some sections. Lastly,
bricks were used to construct the Great Wall during the Ming Dynasty. Lime mortar was used to
construct a robust brick wall. Local materials were used to construct brick and cement factories
near the wall.
Structural Analysis. The Great Wall of China stretches for more than 13,000 miles or
21,000 kilometers, reaching 15-30 feet high and topped by ramparts 12 feet or higher from a base
of 15 to 50 feet; guard towers were placed at intervals along the wall's length (History, 2019). The
Great Wall's major bodies are the walls, which connect beacon towers and passes to form a
continuous defensive line. Battlements, parapet and barrier walls, horse ramps, and other
components are used to obstruct invaders and protect soldiers during battles. The overall
defensive wall structure of the Great Wall also includes the Top Surface of the Walls, Quanmen
Gate, and Drainage System. Their heights vary depending on the terrain. It was built relatively
high in flat areas and strategic locations and sections of the wall overlapped for maximum security.
While it was built comparably lower in steep mountains and places of less military importance to
conserve financial and human resources.
Genre. The Great Wall is an example of historical architecture as it became the most wellknown symbol of China in the Western world between the 18th and 20th centuries, serving as a
physical (as a manifestation of Chinese strength) and psychological (as a representation of the
Chinese state's barrier to foreign influences and exert control over its citizens). Despite the fact
that it never properly kept invaders out of China, the Great Wall became a powerful symbol of
Chinese civilization's lasting strength (History, 2019).
Japan
Form Element. The wave is ready to slam against the boats like an enormous monster,
one that seems to represent both nature's inexorable might and humanity's frailty. While Mount
Fuji, with its snow-capped peak, is revered in Japan as a sacred mountain and a symbol of
national identity as well as beauty. In addition, the mountain also symbolizes stillness and eternity
of nature as well as the unpredictability of life.
Form Style. Two conflicting aspects of existence are represented in a 39cm × 26cm tiny
wood block print. The foreground wave and Mount Fuji in the distance are symbolizing the
unpredictability of life not only in a perspective impact, but a method of the European kind also
applied in an extremely imaginative manner.
Structural Analysis. The print is a Yoko-e, an ōban format printed around 25 cm high
and 37 cm wide. This is the landscape format. Eight rowers are attached to each boat's oars. The
front of each boat is composed of two more passengers, bringing the total number of people in
the picture to 30. Only 22 people can be seen, however. The boats can be used as a reference
to the magnitude of the wave; the wave of the oshiokuri is usually between 12 and 15 meters in
length and Hokusai must be between 10 and 12 meters in vertical scale by 30 percent.
Genre. The genre of the Great Wave of Kanagawa of Hokusai's Thirty-six Views on Mount
Fuji is more of a religious genre. It is not just a natural scene picture of a landscape, but a portrayal
of the sacred environment and its kami or God.
Korea
Form Element. The term Cheomseongdae can be translated as 'the most respectful
platform of the stars. While it has been theorized that the number and positioning of the stones in
Cheomseongdae represented numerous historical and astronomical figures.
Form Style. The tower functioned as a sundial's gnomon. On the spring and autumn
equinoxes, it also features a south-facing window that collects the sun's rays on the inner floor.
On top of the tower, there may have once been an armillary sphere (a model of celestial bodies).
The tower is supported by a square base made of a single course of bricks. As it climbs, the tower
narrows and is capped by a square platform made from eight long blocks, two on each side.
Structural Analysis. Cheomseongdae, 9.17 m high, comprises of three parts: a pillar or
base, a curved cylindrical body, and a square surface. A square window and entrance into the
structure is located midway up the body. Looking from above, Cheomseongdae looks like the
Korean character Hanja which means "good." The 5.7-meter square base of the stylobate
consists of 12 rectangular stones in a single layer. The tower is full of earth and rubble, from the
base to the window. It consists of 365 pieces of carved granite which represent the number of
days in one year and the cylindrical body of the tower. The stones are shaped like ring sections,
meaning that every stone is shaped like a curved or curved rectangle.
Genre. Cheomseongdae Observatory’s genre is Historical since it is a remnant of the
T’ang Dynasty’s culture and a proof of the ancient architecture which were heavily influenced by
the Chinese which is focused more on astronomy.
G. FORMAL ANALYSIS
In the development and comprehension of art, Eastern and Western art each play a pivotal
role. Each culture expresses itself through paintings, such as western still life paintings, which are
frequently extremely detailed and take months to complete due to the oil on canvas method. Asian
still-life painters take less time to complete their work due to the medium of ink on paper. In
Eastern art, Katsushika Hokusai's Great Wave of Kanagawa is an example of a still painting. It
depicts the painter's religious beliefs and practices. While Willem Kalf's anonymous still life is a
work of Western art, most Western still lives were meant to demonstrate wealth.
Moreover, although western art paintings are directly related with people's daily lives,
Asian landscape paintings are intended to depict not only the physical appearance of nature but
also the painter's thoughts and emotions about the landscape as well as his personal philosophy.
H. INTER-TEXTUAL ANALYSIS
Both Western and Asian ancient art can be described and is commonly used as a historical
archive. This art focuses on history, and it is impacted by the various cultures of its origin, religion,
and political atmosphere, as well as the fact that they only have limited materials to work with
while creating art. They exclusively use stones, shells, wood, and other things that they may find
in their environment. Modern art, on the other hand, is the opposite of ancient art, its origins are
debated. It focuses on changing times and perceptions, experimentation, new perspectives, and
fresh ideas about the world and the function of art. Artists can still use the same materials as in
the past, but they now have a wide range of options. People used to make handmade art, but
now certain people, such as digital artists, are making it more easily and innovating.
I. EXEGESIS
In our modern-day society, people can easily influence one another due to them being
social with one another. Having to live in a society mixed with different cultures exposes people
to different kinds of customs around the globe making them more aware of that culture as well as
preserving such customs. We can also compare the current customs to those ancient cultures
which are much related to them to see the evolution of such culture and how greatly it has
influenced the younger generations. It is also a necessity for us to be more aware of such cultures
since we are already exposed to such cultures as well as to show respect to the people more
involved to the cultures as well as the ancestors who created and bestowed upon to them that
culture. Furthermore, possessing these actual pieces of history and art allows us to capture what
humans are truly capable of, even from the dawn of human society.
For the Western Art, their art form depicts more of a historical sense. This is due to the
fact that most of their art show off a famous or historical figure to show their respect as well as to
show their greatest achievements for the following years to come. Meanwhile, for the Eastern Art,
their artwork shows more of a religious sense instead of a historical one. It is shown in their
artworks as well in their architecture and sculptures. A good example of this is the Buddha Statue
which practices Buddhism and the Horyu-ji temple which caters two religions which is Buddhism
and also Kami. Another difference that can be said about these two regions of art is their materials
used in their paintings as well as the duration of work they have to do. In western art, they usually
take months to finish a single painting due to the fact that they prefer doing a more realistic
painting as well as the materials they are using are mostly oil and a canvas which is difficult to
use. On the other hand, the Eastern art are faster compared to the western art due to them using
simpler methods compared to the west and at the same time they are more inclined to make
naturalism pictures which is their forte.
J. EISEGESIS OR WORLD BEFORE THE TEXT
Personal
Art Genre is indeed relevant for our personal life. With the help of Art, it teaches us different
lessons and values that could make us grow as an individual such as being more expressive and
creative about our own emotions and ideas. Moreover, Art also made us realize that there will
always be a beautiful side of everything in this world and there is always a light in every darkness.
Truly, we can turn all the voices within us into a very remarkable piece of art. Just like any artists
such as the artist of different periods that were discussed from the western to the eastern
civilization even up until the present day, all of them were able to create their renowned crafts
through the ideas and emotions that they had which gave them the drive and motivation to do
something extraordinary. The effect of the Art Genre is truly powerful.
Societal
Even within our society, the Art Genre also play a significant role. We may not notice it,
but Art has been an essential part of our day-to-day life that makes it even more delightful for all
of us. As an example, everything in the public right now was made by someone for a specific
purpose. The structures in which we live, work, and learn were all designed by an architect with
an artistic vision. When we go out for amusement, we are exposed to music, history, food, and
theater are all of which example of forms of art made by people who are passionate about what
they do. Any public place has been meticulously planned to be both practical and attractive. Art
can always be found in almost any location. It is a way of expression that makes us all human.
National or Global Significance
As for the National or Global point, we humans were also able to benefit from the Art
Genre. One of these contributions of Art are of course the opportunity for us to have a wider and
deeper way of thinking which gave us the chance to progress and be more creative about the
things that we do. As a result, our current civilization is more advanced and self-sustaining when
compared to the other civilizations from the different time that were discussed in this paper. We
can connect from one another globally with ease. Art is truly vital for us human beings, and we
should never take it for granted because without it, we are not able to reach the advancements
that we enjoy right now.
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