8

Arts
Quarter 1 – Module 6
Factors Reflecting in Designing and
Making of Artworks

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Arts – Grade 8
Alternative Delivery Mode
Quarter 1 – Module 6: Factors Reflecting in Designing and Making of Artworks
First Edition, 2020

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Published by the Department of Education

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Undersecretary: Diosdado M. San Antonio

Development Team of the Module

Writer: Rechel N. Moncayo
Editors: Paulita L. Vernal, Lenycres V. Libres, Charito B. Cabug-os
Reviewer: Cecilia M. Saclolo

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Illustrator: Stephany Bryan D. Itao
Layout Artist: Ivan Paul V. Damalerio
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 8

Arts
Quarter 1 – Module 6
Factors Reflecting in Designing and
Making of Artworks
MODULES FROM CENTRAL OFFICE

i
Introductory Message
For the facilitator:

Welcome to the Arts 8 Alternative Delivery Mode (ADM) Module on Factors

Reflecting in Designing and Making of Artworks.
This module was collaboratively designed, developed and reviewed by educators both
from public and private institutions to assist you, the teacher or facilitator in helping the
learners meet the standards set by the K to 12 Curriculum while overcoming their
personal, social, and economic constraints in schooling.

This learning resource hopes to engage the learners into guided and independent
learning activities at their own pace and time. Furthermore, this also aims to help
learners acquire the needed 21st century skills while taking into consideration their
needs and circumstances.

As a facilitator, you are expected to orient the learners on how to use this module. You
also need to keep track of the learners' progress while allowing them to manage their
own learning. Furthermore, you are expected to encourage and assist the learners as
they do the tasks included in the module.

For the learner:

MODULES
Welcome to Arts 8 FROM CENTRAL
Alternative Delivery Mode (ADM)OFFICE
Module on Factors
Reflecting in Designing and Making of Artworks.

This module was designed to provide you with fun and meaningful opportunities for
guided and independent learning at your own pace and time. You will be enabled to
process the contents of the learning resource while being an active learner.

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This module has the following parts and corresponding icons:

This will give you an idea of the skills or

What I Need to Know competencies you are expected to learn in the
module.

This part includes an activity that aims to check

what you already know about the lesson to
What I Know
take. If you get all the answers correct (100%),
you may decide to skip this module.

This is a brief drill or review to help you link the

What’s In
current lesson with the previous one.

In this portion, the new lesson will be introduced

to you in various ways such as a story, a song,
What’s New
a poem, a problem opener, an activity or a
situation.
This section provides a brief discussion of the
What Is It lesson. This aims to help you discover and
understand new concepts and skills.
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This comprises activities for independent
practice to solidify your understanding and skills
What’s More of the topic. You may check the answers to the
exercises using the Answer Key at the end of
the module.

This includes questions or blank

What I Have Learned sentence/paragraph to be filled in to process
what you learned from the lesson.

This section provides an activity which will help

What I Can Do you transfer your new knowledge or skill into
real life situations or concerns.
This is a task which aims to evaluate your level
Assessment of mastery in achieving the learning
competency.

In this portion, another activity will be given to

Additional Activities you to enrich your knowledge or skill of the
lesson learned.

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 This contains answers to all activities in the
Answer Key
module.

At the end of this module you will also find:

This is a list of all sources used in developing

References
this module.

The following are some reminders in using this module:

1. Use the module with care. Do not put unnecessary mark/s on any part of the
module. Use a separate sheet of paper in answering the exercises.
2. Don’t forget to answer What I Know before moving on to the other activities
included in the module.
3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking your answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are through with it.
If you encounter any difficulty in answering the tasks in this module, do not hesitate to
consult your teacher or facilitator. Always bear in mind that you are not alone.
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We hope that through this material, you will experience meaningful learning and gain
deep understanding of the relevant competencies. You can do it!

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 What I Need to Know

This module was designed and written for your benefit and convenience. It is
here to help you to be more proficient in Arts. The scope of this module covers many
different learning situations. The language used recognizes the diverse vocabulary
level of students. The lessons are arranged following the standard sequence of the
course. But the order in which you read them can be changed to correspond with the
textbook you are now using.

After going through this module, you are expected to:

1. Trace the external (foreign) and internal (indigenous) influences that are
reflected in the design of an artwork and in the making of a craft.
(A8PL-11-h-4)

Specific objectives:
 Understand the arts of Southeast Asia.
 Identify the external and internal influences that are reflected in the design of


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an artwork and in the making of the craft.
Create an artwork that visualize the influence of Southeast Asian Country

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 What I Know

Choose the letter of the correct answer. Write your answer on a separate sheet
of paper.

____ 1. It is known as the early indigenous cultures of Southeast Asia

A. The Prehistoric Period
B. Colonization and independence
C. The Rise of Southeast Asian Kingdoms
D. Initial Contacts with India Southeast Asia

____ 2. It came under the influence of Indian civilization towards the end of the first
millennium BC.
A. The Prehistoric Period
B. Colonization and Independence
C. The Rise of Southeast Asian Kingdoms
D. Initial Contacts with India Southeast Asia

____ 3. The Southeast Asian Connection Assimilation and Adaptation sculpture is

strongly reflected in _____________ influences.

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A. Indian
B. Korean
C. Cambodian
D. Indonesian

____ 4. The following are the functions of Southeast Asian Art, EXCEPT:
A. to worship C. to glorify
B. to teach D. to idolize human form

____ 5. It is one of the styles of Southeast Asian Art in which a sculpture has a sense
of dignity and restraint is created.
A. Pose C. Surfaces
B. Scale D. Anatomical Structure

____ 6. In Southeast Asia, the Gods and Kings sculpture were portrayed _________
scale.
A. Medium C. Smaller
B. Natural D. Superhuman

____ 7. It is one of the secular arts of Southeast Asia where real elephants are large
and heavy and the one pictured seems to float among Chinese-style “wish-
granting” clouds and from the very early times, the Vietnamese had been
influenced by the beliefs and art styles of their large neighbor, China.
A. Dish
B. Deified King
C. Bangle with male head
D. Dish with animals and mounted hunters

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____ 8. It is a hollow object cast in bronze and is more than three feet tall. The surface,
now rough and greenish brown from long burial, probably was once a bright
metal.
A. Presentation Bowl
B. Four-armed Avalokiteshvara
C. Seated Transcendent Buddha Vairochana
D. Ceremonial Vessel in the Shape of an Ax Head

____ 9. It is a Southeast Asian Arts identified by the tiny figure of a seated Buddha
that appears in his braided hair.
A. Uma C. Avalokiteshvara
B. Hari-Hara D. Krishna on Garuda

____ 10. Which of the following is NOT one of the subcontinents of Southeast Asia?
A. Cambodia C. Indonesia
B. China D. Laos

____ 11. The following are Hindu Arts in Southeast Asia, EXCEPT:
A. Bangle with male head C. Standing Four-armed Vishnu
B. Krishna on Garuda D. Standing Hari-Hara

____ 12. In this period, Southeast Asia came under greater pressure from Muslim
traders and European seafaring nations.
A. Colonization and Independence
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B. Later Kingdoms
C. The Khmer Empire
D. The Rise of Southeast Asian Kingdoms

____ 13. The height of the Presentation Bowl is _______________.

A. 11 cm C. 31 cm
B. 21 cm D. 41 cm

____ 14. The Southeast Asian Arts are classified into four. Which of the following is
NOT part of Southeast Asian Arts?
A. Buddhist Art C. Prehistoric Art
B. Hindu Art D. Secular Art

____ 15. What arts refer to a religious content and are rich and varied court art was
produced?
A. West Asian Art C. Central Asian Art
B. South Asian Art D. Southeast Asian Art

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 Lesson External (Foreign) and Internal (Indigenous)
Influences that are Reflected in the Design of
1 an Artwork and in the Making of a Craft

Southeast Asia

The subcontinents of Southeast Asia areCambodia, Indonesia, Laos, Myanmar

(Burma), Malaysia, Singapore, Thailand, and Vietnam. We will now trace the
influences that are reflected in their designed arts and craftsaccording to the different
historical period.

The Prehistoric Period

It is about the early indigenous cultures of Southeast Asia. It is unclear how and
when pottery making and metalworking were first discovered in the region. It remains
unclear such finely made objects were traded or commissioned from other centers in
Southeast Asia.

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Initial Contacts with India Southeast Asia

It came under the influence of Indian civilization towards the end of the first
millennium B.C., when India, Sri Lanka, and mainland Southeast Asia became
involved in the network of trade along which luxury goods were moved both east and
west by sea from the eastern Roman Empire to the Han dynasty in China.

The Rise of Southeast Asian Kingdoms: 4th–9th century

The founding myths of later Southeast Asian kingdoms indicate that Indian
merchants settled in these centers. India continued to be a source for Southeast Asian
cultures for the next thousand years. Buddhist and Hindu devotees visited holy sites
in India, returning with firsthand impressions of Indian art and architecture, religious
texts, and portable images of Buddhist and Hindu deities.

The Khmer Empire: 9th–13th century

After a long stay at the Central Javanese court, a Zhenla nobleman returned to
the mainland and founded the Khmer Empire of Cambodia. In 802, he gave himself
the name of Jayavarman II and built a capital, which he called “the mountain of the
king of the gods,” in the tradition of Central Javanese rulers who called themselves

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“mountain kings.” He erected a templemountain that mirrored the abode of the gods,
and established the cult of the devaraja—the god-king—in Cambodia.

Later Kingdoms: 13th–16th century

The Khmer Empire began a slow decline in the thirteenth century. A large part
of what had been Khmer land eventually was taken over by the Thais, a tribal people
from southern China who became Theravada Buddhists through their contact with the
Buddhist kingdom of Pagan in Myanmar. For the next four centuries, two Thai
kingdoms—one located in the north, the other in what is now central Thailand—vied
for power and often fought off Buddhist neighbors from Myanmar.

Colonization and Independence

In the sixteenth century, Southeast Asia came under greater pressure from
Muslim traders and European seafaring nations. With the exception of Bali, whose
population is Hindu, the peoples of Indonesia became Muslims.

What’s In
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Let us check your knowledge about your previous lessonby doing this activity.

Activity 1.

Below the table is a list of arts and crafts of Southeast Asia. Identify each by writing
only the number in the column where it belongs. Do this on a separate sheet of
paper.

A B C D E
INDONESIA MALAYSIA THAILAND CAMBODIA SINGAPORE

1. Merlion 6. Wau
2. Loi Kratong 7. Wayang puppetry
3. Batik 8. Object made from pewter
4. Modern Batik 9. Silk fabrics
5. Ancient temples 10. Angkor Wat

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 What’s New

Fill in the blanks!

Identify the pictures below by choosing your answers inside the box. Use
separate sheet in doing this activity.
Standing Hari-Hara Standing Buddha Krishna on Garuda

Deified King Dish Avalokiteshvara

Seated Transcendent Buddha Cave architecture in Petra

Dish with Animals and Mounted Hunters Bangle with male head

Ceremonial Vessel in the shape of an Ax Head

1. 2. 3. 4.

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5. 6. 7. 8.

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 9. 10.

Processing Questions:

1. How did you find the activity?

2. What is the activity about?
3. How many pictures were you able to identify correctly? Can you name those?
4. Where can we find these arts and crafts?
5. Why is it important to study the influences of foreign and indigenous artwork
that is reflected in the making of a craft in southeast asian arts?

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What is It

The Southeast Asian Connection: Assimilation and

Adaptation

The symbols and images of Southeast Asian sculpture strongly reflects Indian
influences, which began to penetrate the region early in the Common Era.

Functions of Southeast Asian Art

a. To Worship - In India, the majority of sculptures covered all over the exterior
of temples for worshiping.
b. To Glorify the King - In Cambodia and in Java, the devaraja (god-king) cult is
sculptured and the deity’s images in the temple constructed by the king,
symbolized the god’s approval of the king’s divine right to rule.
c. To Teach - Sculpture and crafts in architectural form, extensive narrative reliefs
on temple walls performed on educational role by instructing worshippers in
both religious and historical events.

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 d. Precious Possessions - hoards of jewelry and ritual vessels have been found
in Indonesia, Cambodia and Vietnam.

Styles of Southeast Asian Art

a. Idealized Human Forms- Southeast Asian artists visualize the spiritual

perfection of the gods in idealized human form.
b. Anatomical Structure - The sculpture combines sensual forms with a strong
architectonic basis, as if the sensuality of Indian sculpture had been merged
with the formal, hieratic qualities of Egyptian sculpture.
c. Pose - a sense of dignity and restraint is created in the sculpture by an erect
posture, frontal pose, and balanced forms. Serene expressions emphasize the
compassion, purity, and introspection of transcendent beings.
d. Surfaces - Smooth areas contrast with the rich patterns of the figure’s hairstyle
and the pleats of the garment and the elaborate way in which it is worn.
e. Sculpture in the Round and in Relief - Southeast Asian deities were often
carved fully in the round.
f. Scale - As in South Asian art, to express the power and complexity of the gods
or kings, sculptures of them were sometimes represented on a superhuman
scale, while lesser spiritual beings were portrayed smaller

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Southeast Asian Arts

The Rise of Civilization Art

Ceremonial Vessel in the Shape of an Ax Head

It is more than three feet tall and it is in the shape of a
small utilitarian ax. The function of this hollow object
cast in bronze is unknown and the surface rough and
greenish brown from long burial, probably was once a
bright metal. The meaning of the decoration is also
unclear.

Ceremonial Vessel in the Shape of an Ax Head Indonesia.

Bronze and Iron Age, ca. 500 B.C.–A.D. 300. Bronze. H. 413/8 in.
(105.1 cm) Purchase, George McFadden Gift and Edith Perry
Chapman Fund, 1993 (1993.525)

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Buddhist Art

Presentation Bowl Probably Malaysia. ca. 7th–

8th century. Bronze. H. 81/4 in. (21 cm) Rogers
Fund, 1975 (1975.419)

Presentation Bowl
The narrative depicted on this bowl has not been identified, it may come from
the Jatakas, stories of the past lives of the Buddha. Riders on prancing horses and
three elephants move among attendants on foot who seem to be dancing along in
rhythm. There a king sits with his consort, flanked by attendants holding fly whisks and
a servant carrying a dish of delicacies. The royal pair is being entertained by musicians
and a dancer while court members observe from the balcony.

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Four-armed Avalokiteshvara
OFFICE
This life-sized bronze image of a four-armed
Bodhisattva Avalokiteshvara is the largest figure in a
hoard of sculptures found buried at a site in what is
now northern Thailand. Who made the images and
why they were buried is still a mystery. The form of
the torso, the rather square face, the eyes, lips, and
mustache of this figure resemble late seventh- and
eighth-century Cambodian sculpture.
Avalokiteshvara’s identifying feature is a small figure
of a seated Buddha in his elaborate hair arrangement
and headdress.

Four-armed Avalokiteshvara (The Bodhisattva of Infinite

Compassion) Thailand (Buriram Province, Prakhon Chai). ca.
second quarter of 8th century. Bronze, silver, and black glass or
obsidian inlay. H. 56 in. (142.2 cm) Rogers Fund, 1967
(67.234)

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Seated Transcendent Buddha Vairochana
The Buddha represented here is probably
Vairochana. In Esoteric (Vajrayana) Buddhism,
Vairochana is the Buddha of the zenith, the most
important of the five cosmic Buddhas. He sits on a
double lotus seat in the cross-legged yogic position of
meditation, with the right leg over the left and the soles
of both feet facing up. His diaphanous monk’s robes
closely follow the simplified forms of his body, creating
continuous, smooth surfaces that harmonize with the
Buddha’s serene expression and gentle hand gestures,
Seated Transcendent Buddha
which signify teaching (the right hand) and meditation. Vairochana Indonesia (Java).
Central Javanese period, ca.
late 9th century. Bronze. H.
75/8 in. (19.4 cm) Samuel
Eilenberg Collection, Gift of
Samuel Eilenberg, 1987
(1987.142.23)

Avalokiteshvara is identified by the tiny figure of a

seated Buddha that appears in his braided hair. Unlike
the many Southeast Asian sculptures, this figure is

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portrayed in a less formal pose, turning subtly from a
frontal axis with his left shoulder slightly raised.The
sculptor adapted this pose from the traditional pose of
royal ease in which deities were often depicted in South
Asian art.
Avalokiteshvara Cambodia or Thailand. Angkor period, ca. last
quarter of 10th–first quarter of 11th century, Khmer style of
BanteayShrei. Bronze with silver inlay. H. 223/4 in. (57.8 cm) Purchase,
The Annenberg Foundation Gift, 1992 (1992.336)

Standing Buddha
This Buddha’s image is derived from Indian models,
his facial type and proportions have been altered to satisfy
local tastes. The face is almost heart-shaped, with a broad
forehead, wide eyes, long nose, upturned mouth, square jaw,
and small chin. The unusually large head, the wide shoulders
and hips, and the tapering legs have lost a close
correspondence with the human form.

Standing Buddha Myanmar (Burma). Pagan

period, 12th–13th century. Bronze with silver
inlay. H. 197/8 in. (50.5 cm) Gift of the Miriam and
Ira D. Wallach Foundation, 1993 (1993.235.1)

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Hindu Art

Standing Four-armed Vishnu

This image of Vishnu faces the
worshipper directly in a symmetrical frontal
pose with weight equally distributed on both
feet. The sense of serenity created by the
expression on Vishnu’s face is reinforced by the
pleasing repetition of circular forms. Notice the
shape of the face, the arch of the eyebrows, the
shape of the pectoral muscles, and the outline
of the shoulders. The tall crown, neck, arms,
and legs are all variations of the cylinder. The
pose is frontal, static, and symmetrical, creating
a sense of permanence and grandeur.
However, the figure is also imbued with an
underlying sense of realism, of the muscle and
Standing Four-armed Vishnu Vietnam
bone beneath the taut surface. (Mekong Delta area). Pre-Angkor period,
ca. second half of 7th century. Stone. H. 41
in. (104.1 cm) Purchase, Lita Annenberg
Hazen Charitable Trust Gift, 1992
(1992.53)

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Krishna on Garuda is part man and part
bird, and legendary for strength, speed, and his
hatred of evil men and serpents. In this sculpture,
Krishna, an avatar of Vishnu, stands energetically
astride Garuda’s shoulders with the index finger of
his open left hand he makes a warning gesture,
while in his raised right hand he holds his war
discus. This group depicts the exciting climax of a
story well known to the Javanese people. Aided by
Krishna, Garuda has just successfully stolen the
elixir of immortality from the gods, who had thought
it was well protected by two poisonous serpents. He
holds the vanquished serpents in his hands - the
head of one is missing - and balances the elixir in a
jar on his head.

Krishna on Garuda Indonesia (Java).

Central Javanese period, second half
of 9th century. Bronze. H. 157/16 in.
(39.2 cm) Purchase, Lita Annenberg
Hazen Charitable Trust Gift, 1992
(1992.135)

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 Standing Uma
One of the Sculptures of Hindu goddess Uma,
another name of Parvati, the wife of Shiva, appeared
frequently in Khmer temples beside or near her consort.
She is believed to be the ideal wife and mother and her
form is meant to symbolize the perfect balance between
purity and sensuality. The sculptor of this figure visualized
these qualities with great sensitivity and skill. The
simplified, full volumes of her shoulders, breasts, and
thighs flow harmoniously one into another in a natural and
sensuous manner. Uma’s gentle smile, her serene
expression, and the slight weight shift of her body create a
sense of grace and ease.
Standing Uma Cambodia.
Angkor period, Khmer style,
ca. 975. Stone. H. 28 in.
(71.1 cm) Gift of Enid A.
Haupt, 1993 (1993.387.3)

Deified King (Jayavarman VI?)

Divine kingship was the concept upon which
Khmer authority and government was founded, and

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the cult of the devaraja, the god-king, was the state
religion. It is thought that each devaraja may have
commissioned a statue of himself to be placed in his
temple-mountain. Such figures expressed in visual
form the king’s divine right to rule.

Deified King (Jayavarman VI?) Cambodia. Angkor

period, second half of 11th century. Gilt bronze with
silver inlay. H. 415/8 in. (105.7 cm) From the Collection
of Walter H. and Lenore Annenberg, 1988 (1988.355)

Secular Art

Dish with Animals and Mounted Hunters

This beautiful vessel is in the form of a shallow dish set on a low splayed foot.
At the center is a receptacle in the form of a lotus that may have once held a stone.
Surrounding it is a narrow band of rosettes that outlines a wider frieze with trees and
animals. It is encircled by a band of rectangular blocks within blocks. The main frieze,
bordered near the rim with rosettes, contains highly naturalistic scenes with three
hunters on horseback in a forest setting filled with animals, some of which are fighting

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each other. Each of the hunters uses a different weapon: a sword, spear, and bow and
arrow, the latter used in the “Parthian manner,” aimed backwards across the horse’s
rump.

Dish with Animals and Mounted Hunters Vietnam, Cham

(or Cambodia, pre-Angkor period) ca. 8th century. Bronze.
Diam. 111/16 in. (28.1 cm) Purchase, Friends of Asian Art
Gifts, 1999 (1999.261)

Bangle with Male Head

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Bangle with Male Head Indonesia
(Java). Central Javanese period, first
quarter of 10th century. Gold. H. 21/8 in.
(5.4 cm) Purchase, Friends of Asian Art
Gifts, 1992 (1992.199)
Java is one of the few places in South or
Southeast Asia where a great deal of ancient gold
has been found. This bangle, or bracelet, is a
stunning example. The exquisitely cast and richly
chased and engraved gold is typical of Javanese
workmanship. At the center is a human face in
high relief set on top of two large sprays of stylized
leaves. The face has a lively and intense
expression and wears a diadem. The earlobes
are distended and have large openings caused by
wearing the heavy (and costly) ear ornaments
favored by royalty in both South and Southeast
Asia and often depicted on images of deities.

Dish
Though real elephants are large and heavy,
the one pictured at the center of this plate seems to
float among Chinese-style “wish-granting” clouds.
From very early times, the Vietnamese had been
influenced by the beliefs and art styles of their large
neighbor, China. By the fifteenth century, Chinese
blue-and-white ware was famous worldwide and
Vietnamese potters had also begun to excel in this
borrowed technique in which the designs are
painted in cobalt blue on the white porcelain Dish Vietnam. 15th–16th century.
Stoneware with underglaze cobalt blue
surface. The surface is then coated with a decoration. Diam. 141/4 in. (36.2 cm)
Purchase, Friends of Asian Art Gifts,
transparent glaze before firing. 1998 (1998.213)

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 What’s More

Activity 2

Fill in the following table with the information about the Southeast Asian Arts and
Crafts based from the readings in the previous pages. Use separate sheet in doing
this activity.

Picture Name of the Art Size Created: Influenced by:

Ex. 105.1cm 500B.C.– Indonesia

A.D. 300
Ceremonial Vessel
in the Shape of an
Ax Head

1.

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2.

3.

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 4.

5.

6.

7.

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8.

9.

10.

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 What I Have Learned

Activity 3
Fill in the blanks. Use separate sheet in doing this activity.

1. The subcontinent of Southeast Asia are _______, __________, ________,

__________, ________, __________, ___________, ___________ .

2. Southeast Asian art are classified into specific periods. The ___________,
__________, ___________, ___________, ____________, ___________.

3. The function of Southeast Asian Arts is to _____________, ____________,

________________, __________________.

4. Southeast Asian Arts has its style like _____________, ______________,

_____________, _____________, ____________, __________________.

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5. Ceremonial Vessel in the Shape of an Ax Head is an example of the art of
_________________________.

6. Vietnamese had been influenced by the beliefs and art styles of their large neighbor
_______________.

7. Bangle with Male Head exquisitely cast and richly chased and engraved gold is
typical of _______________ workmanship.

8. Another name of Parvati is _____________.

9. _______________ is identified by the tiny figure of a seated Buddha that appears

in his braided hair.

10. The arts in southeast Asia are classified into four _________________,
_______________, _________________, _____________________.

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 What I Can Do

Activity 4.

Below is a list of external and internal influences reflected in the design of an artwork
and in the making of a craft. Identify each by putting them in the correct column.
Column A-Rise of Civilization Visual Arts, column B- Buddhist Arts, column C –
Hindu Arts and column D-Secular Arts. Do this on a separate sheet of paper.

A B C D
Rise of Buddhist Arts Hindu Arts Secular Arts
Civilization
Visual Arts

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1. influenced by the beliefs and arts of China
2. influenced by Javanese workmanship
3. use of animals and mounted hunters’ style
4. use of Southeast Asian style pose, the divine right to role
5. use of unclear meaning of decoration
6. use of stories in the past lives of the Buddha from the Jatukas
7. use of hand gestures that signifies teachings
8. use of images of people and animals
9. influenced by Indian Sculpture
10. influenced by Buddhism religion

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 Assessment

Multiple Choice. Choose the letter of the correct answer. Write the chosen letter on
a separate sheet of paper.

____ 1. It came under the influence of Indian civilization towards the end of the first
millennium BC.
A. The Prehistoric Period
B. Colonization and Independence
C. The Rise of Southeast Asian Kingdoms
D. Initial Contacts with India Southeast Asia

____ 2. The Southeast Asian Connection Assimilation and Adaptation sculpture is

strongly reflected in ______________ influences.
A. Indian C. Indonesian
B. Korean D. Cambodian

____ 3. The following are the functions of Southeast Asian Art, EXCEPT:
MODULES FROM CENTRAL OFFICE
A. to worship
B. to teach
C. to glorify the King
D. to idolize human form

____ 4. It is one of the styles of Southeast Asian Art in which a sculpture has a sense
of dignity and restraint is created.
A. Pose C. Surfaces
B. Scale D. Anatomical Structure

____ 5. The Southeast Asian Arts are classified into four. Which of the following is
NOT part of Southeast Asian Arts?
A. Hindu Art C. Buddhist Art
B. Secular Art D. Prehistoric Art

_____ 6. What arts refers to a religious content and rich and varied court arts were
produced?
A. West Asian Art C. Central Asian Art
B. South Asian Art D. Southeast Asian Art

____ 7. In Southeast Asia, the Gods and Kings sculpture were portrayed _________.
A. natural C. medium
B. smaller D. superhuman

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____ 8. It is one of the secular arts of Southeast Asia where real elephants are large
and heavy and the one pictured seems to float among Chinese-style “wish-
granting” clouds and from the very early times, the Vietnamese had been
influenced by the beliefs and art styles of their large neighbor, China.
A. Dish
B. Deified King
C. Bangle with male head
D. Dish with Animals and Mounted Hunters

____ 9. It is a hollow object cast in bronze and is more that three feet tall. The
surface, now rough and greenish brown from long burial, probably was
once a bright metal.
A. Presentation Bowl
B. Four-armed Avalokiteshvara
C. Seated Trascendent Buddha Vairochana
D. Ceremonial Vessel in the shape of an Ax Head

____ 10. It is a Southeast Asian Arts identified by the tiny figure of a seated Buddha
that appears in hins braided hair.
A. Uma C. Avalokiteshvara
B. Hari-Hara D. Krishna on Garuda

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____ 11. Which of the following is NOT one of the subcontinents of Southeast Asia?
A. Laos B. China C. Indonesia D. Cambodia

____ 12. The following are Hindu Arts in Southeast Asia, EXCEPT:
A. Krishna on Garuda C. Bangle with male head
B. Standing Hari-Hara D. Standing Four-armed Vishnu

____ 13. In this period, Southeast Asia came inder greater and greater pressure
from Muslim traders and European seafaring nations.
A. Later Kingdoms
B. The Khmer Empire
C. Colonization and Independence
D. The Rise of Southeast Asian Kingdoms

____ 14. The height of the Presentation Bowl is ______________.

A. 11 cm B. 21 cm C. 31 cm D. 41 cm

____ 15. It is known about the early indigenous culture of Southeast Asia.
A. The Prehistoric Period
B. Colonization and Independence
C. The Rise of Southeast Asian Kingdoms
D. Initial Contacts with India Southeast Asia

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 Additional Activities

Activity 5: Sculpt and Form using Clay/Wood

You will need:

 clay/wood
 clay tools
 molders (if desired)
 nail pusher (carving)
 knife (carving)

Directions:

1. Prepare your working area.

2. Decide on what design you would like to sculpt on your clay/wood visualizing
the influence of Southeast Asian Country.
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3. Use molders if it is needed in your design.
4. You can combine colors of clay if desired.
5. Using Nail Pusher and knife may harm you so be careful in carving the wood.
6. Clean up after work.

Questions to Answer:

1. Which part of the procedure did you find difficult to do?

2. How did you achieve the design of your work?
3. What technique was applied best for molding/making your design?
4. How can you make all the parts be evenly designed?
5. How do you feel while doing the activity?

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WHAT’S MORE WHAT I HAVE LEARNED ASSESSMENT
1. Dish with Animals and mounted Hunters 1. Cambodia, Indonesia, Laos, Myanmar 1. D
 28.1 cm (Burma), Malaysia, Singapore, Thailand,
 8th Century and Vietnam 2. A
 India 2. The Prehistoric Period, Initial Contacts 3. C
2. Avalokiteshvara with India Southeast Asia, The Rise of
4. A
 57.8 cm Southeast Asian Kingdoms, The Khmer
 10th – 11th Century Empire, Later Kingdoms, and 5. D
 India, Javanese Colonization and Independence 6. D
3. Bangle with male head 3. Worship, To Glorify the King, To Teach 7. D
 5.4 cm and Precious Possessions
 10th Century 4. Idealized Human Forms, Anatomical 8. A
 Javanese workmanship Structure, Pose , Surfaces , Sculpture in 9. D
4. Dish the Round and in Relief and Scale 10. C
 36.2 cm 5. The Rise of Civilization visual art
 15th – 16th century 6. China
11. B
 China 7. Javanese 12. C
5. Presentation bowl 8. the wife of Shiva 13. C
 21 cm 9. Avalokiteshvara
 7th – 8th century 10. The Rise of Civilization visual art,
14. B
 Jatakas Malaysia Buddhist Art, Hindu Art and Secular Art 15. A
6. Krishna on Garuda
 39.2
 9th century
 Javanese
7. Seated Transcendent
 19.4 cm
 9th Century
 Javanese
8. Four – Armed Avalokiteshvara
 142.2 cm
 8th century
 Javanese, Thailand

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9. Standing Four – armed Vishnu
 104.1 cm
 7th Century WHAT’S CAN I DO WHAT I
 Vietnam
10. Standing Uma Rise Civilazation
KNOW
 71.1 cm  Used of unclear meaning of
decoration 1. A
 Angkor Period
 Influenced by Indian sculpture
 India, Cambodia 2. D
Buddhism Arts 3. A
 Used of stories of the past lives of the
Buddha from Jatukas
4. D
WHAT’S NEW WHAT’S IN  Used of hand gestures that signifies 5. A
teachings
 Influenced by indian sulpture
6. D
1. Ceremonial Vessel A = 3, 7  Influenced by Buddhism religion 7. A
2. Dish with Animals and
Mounted Hunters Hindu Arts
8. D
3. Standing Hari-Hara
B = 4, 6  Used of Southeast Asian Style Pose, 9. C
4. Krishna on Garuda the divine right to rule
 Influence by Indian Sculpture
10. B
5. Standing Buddha C = 2, 8, 9
11. A
6. Avalokiteshvara Secular Arts
7. Bangle with male head D = 5, 10  Influenced by the beliefs and arts
12. A
8. Dish style of China 13. A
9. Seated Transcended E=1  Influenced by Javanese workmanship
 Used of animals and mounted
14. B
Buddha hunters
10. Deifies King
15. C
Answer Key
References
Music and Arts of Asia 8 Learner’s Module 8
Department of Education
Republic of the Philippines

World Art Treasures: Art from Thailand, Laos

www.epfl.ch/berger/First/english/start_laos.html

World Art Treasures: Art from India

www.epfl.ch/berger/First/english/start_india.html

The Art of South and Southeast Asia

https://www.google.com/url?sa=t&source=web&rct=j&url=https:/www.metmus
eum.org/-/media/files/learn/for-educators/publications-
foreducators/sseasia.pdf&ved=2ahUKEwifopCQpIXqAhVbc3AKHUuJCwUQFj
AMegQICRAB&usg=AOvVaw3JOTCEAHKlzGlzGltlaEd2wcb&cshid=1592274
460874

The Metropolitan Museum of Art

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www.metmuseum.org

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MODULES FROM CENTRAL OFFICE

For inquiries or feedback, please write or call:

Department of Education - Bureau of Learning Resources

(DepEd-BLR)

Ground Floor, Bonifacio Bldg., DepEd Complex, Meralco Avenue,

Pasig City, Philippines 1600
Telefax: (632) 8634-1072; 8634-1054; 8631-4985
Email Address: blr.lrqad@deped.gov.ph * blr.lrpd@deped.gov.ph

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