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MODULE OVERVIEW I. COURSE TITLE: ARTS APPRECIATION II. COURSE OVERVIEW Welcome: This Th is modu module le is desig designe ned d to be us used ed by colle college ge stude students nts takin taking g up Genera Generall Education 108 (Arts Appreciation).
To assist you along this line five (5) modules have been developed to support deeper understanding along identified topics in every module. The modules are as follows: Module 1 – The Arts and Humanities Module 2 – The Visual Arts Module 3 – Literary Arts Module 4 – The Art of Music Module 5 – Dance: The Art of Movement III. COURSE STUDY GUIDE
This module was prepared for you my dear student, to work on your own. To have the best in working with this module, you are reminded to follow these simple yet effective guidelines: 1. MANAGE YOUR TIME WELL . A course study schedule is prepared for you to help you study the modules in this course. The productive use of your time and energy will help you a lot in finishing the scheduled activities 2. FOCUS YOUR ATTENTION. The key element for better understanding is having the
focus on the things to be done. 3. GIVE YOUR BEST. Always remember that success will be attained in everything you do by giving extra effort in the things you are doing. Giving your best also means observin obse rving g Honesty in doing the assigned tasks you are asked to do in this module. Never let someone do the task for you or copy the work of your classmates. 4. SUBMIT ON TIME. Work diligently. Do not procrastinate. Remember time is gold. Work immediately on the task at hand in order for you to follow scheduled time for submission 5. BE PATIENT, MOTIVATE YOURSELF . Patience equates success. Always think of the bright future ahead and to get there, start moving now. 6. ANSWER CONFIDENTLY. Study hard, surf the internet, read and read and read more. The more you know, the more confident you become. 7. WORK INDEPENDENTLY. You can do it! Your future lies in your own hands and your own decisions. So, practice working independently, trust yourself, be independent.
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MODULE 8. CONTACT ME. If you have any questions, don’t be reluctant to ask me through my email
[email protected] or the group chat created for this class. III. COURSE STUDY SCHEDULE:
To keep you on track for the best use of the modules in Arts Appreciation, the study schedule is hereby presented for you to follow:
Week
Topic
Learning Activities
Special Instructions
Week 1, Week The Arts and the Re Read ad the the co cont ntex extt of Re Rese sear arch ch more more deta detail ils s 2 and 3 Module 1 about the topics. Write on Humanities your lecture notebook in Lesson 1- What art is? Arts and Daily Living the Lesson 2 – The Artists in im impo port rtan antt poin points ts abou aboutt the World of Art the topic. Lesson son 3- The Early Begin Be ginnin ning g of Ar Artt in the Philippines Answer/ Answer/Perform Wo rkning on the theivity Inte In/s tend nded ed Inte Intend nded edPerform Lear Learn nthe ing ing Work Lear Le arnin g Activ Act ity/s and Activity/s Activity /s place it on what is required to use and submit on time for compilation. Answer the Learning Assessment. Assessm ent. Write your answ nswers on a yellow paper.
You can ask questions or clarifications clarifica tions through the GC or text message (CP No. 0927426200) Compile ile your answer sheet sheet/s /s in an expa expand nded ed folder ( yellow color)
Answer the assignment and write your answers in your assignment assignm ent notebook notebook or what is required. Week 4, The Visual Arts Foll Fo llow ow the the guid guide e on Module 1 5 and 6 Lesson 1- Painting Lesson 2 – Architecture Lesson 3 - Sculpture Week 7, Module 3- Literary Arts 8, 9 Lesson 1 – Types and
Submit Subm it outp output uts s week we ek after after the Modu Mo dule les s give given n next module given.
on the the durat duration ion and and the the will be
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MODULE Elements of Literature Lesson 2- Approaches to Teaching Literature Week 10 Midterms Midterm Examination Week 11-1213-14
Module 4 The Arts Mod rts of Music Lesso Les son n 1- Eleme Elements nts of Music Lesson 2- Media of Music Lesson 3 Kinds of Music Week Module 5 Dance: The Art 15-16of Movement 17 Less Le sson on 1- Hi Hist stor ory y and and Elements of Dance Less Le sson on 2 –Typ –Types es and and Components of Dance Week 18 Final Term IV. COURSE EVALUATION:
To pass the course, you must: 1.
Subm Submit it all all c cou ours rse e req requi uire reme ment nts s tto o inc inclu lude de the the fol follo lowi wing ng:: a. Activ Activity ity Note Noteboo book k with with answ answers ers of the the in-te in-text xt qu ques estio tions ns given given in the five five modules; b. Assignment Notebook or Assignment Outputs c. Evaluation (checklist or self-test) d. CompilationActivities of Answers to the Study Guide for the four modules.
2. Pass all examinations: a. Quizzes b. Midterm examination c. Final examination V. HOW TO USE THIS MODULE: Welcome!
ILOCOS SUR POLYTECHNIC STATE Narvacan Campus COLLEGE
MODULE The Module, “ARTS APPRECIATION” is a course which comprises the knowledge, skills and attitudes required for a future educator. Kindly refer to the FLOWCHART given in the next page for your guide on how to use the module.
DO NOT WRITE ANYTHING ON THIS MODULE.
All answers to study guide, acvies, assignments, exercises and tests should be wrien on a SEPARATE
SHEET.
There are a number of symbols in this module to guide you as you study:
This tells you to take note of or to remember an important point.
This tells you there is an Intended Learning Activity for you to accomplish.
This tells you there is an assignment or research activity to be undertaken.
This tells you there is an Assessment or Self-Test.
This tells you the summary of the module.
This tells you of the study guide for you to work upon.
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MODULE
MODULE 1 THE ARTS AND HUMANITIES Intended learning outcomes
1. Defin fine ar arts 2. Distinguish Distinguish the the similarities similarities and difference differences s of art works works 3. Identify Identify the the basic basic assum assumptio ptions ns about about arts arts 4. Apply Apply some guidel guidelines ines to to aid in understa understandin nding g a work of art Lesson I - What art is?
The Art and the Humanities
T
h
e w o r d h h umanus” which means human, cultured, refined. It is based on philosophical view of humanism which stresses the dictum of Protagoras, a Greek Philosopher, that “man is the measure of all things,” implying that humanities emphasizes the dignity and worthiness of man and recognizes creative expressions. Humanism believes that man should be humanized, socialized and educated to respond positively to rapid changes. It is in the humanities course where appreciation of the arts can be strengthened because the artists convey they thoughts, beliefs, values and feelings on the visual arts, literary arts, dance and music. Art is derived from from the Latin word word “ars,” meaning ability or skill. In this sense, art is used in many varied ways. It covers those areas of artistic creativity that seek to commu communi nicat cate e beaut beauty y prima primaril rily y throu through gh the the sens sense. e. Ar Artt embra embrace ces s the visua visuall arts, arts, literature, music and dance. In a more more speci special alize ized d sense sense,, art art appli applies es to such such activ activiti ities es that that expre expresse sses s aest ae sthe heti tic c idea ideas s by the the use use of sk skil illl and and im imag agin inat atio ion n in the the crea creati tion on of obje object cts, s, environment and experiences which can be shared with others. We can say we are involved in art work when:
we plan, design and construct our houses artistically
u
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MODULE
we pain paintt and and deco decora rate te them them beau beauti tifu full lly, y, when when we land landsc scap ape e the the gard garden en artistically we paint a poster we write poems, essays, biographies, short stories and play.
We can also say that we are involved in art when we compose a melody, sing songs beautifully, and dance gracefully. All these imply that anything accomplished with great skill in art. Hence, there is art of dressing, of relaxing, art of cooking and in almost all human activities.
A work of Art
A work of art is an activity that involves involves both imagination imagination and skill in accomplishing it. It creates aesthetic feelings or experiences which delight and satisfy our desire for beautiful things. It is great when the aesthetic experience it creates uplifts us and stays vividly in our minds, Much more a work of art is presented in beautiful language, interesting to read, arouses emotional response, and has rich imagery. According to Bogart, According Bogart, a work of art art is a record of of a particular particular artist’s view. view. It shows shows something that he has seen, felt and thought of and recorded it as an arrangement of designs, colors, lines and tones or words which satisfy is aesthetic purpose. A work of ar artt is th the e pr prod oduc uctt of the the arti artist st’s ’s uniq unique ue pers person onal alit ity y infl influe uenc nce e cons consci ciou ousl sly y or unconsciously by factors such as: his environment, traditions, national traits, religious belief, economic economic conditions, his ideals or even the climate and geography. geography. A work of art represents or reflects the individual, the character of the period and the place where it was produced. Similarities and Differences of Art Works
The arts differ in some important ways. Words are used in the verbal arts like poetry, prose and drama, while musical notes are used in musical compositions. The visual visu al arts like painting, painting, sculpture sculpture and architect architecture, ure, use lines, lines, colors and tones tones or canvass, Operas and novels on the other hand tell stories and so do music and dances. However, it is faster and easier to understand and appreciate a song or dance than a painting and a symphony. In case of poetry, the fixtures of the poetic frame Are rhyme, meter, expressive sound and distinctive grammatical construction of words and metaphor. These are not found in novels and short stories. The emotion or passion evoked by a work of art differs from person to person. But there is one common element among the works of art and that is, they are concerned with audience’s or readers’ feelings and emotions. Some Basic Assumption about the Arts
ILOCOS SUR POLYTECHNIC STATE Narvacan Campus COLLEGE
MODULE Our attitude towards the arts may be influenced by these assumptions: 1. Art Art has has been been crea create ted d by vario various us peop people le,, at all all plac places es and and time time,, Art Art exis exists ts because it is liked and enjoyed. 2. Art is is somet something hing to be be seen seen or or heard. heard. 3. Art is the product of of man’s imaginatio imagination, n, good taste taste and and skill in doing things. things. 4. Nature is artful. artful. Its beauty and artistry artistry could could be enhanced. enhanced. Some guidelines in Understanding a Work of Art
Here are some guide questions to aid one’s understanding of a piece of art work particularly in the visual arts: 1. What did the artist artist make? What What is it about? about? (This (This concerns concerns the subject.) subject.) 2. What What did the artist artist want want to show show in his work? work? What What is the artwork artwork for? for? (This (This concerns the function of the art.) 3. What is the the artwork artwork made of? of? (This refers refers to the the materials materials or medium medium used.) used.) 4. How is the material material put togethe togetherr or organized organized? ? (This refers refers to the materials materials or medium used.) 5. 5. What is the persona personality lity or individ individual uality ity of the artwork? artwork? (This (This refers refers to the style style and mood or temper of the artwork.) 6. How good good is is it? (This (This is the the judgeme judgement.) nt.)
1. Examine Examine a work work of art. Identif Identify y and give its its features features.. Why do you call call it a work of art? 2. Cite instances instances when when the artists’ artists’ work work may influence influence our our ways of life thoughts thoughts and and feeling.
I. Essay Answer briefly and and concisely. concisely. 1. 2. 3. 4.
What What is a work work of art? art? What is is the relati relation on of arts arts to the the humani humanities ties? ? What are the the value values s of arts arts in in our lives? lives? Follo Followin wing g the the guid guideli eline nes s in underst understand andin ing g a work work of art, art, choose choose two arts arts of different type and interpret it.
II. Compare and Contrast Based on the media used, compare and contrast the following.
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MODULE 1. Visua Visuall Arts Arts and Lite Literar rary y Art Arts s 2. Musica Musicall Arts Arts and and Art Art of Dan Dance ce
LESSON 2 THE ARTISTS IN THE WORLD OF ART Intended Learning Outcomes
1. Identify Identify the the artist artists s in the the world world of of art 2. Determin Determine e the role role of the the differe different nt artists artists 3. Familiarize Familiarize with with some some notable notable Filipino and foreign artist
The artist’ credo “art for arts sake” implies that beauty is the reason for the artwork. Thus, the artist must concern is the minds of the viewers or readers. The Th e artist artist commu communi nicat cates es his thoug thoughts hts,, fantas fantasies ies,, obser observa vatio tions, ns, and and selfselfrevelation through his art. He seeks to open our eyes and ears that we may see the world more clearly and find the meaning of the arts in our lives. Thus, our role is to sense what the artist is trying to tell us through his artwork. Artists are are called by by many varied varied names. names. 1. The Visual Artists: The visual arts include the painter, the architect and the sculptor.
Painter paints pictures and objects from his own imaginations, He says, “I think, I see.” Through his paintings, the painter reveals what he thinks he has seen so that we, too, can see it with our own eyes. Sculptor,, draws and carves from original designs and sketches. He makes scale Sculptor model statues of human beings, monuments, buildings and decorations in clay and chisels out statues from marbles, stone, wood and clay. Architect plans, designs and constructs public and commercial commercial buildings, buildings, private residenc resi dences, es, theaters theaters,, factori factories, es, schools schools and similar similar structur structures. es. He plans plans the layout of structures structures and coordinates coordinates the structural structural ornamental ornamental elements elements into a unifi un ified ed desig design. n. He prep prepare ares s sketc sketches hes of prop propose osed d build buildin ing g and and write writes s the the specifications. He prepares scale drawings and details for the use of building sites to ensure compliance with the plans and specifications. He also designs
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MODULE and over and overse sees es the the repa repair ir and and remo remode deli ling ng of buil buildi ding ngs. s. He lays lays out the the development of the urban areas. 2. Artists in Music and Dance
In the art of music, the artists are the musicians, the singers, and the composers.
Composer puts tines together and composes melodies and songs. He conceives and originates pieces of music. He is a song writer. He says “I think, I hear.” Through his musical compositions,t he composers conveys his thoughts and feelings which he wishes to share with others. Musician is an artist who is also called by other names such as composer, performer, instrumentalist, symphonist, organist, pianist, violinist, flutist, harper, trumpeter trumpe ter,, bugle buglerr and and drumm drummer, er, He may may be a music music lea leade der, r, bandm bandmast aster, er, choirmaster, concertmaster or song leader. Singer is a songster, an opera singer, prima donna or a diva. He may be a vocalist or a soloist. He is also an artist who sings aesthetically to delight and entertain others. Choreographer is an artist who composes or taches choreography, or the art od representing stage dancing by signs or music. He composes and arranges dance movements or patterns to accompany a piece of music or to develop a theme. Dancer is an artist who moves his body artistically. He also makes gestures beautifully with the music that accompanies his movements. He is involved in stage or ballet dancing, The female ballet dancer is known as danseuse while the male ballet dancer is called danseure.
3. The Literary Artists
The artists in literature are known as poets, novelists, writers or authors, playwrights and dramatists.
Poet – a litera Poet literary ry artis artistt puts puts words words aesth aestheti etica cally lly togeth together er in verse verse form. form. He expresses his thoughts and feelings in verse and poems. He says “This is the way I can best express my inner thoughts and feelings.” Novelist – a writer of fiction with originality. He is also known as writer of stories. Playwright – write plays and adapts his materials for the stage, radio, television or motion pictures production. Dramatist – writes compositions in prose and poetry arranged for excitement to be performed by actors and actresses on stage to portray a character or to tell a story stor y through through action action or dialogue dialogue of charact characters. ers. The dramati dramatist st is engaged engaged in dramatic art. Learning Activities
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MODULE 1. List at least five (5) notable Filipino artist together with their famous artwork in each type of art. (table form) a. Visual arts b. Literary arts c. Art of Music d. Art of Dance 2. List at least five (5) notable foreign artist together with their famous artwork in each type of art. (table form) a. Visual arts b. Literary arts c. Art of Music d. Art of Dance
Learning Assessment
Identification
1. Identify what is being describe in the following statement. The first letter is given as your clue. 1. C is an artist who composes or teaches choreography, or the art of representing stage dancing by signs or music. 2. S draws and carves from original designs and sketches. 3. P is a literary artist who puts words aesthetically together in verse form. 4. P says, “I think, I see.” 5. D is an artist who moves his body artistically. 6. D writes compositions in prose and poetry arranged for excitement to be performed by actors and actresses on stage to portray a character or to tell a story through action or dialogue of character. 7. C says “I think, I hear.” 8. S is a songster, an opera singer, prima donna or diva, He may be a vocalist or a soloist. 9. A plans, designs and constructs public and commercial buildings, private residences, theaters, factories, schools and similar structure. 10. P says “This the way I can best express my inner thoughts and feelings.”
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LESSON 3 – the Early beginnings of art in the Philippines Intended Learning Outcomes
1. Trace the early beginning of art in the Philippines 2. Familiarize with the significant dates and happenings in the history of arts in the Philippines The cultural heritage of the Filipinos is the wellspring of Philippine Arts. It reflects the artfulness artfulnes s of the people since prehistoric prehistoric times. A study of the early beginnings of art in the country shows the relation of the arts to the life and time out of which they sprung. By tracing the pathways of the arts in this country, we can acquire a richer and fuller understanding of the spirit and inner life of the people as reflected in their works of art in painting, sculpture, architecture, literature, music and dance. Date 500, 50 0,00 000 0 ago
Significant Happenings year ye ars s The first expression of art can be traced from prehistoric times which dates 500,000 years ago. However, these indigenous art forms and national treasures treasures pertain more to archeology rather than art. They are interesting and revealing, but they do not produce aesthetic enjoyment. th Foreign traders played a major role in the development of art in the 10 Phil Ph ilip ippi pine nes. s. A grea greatt numb number er of trad trade e pott potter erie ies, s, porc porcel elai ain n and century stonewa ston ewares res have have been been recover recovered ed in the Philipp Philippines ines which which provide provide 1280evidence of trade during the protohistoric period. Their presence is 1368 probably the result of casual trading with Arab traders and later by 1368 Chin Ch ines ese e junk junks s that that sa sail iled ed thro throug ugh h the the isla island nd duri during ng voya voyage ges s or A.D. explorations. explorat ions. Some Chinese potteries found in the Philippines are from -1644 the late Tang and Northern Sung dynasties in the 10 th century A.D. – A.D.
1644 A.D. 1644 A.D. Samp Samples les of early early art works works are potte potterie ries, s, porce porcelai lain n and and stonewares.
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MODULE th
Such artwo artworks rks have have also also have have been been in the the grave graves s of pre-S pre-Spa panis nish h 11 -13th 4th – 5 th Such centuries Filipi Fil ipino nos, s, as well well as in the the home home of mount mountain ain people people an and d cultu cultura rall minorities who still treasure these attractive ceramics wares for their ritual ritu al value. value. Most common finds made made by Chinese Chinese ceramic ceramics s artist, artist, artists and technicians are figurines, ceramics, dishes, bowls, jarlets, vases vases,, and and boxes. boxes. Thes These e wares wares usual usually ly dated dated to the the expor exported ted to Philipp Phi lippines ines,, Japan, Japan, Malaysia Malaysia and Indones Indonesia. ia. Vietnam Vietnam or Annames Annamese e wares war es found found in the archeolog archeological ical site in the Philippine Philippines s are dishes th decor de corat ated ed and and sauce saucer-l r-lik ike e and and attri attribut bute e to the 14 15th centuries. Various decorations in Ming blue and white have such motifs as the lotus flower, “the flying-fish dragon” and “white dragon”. 2,6 ,68 80 B.C. The Du Duyong ong ca cave in in Pa Palawa awan an and the the Tabon ca cave co compl mplex (two burial ial site with charcoal in grave fill dated roughly 2,680 B.C) yielded shell ear pendants and a polished stone adze and shell axe-adze presenting a typical Philippine Early Neolithic site. Meanw Mea nwhi hile, le, the the excav excavati ation on of Bato Bato cave cave in Sorso Sorsogon gon prov provinc ince e in Southern Souther n Luzon shows the late Neolithic jar-burial tradition, associated with stone ornaments, pottery, and stone tools. 500 B.C. In Palawan Tabon cave complex, in Chamber A of the Mannungul 710 B.C.
cave, foundpresumably a burial jarpaddling with distinct cover figures of men inwas a boat, toward theshowing after-life.the The pottery assemblage from the Late Neolithic site which date roughly 710 B.C. sh show owed ed a mast master ery y of intr intric icat ate e desi design gn that that the the Meta Metall Age Age in the the Philippines Philippin es covers the period from 500 B.C., and possibly earlier to the th 10 ce cent ntur ury y A.D. A.D. This This peri period od show shows s the the deve develo lopm pmen entt of glas glass s technology and art of weaving in the Philippines as the Filipinos strove earlier to the 10th century A.D. This period shows the development of glass technology and art of weaving in the Philippines as the Filipinos stro trove for better ter contro trol over their heir enviro ironment ment.. In var various ous archaeological sites, bronze and copper objects were rare and limited. The typical artifacts in the Early Metal Age were beads and bracelets made ma de of glas glass. s. Some Some of thes these e coul could d have have been been brou brough ghtt to the the Philipp Phili ppine ines s by migra migratio tion n of peop people le from from the south south and and south south-w -west est befor be fore e the appea appeara rance nce of iron. iron. Bead Beads s made made of agate agate,, carn carneli elian an,, amethysts, rock, crystal, and sapphire are believed to have originated in mainland Southeast Asia. Artifacts that characterize the Early Metal Age include bronze-socketed bronze-socketed adze and beautifully beautifully carved jade orna orname ment nts s made made of hard hard gree green n neph nephri rite te.. Amon Among g thes these e are are ea ear r pendants of the “Lingling-O” type, related to the pendants still worn by the the Ifug Ifugao ao trib tribes es of Nort Northe hern rn Luzo Luzon n Ja Jarr buri burial al was was cont contin inuo uous usly ly th practiced and continued in the 20 century century by by the the Tagab Tagabanu anuas as of of Palawan. The carnelian bead were the typical artifacts in the Late Metal Age. Potte Po ttery ry makin making g which which alrea already dy exist existed ed during during the Neolit Neolithic hic perio period, d, becam be came e a highly highly develo develope ped d techn technolo ology. gy. Some Some poetr poetry y forms forms were were footed trays elaborate jars with the boat of the dead on its cover.
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MODULE Geometric lines and curvilinear designs were common, as well as mat and an d bask basket et impres impressi sions ons and and paint painted ed design designs: s: The The art art of potte pottery ry became sophisticated, hence, the period became known as the Golden Age of the the Philippine Philippine Pottery. Pottery. Influences from neighboring countries made themselves felt during the Metal Age primarily through trading. Dwelling were constructed in the open air air with with the the us use e of metal metal imp implem lement ent.. Thes These e dwell dwelling ing are are believed to be the prototypes prototypes of the Filipino rural home the present-day present-day structure structur e raised from the ground, with relatively, with relatively stepped roofs and flooring of split bamboo or hard wood, ideally suited for a tropic, lowland environment. The impact of contacts with peoples of mainland Asia and the Middle East resulted in new ideas, values and attitudes among the early Filipinos. These contacts date from the ninth century with traders and adventurers sailing the Philippine seas and leaving traces in many archaeological sites. The archaeological site in Manila’s Sta. Ana District suggests that the china trade stimulated the resettlement resettleme nt of new Filipino communities communities near bays and major rivers to enable the inhabitants to participate more effectively in the trades in the trades. The Sta. Ana archaeological records reveal that the residents of the site acted as middlemen areas. in the In trading of Chinese porcelain and other products in neighboring the Santa Ana site, 19 graves of child childre ren n yi yield elded ed a strik striking ing numb number er of 170 170 piec pieces es of trade trade potte pottery ry consisting mostly of brown wares and the rest are Celadon spouted ve vess ssel els, s, smal smalll plat plates es and and eare eared d jarl jarlet ets. s. One One grav grave e cont contai aine ned d a necklace of 59 glass beads of Chinese origin. In the archae archaeolog ological ical area in the coasted coasted trip of Cal Calagat agatan an peninsula in Batangas province south of Manila were found 500 Filipino graves which yielded porcelain and stonewares from China and Annam or Vietn Vietnam, am, along along with with glass glass jewe jewelry lry,, stone stone bead beads, s, iron iron tools tools and and weapons, spindle whorls and brass and copper ornaments. About 70 percent of the Chinese pottery was of remains of edible mollusks and burial and refuse heaps. This indicates that Filipino settlements, while
1975
12th and centuries
15th
co cond nduc ucti ting ng dire direct ct trad trade e wi with th Chin China, a, expl exploi oite ted d mari marine ne and and rive river r resources. The excavation in various archaeological sites in Butuan City yielded almost the entire range of ceramics types produced in China. It was wa s only only so some meti time me in 1975 1975 when when ce cera rami mics cs of earl earlie ierr date date were were discovered in the Northeastern coast of Mindanao, especially in Butuan City on a delta at the mouth of Agusan River. Chinese archaeologists identified as Guandong wares from China. They consisted of bowls and dishes with string, boxes, ewers, jarlets bottles, basin and jars. The decorative techniques employed by the Guandong potters during the Sung Dynasty were stamp impressions, engraving, moulding, incising, combing, painting, and spotting with ranging designs. Foreign archaeologists archaeologists in the Philippines, Philippines, in published published literature literature from Janse, Sullivan, Beyer and Fox cited that tens-of-thousands of
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MODULE Oriental tradewares in the country which originated from South China, Siam (Vietnam). On the other hand, most of the ceramic wares found in the evacuations done by the National Museum’s archaeological teams in many localities in the country, belong to Ming period of Chinese history or between the 12th and 15th centurie centuries. s. They They were were normally normally found fou nd in as assoc sociat iation ion with with burial burials s as grav grave e furnit furnitur ure e or “pabao “pabaon”, n”, a traditional practice among other people on Southeast Asia. Southwestern Philippine Art Islamic influence has been a absorbed in Southwestern Philippine Art. Among the people who have absorbed the Islamic cultural specializations in varying degrees ar are e th the e Mara Marana na,, Taus Tausug ug,, Magu Maguin inda dana nao o and and Sama Sama-B -Bad adja jao. o. This This deco decora rati tive ve or ornamental art (“okir or okil”) distinctly belongs to this part of the country. The male art predominantly curvilinear design, while the female art is largely geometric in form. What prevails in both art is an abstracted decorative art that reduces nature to symbolic art motifs that are combined in increasing complexity. Representations in both are forms are not realistic especially for living things because this is frowned upon due to Islamic influence. influenc e. Masculine decorative compositions are usually devised from few basic motifs like circle, bird, leaf and fern, and flower. Some of the basic motifs in the feminine form or their ornamental art include the circle. “ Artificial Moon”, square, rectangle, diamond, and zigzag. Basic motifs are combined in varieties of designs like adjacent squares with contrasting colors and four sided design in a series. Completed designs are mountainlike, multi-colored multi-colored leaves of trees and yellow bamboo. Before the advent of commercial paints, earth and vegetables dyes were used. The common animate representations are the serpent and artificial cock. The depiction of human and animal figures in art is inhibited inhibite d by Islam. The “S” form is the most simple abstraction abstraction of the serpent and this is the most commonly used figure in Maranaw art. The cock is often placed atop a bamboo pole among flags and buntings during festive occasions. Other figurative motifs in Maranaw art are forms like crocodile, parrot or grasshopper head, swallow’s tail which forms part of larger design. Contact with their cultures in recent years resulted in
the addition addition of newer newer figures figures as the eagle, eagle, lion, peacock, peacock, elephant elephant and others. others. The indigenous art “okil” of the people of Sulu archipelago antedates the arrival of the Islam. The earliest examples of this art are found in the grave markers curved from coral and stone stone,, th the e owne owners rship hip of which which could could no long longer er be es estab tablis lishe hed. d. The The later later wood wooden en markers in many of the Islands still retain the indigenous floration of motifs. It is said that when a Badjaw dies, dies, the grave marker used consists of parts of his boat frames. Distinct part of the marker is the abstracted form of the sea cow with a stylish form of a person riding its back. The female figures are identified with combs, while the males are provided with turbans. A more recent appearance in Sulu are stylish frames of beds that are ornately conceived to mark graves. Canopies, buntings, flags and food offering in the grave yards exude a feeling of life of life and the continuing relationship with the non-living.
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Think Thin k of a crea creati tive ve way way to pres presen entt the the earl early y begi beginn nnin ing g of art art in the the Philippines. You can do it in a form of scrapbook or explosion box and the like.
I. Matching type- Match the word in column A to those in Column B. Write the letter only.
Column A 1. Male art in Islam 2. Female art in Islam
Column B a. consisted of circles, bird, leaf, fern an flower b. consisted of square, rectangle, diamon dia mond, d, zigza zigzag g and and artif artifici icial al
fern 3. Masculi Masculine ne decorat decorative ive motifs motifs 4. Islam Feminine Feminin e for ornamen ornamental tal arts 5. Serpent and artificial co cock 6. Okil 7. Crocodile, pa parrot, gr grasshopper 8. Wares Wares from from China China 9. Perio Period d for the the dev develo elopm pment ent of glass technology 10. A Arrtifacts in the Late Metal Age.
c. common common animate animate represe representat ntations ions in d. predominantly curvilinear design e. largely geometric in form f. ot other artistic fifigurative mo motifs of of th the Maran Maranaw aw
g. Guandong h. 10th century i. carnelian beads j. Pottery Pottery making
II- True or False
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MODULE Write true if the statement is correct and false if it is wrong. 1. The The Chin Chines ese e pott potter ery y foun found d in the the arch archae aeol olog ogic ical al digg diggin ings gs in Cala Calata taga gan, n, Batangas were of Chinese origin. 2. Bowls, Bowls, dishes, dishes, boxes, boxes, bottles, bottles, basins basins and jars were the common artifac artifacts ts found in Butuan, Leyte and Rizal Provinces. 3. Styl Stylis ish h fr fram ames es of beds beds orna ornate tely ly prep prepar ared ed and and foun found d in grav grave e yard yards s of the the Badjaws to exude life and loveliness. 4. The depiction depiction of human and and animal figures in art is inhibited inhibited by by Islam culture. culture. 5. Art in th the e middl middles es ages were revea revealed led in the great great church churches es and cathe cathedr drals als which were built to serve the social and religious activities of people. 6. The The “S “S”” fo form rm is the simple simplest st abstra abstracti ction on of the serpe serpent nt and this is the most commonly used figure in Maranaw art. 7. The The ar artwo tworks rks in burial burial sites sites reve reveal al the traditi tradition onal al pract practice ice “pabao “pabaon” n” among among people in Southeast Asia. 8. Isl Islam amic ic art are not realist realistic ic becaus because e art art abou aboutt na natu ture re is frown frowned ed upon by the Islams. 9. Architec Architecture ture,, painting painting and sculptu sculptured red decorati decorative ve arts were combined combined to tell the story of humanity and Christianity. 10.Most of the artifacts found in archaeologists are mainly of Chinese origin.
The first expression of art can be traced from prehistoric times which dates 500,000 years ago. And during 10 th century;12801368; 1368 A.D. -1644 A.D the early works are potteries, porcelain and stonewares. On the 11th -13th 4th – 5 th centuries artworks have been in the graves of pre-Spanish Filipinos. Various decorations in Ming blue and white have such motifs as the lotus flower, “the flying-fish dragon” and “white dragon”. The Duyong cave in Palawan and the Tabon cave complex (two burial site with charcoal in grave fill dated roughly 2,680 B.C). The pottery assemblage from the Late Neolithic site which date roughly 710 B.C. showed a mastery of intricate design that the Metal Age in the Philippines covers the period from 500 B.C., and possibly earlier to the 10 th century A.D. It was only sometime in 1975 when ceramics of earlier date were discovered in the Northeastern coast of Mindanao, especially in Butuan City on a delta at the mouth of Agusan River. On the other hand, most of the ceramic wares found in the evacuations done by the National Museum’s archaeological teams in many localities in the country, belong to Ming period of Chinese history or between the 12 th and 15th centuries
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MODULE 6 INTRODUCTION OF EMBROIDERY What is surface decoration?
A surface decoration decoration for product is when you add something something to what you are making in order to make it more interesting or to add an extra bit of color to it. It comes in all different ways and is great if you want to make something that extra bit special.
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MODULE Historical Background of Embroidery
Embroidery has been dated to the Warring States period in China (5 th-3rd century Embroidery BC). The process used to tailor, patch, mend and reinforce cloth fostered the development of sewing techniques, and the decorative possibilities of sewing led to the art of embroidery. In a garment from Migration period Sweden, roughly 300-700CE, the edges of bands of trimming are reinforced with running stitch, back stitch, stem stitch, tailor’s buttonhole stitch, and whip stitching, but it is uncertain whether this work simply reinforced the seam or should be interpreted as decorative embroidery. Embroidery was a very important art in the Medieval Islamic world. One of the most interesting accounts of embroidery were given by the 17 th century Turkish traveler Evliya Celebi, who called it the “craft of two hands”. Because embroidery was a sign of high social status in Muslim societies, it became a hugely popular art. Elaborately embroidered clothing, religious objects, and household items have been a mark of wealth and status in many cultures including ancient Persia, India, China, Japan, Byzantium, and medieval and Baroque Europe.
Classification of Embroidery
Embroidery can be classified according to what degree the design takes into acco accoun untt the the natu nature re of the the base base mate materi rial al and and by the the rela relati tion onsh ship ip of stit stitch ch placement to the fabric.
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ILOCOS SUR POLYTECHNIC STATE Narvacan Campus COLLEGE
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Plastic canvas is a crafy material of li
Different types of Embroidery Threads
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Rayon threads Polyester threads Nylon threads Cotton threads Cotton-wrapped polyester Metallic thread Laminate or threads and silk threads
Embroider Stitches
The stitches are groups into four types, each offering different effects and uses for embroidery: 1. outl outlin ine e – us used ed for for outl outlin inin ing g the the elem elemen ents ts of yo your ur design 2. Border – used to secure edges and to add textural dimension to your design 3. Detached – used to create decorative details or in mass to fill in open areas of the design
4. Filling – used to create shading or to solidly fill in a design area RUNNING STITCH Uses: Outlining straight and curved lines
Work from right to left Bring thread up at 1 then down at 2, up at 3 and down at 4 and continue.
The spaces between the stitches can be the same length as the stitches or shorter for a different look.
Back stitch Uses: outlining, straight and curved lines
Work from right to left Bring needle up at 1 and back down at 2. o Move left and bring needle up at 3, then back down at 1. Continue stiching.
Split stitch
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MODULE Uses: Outlinin Uses: Outlining, g, straight straight and curved curved lines, lines, fill filling ing a shape shape by working working rows closely closely together. Work from left to right.
Bring needle up at 1 and down at 2. Bring needle back up at 3, splitting the center of the previous stitch. Take needle down at 4 and then back up at 2. Continue stitching.
Chain Stitch Uses: Outlining, straight and curved lines, filing if rows a are stitched closely together.
Work from top bottom Bring needle up at 1 then reinsert needle in same hole, forming a loop. Bring needle up at 2 and pull thread to tighten loop until desired shape is achieved. Repeat multiple stitches to create a chain. To end the row make s small stitch over the last loop to hold it in place to secure thread on backside.
Couching
Uses: Outlining shapes, straight and curvy lines, spirals, bold dimensional accents, decorative borders. Blanket stitch
Uses: Straight and gently curved lines, borders and finishing edges
Work from left to right. Bring needle up at 1, down at 2 and up at 3, keeping the thread looped under the needle. Pull thread through and shape stitch as desired. Repeat multiple stiches until complete.
Whip stitch
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MODULE Uses: is used for seaming fabrics, either right for wrong sides together. The stitches should be about 1/16 apart, and only as deep as necessary to create a firm seam.
Laced running stitch
Uses: Borders, decorative outlining.
Stitch a line of running outlining. Bring the lacing thread up at 1 and lace it under the next running stitch.
Coral stitch
Uses: Decorative borders, foliage, plant stems
Working from right to left, hold the working thread to the left of the starting point (or the last stitch). Insert the needle into the fabric above the working thread to and bring the tip of the needle out just under the thread. Wrap the thread around the needle from the left to right and pull the needle through the resulting loop.
Cross Stitch
Uses: Borders and filing if worked in adjacent rows. To stitch a line:
Stitching from left to right, bring needle up at 1, down at 2, then up at 3 and down at 4. Continue stitching across to end of line. Start back stitching from right to left, make crosses by bringing the needle up at 5 and down at 6. Continue until all crosses have been stitched.
Upright cross stitch
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MODULE Uses: Borders, filling, decorative
Work left to right. Create a horizontal stitch by bringing needle up a 1 and down at 2. Create e3 vertical stitch by bringing your needle up at 3 and down at 4.
To create next upright back up at the 7 and down at 8. cross stitch bring your needle Herringbone stitch
Uses: Border, edging can be stitched over a ribbon or braid to hold it down.
Work from left to right Bring needle up at 1 and down at 2. Bring needle up at 3 and down at 4 to create an elongated cross stich. Bring needle up at 5 and continue. Mark two parallel lines with water soluble pens to keep stitch height uniform.
Chevron stitch
Uses: Border, edging, can be stitched over a ribbon or braid to hold it down.
Work from to right Bring needle up at 1 and down at 2. Brin Bring g th the e tip tip of the the need needle le back back thro throug ugh h the the fabr fabric ic halfway between 1 and 2 at point 3. Bring the needle up to 4 and make a backstitch by bringing your needle up from 5 down at 6. Bring Bring the tip if your your needl needle e back back throu through gh the fabric fabric between 5 and 6 at point 7. Bring your needle down ar 8and repeat the stitching
DIFFERENT TYPES OF HAND EMBROIDERY
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MODULE 1. Cross-stitch embroidery – It is one of the more popular types of hand embroidery. embroidery. Today, its popularity is still increasing as compared to the other types. Images or designs are simply created in cross-stitch by forming X-shaped stitches on a colored fabric.
2. Canv Canvas as work work embr embroi oide dery ry It is anot anothe herr type type of hand hand embroide embro idery ry is which which st stitc itche hes s woul would d be done done on a canva canvas. s. Canva Ca nvas s work work is done done on two types types if canv canvas, as, either either mono mono canvas or Penelope canvas.
3. Ribbon embroidery It is not a modern method as it has been around for many years, Ribbon, perle cotton, and embroidery to form a stitch pattern or design that can be quite outstanding. The results are more of a romantic appeal.
4. Bargello embroidery- Distinctive patterns are built up from rows of straight stitches, arranged in a zigzag line and repeated in varying shades or colors. It is usually done for carpets, pillows and upholstery,
5. Brazil Brazilian ian embroi embroidery dery It is a type type of surf surfac ace e embroidery that uses rayon thread instead of cotton or wool. It is calle called d “Brazi “Brazilia lian” n” embro embroide idery ry becau because se the the use use of high high shee sheen n rayon thread in embroidery was first popularized in Brazil where rayon was widely manufactured.
6. Blac Black k work work embr embroi oide dery ry It is anot anothe her r well-known method. Black thread stitched is formed on a white fabric in this type of work. The craft made using this method looks thicker and appealing because because of its even weave with the threads being twisted.
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https://www.slideshare.net/KarenNelson3/history-of-crocheting https://www.slideshare.net/yhtackstitches/ https://www.slideshare.net/biniamgere9/embroidery-69656088
QUILTING HISTORY Where did quilts come from? In Europe quilting appears to have been by Crusaders in the 12th century.
The Crusades were a series of religious expeditionary wars blessed by Pope Urban II and the Catholic Church with the stated goal of restoring Christian access to the holy places in and an d near Jerus Jerusale alem m . . . in partic particula ularr in the form form of the aketon... or gambeson, a quilted garment worn under armour. One of the earliest existing decorative works is the “Tristan quilt” made around 1360. Made in Sicily, and as one of the earliest surviving quilts in the world at leas two sections survive at the Victoria and Albert Museum in London and the National Museum of Florance in Bargello, Florence. A scholarly article that investigated investigated a 19 th century quilting techniques found that our assumptions about patchwork as a craft practiced by fe fema male le amat amateu eurs rs,, used used to deco decora rate te the the hous house e and and to rein reinfo forc rce e emotional ties was incorrect; In fact the demanding quilting system calle called d “intar “intarsia sia patch patchwo work, rk, was was a comple completed ted by a group group of male male professionals and showed their work to the public for personal profit and an d to promot promote e socia sociall cause causes s such such as Tempe Tempera ranc nce e and and Elec Elector toral al Reform. In fact finding non-alcoholic leisure activities was a particular problem for soldiers and policemen, policemen, since they had to live in barracks far from home and were were not permitte permitted d to marry, and and there us som some e evidence evidence that “i “int ntar arsi sia a patc patchw hwor ork k was was prom promot oted ed to them them as a form form of alco alcoho holl avoidance therapy. The skill and time required to complete a piece were evidence of the markers ability to avoid temptation.
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MODULE In America quilt making was common in the late 18 th century and early years of the 19 th. Most women were busy sewing, spinning, and weaving in order to clothe their family. There are some indications that weaving was already known in the Paleolithic era. By Biblical times, weaving was known in all the great civilizations
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Weaving Weavin g in Ancie Ancient nt Egypt Egypt standing
Girls Girls weavin weaving g a Persia Persian n rug
Woman Woman in a free free loom
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loom
Indian man on a peg loom
Commercial blankets, woven coverlets or bed rugs were a more economical bedcovering for most people. Only the wealthy had the leisure time for quilt maki ma king ng so Colo Coloni nial al Quil Quilti ting ng was was done done by only only a few. few. It is a myth myth that that wome women n responsible for spinning, sewing, cooking, food preservation, cleaning and taking care of the six or seven children they had due to the prevalence of disease and death. (an average they would lose 1-2 kids before adulthood) Woven coverlet
Quilt from colonial era
Bed rug from colonial era
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MODULE 9 BASIC WEAVING
1. State the history of weaving in the Philippines 2. Identify the types of indigenous materials used in weaving 3. Make samples pf the eight weaves, using art paper or recycled paper 4. Prepare a project that shows weaving as a skill
History of Philippine Weaving Pre-Colonial Era An Ancient Artform Would weave fivers such as abaca, pineapple, ramie, maguey, cotton and bark cloth We know this because of the accounts of early explorers
Textile Weaving Ifugao Ikat with crocodile motif Virtually all attire was hand woven. Examples include the G-string, Maranao Maong, Bontoc Tapis, Ilong patadyong, T’boli T’nalak, etc.
Hat Weaving Examples include Tausug hat, Maguindanao hat, and and the Yakan hat of Basilan Basketry
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MODULE Basketry exemplifies the creative use of materials for the environment and implies extensiv exte nsive e knowle knowledge dge of diff differen erentt material materials s and natural natural properti properties. es. Methods Methods include: include: bamboo method, large leaves methods Basketry has a communal meaning and function: mediate between humans and nature. Three kinds of baskets: 1. Storage basket Cordillera pasiking, used for carrying grain Bontoc akob, used as lunch basket 2. Trapping basket Salakab, is used for trapping fish in rice paddies 3. Carrying
Mat weaving All regions of the Philippines Philippines have a tradition tradition of mat weaving, weaving, since mats are used all over the country as bedding material. It is primarily seen as woman’s work. Most mats are made out of leaves of pandan or the buri palm. Thhey are often decorated with strips of one or two colors, creating simple linear patterns. The process is as follows: one gathers the raw materials from plants, then strips, boil, dyes and weaves it. The quality of a mat is judges from the softness softness of its material, the fineness of its weave, and the beauty of its design patterns. Used for barter as well as well as bedding.
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SPANISH COLONIZATION the local fabric that caught the attention attention of the Spaniards was the nipis, which is woven from the stalks of the abaca plant. They were colorfully dyed, striped or embroidered in white, and made into different items of clothing for both men and women, including the
Barong Tagalog. It was introduced into the international market in the late 19 th century. The different techniques of making/embroidering the nipis were passed down from generation to generation.
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The religious practices of Spaniards intorudced to the Filipinos also gave rise to new weaving practices: palaspas-long stalks of coconut or buri palm with their fronds plaited into decorative patterns and embellished with crepe paper flowers.
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Mats were made to order, usually given as gifts for special occasions. They often bore the letters “recuerdo” “Mr. and Mrs.”. American Colonization
Most of the artistic focus during this time was on avant-garde art, especially in the field of painting and sculpture. Weaving Materials Materials for weaving 1. Palms - – tropical tees commonly found in the Philippines with sheet of leaves. sugar Buri palm – one of the largest palms in the Philippines. Buri strips come from young buri palms. They are used for mats, hats, bags, fans, tobacco tobacco,, cases and other purposes. Coconut palm – said too be the prince of palms because all parts of the palm are used in handicraft. In weaving, their leaflets are used for mats and hats.
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MODULE Sugarcane palms – mostly found in Bohol and Iloilo; their plants are used to weave baskets and spokes. 2. Grass – plants with short blades whose stems have joints. They grow abundantly in plains and mountainous place. Bamboo – has pliant fibers that grow from the stems. The fiber can be split into int o piece pieces s witho without ut break breakin ing. g. The The parts parts of a bambo bamboo o are are the node, node,
internode, and culms. Vetiver- the straight flower stalk are best used; its outer coverings are removed. It is steeped in water and dried for 2 to 3 fays. Then, the outer part is scraped and used to weave bags, slippers and mats. Cogon – it has the same use as the vetiver. Its splints are light to dark brown 3. Sedges – Plants that grow on wet soil. They resemble grass but have no stems. Their stems are solid and triangular in form. Balagot – this is a perennial plant that continuously grow stalks from its underground stem. The stalks are fat and three-sided and can reach as high as 1.5 meters. Alinang - this is a sedge that grows in wet places and bears flowers all year round. It looks l like balagot but is shorter. It is used for mats and screens. Tikug – It reaches as high as 3 meters. The stem is shiny and smooth and used in making mats. 4. Vines – single-stem plants that usually grow high above the ground in tropical places. They have air roots and attach themselves to the trunks and branches of trees. Amlong –popular –popular in Bicol Region for basketry. Three kinds white variety, brown and black) Pamago – smooth and shaped like conventional heart. They are used for lying rims of baskets, furniture and lamp shades. Rattan – grows in tropical places like the Philippines. Used for baskets,
seats of chair and other furniture. BASIC WEAVE DESIGNS 1. Rancing weaves – over one and under one, this weave could be closed oropen type.
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ILOCOS SUR POLYTECHNIC STATE Narvacan Campus COLLEGE
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ILOCOS SUR POLYTECHNIC STATE Narvacan Campus COLLEGE
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ILOCOS SUR POLYTECHNIC STATE Narvacan Campus COLLEGE
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ILOCOS SUR POLYTECHNIC STATE Narvacan Campus COLLEGE
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ILOCOS SUR POLYTECHNIC STATE Narvacan Campus COLLEGE
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ILOCOS SUR POLYTECHNIC STATE Narvacan Campus COLLEGE
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ILOCOS SUR POLYTECHNIC STATE Narvacan Campus COLLEGE
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ILOCOS SUR POLYTECHNIC STATE Narvacan Campus COLLEGE
MODULE Prepare two contrast colors of pusher. Use the first set of strips to form the warp. And the second set, the woof. (Note the warp is the lengthwise or vertical strips in weaving and woof is the horizontal strips woven across the warp. Choose only 6 of the eight weave design Foll Fo llow ow th the e desi design gn accu accura rate tely ly.. Be sure sure th the e weave weaves s ar are e ti tigh ghtl tly y woven woven to one one another.
Summary There are basic weave design namely: the rancing, sawali, over three under three weave, under four over four weave, the chevron, the v shape, starric and the blocking There are four source
https://www.slideshare.net/JocelynGallegos/let-basic-handicraft https://www.slideshare.net/TrishSotto/fa-28-weaving-history A type of plant not included in the palm family. a. sugarcane b. buri c. coconut d. rattan Bamboo is included in the family of. a. grasses b. sedges c. vines d. palm The thick fibrous part of bamboo. a. culm b. nodes c. internodes d. strip
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MODULE Plant that has the same use as the vetiver. a. cogon b. bamboo c. coconut d. buri Horizontal strips woven across the weave pattern a. warp b. woof c. straw d. splint 2. Discuss the history of weaving in the Philippines. (10 points)
