TOPICS

1. Prehistoric, Egyptian, Greek and Roman Arts

2. Western Art Periods and Style
3. Contemporary Art Movements
LEARNING OUTCOMES
At the end of the lesson, students should be able to:
1. identify how art was used by prehistoric people to depict everyday
life;
2. examine the underlying historical, political, and social contexts of
the significant periods or movements; and
3. articulate the importance of art to the development of Western
culture.

TOPIC 1: PRE-HISTORIC, EGYPTIAN, GREEK, AND ROMAN ARTS

Throughout man’s history, there are notable artifacts that point us to the idea of
man’s long study and practice of arts. Throughout time, the motivation for the conduct
of art varied and changed alongside social, economic, political, cultural, intellectual, and
affective changes. Presented below is a chronological presentation of Pre-historic,
Egyptian, Greek, and Roman arts, which is predominantly a history of the West and how
the Western art scene developed through time.

STONE AGE
• The unearthing of archaeological artifacts and
(14,000-2,000 BCE) remains provides modern society a glimpse of
their beliefs, practices, and activities of early
PALEOLITHIC (late years civilizations.
of the Old Stone Age) • The early people produced such materials that
MESOLITHIC (Middle reflect their attitudes and belief systems on
Stone Age)
spiritual, social, political, and economic
NEOLITHIC (New Stone
Age)
matters.

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 • The transition from being nomads to
permanent settlers has brought changes to the
activities of man, in turn, changes to the
materials they use and the artworks they have
created—the first sign of early civilization.
• An attempt to record everyday life through
paintings and sculptures that depict humans,
animals, and natural habitats.
• Central to the representation of early
civilizations would be the establishing of
Venus of Willendorf, Paleolithic possible linkages among art, religion, and life.

Lascaux Cave Painting, Paleolithic Stonehenge, Neolithic

ANCIENT EGYPTIAN ART OLD KINGDOM – Egyptian tomb sculptures, pyramids

MIDDLE KINGDOM – Portrait sculpture and fresco
(5000 BCE - 300 CE) paintings
NEW KINGDOM – Sculptures with life-like features

• Egyptians recognized the integral role of the Nile River in their lives. It is
this indispensability and utility that eventually led to the belief that the
Nile is to be worshipped as a god. With this came the notion that art was
something that can be ascribed and associated with religion.
• Most of the artworks created centers on the social structure and the
ruler, which is the pharaoh, and to the gods, they believe in.

Great Pyramid of Giza, Old Kingdom Narmer Palette, Old Kingdom

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 Tomb fresco, Middle Kingdom

Tomb sculpture, Old Kingdom

Colossal statue of
Menkaura, Old
Kingdom

King Tutankhamun, New Kingdom

Bust of Nefertiti, New Kingdom

The gods Osiris, Anubis, and

Horus, from a tomb painting,
Middle Kingdom

Blue-painted storage jar, New

Kingdom

ANCIENT GREEK ART GEOMETRIC PERIOD – geometric shapes and patterns

ARCHAIC PERIOD – human figures
(900-30 BCE) CLASSICAL PERIOD – peak of Greek sculpture and
architecture
HELLENIST PERIOD – showcasing emotions and depicting
reality

• Greeks valued poetry, drama, and philosophy

• For those who want to be involved in the arts—painting, sculpture, and
architecture—one is required to have a certain skill set and body of
knowledge.

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 Interior (tondo) of a red figure kylix,
depicting Herakles and Athena,
Pyxis, Geometric Period Pyxis, Geometric Period Geometric Period

The Strangford Apollo, The Moschophoros or calf-bearer, Peplos Kore, Archaic Period
Archaic Period Archaic Period

The Artemision Bronze, either

Poseidon or Zeus, Classical
Period

Venus Braschi, Classical Statue of Hermes, Classical

Period Period

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Laocoön and His Sons, Hellenist Period Pergamon Altar, Hellenist Period

ANCIENT ROMAN ART

• Principle of realism in most of their
(509 BCE - 300 CE) works, highlighting the features of
human beings.
• Roman art encompasses a variety of
media including marble, painting,
mosaic, gems, silver and bronze
work, and terracotta among others.

Augustus of Prima Porta Marble bust of a man

Bust of Antinous

Colosseum Roman Forum

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 SUPPLEMENTARY MATERIALS
101s on Prehistoric, Egyptian, Greek, and Roman arts:
 Cave Art 101 | National Geographic
(https://www.youtube.com/watch?v=ZjejoT1gFOc)
 Ancient Egypt 101 | National Geographic
(https://www.youtube.com/watch?v=hO1tzmi1V5g)
 Ancient Greece 101 | National Geographic
(https://www.youtube.com/watch?v=6bDrYTXQLu8)
 Ancient Rome 101 | National Geographic
(https://www.youtube.com/watch?v=GXoEpNjgKzg)
 Ancient Greece in 18 minutes (https://www.youtube.com/watch?v=gFRxmi4uCGo)
 Ancient Rome in 20 minutes (https://www.youtube.com/watch?v=46ZXl-V4qwY)

Guide question: What differentiate each civilization’s practice of art? What are the
common themes explored through the artworks?

TOPIC 2: WESTERN ART PERIODS AND MOVEMENTS

The West has numerous art periods and art movements spanning centuries of
practicing, studying, and developing the field of the arts. These periods and movements
were shaped by predominant social, economic, political, and intellectual climates or
orientations of their own times. Nevertheless, the difference in periods and movements
made the field of arts more heterogeneous and/or varied, which people who appreciate
arts enjoy even today.

MEDIEVAL PERIOD (c.1100-1450)

 A period characterized by ignorance

and darkness.
 The church was the central figure and
authority of the period—the most
important products of the Medieval
Period would have to be copied from
the Christian scriptures.
 During this time, great cathedrals
were built.
 The cathedrals can be categorized
into two periods Romanesque (1050-
1200) and Gothic (1200-1500).
 Notable artists: Cimabue, Giotto, Giotto. Lamentation. 1303. Scrovegni (Arena) Chapel,
Nicola Pisano, and Benedetto Antelami Padua. Fresco mural painting

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 RENAISSANCE ART (c. 1300-1600)

 During this period, artists valued the “individual” as a

subject of arts, leaned more towards non-religious
works of art.
 Heavily influenced by humanism, a shift to empower
the “individual.”
 Most artworks emphasized naturalism (great
emphasis on the proportionality of the human body).
 Three-dimensionality in Renaissance works of art.
 A revival of Roman theatrical plays.
 Notable artists: Leonardo da Vinci, Michelangelo,
Raphael, Donatello, Sandro Botticelli, Jan van Eyck,
Leonardo da Vinci. Mona Lisa. 1503.
Albrecht Dürer, and Caravaggio 77 cm x 53 cm. Louvre Museum
(since 1797). Portrait painting

MANNERISM (c. 1520-1600)

 As the Renaissance ended, artists started directly
copying subjects from existing works of art.
 Most artworks displayed distorted figures, two-
dimensional spaces, discordant hues and colors,
and a lack of defined focal point.
 Notable artists: El Greco, Paolo Veronese, Bronzino,
Parmigianino, Tintoretto, and Pontormo

Parmigianino. Madonna dal collo lungo.

1534–1535. Uffizi Gallery. Oil paint

BAROQUE AND ROCOCO (c. 1600–1750)

 It has a different style and technique from Renaissance art—most artists used
colorful palettes and ornamentation in their works.
 Motion and space were taken into consideration by artists like the use of dramatic
lighting and the concept of time.
 Baroque music flourished through the likes of Vivaldi, Corelli, Bach, Handel, and
Monteverdi.
 Notable artists: Johannes Vermeer, Caravaggio, Gian Lorenzo Bernini, Rembrandt,
Diego Velasques, and Anthony van Dyck

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 (Baroque) Diego Velazquez. Las Meninas. (Rococo) Jean-Honore Fragonard. The Swing.
1656. 3.18 m x 2.76 m. Museo Nacional del 1767. 81 cm x 64 cm. The Wallace Collection.
Prado Oil paint

NEOCLASSICISM (c. late 1600–1700)

 The art movement which aimed to revive

and rekindle the influences of Greek and
Roman into art and architecture.
 This movement was a reaction to the
artwork produced during the Baroque
Period—a veer away from the extravagance
in terms of style and form of the Baroque
Period.
 Notable artists: Jacques-Louis David,
Lorenzo Bartolini, Antonio Canova, and
Jean-Baptiste Pigalle
Jacques-Louis David. Death of Marat. 1793. 1.62
m x 1.28 m. Musée Oldmasters Museum
ROMANTICISM (c. late 1700–mid 1800)

 Romanticists have highlighted heroic

elements into their work.
 The major and central themes of
Romanticism include the emphasis on
the goodness of mankind—promoted
justice, equality, and social order.
 Artists emphasized the emotions and
feelings of man.
 Notable artists: Juan Luna, Francisco
Goya, J. M. W. Turner, William Blake,
John Constable, Theodore Gericault, Eugene Delacroix. Liberty leading the people. 1830. 2.6 m
x 3.25 m. Louvre Museum
and Caspar David Friedrich
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 REALISM (c. late 1800s–early 1900s)

 As a style of work focuses on the accuracy of

details that depicts and somehow mirrors
reality.
 The emphasis is placed on observable traits that
can concrete through artworks.
 There is a move to combine both art and life in
artistic works since the modern world is suitable
for subjects of art.
 Notable artists: Edouard Manet, Gustave Gustave Courbet. La rencontre (Bonjour
Courbet, Auguste Rodin, and Jean-François Monsieur Courbet). 1854. 1.29 m x 1.49 m.
Oil paint
Millet
IMPRESSIONISM (c. late 1800s)
 Impressionist artists incorporated
scientific principles to achieve a more
distinct representation of the color.
 The distinctive characteristic of this
style is that it allows the artist to
emphasize the immediate
impression he has of a particular
event or scene.
 Notable artists: Claude Monet, Henri
Matisse, Berthe Morisot, Paul
Cezanne, Piet Mondrian, Juan Luna,
and Pierre-Auguste Renoir Claude Monet. Impression, Sunrise. 1872. 48 cm x 63 cm.
Musée Marmottan Monet

POST-IMPRESSIONISM (c. late 1800-early 1900)

 Most artists that belong to this

movement started as impressionists
but later on saw the inherent
limitations and flaws of
impressionism.
 Development of individual style that
emphasized defining from with the
use of broken colors and short brush
strikes.
 Notable artists: Vincent van Gogh,
Paul Cezanne, Georges Seurat, Paul
Vincent van Gogh. Starry Night. 1889. 73.7 cm × 92.1
Gauguin, Camille Pissarro, and Henri cm. The Museum of Modern Art. Oil paint
Toulouse-Lautrec

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NEO-IMPRESSIONISM (c. late 1800-early 1900)

 Response to empirical realism of impressionism.

 Most painters who subscribe to such movement rely on systematic and scientific
techniques that have a predetermined visual effect not only on the artwork itself
but also on how the audience perceives the art.
 Notable artists: Georges Seurat, Henri-Edmond Cross, Maximilien Luce, and
Camille Pissarro.

Georges Seurat. A Sunday on La Grande Jatte. 1884. 207.6 cm × 308 cm.

Art Institute of Chicago. Oil on canvas

ART NOUVEAU (c. 1890-1910)

 This ornamental style of art was a break

from the conservative historicism, which
was the prevailing and dominant themes of
most Western artworks.
 Notable artists: Gustav Klimt, Alphonse
Mucha, Charles Rennie Mackintosh, and
Victor Horta

Gustav Klimt. The Kiss (Lovers). 1907–1908. 180

cm × 180 cm. Österreichische Galerie
Belvedere, Vienna. Oil and gold leaf on canvas.

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 FAUVISM (c. 1904-1910)

 What makes fauvists revolutionary is that they

used pure and vibrant colors by applying straight
from the paint tubes directly to the canvas—this
is done to produce a sense of an explosion of
colors in the canvas.
 Most fauvist works reject the conservative and
traditional renderings of three-dimensional
space.
 Notable artists: Henri Matisse, Andre Derain,
Georges Braque, and Kees van Dongen
Henri Matisse. Woman with a Hat.
1905. 81 cm x 60 cm. San Francisco
Museum of Modern Art. Oil on canvas

CUBISM (c. 1907-1914)

 Cubism highlighted the two-dimensional

surface of the picture plane—focusing on a
flat surface was a rejection of the
dominant techniques, e.g., use of
perspective, foreshortening, and
modeling.
 Notable artists: Pablo Picasso, Georges
Braque, Salvador Dali, Piet Mondrian, Frida
Kahlo, Marcel Duchamp, Vicente
Manansala, Ang Kiukok, and Cesar Legaspi
Pablo Picasso. Les Demoiselles d'Avignon. 1907.
244 x 234 cm. The Museum of Modern Art. Oil on
canvas

FUTURISM (c. early 1900)

 Highlighted the speed, energy, dynamism,

and power of machines.
 Common themes in this movement are
restlessness and the fast-pace of modern
life.
 Notable artists: Umberto Boccioni,
Giacomo Balla, Gino Severini, Carlo Carra,
and Luigi Russolo
Gino Severini, 1912, Dynamic Hieroglyphic of
the Bal Tabarin, oil on canvas with sequins,
161.6 x 156.2 cm (63.6 x 61.5 in.), Museum of
(Caslib et al., 2018 pp. 188-126) Modern Art, New York

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 SUPPLEMENTARY MATERIALS
Timelines of art periods and movements:
 Art Periods and Art Movements | LittleArtTalks
(https://www.youtube.com/watch?v=dfX1tvloLNA)
 How Art Arrived At Jackson Pollock
(https://www.youtube.com/watch?v=Q1irNBh2qg8)
 A timeline of visual art movements
(https://www.youtube.com/watch?v=zyabu9mU1bk)
Guide question: What’s the difference between art period and art movement?

TOPIC 3: CONTEMPORARY ART MOVEMENTS

In everyday language, the terms “modern” and “contemporary” are often used
interchangeably. In the context of art, however, they designate two distinct moments in
art history. There are specific definitions for both terms, and these definitions will help us
to establish an understanding of the images and themes that emerge in.
MODERN ART
Modern art dates from the late nineteenth through the early twentieth centuries
and refers to work that was entirely different from that which preceded it. This art broke
with convention, dealt with a new subject matter, focused on conceptual concerns, and
changed the position of the artist within society. Modernism began as a trend of thought
that emphasized the power of human beings to create, improve, and reshape their
environment, with the aid of scientific knowledge, technology, and practical
experimentation. Thus, in its essence, it is both progressive and optimistic.
The movement was initially an ideological reaction to the dehumanizing effects of
late-nineteenth-century industrialization. Otherworld events further inspired the
movement, including World War I (1914–1918) and World War II (1939–1945); huge
improvements in industry and technology as compared to the nineteenth century; the
rise in the power and influence of international corporations; increasing
interconnectedness across the globe in the form of cultural exchanges, transportation,
and communication; the spread of popular culture from Europe and North America
elsewhere; and the “Westernization” of many formerly traditional societies.
Modern art reflects a tendency toward abstract and nonrepresentational
depictions of the world. Many styles of art developed during the modern period, including
impressionism, fauvism, cubism, expressionism, surrealism, pop art, op art, art nouveau,
and art deco.

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CONTEMPORARY ART
The term “contemporary art” is generally regarded as referring to work made
between 1970 and the present. It also implies art that is made by living artists, but
essentially contemporary art is seen as something that has never been done before. There
is no unifying ideology in contemporary art, and there are no schools, periods, or styles
as are associated with modern art. However, certain trends have emerged in
contemporary works.
Contemporary art emphasizes a rejection of the commercialization of the art
world, but it is often connected to the contemporary consumer-driven society.
Contemporary art often reflects a strong social consciousness, including themes such as
feminism, multiculturalism, globalization, bioengineering, and AIDS awareness. It
incorporates the widespread use of a variety of technology-based media. Contemporary
art blurs the distinctions between painting and sculpture through the use of everyday
objects and other non-traditional media in the final product.
Also, contemporary art includes large-scale installations that emphasize the
importance of an architectural context for art. Contemporary art often makes a
connection to the future, but it parallels many developments in contemporary society.
Contemporary artworks to explore our understanding and perception of art. This kind of
art challenges, defies, and excites; it crosses boundaries and asks us to question the
meanings of “high” and “low” art. Contemporary art breeds controversy and confronts
the viewer with challenging questions. This art forces a relationship to form among the
art, the artist, and the viewer. From this relationship, works of art gain new meaning.
Contemporary art unites new technologies and materials with traditional styles and
processes. The study of contemporary art can help people think in new directions by
focusing on the process of looking at and analyzing art, and contemporary artists hope
that viewers can translate these skills into their everyday lives.

CONTEMPORARY ART MOVEMENTS

Action painting underscored the

process of creation in that it showed
the physicality, direction, and most
often the spontaneity of the actions
that made the drips and strokes
possible.

Jackson Pollock. Number 1A. 1948. 172.7 ×

264.2 cm. The Museum of Modern Art, New
York City. Oil and enamel on canvas

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Color fields emphasized the emotional power of the colors.
From the vivid demarcation to the more toned-down
transition, these bands of colors were skin to the effect of
landscapes.

Mark Rothko. White Center (Yellow, Pink and

Lavender on Rose). 1950. 2.06 m x 1.41 m.
Private collection. Oil paint

Creating energy was at the center of op-art or optical

art (the early 1960s onward). Much like was
discussed in the lesson on elements of art that
dimension can be implied even on the two-
dimensional surface of the plane, op-art relied on
creating an illusion to inform the experience of the
artwork using color, pattern, and other perspective
tricks that artists had on their sleeves.
Bridget Riley. Movement in Squares. 1961. 123.2
x 121.2cm. The Museum of Fine Arts, Houston.
Tempera on hardboard

The quest for actual movement in the works created

was responded to by kinetic art (the early 1950s
onward). Harnessing the current and direction of the
wind, components of the predominantly sculptural
artwork, most were mobiles and even motor-driven
machines, was an example oh how art and technology
can be brought together. Artists known for creating
kinetic art were Naum Gabo, Alexander Calder, Jean
Tinguely, Bridget Riley, and Nicolas Schoffer.

Kinetic art. Gyula Kosice. Röyi. 1944.

w64 x h120 x d15 cm (overall). The
Museum of Fine Arts, Houston. Wood
joined with bolts and wing nuts

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 Gutai (the 1950s-1970s) which means embodiment or
concreteness, preceded the later forms of performance
and conceptual art. The goal was not only to explore the
materiality of the implements used in the performance, but
also to hold a deeper desire to make sense of the
relationship that is struck between the body, the
movements, and the spirit of their interaction during the
process of creation.
Gutai. Shozo Shimamoto. Holes.
1954. 892 × 699 mm. Oil paint on
paper

Another movement was minimalism which cropped up in

the early 1960s in New York and saw artists testing the
boundaries of various media. It was seen as an extreme type
of abstraction that favored geometric shapes, color fields,
and the use of objects and materials that had an "industrial"
the sparse.

Dan Flavin. A Primary Picture. 1964. Red, yellow, and blue

fluorescent light,2 ft. (61 cm) high, 4 ft. (122 cm) wide

The other movement is pop art. It first

emerged in the 1950s but found it footing
in the 1960s. It drew inspiration, sources,
and even materials from commercial
culture, making it one of the most
identifiable and relatable movements in
art history. Artists became increasingly
critical about how what was being
exhibited in art spaces had no relationship
with real life.
Andy Warhol. Campbell's Soup Cans. 1962. 51 cm × 41 cm.
The Museum of Modern Art. Synthetic polymer paint on
canvas

65
In the 1980s, there was a renewed interest in pop art—
neo-pop art—specifically to Andy Warhol's works and
his contemporaries. What made it different in pop art
was that it appropriated some of the first ideas of Dada
in which ready-made material was used for the artwork.

Jeff Koons. Puppy. 1992. 12 meters 40 cm x 830 cm x 910 cm.

Stainless steel, soil and flowering plants

The resurgence of
figurative art, where realistic deceptions are chosen,
is proof of how varied and fragmented
postmodernism is. In photorealism, painstaking
attention to details is aimed without asserting an
artist's style. This drawing and paintings are so
immaculate in their precision that it starts to look
like it is a photo without a direct reference to the
artist who created it.

Ralph Goings. Flowered table top. 1978. 25.4

x 25.4 cm. Watercolor and graphite on paper

Other movements were informed and shaped by pop art, such as conceptualism. As
opposed to celebrating commodities as references to real life, conceptualism fought
against the idea that art is a commodity. This movement is also brought to the fore issues
brought about art institutions such as museums, galleries where works are peddled and
circulated.

Joseph Kosuth. Clock (One and Five), English/Latin Version. 1965

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Compared to the format of the traditional art, installation
art is a kind of immersive work where the environment or
space of which the viewer steps into or interacts with
(going around installation art) is transformed or altered.
Usually, large-scale installation art makes use of a host of
subjects, materials, conditions, and even light and aural
components.
Installation art. Marcel Duchamp Fountain, 1917, photograph by Alfred
Stieglitz at 291 (art gallery) following the 1917 Society of Independent
Artists exhibit

Sometimes considered as kind or spin-off

installation art, earth art (or land art) is
when the natural environment or a specific
site or space is transformed by the artist. It
is a kind of human intervention into a
specific landscape or terrain. Earth art is
different from environmental art in the
sense that it does not focus on the subject
( environmental issues or concerns ) but
rather on landscape manipulation and the
materials used, taken directly from the
Andy Goldsworthy. Touching North. 1989. 246 x 310 cm. ground or vegetation ( rocks or twigs).

Street art is related to graffiti art as it is a

by-product of the rise of graffiti in the
1980s. Artworks created are not traditional
in format but are informed by illustrative,
painterly, and print techniques and even a
variety of media (even video projections).
Some of the examples of this include
murals, stenciled images, stickers, and
installations, or installative/sculptural
Jeft Aerosol. Chuuuttt!!! 2012. Paris, France
objects usually out of common objects and
techniques.

67
 SUPPLEMENTARY MATERIALS
Learning more about Contemporary Art Movements:
 How to Learn About Contemporary Art | The Art Assignment | PBS Digital Studios
(https://www.youtube.com/watch?v=An3L7hQdkOg)

Guide question: How do we understand contemporary art and the artworks associated
with it?

ASSESSMENT

MODERN/CONTEMPORARY ARTWORK
The different art periods and movements have produced variety and diversity in
works of art and on how artists present the world, their experiences, and imagination,
among others. In this requirement, create a work of art inspired by any art period or
movement. You can utilize any material (it doesn’t have to be new, you can reuse or
recycle materials found in your home). You can incorporate many art elements and
principles of design. At the end, you should be able to establish that your artwork
belongs to any of the art period or movement of your choice.
The standard size for the medium is 8.5 x 11 inches (size of a short bond paper).
Include a title of your work, a proper documentation, and a 5-sentences description
of your work in relation to the art period or art movement that your artwork is
inspired by or anchored to.
ASSESSMENT RUBRIC:
Creativity: 20 points
Art style: 10 points
Technique: 10 points
Realism/distortion: 5 points
Narrative: 5 points
Total: 50 points

68
 TOPICS
1. Culture and Art (Soulmaking, Appropriation, and Improvisation)
2. Chinese Art
3. Japanese Art
4. Philippine Art
LEARNING OUTCOMES
At the end of the lesson, students should be able to:
1. explain how meanings can be derived from art and discuss how
improvisation can make an artwork distinctive;
2. show and classify key influences on Chinese and Japanese arts;
3. examine, assess, and critique the development of Philippine art in
relation to the different colonial periods in history; and
4. show images, symbols, and patterns that are recurrent in a genre,
art form or period (i.e., okir, sarimanok, t’nalak, landscapes, Juan
de la Cruz).

TOPIC 1: CULTURE AND ART

SOULMAKING: MAKING AND DERIVING MEANING FROM ART

According to Jadulco (2019), soulmaking is an alternative venue for knowing
ourselves and looking into the depths and real meaning of what we are doing for everyday
life. Soulmaking also helps develop the artist in oneself through awakening the art that
has been undeveloped for many years.
When it comes to art, for people to make sense of the work, it would require
understanding the visual elements where art was grounded on, especially the principles
of design. Without such understanding, it would be difficult to appreciate the fullness and
entirety of visual art (Caslib et al., 2018).
Also, it is important to note that the audience of the artwork must have a certain
level of awareness to the style which refers to the distinctive handling of media and

69
elements, the form which is what the audience sees, and content or the subject matter
which has the underlying meanings or themes (Caslib et al., 2018).
IMPROVISATION
Improvisation can be defined as doing something without prior preparation. There
is a decision to act upon something that may not necessarily be planned. Within the
present context, improvisation has become an integral part of the arts (Caslib et al., 2018).
For some artists, infusing spontaneity and improvisation adds up to the totality of
the artwork. The unexpectedness of the changes brought about by improvisation brings
the artwork a distinctive quality that creates its individuality and identity (Caslib et al.,
2018).
APPROPRIATION
During the 20th century, people started raising the question of whether or not the
act of deriving meaning gives the ownership of the artwork to the viewer rather than the
artist himself. This notion paved the way for the emergence of appropriation artists who
seem to promote the idea that the authorship relies on the viewer. If this is the case, then
appropriation artists can take as much as he wants from an existing artwork (Caslib et al.,
2018).
There have been art movements throughout history that tried to break away from
the norms of visual arts. Improvisations have led artists to find other mediums and
avenues to showcase their creative expression (Caslib et al., 2018).
The authorship relies on the viewer in terms of putting up the details of the works
and integrating them into their own. This will lead to the questioning of the intentions of
the appropriation artist since issues of plagiarism or forgery sometimes arise.

e.g. Andy Warhol’s “Campbell Soup Can Series”

70
 SUPPLEMENTARY MATERIALS
Soulmaking, appropriation, and improvisation in context:
 Art 101: What is appropriation? (not the cultural kind)
(https://www.youtube.com/watch?v=3CLhXyetzz0)
 The Meaning of Appropriation in Art | Art Terms | LittleArtTalks
(https://www.youtube.com/watch?v=OpjzJdojNS8)
 The art of improvisation | Rapid Fire Theatre | TEDxEdmonton
(https://www.youtube.com/watch?v=d3TsyT_EDBc)

Guide question: What do you think about the practice of appropriation? Does it removes
“originality” in works of art and artists or does it distorts or reshapes a sense of “creativity”
in the art scene?

TASK/ACTIVITY

SOUL-MAKING (8 PHOTOS, 80 WORDS)

Soul-making is all about knowing and understanding oneself concerning one’s experience,
study, practice, and appreciation of arts. It comes as an in-depth reflection of how the
individual perceives and understands his/her daily life in relation to the things that
humanize him/her and that include the arts.
In this activity, you will present eight (8) photos of yourself—it’s up to you on how you
will present it but make sure it’s creative enough—with an 80-words essay about yourself.
The goal is for you to describe your ‘self’ through 8 photos and 80 words. It’s about telling
people about your ‘self’ and at the same time, reflecting upon your ‘self’. This activity tries
to target the idea that an understanding and appreciation of the ‘self’ will also lead to a
more reflective and appreciative take on life and living.
You can either do this by paper or by an audio-visual presentation. Just make sure you
follow the 8 photos, 8 words format.
ASSESSMENT RUBRIC:
Creativity: 20 points
Photos: 15 points
Narrative (80-word count) 15 points
Total: 50 points

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 TOPIC 2: CHINESE ART

It is not only in the West that the field and practice of art have flourished, but art styles
and practices in Asia also have equal merit and appreciation. Throughout history, art
has played an integral role to capture, record, and communicate events, activities,
traditions, and even belief systems of various groups of people.
Religious beliefs have inspired an abundance of imagery that uplifts and comforts.
Different religions such as Hinduism, Buddhism, and Islam have spread through Asia,
inspiring individual expressions of prescribed imagery, and as well as different temples,
sculptures, and ritual objects (Art Gallery NSW, 2019).

Aside from the impact brought by the religions in Asia, the text has also shaped its
art. One best example is calligraphy which is an early art of writing. Different scripts, from
ancient Sanskrit to contemporary ‘Chinglish’, have been valued for their aesthetic
expression as well as their content, and are synonymous with specific cultures (Art Gallery
NSW, 2019).

Respect for craft, skill, or artisanship has been maintained in different Asian
cultures. The range of media used across Asia is immense, and many have long artistic
traditions behind them. Certain materials tend to associated with the art of specific
countries because – again, often through patronage – extraordinary heights of artistry
and innovation were realized: from the lacquer of Japan; jade and porcelain for China;
and textiles for Indonesia (Art Gallery NSW, 2019).

In the West, artistic values have been shaped by the Renaissance, which put fine
art more relevant than others such as decorative art and design. On the other hand, in
Asian cultures, such hierarchies are irrelevant, which is one reason Asian galleries in
museums display objects of many kinds in many media and do not have its focus only on
fine arts. For instance, in traditional China, the principle of qi, or spirit resonance, has
determined the artistic merit of landscape painting, while in Japan the aesthetics of tea
masters has created a permanent legacy, and in India, the theory of rasa (flavor), has been
a measure of artistic merit (Art Gallery NSW, 2019).

Asian art, particularly Chinese and Japanese arts, has helped in the establishment
of their identities as people. One common thing between the two cultures is the emphasis
on religion and how man is regarded as an integral part of society. The Philippines, on the
other hand, has undergone some changes when it comes to the art scene. From the time
of the early Filipinos to contemporary times, art has been used in a myriad of ways (Art
Gallery NSW, 2019).

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 History shows that China has been at the leading edge of development especially
in terms of cultural development. Inhabitants of China in the past were able to produce
primitive artisan works. Chinese art involves different art forms such as calligraphy,
painting, pottery, sculpture, bronzes, jade carving, architecture, and other fine
or decorative art forms over the centuries. One of the outstanding characteristics of
Chinese art is the extent to which it reflects the class structure that has existed at different
times in Chinese history (Art Gallery NSW, 2019).
Up to the Warring States period (475–221 BCE), the artworks for the royal and
feudal courts were produced by anonymous craftsmen. It is believed that during
the Shang and early Zhou periods the production of ritual bronzes was exclusively
regulated under the authority of the court, which could grant or withhold authorization
for production by regional workshops among the various states or others who paid fealty
to the court (Encyclopedia Britannica, 2018).
During the Warring States period and the Han dynasty (206 BCE–220 CE), the
growth of a land-owning and merchant class brought new patrons. After the Han dynasty,
the concept of cultural practice emerged as the product of the leisure of the educated
gentry, many of whom were amateur practitioners of the arts
of poetry, music, calligraphy, and, eventually, painting. At this time a distinction began to
arise between the lower-class professional and the elite amateur artist. Gradually one
tradition became identified with the artists and craftsmen who worked for the court or
sold their work for profit (Encyclopedia Britannica, 2018).
In the Song dynasty (960–1279), as a medium of highly individual expression,
painting and calligraphy also became important media of exchange in a social economy
where the giving of gifts was central to the building of an interpersonal network. The skill
and expressive practice of calligraphy and painting like skills in letter, poetry or music

73
helped establish one’s status in a society of learned individuals (Encyclopedia Britannica,
2018).
One effect of the revolutions of the 20th century was the breaking down of the
class barriers between amateur and professional. During the Cultural Revolution of 1966–
76, literati art and artists were denigrated and an emphasis was placed on anonymous,
proletarian-made art like that of the Tang dynasty (618–907) and earlier (Encyclopedia
Britannica, 2018).
THE ROLE OF LINEARITY IN CHINESE ART
Painting in China is essentially a linear art. The painters of most periods were not
concerned with striving for originality or conveying a sense of reality and three-
dimensional mass through aids such as shading and perspective; rather, they focused on
using silk or paper to transmit, through the rhythmic movement of the brushstroke, an
awareness of the inner life of things (Encyclopedia Britannica, 2018).
The Chinese painter uses essentially the same materials as the calligrapher such
as brush, ink, and silk or paper and the Chinese judge his work by the same criteria they
use for the calligrapher, basically the vitality and expressiveness of the brushstroke itself
and the harmonious rhythm of the whole composition (Encyclopedia Britannica, 2018).

Zhang Zeduan. Along the River During the Qingming Festival. 1085–1145. 25.5 cm × 525 cm. Palace
Museum, Beijing. Ink and color on silk; handscroll

Another art form which observes linearity is calligraphy. It is undeniable that

calligraphy, or writing as fine art, has been considered supreme among the visual arts in
China. Not only does it require immense skill and fine judgment, but it is also regarded as
uniquely revealing of the character and breadth of the cultivation of the writer. Another
reason is that the appreciation and production of calligraphy require lofty personal
qualities and unusual aesthetic sensitivity. On the other hand, the comprehension of its
finer points is thought to require experience and sensibility of a high order (Encyclopedia
Britannica, 2018).

74
 The aesthetics of line in
calligraphy and painting have had a
significant influence on the other arts in
China. From the motifs that adorn
the ritual bronzes, in the flow of the
drapery over the surface
of Buddhist sculpture, and in the
decoration of lacquerware, pottery,
to cloisonné enamel (wares decorated
with the enamel of different colors
separated by strips of metal), it is the
rhythmic movement of the line,
following the natural movement of the
artist’s or craftsman’s hand, that to a Tang Dynasty copy of 新婦地黃湯帖 by Wang Xianzhi,
large extent determines the form and currently in the Taito Ward Calligraphy Museum (台東区立
gives to Chinese art as a whole its 書道博物館).
remarkable harmony and unity of style
(Encyclopedia Britannica, 2018).
CHARACTERISTIC, THEMES, AND SYMBOLS OF CHINESE ART
In early times Chinese art often served as a means to submit to the will of heaven
through ritual and sacrifice. For instance, they have bronze vessels for sacrifices to heaven
and to the spirits of clan ancestors, who were believed to influence the living for good if
the rites were properly and regularly performed (Encyclopedia Britannica, 2018).
Chinese society, specifically
agricultural, has always laid a great focus on
understanding the pattern of nature and
living by it. It was believed that the world of
nature was seen as the
visible manifestation of the workings of a
higher power through the generative
interaction of the yin-yang (female-male)
dualism. As it developed, the purpose of
Chinese art turned from propitiation and
sacrifice to the expression of human
understanding of these forces, in the form of
painting of landscapes, bamboo, birds,
and flowers. This might be called Wang Xizhi watching geese; by Qian Xuan; 1235-
the metaphysical, Daoist aspect of Chinese before 1307; handscroll (ink, color and gold on
painting (Encyclopedia Britannica, 2018). paper); Metropolitan Museum of Art (New York City)

75
 Particularly in early times, art also had social and moral functions. The earliest wall
paintings referred to in ancient texts depicted benevolent emperors, sages, virtuous
ministers, loyal generals, and their evil opposites as examples and warnings to the living
(Encyclopedia Britannica, 2018).
Critical to all artistic considerations was the belief that the energy and rhythm
generated in artistic practice allied the practitioner with the ultimate source of that
energy, drawn forth from earthly and heavenly sources and from the sacred Dao itself.
Calligraphy and painting, especially, could rejuvenate the artist or damage him spiritually,
according to the rightness of his practice and the character of the man (Encyclopedia
Britannica, 2018).

SUPPLEMENTARY MATERIALS
Knowing more about Chinese Art:
 [Eng&Chi] 中国艺术大观 水墨意境 纪录片 Chinese Art and Painting BBC
Documentary (https://www.youtube.com/watch?v=VEfI4-lZLcc)
 Arts: Ancient Chinese Art | The New York Times
(https://www.youtube.com/watch?v=WPmED0GbYUs)
 How was it made? Silk Painting
(https://www.youtube.com/watch?v=C_Dn2OkwlQg)

Guide question: What do you think is unique about the Chinese works of art?

TOPIC 3: JAPANESE ART

Art in Japan has undergone a series of transitions and periodization. From being
an isolated nation to that of embracing Western influences and modernization, Japan has
transitioned into a modern cultural mixing pot. It is evident how the Japanese were able
to infuse local and indigenous materials with modern Western subjects and focal points.
It has a long history as much as the culture of the country of the Rising Sun, which starts
from the beginning of human settlements, in about 10,000 BC, to the present (Art
Japanese, 2018).

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 Historically, Japan has been subject to sudden invasions of new and alien ideas
(one of the probable reasons is its geographical and cultural characteristics) followed by
long periods of contacts minimized with the outside world. Over time the Japanese have
developed the ability to absorb, imitate, and finally assimilate those elements of foreign
culture that complemented their aesthetic preferences making its art include a wide
range of styles and means of expression, from ceramics, sculpture, painting, and
calligraphy on silk and paper, the ukiyo-e woodblock prints, origami too, more recently,
manga along with a myriad of other types of artwork (Art Japanese, 2018).

Hara on the Tokaido, ukiyo-e prints by Hiroshige

Nature, specifically mountains, has been a favorite subject of Japanese art since
its earliest days. For Japanese people, nature is not a secular subject. Shinto was the
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exclusive faith of the Japanese people before Buddhism was introduced from China in the
6th century. At its core, Shinto is the reverence for the kami, or deities, who are believed
to reside in natural features, such as mountains, rivers, trees, and rocks. An image of a
natural scene is not just a landscape, but rather a portrait of the sacred world, and the
kami who live within it (Art Japanese, 2018).

This veneration for the natural world took on many layers of new meaning with
the introduction of Chinese styles of art – along with many other aspects of Chinese
culture – throughout the first millennium (Inside Japan, n.d.).

The first examples of complex art in Japan were produced in the centuries VII and
VIII in connection with Buddhism. But until the end of the fifteenth century, both religious
and secular art had flourished. In the state organization that emerged under the
leadership of the Tokugawa shogunate after the Onin War (1467-1477) organized religion
began to play a much less important role in people's lives, and the arts that survived were
primarily of secular expression (Inside Japan, n.d.).

The painting, practiced by amateur and professional, is the preferred artistic

expression in Japan. Even today like in ancient times, the Japanese wrote with a brush
rather than a pen, and their familiarity with the use of brush techniques has made them
particularly sensitive to the aesthetic values of painting. With the rise of popular culture
in the Edo period, the style of ukiyo-e woodblock prints became an important art form
and its techniques were refined to produce colorful
prints of practically every topic, from daily news to
the issues of school books (Inside Japan, n.d.).

The use of sculpture in Japan has almost

always been due to their religion and its use has
waned along with the diminishing importance of
traditional Buddhism (Inside Japan, n.d.).

The ceramics, among the best in the world,

represent the first known artifacts of Japanese
culture. In architecture, the Japanese have always
expressed clearly their ancestral preference for
natural materials and the harmonic interaction
between the interior and exterior space (Inside Taishakuten Śakra, 839, Tō-ji
Japan, n.d.).

SUPPLEMENTARY MATERIALS
Knowing more about Japanese Art:
 Better Know the Great Wave | The Art Assignment | PBS Digital Studios
(https://www.youtube.com/watch?v=d1ufFlXIWjA)
 The Art of Single Stroke Painting in Japan | National Geographic
(https://www.youtube.com/watch?v=g7H8IhGZnpM)
78
Guide question: What makes Japanese prints and visual arts so captivating?
 TASK/ACTIVITY

VLOG: ASIAN ARTS

In your vlog, present and discuss one (1) Chinese or Japanese work of art. This can be
about a film, animation, music, literature, dance, or visual arts. With your chosen work of
art, discuss the following aspects:
a. The artwork
b. The artist/director/author/performer of the artwork. Include a short introduction
about them
c. Description of the work of art (what we have to know about this work of art)
d. Your thoughts about the work of art you have chosen—talk about your your
reaction, analysis, criticism, and comments.
You can add creative elements or effects in your vlog. Make sure you present the
following aspects mentioned. The vlog duration should be 3 to 5 minutes.
TASK/ACTIVITY RUBRIC:
Content/Relevance (points, ideas, discussion): 20 points
Quality of the vlog (format) 15 points
Creativity and presentation 15 points
Total 50 points

TOPIC 4: PHILIPPINE ART

The heterogeneity in ethnicity, languages, cultures, beliefs, social structures, and

worldviews in the Philippines shaped the same variations and differences in art practices
and production. Every ethnolinguistic group in the country offers creativity, artistry, and
meaningfulness in their long-standing and somehow persistent works of art, which, for
the majority, is protected by the ideals of tradition and future generation’s continuous
doing of it. Most art forms used by ethnolinguistic groups include pottery, weaving,
carving, and the use of metalwork and jewelry.

79
 Some of the traditional and/or indigenous artworks practiced by the different ethno-linguistic groups in the
country. All works of art are shaped by the belief system, social structure, the relationship of the peoples with
their environment, and their creativity among others.

PAINTING
In the last half of the 19th century, Filipino painters showed enough maturity of
concept and technique to merit critical acclaim. Towards the end of the Spanish regime,
two Filipino painters won recognition in Europe – Felix Resurreccion Hidalgo and Juan
Luna. Hidalgo’s Antigone and Luna’s Spoliarium were both acclaimed in Europe as
masterpieces of Filipino painting. In 1884, Luna won the first Gold Medal at the Exposicion
Nacional de Bellas Artes for his Spoliarium. This monumental painting shows fallen
gladiators being dragged to an unseen pile of corpses in a chamber beneath the Roman
arena. Also, Damian Domingo was recognized as the “Father of Filipino painting” (Artes
de las Filipinas, n.d.).

Juan Luna’s Spoliarium

80
 After World War II, the Neo-Realist school of painting emerged, with such notable
members as Vicente Manansala, Hernando R. Ocampo, Victor Edades, Arturo Rogerio Luz,
Jose T. Joya, and others. The name of Jose Joya (1931 - 1995) is synonymous to the best
in Philippine abstract expressionist art. He produced an excellent body of bold and lyrical
works (Artes de las Filipinas, n.d.).

SCULPTURE

Philippine sculpture reached its peak

through the works of Guillermo Tolentino (1890-
1976). His well-known masterpiece is
the Bonifacio Monument, which is a group
sculpture composed of numerous figures put
together around a central obelisk. The principal
figure is Andres Bonifacio, leader of the
revolution against Spain in 1896. Behind him
stands Emilio Jacinto, the brains of the
Katipunan. The Bonifacio Monument - completed
in 1933 marked the apex of Tolentino's career
(Artes de las Filipinas, n.d.).

Bonifacion Monument

Napoleon Abueva, born in 1930, is one of the pioneering modernists in sculpture and one
of Tolentino's pupils. He used various media and his stylization bordered on the abstract
as in Allegorical Harpoon, in which the dominant horizontal thrust of the figure evokes
the vitality of primitive forms (Artes de las Filipinas, n.d.).

81
Abueva's famous work is Fredesvinda, which was included in the First ASEAN Sculpture
Symposium held in Fort Canning Hill, Singapore, from March 27 to April 26, 1981 (Artes
de las Filipinas, n.d.).

MUSIC
With the death of Nicanor Abelardo and Francisco Santiago, the two greatest
Filipino composers, Filipino music has been struggling. However, the efforts of such
musicians as Antonio J. Molina, Felipe P. Padilla de Leon, Lucio San Pedro, and others,
using folk literature and folk songs, have contributed to the revival of Filipino music (Artes
de las Filipinas, n.d.).
The Philippines is rich in sound-producing instruments, such as percussions, flutes, and
stringed instruments. Here are some examples:
Gongs. There are two types used in the
Philippines. One is the flat gong which is a narrow-
rimmed gong without central protrusion and
found exclusively in the north. The other has a boss
or central protrusion with a narrow or very wide
rim, widely used only in the southern Philippines.

Kulintang (gong-chime)

Kutyapi. This is a two-stringed plucked lute, commonly found in Maganoy, Maguindanao.

It is one of the most technically demanding and difficult to master among Filipino

82
traditional instruments. However, kutyapi music is rich in melodic and rhythmic sound
and is deeply poetic in inspiration.

Kutyapi (two-stringed plucked lute)

DANCE
Native dances occur in
amazing diversity throughout the
Philippines. Many of them are of
varied origins and functions. Some are
part of a tribal rite or sacrifice; others
are in native feasts and festivals to
conciliate the spirits, seek deliverance
from plague or mark births and
deaths; and still, others have a lighter
burden to carry: flirtation or
courtship, or to lighten the tasks of
planting or harvesting (Artes de las
Darangan Cultural Troupe Dancers
Filipinas, n.d.).

METALWORKS
This is generally inlay in silver and gold
or black. Brass is much used for common
things, such as bowls and trays, ladders,
weapons, gongs, and other musical
instruments. Best examples of these are the
weapons and household utensils of Muslims
(Artes de las Filipinas, n.d.).

83
SARI-MANOK
It is the legendary bird or artificial
cock that has become an important
symbol of Maranaw art. It is depicted as a
fowl with wings and feathered tail,
holding a fish on its beak or talons. The
head is profusely decorated with scroll,
leaf, and spiral motifs (Artes de las
Filipinas, n.d.).

SAMAL MAT
The traditional mats in the country show the artistry and the exquisite skills of the
native weavers. One example is the Samal mat which is considered design-wise as one of
the most interesting traditions in the whole country. The Samals are Muslims occupying
the bigger islands in Tawi-Tawi and are generally engaged in trade and agriculture. The
Samal mat uses the leaves of the pandanus plant which grows abundantly in the area. It
has four general patterns: (1) stripes; (2) multicolored squares; (3) a checkered pattern
of white and other colors; and (4) a zigzag pattern (Artes de las Filipinas, n.d.).

CONTEMPORARY FILIPINO ART SCENE

The practice of arts changes over time. Many works of art created as an answer to
or a reaction to pressing social, economic, political, and intellectual conditions. Modern
and contemporary artists have been developing and influencing different art styles. The
move to the philosophy “art for art’s sake” opened the art scene for new, unconventional,
ideological, and symbolic works of art.

84
 Similar to this is the flourishing of the independent art scenes in music, literature,
poetry performance, filmmaking, and photography, among others. The revamp of Original
Pilipino Music ushered in a new sound of Filipino makata lyricism and quality music
production, which allows the promotion and love for local music to be at par with the
music produced in the international scene. Literature and poetry performances likewise
root their breadth and beauty in Filipino social realities and ideals, opening a wide array
of narratives. The Filipino film industry offered more variety, unique plots as well as
concepts, and more age-group appropriated films. These films reflect and represent
social, economic, political, and cultural Filipino realities, among others. Other than that,
a range of amusing and entertaining contents. Photography flourished as well, alongside
greater access to technology, which paved the way for individuals to pursue fine arts
photography.
All of these art forms are practiced in the contemporary with levels of creativity,
artistry, sophistication, and production. Indeed, art is shaped by its context, yet its
essence is not context-bound.

SUPPLEMENTARY MATERIALS
Knowing more about Philippine Arts:
 TUKLAS: Sining Saysay - Philippine History in Art
(https://www.youtube.com/watch?v=ZN75VyLipIU)
 What's The Big Idea? Mid-century modern art and the Philippine Art Gallery
(https://www.youtube.com/watch?v=OHVER68AFa4)
 Important Philippine Art (https://www.youtube.com/watch?v=TxFrdm251HI)

Guide question: How can you say that a particular work of art is a Philippine art? What are
the themes or motifs commonly found in these works of art?

TASK/ACTIVITY

Reflect on the following questions:

1. How do these works of art shape and maintain the identity of a Filipino and the
Filipino nation?
2. How can we better promote, practice, and take care of our traditional/indigenous
works of art vis-à-vis our promotion and consumption of contemporary works of
art?
3. How can we protect the integrity of our traditional/indigenous works of arts and
artists in light of the commercialization of traditional art practices?

85
Write your answers in one whole sheet of paper. Explain your points and your ideas in
detail. Your answer in each number should not be lower than 150 words.
TASK/ACTIVITY RUBRIC:
Content/Relevance (points, ideas, discussion): 10 points
Writing technicalities (narrative, grammar): 6 points
Format 4 points
20 points for each number (60 points in total)

ASSESSMENT

CULTURAL MOTIFS AND FILIPINO REALITIES

In this artwork, you are allowed to interpret the theme in different art forms. You can
make visual art, poem, song, short story, short film, and/or fine art photography.
For this creative output, the idea or theme centers on incorporating cultural motifs
found in folk and indigenous works of art as art styles and designs of your output.
This applies to those who will choose the visual arts option. Your work of art can be
inspired by patterns found in traditional art practices like textiles, clothing, vintas,
tattooing, pottery, and metalworks among others.
On the other hand, your output can be a representation of different Filipino realities.
A visual art, poem, short story, short film, song, or fine art photography that
represents a particular Filipino reality can be created.
There will be no restrictions when it comes to the medium or the use of materials.
Include a title and a short description of your artwork.
ASSESSMENT RUBRIC:
Art form: 15 points
Content, adherence to the theme: 40 points
Creativity: 30 points
Artistry (interplay of design, medium, art elements): 15 points
Total 100 points

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