GEC 6 Art Appreciation Module 4 PDF

P a g e | 132 MODULE 4 ELEMENTS AND PRINCIPLES OF ARTS Understanding the art methods will help define and determine how the culture created the...

P a g e | 132 MODULE 4 ELEMENTS AND PRINCIPLES OF ARTS Understanding the art methods will help define and determine how the culture created the art and what use. Over the years, art methods have changed; for example, the acrylic paint used today is different from the cave art earth- based paint used 30,000 years ago. People have evolved, discovering new products and procedures for extracting minerals from the earth to produce art products. From the stone, the bronze, iron age, to the technology age, humans have always sought out new and better inventions. However, access to materials is the most significant advantage for change in civilizations. Almost every civilization had access to clay and was able to manufacture vessels. However, if specific, raw materials were only available in one area, the people might trade with others who wanted that resource. For example, on the ancient trade routes, China produced and processed the raw silk into stunning cloth, highly sought out by the Venetians in Italy to make clothing. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 133 Elements of Art LESSON 1 (3 HOUR) Shiely Ann Hojilla LEARNING OUTCOMES MODULE 4: ELEMENTS AND PRINCIPLES OF ART Identify the elements of art, and Analyze the various elements present in visual art. INTRODUCTION The materials that the artist uses in creating a work are the mediums and the elements put together. An element of art can only be seen in some mediums. This element is independent of the medium, for instant, a pencil line, or an ink line. The medium is the physical means through which we can come into contact with a work of art, and the elements are its quantities or properties. Taking off from the scientific reference, elements of art are related to the atoms that are defined as the units or “building blocks” of matter. In a variety of combinations and formations, they have the ability to create molecules such as water, or the more complex sucrose. These formulations are almost the same with the elements of art when they are joined together, in a variety of ways. Elements of art are the aspects of an artwork that can be isolated from each other. shorturl.at/gwOP5 GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 134 MODULE Elements of Art 4 LESSON 1 Let's Discover In this section, let’s identify the different elements of art. These elements of art are generally produced when something is done to the medium after the technique is carried out. All works of art require all elements to be present. Elements are the necessary prerequisites for the creation of art. ELEMENTS OF ART AND DESIGN 1. LINE A line refers to a point moving at an identifiable path. It is one dimensional and can vary in length, width and direction. Different images of line A. Horizontal lines are associated with calm. It suggests a feeling of rest or repose. B. Vertical Lines - It signifies elevation or height. It suggests a feeling of loftiness and spirituality. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 135 MODULE Elements of Art 4 LESSON 1 C. Diagonal lines - It suggests a feeling of movement or direction. D. Crooked lines or jagged lines - Expresses energy, violence, and struggle. shorturl.at/nrCJ9 E. Curved lines - It suggests comfort, safety, familiarity, and relaxation. shorturl.at/jpNV9 GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 136 MODULE Elements of Art 4 LESSON 1 2. SHAPE It refers to two dimensions such as height and width. Two categories of Shapes a. Geometric - it includes square, circle, oval, triangle b. Organic - those shapes that are occurring in nature and all other shapes. 3. SPACE It is used to create the illusion of depth. It relates to perspective. It can be: a. Positive Space - refers to the main focus of a picture. It is the shape where shadow is heavily used. b. Negative Space - refers to the background. It is usually identified with the white space. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 137 MODULE Elements of Art 4 LESSON 1 4. FORM - Form refers to three dimensions such as height, width, and depth. 5. Color - It is one of the most dominant elements. It is a property of light, as it is reflected off the object. It refers to the wavelengths of light. Properties of Color a. Hue- name of color a.1 Primary Colors - red, yellow, and blue a.2 Secondary Colors - green, orange, and violet a.3 Tertiary Colors - these hues are achieved when primary and secondary colors are mixed. b. Value - the lightness or darkness of a color. Each primary color has a range of values based on the addition and diminishing quantity and quality of light. ▪ Tint - this is a lighter color than the normal value (e.g., pink for red) ▪ Shade - this is a darker color than the normal value (e.g., maroon for red) GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 138 MODULE Elements of Art 4 LESSON 1 6. TEXTURE - it is the feel, appearance, thickness, or stickiness of a surface. a. Textures in the two-dimensional plane- texture can be implied by the use of one technique or a combination of other elements of art. b. Surface texture- refers to the texture of the three-dimensional art object. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 139 MODULE Elements of Art 4 LESSON 1 Let's Sum It Up The elements of art are essential to any artwork. Some of them will be more obvious than others, becoming the anchors in which, the viewer may latch on to engage with the artwork. There are 6 elements of visual art such as; lines, shape, form, space, color, and texture. Lines refer to a point moving at an identifiable path. Shape and form are related to each other in the sense that they define the space occupied by the object of art. Space may be implied as positive and negative space. Negative space is usually identified with white space. Positive space, on the other hand, is the space where shadow is heavily used. Color is one of the elements that enhances the appeal of an artwork. Lastly, texture can either real or implied. Elements do not only coexist in the artwork, but are fused together or overlap with each other. In visual arts, most artworks have overlapping elements. BIBLIOGRAPHY Ariola, M.M.2018. Introduction to art appreciation. A Textbook in Humanities. Quezon City. C&E Publishing House Retrieved last August 1, 2020 Caslib, B.N., Dorothea C. Garing and Jezreel Anne R. Casaul, (2018). Art appreciation – First Edition. Rex Book Store, Inc., Sampaloc, Manila. Retrieved last August 1, 2020. Retrieved from https://www.slideshare.net/wilfreddextertanedo/the-elements-of-art- 49552141 last August 1, 2020 Retrieved from https:/www.coursehero.com/file/42389594/THE-COMBINED- ARTSppt/ last August 1, 2020 GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 140 Principles of Art LESSON 2 (3 HOURS) Christine Joy Venteroso LEARNING OUTCOMES Identified the Principles of Design, and MODULE 4: ELEMENTS AND PRINCIPLES OF ART Created an artwork depicting the various principles of design INTRODUCTION To reiterate, art's appreciation and participation is primarily dependent on being equipped with the correct vocabulary to make it more comprehensible. If the elements of art were like the letters (that is, combining such letters would form words, phrases and sentences), then perhaps the principles of art would be the closest to the rules of grammar and composition. Learning these principles will lessen the intimidation and could even open up vast possibilities for a more pleasurable art experience for the novice looker. These concepts should include specific ways in which these elements are used, how they are manipulated, how they interact and how they influence the artwork’s overall structure to help the artist express his purpose. This is the theory of art that determines the effect of the elements obtained, and the relations of other concepts. These concepts are: equilibrium, scale and proportion, focus and contrast, unity and variety, harmony, motion, rhythm, and pattern and repetition. (https://tinyurl.com/y2dggnbn) The Creation of Adam GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 141 MODULE Principles of Art 4 LESSON 2 Let's Discover This section identifies the different principles of art. The principles of art (or the principles of design) are basically a set of guidelines that are used in a work of art to describe how the visual elements are organized. Perhaps these values are the closest thing we have to a set of objective criteria to analyze and judge art. 1. BALANCE in design is the distribution of elements of the design. Balance is a visual interpretation of gravity in the design. Large, dense elements appear to be heavier while smaller elements appear to be lighter. It also refers to the visual weight of the elements of the composition. It is a sense that the painting feels stable and "feels right." Imbalance causes a feeling of discomfort in the viewer. Balance is the visual weight distribution within an artwork. The three types of balance are symmetrical (two sides being the same), asymmetrical (two sides being different but being weighted visually equally) and radial (design emerging from the center). a. Symmetry or Symmetrical balance. In which both sides of a composition have the same elements in the same position, as in a mirror-image, or the two sides of a face. Symmetry in design, the near or exact matching of left and right sides of a three- dimensional form or a two-dimensional composition. b. Asymmetry or Asymmetrical balance. In which the composition is balanced due to the contrast of any of the elements of art. For example, a large circle on one side of a composition might be balanced by a small square on the other side. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 142 MODULE Principles of Art 4 LESSON 2 c. Radial symmetry. In which elements are equally spaced around a central point, as in the spokes coming out of the hub of a bicycle tire. 2. PATTERN - Artwork is decorated with regularly repeated elements such as shapes or color. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 143 MODULE Principles of Art 4 LESSON 2 3. CONTRAST - is the difference between elements of art in a composition, such that each element is made stronger in relation to the other. When placed next to each other, contrasting elements command the viewer's attention. Areas of contrast are among the first places that a viewer's eye is drawn. Contrast can be achieved by juxtapositions of any of the elements of art. Negative/Positive space is an example of contrast. Complementary colors placed side by side is an example of contrast. 4. EMPHASIS - It’s the creation of a focal point in an artwork. Moreover, Emphasis is a principle of art which occurs any time an element of a piece is given dominance by the artist. In other words, the artist makes part of the work stand out in order to draw the viewer's eye there first. It is also used in art to attract the viewer's attention to a particular area or object. This is typically the focal point or main subject of the artwork. For instance, in a portrait painting, the artist usually wants you to see the person's face first. They will use techniques such as color, contrast, and placement to make sure that this area is where your eye is attracted to first. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 144 MODULE Principles of Art 4 LESSON 2 Any piece of art may have more than one area of emphasis. However, one typically dominates over all others. If two or more are given equal importance, your eye does not know how to interpret it. This confusion may lead you to not enjoy an otherwise good piece of work. 5. HARMONY - It is the “art principle which produces an impression of unity through the selection and arrangement of consistent objects or ideas. It is the quality which unifies every part of an arrangement. If there is harmony, there is order. Every orderly arrangement is harmonious. Unity doesn't necessarily apply to an entire work of art, it can also apply to an element or elements of a piece of work that could also contain other forms of expression. But unity always expresses a shared commonality within a painting or sculpture or textile. 6. MOVEMENT - This refers to the direction of the viewing eye as it goes through the artwork, often guided by areas or elements that are emphasized. These focal points can be lines, edges, shape and color within the work of art, among others. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 145 MODULE Principles of Art 4 LESSON 2 7. RHYTHM - It is the regular, uniform or related movement made through the repetition of a unit or motif. It is visual movement in a design or arrangement. It is the basis of mostly all primitive arts because it is the principle which is most quickly felt. It is the most universal, dynamic and pleasing art principle. Rhythm is not only applied to the graphic arts (drawing, printing, and painting) but also to architecture, music, textiles, laces, furniture, glassware, dresses, gardening, etc. Rhythm is classified into formal and informal. Formal or uniform rhythm is the repetition of a motif in uniform and regular arrangement while informal or free rhythm is the repetition of a motif with variation in its form, size and arrangement. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 146 MODULE Principles of Art 4 LESSON 2 Let's Sum It Up The principles of art (or the principles of design) are essentially a set of criteria which are used to explain how the visual elements are arranged in a work of art. These principles are possibly the closest thing we have to a set of objective criteria for analyzing and judging art. Moreover, Art is a notoriously gray area when it comes objectively defining what is great and what is not. An artist of one era may be mocked during his lifetime, yet revered after his passing (such as Vincent van Gogh). The principles of art help combat this gray area to some extent. They allow us to communicate what makes a great painting great with an element of objectivity and consistency. Meanwhile, he principles of art reflect how the artist uses the elements of art to produce an impact and to help express the artist's intent. The principles of art and design are; Balance, Contrast, Emphasis, Movement, Pattern, Rhythm, and Harmony. Using these concepts will help decide whether a painting is effective and whether the painting is complete or not. BIBLIOGRAPHY Ariola, M. M.2018. Introduction to art appreciation. A Textbook in Humanities. Quezon City: C&E Publishing House. Retrieved last August 1, 2020 Caslib, B.N., Dorothea C. Garing and Jezreel Anne R. Casaul, (2018). Art Appreciation – First Edition. Rex Book Store, Inc., Sampaloc, Manila. Retrieved last August 1, 2020 Retrieved from https://www.liveabout.com/principles-of-art-and-design-2578740 last August 8, 2020 Retrieved from https://www.lifewire.com/balance-design-principle-3470048 last August 8, 2020 Retrieved from https://www.yourdictionary.com/symmetrical-balance last August 9, 2020 Retrieved from https://www.thoughtco.com/definition-of-emphasis-in-art-182434 last August 9, 2020 Retrieved from https://www.thoughtco.com/unity-definition-in-art-182473 last August 10, 2020 GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 147 MODULE 5 ART HISTORY Art history is the study of aesthetic objects and visual expression in historical and stylistic context. Traditionally, the discipline of art history emphasized painting, drawing, sculpture, architecture, ceramics, and decorative arts, yet today, art history examines broader aspects of visual culture, including the various visual and conceptual outcomes related to an ever- evolving definition of art. Art history encompasses the study of objects created by different cultures around the world and throughout history that convey meaning, importance, or serve usefulness primarily through visual means. As a discipline, art history is distinguished from art criticism, which is concerned with establishing a relative artistic value upon individual works with respect to others of comparable style, or sanctioning an entire style or movement; and art theory or “philosophy of art”, which is concerned with the fundamental nature of art. One branch of this area of study is aesthetics, while includes investigating the enigma of the sublime and determining the essence of Beauty. Technically, art history is not these things, because the art historian uses historical method to answer the questions: How did the artist come to create the work?, who were the patrons?, Who were their teachers?, Who was the audience?, Who were their disciples?, What historical forces shaped the artist’s oeuvre, and how did he or she and the creation, in turn, affect the course of artistic, political, and social events? It is, however, questionable whether many questions of this kind can be answered satisfactorily without also considering basic questions about the nature of art. The current disciplinary gap between art history and the philosophy of art (aesthetics) often hinders this inquiry. (en.m.wikipedia.org art history). GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 148 Philippine Art History LESSON 1 (3 HOURS) Jennifer Jalique LEARNING OUTCOMES Identify various characteristics of Philippine art history, and Categorize and organize information from different sources INTRODUCTION MODULE 5: ART HISTORY When ancient civilizations in Asia flourished, trade became a very important activity. Regions of Asia had commercial relations among themselves as well as with parts of Europe and Africa. In the earliest days nomadic peoples traded over considerable distances, using barter as the medium of exchange. When the Spaniards came to the Philippines, our ancestors were already trading with China, Japan, Siam, India, Cambodia, Borneo and the Moluccas. The Spanish government continued the trade also known as the Manila – Acapulco Trade or better known as the “Galleon Trade.” Philippine art was a product of several periods in history spanning from the pre-colonial period to the contemporary times. Depending on the given context, art in the Philippines has served various uses from everyday living to expression of belief systems and advocacies. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 149 MODULE Philippine Art History 5 LESSON 1 Let's Discover Let’s identify various characteristics of Philippine art history in this section. Throughout the Philippine history, spanning from the precolonial period to the contemporary periods, different art forms have emerged in the Philippine art scene. Before the colonizers came to the Philippines, ethnic minorities have used art not only for daily activities but also for religious rituals and practices. Most art forms used by ethnic communities include pottery, weaving, carving, and the use of metalwork and jewelry. Pottery is said to be one of the earliest art forms used by the early Filipino people. Pottery produced items that are of practical value for the early Filipinos, such as pot for cooking and large vases for storing. Manuggal jar is a representation of the early Filipinos’ religious beliefs and practices. It serves as a burial jar, which depicts two men rowing a boat. This reflects their belief in after life - the crossing of the body of water is a transition from life here on earth unto the next. shorturl.at/cARY8 Manuggal Jar Weaving was also one of the earliest forms of art expressions in the Philippines. One of the most popular artisans of weaving is the people from the Cordilleras. One of the most popular artisans of weaving is the people from the Cordilleras. They are known for their colorful woven cloth, which also have both religious and practical value. shorturl.at/sCIR7 Weaving GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 150 MODULE Philippine Art History 5 LESSON 1 The T’boli people from Mindanao are also known for their woven abaca cloth called t’nalak. They use this particular cloth to make ornaments, which also represent their beliefs through sysmbols. T’boli weavers are sometimes referred to as ‘dream weavers’ because they are said to reproduce patterns bestowed on them in their dreams by their supreme deity, Fa Dalu. While the patterns of the 't’nalak' textiles are varied with over 100 patterns they are based on the repetition standardised motifs. The zig-zag ('sigul') forms an integral part of T’boli textile design and is used in combination with other geometric shapes to create pictorial motifs like the crab ('kleng'), the python skin ('sawo'), the shield ('klung') and the frog ('tofi'). This textile appears to feature a series of segregated motifs including the crab (kleng), frog (tofi) and shield (klung). In conjunction with their geometric patterning, t’nalak textiles exhibit a cosmological colour scheme. The white or undyed motifs usually take the form of humans or animals and are the most cosmologically significant part of the design. The use of red is secondary and is seen to provide a complementary colour to the white motifs. Black is regarded as the least important and serves only as a backdrop to the white and red patterns. shorturl.at/dnABZ Woodcarvings from Palawan also depict animals like birds, which are representations of their religious beliefs. According to local stories, the birds serve as the messengers of the people to the heavens and vice versa. In Mindanao, the Tausug and Maranao people are known for their okir, which are designs applied to their woodcarvings. The okir design is found woven or printed in textiles, carved into wooden cemetery markers and wooden boxes, and it can also be found etched into knife or sword blades and handles, and cast or etched into various brass and silver objects. The common subjects include the sarimanok, naga, and the pako rabong. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 151 MODULE Philippine Art History 5 LESSON 1 shorturl.at/nvU14 The sarimanok is a stylized design of a mythical bird either standing on a fish or holding a piece of fish on its beak. The origin of sarimanok started when a sultan of Lanao once threw a party for his daughter named Sari who was beautiful but seemed unhappy with her situation. On the day of her party, a rooster crashed and the princess ran off with the rooster. She was never found. In memory of Sari, the Sultan carved the rooster. The sultan’s act pave the way for the term sarimanok. Initially, jewelry was used as amulets for protection to drive away evil spirits. Eventually, some minority groups from the Cordillerans and Cotabato utilized jewelry as ornaments integrated in their clothing. The naga forms an S - shape, depicting an elaborate figure of a mythical dragon or serpent. The numerous curved lines serving as detail for the figure depicts the scales. The pako rabong, on the other hand, is like a growing fern with a broad base. The fern gracefully stems and tapers upward. The sarimanok and naga are usually used as ornamental designs for the houses of the sultans. When the Spaniards discovered the Philippines during the sixteenth century, they introduced their religion to the local people. Aside from acquiring resources, they had a goal to replace the existing indigenous cultural practices and beliefs of the early Filipinos. Art was used by the Spaniards to propagate their Christian faith while establishing their foothold in the country. The church was the sole patron of the arts as it is evident in the style of churches across the country. Art was one of the avenues of the Filipinos to express their indignation and desire for liberation. Moreover, The 1960s proved to be a period of modernism and dynamism with a lot of styles, techniques, and methods emerging. Most artworks were reflections of the political, social, and economic situation of the Philippines during the Marcos administration. It was a period wherein people embodied and advocated for nationalist ideals. This is the reason why there was a paradigm shift of subjects in the artworks. Beautiful and idealistic imagery was replaced with aggressive undertones. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 152 MODULE Philippine Art History 5 LESSON 1 The works were reflections of the general feel of the people based on the political situation during that time. When former President Ferdinand Marcos declared Martial Law, social realism became the norm. Most artworks were forms of protest against the government’s suppression of freedom of speech and expression. In addition, some of the works reflected issues like economic problems, land reforms, gender rights, worker’s rights, and cultural minorities plaguing the Filipino people brought about by Martial Law. Eventually, photography has evolved into an art form, which highlights various artistic expressions evident in a variety of events, scenes, and activities https://tinyurl.com/y4wafjlj This painting called “Spoliarum” was painted by Juan Luna. This large-scale academic painting garnered a gold medal and signified that the reformists could come at par with their European counterparts. Luna’s win signalled the start of the Filipino’s call for equality. This section helps us understand more about the organize sources of Philippine art history, let’s discover more about this. Pre-Conquest Period - 900 - 1521 PAINTING - Body Painting and adornment; ornament SCULPTURE - Carving, woodwork, and metalwork ARCHITECTURE - Worship areas, mosque, dwellings and houses. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 153 MODULE Philippine Art History 5 LESSON 1 Spanish Period - 1521 - 1898 PAINTING - Mostly related to religion (Icon and ecclesiastical) and is secular (portraiture). SCULPTURE - Related also to religion (Saints, altar pieces) and metalwork. ARCHITECTURE - Churches, plaza complex, lighthouses, private residences. American Period - 1898 - 1940 PAINTING - Landscape portraiture and still life painting SCULPTURE - Free standing and public sculpture. ARCHITECTURE - Parks, apartments, health & public education, and government structures. Japanese Period - 1941 - 1945 PAINTING - Mostly wartime scenes (Nationalism, aggression) and Propaganda and Indigenous works (Known artists- Fernando Amorsolo, Carlos Francisco, and Galo Ocampo) SCULPTURE - Public works and sculptures ARCHITECTURE - Public works Postwar Republic - 1946 - 1969 PAINTING - Modern, conservative, abstract, and experimental paintings. SCULPTURE - Modern, conservative, abstract, and experimental sculptures ARCHITECTURE - Real estate, safe housing, commercial buildings and condominiums Contemporary period - 1970 - present PAINTING - Multimedia, mixed media and art for an art sake. SCULPTURE - Figurative and non-figurative sculptures ARCHITECTURE - Real estates, safe housings, tenements, malls, subdivisions, commercial buildings and low-cost housing. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 154 MODULE Philippine Art History 5 LESSON 1 Let's Sum It Up The Philippines has undergone some changes when it comes to the art scene. From the time of the early Filipinos to the contemporary times, art has been used in a myriad of ways. Ethnic minorities have used art not only for daily activities but also for religious rituals and practices. During precolonial times, arts were used by Filipinos as a form of expressing their indignation and liberation. These led also for the people to express their protest through their arts. BIBLIOGRAPHY Caslib, BN., Garing, D,& Casual, J. (2018). Art Appreciation. Florentino St., Sta. Mesa Heights, Quezon City: Rex Book Store, Inc. Retrieved last September 15, 2020. Art Gallery NSW. (n.d.). Blanket (t'nalak). Retrieved from https://www.artgallery.nsw.gov.au/collection/works/218.2005/ last September 15, 2020. Lang (n.d.). Okir. Retrieved from https://www.tagaloglang.com/okir/ last September 16, 2020. Plurat Art Mag (2017). Fallen Gladiators in the Spoliarium. Retrieved from https://pluralartmag.com/2017/11/12/fallen-gladiators-in-the- spoliarium/#:~:text=Spoliarium%20was%20the%20kind%20of,oppression%20of %20their%20Spanish%20colonizers last September 16, 2020. Cristobal, L. (2018). Why creative work is constantly undervalued. Retrieved from https://cnnphilippines.com/life/culture/2018/07/12/creative-work.html last September 16, 2020. Redfern, C. (2018).Whang-Od: The Last Tattoo Artist. Retrieved from https://ph.asiatatler.com/life/whang-od-the-last-tattoo-artist last November 4,2020 GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 155 Renaissance, Impressionism, and Neo-Impressionism LESSON 2 (3 HOURS) Jenzil Feb N. Cabual LEARNING OUTCOMES Identify the Underlying philosophy of the era or movements, and Classify the various art movements by citing their important characteristics such as historical background, influential person, and prevalent artists and art forms. INTRODUCTION MODULE 5: ART HISTORY Art has been an integral part in European history. From the time of the ancient civilizations like the Greeks and the Romans all the way to the modern times, art has been used to communicate ideologies and belief systems prevalent within their context. Greek and roman civilizations were also known as the Classical World because both cultures aimed to embody the highest possible standard of quality in all aspects of their societies. When it comes to both art and architecture, both civilizations intended to promote the possibility of having an objective and widely accepted standards for beauty. The influence and impact of both classical worlds are far-reaching. Most art movements have taken inspiration from the certain artistic elements from the two civilizations. These are different art movements that emerged within the different time periods in Europe. Each movement have a distinct characteristic to them highlighting the different trends and changes as they transition from one period to the next. shorturl.at/nwKLQ GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 156 Renaissance, Impressionism, and MODULE 5 LESSON Neo-Impressionism 2 Let's Discover Let us discover how the history of art flourished. Renaissance Art During the Renaissance Period, artists valued the “individual” as a subject of arts. The influence of humanism shifted the focus of some artworks during the Renaissance Period to empower the “individual”. Most artworks emphasized naturalism, which was also an influence of humanism since there was a great emphasis on the proportionality of the human body. Most artists also added perspective of depth wherein spaces were explored in different artworks. This technique provides a three-dimensional perspective of most Renaissance paintings. Renaissance artists also gave importance to non- religious themes or subjects. This was also brought by the privatizations of the art during the Renaissance Period, however most artworks remained religious in its focus and theme. shorturl.at/vwMY1 Monalisa Example artwork: Mona Lisa by Leonardo Da Vinci. The major feature of this painting is that Da Vinci has painted her eyes in such a way that even when you change the angle of the view, the eyes of Mona Lisa seems to always follow you. The painting is done in oil on wood and is presently under the ownership of the Government of France. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 157 Renaissance, Impressionism, and MODULE 5 LESSON Neo-Impressionism 2 Renaissance Philosophy of Humanism Above all, Renaissance art was driven by the new notion of "Humanism," a philosophy which had been the foundation for many of the achievements (eg. democracy) of pagan ancient Greece. Humanism downplayed religious and secular dogma and instead attached the greatest importance to the dignity and worth of the individual. Mannerism In fine art, the term "Mannerism" (derived from the Italian word 'maniera' meaning style or stylishness) refers to a style of painting, sculpture and (to a lesser extent) architecture, that emerged in Rome and Florence between 1510 and 1520, during the later years of the High Renaissance. Mannerism acts as a bridge between the idealized style of Renaissance art and the dramatic theatricality of the Baroque. Mannerism was a period in the history, which was a product of the Renaissance Period. During the Renaissance, artists would observe nature and try their best to emulate it based on their observations. As the Renaissance ended, artists started directly copying subjects from existing works of art. Most artworks during this period displayed distorted figures, two-dimensional spaces, discordant hues and colors, and lack of defined focal point. As a whole, Mannerist painting tends to be more artificial and less naturalistic than Renaissance painting. This exaggerated idiom is typically associated with attributes such as emotionalism, elongated human figures, strained poses, unusual effects of scale, lighting or perspective, vivid often garish colors. shorturl.at/hqwH3 Madonna GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 158 Renaissance, Impressionism, and MODULE 5 LESSON Neo-Impressionism 2 Philosophy in Mannerism Mannerism’s artificiality—its bizarre, sometimes acid color, its illogical compression of space, the elongated proportions and exaggerated anatomy of figures in convoluted, serpentine poses—frequently creates a feeling of anxiety. Today, when classicism no longer has a unique claim on “perfection,” mannerism emerges more clearly as a link between the High Renaissance and the emotionally charged and dynamic baroque art that followed. Baroque and the Rococo In fine art, the term Baroque (derived from the Portuguese 'barocco' meaning, 'irregular shaped pearl'). This is suitable description that Rome was the birthplace of Baroque Period, which according to some historians was a response to Protestantism. This period roughly spanned from 1600 to 1750. Although it was a period following the Renaissance, it can be said that a lot of artists have developed styles and techniques different from their Renaissance predecessors. Most artists used colorful palettes or ornamentation in their works. This was a time when Italy in particular strengthened not only their religion but also other aspects like politics and art. Expansion was the central theme of this period, which became very much evident in the artworks produced during this time. Motion and space were taken into consideration by artists like the use of dramatic lighting and the concept of time. Aside from art, music also flourished during the Baroque Period. This is because people believed that music could serve as powerful tool to communicate messages that can evoke certain feelings among its listeners. Baroque music was also able to clearly distinguish loud from soft and solo from ensemble. Since the birthplace of this period was Rome, it did not come as surprise that most composer come from Italy. This include Vivaldi, Corelli, and Monteverdi. Eventually, the influence of Baroque music spread outside Italy and reached other parts of Europe. Other well-known Baroque composers include Germany’s Bach and Handel. Since Baroque composers, through their works, tried to evoke certain emotions from their audience, they began to make more complex musical compositions and performances. However, it can be noted that initially, this kind of music was limited only to powerful institutions like Church and individuals like the patrons. Eventually, such performances would be made accessible to the middle class and the masses. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 159 Renaissance, Impressionism, and MODULE Neo-Impressionism 5 LESSON 2 Example artwork: The Apotheosis of St. Ignatius (1694) San Ignazio, Rome, by Pozzo. One of the Baroque's most inspiring religious paintings ever created. shorturl.at/oEGNW Philosophy in Baroque and the Rococo Baroque and Rococo art may be seen as the extension of Mannerist artifice, carried to extremes into the seventeenth and even eighteenth centuries. One driving force behind this energizing of artistic form was the Catholic Counter-Reformation, a resurgence of religious fervor during which artists were urged to inspire and carry their audiences away into delirious rapture. Yet inventiveness for its own sake became the heart of the Rococo. The characteristics of the style are serpentine curves, convoluted compositions, weightlessness and a preponderance of organic rather than geometric form. Impressionism Impressionism developed in France in the nineteenth century and is based on the practice of painting out of doors and spontaneously ‘on the spot’ rather than in a studio from sketches. Main impressionist subjects were landscapes and scenes of everyday life. Impressionism was developed by Claude Monet and other Paris-based Instead of painting in a studio, the impressionists found that they could capture the momentary GEC and transient effects of sunlight by working quickly, in front of their subjects, 6: ART APPRECIATION CAS-CPSU in the open air (en plein air) rather than in a studio. This resulted in a greater awareness of light and color and the shifting pattern of the natural scene. Brushwork became rapid and broken into separate dabs in order to render the fleeting quality of light.  P a g e | 160 Renaissance, Impressionism, and MODULE 5 LESSON Neo-Impressionism 2 artists from the early 1860s. (Though the process of painting on the spot can be said to have been pioneered in Britain by John Constable in around 1813–17 through his desire to paint nature in a realistic way). Instead of painting in a studio, the impressionists found that they could capture the momentary and transient effects of sunlight by working quickly, in front of their subjects, in the open air (en plein air) rather than in a studio. This resulted in a greater awareness of light and color and the shifting pattern of the natural scene. Brushwork became rapid and broken into separate dabs in order to render the fleeting quality of light. Example Artwork: April, Epping 1894 by Lucien Pissarro In this view Epping, Pissarro stood with his back to the sun facing a field, a row of trees, and some houses along a road in the clear sunlight of a spring day. The painting is a recreation of a sunlit landscape, but it also emphasizes the village economy of the tended gardens. shorturl.at/msLV3 Epping Pissarro Philosophy in Impressionism The movement is most widely associated with the paintings of Monet, Manet, Renoir, Cezanne, and Degas. We're interested in the because it offers a visual representation of the Modernist a break from Locke's empirical theory of knowledge: Impressionism represents the growing belief that the perception of reality that is mediated by personal emotion and memory. Taken as a whole, Impressionism argues that we don't really see the natural or "real" world objectively because everything that we perceive is filtered through our minds, and our minds are filled with unique and personal memories and emotions, so each of our minds perceives the world differently. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 161 Renaissance, Impressionism, and MODULE Neo-Impressionism 5 LESSON 2 Post-Impressionism Post-impressionism is a term which describes the changes in impressionism from about 1886. Most artists belong to the movement started off as impressionists but later on saw the inherent limitations and flaws of impressionism. This eventually led to the development of individual style that gave emphasis to defining from with the use of broken colors and short brush stroke. Some of the famous post-impressionism artists include Paul Cezanne, Georges Seurat, Paul Gauguin, and Vincent van Gogh, among others. Most of the works of the said painters became the framework of the contemporary techniques and trends during the 20 th century. Example artwork: Farms near Auvers 1890 by Vincent van Gogh A view at Auvers-sur-Oise, a small town just north of Paris. Van Gogh spent the last few months of his life there, from mid-May 1890, when he left an asylum, to his death on 29 July. Painted direct from the motif, it shows how Van Gogh transformed what he saw into something entirely personal, using a vigorous brushwork and curving outlines to express an unsettling vitality and energy. shorturl.at/bdvEU Farmer near Auvers GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 162 Renaissance, Impressionism, and MODULE Neo-Impressionism 5 LESSON 2 Philosophy in Post-Impressionism The Post-Impressionists rejected Impressionism’s concern with the spontaneous and naturalistic rendering of light and color. Instead they favored an emphasis on more symbolic content, formal order and structure. Similar to the Impressionists, however, they stressed the artificiality of the picture. The Post-Impressionists also believed that color could be independent from form and composition as an emotional and aesthetic bearer of meaning. Neo-Impressionism Neo-impressionism is the name given to the post-impressionist work of Georges Seurat, Paul Signac and their followers who, inspired by optical theory, painted using tiny adjacent dabs of primary color to create the effect of light. Neo-impressionism is characterized by the use of the divisionism technique (often popularly but incorrectly called pointillism, a term Paul Signac repudiated). Divisionism attempted to put impressionist painting of light and color on a scientific basis by using an optical mixture of colors. Instead of mixing colors on the palette, which reduces intensity, the primary-color components of each color were placed separately on the canvas in tiny dabs so they would mix in the spectator’s eye. Optically mixed colors move towards white so this method gave greater luminosity. Example artwork: Le Bec du Hoc, Grandcamp 1885 by Georges Seurat Seurat painted this work while holidaying on the Normandy coast in the summer of 1885. He made a study of this motif on the spot, but would have refined and developed the image in the studio. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 163 Renaissance, Impressionism, and MODULE Neo-Impressionism 5 LESSON 2 Seurat aimed to place painting on a scientific basis in its treatment of light and color and, using a style known as Divisionism, juxtaposed small brushstrokes of complementary colors to create a luminous effect in his works. He painted the border on the canvas, but the frame is much later in date. Philosophy in Neo-Impressionism In the latter part of the 19th century, Neo-Impressionism foregrounded the science of optics and color to forge a new and methodical technique of painting that eschewed the spontaneity and romanticism that many Impressionists celebrated. Relying on the viewer's capacity to optically blend the dots of color on the canvas, the Neo-Impressionists strove to create more luminous paintings that depicted modern life. With urban centers growing and technology advancing, the artists sought to capture people's changing relationship with the city and countryside. Many artists in the following years adopted the Neo-Impressionist technique of Pointillism, the application of tiny dots of pigment, which opened the door to further explorations of color and eventually abstract art. Realism In its specific sense, realism refers to a mid-nineteenth century artistic movement characterized by subjects painted from everyday life in a naturalistic manner; However, the term is also generally used to describe artworks painted in a realistic almost photographic way. Until the nineteenth century Western art was dominated by the academic theory of History painting and High art (grand manner). Artistic conventions governed style and subject matter, resulting in artworks that often appeared artificial and removed from real life. Then, the development of naturalism began to go hand in hand with increasing emphasis on realism of subject, meaning subjects outside the high art tradition. The term realism was coined by the French novelist Champfleury in the 1840s and in art was exemplified in the work of his friend the painter Gustav Courbet. In practice realist subject matter meant scenes of peasant and working-class life, the life of the city streets, cafes and popular entertainments, and an increasing frankness in the treatment of the body and sexual subjects. Realism is also applied as a more general stylistic term to forms of sharply focused almost photographic painting irrespective of subject matter. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 164 Renaissance, Impressionism, and MODULE Neo-Impressionism 5 LESSON 2 shorturl.at/dBMN4 Le Repas des Pauvres Example artwork: Le Repas des Pauvres 1877 by Alphonse Legros Legros was a French painter who settled in London in 1863. He was initially much influenced by the French Realist painter Gustave Courbet, as can be seen in Le Repas des Pauvres ('The meal of the poor'). From the late 1860s a number of Victorian painters chose to paint 'social realist' subjects of this type to draw attention to the poverty and hardship of working-class life. Philosophy in Realism Realism, in the arts, the accurate, detailed, unembellished depiction of nature or of contemporary life. Realism rejects imaginative idealization in favor of a close observation of outward appearances. As such, realism in its broad sense has comprised many artistic currents in different civilizations. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 165 Renaissance, Impressionism, and MODULE 5 LESSON Neo-Impressionism 2 Let's Sum It Up Art reflects history by showing how people wished to express ideas, feelings, emotions, themselves, and much more. Art often revealed what attitudes were felt in cultures during various times and places, and what people considered “acceptable” and “the norm”. Renaissance Art - artists valued the “individual” as a subject of arts. Mannerism - artworks during this period displayed distorted figures, two- dimensional spaces, discordant hues and colors, and lack of defined focal point. Baroque and the Rococo - derived from the Portuguese 'barocco' meaning, 'irregular pearl or stone'. It embraced painting, and sculpture as well as architecture. Impressionism - is based on the practice of painting out of doors and spontaneously ‘on the spot’ rather than in a studio from sketches. Main impressionist subjects were landscapes and scenes of everyday life. Post-Impressionism - this led to the development of individual style that gave emphasis to defining from with the use of broken colors and short brush stroke. Neo-Impressionism – uses tiny adjacent dabs of primary colour to create the effect of light. Realism - applied as a more general stylistic term to forms of sharply focused almost photographic painting irrespective of subject matter. As society expands and grows, art changes to reflect its new developments. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 166 Renaissance, Impressionism, and MODULE Neo-Impressionism 5 LESSON 2 BIBLIOGRAPHY Fichner-Rathus, L. (2007). Understanding Art. 11th Ed. Boston: Cengage Learning. Gilbert, R. (2005). Living with Art. New York: McGraw-Hill. White, J.J. (n.d.). Futurism. In Encyclopedia Britannica. Accessed December 18, 2017. Retrieved from https://www.britannica.com/art/Futurism. Encyclopaedia Britannica. (n.d). Cubism. Accessed December 18, 2017. Retrieved from http://www.britannica.com/art/Cubism. Daniel, R.T. (n.d.) Western Music. In Encyclopedia Brigtannica. Accessed December 18, 2017. Retrieved from https://www.britannica.com/art/Western-Music. Encyclopaedia Britannica. (n.d). Fauvism. Accessed December 18, 2017. Retrieved from https://www.britannica.com/art/Fauvism. Retrieved from https://www.tate.org.uk last October 26, 2020 Retrieved from http://www.visual-arts-cork.com last October 26, 2020 Retrieved from http://totallyhistory.com last October 26, 2020 Retrieved from http://www.rolandcollection.tv/films/art-and-architecture/art-periods/9- baroque-and-rococo last November 11, 2020. Retrieved from https://www.oxfordartonline.com/page/impressionism-and-post- impressionism/impressionism-and-postimpressionism last November 11, 2020. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 167 MODULE 6 SOUL MAKING AND SYMMETRY Symmetrological analysis of art belongs to the realm of formal analysis of art. Nevertheless, it is capable of making a number of profound observations about artistic personalities, schools or styles, or about the subject of art itself. Symmetry coexists in art with other formal aspects: the overall design, geometric elements and their interconnection, tonal and coloring schemes. It interacts with all of them and it has to be defined for each of these levels. Together with all these aspects, symmetry can describe in fairly exact terms the canons or preferences exhibited in the visual (primarily ornamental) art created by a given person or school. Their nature and their changes, or succession in time, appear to reflect very explicitly the basic feature of all human thoughts and creativity either in an individual or in entire groups/schools: observation and abstraction, reproduction (copying) and invention (creativity, originality), fashions (schools) in their progressive development and refinement, subsequent mannerism and, finally, breakdown at saturation. In this development, progressive or abrupt succession of opposites takes place: symmetry versus asymmetry or dissymmetry, functionalism versus formalism, simplicity and general geometric clarity versus mannerism and richness of ornamentation. The clarity of symmetrological definitions is advantageous when compared to many other fields of analysis of visual art. However, the richness of approaches chosen by visual artists parallels in all respects the richness of mathematical and scientific apparatus developed to describe the symmetry phenomena. It is the purpose of the present contribution to illustrate this broad spectrum of types of symmetry and to go beyond the usual application of band and plane symmetry groups to ornamental art. It is oriented toward the general public (i.e. primarily non mathematicians and non-crystallographers) and an attempt has been made to refrain from the usage of too many specialized expressions and symbols; the definitions were adjusted to this level as well. (Emil Makovicky (n.d.) University of Copenhagen, Institute of Mineralogy, Denmark. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 168 Soul Making and Deriving meaning from art LESSON 1 (3 HOURS) Romelyn May L. Cuizon, LPT Soul Making and Deriving meaning from UNIT LEARNING OUTCOMES LESSON art 6 1 Analyze the concept of soul making, and Develop student’s Let's artistic Analyze and potentials Preparethrough soul making MODULE 6: SOUL MAKING AND SYMMETRY INTRODUCTION Art talks to the audience in different ways. It helps us to consider our own viewpoint on issues. Until then, art has become a means of communication, an imaginative way of telling or showing the people (or, rather, the world) of the artist's stance against something, or just what the artist thinks when he / she does the artwork. And what's fun about it is that the artist gets different opinions on his / her work. What we can't really say whether it's right or wrong, since art talks to the hearts of the audience and it can't be limited to one abstract concept, art breaks down barriers. (Read more on Brainly.ph - https://brainly.ph/question/2147086#readmore) Due to busyness we fail to slowdown and tend to our souls by looking inward and unearthing layers of who we really are. With our souls crowded, we just go through the motions and rush to meet the present demands while neglecting to deal with our wounds, worries and past issues. We wonder why we are stressed, insecure and depressed. When we fail to appreciate who we are, and deal with our issues, we rearrange ourselves so others will like us and base our identities on circumstances, people, achievements and failures. Creating art helps us to find true meaning for what we are seeking, hiding from, our needs or wants to communicate and honor. Now, this lesson will help you understand better about soul restoration which includes art-making and reaching out through connection to discover the answers to many of our life’s questions. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 169 Soul Making and Deriving meaning from MODULE art 6 LESSON 1 Let's Discover In order for humans to make sense of language and derive meanings from words, semantics and grammatical rules are important elements to be considered. Aside from this, context and symbolisms are also considered to interpret and analyze either verbal or written works. When it comes to art, in order for people to make sense of the work, it would require the understanding of the visual elements where art was grounded on, especially on the principles of design. It is important to note that the audience of the artwork must have a certain level of awareness to the style, form and content of the said work. Without such understanding, it would be difficult to appreciate the visual arts in its fullness and entirety. Style refers to the distinctive handling of elements and media associated with the work of an individual artist, a school, a movement, or a specific culture or time period. Throughout history, there have been developments in art styles that depict different and varied methods of expression. Artworks also have a certain form. This Form is what the audience sees – a finished product put harmoniously (or not) according to the different principles of design. In essence, form is the totality of the artwork, which includes the texture, colors and shapes utilized by the artist. The Content of an artwork includes not only its form but also its subject matter and underlying meanings or themes. The perceiver of the artwork must take into consideration the totality of elements, underlying themes and motifs, and composition (Fichner-Rathus, 2013; Caslib, 2018). WHAT IS SOUL MAKING IN PHILOSOPHICAL PERSPECTIVES? Albert Camus (2002) wrote, "If there is a soul...It is created here, throughout a whole life. And living is nothing but that long and painful bringing forth." 1. Soul-making is Beyond Definition Soul making cannot be defined. The Greek philosopher Heraclitus said, "You could not discover the limits of soul, even if you travelled by every path in order to do so; such is the depth of its meaning." This term was adopted from the English poet John Keats. Keats was dying of tuberculosis at the age of twenty five. He was a brilliant writer who knew that he would not live long enough to complete the body of poetic work he longed to create. Extremely ill, financially broke and recently abandoned by his fiancé, he struggled to make sense of this thing called life. In a letter written to his brother in February of 1819 Keats was seeking to make sense of a world that seemed so cruel and unfair. He couldn't accept the usual Christian view when he wrote: "The common label of this world among the misguided and superstitious is "a vale of GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 170 Soul Making and Deriving meaning from MODULE 6 LESSON art 1 tears" from which we are to be redeemed by a certain arbitrary interposition of God and taken to Heaven…" Keats suggested an alternative vale or valley: "Call the world if you please, "The vale of Soul-making", then you will find out the use of the world. He went on to explain soul-making as a process where the basic seed of divine intelligence in all humans goes through necessary experiences, especially suffering, that transform the intelligence into a unique Soul: “I say "Soul making'', Soul as distinguished from an Intelligence - There may be intelligences or sparks of the divinity in millions--but they are not Souls till they acquire identities, till each one is personally itself. Do you not see how necessary a World of Pains and troubles is to school Intelligence and make it a soul! A Place where the heart must feel and suffer in a thousand diverse ways! - As various as the Lives of Men are- -so various become their souls, and thus does God make individual beings, Souls…" 2. Soul-Making is a Metaphor The term soul-making is a metaphor. The word “metaphor” is comprised of two Greek words - Meta - above and Phero - to carry. So a metaphor is an image or phrase that carries the reader above the literal sensory realm into the realm of invisible imagination. Like myth, metaphor enlists the truth of imagination over the truth of literalism. When Bruce Springsteen sings, "Ohhh, ohhh, ohh, I'm on fire", he is in the realm of metaphor, as opposed to Michael Jackson's Pepsi commercial when he spoke literally, "Ahhhhh, I'm on fire!" Soul-making is a metaphorical term. Therefore, the term will never be adequate for those logical positivists or rationalistic materialists, like Richard Dawkins of The God Delusion, who exclude all non-material or 'non-sensical' words. One has to wonder what they write in their Valentine’s Day cards; perhaps, "Dear Valentine. I am experiencing unusual levels of oxytocin and seratonin in my neuro-chemical synaptic connections when I'm around you." Soul Making is Poetry Making The word ‘'making’' in Soul-making comes out of the Greek word poieo which means '’to be the author or maker of something.” Our English words poet, poem and poetry come from this word. The reason for that term, for example rather than soul- builder or soul-grower, is that the emphasis is on creative, intelligent authorship. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 171 Soul Making and Deriving meaning from MODULE LESSON art 6 1 The making is not done by impersonal processes, but by Intelligent Forces. So then, soul-making is really psycho-poeisis or soul poetry. The poetic aspect is critical to understanding soul-making. The Universe is not a lifeless debris field resulting from the Big Bang, but a living organism. To our Hubble telescope and rocket propelled space surveyors, the Cosmos may appear to be a stark and barren graveyard; but so do blood cells and brain neurons when isolated under a microscope. Unless we knew that the flowing lava-like stream of oddly shaped blood cells and the electro-chemically firing brain synapses were tiny elements of a larger living organism, they wouldn't appear to be alive. WHAT IS SOUL MAKING IN ART APPRECIATION? Soul Making is an alternative venue for knowing ourselves and looking into the depths and real meaning of what we are doing for our everyday life (Narciso, 2012). It is an exploration and application of the imagination in an active way – imagination is like an inspiration that plays a major role in art production. It is a form of crafting stories are transforming brief moments into images are symbols does connecting with people understanding culture and embodying tolerance and peace. And can be an innate or learned skill or a combination of both. Categories of Soul Making 1. Crafting images - refers to imaging or representing in any form which may be through painting sculpting drawing storytelling poetry dancing composing or taking notes, it's just like weaving quilting or doing crochet quilting or doing crochet it is not creating works out of nothing if this Rooter in their own personal experience is our personal and counters and events the triggered are reflection recall and judgement. 2. Crafting stories - the moment we write, engrave and inscribed our own thoughts, ideas, commentaries, criticisms and positive and negative emotions 3. Crafting instruments - transforming any found or use object in an into a musical instrument allows one to discover harmony and balance to produce a sound that is entertaining and handsome and magical 4. Crafting movements - our life is full of movements it is filled with various beats life is full of flowing images accompanied by following narratives everything we do in life is performance we perform live at times with the past to capture the movements of for energy and the world 5. Crafting techniques - anything can be crafted by using different evocative descriptions of life experiences and explorations like photograph studies puppets and mask constructions and notepad studies GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 172 Soul Making and Deriving meaning from MODULE 6 LESSON art 1 Let's Sum It Up Soul making it is a form of crafting stories are transforming brief moments into images are symbols does connect with people understanding culture and embodying tolerance and peace When it comes to art, in order for people to make sense of the work, it would require the understanding of the visual elements where art was grounded on, especially on the principles of design. It is important to note that the audience of the artwork must have a certain level of awareness to the style, form and content of the said work. Style refers to the distinctive handling of elements and media associated with the work of an individual artist, a school, a movement, or a specific culture or time period. The Content of an artwork includes not only its form but also its subject matter and underlying meanings or themes. Moreover, the perceiver of the artwork must take into consideration the totality of elements, underlying themes and motifs, and composition. The term soul-making is a metaphor. The word "metaphor" is comprised of two Greek words - Meta - above and Phero - to carry. So, a metaphor is an image or phrase that carries the reader above the literal sensory realm into the realm of invisible imagination. Like myth, metaphor enlists the truth of imagination over the truth of literalism. Furthermore, Soul-making is a metaphorical term. It is an alternative venue for knowing ourselves and looking into the depths and real meaning of what we are doing for our everyday life. BIBLIOGRAPHY Black Poetry Image. shorturl.at/buvZ8 Caslib, Bernardo Nicolas Jr. et.al, (2018). Art Appreciation – First Edition. Rex Book Store, Inc., Sampaloc, Manila. How to teach Black Poetry. Retrieved from: https://justaddstudents.com/how-to-teach- blackout-poetry/ The Art of Soul making. Retrieved from: https://brainly.ph/question/2147086#readmore Thorp, Steve (2017). Making Soul — A Developmental Path to Consider. Retrieved from: https://medium.com/soul-making/making-soul-a-developmental-path-to- consider-aec8794b4ae7 What is Soul Making in Art Appreciation. Retrieved from: https://quizlet.com/349255331/art-appreciation-chapter-7- flash-cards/ GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 173 Symmetry Art: Okir LESSON 2 (3 HOUR) Rachel T. Robles, MAEd LEARNING OUTCOMES Understand the meaning and historical background of Okir. and Create a symmetry art inspired by Okir/Okil MODULE 6: SOUL MAKING AND SYMMETRY INTRODUCTION The arts of the Philippines reflect a society with diverse cultural influences and traditions. The Malayan peoples had early contact with traders who introduced Chinese and Indian influences. Islamic traditions were first introduced to the Malays of the southern Philippine Islands in the 14th century. Most modern aspects of Philippine cultural life evolved under the foreign rule of Spain and, later, the United States. In the 16th century the Spanish imposed a foreign culture based in Catholicism. While the lowland peoples were acculturated through religious conversion, the Muslims and some upland tribal groups maintained cultural independence. Among those who were assimilated arose an educated elite who began to establish a modern Filipino literary tradition. During the first half of the 20th century, American influence made the Philippines one of the most Westernized nations in Southeast Asia. The cultural movements of Europe and the United States profoundly influenced Filipino artists, even after independence in 1946. While drawing on Western forms, however, the works of Filipino painters, writers, and musicians are imbued with distinctly Philippine themes. By expressing the cultural richness of the archipelago in all its diversity, Filipino artists have helped to shape a sense of national identity. Many Malay cultural traditions have survived despite centuries of foreign rule. Muslims and upland tribal groups maintain distinct traditions in music, dance, and sculpture. In addition, many Filipino artists incorporate indigenous folk motifs into modern forms. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 174 MODULE Symmetry Art: Okir 6 LESSON 2 Let's Discover This lesson provides the understanding of meaning and historical background of Okir. Okir or okil is the term for geometric and flowing plant-based designs and folk motifs that can be usually found among the Moro and Lumad peoples of the Southern Philippines, as well as parts of Sabah. It is particularly associated with the artwork of the Maranao and Sama (Badjao) people, although it can also be found to a lesser extent among neighboring Maguindanao, Iranun, Tausug, Yakan, and Lumad groups. The design elements vary among these ethnic groups, with the greatest refinement being found among the Maranao. The origins of okir are pre-Islamic. They are believed to have originated from the much earlier okil or okil-okil decorative carving traditions of the Sama (Badjao) people, which are often highly individualistic and geometric. Sama are master carvers, and they made lavish decorations on ritual animistic objects, grave markers (both in wood and stone), and their houseboats. These precursor forms of the okir designs can still be found in the art traditions of the Maranao in the basak (lowland) regions of Lake Lanao, and they contrast markedly from the later flowing okir designs. Sama okil can be divided into two types. 1. Sama Dilaut The most ancient okil which still survive among the animist Sama feature representational artforms like human figures. These are absent in the okil versions of the Sama that converted to Islam. 2. Sama Okil Feature designs which are realistic copies of natural forms, rather than stylized designs like in okir..Marine themes are particularly common, including depictions of dugongs (duyong), usually with a person riding on its back. The three most common okil motifs used by the Muslim Sama are: 1. dauan-dauan (leaf motifs), 2. kaloon (curlicues and curved lines), and 3. agta-agta (fish or crocodile motifs). GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 175 MODULE Symmetry Art: Okir 6 LESSON 2 Furthermore, Okir is said to be firstly made in Tugaya, Lanao del Sur, as Tugaya is known as the home of Maranao artisans and the Industrial capital of Lanao del Sur. It has been long known as the home of arts and crafts of Maranao tribe since time immemorial. The Okir Motif is an art depicting the indigenous originality and skill of the Maranaos. It is a fine art of figuring, painting, curving and sculpturing depicting the social and psychological identity of Maranao Society. It is being patronized long time ago, until today and possibly in the coming generations of Maranao people. Every artifact or Maranao made ornament or device or decoration is designed with authentic okir revealing that the Maranaos have a distinct and original culture and civilization not being imitated from other culture. The Okir (motif) is an exclusive artistic cultural heritage of the Maranaos of Lanao, Philippines. It is as an artistic design of the Maranao native inhabitants of southern Philippines beginning from the early 6th Century C.E. before the Islamization of the area. Okir is a design or pattern often rendered or curved in hardwood, brass, silver and wall painting in curvilinear lines and Arabic geometric figures. The Okir design consists of many parts in which it has its own theory and style. Itis usually made up of flowing designs which is elaborated with leaf and vine patterns. These Okir carvings or prints are constantly colorful, it can be found woven or printed in textiles, carved into wooden cemetery markers and boxes. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 176 MODULE Symmetry Art: Okir 6 LESSON 2 Let's Sum It Up Sama are master carvers, and they made lavish decorations on ritual animistic objects, grave markers , and their houseboats. These precursor forms of the okir designs can still be found in the art traditions of the Maranao in the basak regions of Lake Lanao, and they contrast markedly from the later flowing okir designs. The Okir Motif is an art depicting the indigenous originality and skill of the Maranaos. The Okir is an exclusive artistic cultural heritage of the Maranaos of Lanao, Philippines. Okir is a design or pattern often rendered or curved in hardwood, brass, silver and wall painting in curvilinear lines and Arabic geometric figures. The Okir design consists of many parts in which it has its own theory and style. BIBLIOGRAPHY Ariola Mariano M. Introduction to AAAAAARTS APPRECIATION. Second Edition.C & E Publishing Inc. 2014 Amilbangsa, Ligaya F. Ukkil: Visual Arts of the Sulu Archipelago.2005 https://tugayaartefactsblog.wordpress.com/2014/03/18/the-okir-motif-an-art-of- maranao-depicting-their-culture-and- society/mmlygrade7art.blogspot.com/2014/11/okir-making-activity.ht GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 177 ABOUT THE AUTHOR MERLE ARTICA DERRAMA Graduated Bachelor of Arts Major in English at Foundation University. Also, she finished her Doctor of Philosophy major in Educational Management at Central Philippines State University. Further, she is a Chairperson under Language and Humanities Division of College of Arts and Sciences and a Yearbook adviser. NEAR JAY HIDALGO OLARTE Graduated Bachelor of Arts Major in English at Central Philippines State University. Completed his academic units for his Master’s degree in education major in English Language at University of St. La Salle Bacolod. ALFONSO GARGAR Graduated Bachelor in Elementary Education major in General Education and completed his Master’s Degree in Education major in Educational Management at Central Philippines State University. Moreover, he is currently enrolled Doctor of Philosophy major in Educational Management at the same university. JORDAN APAWAN Graduated Bachelor of Elementary Education major in General Education and finished his Master’s Degree in Education major in Educational Management at Central Philippines State University. Also, he is currently enrolled Doctor of Philosophy major in Educational Management at the same university. DINAH MAE FLORES Graduated Bachelor of Arts Major in English and currently enrolled her Master’s degree in education major in English at Central Philippines State University. RACHEL TROBLES Graduated her Master’s degree in Education at Central Philippines State University and currently enrolled Doctor of Philosophy major in Educational Management at the same university. Furthermore, she is a Sports and Cultural Director. ROMELYN MAY CUIZON Graduated Bachelor of Elementary Education major in General Education and finished her Master’s degree in education major in Early Childhood Education at Central Philippines State University. GEC 6: ART APPRECIATION CAS-CPSU  P a g e | 178 SHIELY ANN HOJILLA Graduated Bachelor in Elementary Education Major in General Education and currently enrolled her Master’s degree in education major in Educational Management at Central Philippines State University, Victorias Campus. CHRISTINE JOY PACLAO VENTEROSO Graduated Bachelor in Elementary Education Major in General Education at Central Philippines State University – Hinigaran Campus. Currently enrolled her Master’s degree in education major in Early Childhood Education at Central Philippines State University – San Carlos Campus. JENNIFER B. JALIQUE Graduated Bachelor of Secondary Education major in General Science at Northern Negros State College of Science and Technology. Finished his Master’s degree in education major in Natural Sciences at University of Negros Occidental – Recoletos Bacolod. JENZIL FEB NAVALES CABUAL Graduated Bachelor of Arts Major in English and currently enrolled her Master’s degree in education major in English at Central Philippines State University. CONTRIBUTORS: ANNABELLE O. ANIMAS Graduated her degree course at La Salle University, Ozamiz City. Also, she is a licensed Librarian at Central Philippines State University, Moises Padilla Campus. JOHN MARK PABORADA Graduated his degree course at Central Philippines State University. Currently, he is an instructor at Central Philippines State University – San Carlos Campus. GEC 6: ART APPRECIATION CAS-CPSU