IM in GEED 10073 ART Appreciation PUP IM
Bachelor of Science in Psychology (BSPSY)
Republic of the Philippines
POLYTECHNIC UNIVERSITY OF THE PHILIPPINES
OFFICE OF THE VICE PRESIDENT FOR BRANCHES AND CAMPUSES
MARAGONDON BRANCH
INSTRUCTIONAL MATERIALS
FOR
GEED 10073
ART APPRECIATION
Compiled by:
Assoc. Prof. Ayreenlee E. Resus
Faculty
Date:
Approved by:
Dr. Agnes Y. Gonzaga
Head, Academic Programs
Assoc. Prof. Denise A. Abril
Director
Date:
Date:
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INTRODUCTION
Welcome to the Polytechnic University of the Philippines. This module will help you become an
effective learner and successfully meet the requirements of the course. You will discover that you
can learn in a very challenging way at your own pace.
THE POLYTECHNIC UNIVERSITY OF THE PHILIPPINES
VISION
PUP: The National Polytechnic University
MISSION
Ensuring inclusive and equitable quality education and promoting lifelong learning opportunities
through a re-engineered polytechnic university by committing to:
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provide democratized access to educational opportunities for the holistic development of
individuals with global perspective
offer industry-oriented curricula that produce highly-skilled professionals with managerial
and technical capabilities and a strong sense of public service for nation building
embed a culture of research and innovation
continuously develop faculty and employees with the highest level of professionalism
engage public and private institutions and other stakeholders for the attainment of social
development goal
establish a strong presence and impact in the international academic community
PHILOSOPHY
As a state university, the Polytechnic University of the Philippines believes that:
 Education is an instrument for the development of the citizenry and for the enhancement
of nation building; and
 That meaningful growth and transmission of the country are best achieved in an
atmosphere of brotherhood, peace, freedom, justice and nationalist-oriented education
imbued with the spirit of humanist internationalism.
TEN PILLARS
Pillar 1: Dynamic, Transformational, and Responsible Leadership
Pillar 2: Responsive and Innovative Curricula and Instruction
Pillar 3: Enabling and Productive Learning Environment
Pillar 4: Holistic Student Development and Engagement
Pillar 5: Empowered Faculty Members and Employees
Pillar 6: Vigorous Research Production and Utilization
Pillar 7: Global Academic Standards and Excellence
Pillar 8: Synergistic, Productive, Strategic Networks and Partnerships
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Pillar 9: Active and Sustained Stakeholders’ Engagement
Pillar 10: Sustainable Social Development Programs and Projects
SHARED VALUES AND PRINCIPLES
Integrity and Accountability
Nationalism
Spirituality
Passion for Learning and Innovation
Inclusivity
Respect for Human Rights and The Environment
Excellence
Democracy
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POLYTECHNIC UNIVERSITY OF THE PHILIPPINES
MARAGONDON BRANCH
GOALS
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Quality and excellent graduates
Empowered faculty members
Relevant curricula
Efficient administration
Development – oriented researches
State-of-the-art physical facilities and laboratories
Profitable income – generating programs
Innovative instruction
ICT – driven library
Strong local and international linkage
PROGRAM OBJECTIVES
The College of Engineering aims to:
1. Strengthen the Engineering program consistent with global trends;
2. Develop faculty as competent mentors and quality researchers, through advanced study and
other facets of continuing professional education;
3. Develop critical thinking and communication skills of students, giving emphasis to research
and extension services;
4. Equip graduates with appropriate knowledge and technical skills, imbued with desirable work
attitude and moral values through enhanced teaching/learning process by using multi-media
facilities on top of traditional methods;
5. Create a conducive teaching and learning atmosphere with emphasis to faculty and
students’ growth and academic freedom;
6. Establish network with educational institution industry, GO’s and NGO’s, local and
international which could serve as:
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a.
b.
c.
d.
funding sources and/or partners of researches;
sources of new techniques;
centers for faculty and student exchange program and On the Job Training; and
grantees of scholarship/additional facilities
7. Continuously conduct action researches on the needs of laboratory and other facilities that
could be locally produce or innovated using local materials and adapted technology
GEED 10073
ART APPRECIATION
COURSE DESCRIPTION
COURSE TITLE
COURSE CODE
COURSE CREDIT
PRE-REQUISITE
:
:
:
:
Art Appreciation
GEED 10073
3 units
none
An introductory course on the creative output of the human being, designed to introduce and
expose the students to the different arts both in theory and practice: visual, auditory and
performing arts. It also aims to develop students’ inner life, increase their awareness of and
sensitivity to the state of arts and culture of different countries in the world specially the
Philippines.
COURSE OBJECTIVES
General Objectives:
1. To provide the students with a general overview of the humanities, making them see their
own world from vantage points and help them grow up to become a better human being.
2. To acquaint the students theoretically to the visual, auditory and performing arts
(traditional and contemporary) through the study of the types, mediums, basic elements
and principles of organization of each form.
3. To become aware of his surroundings and associate them with people of the past, thereby
integrating the past and the present, thus making the world a better place to live in.
Specific Objectives:
1. To gain knowledge on how to use leisure tie productively.
2. To familiarized students with both local and foreign arts, providing them aesthetic
satisfaction and increased understanding of contemporary trends.
3. To appreciate the ole of Philippine art in the development of our national identity and our
historical consciousness.
4. To expose the students to the different subject areas: visual arts, literature, drama and
actions of human beings in the past and in the present, making them more human.
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COURSE REQUIREMENTS
The course requirements are as follows:
1. All students are required to have a portfolio for this subject. The students should use the
portfolio to write all the answers in the exercises, quizzes, written outputs, assignments
and the likes throughout the session on due dates set by the teacher.
2. Students can choose one of the two modes of learning: online and modular. Under online
mode of learning, the students are encouraged to attend the class sessions regularly or in
the case of poor internet connection, they can study the lesson at their own pace by visiting
the virtual classroom. Under modular mode of learning, the students can avail printed
copies of modules/activity sheets from the teacher and submit the requirements on due
dates set by the teacher.
3. The course is expected to have a minimum of four (4) quizzes and two (2) major
examinations (Midterm and Final Examination).
GRADING SYSTEM
The grading system will determine if the student passed or failed the course. There will be two
grading periods: Midterm and Final Period. Each period has components of: 70% Class Standing
+ 30% Major Examination. Final Grade will be the average of the two periodical grades.
Midterm Grading
Class Standing
 Quizzes
 Activities
Midterm Examination
70%
Final Grading
Class Standing
 Quizzes
 Activities
Final Examination
30%
100%
FINAL GRADE = Midterm Grade + Final Grade
2
70%
30%
100%
RUBRICS
Criteria
Assignme
nt/
Activity
Exemplary
Satisfactory
1.00 - 1.25
The submitted
output manifests
qualities which
go
1.50 – 1.75
The submitted
output
manifests the
required
beyond the
qualities
requirements
Developing
2.00 - 2.50
The submitted
output
partially
manifests
the
required
qualities.
Certain
aspects are
incomplete.
Beginning
2.75 - 3.50
The submitted
output does
not manifest
any of
Noncompliance
4.00 - 5.00
No submitted
output
the
requirements
or certain
aspects are
incorrect
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COURSE GUIDE
Regular class (18 weeks, 3hrs/week, 54hrs)
Topic
Wk
1
1. PUP and its
VMGO
Learning Outcomes
2. Course
Description,
Objectives,
Methodology,
Requirements,
Class Rules,
Grading System
1-2
Lesson
Introduction
Appreciation
to
Show appreciation of the
importance of the Course;
1:
Art
3-4
Unit
Arts
5-6
Unit 3 Elements and
Principles of Art
Unit 4 The Artists and
Artisans
Midterm Examination
Lesson 2: Art in Early
Civilization
910
2 Functions of
Unit 1 Western Art
History
1112
1314
15
16
17
18
Orientation
Discussion
Appreciate the requirements;
rules; grading system.
Unit 1 - Humanities,
Arts, Art Appreciation
7-8
Methodology
Show appreciation of PUP
and its VMGO
Unit 2 Roman and
Greek Arts
Unit 3 – Arts in Asia
Unit 4 – Arts in the
Philippines
Unit 5 - Modern and
Contemporary Art
Unit 6 - Culture and
Arts
Explain humanities, arts, and
art appreciations; and
Enumerate the importance of
arts in mankind.
Explain the functions of Arts
Discuss subject and Content
of Arts
Discuss the elements of
principles of Art
Identify Artists and Artisans
Express appreciation of Arts
in the Western part of the
World.
Experience being an artist.
Express appreciation of Arts
from Rome and Greece
Express appreciation of Arts
in Asia
Express appreciation of Arts
in the Philippines
Show appreciation of modern
and contemporary Art
Discuss
the
relationship
between culture and arts
Lecture /
Discussion
Lecture /
Discussion
Lecture /
Discussion
Lecture /
Discussion
Resources
Assessment
(Please
refer to the
resources /
references
given
-Statement
of
appreciation
-Statement
of
Expectations
Course
Syllabus
reviewed
and
accepted
Note:
All
exercises,
written
outputs,
assignment
s should be
written
in
the
portfolio.
Quiz
Quiz
Lecture /
Discussion
Lecture /
Discussion
Lecture /
Discussion
Lecture /
Discussion
Lecture /
Discussion
Lecture /
Discussion
Quiz
Quiz
FINAL EXAMINATION
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TABLE OF CONTENTS
Topic
Page
Introduction
Lesson 1
ii
Introduction to Art Appreciation
Unit 1
Humanities, Arts, Art Appreciation
1
Unit 2
Functions of Arts
6
Unit 3
Elements and Principles of Art
13
Unit 4
The Artists and Artisans
17
Lesson 2
Art in Early Civilization
Unit 1
Western Art History
22
Unit 2
Roman and Greek Arts
32
Unit 3
Arts in Asia
41
Unit 4
Arts in the Philippines
54
Unit 5
Modern and Contemporary Art
61
Unit 6
Culture and Arts
68
References
72
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GEED 10073 ART APPRECIATION
LESSON 1
INTRODUCTION TO ART APPRECIATION
UNIT 1
HUMANITIES, ARTS AND ART APPRECIATION
Overview
This lesson provides the students with the knowledge and understanding of what are
Humanities and Arts.
Learning Objectives:
After completion of this course, you should be able to:
1. Explain humanities, arts, and art appreciations; and
2. Enumerate the importance of arts in mankind.
Course Materials:
Motive Question:
Look around you and give at least ten (10) examples of work of arts.
What is Humanities?
The word humanities comes from the Latin humanus, which means human, cultured, and
refined.
“The term ‘humanities’ includes, but is not limited to, the study and interpretation of the following:
language, both modern and classical; linguistics; literature; history; jurisprudence; philosophy;
archaeology; comparative religion; ethics; the history, criticism and theory of the arts; those
aspects of social sciences which have humanistic content and employ humanistic methods; and
the study and application of the humanities to the human environment with particular attention to
reflecting our diverse heritage, traditions, and history and to the relevance of the humanities to
the current conditions of national life.”
—National Foundation on the Arts and the Humanities Act, 1965, as amended (the U. S.
Congressional Act that created the National Endowment for the Humanities)
“The humanities are academic disciplines that study human culture. The humanities use methods
that are primarily critical, or speculative, and have a significant historical element—as
distinguished from the mainly empirical approaches of the natural sciences. The humanities
include ancient and modern languages, literature, philosophy, religion, and visual and performing
arts such as music and theatre. Areas that are sometimes regarded as social sciences and
sometimes as humanities include history, archaeology, anthropology, area studies,
communication studies, classical studies, law and linguistics…. The humanities and
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social sciences teach us how people have created their world, and how they in turn are created
by it.”
–Wikipedia, “Humanities,” 2014.
“The humanities—including the study of languages, literature, history, jurisprudence, philosophy,
comparative religion, ethics, and the arts—are disciplines of memory and imagination, telling us
where we have been and helping us envision where we are going.”
—The Heart of the Matter (Report of the American Academy of Arts & Science’s Commission on
the Humanities and Social Sciences to the U. S. Congress in June 2013)
What is Art?
Art is a diverse range of human activities in creating visual, auditory or performing artifacts
(artworks), expressing the author's imaginative, conceptual ideas, or technical skill, intended to
be appreciated primarily for their beauty or emotional power. Other activities related to the
production of works of art include the criticism of art, and the study of the history of art.
The three classical branches of visual art are painting, sculpture and architecture.[3] Music,
theatre, film, dance, and other performing arts, as well as literature and other media such
as
interactive media, are included in a broader definition of the arts.[1][4] Until the 17th century, art
referred to any skill or mastery and was not differentiated from crafts or sciences. In modern usage
after the 17th century, where aesthetic considerations are paramount, the fine arts
are
separated and distinguished from acquired skills in general, such as the decorative
or applied arts.
Though there is no generally agreed definition of what constitutes art,[5][6][7] and ideas have
changed over time, general descriptions mention an idea of imaginative or technical skill
stemming from human agency and creation. The nature of art and related concepts, such as
creativity and interpretation, are explored in a branch of philosophy known as aesthetics.
Art is very important in our lives. It constitutes one of the oldest and most important means of
expression and developed by man.
The arts, also called fine arts, modes of expression that use skill or imagination in the creation
of aesthetic objects, environments, or experiences that can be shared with others.
Traditional categories within the arts include literature (including poetry, drama, story, and so on),
the visual arts (painting, drawing, sculpture, etc.), the graphic arts (painting, drawing, design, and
other forms expressed on flat surfaces), the plastic arts (sculpture, modeling), the decorative arts
(enamelwork, furniture design, mosaic, etc.), the performing arts (theatre, dance, music), music
(as composition), and architecture (often including interior design).
The arts are treated in a number of articles. For general discussions of the foundations, principles,
practice, and character of the arts, see aesthetics. For the technical and theoretical aspects of
several arts, see architecture, calligraphy, dance, drawing, literature, motion picture, music,
painting, photography, printmaking, sculpture, and theatre. See also the historical discussions in
history of the motion picture and history of photography.
Technical and historical discussions of decorative arts and furnishings can be found
in
basketry, enamelwork, floral
decoration,
furniture,
glassware,
interior
design, lacquer work, metal work, mosaic, pottery, rug and carpet, stained glass, and tapestry.
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What is Art Appreciation?
Art appreciation is the knowledge and understanding of the universal and timeless qualities that
identify all great art. The more you appreciate and understand the art of different eras,
movements, styles and techniques, the better you can develop, evaluate and improve your own
artwork.
Visual Arts
The oldest documented forms of art are visual arts, which include creation of images or objects
in fields including today painting, sculpture, printmaking, photography, and other visual media.
Sculptures, cave paintings, rock paintings and petroglyphs from the Upper Paleolithic dating to
roughly 40,000 years ago have been found, but the precise meaning of such art is often disputed
because so little is known about the cultures that produced them. In 2014, a shell engraved by
Homo erectus was determined to be between 430,000 and 540,000 years old.[30] A set of eight
130,000 years old white-tailed eagle talons bear cut marks and abrasion that indicate
manipulation by neanderthals, possibly for using it as jewelry.[31] A series of tiny, drilled snail shells
about 75,000 years old—were discovered in a South African cave. Containers that may have
been used to hold paints have been found dating as far back as 100,000 years.
Many great traditions in art have a foundation in the art of one of the great ancient civilizations:
Ancient Egypt, Mesopotamia, Persia, India, China, Ancient Greece, Rome, as well as Inca, Maya,
and Olmec. Each of these centers of early civilization developed a unique and characteristic style
in its art. Because of the size and duration of these civilizations, more of their art works have
survived and more of their influence has been transmitted to other cultures and later times. Some
also have provided the first records of how artists worked. For example, this period of Greek art
saw a veneration of the human physical form and the development of equivalent skills to show
musculature, poise, beauty, and anatomically correct proportions.
In Byzantine and Medieval art of the Western Middle Ages, much art focused on the expression
of subjects about Biblical and religious culture, and used styles that showed the higher glory of a
heavenly world, such as the use of gold in the background of paintings, or glass in mosaics or
windows, which also presented figures in idealized, patterned (flat) forms. Nevertheless, a
classical realist tradition persisted in small Byzantine works, and realism steadily grew in the art
of Catholic Europe.
Renaissance art had a greatly increased emphasis on the realistic depiction of the material world,
and the place of humans in it, reflected in the corporeality of the human body, and development
of a systematic method of graphical perspective to depict recession in a three- dimensional picture
space.
In the east, Islamic art's rejection of iconography led to emphasis on geometric patterns,
calligraphy, and architecture. Further east, religion dominated artistic styles and forms too. India
and Tibet saw emphasis on painted sculptures and dance, while religious painting borrowed many
conventions from sculpture and tended to bright contrasting colors with emphasis on outlines.
China saw the flourishing of many art forms: jade carving, bronzework, pottery (including the
stunning terracotta army of Emperor Qin), poetry, calligraphy, music, painting, drama, fiction, etc.
Chinese styles vary greatly from era to era and each one is traditionally named after the ruling
dynasty. So, for example, Tang dynasty paintings are monochromatic and sparse, emphasizing
idealized landscapes, but Ming dynasty paintings are
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busy and colorful, and focus on telling stories via setting and composition. Japan names its styles
after imperial dynasties too, and also saw much interplay between the styles of calligraphy and
painting. Woodblock printing became important in Japan after the 17th century.
The western Age of Enlightenment in the 18th century saw artistic depictions of physical and
rational certainties of the clockwork universe, as well as politically revolutionary visions of a postmonarchist world, such as Blake's portrayal of Newton as a divine geometer, or David's
propagandistic paintings. This led to Romantic rejections of this in favor of pictures of the
emotional side and individuality of humans, exemplified in the novels of Goethe. The late 19th
century then saw a host of
artistic
movements,
such
as academic art,
Symbolism, impressionism and fauvism among others.
The history of 20th-century art is a narrative of endless possibilities and the search for new
standards, each being torn down in succession by the next. Thus the parameters of
Impressionism, Expressionism, Fauvism, Cubism, Dadaism , Surrealism, etc. cannot be
maintained very much beyond the time of their invention. Increasing global interaction during this
time saw an equivalent influence of other cultures into Western art. Thus, Japanese woodblock
prints (themselves influenced by Western Renaissance draftsmanship) had an immense influence
on impressionism and subsequent development. Later, African sculptures were taken up by
Picasso and to some extent by Matisse. Similarly, in the 19th and 20th centuries the West has
had huge impacts on Eastern art with originally western ideas
like Communism and PostModernism exerting a powerful influence.
Modernism, the idealistic search for truth, gave way in the latter half of the 20th century to a
realization of its unattainability. Theodor W. Adorno said in 1970, "It is now taken for granted that
nothing which concerns art can be taken for granted any more: neither art itself, nor art in
relationship to the whole, nor even the right of art to exist."[46] Relativism was accepted as an
unavoidable truth, which led to the period of contemporary art and postmodern criticism, where
cultures of the world and of history are seen as changing forms, which can be appreciated and
drawn from only with skepticism and irony. Furthermore, the separation of cultures is increasingly
blurred and some argue it is now more appropriate to think in terms of a global culture, rather than
of regional ones.
In The Origin of the Work of Art, Martin Heidegger, a German philosopher and a seminal thinker,
describes the essence of art in terms of the concepts of being and truth. He argues that art is not
only a way of expressing the element of truth in a culture, but the means of creating it and
providing a springboard from which "that which is" can be revealed. Works of art are not merely
representations of the way things are, but actually produce a community's shared understanding.
Each time a new artwork is added to any culture, the meaning of what it is to exist is inherently
changed.
Forms, genres, media, and styles
The creative arts are often divided into more specific categories, typically along perceptually
distinguishable categories such as media, genre, styles, and form.
Art form refers to the elements of art that are independent of its interpretation or significance. It
covers the methods adopted by the artist and the physical composition of the artwork, primarily
non-semantic
aspects
of
the
work
(i.e., figurae), such
as color, contour, dimension, medium, melody, space, texture, and value. Form may also include
visual
design
principles,
such
as
arrangement, balance, contrast, emphasis, harmony, proportion, proximity, and rhythm.
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In general there are three schools of philosophy regarding art, focusing respectively on form,
content, and context. Extreme Formalism is the view that all aesthetic properties of art are formal
(that is, part of the art form). Philosophers almost universally reject this view and hold that the
properties and aesthetics of art extend beyond materials, techniques, and form.[51]
Unfortunately, there is little consensus on terminology for these informal properties. Some authors
refer to subject matter and content – i.e., denotations and connotations – while others prefer terms
like meaning and significance.
Extreme Intentionalism holds that authorial intent plays a decisive role in the meaning of a work
of art, conveying the content or essential main idea, while all other interpretations can be
discarded. It defines the subject as the persons or idea represented, and the content as the artist's
experience of that subject. For example, the composition of Napoleon I on his Imperial Throne is
partly borrowed from the Statue of Zeus at Olympia. As evidenced by the title, the subject is
Napoleon, and the content is Ingres's representation of Napoleon as "Emperor-God beyond time
and space". Similarly to extreme formalism, philosophers typically reject extreme intentionalism,
because art may have multiple ambiguous meanings and authorial intent may be unknowable and
thus irrelevant. Its restrictive interpretation is "socially unhealthy, philosophically unreal, and
politically unwise".
Finally, the developing theory of post-structuralism studies art's significance in a cultural context,
such as the ideas, emotions, and reactions prompted by a work. The cultural context often
reduces to the artist's techniques and intentions, in which case analysis proceeds along lines
similar to formalism and intentionalism. However, in other cases historical and material conditions
may predominate, such as religious and philosophical convictions, sociopolitical and economic
structures, or even climate and geography. Art criticism continues to grow and develop alongside
art.
Skill and craft
Art can connote a sense of trained ability or mastery of a medium. Art can also simply refer to the
developed and efficient use of a language to convey meaning with immediacy or depth. Art can
be defined as an act of expressing feelings, thoughts, and observations.
There is an understanding that is reached with the material as a result of handling it, which
facilitates one's thought processes. A common view is that the epithet "art", particular in its
elevated sense, requires a certain level of creative expertise by the artist, whether this be a
demonstration of technical ability, an originality in stylistic approach, or a combination of these
two. Traditionally skill of execution was viewed as a quality inseparable from art and thus
necessary for its success; for Leonardo da Vinci, art, neither more nor less than his other
endeavors, was a manifestation of skill. Rembrandt's work, now praised for its ephemeral virtues,
was most admired by his contemporaries for its virtuosity. At the turn of the 20th century, the
adroit performances of John Singer Sargent were alternately admired and viewed with skepticism
for their manual fluency, yet at nearly the same time the artist who would become the era's most
recognized and peripatetic iconoclast, Pablo Picasso, was completing a traditional academic
training at which he excelled.
A common contemporary criticism of some modern art occurs along the lines of objecting to the
apparent lack of skill or ability required in the production of the artistic object. In conceptual art,
Marcel Duchamp's "Fountain" is among the first examples of pieces wherein the artist used found
objects ("ready-made") and exercised no traditionally recognised set of skills. Tracey Emin's My
Bed, or Damien Hirst's The Physical Impossibility of Death in the Mind of Someone Living follow
this example and also manipulate the mass media. Emin slept (and engaged in
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other activities) in her bed before placing the result in a gallery as work of art. Hirst came up with
the conceptual design for the artwork but has left most of the eventual creation of many works to
employed artisans. Hirst's celebrity is founded entirely on his ability to produce shocking concepts.
The actual production in many conceptual and contemporary works of art is a matter of assembly
of found objects. However, there are many modernist and contemporary artists who continue to
excel in the skills of drawing and painting and in creating hands-on works of art.
Activities/Assessment:
1. From the given lecture, give at least two definitions of the following:
a. Humanities
b. Arts
2. Give at least five (5) importance of arts in mankind.
References:
https://en.wikipedia.org/wiki/Art
https://www.britannica.com/topic/the-arts
https://www.artyfactory.com/artappreciation.html#:~:text=Art%20appreciation%20is%20the%20knowledge,and%20improve%2
0your%20own%20artwork.
UNIT 2
FUNCTIONS OF ARTS
Overview
This lesson provides the students different functions of Arts in human lives.
Learning Objectives:
After completion of this course, you should be able to:
1. Explain different function of arts in humankind; and
2. Discuss the subjects and contents of Arts.
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Course Materials:
Motive Question:
What do you think are the uses of the following work of arts: family portrait, house
decorations, coins, necklace, and paintings?
Discussion:
Functions of Arts
Art has had a great number of different functions throughout its history, making its purpose difficult
to abstract or quantify to any single concept. This does not imply that the purpose of Art is "vague",
but that it has had many unique, different reasons for being created. Some of these functions of
Art are provided in the following outline. The different purposes of art may be grouped according
to those that are non-motivated, and those that are motivated (Lévi-Strauss).
Non-motivated functions
The non-motivated purposes of art are those that are integral to being human, transcend the
individual, or do not fulfill a specific external purpose. In this sense, Art, as creativity, is something
humans must do by their very nature (i.e., no other species creates art), and is therefore beyond
utility.
1. Basic human instinct for harmony, balance, rhythm. Art at this level is not an action or
an object, but an internal appreciation of balance and harmony (beauty), and therefore an
aspect of being human beyond utility.
Imitation, then, is one instinct of our nature. Next, there is the instinct for 'harmony' and
rhythm, meters being manifestly sections of rhythm. Persons, therefore, starting with this
natural gift developed by degrees their special aptitudes, till their rude improvisations gave
birth to Poetry. – Aristotle
2. Experience of the mysterious. Art provides a way to experience one's self in relation to
the universe. This experience may often come unmotivated, as one appreciates art, music
or poetry.
The most beautiful thing we can experience is the mysterious. It is the source of all true
art and science. – Albert Einstein
3. Expression of the imagination. Art provides a means to express the imagination in nongrammatic ways that are not tied to the formality of spoken or written language. Unlike
words, which come in sequences and each of which have a definite meaning, art provides
a range of forms, symbols and ideas with meanings that are malleable.
Jupiter's eagle [as an example of art] is not, like logical (aesthetic) attributes of an object,
the concept of the sublimity and majesty of creation, but rather something else—
something that gives the imagination an incentive to spread its flight over a whole host of
kindred representations that provoke more thought than admits of expression in a concept
determined by words. They furnish an aesthetic idea, which serves the above rational
idea as a substitute for logical presentation, but with the proper function,
7
SUBJECT: GEED 10073- ART
APPRECIATION
0
0
however, of animating the mind by opening out for it a prospect into a field of kindred
representations stretching beyond its ken. – Immanuel Kant
4. Ritualistic and symbolic functions. In many cultures, art is used in rituals, performances
and dances as a decoration or symbol. While these often have no specific utilitarian
(motivated) purpose, anthropologists know that they often serve a purpose at the level of
meaning within a particular culture. This meaning is not furnished by any one individual,
but is often the result of many generations of change, and of a cosmological relationship
within the culture.
Most scholars who deal with rock paintings or objects recovered from prehistoric contexts
that cannot be explained in utilitarian terms and are thus categorized as decorative, ritual
or symbolic, are aware of the trap posed by the term 'art'. – Silva Tomaskova
Motivated functions
Motivated purposes of art refer to intentional, conscious actions on the part of the artists or creator.
These may be to bring about political change, to comment on an aspect of society, to convey a
specific emotion or mood, to address personal psychology, to illustrate another discipline, to (with
commercial arts) sell a product, or simply as a form of communication.[65][70]
1. Communication. Art, at its simplest, is a form of communication. As most forms of
communication have an intent or goal directed toward another individual, this is a
motivated purpose. Illustrative arts, such as scientific illustration, are a form of art as
communication. Maps are another example. However, the content need not be scientific.
Emotions, moods and feelings are also communicated through art.
[Art is a set of] artefacts or images with symbolic meanings as a means of communication.
– Steve Mithen
2. Art as entertainment. Art may seek to bring about a particular emotion or mood, for the
purpose of relaxing or entertaining the viewer. This is often the function of the art
industries of Motion Pictures and Video Games.
3. The Avant-Garde. Art for political change. One of the defining functions of early 20thcentury art has been to use visual images to bring about political change. Art movements
that had this goal—Dadaism, Surrealism, Russian constructivism, and Abstract
Expressionism, among others—are collectively referred to as the avant- garde arts.
By contrast, the realistic attitude, inspired by positivism, from Saint Thomas Aquinas to
Anatole France, clearly seems to me to be hostile to any intellectual or moral
advancement. I loathe it, for it is made up of mediocrity, hate, and dull conceit. It is this
attitude which today gives birth to these ridiculous books, these insulting plays. It
constantly feeds on and derives strength from the newspapers and stultifies both science
and art by assiduously flattering the lowest of tastes; clarity bordering on stupidity, a dog's
life. – André Breton (Surrealism)
4. Art as a "free zone", removed from the action of the social censure. Unlike the avantgarde movements, which wanted to erase cultural differences in order to produce new
universal values, contemporary art has enhanced its tolerance towards cultural
8
SUBJECT: GEED 10073- ART
APPRECIATION
0
0
differences as well as its critical and liberating functions (social inquiry, activism,
subversion, deconstruction ...), becoming a more open place for research and
experimentation.
5. Art for social inquiry, subversion or anarchy.
While similar to art for political change, subversive or deconstructivist art may seek to
question aspects of society without any specific political goal. In this case, the function
of art may be simply to criticize some aspect of society.
Graffiti art and other types of street art are graphics and images that are spray- painted
or stencilled on publicly viewable walls, buildings, buses, trains, and bridges, usually
without permission. Certain art forms, such as graffiti, may also be illegal when they break
laws (in this case vandalism).
6. Art for social causes. Art can be used to raise awareness for a large variety of causes.
A number of art activities were aimed at raising awareness of autism, cancer, human
trafficking, and a variety of other topics, such as ocean conservation, human rights in
Darfur, murdered and missing Aboriginal women, elder
abuse, and pollution.
Trashion, using trash to make fashion, practiced by artists such as Marina DeBris is one
example of using art to raise awareness about pollution.
7. Art for psychological and healing purposes. Art is also used by art therapists,
psychotherapists and clinical psychologists as art therapy. The Diagnostic Drawing
Series, for example, is used to determine the personality and emotional functioning of a
patient. The end product is not the principal goal in this case, but rather a process of
healing, through creative acts, is sought. The resultant piece of artwork may also offer
insight into the troubles experienced by the subject and may suggest suitable approaches
to be used in more conventional forms of psychiatric therapy.
8. Art for propaganda, or commercialism. Art is often utilized as a form of propaganda,
and thus can be used to subtly influence popular conceptions or mood. In a similar way,
art that tries to sell a product also influences mood and emotion. In both cases, the
purpose of art here is to subtly manipulate the viewer into a particular emotional or
psychological response toward a particular idea or object.
9. Art as a fitness indicator. It has been argued that the ability of the human brain by far
exceeds what was needed for survival in the ancestral environment. One evolutionary
psychology explanation for this is that the human brain and associated traits (such as
artistic ability and creativity) are the human equivalent of the peacock's tail. The purpose
of the male peacock's extravagant tail has been argued to be to attract females (see also
Fisherian runaway and handicap principle). According to this theory superior execution of
art was evolutionarily important because it attracted mates.
The functions of art described above are not mutually exclusive, as many of them may overlap.
For example, art for the purpose of entertainment may also seek to sell a product, i.e. the movie
or video game.
Activities/Assessment:
9
SUBJECT: GEED 10073- ART
APPRECIATION
0
0
Enumerate the functions of arts and give at least three examples of work of arts for each
function. Identify where these arts are used. Use the table below:
Function
1. ..
2…
Arts
a.
b.
c.
a.
b.
c.
Place where art is used
a.
b.
c.
a.
b.
c.
3…
References:
https://en.wikipedia.org/wiki/Art
10
SUBJECT: GEED 10073- ART
APPRECIATION
0
0
UNIT 3
THE ELEMENTS OF ARTS
Overview
This lesson provides thorough knowledge of the elements of the arts.
Learning Objectives:
After completion of this course, you should be able to:
1. Identify the similarities and differences of Artists from Artisans; and
2. Identify the work of arts of the artists and artisans.
Course Materials:
Motive Question:
Are you familiar with two-dimensional art? Three-dimensional art?
Discussion/Lecture:
THE ELEMENTS OF ART
All art, whether two-dimensional like a painting or three-dimensional like a sculpture, contains one
or more of the seven elements of art. These elements are the basic building blocks of making
art.
So how exactly does an artist use the elements? Working as an artist and creating an artwork is
similar to being a chef and cooking a meal. The chef uses a list of ingredients combined together
in certain amounts to produce a unique recipe. The artist uses art elements and combines them
in different ways to create a unique piece of art. The elements of art are like the ingredients in a
recipe. Sometimes artworks contain only one or two elements. Sometimes they have all the
elements of art. One thing is certain, however. There would be absolutely no art without the seven
elements of art.
Elements of art are stylistic features that are included within an art piece to help the artist
communicate. The seven most common elements include line, shape, texture, form, space, colour
and value, with the additions of mark making, and materiality. When analyzing these intentionally
utilized elements, the viewer is guided towards a deeper understanding of the work.
Line
Lines are marks moving in a space between two points whereby a viewer can visualize the stroke
movement, direction and intention based on how the line is oriented. Lines describe an outline,
capable of producing texture according to their length and curve. There are different types of lines
artists may use, including, actual, implied, vertical, horizontal, diagonal and contour lines, which
all have different functions. Lines are also situational elements, requiring
11
SUBJECT: GEED 10073- ART
APPRECIATION
0
0
the viewer to have knowledge of the physical world in order to understand their flexibility,
rigidity, synthetic nature, or life.
Shape
A shape is a two-dimensional design encased by lines to signify its height and width structure,
and can have different values of colour used within it to make it appear three-dimensional. In
animation, shapes are used to give a character a distinct personality and features, with the
animator manipulating the shapes to provide new life.[1] There are different types of shapes an
artist can use and fall under either geometrical, defined by mathematics, or organic shapes,
created by the artist. Simplistic, geometrical shapes include circles, triangles and squares, and
provide a symbolic and synthetic feeling, whereas acute angled shapes with sharp points are
perceived as dangerous shapes. Rectilinear shapes are viewed as dependable and more
structurally sound, while curvilinear shapes are chaotic and adaptable.
Form
Form is a three-dimensional object with volume of height, width and depth. These objects include
cubes, spheres and cylinders. Form is often used when referring to physical works of art, like
sculptures, as form is connected most closely with three-dimensional works.
Color
Color is an element consisting of hues, of which there are three properties: hue, chroma or
intensity, and value. Color is present when light strikes an object and it is reflected back into the
eye, a reaction to a hue arising in the optic nerve. The first of the properties is hue, which is the
distinguishable color, like red, blue or yellow. The next property is value, meaning the lightness
or darkness of the hue. The last is chroma or intensity, distinguishing between strong and weak
colors. A visual representation of chromatic scale is observable through the color wheel that uses
the primary colors.
Space
Space refers to the perspective (distance between and around) and proportion (size) between
shapes and objects and how their relationship with the foreground or background is perceived.
There are different types of spaces an artist can achieve for different effect. Positive space refers
to the areas of the work with a subject, while negative space is the space without a subject. Open
and closed space coincides with three-dimensional art, like sculptures, where open spaces are
empty, and closed spaces contain physical sculptural elements.
Texture
Texture is used to describe the surface quality of the work, referencing the types of lines the artist
created. The surface quality can either be tactile (real) or strictly visual (implied). Tactile surface
quality is mainly seen through three-dimensional works, like sculptures, as the viewer can see
and/or feel the different textures present, while visual surface quality describes how the eye
perceives the texture based on visual cues.
Value
Value refers to the degree of perceivable lightness of tones within an image. The element of value
is compatible with the term luminosity, and can be "measured in various units
12
SUBJECT: GEED 10073- ART
APPRECIATION
0
0
designating electromagnetic radiation". The difference in values is often called contrast, and
references the lightest (white) and darkest (black) tones of a work of art, with an infinite number
of grey variants in between. While it is most relative to the greyscale, though, it is also exemplified
within coloured images.
The importance of the Elements of Arts
By Shelley Esaak 9.26.2019
The elements of art are sort of like atoms in that both serve as "building blocks" for creating
something. You know that atoms combine and form other things. Sometimes they'll casually make
a simple molecule, as when hydrogen and oxygen form water (H2O). If hydrogen and oxygen take
a more aggressive career path and bring carbon along as a co-worker, together they might form
something more complex, like a molecule of sucrose (C12H22O11).
The 7 Elements of Art
A similar activity happens when the elements of art are combined. Instead of elements such as
hydrogen, oxygen, carbon, in art you have these building blocks:
1.
2.
3.
4.
5.
6.
7.
Line
Shape
Form
Space
Texture
Value
Color
Artists manipulate these seven elements, mix them in with principles of design, and compose a
piece of art. Not every work of art contains every one of these elements, but at least two are
always present.
For example, a sculptor, by default, has to have both form and space in a sculpture, because
these elements are three-dimensional. They can also be made to appear in two-dimensional
works through the use of perspective and shading.
Art would be sunk without line, sometimes known as "a moving point." While line isn't something
found in nature, it is absolutely essential as a concept to depicting objects and symbols, and
defining shapes.
Texture is another element, like form or space, that can be real (run your fingers over an Oriental
rug, or hold an unglazed pot), created (think of van Gogh's lumpy, impasto-ed canvases) or
implied (through clever use of shading).
Color is often the whole point for people who are visual learners and thinkers.
13
SUBJECT: GEED 10073- ART
APPRECIATION
0
0
other activities) in her bed before placing the result in a gallery as work of art. Hirst came up with
the conceptual design for the artwork but has left most of the eventual creation of many works to
employed artisans. Hirst's celebrity is founded entirely on his ability to produce shocking concepts.
The actual production in many conceptual and contemporary works of art is a matter of assembly
of found objects. However, there are many modernist and contemporary artists who continue to
excel in the skills of drawing and painting and in creating hands-on works of art.
Activities/Assessment:
1. From the given lecture, give at least two definitions of the following:
a. Humanities
b. Arts
2. Give at least five (5) importance of arts in mankind.
References:
https://en.wikipedia.org/wiki/Art
https://www.britannica.com/topic/the-arts
https://www.artyfactory.com/artappreciation.html#:~:text=Art%20appreciation%20is%20the%20knowledge,and%20improve%2
0
0
0your%20own%20artwork.
UNIT 2
FUNCTIONS OF ARTS
Overview
This lesson provides the students different functions of Arts in human lives.
Learning Objectives:
After completion of this course, you should be able to:
1. Explain different function of arts in humankind; and
2. Discuss the subjects and contents of Arts.
6
SUBJECT: GEED 10073- ART
APPRECIATION
0
0
Course Materials:
Motive Question:
What do you think are the uses of the following work of arts: family portrait, house
decorations, coins, necklace, and paintings?
Discussion:
Functions of Arts
Art has had a great number of different functions throughout its history, making its purpose difficult
to abstract or quantify to any single concept. This does not imply that the purpose of Art is "vague",
but that it has had many unique, different reasons for being created. Some of these functions of
Art are provided in the following outline. The different purposes of art may be grouped according
to those that are non-motivated, and those that are motivated (Lévi-Strauss).
Non-motivated functions
The non-motivated purposes of art are those that are integral to being human, transcend the
individual, or do not fulfill a specific external purpose. In this sense, Art, as creativity, is something
humans must do by their very nature (i.e., no other species creates art), and is therefore beyond
utility.
1. Basic human instinct for harmony, balance, rhythm. Art at this level is not an action or
an object, but an internal appreciation of balance and harmony (beauty), and therefore an
aspect of being human beyond utility.
Imitation, then, is one instinct of our nature. Next, there is the instinct for 'harmony' and
rhythm, meters being manifestly sections of rhythm. Persons, therefore, starting with this
natural gift developed by degrees their special aptitudes, till their rude improvisations gave
birth to Poetry. – Aristotle
2. Experience of the mysterious. Art provides a way to experience one's self in relation to
the universe. This experience may often come unmotivated, as one appreciates art, music
or poetry.
The most beautiful thing we can experience is the mysterious. It is the source of all true
art and science. – Albert Einstein
3. Expression of the imagination. Art provides a means to express the imagination in nongrammatic ways that are not tied to the formality of spoken or written language. Unlike
words, which come in sequences and each of which have a definite meaning, art provides
a range of forms, symbols and ideas with meanings that are malleable.
Jupiter's eagle [as an example of art] is not, like logical (aesthetic) attributes of an object,
0 majesty
0
the concept of the sublimity and
of creation, but rather something else—
something that gives the imagination an incentive to spread its flight over a whole host of
kindred representations that provoke more thought than admits of expression in a concept
determined by words. They furnish an aesthetic idea, which serves the above rational
idea as a substitute for logical presentation, but with the proper function,
7
SUBJECT: GEED 10073- ART
APPRECIATION
however, of animating the mind0 by opening
out for it a prospect into a field of kindred
0
representations stretching beyond its ken. – Immanuel Kant
4. Ritualistic and symbolic functions. In many cultures, art is used in rituals, performances
and dances as a decoration or symbol. While these often have no specific utilitarian
(motivated) purpose, anthropologists know that they often serve a purpose at the level of
meaning within a particular culture. This meaning is not furnished by any one individual,
but is often the result of many generations of change, and of a cosmological relationship
within the culture.
Most scholars who deal with rock paintings or objects recovered from prehistoric contexts
that cannot be explained in utilitarian terms and are thus categorized as decorative, ritual
or symbolic, are aware of the trap posed by the term 'art'. – Silva Tomaskova
Motivated functions
Motivated purposes of art refer to intentional, conscious actions on the part of the artists or creator.
These may be to bring about political change, to comment on an aspect of society, to convey a
specific emotion or mood, to address personal psychology, to illustrate another discipline, to (with
commercial arts) sell a product, or simply as a form of communication.[65][70]
1. Communication. Art, at its simplest, is a form of communication. As most forms of
communication have an intent or goal directed toward another individual, this is a
motivated purpose. Illustrative arts, such as scientific illustration, are a form of art as
communication. Maps are another example. However, the content need not be scientific.
Emotions, moods and feelings are also communicated through art.
[Art is a set of] artefacts or images with symbolic meanings as a means of communication.
– Steve Mithen
2. Art as entertainment. Art may seek to bring about a particular emotion or mood, for the
purpose of relaxing or entertaining the viewer. This is often the function of the art
industries of Motion Pictures and Video Games.
3. The Avant-Garde. Art for political change. One of the defining functions of early 20thcentury art has been to use visual images to bring about political change. Art movements
that had this goal—Dadaism, Surrealism, Russian constructivism, and Abstract
Expressionism, among others—are collectively referred to as the avant- garde arts.
By contrast, the realistic attitude, inspired by positivism, from Saint Thomas Aquinas to
Anatole France, clearly seems to me to be hostile to any intellectual or moral
advancement. I loathe it, for it is made up of mediocrity, hate, and dull conceit. It is this
attitude which today gives birth to these ridiculous books, these insulting plays. It
constantly feeds on and derives strength from the newspapers and stultifies both science
and art by assiduously flattering the lowest of tastes; clarity bordering on stupidity, a dog's
life. – André Breton (Surrealism)
4. Art as a "free zone", removed from the action of the social censure. Unlike the avantgarde movements, which wanted to erase cultural differences in order to produce new
universal values, contemporary art has enhanced its tolerance towards cultural
8
SUBJECT: GEED 10073- ART
APPRECIATION
0
0
differences as well as its critical and liberating functions (social inquiry, activism,
subversion, deconstruction ...), becoming a more open place for research and
experimentation.
5. Art for social inquiry, subversion or anarchy.
While similar to art for political change, subversive or deconstructivist art may seek to
question aspects of society without any specific political goal. In this case, the function
of art may be simply to criticize some aspect of society.
Graffiti art and other types of street art are graphics and images that are spray- painted
or stencilled on publicly viewable walls, buildings, buses, trains, and bridges, usually
without permission. Certain art forms, such as graffiti, may also be illegal when they break
laws (in this case vandalism).
6. Art for social causes. Art can be used to raise awareness for a large variety of causes.
A number of art activities were aimed at raising awareness of autism, cancer, human
trafficking, and a variety of other topics, such as ocean conservation, human rights in
Darfur, murdered and missing Aboriginal women, elder
abuse, and pollution.
Trashion, using trash to make fashion,
practiced
by
artists
such
as
Marina DeBris is one
0
0
example of using art to raise awareness about pollution.
7. Art for psychological and healing purposes. Art is also used by art therapists,
psychotherapists and clinical psychologists as art therapy. The Diagnostic Drawing
Series, for example, is used to determine the personality and emotional functioning of a
patient. The end product is not the principal goal in this case, but rather a process of
healing, through creative acts, is sought. The resultant piece of artwork may also offer
insight into the troubles experienced by the subject and may suggest suitable approaches
to be used in more conventional forms of psychiatric therapy.
8. Art for propaganda, or commercialism. Art is often utilized as a form of propaganda,
and thus can be used to subtly influence popular conceptions or mood. In a similar way,
art that tries to sell a product also influences mood and emotion. In both cases, the
purpose of art here is to subtly manipulate the viewer into a particular emotional or
psychological response toward a particular idea or object.
9. Art as a fitness indicator. It has been argued that the ability of the human brain by far
exceeds what was needed for survival in the ancestral environment. One evolutionary
psychology explanation for this is that the human brain and associated traits (such as
artistic ability and creativity) are the human equivalent of the peacock's tail. The purpose
of the male peacock's extravagant tail has been argued to be to attract females (see also
Fisherian runaway and handicap principle). According to this theory superior execution of
art was evolutionarily important because it attracted mates.
The functions of art described above are not mutually exclusive, as many of them may overlap.
For example, art for the purpose of entertainment may also seek to sell a product, i.e. the movie
or video game.
Activities/Assessment:
9
SUBJECT: GEED 10073- ART
APPRECIATION
0
0
Enumerate the functions of arts and give at least three examples of work of arts for each
function. Identify where these arts are used. Use the table below:
Function
1. ..
2…
Arts
a.
b.
c.
a.
b.
c.
Place where art is used
a.
b.
c.
a.
b.
c.
3…
References:
https://en.wikipedia.org/wiki/Art
0
0
10
SUBJECT: GEED 10073- ART
APPRECIATION
0
0
UNIT 3
THE ELEMENTS OF ARTS
Overview
This lesson provides thorough knowledge of the elements of the arts.
Learning Objectives:
After completion of this course, you should be able to:
1. Identify the similarities and differences of Artists from Artisans; and
2. Identify the work of arts of the artists and artisans.
Course Materials:
Motive Question:
Are you familiar with two-dimensional art? Three-dimensional art?
Discussion/Lecture:
THE ELEMENTS OF ART
All art, whether two-dimensional like a painting or three-dimensional like a sculpture, contains one
or more of the seven elements of art. These elements are the basic building blocks of making
art.
So how exactly does an artist use the elements? Working as an artist and creating an artwork is
similar to being a chef and cooking a meal. The chef uses a list of ingredients combined together
in certain amounts to produce a unique recipe. The artist uses art elements and combines them
in different ways to create a unique piece of art. The elements of art are like the ingredients in a
recipe. Sometimes artworks contain only one or two elements. Sometimes they have all the
elements of art. One thing is certain, however. There would be absolutely no art without the seven
elements of art.
Elements of art are stylistic features that are included within an art piece to help the artist
communicate. The seven most common elements include line, shape, texture, form, space, colour
and value, with the additions of mark making, and materiality. When analyzing these intentionally
utilized elements, the viewer is guided towards a deeper understanding of the work.
Line
Lines are marks moving in a space between two points whereby a viewer can visualize the stroke
movement, direction and intention based on how the line is oriented. Lines describe an outline,
capable of producing texture according to their length and curve. There are different types of lines
artists may use, including, actual, implied, vertical, horizontal, diagonal and contour lines, which
all have different functions. Lines are also situational elements, requiring
11
SUBJECT: GEED 10073- ART
APPRECIATION
0
0
the viewer to have knowledge of the physical world in order to understand their flexibility,
rigidity, synthetic nature, or life.
Shape
A shape is a two-dimensional design encased by lines to signify its height and width structure,
and can have different values of colour used within it to make it appear three-dimensional. In
animation, shapes are used to give a character a distinct personality and features, with the
animator manipulating the shapes to provide new life.[1] There are different types of shapes an
artist can use and fall under either geometrical, defined by mathematics, or organic shapes,
created by the artist. Simplistic, geometrical shapes include circles, triangles and squares, and
provide a symbolic and synthetic feeling,
acute angled shapes with sharp points are
0 whereas
0
perceived as dangerous shapes. Rectilinear shapes are viewed as dependable and more
structurally sound, while curvilinear shapes are chaotic and adaptable.
Form
Form is a three-dimensional object with volume of height, width and depth. These objects include
cubes, spheres and cylinders. Form is often used when referring to physical works of art, like
sculptures, as form is connected most closely with three-dimensional works.
Color
Color is an element consisting of hues, of which there are three properties: hue, chroma or
intensity, and value. Color is present when light strikes an object and it is reflected back into the
eye, a reaction to a hue arising in the optic nerve. The first of the properties is hue, which is the
distinguishable color, like red, blue or yellow. The next property is value, meaning the lightness
or darkness of the hue. The last is chroma or intensity, distinguishing between strong and weak
colors. A visual representation of chromatic scale is observable through the color wheel that uses
the primary colors.
Space
Space refers to the perspective (distance between and around) and proportion (size) between
shapes and objects and how their relationship with the foreground or background is perceived.
There are different types of spaces an artist can achieve for different effect. Positive space refers
to the areas of the work with a subject, while negative space is the space without a subject. Open
and closed space coincides with three-dimensional art, like sculptures, where open spaces are
empty, and closed spaces contain physical sculptural elements.
Texture
Texture is used to describe the surface quality of the work, referencing the types of lines the artist
created. The surface quality can either be tactile (real) or strictly visual (implied). Tactile surface
quality is mainly seen through three-dimensional works, like sculptures, as the viewer can see
and/or feel the different textures present, while visual surface quality describes how the eye
perceives the texture based on visual cues.
Value
Value refers to the degree of perceivable lightness of tones within an image. The element of value
is compatible with the term luminosity, and can be "measured in various units
12
SUBJECT: GEED 10073- ART
APPRECIATION
0
0
designating electromagnetic radiation". The difference in values is often called contrast, and
references the lightest (white) and darkest (black) tones of a work of art, with an infinite number
of grey variants in between. While it is most relative to the greyscale, though, it is also exemplified
within coloured images.
The importance of the Elements of Arts
By Shelley Esaak 9.26.2019
The elements of art are sort of like atoms in that both serve as "building blocks" for creating
something. You know that atoms combine and form other things. Sometimes they'll casually make
a simple molecule, as when hydrogen and oxygen form water (H2O). If hydrogen and oxygen take
a more aggressive career path and bring carbon along as a co-worker, together they might form
something more complex, like a molecule of sucrose (C12H22O11).
The 7 Elements of Art
A similar activity happens when the elements of art are combined. Instead of elements such as
hydrogen, oxygen, carbon, in art you have these building blocks:
1.
2.
3.
4.
5.
6.
7.
Line
Shape
Form
Space
Texture
Value
Color
Artists manipulate these seven elements,
0 mix 0them in with principles of design, and compose a
piece of art. Not every work of art contains every one of these elements, but at least two are
always present.
For example, a sculptor, by default, has to have both form and space in a sculpture, because
these elements are three-dimensional. They can also be made to appear in two-dimensional
works through the use of perspective and shading.
Art would be sunk without line, sometimes known as "a moving point." While line isn't something
found in nature, it is absolutely essential as a concept to depicting objects and symbols, and
defining shapes.
Texture is another element, like form or space, that can be real (run your fingers over an Oriental
rug, or hold an unglazed pot), created (think of van Gogh's lumpy, impasto-ed canvases) or
implied (through clever use of shading).
Color is often the whole point for people who are visual learners and thinkers.
13
SUBJECT: GEED 10073- ART
APPRECIATION
0
0
Why Are the Elements of Art Important?
The elements of art are important for several reasons. First, and most importantly, a person can't
create art without utilizing at least a few of them. No elements, no art—end of story. And we
wouldn't even be talking about any of this, would we?
Secondly, knowing what the elements of art are enables us to:
1. describe what an artist has done
2. analyze what is going on in a particular piece
3. communicate our thoughts and findings using a common language
The elements of art are both fun and useful. Remember line, shape, form, space, texture, value
and color. Knowing these elements will allow you to analyze, appreciate, write and chat about art,
as well as being of help should you create art yourself.
You can describe a work of art using its seven elements.
Activities/Assessment:
1. In your own words, define the seven elements of art.
2. Look for a work of art in your surroundings. Imagine that you are to discuss that artwork to
your friend who lives far away from you. Using the elements of art, try to visualize and
discuss the art to your friend. Write your discussion in three to five paragraphs.
References:
https://en.wikipedia.org/wiki/Art
https://www.getty.edu/education/teachers/building_lessons/elements_art.pdf
https://www.thoughtco.com/what-are-the-elements-of-art182704#:~:text=The%20elements%20of%20art%20are%20both%20fun%20and%20useful.,sho
uld%20you%20create%20art%20yourself.
https://en.wikipedia.org/wiki/Elements_of_art#:~:text=Elements%20of%20art%20are%20stylistic
,of%20mark%20making%2C%20and%20materiality.
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UNIT 4
Overview
THE ARTISTS AND THE ARTISANS
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This lesson provides thorough knowledge of the difference between artists and artisans.
Learning Objectives:
After completion of this course, you should be able to:
3. Identify the similarities and differences of Artists from Artisans; and
4. Identify the work of arts of the artists and artisans.
Course Materials:
Motive Question:
Are you familiar with the following artists/partisans? Can you tell what are their works of arts?
1. Andy Warhol.
2. Pablo Picasso.
3. Vincent van Gogh.
4. Leonardo da Vinci.
5. Michelangelo.
Discussion:
The Artists and The Artisans
Artists and artisans fill different roles in the art arena. Artists work in the fine arts, including
painting, illustration and sculpture. Artisans are craftsmen who work in textiles, pottery, glass and
other areas. These two artistic careers are compared below with some salary and education
information.
Responsibilities of Artists vs. Artisans
Artists and artisans articulate a vision through their art or craft. Fine artists work with paint,
watercolor, pen and ink, or illustrations, while artisans craft work like jewelry, glasswork, pottery
or other functional products. Artists focus on creating aesthetically pleasing works, while artisans'
work focuses on accessorizing and functionality more than aesthetics. The work of artists tends
to be shown in museums or galleries, while artisans sell their crafts at fairs and shops.
Artist
All fine artists first learn to sketch, and begin with a pencil and sketchpad to work with an idea on
paper. Artists transfer their visions to canvases or other medium, and this may mean working in
oil, watercolor or pastels. Sculptors take their sketches and create 3D products from clay,
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marble or other material. Illustrators might work for a publishing or animation company, or
create original comic books. All artists' work aims to create an overall reaction from a viewer.
Job responsibilities of an Artist include:




Developing ideas for a canvas or product
Selecting a medium for a final work, including texture, size, or area
Collecting work for a portfolio
Applying for grants for financial support
Artisan
Artisans are craftsmen who make practical artistic products, such as earrings, urns, stained glass
and other accessories. Artisans gain their knowledge by studying under master craftsmen and
then practicing with continued study. Artisans work to create something new, original, and at
times, provocative. They spend a good portion of their time selling and promoting their items in
various marketplaces.
Job responsibilities of an Artisan include:




Using and mixing mediums like paint, metal, glass, or fabric
Shaping, gluing, sewing, testing and producing products
Displaying work at various sites including auctions, craft shows or online markets
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Estimating costs and material needs
Related Careers
A career related to an artist is a graphic designer, who develops layouts using artwork,
photographs or illustrations. A similar field to an artisan is a metalworker. They build products
using metal for construction, artistic or manufacturing purposes.
Gallery of the Artists:
Andy Warhol. Beginning out as a commercial artist, he brought the ethos of
promotion into fine art, even going so far as to say, “ Making money is art.” Such
attitudes blew away the existential declarations of Abstract Expressionism.
Although he’s recognized for captions such as Campbell’s Soup, Marilyn Monroe,
and Elvis Presley, his greatest invention was himself.
Pablo Picasso. Pablo Picasso is implicitly synonymous with modern art, and it
doesn’t hurt that he fits the generally held image of the fugitive genius whose
goals are balanced by a taste for living big. He turned the field of art history with
radical innovations that include college and Cubism, which destroyed the
stranglehold of representational material matter on art, and set the rate for other
20th-century artists.
Vincent van Gogh. Van Gogh is known for being psychologically unstable, but his
arts are among the most popular and most famous artists of all time. Van Gogh’s
technique of painting with flurries of thick brushstrokes made up of vivid colours
squeezed straight from the tube would inspire subsequent generations of artists.
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Leonardo da Vinci. The original Renaissance Man, Leonardo is known
as a genius, not only for masterpieces such as the Mona Lisa, The Last
Supper and The Lady with an Ermine but also for his designs of
technologies (aircraft, tanks, automobile) that were five hundred years in
the future.
Michelangelo. Michelangelo was a triple threat: A painter (the Sistine
Ceiling), a sculptor (the David and Pietà) and architect (St. Peter’s
Basilica in Rome). Make that a quadruple warning since he also wrote
poetry. Aside from the aforementioned Sistine Ceiling, St. Peter’s
Basilica and Pietà, there was his tomb for Pope Julian II and the design
for the Laurentian Library at San Lorenzo’s Church.
Henri Matisse. No artist is as intimately attached to the delights of colour as
Henri Matisse. His work was all about twisted curves rooted in the ideas of
symbolic art and was constantly concentrated on the beguiling satisfaction
of colour and tone.
Jackson Pollock Hindered by addiction, self-doubt, and
awkwardness as a conventional painter, Pollock transformed his
faults in a short but intense period between 1947 and 1950 when
he performed the drip ideas that connected his fame. Avoiding the
easel to lay his paintings flat on the floor, he used house paint
right from the can, throwing and dropping thin skeins of pigment
that left behind a solid record of his movements.
Edvard Munch I scream you scream we all scream for Munch’s The Scream, the
Mona Lisa of anxiety. In 2012, a pastel variant of Edvard Munch’s iconic
invocation of modern anxiety got a then-astronomical price of $120 million at
auction. Munch’s career was more than just a single painting.
Claude
Monet.
Perhaps
the most
famous
artists amidst the
Impressionists, Monet conquered the varying influences of light on the
panorama by bright shards of colour produced as quickly painted strokes.
Furthermore, his many thoughts of haystacks and other subjects anticipated
the use of serial comparison in Pop Art and Minimalism.
0 recognized by art lovers and
Rene Magritte. The name René Magritte0is widely
agnostics alike, and for good reason: He utterly transformed our expectations
of what is real and what is not. When someone describes something as
in the social
stature of the
person
commissionin
g the statue
were
indicated by
size
rather
than artistic
innovations.
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The Venus de Milo,
discovered at the
Greek island
of Milos, 130-100
BC, Louvre
Roman Arts
https://en.wikipedia.org/wiki/Roman_art
The art of Ancient Rome and its Empire includes architecture, painting, sculpture and mosaic
work. Luxury objects in metal-work, gem engraving, ivory carvings, and glass are sometimes
considered to be minor forms of Roman art,[1] although they were not considered as such at the
time. Sculpture was perhaps considered as the highest form of art by Romans, but figure painting
was also highly regarded. A very large body of sculpture has survived from about the 1st century
BC onward, though very little from before, but very little painting remains, and probably nothing
that a contemporary would have considered to be of the highest quality.
Ancient Roman pottery was not a luxury product, but a vast production of "fine wares" in terra
sigillata were decorated with reliefs that reflected the latest taste, and provided a large group in
society with stylish objects at what was evidently an affordable price. Roman coins were an
important means of propaganda, and have survived in enormous numbers.
A Roman fresco from Pompeii
showing a Maenad in silk dress, first century AD
A fresco of a young man from the Villa di Arianna,
Stabiae, 1st century AD.
While the traditional view of the ancient Roman artists is that
they often borrowed from, and copied Greek precedents
(much of the Greek sculptures known today are in the form of Roman marble copies), more of
recent analysis has indicated that Roman art is a highly creative pastiche relying heavily on Greek
models but also encompassing Etruscan, native Italic, and even Egyptian visual culture. Stylistic
eclecticism and practical application are the hallmarks of much Roman art.
Pliny, Ancient Rome's most important historian concerning the arts, recorded that nearly all the
forms of art – sculpture, landscape, portrait painting, even genre painting – were advanced in
Greek times, and in some cases, more advanced than in Rome. Though very little remains of
Greek wall art and portraiture, certainly Greek sculpture and vase painting bears this out. These
forms were not likely surpassed by Roman artists in fineness of design or execution. As another
example of the lost "Golden Age", he singled out Peiraikos, "whose artistry is surpassed by only
a very few ... He painted barbershops and shoemakers’ stalls, donkeys, vegetables, and such,
and for that reason came to be called the 'painter of vulgar subjects'; yet these works are
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altogether delightful, and they were sold at higher prices than the greatest paintings of many other
artists.” The adjective "vulgar" is used here in its original definition, which means "common".
The Greek antecedents of Roman art were legendary. In the mid-5th century BC, the most famous
Greek artists were Polygnotos, noted for his wall murals, and Apollodoros, the originator of
chiaroscuro. The development of realistic technique is credited to Zeuxis and Parrhasius, who
according to ancient Greek legend, are said to have once competed in a bravura display of their
talents,
history's
earliest
descriptions
of trompe
l’oeil painting. In
sculpture, Skopas, Praxiteles, Phidias, and Lysippos were the foremost sculptors. It appears that
Roman artists had much Ancient Greek art to copy from, as trade in art was brisk throughout the
empire, and much of the Greek artistic heritage found its way into Roman art through books and
teaching. Ancient Greek treatises on the arts are known to have existed in Roman times, though
are now lost.[4] Many Roman artists came from
Greek colonies and provinces.
Preparation of an animal sacrifice;
marble, fragment of an architectural relief,
first quarter of the 2nd century CE; from Rome, Italy
The high number of Roman copies of Greek art also speaks of the
esteem Roman artists had for Greek art, and perhaps of its rarer and
higher quality.[5] Many of the art forms and methods used by the Romans – such as high and low
relief, free-standing sculpture, bronze casting, vase art, mosaic, cameo, coin art, fine jewelry and
metalwork, funerary sculpture, perspective drawing, caricature, genre and portrait painting,
landscape painting, architectural sculpture, and trompe l’oeil painting – all were developed or
refined by Ancient Greek artists.[6] One exception is the Roman bust, which did not include the
shoulders. The traditional head-and-shoulders bust may have been an Etruscan or early Roman
form.[7] Virtually every artistic technique and method used by Renaissance artists 1,900 years
later, had been demonstrated by Ancient Greek artists, with the notable exceptions of oil colors
and mathematically accurate perspective.[8] Where Greek artists were highly revered in their
society, most Roman artists were anonymous and considered tradesmen. There is no recording,
as in Ancient Greece, of the great masters of Roman art, and practically no signed works. Where
Greeks worshipped the aesthetic qualities of great art, and wrote extensively on artistic theory,
Roman art was more decorative and indicative of status and wealth, and apparently not the
subject of scholars or philosophers.
Encaustic painting, also known as hot wax painting, involves using heated beeswax to which
colored pigments are added. The liquid or paste is then applied to a surface—usually prepared
wood, though canvas and other materials are often used. The simplest encaustic mixture can be
made from adding pigments to beeswax, but there are several other recipes that can be used—
some containing other types of waxes, damar resin, linseed oil, or other ingredients. Pure,
powdered pigments can be used, though some mixtures use oil paints or other forms of pigment.
Pompeian painter with painted statue and framed painting, Pompeii
Of the vast body of Roman painting we now have only a very few pockets of
survivals, with many documented types not surviving at all, or doing so only from
the very end of the period. The best known and most important pocket is the wall
paintings from Pompeii, Herculaneum and other sites nearby, which
show how residents of a wealthy seaside resort decorated their walls in the century or so before
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the fatal eruption of Mount Vesuvius in 79 CE. A succession of dated styles have been defined
and analyzed by modern art historians beginning with August Mau, showing increasing
elaboration and sophistication.
Heracles and Omphale, Roman fresco Pompeian Fourth Style (45- 79
AD), Naples National Archaeological Museum, Italy
Starting in the 3rd century CE and finishing by about 400 we have a large body of
paintings from the Catacombs of Rome, by no means all Christian, showing the
later continuation of the domestic decorative tradition in a version adapted probably not greatly adapted - for use in burial chambers, in what was probably a rather humbler
social milieu than the largest houses in Pompeii. Much of Nero's palace in Rome, the Domus
Aurea, survived as grottos and gives us examples which we can be sure represent the very finest
quality of wall-painting in its style, and which may well have represented significant innovation in
style. There are a number of other parts of painted rooms surviving from Rome and elsewhere,
which somewhat help to fill in the gaps of our knowledge of wall-painting. From Roman Egypt
there are a large number of what are known as Fayum mummy portraits, bust portraits on wood
added to the outside of mummies by a Romanized middle class; despite their very distinct local
character they are probably broadly representative of Roman style in painted portraits, which are
otherwise entirely lost.
Nothing remains of the Greek paintings imported to Rome during the 4th and 5th centuries, or of
the painting on wood done in Italy during that period. In sum, the range of samples is confined to
only about 200 years out of the about 900 years of Roman history, and of provincial and decorative
painting. Most of this wall painting was done using the secco (“dry”) method, but some fresco
paintings also existed in Roman times. There is evidence from mosaics and a few inscriptions
that some Roman paintings were adaptations or copies of earlier Greek works. However,
adding to the confusion is the fact that inscriptions may be recording the names of immigrant
Greek artists from Roman times, not from Ancient Greek originals that were copied. The Romans
entirely lacked a tradition of figurative vase-painting comparable to that of the Ancient Greeks,
which the Etruscans had emulated.
Variety of subjects
Roman painting provides a wide variety of themes: animals, still life, scenes from everyday life,
portraits, and some mythological subjects. During the Hellenistic period, it evoked the pleasures
of the countryside and represented scenes of shepherds, herds, rustic temples, rural mountainous
landscapes and country houses. Erotic scenes are also relatively common. In the late empire,
after 200AD, early Christian themes mixed with pagan imagery survive on catacomb walls.
Landscape and vistas
Boscotrecase, Pompeii. Third style
The main innovation of Roman painting compared to Greek art was the
development of landscapes, in particular incorporating techniques of
perspective, though true mathematical perspective developed 1,500 years
later. Surface textures, shading, and coloration are well applied but scale and
spatial depth was still not rendered accurately. Some landscapes were pure
scenes of nature, particularly gardens with flowers and trees, while others
were architectural vistas depicting urban buildings. Other landscapes
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show episodes from mythology, the most famous demonstrating scenes from the Odyssey.
In the traditional view, the art of the ancient East would have known landscape painting only as
the backdrop to civil or military narrative scenes.[15] This theory is defended by Franz Wickhoff, is
debatable. It is possible to see evidence of Greek knowledge of landscape portrayal in Plato's
Critias (107b–108b):
... and if we look at the portraiture of divine and of human bodies as executed by painters, in
respect of the ease or difficulty with which they succeed in imitating their subjects in the opinion
of onlookers, we shall notice in the first place that as regards the earth and mountains and rivers
and woods and the whole of heaven, with the things that exist and move therein, we are content
if a man is able to represent them with even a small degree of likeness...
Still life
Roman still life subjects are often placed in illusionist niches or shelves and depict a variety of
everyday objects including fruit, live and dead animals, seafood, and shells. Examples of the
theme of the glass jar filled with water were skillfully painted and later served as models for the
same subject often painted during the Renaissance and Baroque periods.
Portraits
The Severan Tondo, a panel painting of the
imperial family, c. 200 AD; Antikensammlung, Berlin
Fayum mummy portrait of a woman from Roman Egypt
with a ringlet hairstyle. Royal Museum of Scotland.
Pliny complained of the declining state of Roman portrait art, "The painting of
portraits which used to transmit through the ages the accurate likenesses of people, has entirely
gone out ... Indolence has destroyed the arts."
In Greece and Rome, wall painting was not considered as high art. The most prestigious form of
art besides sculpture was panel painting, i.e. tempera or encaustic painting on wooden panels.
Unfortunately, since wood is a perishable material, only a very few examples of such paintings
have survived, namely the Severan Tondo from c. 200 AD, a very routine official portrait from
some provincial government office, and the well-known Fayum mummy portraits, all from Roman
Egypt, and almost certainly not of the highest contemporary quality. The portraits were attached
to burial mummies at the face, from which almost all have now been detached. They usually depict
a single person, showing the head, or head and upper chest, viewed frontally. The background is
always monochrome, sometimes with decorative elements.[20] In terms of artistic tradition, the
images clearly derive more from Greco-Roman traditions than Egyptian ones. They are
remarkably realistic, though variable in artistic quality, and may indicate that similar art which was
widespread elsewhere but did not survive. A few portraits painted on glass and medals from the
later empire have survived, as have coin portraits,
some of which are considered very realistic as well.
Gold glass
Detail of the gold glass medallion
in Brescia (Museo di Santa Giulia),
most likely Alexandrian, 3rd century AD
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Gold glass, or gold sandwich glass, was a technique for fixing a layer of gold leaf with a design
between two fused layers of glass, developed in Hellenistic glass and revived in the 3rd century
AD. There are a very few large designs, including a very fine group of portraits from the 3rd century
with added paint, but the great majority of the around 500 survivals are roundels that are the cutoff bottoms of wine cups or glasses used to mark and decorate graves in the Catacombs
of Rome by pressing them into the mortar. They predominantly date from the 4th and 5th
centuries. Most are Christian, though there are many pagan and a few Jewish examples. It is
likely that they were originally given as gifts on marriage, or festive occasions such as New Year.
Their iconography has been much studied, although artistically they are relatively
unsophisticated.[23] Their subjects are similar to the catacomb paintings, but with a difference
balance including more portraiture. As time went on there was an increase in the depiction of
saints.[24] The same technique began to be used for gold tesserae for mosaics in the mid-1st
century in Rome, and by the 5th century these had become the standard background for religious
mosaics.
The earlier group are "among the most vivid portraits to survive from Early Christian times. They
stare out at us with an extraordinary stern and melancholy intensity", and represent the best
surviving indications of what high quality Roman portraiture could achieve in paint. The Gennadios
medallion in the Metropolitan Museum of Art in New York, is a fine example of an Alexandrian
portrait on blue glass, using a rather more complex technique and naturalistic style than most Late
Roman examples, including painting onto the gold to create shading, and with the Greek
inscription showing local dialect features. He had perhaps been given or commissioned the piece
to celebrate victory in a musical competition.[26] One of the most famous Alexandrian-style portrait
medallions, with an inscription in Egyptian Greek, was later mounted in an Early Medieval crux
gemmata in Brescia, in the mistaken belief that it showed the pious empress and Gothic queen
Galla Placida and her children;[27] in fact the knot in the central figure's dress may mark a devotee
of Isis.[28] This is one of a group of 14 pieces dating to the 3rd century AD, all individualized
secular portraits of high quality.[29] The inscription on the medallion is written in the Alexandrian
dialect of Greek and hence most likely depicts a family from Roman Egypt. The medallion has
also been compared to other works of contemporaneous Roman-Egyptian artwork, such as the
Fayum mummy portraits. It is thought that the tiny detail of pieces such as these can only have
been achieved using lenses. The later glasses from the catacombs have a level of portraiture that
is rudimentary, with features, hairstyles and clothes all following stereotypical styles.
Genre scenes
Roman genre scenes generally depict Romans at leisure and include gambling, music and sexual
encounters. Some scenes depict gods and goddesses at leisure.
Triumphal paintings
Roman fresco from the Villa
Boscoreale, 43–30 BC, Metropolitan
Museum of Art
Roman fresco with a banquet scene
from the Casa dei Casti
Amanti, Pompeii
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From the 3rd century BC, a specific genre known as Triumphal Paintings appeared, as indicated
by Pliny (XXXV, 22). These were paintings which showed triumphal entries after military victories,
represented episodes from the war, and conquered regions and cities. Summary maps were
drawn to highlight key points of the campaign. Josephus describes the painting executed on the
occasion of Vespasian and Titus's sack of Jerusalem.
Answers to Motive Question.
Answer Key
Preferred architectural order:
Most famous temple:
Dedicated to:
Greece
Rome
Corinthian
Pantheon
"All the gods" (7 planetary gods)
Doric, Ionic
Parthenon
Athena
Activities/Assessment:
1.
Look at your surroundings, give at least five (5) works of arts that you can see which are
inspired by Greek and Roman Arts. Briefly discuss each.
2. What are the similarities of Greek and Roman Arts? What are their differences? Use the
table below for your answers.
Similarities
Greek
Roman
Similarities
Greek
Roman
1
2
3
4
5
1
2
3
4
5
References:
https://www.invaluable.com/blog/art-history-timeline/
https://www.farandwide.com/s/best-artists-art-europe-82f7f449793c437c
https://en.wikipedia.org/wiki/GreekRomanArts
https://www2.palomar.edu/users/mhudelson/StudyGuides/GreekRoman_WA.html
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UNIT 3
ASIAN ARTS
Overview
This lesson widens the students knowledge of different arts from Asian countries.
Learning Objectives:
After completion of this course, you should be able to:
1. Express appreciation of Arts in Asia; and
2. Identify various arts in different countries in Asia.
Course Materials:
Motive Question:
If given the chance to go to a country in Asia to view its Arts, what country it is?
Lecture / Discussion:
The History of Asian Art
The history of Asian art includes a vast range of arts from various cultures, regions and religions
across the continent of Asia. Developments of art in Asia historically parallel those in Western
art, in general a few centuries earlier. East Asian art (Chinese art, Korean art and Japanese
art) had significant influence on Western art, and vice versa. Near Eastern art and South Asian
art (Indian art) also had a significant influence on Western art. Excluding prehistoric
art, the art of Mesopotamia represents the oldest forms of art in Asia.
Central Asian Art
The Central Asian Art has gained much fame. The literary, visual and performing arts altogether
form the Central Asian contemporary art. Undoubtedly, the superiority of the Central Asian Art
has allowed it to become part of international art forums.
The Central Asian Art majorly comes
from Turkic population
descending from
Tajikistan, Kazakhstan, Turkmenistan, Afghanistan and other regions of Central Asia.
Significantly, the region of Central Asia is known for its diversified backgrounds in linguistics and
cultures. This certainly makes it the land giving birth to a wide variety of styles in contemporary
arts.
Nomadic folk art
Nomad Folk art serves as a vital aspect of Central Asian Art. The art reflects the core of the
lifestyle of nomadic groups residing within the region. One is bound to be awestruck by the
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beauty of semi-precious stones, quilt, carved door, and embroidered carpets that this art reflects.
Music and musical instrument
Central Asia is enriched with the classical music and instruments. Some of the famous classical
musical instruments were originated within the Central Asian region. Rubab, Dombra, and Chang
are some of the super-famous musical instruments used in the musical arts of Central Asia.
The revival of Central Asian art
The lives of Central Asian people revolved around nomadic lifestyle. Thereby most of the Central
Asian arts in the modern times are also inspired by nomadic living showcasing the golden era. As
the matter of fact, the touch of tradition and culture in Central Asian art act as a major attraction
factor for the international art forums. The global recognition towards the Central Asian Art has
certainly added up to its worth.
East Asian Art
Chinese art
Chinese art has varied throughout its ancient history, divided into periods by the
ruling dynasties of China and changing technology. Different forms of art have been influenced
by great philosophers, teachers, religious figures and even political leaders. Chinese art
encompasses fine arts, folk arts and performance arts. Chinese art is art, whether modern or
ancient, that originated in or is practiced in China or by Chinese artists or performers.
In the Song Dynasty, poetry was marked by a lyric poetry known as Ci which expressed feelings
of desire, often in an adopted persona. Also in the Song dynasty, paintings of more subtle
expression of landscapes appeared, with blurred outlines and mountain contours which conveyed
distance through an impressionistic treatment of natural phenomena. It was during this period that
in painting, emphasis was placed on spiritual rather than emotional elements, as in the previous
period. Kunqu, the oldest extant form of Chinese opera developed during the Song Dynasty in
Kunshan, near present-day Shanghai. In the Yuan dynasty, painting by the Chinese painter Zhao
Mengfu greatly influenced later Chinese landscape painting, and the Yuan dynasty opera became
a variant of Chinese opera which continues today as Cantonese opera.
Chinese painting and calligraphy art
Copy of a portrait of Zhao Mengfu
Metropolitan Museum of Art
Gongbi and Xieyi are two painting styles in Chinese painting.
Gongbi means "meticulous", the rich colours and details in the picture are its main features, its
content mainly depicts portraits or narratives. Xieyi means 'freehand', its form is often exaggerated
and unreal, with an emphasis on the author's emotional expression and usually used in depicting
landscapes.
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In addition to paper and silk, traditional paintings have also been done on the walls, such as the
Mogao Grottoes in Gansu Province. The Dunhuang Mogao Grottoes were built in the
Northern Wei Dynasty (386-534 AD). It consists of more than 700 caves, of which 492 caves
have murals on the walls, totalling more than 45,000 square meters. The murals are very broad
in content, include Buddha statues, paradise, angels, important historical events and even donors.
The painting styles in early cave received influence from India and the West. From the Tang
Dynasty (618-906 CE), the murals began to reflect the unique Chinese painting style.
Chinese Calligraphy
On Calligraphy by Mi Fu, Song Dynasty
The Chinese calligraphy can be traced back to the Dazhuan (large seal
script) that appeared in the Zhou Dynasty. After Emperor Qin unified
China, Prime Minister Li Si collected and compiled Xiaozhuan (small
seal) style as a new official text. The small seal script is very elegant
but difficult to write quickly. In the Eastern Han
Dynasty, a type of script called the Lishu (Official Script) began to rise. Because it reveals no
circles and very few curved lines, it is very suitable for fast writing. After that, the Kaishu style
(traditional regular script) has appeared, and its structure is simpler and neater, this script is still
widely used today.
Japanese Art
Japanese art and architecture is works of art produced in Japan from the beginnings of human
habitation there, sometime in the 10th millennium BC, to the present. Japanese art covers a wide
range of art styles and media, including ancient pottery, sculpture in wood and bronze, ink painting
on silk and paper, and a myriad of other types of works of art; from ancient times until the
contemporary 21st century.
The art form rose to great popularity in the metropolitan culture of Edo (Tokyo) during the second
half of the 17th century, originating with the single-color works of Hishikawa Moronobu in the
1670s. At first, only India ink was used, then some prints were manually colored with a brush, but
in the 18th century Suzuki Harunobu developed the technique of polychrome printing to produce
nishiki-e.
Japanese painting, Kaiga, is one of the oldest and most highly refined of the Japanese arts,
encompassing a wide variety of genre and styles. As with the history of Japanese arts in
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general, the history of Japanese painting is a long history of synthesis and competition between
native Japanese aesthetics and adaptation of imported ideas.
The origins of painting in Japan date well back into Japan's prehistoric period. Simple stick
figures and geometric designs can be found on Jōmon period pottery and Yayoi period (300 BC
– 300 AD) dōtaku bronze bells. Mural paintings with both geometric and figurative designs have
been found in numerous tumulus from the Kofun period (300–700 AD).
Hiroshige, Snow falling on a town,
c. 1833, ukiyo-e print
Ancient Japanese sculpture was mostly derived from the idol worship in Buddhism or animistic
rites of Shinto deity. In particular, sculpture among all the arts came to be most firmly centered
around Buddhism. Materials traditionally used were metal—especially bronze—and, more
commonly, wood, often lacquered, gilded, or brightly painted. By the end of the Tokugawa period,
such traditional sculpture – except for miniaturized works – had largely disappeared because of
the loss of patronage by Buddhist temples and the nobility.
Ukiyo, meaning "floating world", refers to the impetuous young culture that bloomed in the urban
centers of Edo (modern-day Tokyo), Osaka, and Kyoto that were a world unto themselves. It is
an ironic allusion to the homophone term "Sorrowful World", the earthly plane of death and rebirth
from which Buddhists sought release.
Korean art
Korean art is noted for its traditions in pottery, music, calligraphy, painting, sculpture, and other
genres, often marked by the use of bold color, natural forms, precise shape and scale, and surface
decoration.
While there are clear and distinguishing differences between three independent cultures, there
are significant and historical similarities and interactions between the arts of Korea, China and
Japan.
The study and appreciation of Korean art is still at a formative stage in the West. Because
of
Korea’s position between China and Japan, Korea was seen as a mere conduit of Chinese culture
to Japan. However, recent scholars have begun to acknowledge Korea's own unique art, culture
and important role in not only transmitting Chinese culture but assimilating it and creating a unique
culture of its own. An art given birth to and developed by a nation is its own art.
Generally, the history of Korean painting is dated to approximately 108 C.E., when it first appears
as an independent form. Between that time and the paintings and frescoes that appear on the
Goryeo dynasty tombs, there has been little research. Suffice to say that til the Joseon
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dynasty the primary influence was Chinese painting though done with Korean landscapes, facial
features, Buddhist topics, and an emphasis on celestial observation in keeping with the rapid
development of Korean astronomy.
Throughout the history of Korean painting, there has been a constant separation of
monochromatic works of black brushwork on very often mulberry paper or silk; and the colourful
folk art or min-hwa, ritual arts, tomb paintings, and festival arts which had extensive use of colour.
This distinction was often class-based: scholars, particularly in Confucian art felt that one could
see colour in monochromatic paintings within the gradations and felt that the actual use of colour
coarsened the paintings, and restricted the imagination. Korean folk art, and painting of
architectural frames was seen as brightening certain outside wood frames, and again within the
tradition of Chinese architecture, and the early Buddhist influences of profuse rich thalo and
primary colours inspired by Art of India.
Contemporary art in Korea: The first example of Western-style oil painting in Korean art was in
the self-portraits of Korean artist Ko Hu i-dong (1886-1965). Only three of these works still remain
today. these self-portraits impart an understanding of medium that extends well beyond the
affirmation of stylistic and cultural difference. by the early twentieth century, the decision to paint
using oil and canvas in Korea had two different interpretations. One being a sense of
enlightenment due to western ideas and art styles. This
enlightenment derived from an intellectual movement of the
seventeenth and eighteenth centuries. Ko had been painting
with this method during a period of Japan's annexation of
Korea. During this time many claimed his art could have been
political, however, he himself stated he was an artist and not
a politician. Ko stated "While I was in Tokyo, a very curious
thing happened. At that time there were fewer than one
hundred Korean students in Tokyo. All of us were drinking
the new air and embarking on new studies, but there were
some who mocked my choice to study art. A close friend said
that it was not right for me to study painting in such a time as
this."
Jeong Seon, General View of Mt. Geumgang,
Korea, c.1734
Korean pottery was recognized as early as 6000 BCE. This pottery was also referred to as combpatterned pottery due to the decorative lines carved onto the outside. early Korean societies were
mainly dependent on fishing. So, they used the pottery to store fish and other things collected
from the ocean such as shellfish. Pottery had two main regional distinctions. Those from the East
coast tends to have a flat base, whereas pottery on the South coast had a round base.
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South Asian Art
Buddhist art originated in the Indian subcontinent in the centuries following the life of the
historical Gautama Buddha in the 6th to 5th century BCE, before evolving through its contact with
other cultures and its diffusion through the rest of Asia and the world. Buddhist art traveled with
believers as the dharma spread, adapted, and evolved in each new host country. It developed to
the north through Central Asia and into East Asia to form the Northern branch of Buddhist art, and
to the east as far as Southeast Asia to form the Southern branch of Buddhist art. In India, Buddhist
art flourished and even influenced the development of Hindu art, until Buddhism nearly
disappeared in India around the 10th century CE due in part to the vigorous expansion of Islam
alongside Hinduism.
A common visual device in Buddhist art is the mandala. From a viewer's perspective, it represents
schematically the ideal universe.[30][31] In various spiritual traditions, mandalas may be employed
for focusing the attention of aspirants and adepts, a spiritual teaching tool, for establishing a
sacred space and as an aid to meditation and trance induction. Its symbolic nature can help one
"to access progressively deeper levels of
the unconscious, ultimately assisting the meditator to experience
a mystical sense of oneness with the ultimate unity from which the
cosmos
in
all
its
manifold
forms arises." The
psychoanalyst Carl Jung saw the mandala as "a representation of
the centre of the unconscious self," and believed his paintings of
mandalas enabled him to identify emotional disorders and work
towards wholeness in personality.
Mandala of Chandra, God of the Moon,
Nepal (Kathmandu Valley) via The Metropolitan Museum of Art
Indian art can be classified into specific periods, each reflecting certain religious, political and
cultural developments. The earliest examples are the petroglyphs such as those found in
Bhimbetka, some of them dating to before 5500 BC. The production of such works continued for
several millenniums.
The art of the Indus Valley Civilization followed. Later examples include the carved
pillars of Ellora, Maharashtra state. Other examples are the frescoes of Ajanta and Ellora Caves.
The contributions of the Mughal Empire to Indian art include Mughal painting, a style of miniature
painting heavily influenced by Persian miniatures, and Mughal architecture.
During the British Raj, modern Indian painting evolved as a result of combining traditional Indian
and European styles. Raja Ravi Varma was a pioneer of this period. The Bengal school of Art
developed during this period, led by Abanidranath Tagore, Gaganendranath Tagore, Jamini Roy,
Mukul Dey and Nandalal Bose.
One of the most popular art forms in India is called Rangoli. It is a form of
sandpainting decoration that uses finely ground white powder and colours, and is used commonly
outside homes in India.
The visual arts (sculpture, painting and architecture) are tightly interrelated with the non-visual
arts. According to Kapila Vatsyayan, "Classical Indian architecture, sculpture, painting, literature
(kaavya), music and dancing evolved their own rules conditioned by their respective media, but
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they shared with one another not only the underlying spiritual beliefs of the Indian religiophilosophic mind, but also the procedures by which the relationships of the symbol and the
spiritual states were worked out in detail."
Insight into the unique qualities of Indian art is best achieved through an understanding of the
philosophical thought, the broad cultural history, social, religious and political background of the
artworks.
South East Asian Art
Cambodian art and the culture of Cambodia has had a rich and varied history dating back many
centuries and has been heavily influenced by India. In turn, Cambodia greatly influenced
Thailand, Laos and vice versa. Throughout Cambodia's long history, a major source of inspiration
was from religion. Throughout nearly two millennium, a Cambodians developed a unique Khmer
belief from the syncreticism of indigenous animistic beliefs and the Indian religions of Buddhism
and Hinduism. Indian culture and civilization, including its language and arts reached mainland
Southeast Asia around the 1st century CE. It is generally believed that seafaring merchants
brought Indian customs and culture to ports along the gulf of Thailand and the Pacific while trading
with China. The first state to benefit from this was Funan. At various times, Cambodia culture
also absorbed elements from Javanese, Chinese, Lao, and Thai cultures.
Visual arts of Cambodia
Stone bas-relief at Bayon temple
depicting the Khmer army at war
with the Cham, carved c. 1200 CE
The history of Visual arts of Cambodia stretches back centuries to ancient crafts; Khmer art
reached its peak during the Angkor period. Traditional Cambodian arts and crafts include textiles,
non-textile weaving, silversmithing, stone carving, lacquerware, ceramics, wat murals, and kitemaking.[40] Beginning in the mid-20th century, a tradition of modern art began in Cambodia, though
in the later 20th century both traditional and modern arts declined for several reasons, including
the killing of artists by the Khmer Rouge. The country has experienced a recent artistic revival
due to increased support from governments, NGOs, and foreign tourists.
Khmer sculpture refers to the stone sculpture of the Khmer Empire, which ruled a territory based
on modern Cambodia, but rather larger, from the 9th to the 13th century. The most celebrated
examples are found in Angkor, which served as the seat of the empire.
By the 7th century, Khmer sculpture begins to drift away from its Hindu influences – pre-Gupta for
the Buddhist figures, Pallava for the Hindu figures – and through constant stylistic evolution, it
comes to develop its own originality, which by the 10th century can be considered complete and
absolute. Khmer sculpture soon goes beyond r7eligious representation, which becomes almost a
pretext in order to portray court figures in the guise of gods and goddesses.[42] But furthermore, it
also comes to constitute a means and end in itself for the execution of stylistic refinement, like a
kind of testing ground. We have already seen how the social context of the Khmer kingdom
provides a second key to understanding this art. But we can also imagine that on a more exclusive
level, small groups of intellectuals and artists were at work, competing among themselves in
mastery and refinement as they pursued a hypothetical perfection of style.
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Relief from Angkor
The gods we find in Khmer sculpture are those of the two
great religions of India, Buddhism and Hinduism. And they
are always represented with great iconographic precision,
clearly indicating that learned priests supervised the
execution of the works. Nonetheless, unlike those Hindu
images which repeat an idealized stereotype, these images
are treated with great realism and originality because they
depict living models: the king and his court. The true social
function of Khmer art was, in fact, the glorification of the aristocracy through these images of the
gods embodied in the princes. In fact, the cult of the “deva-raja” required the development of an
eminently aristocratic art in which the people were supposed to see the tangible proof of the
sovereign's divinity, while the aristocracy took pleasure in seeing itself – if, it's true, in idealized
form – immortalized in the splendour of intricate adornments, elegant dresses and extravagant
jewelry.
The sculptures are admirable images of a gods, royal and imposing presences, though not without
feminine sensuality, makes us think of important persons at the courts, persons of considerable
power. The artists who sculpted the stones doubtless satisfied the primary objectives and
requisites demanded by the persons who commissioned them. The sculptures represent the
chosen divinity in the orthodox manner and succeed in portraying, with great skill and expertise,
high figures of the courts in all of their splendour, in the attire, adornments and jewelry of a
sophisticated beauty.
Indonesian art
Balinese painting of Prince Panji
meeting three women in the jungle
Indonesian art and culture has been shaped by long interaction between original indigenous
customs and multiple foreign influences. Indonesia is central along ancient trading routes
between the Far East and the Middle East, resulting in many cultural practices being strongly
influenced
by
a
multitude
of religions,
including Hinduism, Buddhism, Confucianism and Islam, all strong in the major trading cities. The
result is a complex cultural mixture very different from the original indigenous cultures. Indonesia
is not generally known for paintings, aside from the intricate and expressive Balinese
paintings, which often express natural scenes and themes from the traditional dances.
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Kenyah mural painting in Long Nawang, East Kalimantan.
Other exceptions include indigenous Kenyah paint designs
based on, as commonly found among Austronesian cultures,
endemic natural motifs such as ferns, trees, dogs, hornbills and
human figures. These are still to be found decorating the walls
of Kenyah Dayak longhouses in East Kalimantan's Apo Kayan
region.
Indonesia has a long-he Bronze and Iron Ages, but the art-form particularly flourished from the
8th century to the 10th century, both as stand-alone works of art, and also incorporated into
temples.
Relief sculpture
from Borobudur temple,
c. 760–830 AD
Most notable are the hundreds of meters of relief
sculpture at the temple of Borobudur in central Java.
Approximately two miles of exquisite relief sculpture tell
the story of the life of Buddha and illustrate his
teachings. The temple was originally home to 504 statues of the seated Buddha. This site, as with
others in central Java, show a clear Indian influence.
Calligraphy, mostly based on the Qur'an, is often used as decoration as Islam forbids naturalistic
depictions. Some foreign painters have also settled in Indonesia. Modern Indonesian painters use
a wide variety of styles and themes.
Thai Art
Thai art and visual art were traditionally and primarily Buddhist and Royal Art. Sculpture was
almost exclusively of Buddha images, while painting was confined to illustration of books and
decoration of buildings, primarily palaces and temples. Thai Buddha images from different periods
have a number of distinctive styles. Contemporary Thai art often combines traditional Thai
elements with modern techniques.
Traditional Thai paintings showed subjects in two dimensions without perspective. The size of
each element in the picture reflected its degree of importance. The primary technique of
composition is that of apportioning areas: the main elements are isolated from each other by
space transformers. This eliminated the intermediate ground, which would otherwise imply
perspective. Perspective was introduced only as a result of Western influence in the mid-19th
century.
The most frequent narrative subjects for paintings were or are: the Jataka stories, episodes from
the life of the Buddha, the Buddhist heavens and hells, and scenes of daily life.
The Sukhothai period began in the 14th century in the Sukhothai kingdom. Buddha images of the
Sukhothai period are elegant, with sinuous bodies and slender, oval faces. This style emphasized
the spiritual aspect of the Buddha, by omitting many small anatomical details. The effect was
enhanced by the common practice of casting images in metal rather than carving them.
This period saw the introduction of the "walking Buddha" pose.
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Sukhothai artists tried to follow the canonical defining marks of a Buddha, as they are set out in
ancient Pali texts:














Skin so smooth that dust cannot stick to it;
Legs like a deer;
Thighs like a banyan tree;
Shoulders as massive as an elephant's head;
Arms round like an elephant's trunk, and long enough to touch the knees;
Hands like lotuses about to bloom;
Fingertips turned back like petals;
head like an egg;
Hair like scorpion stingers;
Chin like a mango stone;
Nose like a parrot's beak;
Earlobes lengthened by the earrings of royalty;
Eyelashes like a cow's;
Eyebrows like drawn bows.
Sukhothai also produced a large quantity of glazed ceramics in the Sawankhalok style, which
were traded throughout Southeast Asia.
Vietnamese art
Ngoc Lu bronze drum's surface,
2nd to 3rd century BCE
Vietnamese art is from one of the oldest of such cultures in the
Southeast Asia region. A rich artistic heritage that dates to prehistoric
times and includes: silk painting, sculpture, pottery, ceramics, woodblock prints, architecture,
music, dance and theatre.
Tô Ngọc Vân,
Thiếu nữ bên hoa huệ
(Young Woman with Lily), 1943, oil
Traditional Vietnamese art is art practiced in Vietnam or by Vietnamese artists,
from ancient times (including the elaborate Đông Sơn drums) to post-Chinese
domination art which was strongly influenced by Chinese Buddhist art, among
other philosophies such as Taoism and Confucianism. The art of Champa and French art also
played a smaller role later on.
The Chinese influence on Vietnamese art extends into Vietnamese pottery and ceramics,
calligraphy, and traditional architecture. Currently, Vietnamese lacquer paintings have proven to
be quite popular.
The Nguyễn dynasty, the last ruling dynasty of Vietnam (c. 1802–1945), saw a renewed interest
in ceramics and porcelain art. Imperial courts across Asia imported Vietnamese ceramics.
Despite how highly developed the performing arts (such as imperial court music and dance)
became during the Nguyễn dynasty, some view other fields of arts as beginning to decline during
the latter part of the Nguyễn dynasty.
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Beginning in the 19th century, modern art and French artistic influences spread into Vietnam. In
the early 20th century, the École Supérieure des Beaux Arts de l’Indochine (Indochina College of
Arts) was founded to teach European methods and exercised influence mostly in the larger cities,
such as Hanoi and Ho Chi Minh City.[50]
Travel restrictions imposed on the Vietnamese during France's 80-year rule of Vietnam and the
long period of war for national independence meant that very few Vietnamese artists were able to
train or work outside of Vietnam.[51] A small number of artists from well-to-do backgrounds had
the opportunity to go to France and make their careers there for the most part.[51] Examples include
Le Thi Luu, Le Pho, Mai Trung Thu, Le Van De, Le Ba Dang and Pham Tang.[51]
Modern Vietnamese artists began to utilize French techniques with many traditional mediums
such as silk, lacquer, etc., thus creating a unique blend of eastern and western elements.
Vietnamese calligraphy
Calligraphy has had a long history in Vietnam, previously using Chinese characters along with
chữ nôm. However, most modern Vietnamese calligraphy instead uses the Roman- character
based Quốc Ngữ, which has proven to be very popular.
In the past, with literacy in the old character-based writing systems of Vietnam being restricted to
scholars and elites, calligraphy nevertheless still played an important part in Vietnamese life. On
special occasions such as the Lunar New Year, people would go to the village teacher or scholar
to make them a calligraphy hanging (often poetry, folk sayings or even single words). People who
could not read or write also often commissioned scholars to write prayers which they would burn
at temple shrines.
Gallery of
Asian Arts
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Activities/Assessment:
1.
Appreciation of Asian Arts. After reading the lecture, give at least three examples of art from
different country. Identify the artists and give brief description of each work of art. Use the
table below for your answer.
Country
Work of Art
Brief description
References:
https://en.wikipedia.org/wiki/History_of_Asian_art
https://www.oxfordartonline.com/page/asian-art
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UNIT 4
PHILIPPINE ARTS
Overview
This lesson provides development of arts in the Philippines.
Learning Objectives:
After completion of this course, you should be able to:
1. Express appreciation of Arts in the Philippines; and
2. Express how to develop your own talents/skills.
Course Materials:
Motive Question:
Have you visited an art museum or a building with arts in our country? Can you identify the works
of artists? How?
Lecture / Discussion:
PHILIPPINE ARTS
Arts in the Philippines refer to the various forms of the arts that have developed and
accumulated in the Philippines from the beginning of civilization in the country up to the present
era. They reflect the range of artistic influences on the country's culture, including indigenous
forms of the arts, and how these influences have honed the country's arts. These arts are divided
into two distinct branches, namely, traditional arts[1] and non-traditional arts.[2] Each branch is
further divided into various categories with subcategories.
The Angono Petroglyphs are petroglyphs carved into a rock
wall in Angono, Rizal, Philippines. They consist of 127 human
and animal figures engraved on the rockwall probably carved
during the late Neolithic age, dated between 6000 and 2000 BC.
They are the oldest known Filipino rock arts.
These inscriptions clearly show stylized human figures,
frogs and lizards, along with other designs that may have
depicted other interesting figures but erosion may have caused
it to become indistinguishable. The engravings are
mostly symbolic representations and are associated with healing and sympathetic magic. The
carvings were possibly used as part of an ancient healing practice for sick children. The site is
sacred for indigenous Tagalog folk religion and is believed to be a home for anitos.
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The site has been declared by the National Museum of the Philippines as a National Cultural
Treasure in 1973. It is also included in the list of the World Inventory of Rock Art in 1985 and
historic sites of the World Monuments Watch and World Monuments Funds and part of the
Philippines' tentative list of the UNESCO World Heritage Site.
This was followed by the Alab Petroglyphs, dated not later than 1500 BC, which exhibited symbols
of fertility such as a pudenda. The art rock arts are petrographs, including the charcoal rock art
from Peñablanca, charcoal rock art from Singnapan, red hematite art at Anda, and the recently
discovered rock art from Monreal (Ticao), depicting monkeys, human faces, worms or snakes,
plants, dragonflies, and birds. Between 890-710 BC, the Manunggul Jar was made in southern
Palawan. It served as a secondary burial jar, where the top cover depicting the journey of the soul
into the afterlife through a boat with a psycopomp. In 100 BC, the Kabayan Mummy Burial Caves
were carved from a mountain. Between 5 BC-225 AD, the Maitum anthropomorphic pottery were
created in Cotabato. The crafts were secondary burial jars, with many depicting human heads,
hands, feet, and breast.
By the 4th century AD, and most likely before that, ancient people from the Philippines have been
making giant warships, where the earliest known archaeological evidences have been excavated
from Butuan, where the ship was identified as a balangay and dated at 320 AD. The oldest,
currently found, artifact with a written script on it is the Laguna Copperplate Inscription, dated 900
AD. The plate discusses the payment of a debt. The Butuan Ivory Seal is the earliest known ivory
art in the country, dated between the 9th to 12th century AD. The seal contains carvings of an
ancient script. During this period, various artifacts were made, such as the Agusan image,
a gold statue of a deity, possibly influenced by Hinduism and Buddhism. From the 12th to
15th century, the Butuan Silver Paleograph was made. The script on the silver has yet to be
deciphered. Between the 13th-14th century, the natives of Banton, Romblon crafted the Banton
cloth, the oldest surviving ikat textile in Southeast Asia. The cloth was used as a death blanket.
By the 16th century, up to the late 19th century, Spanish colonization influenced various forms of
art in the country.
From 1565 to 1815, Filipino craftsfolk were making the Manila galleons used for the trading of
Asia to the Americas, where many of the goods go into Europe. In 1565, the ancient tradition of
tattooing in the Philippines was first recorded through the Pintados. In 1584, Fort San Antonio
Abad was completed, while in 1591, Fort Santiago was built. By 1600, the Rice Terraces of the
Philippine Cordilleras were made. Five rice terrace clusters have been designated as world
heritage sites. In 1607, the San Agustin Church (Manila) was built. The building has been declared
as a world heritage site. The site is famous for its painted interior. In 1613, the oldest surviving
suyat writing on paper was written through the University of Santo Tomas Baybayin Documents.[67]
Following 1621, the Monreal Stones were created in Ticao, Masbate. In 1680, the Arch of the
Centuries was made. In 1692, the image of Nuestra Senora de la Soledad de Porta Vaga was
painted.
Manaoag Church was established in 1701. In 1710, the world heritage site of Paoay Church
was built. The church is known for its giant buttresses, part of the earthquake Baroque
architecture. In 1720, the religious paintings at Camarin de da Virgen in Santa Ana were made.
In 1725, the historical Santa Ana Church was built. In 1765, the world heritage site of
Santa Maria Church was built. The site is notable for its highland structure. Bacarra Church was
built in 1782. In 1783, the idjangs, castle-fortresses, of Batanes were first recorded. The exact
age of the structures are still unknown. In 1797, the world heritage site of Miagao Church was
built. The church is famous for its facade carvings. Tayum Church was built in 1803. In 1807, the
Basi Revolt paintings were made, depicting the Ilocano revolution against Spanish interference
on basi production and consumption. In 1822, the historical Paco Park was
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established. In 1824, the Las Piñas Bamboo Organ was created, becoming the first and only
organ made of bamboo. By 1852, the Sacred Art paintings of the Parish Church of Santiago
Apostol were finished. In 1884, both the Assassination of Governor Bustamante and His Son
and Spoliarium won prizes during at art competition in Spain. In 1890, the painting, Feeding the
Chicken, was made. The Parisian Life was painted in 1892, while La Bulaqueña was painted in
1895. The clay art, The Triumph of Science over Death, was crafted in 1890. In 1891, the first and
only all-steel church in Asia, San Sebastian Church (Manila), was built. In 1894, the clay art
Mother's Revenge was made.
In the 20th century, or possibly earlier, the Koran of Bayang was written. During the same time,
the Stone Agricultural Calendar of Guiday, Besao was discovered by outsiders. In 1913, the
Rizal Monument was completed. In 1927, the University of Santo Tomas Main Building was
rebuilt, while its Central Seminary Building was built in 1933. In 1931, the royal palace Darul
Jambangan of Sulu was destroyed. On the same year, the Manila Metropolitan Theater was built.
The Progress of Medicine in the Philippines paintings were finished in 1953. Santo Domingo
Church was built in 1954. In 1962, the International Rice Research Institute painting was
completed, while the Manila Mural was made in 1968. In 1993, the Bonifacio Monument was
created.
The history of Modern Philippine art is marked by the conflict between the rules and views of the
Academy and the innovative methods of the Modernists. The Academic style was established
during the Spanish colonial period and followed the rules of the Spanish, Italian and French
Academies. When they first arrived in the Philippines in the early 16th century the Spaniards did
so with the primary intention of spreading the Catholic faith. As a result religious art and the
creation of icons were strongly encouraged. By late 19th century Neo-Classicism and Realism
became the norm.
A turning point was the emergence of the “13 Modernists” group which included artists who had
received their education abroad where they had come in contact with various new and
experimental styles. They argued that the official art was too photographic and relied too much
on the exactness of representation which led to rigidness and lack of originality. The Academy
stroke back by framing the Modernists as charlatans who made shocking and controversial
artworks to mask “their lack of skills”.
The arrival of the Americans lead to a new wave of nationalism in Philippine society which is best
reflected in the art of Fernando Amorsolo. The art of the period focused on traditional folk scenes
as an embodiment of the imagined sense of nationhood. Traditional customs, pastimes and
occupations are among the most recognizable motifs employed. In hindsight some historians have
criticised Amorsolo for painting an idealized version of what life was like in those times while
others have argued that his paintings reflected the people’s desire to escape from a complicated
reality into simplicity.
The National Commission for Culture and the Arts, the official cultural agency of the government
of the Philippines, has categorized Filipino arts into traditional and non-traditional. Each category
are split into various arts, which in turn have sub-categories of their own.
(A) Traditional arts
o
o
o
Folk architecture – including, but not limited to, stilt houses, land houses, and aerial
houses
Maritime transport – boat houses, boat-making, and maritime traditions
Weaving – including, but not limited to, basket weaving, back-strap loom weaving,
headgear weaving, fishnet weaving, and other forms of weaving
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o
o
o
o
o
o
o
Carving – including, but not limited to, woodcarving and folk non-clay sculpture
Folk performing arts – including, but not limited to, dances, plays, and dramas
Folk (oral) literature – including, but not limited to, epics, songs, and myths
Folk graphic and plastic arts – including, but not limited to, calligraphy, tattooing, folk
writing, folk drawing, and folk painting
Ornament, textile, or fiber art – hat-making, mask-making, accessory-making,
ornamental metal crafts
Pottery – including, but not limited to, ceramic making, clay pot-making, and folk clay
sculpture
Other artistic expressions of traditional culture – including, but not limited to, nonornamental metal crafts, martial arts, supernatural healing arts, medicinal arts, and
constellation traditions
(B) Non-traditional arts
o
o
o
o
o
o
o
o
Dance – including, but not limited to, dance choreography, dance direction, and dance
performance
Music – including, but not limited to, musical composition, musical direction, and musical
performance
Theater – including, but not limited to, theatrical direction, theatrical performance,
theatrical production design, theatrical light and sound design, and theatrical playwriting
Visual arts – including, but not limited to painting, non-folk sculpture, printmaking,
photography, installation art, mixed media works, illustration, graphic arts, performance
art, and imaging
Literature – including, but not limited to, poetry, fiction, essay, and literary/art criticism
Film and broadcast arts – including, but not limited to, film and broadcast direction, film
and broadcast writing, film and broadcast production design, film and broadcast
cinematography, film and broadcast editing, film and broadcast animation, film and
broadcast performance, and film and broadcast new media
Architecture and allied arts – including, but not limited to, non-folk architecture, interior
design, landscape architecture, and urban design
Design – including, but not limited to, industrial design, and fashion design
Below are representative pieces of the 20th century art of the Philippines, a period which on social
level saw the demise of the Spanish rule and the arrival of the Americans and on cultural level
witnessed intense artistic exchanges with the West.
“Las Damas Romanas”, painted by Juan
Luna in the style of the Neo-Classicism, is
one of the most famous paintings of the
Colonial period. Skilled in the style of the
Academy he was the first Filipino painter to
win international recognition in Europe and
the US.
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“Planting Rice” by Fernando Amorsolo
The arrival of the Americans lead to a new wave of
nationalism in Philippine society which is best
reflected in the art of Fernando Amorsolo. The art of
the period focused on traditional folk scenes as an
embodiment of the imagined sense of nationhood.
Traditional customs, pastimes and occupations are
among the most recognisable motifs employed. In
hindsight some historians have criticised Amorsolo
for painting an idealised version of what life was like
in those times while others have argued that his
paintings reflected the people’s desire to escape
from a complicated reality into simplicity.
“Interaction” by Victorio Edades
History names Victorio Edades as “the father” of
Modern Philippine art. Schooled in the US upon his
return he introduced an entirely new way of thinking
about art. He argued that art can be more than
representation of reality, it can be representation of
reality as seen through the mind and emotions of the
artist.
The Musicians by Vicente Manansala
One of the first Abstractionists on the Philippine art
scene Vicente Manansala is also credited with
bridging the gap between the city and the suburbs,
between the rural and cosmopolitan ways of life. His
paintings depict a nation in transition, an allusion to
the new culture brought by the Americans. Manansala
together with Fabian de la Rosa are among the bestselling Philippine artists in the West.
For colored pictures of the paintings, please see the cite given:
https://www.artdependence.com/articles/five-classics-of-modern-philippineart/#:~:text=The%20history%20of%20Modern%20Philippine,Spanish%2C%20Italian%20and%2
0French%20Academies.
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Gallery of Philippine Arts
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Activities/Assessment:
1. From the lecture given, give at least five (5) types of traditional arts and five (5) types of
non-traditional arts that give you inspiration to appreciate arts. Explain why.
2. Give at least three (3) types of arts that you think you are capable of doing. What will you
do to develop your skills for these types of arts?
References:
https://en.wikipedia.org/wiki/Arts_in_the_Philippines
https://en.wikipedia.org/wiki/History_of_Asian_art
https://www.artdependence.com/articles/five-classics-of-modern-philippineart/#:~:text=The%20history%20of%20Modern%20Philippine,Spanish%2C%20Italian%20and%2
0French%20Academies.
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UNIT 5
MODERN AND CONTEMPORARY ARTS
Overview
This lesson provides knowledge on modern and contemporary arts.
Learning Objectives:
After completion of this course, you should be able to:
1. Discuss the distinction of modern and contemporary arts from other arts; and
2. Express yourself thru artistic work.
Course Materials:
Motive Question:
During your Elementary or High School days, what arts have you done for your Art Classes? Give
at least two (2) notable experiences while doing your masterpieces.
Lecture / Discussion:
MODERN ART
Modern art came before contemporary art. Most art historians and critics put the beginning of
modern art in the West at around the 1860s, continuing up to the 1960s. Whereas,
contemporary art means art made in the present day.
Modern art includes artistic work produced during the period extending roughly from the 1860s
to the 1970s, and denotes the styles and philosophies of the art produced during that era.[1] The
term is usually associated with art in which the traditions of the past have been thrown aside in a
spirit of experimentation. Modern artists experimented with new ways of seeing and with fresh
ideas about the nature of materials and functions of art. A tendency away from the narrative,
which was characteristic for the traditional arts, toward abstraction is characteristic of much
modern art. More recent artistic production is often called contemporary art or postmodern art.
Modern art begins with the heritage of painters like Vincent van Gogh, Paul Cézanne, Paul
Gauguin, Georges Seurat and Henri de Toulouse-Lautrec all of whom were essential for the
development of modern art. At the beginning of the 20th century Henri Matisse and several other
young artists including the pre-cubists Georges Braque, André Derain, Raoul Dufy, Jean
Metzinger and Maurice de Vlaminck revolutionized the Paris art world with "wild", multi-colored,
expressive landscapes and figure paintings that the critics called Fauvism. Matisse's two versions
of The Dance signified a key point in his career and in the development of modern painting. It
reflected Matisse's incipient fascination with primitive art: the intense warm color of
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the figures against the cool blue-green background and the rhythmical succession of the dancing
nudes convey the feelings of emotional liberation and hedonism.
At the start of 20th-century Western painting, and Initially influenced by Toulouse- Lautrec,
Gauguin and other late-19th-century innovators, Pablo Picasso made his first cubist
paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids:
cube, sphere and cone. With the painting Les Demoiselles d'Avignon (1907), Picasso dramatically
created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes,
violently painted women, reminiscent of African tribal masks and his own new Cubist inventions.
Analytic cubism was jointly developed by Picasso and Georges Braque, exemplified by Violin and
Candlestick, Paris, from about 1908 through 1912. Analytic cubism, the first clear manifestation
of cubism, was followed by Synthetic cubism, practiced by Braque, Picasso, Fernand Léger, Juan
Gris, Albert Gleizes, Marcel Duchamp and several other artists into the 1920s. Synthetic cubism
is characterized by the introduction of different textures, surfaces, collage elements, papier collé
and a large variety of merged subject matter.
The notion of modern art is closely related to modernism.
Roots in the 19th century
Although modern sculpture and architecture are reckoned to have emerged at the end of the 19th
century, the beginnings of modern painting can be located earlier. The date perhaps most
commonly identified as marking the birth of modern art is 1863, the year that Édouard Manet
showed his painting Le déjeuner sur l'herbe in the Salon des Refusés in Paris. Earlier dates have
also been proposed, among them 1855 (the year Gustave Courbet exhibited The Artist's Studio)
and 1784 (the year Jacques-Louis David completed his painting The Oath of the Horatii). In the
words of art historian H. Harvard Arnason: "Each of these dates has significance for the
development of modern art, but none categorically marks a completely new beginning ....
A gradual metamorphosis took place in the course of a hundred years."
The strands of thought that eventually led to modern art can be traced back to the
Enlightenment. The important modern art critic Clement Greenberg, for instance, called
Immanuel Kant "the first real Modernist" but also drew a distinction: "The Enlightenment criticized
from the outside ... . Modernism criticizes from the inside." The French Revolution of 1789
uprooted assumptions and institutions that had for centuries been accepted with little question
and accustomed the public to vigorous political and social debate. This gave rise to what art
historian Ernst Gombrich called a "self-consciousness that made people select the style of their
building as one selects the pattern of a wallpaper."
The pioneers of modern art were Romantics, Realists and Impressionists. By the late 19th
century, additional movements which were to be influential in modern art had begun to emerge:
post-Impressionism as well as Symbolism.
Influences upon these movements were varied: from exposure to Eastern decorative arts,
particularly Japanese printmaking, to the coloristic innovations of Turner and Delacroix, to a
search for more realism in the depiction of common life, as found in the work of painters such as
Jean-François Millet. The advocates of realism stood against the idealism of the tradition- bound
academic art that enjoyed public and official favor.[11] The most successful painters of the day
worked either through commissions or through large public exhibitions of their own work. There
were official, government-sponsored painters' unions, while governments regularly held public
exhibitions of new fine and decorative arts.
The Impressionists argued that people do not see objects but only the light which they reflect, and
therefore painters should paint in natural light (en plein air) rather than in studios and
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should capture the effects of light in their work. Impressionist artists formed a group, Société
Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs ("Association of Painters,
Sculptors, and Engravers") which, despite internal tensions, mounted a series of independent
exhibitions.[13] The style was adopted by artists in different nations, in preference to a "national"
style. These factors established the view that it was a "movement". These traits—establishment
of a working method integral to the art, establishment of a movement or visible active core of
support, and international adoption—would be repeated by artistic movements in the Modern
period in art.
Early 20th century
Among the movements which flowered in the first decade of the 20th century were
Fauvism, Cubism, Expressionism, and Futurism.
During the years between 1910 and the end of World War I and after the heyday of cubism,
several movements emerged in Paris. Giorgio de Chirico moved to Paris in July 1911, where he
joined his brother Andrea (the poet and painter known as Alberto Savinio). Through his brother
he met Pierre Laprade, a member of the jury at the Salon d'Automne where he exhibited three of
his dreamlike works: Enigma of the Oracle, Enigma of an Afternoon and Self-Portrait. During 1913
he exhibited his work at the Salon des Indépendants and Salon d’Automne, and his work was
noticed by Pablo Picasso, Guillaume Apollinaire, and several others. His compelling and
mysterious paintings are considered instrumental to the early beginnings of Surrealism. Song of
Love (1914) is one of the most famous works by de Chirico and is an early example of the
surrealist style, though it was painted ten years before the movement was "founded" by
André Breton in 1924.
World War I brought an end to this phase but indicated the beginning of a number of anti- art
movements, such as Dada, including the work of Marcel Duchamp, and of Surrealism. Artist
groups like de Stijl and Bauhaus developed new ideas about the interrelation of the arts,
architecture, design, and art education.
Modern art was introduced to the United States with the Armory Show in 1913 and through
European artists who moved to the U.S. during World War I.
After World War II
It was only after World War II, however, that the U.S. became the focal point of new artistic
movements. The 1950s and 1960s saw the emergence of Abstract Expressionism, Color field
painting, Conceptual artists of Art & Language, Pop art, Op art, Hard-edge painting, Minimal art,
Lyrical Abstraction, Fluxus, Happening, Video art, Postminimalism, Photorealism and various
other movements. In the late 1960s and the 1970s, Land art, Performance art, Conceptual
art, and other new art forms had attracted the attention of curators and critics, at the expense of
more traditional media. Larger installations and performances became widespread.
By the end of the 1970s, when cultural critics began speaking of "the end of painting" (the title of
a provocative essay written in 1981 by Douglas Crimp), new media art had become a category in
itself, with a growing number of artists experimenting with technological means such as video art.
Painting assumed renewed importance in the 1980s and 1990s, as evidenced by the rise of neoexpressionism and the revival of figurative painting.
Towards the end of the 20th century, a number of artists and architects started questioning the
idea of "the modern" and created typically Postmodern works.
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CONTEMPORARY ART
Contemporary art is the art of today, produced in the second half of the 20th century or in the
21st century. Contemporary artists work in a globally influenced, culturally diverse, and
technologically advancing world. Their art is a dynamic combination of materials, methods,
concepts, and subjects that continue the challenging of boundaries that was already well
underway in the 20th century. Diverse and eclectic, contemporary art as a whole is distinguished
by the very lack of a uniform, organizing principle, ideology, or "-ism". Contemporary art is part of
a cultural dialogue that concerns larger contextual frameworks such as personal and cultural
identity, family, community, and nationality.
Contemporary art is created by living artists, who create the latest up to date fine arts.
Contemporary Art alludes to the work of expressions made since the result of World War II and is
utilized to depict the work by artists who are still alive creating art. Contemporary art takes the
fundamental elements of modern art into more prominent statures by concentrating more on
social, monetary and political issues, and furthermore utilizes assorted materials and mediums to
create fine art.
Modern Artists
Takashi Murakami (born February 1, 1962) is a Japanese contemporary artist. He works in fine
arts media (such as painting and sculpture) as well as commercial media (such as fashion,
merchandise, and animation) and is known for blurring the line between high and low arts. He
coined the term "superflat", which describes both the aesthetic characteristics of the Japanese
artistic tradition and the nature of post-war Japanese culture and society, and is also used for
Murakami's artistic style and other Japanese artists he has influenced.
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Murakami is the founder and President of
Kaikai Kiki Co., Ltd., through which he
manages several younger artists.
He was the founder and organizer of the
biannual art fair Geisai.
Damien Steven Hirst (born 7 June 1965) is an English artist,
entrepreneur, and art collector. He is one of the Young British Artists
(YBAs), who dominated the art scene in the UK during the 1990s. He is
reportedly the United Kingdom's richest living artist, with his wealth valued
at £215m in the 2010 Sunday Times Rich List. During the 1990s his
career was closely linked with the collector Charles Saatchi, but
increasing frictions came
to a head in 2003 and the relationship
ended.
Death is a central theme in Hirst's
works. He became famous for a series
of artworks in which dead animals
(including a shark, a sheep and a cow)
are preserved— sometimes having
been dissected— in formaldehyde.
The best-known of these was The
Physical Impossibility
of Death in the Mind of Someone Living, a 14-foot (4.3
m) tiger shark immersed in formaldehyde in a clear display
case. He has also made "spin paintings", created on a spinning
circular surface, and "spot paintings", which are rows of
randomly coloured circles created by his assistants.
Keith Allen Haring (May 4, 1958 – February 16, 1990) was an American artist whose pop art
and graffiti-like work grew out of the New York City street culture of the 1980s. Much of his work
includes sexual allusions that turned into social activism. He achieved this by using sexual images
to advocate for safe sex and AIDS awareness.
Haring's work grew to popularity from his spontaneous drawings in New York City subways—
chalk outlines of figures, dogs, and other stylized images on blank black advertising-space
backgrounds. After public recognition he created larger scale works, such as colorful murals,
many of them commissioned. His imagery has "become a widely recognized visual language".
His later work often addressed political and societal themes— especially homosexuality
and AIDS—through his own iconography.
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Haring died on February 16, 1990, of AIDS-related complications. In 2014 Haring was one of
the inaugural honorees in the Rainbow Honor Walk, a walk of fame in San Francisco’s Castro
neighborhood noting LGBTQ people who have "made significant
contributions in their fields." In June 2019, Haring was one of the inaugural
fifty American "pioneers, trailblazers, and heroes" inducted on the National
LGBTQ Wall of Honor within the Stonewall National Monument (SNM) in
New York City's Stonewall Inn.
The Difference between Modern Art and Contemporary Arts
Modern Art describes the period of ‘Modernism’, a period where art portrays with different terms
finishing with ‘ism’s, for example, Impressionism, Fauvism, Post-Impressionism, Cubism,
Surrealism, Dadaism, Pop Art, Expressionism, and numerous other art progressions.
Every last bit of it framed the establishment of Modernism Art. These art progressions were
impacted by various components like; Asian and African Art, Culture, Light, History and so on.
The Modernism development presented numerous new ideas in the realm of art. Unexpectedly
numerous artists began investigating dreams, imagery and individual iconography as their mark.
Present day craftsmen likewise explored different avenues regarding the expressive utilization of
shading, non-customary materials and mediums.
The era of Contemporary Art is known to deliver experimental works and handles a more
extensive assortment of social, political and financial issues. It made art all in all to mirror the
present issues that dog our reality today, for example, bigotry, globalization, underdeveloped
nation abuse, women rights among numerous others.
It made art all in all to mirror the present issues that hunt our reality today. In the course of the
most recent 30 years, a developing rundown of works of art that brings mindfulness towards the
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most baffling and essential issues has been observed. Guided by the rising mediums, for
example, art salons, video creating, object outline, graphical expressions and web-based social
networking, Contemporary Art has separated dividers and looks made a beeline for a boundless
future.
Contemporary art has some social effect. Additionally, contemporary artists have a critical
opportunity and freedom to explore different avenues regarding all styles. On the contrary, Modern
artists tend to locate the unadulterated thought of art. Contemporary artists are exceptionally
liberal in their states of mind, and they are slightly careful about immaculateness in art.
Note: To appreciate more famous arts, visit this link:
artyfactory.com/artappreciation.html#:~:text=Art%20appreciation%20is%20the%20knowledge,and%20improve%2
0your%20own%20artwork.
Activities/Assessment:
1. What are the similarities and differences of modern and contemporary arts? Use the table
below.
Modern Arts
Characteristics/Distinction
Modern/Contemporary Arts
Similarities
Contemporary Arts
Characteristics/Distinction
2. Using any materials you have, try to create a work of an art. Choose your own subject.
Explain your work of art in one paragraph with maximum ten (10) sentences.
References:
https://artsandculture.google.com/story/what-s-the-difference-between-modern-andcontemporary-art-%C2%A0/vwKiW17vbvl3JA
https://en.wikipedia.org/wiki/Art
https://en.wikipedia.org/wiki/Takashi_Murakami
https://www.haring.com/
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UNIT 6
CULTURE AND ARTS
Overview
This lesson provides knowledge on the relationship between culture and arts and their
importance in the society.
Learning Objectives:
After completion of this course, you should be able to:
1. Discuss the relationship between culture and arts; and
2. Explain how culture and arts help the society.
Course Materials:
Motive Question:
Give at least two countries with the same culture and arts. Explain in two (2) sentences in your
understanding why they are the same.
Lecture / Discussion:
CULTURE
The word culture is derived from the Latin root cultura or cultus meaning to "inhabit, cultivate, or
honour". In general, culture refers to human activity; different definitions of culture reflect different
theories for understanding, or criteria for valuing human
activity.
Present day
anthropologists use the term to refer to the universal human capacity to classify experiences and
to encode and communicate them symbolically. They regard this capacity as a defining feature of
the genus Homo. Since culture is learned, people living in different places have different cultures.
There can be different cultures in different countries, and there can also be shared cultures among
continents.
Culture consists of the beliefs, behaviors, objects, and other characteristics common to the
members of a particular group or society. Through culture, people and groups define themselves,
conform to society's shared values, and contribute to society. Thus, culture includes many societal
aspects: language, customs, values, norms, mores, rules, tools, technologies, products,
organizations, and institutions. This latter term institution refers to clusters of rules and cultural
meanings associated with specific social activities. Common institutions are the family, education,
religion, work, and health care.
Culture (/ˈkʌltʃər/) is an umbrella term which encompasses the social behavior and norms found in
human societies, as well as the knowledge, beliefs, arts, laws, customs, capabilities, and habits
of the individuals in these groups.
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Humans acquire culture through the learning processes of enculturation and socialization, which
is shown by the diversity of cultures across societies.
A cultural norm codifies acceptable conduct in society; it serves as a guideline for behavior, dress,
language, and demeanor in a situation, which serves as a template for expectations in a social
group. Accepting only a monoculture in a social group can bear risks, just as a single species can
wither in the face of environmental change, for lack of functional responses to the change. Thus
in military culture, valor is counted a typical behavior for an individual and duty, honor, and loyalty
to the social group are counted as virtues or functional responses in the continuum of
conflict. In the practice of religion, analogous attributes can be identified in a social group.
Culture is considered a central concept in anthropology, encompassing the range of phenomena
that are transmitted through social learning in human societies. Cultural universals are found
in all human societies; these include expressive forms like art, music, dance, ritual,
religion,
and technologies like tool
usage, cooking, shelter, and clothing. The concept of
material culture covers the physical expressions of culture, such as technology, architecture and
art, whereas the immaterial aspects of culture such as principles of social
organization
(including
practices
of political
organization
and
social
institutions), mythology, philosophy, literature (both written and oral),and science comp rise the
intangible cultural heritage of a society.
Popularly speaking, being cultured means being well‐educated, knowledgeable of the arts,
stylish, and well‐mannered. High culture—generally pursued by the upper class—refers to
classical music, theater, fine arts, and other sophisticated pursuits. Members of the upper class
can pursue high art because they have cultural capital, which means the professional
credentials, education, knowledge, and verbal and social skills necessary to attain the “property,
power, and prestige” to “get ahead” socially. Low culture, or popular culture—generally pursued
by the working and middle classes—refers to sports, movies, television sitcoms and soaps, and
rock music. Remember that sociologists define culture differently than they do cultured,
high culture, low culture, and popular culture.
The people who share a common culture has the cultural bond which may be ethnic or racial,
based on gender, or due to shared beliefs, values, and activities. The term society can also have
a geographic meaning and refer to people who share a common culture in a particular location.
For example, people living in arctic climates developed different cultures from those living in
desert cultures. In time, a large variety of human cultures arose around the world.
In addition to its intrinsic value, culture provides important social and economic benefits. With
improved learning and health, increased tolerance, and opportunities to come together with
others, culture enhances our quality of life and increases overall well-being for both individuals
and communities.
THE ARTS
The arts are a vast subdivision of culture, composed of many creative endeavors and disciplines.
It is a broader term than "art," which as a description of a field usually means only the visual arts.
The arts encompasses visual arts, literary arts and the performing arts – music, theatre, dance,
spoken word and film, among others.
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Art, in its broadest meaning, is the expression of creativity or imagination. The word art comes
from the Latin word ars, which, loosely translated, means "arrangement". Art is commonly
understood as the act of making works (or artworks) which use the human creative impulse and
which have meaning beyond simple description. Art is often distinguished from crafts and
recreational hobby activities. The term creative arts denotes a collection of disciplines whose
principal purpose is the output of material for the viewer or audience to interpret. As such,
art
may
be
taken
to
include
forms
as
diverse as prose writing,
poetry, dance, acting or drama, film, music, sculpture, photography, illustration, architecture,
collage, painting, craft and fashion. Art may also be understood as relating to creativity,
æsthetics and the generation of emotion.
CULTURE AND ARTS
Art influences society by changing opinions, instilling values and translating experiences across space
and time. Research has shown art affects the fundamental sense of self.
Painting, sculpture, music, literature and the other arts are often considered to be the repository of a
society’s collective memory. Art preserves what fact-based historical records cannot: how it felt to exist
in a particular place at a particular time.
Art in this sense is communication; it allows people from different cultures and different times to
communicate with each other via images, sounds and stories. Art is often a vehicle for social change.
It can give voice to the politically or socially disenfranchised. A song, film or novel can rouse emotions
in those who encounter it, inspiring them to rally for change.
Researchers have long been interested in the relationship between art and the human brain. For
example, in 2013, researchers from Newcastle University found that viewing contemporary visual art
had positive effects on the personal lives of nursing home-bound elders.
Art also has utilitarian influences on society. There is a demonstrable, positive correlation between
schoolchildren’s grades in math and literacy, and their involvement with drama or music activities.
Culture affects an artist’s artwork by proving them with a social context against why their work
can be defined. All artworks are, to some extent, the products of their culture, and they reflect
prevailing assumptions and beliefs. The greatest works of art, however, have the capacity to
transcend the times in which they were created.
The arts of the Philippines reflect a society with diverse cultural influences and traditions. The
Malayan peoples had early contact with traders who introduced Chinese and Indian influences.
Islamic traditions were first introduced to the Malays of the southern Philippine Islands in the 14th
century. Most modern aspects of Philippine cultural life evolved under the foreign rule of Spain
and, later, the United States. In the 16th century the Spanish imposed a foreign culture based in
Catholicism. While the lowland peoples were acculturated through religious conversion, the
Muslims and some upland tribal groups maintained cultural independence. Among those who
were assimilated arose an educated elite who began to establish a modern Filipino literary
tradition. During the first half of the 20th century, American influence made the Philippines one of
the most Westernized nations in Southeast Asia. The cultural movements of Europe and the
United States profoundly influenced Filipino artists, even after independence in
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1946. While drawing on Western forms, however, the works of Filipino painters, writers, and
musicians are imbued with distinctly Philippine themes. By expressing the cultural richness of the
archipelago in all its diversity, Filipino artists have helped to shape a sense of national identity.
Many Malay cultural traditions have survived despite centuries of foreign rule. Muslims and upland
tribal groups maintain distinct traditions in music, dance, and sculpture. In addition, many Filipino
artists incorporate indigenous folk motifs into modern forms.
Activities/Assessment:
1. In your own words, define culture and art.
2. Do you think, we cannot separate culture from arts? Justify your answer.
3. Give at least three (3) reasons why culture can be seen in our arts.
References:
https://www.cliffsnotes.com/study-guides/sociology/culture-and-societies/culture-and-societydefined#:~:text=Culture%20consists%20of%20the%20beliefs,a%20particular%20group%20or%
20society.&text=Thus%2C%20culture%20includes%20many%20societal,products%2C%20org
anizations%2C%20and%20institutions.
https://www.enotes.com/homework-help/how-does-culture-affect-an-artist-s-artwork-584533
https://www.livinginthephilippines.com/culture-and-people/philippine-culture/969-culture-arts
https://www.masterpiecemixers.com/art-affect-culture-society/
https://www.ontario.ca/document/environmental-scan-culture-sector-ontario-culture-strategybackground-document/importance-culture
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SUBJECT: GEED 10073- ART
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REFERENCES
https://artsandculture.google.com/story/what-s-the-difference-between-modern-andcontemporary-art-%C2%A0/vwKiW17vbvl3JA
https://en.wikipedia.org/wiki/Art
https://en.wikipedia.org/wiki/Arts_in_the_Philippines
https://en.wikipedia.org/wiki/GreekRomanArts
https://en.wikipedia.org/wiki/History_of_Asian_art
https://en.wikipedia.org/wiki/Takashi_Murakami
https://www.artdependence.com/articles/five-classics-of-modern-philippineart/#:~:text=The%20history%20of%20Modern%20Philippine,Spanish%2C%20Italian%20and%2
0French%20Academies.
https://www.artyfactory.com/artappreciation.html#:~:text=Art%20appreciation%20is%20the%20knowledge,and%20improve%2
0your%20own%20artwork.
https://www.britannica.com/topic/the-arts
https://www.cliffsnotes.com/study-guides/sociology/culture-and-societies/culture-and-societydefined#:~:text=Culture%20consists%20of%20the%20beliefs,a%20particular%20group%20or%
20society.&text=Thus%2C%20culture%20includes%20many%20societal,products%2C%20org
anizations%2C%20and%20institutions.
https://www.enotes.com/homework-help/how-does-culture-affect-an-artist-s-artwork-584533
https://www.farandwide.com/s/best-artists-art-europe-82f7f449793c437c
https://www.haring.com/
https://www.invaluable.com/blog/art-history-timeline/
https://www.livinginthephilippines.com/culture-and-people/philippine-culture/969-culture-arts
https://www.masterpiecemixers.com/art-affect-culture-society/
https://www.ontario.ca/document/environmental-scan-culture-sector-ontario-culture-strategybackground-document/importance-culture
https://www.oxfordartonline.com/page/asian-art
https://www2.palomar.edu/users/mhudelson/StudyGuides/GreekRoman_WA.html
https://en.wikipedia.org/wiki/Art
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