ART APPRECIATION

SOULMAKING (SOUL, SOUND, STRUCTURE)

 SOULMAKING – SOUL MAKING IS ABOUT DRAWING OUT A CERTAIN EXPERIENCE OF THE

PERSON AND TRANSFORM THIS INTO AN IMAGE EITHER IN A FORM OF PAINTING OR A
COMPOSITION OR A PRODUCTION (NARCISO, 2016)
- AN ALTERNATIVE VENUE FOR KNOWING OURSELVES AND LOOKING INTO THE DEPTHS AND
REAL MEANING OF WHAT WE ARE DOING FOR OUR DAILY LIFE (NARCISO, 2012).
- IT IS AN EXPLORATION AND APPLICATION OF THE IMAGINATION IN AN ACTIVE WAY.
- IT IS A FORM OF CRAFTING STORIES THAT ARE TRANSFORMING INTO BRIEF MOMENTS INTO
IMAGES ARE SYMBOLS DOES CONNECTING WITH PEOPLE UNDERSTANDING CULTURE AND
EMBODYING TOLERANCE AND PEACE.
 SOUL – EMOTIONAL OR INTELLECTUAL ENERGY OR INTENSITY, ESPECIALLY AS REVEALED IN A
WORK OF ART OR AN ARTISTIC PERFORMANCE.
 SOUND – VIBRATIONS THAT TRAVEL THROUGH THE AIR OR ANOTHER MEDIUM AND CAN BE
HEARD WHEN THEY REACH A PERSON'S OR ANIMAL'S EAR.
 STRUCTURE – THE ARRANGEMENT OF AND RELATIONS BETWEEN THE PARTS OR ELEMENTS OF
SOMETHING COMPLEX.
- THE SURFACE AND QUALITY OF OBJECT EITHER REAL OR MADE TO BE APPEARED REAL. IT
GIVES VARIETY AND BEAUTY ON ART.

WORKSHOPS ON IMPROVISATIONS, INSTALLATION, TRANSCREATION

 IMPROVISATION – IT IS THE ART AND ACT OF IMPROVISING OR OF COMPOSING UTTERING OR

ARRANGING ANYTHING WITHOUT PREVIOUS PREPARATION OR PRODUCING SOMETHING FROM
WHATEVER IS EXISTING OR AVAILABLE.
 INSTALLATION – INVOLVES THE CONFIGURATION OR "INSTALLATION" OF OBJECTS IN A SPACE,
SUCH AS A ROOM OR WAREHOUSE. THE RESULTING ARRANGEMENT OF MATERIAL AND SPACE
COMPRISES THE "ARTWORK".
 TRANSCREATION – TRANSLATING THE CREATION OR THE ART.
- IT IS MUCH MORE THAN TRANSLATION. IT TAKES THE ORIGINAL MESSAGE AND CONVEYS IT
IN ANOTHER LANGUAGE, MAKING SURE THAT THE TEXT IN THE TARGET LANGUAGE KEEPS
THE ORIGINAL STYLE, VOCAL TONE, INTENT, AND EMOTIONAL SALIENCE.

LOCAL ARTS

 CRAFTING IMAGES – REFERS TO IMAGING OR REPRENTING IN ANY FORM WHICH MAY BE

THROUGH PAINTING, SCULPTING, DRAWING, STORYTELLING, POETRY, DANCING, COMPOSING,
OR TAKING NOTES.

 CRAFTING STORIES – THE WAY WE WRITE, ENGRAVE AND INSCRIBED OUR OWN THOUGHTS,
IDEAS, COMMENTS, CRITICISMS AND POSITIVE AND NEGATIVE EMOTIONS.

 CRAFTING INSTRUMENTS PERFORMANCE – TRANSFORMING ANY FOUND OR USED OBJECT

INTO MUSICAL INSTRUMENT THAT ALLOWS ONE TO DISCOVER HARMONY AND BALANCE TO
PRODUCE A SOUND THAT IS ENTERTAINING AND MAGICAL.
 7 DA VINCCIAN PRINCIPLES

1. CURIOSITÀ — (BEING CURIOUS) AN INSATIABLY CURIOUS APPROACH TO LIFE AND AN

UNRELENTING QUEST FOR CONTINUOUS LEARNING.
2. DIMOSTRAZIONE — (INDEPENDENT THINKING) A COMMITMENT TO TEST KNOWLEDGE
THROUGH EXPERIENCE, PERSISTENCE, AND A WILLINGNESS TO LEARN FROM MISTAKES.
3. SENSAZIONE — (REFINEMENT OF THE FIVE SENSES AND MINDFULNESS) THE CONTINUAL
REFINEMENT OF THE SENSES, ESPECIALLY SIGHT, AS THE MEANS TO ENLIVEN EXPERIENCE AND
TO STAY PRESENT IN THE MOMENT.
4. SFUMATO (LITERALLY “GOING UP IN SMOKE”)— A WILLINGNESS TO EMBRACE AMBIGUITY,
PARADOX, AND UNCERTAINTY.
5. ARTE/ SCIENZA — THE DEVELOPMENT OF THE BALANCE BETWEEN SCIENCE AND ART, LOGIC
AND IMAGINATION AND “WHOLE-BRAIN” THINKING.
6. CORPORALITÀ — (IMPORTANCE OF PHYSICAL AND MENTAL HEALTH) THE CULTIVATION OF
GRACE, AMBIDEXTERITY, FITNESS, AND POISE.
7. CONNESSIONE — A RECOGNITION OF AND APPRECIATION FOR THE INTERCONNECTEDNESS OF
ALL THINGS AND PHENOMENA AND SYSTEMS THINKING.

 POSITS FIVE ACTS OF CULTURAL APPROPRIATION (OBJECT APPROPRIATION, CONTENT, STYLE,

MOTIF APPROPRIATION, SUBJECT APPROPRIATION)
- CULTURAL APPROPRIATION – OCCURS WHEN SOMEONE IN A POSITION OF PRIVILEGE
TAKES AND USES COMPONENTS OF ANOTHER’S CULTURE AND USING IT WITHOUT PAYING
HOMAGE TO THOSE THEY HAVE TAKEN IT FROM.
1. OBJECT APPROPRIATION – OCCURS WHEN THE POSSESSION OF A TANGIBLE OBJECT (SUCH
AS A SCULPTURE) IS TRANSFERRED FROM MEMBERS OF ONE CULTURE TO MEMBERS OF
ANOTHER CULTURE.
- ALSO KNOWN AS MATERIAL APPROPRIATION.
2. CONTENT – THIS FORM OF APPROPRIATION INVOLVES THE REPRODUCTION, BY A MEMBER
OF ONE CULTURE, OF NON-TANGIBLE WORKS OF ART (SUCH AS STORIES, MUSICAL
COMPOSITIONS OR DRAMATIC WORKS) PRODUCED BY SOME OTHER CULTURE.
- ALSO KNOWN AS NON-MATERIAL APPROPRIATION.
3. STYLE – SOMETIMES ARTISTS DO NOT REPRODUCE WORKS PRODUCED BY ANOTHER
CULLURE, UUL SLILL TAKE SOMETHING FROM THAT CULTURE. IN SUCH CASES, ARTISTS
PRODUCE WORKS WITH STYLISTIC ELEMENTS IN COMMON WITH THE WORKS OF ANOTHER
CULTURE.
- ALSO KNOWN AS STYLISTIC APPROPRIATION
4. MOTIF APPROPRIATION – THIS FORM IS RELATED TO STYLISTIC APPROPRIATION.
SOMETIMES ARTISTS ARE INFLUENCED BY THE ART OF A CULTURE OTHER THAN THEIR OWN
WITHOUT CREATING WORKS IN THE SAME STYLE.
5. SUBJECT APPROPRIATION – OCCURS WHEN SOMEONE FROM ONE CULTURE REPRESENTS
MEMBERS OR ASPECTS OF ANOTHER CULTURE.

 TEXTILE ART - IS THE PROCESS OF CREATING SOMETHING USING FIBERS GAINED FROM
SOURCES LIKE PLANTS, ANIMALS, INSECTS (THINK SILK WORMS!), OR SYNTHETIC MATERIALS
 SOUL, DREAMS, IMAGINATION
1. SOUL – EMOTIONAL OR INTELLECTUAL ENERGY OR INTENSITY, ESPECIALLY AS REVEALED IN
A WORK OF ART OR AN ARTISTIC PERFORMANCE.
2. DREAMS – A SERIES OF MENTAL IMAGES AND EMOTIONS OCCURING DURING SLEEP.
3. IMAGINATION – IT IS LIKE THE INSPIRATION IN THE WORK AND IT PLAYS A BIG ROLE IN
PRODUCTION.

 VISUAL ELEMENTS IN PHILIPPINE TRADITIONAL MOTIFS AND CRAFTS

o LINE – THE FOUNDATION OF DRAWING; USED TO PORTRAY SHAPE, PATTERN, FORM,
STRUCTURE, GROWTH, DEPTH, DISTANCE, RHYTHM, MOVEMENT AND A RANGE OF
EMOTIONS.
o SHAPE – MAY BE NATURAL OR MAN-MADE, REGULAR OR IRREGULAR, 2-DIMENSIONAL
OR 3-DIMENSIONAL, REPRESENTATIONAL OR ABSTRACT, GEOMETRIC OR ORGANIC,
TRANSPARENT OR OPAQUE, POSITIVE OR NEGATIVE, DECORATIVE OR SYMBOLIC,
COLORED, PATTERNED OR TEXTURED.
o TONE - THE LIGHTNESS OR DARKNESS OF A COLOR; USED TO CREATE A CONTRAST OF
LIGHT AND DARKNESS OR CREATE A PATTERN WITHIN A COMPOSITION
o COLOR – HAS THE STRONGEST IMPACT ON OUR EMOTIONS; USED TO CREATE MOOD IN
OUR ARTWORK.
o PATTERN - MADE BY REPEATING OR ECHOING THE ELEMENTS OF AN ARTWORK TO
SHOW A SENSE OF BALANCE, HARMONY, CONTRAST, RHYTHM OR MOVEMENT.
NATURAL PATTERNS ARE OBSERVED FROM NATURE, WHILE MAN-MADE PATTERNS ARE
PLANNED COMPOSITIONAL WORKS
o DONE TO DEVELOP A MORE DECORATIVE DESIGN.
o TEXTURE – THE ROUGHNESS OR SMOOTHNESS OF A MATERIAL; CAN BE EXPERIENCED
OPTICALLY AND PHYSICALLY.
o FORM – THE PHYSICAL VOLUME OF A SHAPE. IT INCLUDES THE SPACE IT OCCUPIES AND
CAN BE CLASSIFIED AS REPRESENTATIONAL OR ABSTRACT.

 DECORATIVE MOTIFS AND SYMBOLS CLASSIFICATIONS

o MOTIFS – A MOTIF IS AN IMAGE, SPOKEN OR WRITTEN WORD, SOUND, ACT, OR
ANOTHER VISUAL OR STRUCTURAL DEVICE THAT HAS SYMBOLIC SIGNIFICANCE. IT IS USED TO
DEVELOP AND INFORM THE THEME OF A LITERARY WORK.
o SYMBOL – A SYMBOL IS AN OBJECT, A PICTURE, A WRITTEN WORD, OR A SOUND THAT
IS USED TO REPRESENT SOMETHING ELSE EITHER BY RESEMBLANCE, CONVENTION, OR
ASSOCIATION.
o CLASSIFICATIONS OF MOTIFS
1. GEOMETRIC MOTIF – THESE MOTIFS INCLUDE LINES IN VARIOUS FORMS, SUCH AS
VERTICAL, HORIZONTAL, DIAGONAL AND CURVED. THEY FORM FABRIC DESIGNS,
SUCH AS STRIPES, PLAIDS, CHECKS AND CIRCLES AND THEIR ASSOCIATED DESIGNS.
2. REALISTIC OR NATURAL MOTIF – NATURAL MOTIFS PORTRAY AS DIRECT REPLICA
OF THINGS AS THEY EXIST IN NATURE, SUCH AS FLOWERS ON TREES, ANIMALS IN
JUNGLE, HUMAN FIGURE AND OTHER NATURAL THINGS. THEY ARE ALSO CALLED
NOVELTY PATTERNS.
 3. STYLIZED MOTIF – THESE ARE SIMPLIFIED VARIATIONS OF NATURAL OR MAN-
MADE OBJECTS THAT ARE NO LONGER RECOGNIZABLE. STYLIZED MOTIFS ARE
OBTAINED BY REARRANGING THE REAL OBJECTS EITHER BY SIMPLIFYING OR
EXAGGERATING TO ACHIEVE THE PURPOSE OF THE DESIGN.
4. ABSTRACT MOTIF – THESE ARE COMBINATIONS OF COLOR, SIZE, AND SHAPE
WITHOUT RELATIONSHIP TO NATURAL OR MAN- MADE OBJECTS.
o CLASSIFICATIONS OF SYMBOLS
1. ICONOGRAMS – ARE ILLUSTRATIVE REPRESENTATIONS. THEY ARE ICONIC SIGNS
WHICH, AS AN ILLUSTRATIVE REPRESENTATION, EMPHASIZES THE POINTS IN
COMMON BETWEEN THE SIGNIFIER AND THE SIGNIFIED.
2. PICTOGRAMS – ARE PICTORIAL REPRESENTATIONS, SUCH AS ISOTYPE.
3. CARTOGRAMS – ARE TOPOGRAPHICAL REPRESENTATIONS WITH COMPLEX
FUNCTIONS (STATISTICS, ETC.) AND ICONIC FACTS.
4. DIAGRAMS – ARE FUNCTIONAL REPRESENTATIONS. THESE ARE MORE ON
FUNCTIONAL CARRIERS THAT USUALLY ILLUSTRATE.
5. IDEOGRAMS – IT REPRESENT A CONCEPT. TYPICALLY, IDEOGRAMS CORRESPONDS
TO THE SIGN AS A SYMBOL WHICH RELATES TO THE OBJECT OR CONCEPT
REFERRED TO, INDEPENDENTLY OF ANY FORMAT IDENTIFICATION WITH IT.
6. LOGOGRAMS – ARE CONCEPTUAL REPRESENTATIONS LIKE WRITING.
7. TYPOGRAMS – ARE TYPOGRAPHICAL REPRESENTATIONS. A TYPOGRAM IS A SIGN
THAT IS ALSO COMPOSED OF A SIGN, DERIVED FROM A WRITTEN REPERTOIRE
SUCH AS THE ALPHABET.
8. PHONOGRAMS – ARE PHONIC REPRESENTATIONS. A PHONOGRAM IS A SIGN THAT
IS USED TO SIGNIFY LINGUISTIC OR THE OTHER SOUNDS.

 SOUL AND SPACE, IFUGAO BALE, BAHAY KUBO, BAHAY NA BATO, OTHER INDIGENEOUS
HOUSES

o SOUL – EMOTIONAL OR INTELLECTUAL ENERGY OR INTENSITY, ESPECIALLY AS REVEALED

IN A WORK OF ART OR AN ARTISTIC PERFORMANCE.
o SPACE – REFERS TO THE DISTANCES OR AREAS AROUND, BETWEEN, AND WITHIN
COMPONENTS OF A PIECE.
o IFUGAO BALE – THESE TRADITIONAL IFUGAO HOUSES HAVE BEEN CONSTRUCTED
WITHOUT THE USE OF NAILS. THE IFUGAO HOUSE HAS THE APPEARANCE OF A
WINDOWLESS STILT HOUSE ON THE OUTSIDE. YET ITS OVERALL DESIGN IS FUNCTIONAL
AND THE INTERIOR SURPRISES WITH MORE SPACE THAN IMAGINED.
o BAHAY KUBO – BAHAY KUBO IS ONE OF THE MOST ILLUSTRATIVE AND RECOGNIZED
ICONS OF THE PHILIPPINES. BY TRADITION THIS TYPE OF VILLAGE DWELLING IS
CONSTRUCTED OUT OF ORGANIC MATERIALS, A PERFECT EXAMPLE OF A TOTALLY
GREEN STRUCTURE, A SHOWCASE OF EXTREME SIMPLICITY AND SUSTAINABILITY THAT
HAS BEEN AROUND FOR A VERY LONG TIME. THE CONSTRUCTION OF A BAHAY KUBO IS
TOTALLY BASED ON THE LOCAL NEEDS AND CONDITIONS.
o BAHAY NA BATO – IS A TYPE OF BUILDING ORIGINATING DURING THE PHILIPPINES'
SPANISH COLONIAL PERIOD. IT IS AN UPDATED VERSION OF THE TRADITIONAL BAHAY
KUBO. ITS DESIGN HAS EVOLVED THROUGHOUT THE AGES, BUT STILL MAINTAINS THE
BAHAY KUBO'S ARCHITECTURAL BASIS WHICH CORRESPONDS TO THE TROPICAL
CLIMATE, STORMY SEASON, AND EARTHQUAKE-PRONE ENVIRONMENT OF THE WHOLE
ARCHIPELAGO OF THE PHILIPPINES AND FUSES IT WITH THE INFLUENCE OF SPANISH
COLONIZERS AND CHINESE TRADERS.
o OTHER INDIGENEOUS HOUSES
 LEAN-TO - BUILT BY NOMADS SUCH AS THE AETAS
 MANGYAN HOUSE - OF TWO TYPES: SINGLE-FAMILY AND COMMUNAL
 TREE HOUSE - THREE TYPES BUILT BY THE ILONGOT, TINGGUIAN, GADDANG,
MANDAYA, MANOBO, TIRURAY, AND BUKIDNON
 ULOG - IFUGAO COMMUNAL DORMITORIES FOR SINGLES
 A-LANG - IFUGAO GRANARY THAT'S A MINI-ME VERSION OF THE FALE
 MAYOYAO HOUSE - SIMPLIFIED FALE
 FAY-U (BONTOC HOUSE) - DEPARTS FROM THE FALE BY ADDING A LOWER
WALL; OTHER BONTOC DWELLINGS: FAWI, OLAG, KATYUFONG (WIDOW'S
HOUSE)
 SAGADA HOUSE - "FULLY COVERED" VERSION OF THE BONTOC HOUSE
 BINANGIYAN (KANKANAI/KANKANAY/KANKANA-EY? HOUSE) - "ANOTHER
VARIATION OF THE FALE"; OTHER HOUSE TYPES: APA OR INAPA, ALLAO,
INALTEB, ETC.
 IBALOI HOUSE - ANOTHER FALE VERSION
 BINARYON, FINARYON, BINAYON (KALINGA HOUSE) - AN OCTAGONAL HOUSE
ON FOUR POSTS
 BINURON (ISNEG/ITNEG/TINGUIAN HOUSE) - BOAT-INSPIRED HOUS
 T'BOLI HOUSE - "LARGE ONE-ROOM HOUSE ON STILTS"
 BAY SINUG (TAUSOG/TAUSUG HOUSE) - "LAND-BASED SEA PEOPLE HOUSE"...
"DISTINGUISHED BY AN ELABORATELY CARVED WOODEN FINIAL CALLED TAJUK
PASUNG"
 SAMAL HOUSE - "HOUSES ON STILTS... CONNECTED BY BRIDGES AND
CATWALKS"
 BADJAO LANDHOUSE - "STAND-ALONE" HOUSE ON WATER
 LUMAH, LUMA (YAKAN HOUSE) - "A RECTANGULAR STRUCTURE ELEVATED
FROM THE GROUND BY TIMBER POSTS; USUALLY CLUSTERED AROUND THE
LANGGAL OR LOCAL PRAYER HOUSE (THE CENTER OF THE COMMUNITY), BUT
NOT IN COMPACT VILLAGES"; HAS A PORCH CALLED PANTAN
 (LUMAD) MOSQUE - "FOLLOWS TRADITIONAL ONION-SHAPED DOME DESIGN
WITH MINARETS PLUS INDIGENOUS ELEMENTS"
 TOROGAN (MARANAO HOUSE) - "THE MUSLIM CHIEF'S [OFFICIAL] RESIDENCE,"
A "STATELY, SALAKOT-SHAPED" AFFAIR WITH OKIR DESIGN AND "PROTRUDING
BEAM ENDS" CALLED PANOLONG; THE TWO OTHER TYPES OF MARANAO
HOUSES ARE THE LAWIG OR SMALL HOUSE AND MALA-A-WALAI OR LARGE
HOUSE
  BATANES HOUSE - STORM-READY HOUSE OF THICK STONE-AND-MORTAR
WALLS AND A METER-THICK GRASS ROOF; OF TWO TYPES: MAYTUAB, WHICH
HAS "A FOUR-SLOPED ROOF AND WALLS OF STONE AND LIMESTONE;
SINADUMPARAN, WHICH HAS A "STURDY TWO-SLOPED ROOF OF COGON; HAS
THREE SECTIONS: THE RAKUH OR MAIN ROOM (LIVING ROOM AND BEDROOM),
THE KUSINA OR KITCHEN; AND THE RAHAWUNG OR STORAGE SHED"; HAS
MANY TYPES: CHIVUVUHUNG, KAMADID, MAYHURAHED,
MAYTUAB/NITUAVAN, RAHAUNG, SINADUMPARAN A BINEDBERAN, ETC.

 SOUND IMPROVISATION – IS THE CREATIVE ACTIVITY OF IMMEDIATE ("IN THE MOMENT")

MUSICAL COMPOSITION, WHICH COMBINES PERFORMANCE WITH COMMUNICATION OF
EMOTIONS AND INSTRUMENTAL TECHNIQUE AS WELL AS SPONTANEOUS RESPONSE TO OTHER
MUSICIANS.
- ALSO KNOWN AS MUSICAL IMPROVISATION

 THEATRE IMPROVISATION – THE PLAYING OF DRAMATIC SCENES WITHOUT WRITTEN

DIALOGUE AND WITH MINIMAL OR NO PREDETERMINED DRAMATIC ACTIVITY.

 INDIGEOUS ART, MUSLIM, CHRISTIAN, CONTEMPORARY,

o INDIGENOUS ART – INDIGENOUS PAINTINGS AND ENGRAVINGS RECORDED SUCH
THINGS AS DAILY LIFE, ANIMALS IN AN AREA, TOOLS USED, HUNTING EXPEDITIONS, PLANTS
AND LANDSCAPE. MUCH OF INDIGENOUS ART WAS ESSENTIALLY RELIGIOUS IN THAT IT
REPRESENTED AND AMPLIFIED THEMES CONCERNING DREAMING STORIES AND BELIEFS.
o MUSLIM – ISLAMIC ART ENCOMPASSES THE VISUAL ARTS PRODUCED IN THE ISLAMIC
WORLD.[1] ISLAMIC ART IS DIFFICULT TO CHARACTERIZE BECAUSE IT COVERS A WIDE RANGE OF
LANDS, PERIODS, AND GENRES,[2] INCLUDING ISLAMIC ARCHITECTURE, ISLAMIC CALLIGRAPHY,
ISLAMIC MINIATURE, ISLAMIC GLASS, ISLAMIC POTTERY, AND TEXTILE ARTS SUCH AS CARPETS
AND EMBROIDERY.
o CHRISTIAN – CHRISTIAN ART IS SACRED ART WHICH USES THEMES AND IMAGERY FROM
CHRISTIANITY. MOST CHRISTIAN GROUPS USE OR HAVE USED ART TO SOME EXTENT,
ALTHOUGH SOME HAVE HAD STRONG OBJECTIONS TO SOME FORMS OF RELIGIOUS IMAGE,
AND THERE HAVE BEEN MAJOR PERIODS OF ICONOCLASM WITHIN CHRISTIANITY.
o CONTEMPORARY – CONTEMPORARY ART IS THE ART OF TODAY, PRODUCED IN THE
SECOND HALF OF THE 20TH CENTURY OR IN THE 21ST CENTURY. CONTEMPORARY ARTISTS
WORK IN A GLOBALLY INFLUENCED, CULTURALLY DIVERSE, AND TECHNOLOGICALLY
ADVANCING WORLD. THEIR ART IS A DYNAMIC COMBINATION OF MATERIALS, METHODS,
CONCEPTS, AND SUBJECTS THAT CONTINUE THE CHALLENGING OF BOUNDARIES THAT WAS
ALREADY WELL UNDERWAY IN THE 20TH CENTURY. CONTEMPORARY ART IS PART OF A
CULTURAL DIALOGUE THAT CONCERNS LARGER CONTEXTUAL FRAMEWORKS SUCH AS
PERSONAL AND CULTURAL IDENTITY, FAMILY, COMMUNITY, AND NATIONALITY.

 PRACTICE AND MOVEMENTS – ART MOVEMENT IS A TENDENCY OR STYLE IN ART WITH A

SPECIFIC COMMON PHILOSOPHY OR GOAL, FOLLOWED BY A GROUP OF ARTISTS DURING A
 SPECIFIC PERIOD OF TIME, (USUALLY A FEW MONTHS, YEARS OR DECADES) OR, AT LEAST, WITH
THE HEYDAY OF THE MOVEMENT DEFINED WITHIN A NUMBER OF YEARS. ART MOVEMENTS
WERE ESPECIALLY IMPORTANT IN MODERN ART, WHEN EACH CONSECUTIVE MOVEMENT WAS
CONSIDERED AS A NEW AVANT-GARDE.

ART HISTORY (ASIAN, WESTERN, PHILIPPINES)

 CAVE ART, EGYPTIAN AND GREEK

o CAVE ART – THE ART OF PALEOLITHIC HUMANS REPRESENTED BY DRAWINGS AND
PAINTING ON THE WALLS OF CAVE.
o EGYPTIAN – EGYPTIAN ART HAS ORDER AND CONTINUITY. DEATH AND AFTERLIFE WERE
COMMON THEMES. THE PURPOSE OF THIS ART IS RELIGIOUS AND TO IMPOSE ORDER.
- ART PRODUCE IN EGYPT INCLUDES PAINTINGS, SCULPTURES, DRAWING ON PAPYRUS,
FAIENCE, JEWELRY, IVORIES, ARCHITECTURE AND OTHER ART MEDIA.
o GREEK – INCLUDES IDEALIZED DEPICTIONS OF THE HUMAN BODY, IN WHICH LARGELY
NUDE MALE FIGURES WERE GENERALLY THE FOCUS OF INNOVATION AND ALSO THE
ARCHITECTURE AND BUILDINGS.
 ROMAN AND MEDIAVAL
o ROMAN – ROMAN ART REFERS TO THE VISUAL ARTS MADE IN ANCIENT ROME AND IN
THE TERRITORIES OF THE ROMAN EMPIRE. ROMAN ART INCLUDES ARCHITECTURE,
PAINTING, SCULPTURE AND MOSAIC WORK.
o MEDIAVAL – MEDIEVAL ART—WHICH INCLUDES A WIDE VARIETY OF ART AND
ARCHITECTURE—REFERS TO A PERIOD ALSO KNOWN AS THE MIDDLE AGES, WHICH
ROUGHLY SPANNED FROM THE FALL OF THE ROMAN EMPIRE IN 476 A.D. TO THE EARLY
STAGES OF THE RENAISSANCE IN THE 14TH CENTURY. WORK PRODUCED DURING THIS
ERA EMERGED FROM THE ARTISTIC HERITAGE OF THE ROMAN EMPIRE AND THE
ICONOGRAPHIC STYLE OF THE EARLY CHRISTIAN CHURCH, FUSED WITH THE
“BARBARIAN” CULTURE OF NORTHERN EUROPE.
 CHINESE PRINTING AND JAPANESE PRINT
o CHINESE PRINTING – THE PROCESS OF PRINTING STARTS IN CHINA. BECAUSE OF THIS
PROCESS A VARIETY OF ITEMS LIKE CALENDARS AND RELIGIOUS TEXTS ARE PRODUCEDS.
CHINESE WOODBLOCK WERE FIRST USED TO PRINT DESIGNS IN SILK OR CLOTH. THEN
THE CREATION OF PAPER CAME. PAPER WAS MADE BY CREATING A MIX OF BARK AND
RAGS THAT WOULD FLOAT ON WATER. BEFORE THE INVENTION OF PRINTING
EVERYTHING HAD TO BE WRITTEN BY HAND. THIS TOOK A LONG TIME AND MEANT
THAT BOOKS AND OTHER WRITTEN MATERIALS WERE VERY RARE AND EXPENSIVE.
AROUND 220 AD THE CHINESE BEGAN PRINTING PICTURES ON SILK AND OTHER
FABRICS. THEN AROUND 650 AD THEY BEGAN PRINTING ON PAPER USING WOODEN
BLOCKS. HOWEVER, WOODBLOCK PRINTS WERE NOT REGARDED AS AN ART FORM OF
ITS OWN. THEY WERE RATHER MEANT AS A MEANS TO MAKE A PRECISE
REPRODUCTION OF EXISTING PAINTINGS.
o JAPANESE PRINTING – IS A TECHNIQUE BEST KNOWN FOR ITS USE IN THE UKIYO-E
ARTISTIC GENRE OF SINGLE SHEETS, BUT IT WAS ALSO USED FOR PRINTING BOOKS IN
 THE SAME PERIOD. THE JAPANESE WATER-BASED INKS PROVIDE A WIDE RANGE OF
VIVID COLORS, GLAZES, AND TRANSPARENCY.
o WOODLOCK PRINTING – A TECHNIQUE FOR PRINTING TEXT, IMAGES OR PATTERNS
USED WIDELY THROUGHOUT EAST ASIA AND ORIGINATING IN CHINA IN ANTIQUITY AS A
METHOD OF PRINTING ON TEXTILES AND LATER PAPER.
 RENNAISSEAN AND MANNERISM, BAROQUE AND ROCOCO
o RENAISSANCE – MOVE AWAY FROM PURELY SPIRITUAL CONCERNS TO MORE HUMAN
AND CLASSICAL.
o MANNERISM – MANNERISM IS A STYLE THAT EMERGED IN 1530 AND LASTED UNTIL THE
END OF THE CENTURY. IT IS NAMED AFTER MANIERA, AN ITALIAN TERM FOR “STYLE” OR
“MANNER,” AND REFERS TO A STYLIZED, EXAGGERATED APPROACH TO PAINTING AND
SCULPTURE.
o BAROQUE – RESPONSE TO REFORMATION MORE THEATRICAL AND DRAMATIC SCENES
AND DEPICTIONS TO ATTRACT COMMONERS.
o ROCOCO – APPEALED TO WEALTHY CLASS OR NOBILITY.
 NEO-CLASSICSM AND ROMANTIC AND REALISM
o NEO-CLASSISM – WAS A WESTERN CULTURAL MOVEMENT IN THE DECORATIVE AND
VISUAL ARTS, LITERATURE, THEATRE, MUSIC, AND ARCHITECTURE THAT DREW
INSPIRATION FROM THE ART AND CULTURE OF CLASSICAL ANTIQUITY.
- IT IS A REVIVALIST AESTHETIC MOVEMENT, MEANING THAT IT REHASHES OR
RECONSTRUCTS THE VISUAL PATTERNS AND STYLES OF A BYGONE ERA. IN NEOCLASSICISM
THESE ARE CHARACTERIZED BY NUDE OR SEMI-NUDE FIGURES IN MELODRAMATIC POSES
AND SCENES WITH DRAPERIES, REFERENCES TO ANCIENT GRECO-ROMAN POLYTHEISM AND
MYTHOLOGY, REFERENCES TO GRECO-ROMAN SCULPTURE AND ARCHITECTURE, AND LOTS
OF ORNATE FLORAL AND BOTANICAL MOTIFS.
o ROMANTICISM – EMBRACED EMOTION, EXOTIC, “AESTHETIC EXPERIENCE”, “THE
SUBLIME”, ORIGINALITY AND IMAGINATION
o REALISM – DESCRIBE THINGS REPRESENT FIGURES AND EXACTLY HOW THEY LOOK LIKE
IN REAL LIFE.
- THE ARTISTS PORTRAYS THE SUBJECT AS EASE.
- THE ARTIST PORTRAYS SUBJECTS COMING FROM NATURE, WITH THE EXACT REPLICA
OF WHAT THE OBJECTS ARE.
 IMPRESSIONISM AND POST-IMPRESSIONISM
o IMPRESSIONISM – THE ARTIST DEPICTS WHAT STIMULATES THE EYE. THEY ARE MORE
CONCERNED WITH THE EFFECTS OF LIGHTS THAT WOULD GET THE ATTENTION OF THE
AUDIENCE.
o POST-IMPRESSIONISM – IT IS CHARACTERIZED BY A SUBJECTIVE APPROACH TO
PAINTING, AS ARTISTS OPTED TO EVOKE EMOTION RATHER THAN REALISM IN THEIR
WORK.
 NEO-IMPRESSIONISM – REFERS TO A PICTORIAL TECHNIQUE WHERE COLOR PIGMENTS ARE NO
LONGER MIXED EITHER ON THE PALETTE OR DIRECTLY ON CANVAS, BUT INSTEAD PLACED AS
SMALL DOTS SIDE BY SIDE.
 SYMBOLISM AND ART NAVEAU
o SYMBOLISM – THE VISIBLE SIGN OF SOMETHING INVISIBLE SUCH AS IDEAS OR QUALITY.
 - SYMBOLISM POSSESSES SOME DIFFICULTY AT UNDERSTANDING.
o ART NOUVEAU – IS CHARACTERIZED BY ITS USE OF A LONG SINUOUS, ORGANIC LINE
AND WAS EMPLOYED MOST OFTEN IN ARCHITECTURE, INTERIOR DESIGN, JEWELRY AND
GLASS DESIGN, POSTERS AND ILLUSTRATIONS.
 FAUVISM AND EMPRESSIONISM
o FAUVISM – IT EMPLOYS COLORS TO EXPRESS THE EMOTIONS OF THE ARTIST.
- THE ARTIST USES BRIGHT AND EXTREME COLORS IN ORDER TO ASSUME POSITIVE
CHARACTERS.
o EXPRESSIONISM – ARTISTIC STYLE IN WHICH THE ARTIST TRIED TO DESCRIBE NOT THE
OBJECTIVE REALITY BUT THE SUBJECTIVE EMOTIONS OBJECTS AND EVENTS THAT ARE
OUT OF HIM.
 CUBISM AND FUTURISM
o CUBISM – ARTISTS USED GEOMETRIC FIGURES LIKE CONES, SPHERE AND CYLINDERS.
- IT SHOWS THE FLATNESS OF THE PICTURE AND REJECTS TRADITIONAL PERSPECTIVE.
o FUTURISM – CHARACTERIZED BY TECHNOLOGY, MODERNITY, YOUTH, AND SPEED. IT
INCLUDES OBJECTS IN AN URBANIZED CITYS.
 ABSTRACT OR NON-OBJECTIVE
o ABSTRACT – THERE IS NO SUBJECT BUT ONLY HIS FEELINGS AND IDEAS. YOU CANNOT
FIGURE OUT THE SUBJECT/OBJECT.
- REFERS TO VISUAL WORKS THAT MOVE BEYOND REALITY AS CONTRASTED TO
REALISM.
 PHOTO-REALISM – A GENRE OF ART THAT ENCOMPASSES PAINTING, DRAWING AND OTHER
GRAPHIC MEDIA, IN WHICH AN ARTIST STUDIES PHOTOGRAPH AND THEN ATTEMPTS TO
REPRODUCE THE IMAGE AS REALISTICALLY AS POSSIBLE IN ANOTHER MEDIUM.
 INSTALLATION ARTS – IT IS THE TERM FOR WORKS, ROOM-SIZED OR LARGER, IN WHICH THE
WHOLE SPACE IS CONSIDERED A SINGLE UNIFIED ARTWORK.