Midterm

ALVIN KRIS B. ALIC

09472646753 | FB: Alvin Alic
Email: alic_alvin@fbc.ph.education

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 MODULE 4
VISUAL ARTS AROUND THE WORLD
AND ACROSS HISTORY
MOST ESSENTIAL LEARNING OUTCOMES
At the end of this module, students will be able to:
1. Describe various forms and ways of art making and expression in both parts of the world.
2. Compare and contrast western and eastern visual arts.
3. Make their own concept of art in relation to the contemporary times.

Lesson Inputs

Western Visual Arts

Western arts, the literary, performing, and visual arts of Europe and regions that share a European cultural
tradition, including the United States and Canada.
Diverse as the European continent is, the artistic traditions of its nations share many common traits. The
antecedents of most European arts lie in the artistic production of ancient Greece and Rome. These bases were
developed and spread throughout the continent with the advent of Christianity. In the late 15th century, European
artistic styles began to spread to the New World, creating American and Canadian traditions that were intertwined
with those of Europe. (Native American arts retained their own distinctive qualities, however; see arts, Native
American.) At the turn of the 21st century, Western artistic production was often marked by its ability to cross
national boundaries in style and message, although elements of national traditions were also retained.

Architecture
Throughout history, architecture has been used as a creative, functional outlet that often heralds the cultural
depth of society. In fact, a scroll through the basics of important architectural movements is a window into art and
culture during any given time period.
Often, architectural styles build on one another, with each past period providing the building blocks of
advancement for the next culture. Just think of the lasting influence of the Egyptian pyramids or classical Greek
temples, which have not only inspired later architects, but also fashion, jewelry, and industrial design.
Here are several examples of Western Architecture:

a) Egyptian Architecture - One of the most powerful

civilizations in history, it only makes sense that the Egyptians
would produce iconic architecture. And while the pyramids
might be the structures that come to mind when thinking of
Egyptian architecture, they are not to the only type of
architectural expression the Egyptians built. Prior to the
pyramids, Egyptians focused on incredibly detailed temple
complexes that focused on aesthetic beauty and function.
By combining incredible engineering prowess with rich
symbolism, the
architecture of the Egyptians would continue to be a model http://toolonkadunpysakointilaitos.com/art-wallpaper-2/art-wallpaper-
for centuries to building-finger-painting-hd-desktop-instagram-photo/
come. Both ancient Greek and Roman architecture
borrowed characteristics,
such as stylized column motifs in early Greece and the
proliferation of
obelisks in Rome.

b) Greek and Roman Architecture - Often grouped

together under the umbrella of classical architecture,
ancient Greek and Roman architecture solidified the idea
of building structures against a set template. The Greek
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order of columns—Doric, Ionic, and Corinthian—is still used today, and Roman scholar Vitruvius’ multi-volume
work De architectura, discussed how rules of proportion in architecture can bring about harmony. From the
Acropolis complex in Athens to the Colosseum and Pantheon in Rome, some of history’s most iconic buildings
come from the Greeks and Romans.
These civilizations were also masters of engineering, with the Romans building incredible highway systems
and aqueducts to bring commercial goods and water across their vast lands, which stretched the entirety of
Europe.

c) Byzantine Architecture - took shape once Constantine moved the capital of the Roman Empire to
Constantinople (now Istanbul) in 330 AD. While drawing on elements of ancient Roman architecture, the
architectural style evolved. Churches were built with a Greek cross plan and brick and mortar were used to
create elaborate geometric patterns as decoration.
Architects took more liberty with the classical orders
that had been defined since the Greeks.
Though Byzantium has a long history, most of the
iconic architecture comes from the middle period
when the empire was at its wealthiest.
Early works, like the Mausoleum of Galla Placidia,
demonstrate the detailed mosaic decoration that
would become the hallmark of the style. As the most
iconic example of Byzantine architecture, the
Hagia Sophia shows off the engineering
prowess of the Byzantines with its series of domes—
the minarets are an Ottoman addition http://toolonkadunpysakointilaitos.com/art-wallpaper-2/art-wallpaper- not part of the
building-finger-painting-hd-desktop-instagram-photo/
original design. In fact, it remained the world’s largest
cathedral until 1520. Long after the fall of Byzantium, cultures were influenced by its architecture. For instance,
St. Basil’s Cathedral in Moscow, which was started in 1555, mixes Byzantine architecture with Russian tradition.

d) Meso-american Architecture —or Pre-Columbian—

architecture refers to the buildings constructed by the native
cultures of what is now Central America, from central Mexico to
northern Costa Rica. The period is most classically identified
with Maya architecture and the great stepped pyramids of this
civilization. Urban planning was guided by religious and
mythological beliefs, as the cultures believed that the
architecture was a tangible form of their faith.
Mesoamerican structures are noted for their heavy stonework
and use of enormous manpower to overcome technological
handicaps. While this limited their abilities to build things such
as true arches, they adapted to invent a corbeled arch which
supported less weight but was still functional. The El Castillo pyramid at the iconic Maya city of Chichen Itza
exemplifies what we think of as Pre-Columbian architecture. The chunky architecture would later influence
Frank Lloyd Wright, who in he 1920s and 1930s worked in a Mayan Revival style.

e) Gothic Architecture - The style of some of the best-

known churches in Europe, Gothic architecture
dominated for hundreds of years, starting in France and
spreading throughout the continent. The combination of
the pointed arch, flying buttress, and ribbed vault
allowed for exceptional verticality to Gothic structures.
Increasing the height and reducing the weight of the
walls allowed for light to pour in through stained glass
windows.
Notre-Dame in Paris is not the first example of French Gothic
architecture, but is surely the most famous. In Italy, the main
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cathedral of Milan shows how other cultures put their own spin on Gothic, exaggerating the flamboyant features
with its ornate facade.

f) Neoclassical - In architecture, as with many art forms, what goes around comes around. This was never
more evident than when looking at the Neoclasssical
movement. Architects returned to the thinking of
Renaissance master Palladio, who was strongly
influenced by Roman architectural ideas of proportion
and perfection. This simplicity was a reaction to the
ornate Baroque and Rococo styles that were popular in
the preceding centuries. The movement began in the
United Kingdom, where the term Palladian architecture
http://toolonkadunpysakointilaitos.com/art-wallpaper-2/art-wallpaper- was coined to refer to these pared down architectural
building-finger-painting-hd-desktop-instagram-photo/ ideals.
Much of the United States capital was created based on
Neoclassical ideals, later termed the Federal style, including the White House and Lincoln Memorial.

Art of the Americas: Focus on the U.S. Setting

One of the first painters to visit British America was John White (c. 1540 – c. 1606), who made important
watercolor records of Native American life on the Eastern seaboard (now British Museum). White first visited
America as the artist and map-maker for an expedition of exploration, and in the early years of the Colonial period
most other artists trained in Western styles were officers in the army and navy, whose training included sketching
landscapes. Eventually the English settlements grew large enough to support professional artists, mostly portrait-
painters, often largely self-taught. Among the earliest was John Smybert (1688–1751), a trained artist from London
who emigrated in 1728 intending to be a professor of fine art, but instead became a portrait painter and printseller in
Boston. His friend Peter Pelham was a painter and printmaker. Both needed other sources of income and had
shops. Meanwhile, the Spanish territories later to be American could see mostly religious art in the late Baroque
style, mostly by native artists, and Native American cultures continued to produce art in their various traditions.
After the Declaration of Independence in 1776, which marked the official beginning of the American national
identity, the new nation needed a history, and part of that
history would be expressed visually. Most of early
American art (from the late 18th century through the early
19th century) consists of history painting and especially
portraits. As in Colonial America, many of the painters who
specialized in portraits were essentially self-taught; notable
among them are Joseph Badger, John Brewster, Jr., and
William Jennys. The young nation's artists generally
emulated the style of British art, which they knew through
prints and the paintings of English-trained immigrants such
as John Smibert (1688–1751) and John Wollaston (active
1742–75).
Robert Feke (1707–52), an untrained painter of the
colonial period, achieved a sophisticated style based on
Edward Savage, The Washington Family 1789-96, National Smibert's example. Charles Willson Peale, who gained
Gallery of Art, Washington, D.C. much of his earliest art training by studying Smibert's
copies of European paintings, painted portraits of many of
the important figures of the American Revolution. Peale's younger brother James Peale and four of Peale's sons—
Raphaelle Peale, Rembrandt Peale, Rubens Peale and Titian Peale—were also artists. Painters such as Gilbert
Stuart made portraits of the newly elected government officials, which became iconic after being reproduced on
various U.S. Postage stamps of the 19th century and early 20th century.
John Singleton Copley painted emblematic portraits for the increasingly prosperous merchant class, including a
portrait of Paul Revere (ca. 1768–70). The original version of his most famous painting, Watson and the Shark
(1778), is in the collection of The National Gallery of Art while there is another version in the Boston Museum of
Fine Arts and a third version in the Detroit Institute of Arts. Benjamin West painted portraits as well as history
paintings of the French and Indian War. West also worked in London where many American artists studied under
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him, including Washington Allston, Ralph Earl, James Earl, Samuel Morse, Charles Willson Peale, Rembrandt
Peale, Gilbert Stuart, John Trumbull, Mather Brown, Edward Savage and Thomas Sully. John Trumbull painted
large battle scenes of the Revolutionary War. When landscape was painted it was most often done to show how
much property a subject owned, or as a picturesque background for a portrait.

European Art

Before the 1800s, the Christian church was a major influence upon European art,
the commissions of the Church, architectural, painterly and sculptural, providing
the major source of work for artists. The history of the Church was very much
reflected in the history of art, during this period. In the same period of time there
was renewed interest in heroes and heroines, tales of mythological gods and
goddesses, great wars, and bizarre creatures which were not connected to religion.
Most art of the last 200 years has been produced without reference to religion and
often with no particular ideology at all, but art has often been influenced by political
issues, whether reflecting the concerns of patrons or the artist.

EASTERN AND ORIENTAL VISUAL ARTS

From ancient times, China has been the dominant

and referential culture in East Asia. Although variously
developed Neolithic cultures existed on the Korean Peninsula and on the Japanese
archipelago, archaeological evidence in the form of worked stone and blades from the
Paleolithic and Neolithic periods suggests an exchange between the early East Asian
cultures and the early introduction of Chinese influence. This cultural interaction was
facilitated in part by land bridges that connected Japan with the continent.
Significant developments in the production of earthenware vessels from as early as
14,000 bce in Japan (thus far, the world’s earliest dated pottery) and from approximately
3500 bce in Korea are well documented. They reveal a rich symbolic vocabulary and
decorative sense as well as a highly successful union of function and dynamic form.
These types of vessels chronicle the increasing needs for storage as there was a
gradual societal transformation from nomadic and foraging cultures to more sedentary crop-producing cultures.
There were pottery-dominant cultures in China as well. The painted (c. 5000 bce) and black (c. 2500 bce)
earthenware are the best known.
As Korea and Japan continued in various Neolithic phases, developments in China from approximately 2000
bce were far more complex and dramatic. Archaeological evidence firmly corroborates the existence of an emerging
bronze culture by approximately 2000 bce. This culture provided the base for Shang dynasty (c. 1600–1046 bce)
culture, which witnessed extraordinary developments in the production of bronze, stone, ceramic, and jade artifacts
as well as the development of a pictograph-based written language. Bronze production and the expansion of rice
cultivation gradually appeared in Korea from approximately 700 bce and then slightly later in Japan. While no single
political event seemed to further the transmission of
Chinese cultural elements to Korea and Japan, clearly the
expansionist policies of the rulers of the Han dynasty (206 bce–
220 ce) stimulated what had been a gradual assimilation of
Chinese cultural elements by both Korea and Japan. Indicatively,
it is from this period that Chinese documentation of
legation visits to Japan provide the first written records describing
the structure of Japanese society.

The cultures of China, Korea, and Japan went on, from this
period of interaction during the Han dynasty, http://toolonkadunpysakointilaitos.com/art-wallpaper-2/art- to develop in quite
wallpaper-building-finger-painting-hd-desktop-instagram-photo/
distinctive ways. China, for example, experienced two
major dynasties, the Han and the Tang (618–907), that were truly international in scope and easily rivaled
contemporary Mediterranean powers. In succeeding dynasties, including rule by foreign invaders from the north, the
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development of the visual arts continued to explore and develop the basic media for which the Chinese
demonstrated special affinity: clay, jade, lacquer, bronze, stone, and the various manifestations of the brush,
especially in calligraphy and painting. Emphases shifted, as did styles, but the fundamental symbolic vocabulary
and a predisposition to renew through reinterpretation and reverence of the past was characteristic not only of
Chinese arts but of all the East Asian arts.

Korea’s pivotal location gave it particular strategic value and thus made it the target of subjugation by a
stronger China and Japan. But Korea strove to maintain its own identity and to prevent China and Japan from
exercising control over more than a small portion of the peninsula. National contributions to the larger aesthetic
culture of East Asia included unequaled mastery of goldsmithing and design as well as a ceramic tradition that
included delicate celadon ware and a vigorous folk ware that inspired generations of Japanese tea masters. Indeed,
Korea was a primary conduit of continental culture to the Japanese in many areas of visual expression, including
metalwork, painting, and ceramics.

In the late 13th century, Mongol forces made two unsuccessful attempts at invading the Japanese islands, and
the country was spared occupation by a foreign power until well into the 20th century. This unusual condition of
comparative isolation provided Japanese cultural arbiters with a relative freedom to select or reject outside styles
and trends. Nevertheless, Chinese art’s highly developed, systematic forms of expression, coupled with its
theoretical basis in religion and philosophy, proved enormously forceful, and Chinese styles dominated at key
junctures in Japanese history. The reception and assimilation of outside influence followed by a vigorous assertion
of national styles thus characterized the cycle of Japanese cultural development. In addition to distinctive
reinterpretations of Chinese ink monochrome painting and calligraphy, an indigenous taste for the observation and
depiction of human activity and an exquisitely nuanced sense of design are readily apparent in most areas of
Japanese visual expression, none more so than in narrative painting and in the wood-block print.

The elements and tendencies common to the Chinese, Korean, and Japanese cultures are vast, but two kinds
of visual expression are especially important: a strong affinity for the clay-formed vessel and calligraphic expression
through the ink-charged brush. Vigorous, subtle, and technically sophisticated expressions ranging from Neolithic
earthenware to celadon and glazed enamelware were both integral to daily life and prized by connoisseurs who
judged ceramics by an elaborate code of appreciation. Increasingly abstracted forms of pictographs provided a
means of writing that was image-based; characters formed by the brush could be normative but also offered infinite
possibilities for personal expression through ink modulation and idiosyncratic gesture. Although Korea and Japan
later developed phonetic syllabaries, the visual language of the educated continued to be based on the ancestral
Chinese form. The meanings of words, phrases, or whole texts could be expanded or nuanced by their visual
renderings. Painting was derivative from calligraphy, and implicit in painting skill was a preceding mastery of the
brush-rendered calligraphic line. As a consequence, calligraphy was unequaled as the major element in the
transmission of cultural values, whether as information or as aesthetic expression.

The influence of Buddhism, a force which was initially foreign to East

http://toolonkadunpysakointilaitos.com/art-
wallpaper-2/art-wallpaper-building-finger-
painting-hd-desktop-instagram-photo/
Asia, also should not be underestimated. Emerging from India and Central
Asia in the first century after nearly 500 years of development on the
subcontinent, Buddhism offered a convincing universalist system of belief
that assimilated and frequently gave visual expression to indigenous religions.
By the 5th century ce, a Chinese dynastic line had adopted Buddhism as a
religion of state. While individual rulers, courts, or dynasties at times
propelled the florescence of East Asian arts, none of them equaled the
patronage of Buddhism in duration, scale, and intellectual sustenance.
Confucianism, Daoism, and, to a somewhat lesser degree, Shintō required
expression through the arts; however, Buddhism’s multiple sects, complex
iconography, and program of proselytizing made it the natural and dominant
vehicle of transcultural influence in East Asia.

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 EXERCISE NO. 4

I. Let your minds work! - What is the contribution of the following to the development of the Arts in the Philippines?

a) History

b) Politics

c) Religion

d) Socio-Economics

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 MODULE 5
INDIGENOUS FILIPINO ARTS
MOST ESSENTIAL LEARNING OUTCOMES
At the end of this module, students will be able to:
1. Describe various forms and ways of art making and expression in the Philippines
2. Discuss the western and eastern influences to Philippine Arts
3. Make their own concept of art in relation to the contemporary times.

Lesson Inputs

IN FOCUS: The Cultural Matrix of Philippine Traditional Arts

by Prof. Felipe M. De Leon Jr.

In Philippine culture, there is an underlying belief in the psychic unity of humanity. Individual existence is only
apparent and relative. For we all exist within a cosmic matrix of being at the deepest center of which is a creative
living principle or energic process. All human beings – and to a lesser degree even animals, plants and minerals —
share this innermost sacred core: ubod ng kalooban. A paradox arises. In every person is a divine essence that
seeks fulfillment in imaginative, creative endeavors. At the same time, the interdependence implied by a shared
matrix of being seeks affirmation in a celebration of togetherness: pakikipagkapwa.
This social view of the world makes Filipinos harmony-seeking and unitive. It encourages a devotional attitude
towards the highest ranking being in the cosmic social order for the reason that becoming one with this figure unites
one with the whole world.
Hence, images of divine beings attract so much devotional fervor in all traditional Filipino towns and villages. A
strongly shared devotion develops an expanded sense of self, an orientation that is communal rather than
individualistic, intuitive and holistic rather than logical and analytic, and preferring interdependence and
relationships over self-assertion and privacy.
Filipinos are highly relational people. They are hardly alone, quite happy being together – when they eat, sleep,
work, travel, pray, create or celebrate. Having a minimal sense of privacy, they are open, trusting and easily
accessible socially. Instead of a meticulous concern for safeguarding their private sphere, as in the case of Western
peoples, many Filipinos actively seek a convergence of their lives with the lives of others. For example, a sharing of
concern is seen in a common form of greeting in the region such as, “Where are you going?” or “Where have you
been?” Sharing of tasks and responsibilities within the family and the community is a way of life. Thus, they become
highly skilled and creative in interpersonal relations and social interaction. The capacity to integrate socially
becomes one of the hallmarks of maturity.
The communal orientation is manifested in all aspects of traditional Filipino village life and, to a great extent,
even in urban settings. Attributes Attributes of Integral Art
The traditional arts most sensitively reflect this communal orientation. Being the most lucid and expressive
symbols of a culture’s values, the arts are the most powerful instruments of inquiry into the essential character of a
culture. It is undeniable that the following basic concepts and attributes of art and the conditions of artistic creation,
expression and experience could only have arisen in communal or integral Filipino cultural settings:

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Integration of the arts with other values and functions. The arts are not valued for their own sakes. The
aesthetic is not divorced from utilitarian, religious, moral, spiritual, social, and ecological concerns. This ensures a
balanced cultivation and development of human faculties – physical skills as well as inner potentials.

Unity of the arts. Consistent with the integration of faculties is the integration of artistic sensibilities. No one
sensory mode and aesthetic intelligence is to be cultivated at the expense of the others. Although one may be given
emphasis – literary, visual, spatial, musical, kineaesthetic, gustatory and olfactory senses have to be harnessed
and promoted together for maximum aesthetic well-being.

Art is integrated with everyday life and not regarded as a separate activity. It does not become aspecialism
(specialization that is narrow or at the expense of everything else, as defined by cultural critic Jacques Barzun). It is
not for the specialist alone but for everyone. This implies that there will be no special venues or spaces for art
because it virtually exists wherever and whenever there is human activity.

Equality of opportunity for participation in the artistic, creative process. There are relatively no superstars, for
the source of power is not the individual, who is only a channel of divine inspiration or creativity. Thus, the author or
creator is often anonymous.

The artist is not separate from his audience or society; communal participation is the norm. Unlike in the
West, there is no dichotomy of artist and society because art is not the specialist’s concern alone. Everybody is
expected to be an artist and participate in creative, expressive activities.

Flexibility of material, technical, and formal requirements. No rigid or fixed standards dictate the choice of
materials, techniques, and forms for artistic creation and expression, e.g. there is nothing like an arbitrary, fixed
system of tuning as in the European equal-tempered system though definite principles underlie the tuning of
musical instruments such as lutes, flutes and gongs. Such flexibility ensures a wider, more democratic participation
of people in artistic activity.

Use of available resources for artistic creation. Art is not synonymous with big production costs because what
matters is artistic excellence or the creative idea as well as making art part of everyday life. Thus, the least
expensive mediums, e.g. paper for kites, is regarded highly and not considered inferior to the costlier ones. And
even the most practical objects like a coconut grater, container, knife handle, tree stump, mat, or hat can become a
medium for the finest art.

Emphasis on the creative process rather than the finished product, endowing extemporaneous, improvisatory
or spontaneous expressions of creativity a higher value than deliberate, often solitary, conceptualization and
composition of forms. This valuing of process rather than product nurtures creative health and can inhibit mere
idolizing of masterpieces and obsession with permanence

Simultaneity of conception and realization. Affirmation of the creative imagination through the tradition of instant
mirroring or biofeedback, which, together with emphasis on the creative process, provides an excellent condition for
communal participation.

The decline of integral art in urban settings

As Philippine society becomes more Westernized, particularly in the more urbanized and industrialized areas,
these contexts are replaced by their exact opposite. Artistic creation becomes narrowly specialized, separate from
everyday life, a glorification of the individual ego, and obsessed with commercial success. It becomes primarily a
medium for technical virtuosity, sensory impacts, entertainment, and highly secular values. Art loses its magical,
mythical and mystical qualities.

Many Filipinos who have been educated in the Western way or conditioned by the massive propaganda for
Western elite and mass cultures in our midst have distanced themselves from Filipino integral or communal art to
the extent of denigrating it as inferior and primitive, if not ignoring it altogether as art. Such thinking has no basis in
fact and is mainly the result of ignorance and lack of exposure to the excellence of our traditional arts.

The best representatives of our communal cultures—the so-called “ethnic” Filipinos in northern Luzon, Mindoro,
Mindanao and Sulu, Palawan, lowland folk in Luzon and the Visayas, and traditional communities even in urban
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places like Manila and Cebu—have never succumbed to the error of dichotomizing art and life or serving art at the
expense of the integrity of the community or the individual. Unlike in the West, our integral art has always been a
way of making oneself whole and of harmonizing oneself with others, with nature and with life. The wholeness of
this way speaks with a clear and unmistakable voice.

The cardinal “error” of the folk or traditional artist, from a Western perspective, is to invest his work not only with the
aesthetic but with other values as well. He endows his art with as many uses and functions to ensure that it will
benefit a wide community of men, women and children and promote communal identity, well-being and harmony.

The traditional artist himself is not a narrow specialist. His purpose is to maintain, within his person, the
broadest basis for interacting and communicating with others in everyday life. This is why, for example, an expert
gong player for rituals may be a professional dentist the rest of the time. A National Living Treasure of the
Philippines, Samaon Sulayman, who is a specialist and master of the kutyapi or two-stringed lute is also the favorite
barber in his home town and a Muslim imam on particular occasions. To the integral traditional mind, pitting
individual against society to raise the individual’s worth simply does not make sense.

The technical and economic power of Western art for art’s sake has awed many Filipino artists and led them to
embrace its individualist aesthetics. Creative cooperation and harmony in traditional communities have been
replaced by the wasteful competition and anxiety-driven ways of modern living. To revitalize the cultural contexts of
the traditional arts in contemporary life is to return to the path of wholeness and wisdom.

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 EXERCISE NO. 5

Things I have learned Things I have realized Things I have

and appreciated discovered
(Knowledge)
(Attitudes) (Learning)

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 CULTURAL ANTHROPOLOGY
MIDTERM

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higher education. The Internet and Higher Education, 13(3), 101-107. Retrieved from https://bit.ly/32BX0QT

Bridgland, A., & Blanchard, P. (2001). Flexible delivery/flexible learning ... does it make a difference?
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Collis, B., & Moonen, J. (2001). Flexible learning in a digital world: Experiences and expectations.
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Cornelius, S., & Gordon, C. (2008). Providing a flexible, learner-centred programme: Challenges for
educators. The Internet and Higher Education, 11(1),33-41. doi:10.1016/j.iheduc.2007.11.003countid=13631

Reviewed and Approved by:

MARILYN T. ALCALA, LPT, Ph. D.

Dean

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