ART

APPRECI
ATI
ON

Pr
epar
edby
:

PROF.MARI
ACORAZONC.CONSTANTI
NO

Facul
ty,
Depar
tmentofPsy
chol
ogy

Appr
ovedby
:

DR.MI
NERVAFERRANCO

Di
rect
or,
Pol
ytechni
cUni
ver
sit
yoft
hePhi
l
ippi
nes,
SanPedr
oCampus

1
 TABLEOFCONTENTS
Cour
seI
ntr
oduct
ion.
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..4

Par
tI:
ArtsandHumaniti
es:Wester
nandFi li
pinoConcept. .
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.6
Lesson1:ArtsasaHumani st
icDiscipli
ne...
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..6
Lesson2:TheHumani t
iesi
nWest ernCi vi
li
zati
on...
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.7
Lesson3:TheHumani t
iesandtheFilipi
noPer sonhood(Pagkatao)...
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.9
Lesson4:TheFil
ipi
noConceptofAr t...
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.11
1stActi
vi
tyandAssessment..
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.15

Par
tII
:ArtAppr
eci
ati
onandtheHumanFacul ti
es...
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..16
Lesson5:ArtandHumanFacult
ies..
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.16
Lesson6:TheProcessofAr
tAppreciati
on..
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..17
2ndActi
vit
yandAssessment.
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.18

Par
tII
I:Ar
tandAppr eciati
onofReal it
yAr tandPhi l
osophy :I
mitati
onism
andRepresentat i
ons...
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.19
Lesson7: I
mi tati
ononTheor yofMusi c...
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..19
Lesson8: Phil
osophi calTheoryofMusi c...
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.20
Lesson9: Repr esent
ationTheor yofArt...
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.20
Lesson10: Romant i
cReal i
sm inPhili
ppineAr t..
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..21
3rdActi
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..22

Par
tIV:
ArtandPhil
osophy: For
malism,Expressioni
sm andHedoni sm ...
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.23
Lesson11:FormalistTheor
yofAr t..
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.23
Lesson12:ExpressionTheoryofArt...
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.24
Lesson13:AestheticHedonism .
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.25
4thActi
vi
tyandAssessment. ..
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.26

Par
tV:
Ar tandPhil
osophy:Functi
onali
sm, Acti
onTheor yandInstit
uti
onalTheory...
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..27
Lesson14:Functional
ism .
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..27
Lesson15:ActionTheory...
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.28
Lesson16:Inst
ituti
onalTheory..
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.29
5thActi
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.30

Par
tVI
:ArtandSci
ence:Elements,Medium,DesignandTechnol ogy..
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.31
Lesson17:TheDar wini
anTheoryofBeaut yandArt..
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..31
Lesson18:El
ement sandMedi aofVisualArt..
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..32
Lesson19:Desi
gnandPr i
nci
plesofComposi ti
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.44
Lesson20:Appl
icationofTechnol
ogyt otheProductionofAr t..
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..46

2
 Lesson21:TheArtofSel
fi
eandGr oupie..
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.47
6thActi
vi
tyandAssessment.
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.48

MI
DTERM ASSESSMENT.
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.50

Par
tVI
I:ArtandMathemati
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.51
Lesson22:Aesthet
icFormali
sm. .
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.51
Lesson23:HarmonyofPr oporti
on...
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.52
Lesson24:TheGoldenMeasur e...
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.53
Lesson25:MathematicalSt
ructureofMusi c..
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.54
7thActi
vi
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56

Par
tVI
II:
ArtandAnthr
opol ogy. .
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..56
Lesson26:Cult
ural Relativi
sm inAest heti
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56
Lesson27:Cult
ure, Beaut yandt heFemal eBody .
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..57
Lesson28:TheAr tofPl easur einHinduCul t
ureandRel igion...
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..62
Lesson29:AestheticRel ativi
sm inPopularCulture..
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..64
Lesson30:Batok:Ar toft heTattoo...
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..65
8thActi
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..66

Par
tIX:
ArtandPsychology:Percepti
onandSy mbolism ..
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.67
Lesson31:GestaltPri
ncipl
esAppliedtoVisualArts...
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..67
Lesson32:PerceptionofSpace:Perspecti
ve...
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..67
Lesson33:Symbol i
cMeani ng:Psychoanalyzi
ngt heArtandt heArtist..
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..68
Lesson34:SubliminalSuggesti
onsandt heEscapism inMusi c..
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..69
9thActi
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.70

Par
tX:
Ar tandHi
story:
TheEvoluti
onofSty l
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.71
Lesson35:Styl
esofClassi
calArt..
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.71
Lesson36:Styl
esofModer nArt.
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.72
Lesson37:Styl
esofPostmodernAr t..
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.75
Lesson38:Phil
ippi
neArtStyl
esandMov ement. .
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.76
Lesson39:TheoryoftheEndofAr t.
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.77
10thAct
ivi
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FI
NALASSESSMENT.
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Ref
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3
 Cour
seInt
roduct
ionand
Overvi
ew

Lear
ningOut
comes Att
heendoft
hisl
esson,
youshoul
dbeabl
eto:

1.Concept
ual
izethev
ariousperspecti
vesofhumani
ti
esasr
efl
ect
edi
nthehi
stor
ical
devel
opmentofWesternCiv
il
izati
on.
2.Under
standsomecent
ral
issuesi
nthedev
elopmentofWest
ernCi
vi
li
zat
ioni
nrel
ati
ont
o
humanit
y.
3.Anal
yzet
heFi
l
ipi
nonot
ionofar
tswi
tht
hei
ncl
usi
onsoft
hei
ndi
genous,
ethni
candpop
ar
ts.
4.Underst
andsomecent
ral
issuesi
nthedev
elopmentofWest
ernCi
vi
li
zat
ioni
nrel
ati
ont
o
sci
ences.

I
ntr
oduct
ion

ArtAppr
eciati
onisasurveyoftheconcepti
onofhumanit
iesasr
ef l
ect
edist
hehist
ori
cal
dev
elopmentofWest ernCi
vi
lizat
ion.Theoutl
i
nealsodi
scussedFi
li
pinonoti
onofar
tswit
hthe
i
ncl
usionofindigenouset
hni
candpopar t
s.
Thetradi
ti
onofv i
sualar
tanditsevoluti
onthroughoutt
hecourseofWesternCiv
il
izati
onhas
pl
ayedacent r
al r
olei
nthehumaniti
es.Integr
atedlearni
nginhumanit
iesandWestern
Ci
vil
izat
ionfoster
sbroadcult
ural
understandingbyexplori
ngtheconnect
ionsamongdi v
erse
ar
easofknowl edge.
WhySt
udyHumani
ti
esandWest
ernandWest
ernCi
vi
li
zat
ion?
studyi
nghumani t
iesandwest ernciv
ili
zat i
onal l
owsst udenttoexaminekeyissues
rel
atingtohumanexper iencesandt hehumancondi ti
onf r
om av ar
ietyofper
spect
ives,
i
ncludingphi l
osophy ,
history
,reli
gion,
lit
erat
ure, art
, andlanguage.Suchst udyprov
idesexcellent
st
preparati
onf or21 cent urycareer
sbypr eparingst udenttot akepar ti
ntheworl
daroundt hem,
equippingthem forsuccessi nmanyf iel
ds,includingbusi ness,medi ci
ne,l
aw,marketi
ng,sales
andsoci alservi
ces.

4
West
ernCi
vi
li
zat
ion
Theterm West ernCivi
li
zat
ionrefertothemanycul t
uresofEuropeanherit
aget hatshare
commoncul turalideas,phi
l
osophicalfoundati
ons,andancestr
albel
iefs.Basi
call
y,t
hei deais
thatt
heseculturesallhaveacommonher i
tage,whichhasbeenimportantint
hedev el
opment
ofeach.Thi
sconcepti ssometimesusedi ncontrasttoso-
call
edEasternCivi
l
izat
ion,explai
ning
thebasi
cdif
fer encesunderlyi
ngcultur
esofEur opeandAsia.
Cent
ral
Issuesi
ntheDev
elopmentofWest
ernCi
vi
li
zat
ioni
nRel
ati
ont
oSci
ences
Whatpeopl eunderst andt odayasbei ng' moder nsci ence' i
sinfactnott hatmoder n,but
wasbor nnear l
yhalfami llenni um agoatt het i
meoft heRenai ssanceinEur ope.Peopleshoul d
notfor gett hatallci
vi
li
zationst hroughouthi storyhav epr oducedandaccumul at
edknowl edget o
underst andandexpl aint hewor ld,apr ocesst hatwasof tenaccompani edorst imulatedby
technol ogicaldev el
opment . Indeed,t heexpl osionofknowl edgedur i
ngt heRenai ssancewas
sparkedbyar eawakenedi nteresti nthewr i
ti
ngsofGr eek,RomanandAr abphi losophersand
scholar s—the wor d'Renai ssance'i mplying a r enewed i nterestin classicalcul t
ure and
knowl edge.Butr egar
dlessoft hev ar
iouscul t
uresandci v i
l
izati
onst hathavei nf
luencedscience,
whati scommont oallscient i
st sist hattheyst udynat uralphenomena,wi thanappr opriateset
ofrules, tomakegener al
izat i
onsandpr edicti
onsaboutnat ure.
Howev er
,mostmoder nst udiesoftheworldaroundusar eempi r
ical
,andt hereisclearl
ymuch
moret ounderstandthanwhati sbeingstudi
edbysci enti
sts.Theunder standi
ngofcompl ex
syst
emsr emai
nsamaj orchal l
engefort
hefuture,andnosci enti
sttodaycancl ai
mt hatwehav e
athandt heappropr
iatemet hodswithwhichtoachi ev
et his.Thus,itcannotdiscusst hefut
ure
ofsciencewi t
houttakingintoaccountthephilosophicalproblemsgener atedbyt hest udyof
complexity.
Moder n,orWestern,sciencemaynotbebestsui t
edt oful
fi
lthistask,asitsvi
ewoft hewor l
dis
tooconst r
ainedbyitschar act
eristi
cempi ri
calandanalyti
calapproachthat,i
nthepast ,madeit
sosuccessf ul
.Therefore,peopleshoul dremembert hecontr
ibuti
onsofot herci
vil
i
zationstothe
understanding ofnat ure—in par t
icularthe percepti
on oft he wor l
d.Such t radit
ionalor
i
ndigenousknowl edgeisnowi ncreasingl
ybeingusednotonl ywit
ht heaim offi
ndingnewdr ugs,
butalsotoder i
venewconcept sthatmayhel pustor econci
leempi r
ici
sm andscience.

5
 PARTI Ar
tsandHumani
andFi
li
pi
ti
es:West
noConcept
er
n

Lear
ningObj
ect
ives
Att
heendoft
hisl
esson,
youshoul
dbeabl
eto:

1.Defi
neArtasaHumani st
icDiscipl
ine;
2.Defi
netheWest ernandFi l
ipi
noConcept s;
3.Dif
fer
enti
atetheFi li
pinoandWest er nConceptofArt
;
4.Recogni
zethephi losophicalcont r
ibutionofWester
ncivi
l
izat
ionandFil
ipi
noconcept
ofpagpapakataoinr elati
ontot hef ormati
onofhumanisti
cdisci
pli
ne;
and
5.Eval
uatetheFili
pinoandWest ernConceptofAr t

Ar
tsasaHumanist
ic
Di
sci
pli
ne LESSON1
InthepaperofEr wi
nPanof sky( 1955),oneofthemosti nf
luenti
alar
thistor
ians,he
begi
nshisessaybyputti
ngintoperspectivetheambigui
tyofthewor d"humani
tas"
.Thebr i
ef
stor
yofI
mmanuel Kantgi
vesthereadertheswi f
testy
etcl
earunder
standingoft
hisdual
ity.

Ori
ginall
y ,thet erm" humanity
"i mpl
iedthedi sti
ngui
shingbetweenhumanbei ngsand
thoseconsi deredt obel esst hanhuman,whet herthatmeandogs,gol dfi
sh,orthel i
teral"l
ess
thanhumans"knownast hebarbari
ansandsl aves.Butwi t
hthedawni ngtheMi ddl
eAges,an
i
nterestinthedi vi
near oseandmanbeganl ooki
ngatwhatwasgr eaterthanhimself.Andwi th
thi
sr ecoll
ectioncamet heunder st
andingthatifsomehumanswer econsideredsub- humans,
thenwhatmusthumansappearast oGod?Andt husanew def i
nit
ionof" humanitas"began
i
nfil
trati
ngthev ernacular,onethatimpli
edourcer t
ainmor t
ali
tyrat
herthansuperiori
tyov erone
another.Thisnewdef ini
tionandconcept i
onleadt o"humanism"whichPanof skydescr i
besas
maintaini
ngourr ationali
tyandfreedom whil
estil
lkeepinginmindourownf all
ibi
li
tyandf rai
lt
y

Tothehumani sttherearetwodi sti

ncti
onst obemade:t heoneofnat ureandt heoneof
cult
ure.Everyt
hingfall
si ntoonecat egoryort heother
,beingt hatallthi
ngsar eeit
herfoundin
natureorareman- made.t heoldideasmustmai ntai
ncredi
bili
ty,nottobeconf usedwithval
idi
ty,
foreveni fsomethingi soutdated,itleadst oanew andi mpr ovedthoughtori dea,andasa
steppingstonewasi ntegralt
oourcur rentknowledge.

Panof
skycall
sapai nt
ingaworkofart
,butpickst
hisapartt
omaket hedi
sti
ncti
onthat
al
though somethi
ng is notnecessar
il
y cr
eated withthe i
ntent
ion ofbei
ng exper
ienced

6
aestheti
call
y ,i
tsti
l
lhasaesthet
icsi
gnif
icanceifnotaesthet
icval
ue.Inordert
oappreci
atei
t
full
ypeopl emustr emoveourowndesires,concept
ionsandknowledgeaboutthesubj
ectwe
view.Butt hi sissubj
ecttotheobjectitsel
f,becauseman-madeobj ect
salwayshavethe
creator
s’intenti
onembeddedwit
hin.

Thedi ff
erencebet weent hesci enti
standt hehumani stisthatscienti
stcansi mpl yr
ead
andint erpretabookonar thistorybutt hehumani stmustunder standwhatt hebooksay sinso
farasit smeaningandi mpactont hereader.Panofskypumpst hebreaksonhi sessaybyasking
whyweshoul dconsi derar thi
storyaspar tof"thehumani t
ies".Every
thingt hathashappened
hist
oricallyandscient i
fi
callywasandi sreallif
et oacer t
aindegr eeandt husouri nteresti
nit.
Maugr et heirdi
ffer
ences,t hehumani tiesactuall
ycompl ementt hesciencesandv icev er
sa.I
t'
s
onlythatt heexactnessofsci encei samast eryandt hedepthoft hehumani t
iesiswi sdom.

TheHumani
tiesi
nWest
ern
Civi
l
izati
on LESSON2
TheHumani t
iesincludethestudyofphilosophy,r
eligi
on,history,l
i
terature,andt hear ts.
TheHumani t
ies—Hi storyofCultur
epr ogr
am supportsstudyofr el
igionsandofcul turalhist
or y
i
nEur opeandtheAmer i
cas,Chi
na,Japan,SouthAsia,sub-SaharanAf ri
ca,andi npr edomi nantly
I
slamicareaswithattenti
ontohistori
caldevel
opmentandcr oss-
culturali
nteraction,bothi nthe
pastandmoder nper
iod.

ABr
iefHi
stor
yofWest
ernCul
tur
e

Hi
stor
iansdividehi
stor
yint
olargeandsmalluni
tsinor
dertomakechar
acter
ist
icsand
changescl
eart othemselv
esandt ostudent
s.I
t’
si mport
antt
or emembert
hatanyhistor
ical
peri
odisaconstruct
ionandasimpli
fi
cati
on.

Prehistor
ic(beforec.3000B. C.E.)
Thet er
m“ prehi
stor
ic”refer
st othet i
mebef orewr i
tt
enhi st
ory.IntheWest ,writ
ingwas
i
nv entedinanci entMesopot ami aj
ustbefore3000B. C.
E.,sothisper i
odincludesv isualcul
ture
(painti
ngs,sculpture,andarchitect
ure)madebef oret hatdate.Theol destdecorativeformswe
canr ecognizeasar tcomef r
om Af r
icaandmaydat ebackt o100, 000B. C.E.Incont r
ast,the
oldestcav epainti
ngsknownar eabout40,800y earsold,andalthoughweusedt othinkthatonly
ourspeci es,HomoSapi ens,madear t—anthropologistsnow speculatet hatNeander thalsmay
hav emadeatl eastsomeoft hesev er
year l
yimages.

Ancient(c.3000B. C.E.t
oc.400C. E.)
Thi s peri
od incl
udes the greatearly ci
vil
izati
ons ofthe anci
entNearEast( think
Babylonia),ancientEgypt,ancientGreece,theEt r
uscans,andt heRomans—ev ery
thi
ngt hat
comesaf tertheinventi
onofwr i
ti
ngandbef orethef al
loftheRomanEmpi r
e.Thisperi
odi s
oft
en cr edited wit
ht he bi
rth ofWest ern phil
osophy,mat hemat
ics,theat
er,sci
ence,and
democr acy .

7
Middl eAges( c.400C. E.t oc.1400C. E.)
Thef i
rsthal foft hist housand- yearper iodwi tnessedt erri
blepol i
ti
calandeconomi c
upheav alinWest ernEur ope,aswav esofi nv asionsbymi gratingpeopl esdest abi li
zedt he
RomanEmpi r
e.TheRomanemper orConst ant ineest abli
shedConst anti
nople( now I stanbul
,
Turkey )asanew capi tali nt heEasti n330C. E.andt heWest ernRomanEmpi rebr okeapar t
soonaf t
er.IntheEast ernMedi terranean,t heBy zanti
neEmpi re( wi thConst ant i
nopl easi ts
capital),fl
ouri
shed.
Chri
sti
anityspr eadacr osswhathadbeent heRomanEmpi re—ev enamongmi grat
ing
i
nv ader s(Vandals,Vi sigot hs,et c.).TheChr istianChur ch,headedbyt hePope,emer gedast he
mostpower f
ulinst i
tutioni nWest er nEurope, theOr thodoxChurchdomi nat
edi nt heEast .I
twas
duringt hisperi
odt hatI sl am, oneoft hethreegr eatmonot hei
sti
cr eli
gions, wasbor n.
Petr
arch( awr iterwhol ivedi nthe1300s)descr ibedtheear l
yMedi ev alper iodast he
"DarkAges"becauset o him i tseemed t o bea per i
od ofdecl ining human achi evement,
especi all
ywhenhecompar edi ttot heAnci entGr eeksandRomans.The“ Mi ddleAges”goti ts
namebecauseRenai ssanceschol arssawi tasal ongbar bar
icper i
odt hatsepar atedt hem f r
om
thegr eatcivi
li
zationsofanci entGr eeceandRomet hattheybothcel ebr atedandemul ated.

Renaissance( c.1400t o1600)

I
npar t,theRenai ssancewasar ebirt
hofi nterestinancientGr eekandRomancul ture.It
wasal soaper i
odofeconomi cprosper i
tyinEur ope—par t
icular
lyi
nI tal
yandi nNorthernEurope.
Inarthistor y,bot htheI t
alianRenai ssanceandt heNor thernRenai ssancet al
kaboutawayof
l
ookingatt hewor l
dcal l
edHumani sm,whi ch—ati t
smostbasi c—placedr enewedv alueon
humanknowl edge,andt heexper i
enceoft hiswor l
d( asopposedt ofocusinglargel
yont he
heavenlyr ealm) ,usingancientGr eekandRomanl iter
atureandar tasamodel .
Ther ear eonl yahandf ulofmoment sinhistoryt hatwecanpoi nttot hatchanged
everyt
hing.Thei nventi
onandadopt i
onoft hepr i
nti
ngpr esswascer tai
nlyone.Asar esultofthe
widerav ai l
abili
tyofbooks,l iteracyr ates in Europe dramat i
callyincreased.Readers wer e
empower edandi nmanyway swecant racetheor i
ginofourowni nformationrevol
utionto15t h-
centuryGer manyandGut enberg’sfir
stpr i
nti
ngpr ess.

EarlyModer n( c.1600-1800)
Ar thistori
ansst udyt heBar oquest yleoft he17t hcent ury.Thi swasat i
meofext ended
andof t
env iolentconf li
ctbet weenCat holicsandPr ot estantsmadeal lthemor ecompl ex
becauseoft hegr owi ngpowerofEur ope’sgr eatmonar chies.
The1700si sof t
encal ledtheEnl i
ghtenment .Inmanyway s, itf ur
ther stheint erestint he
i
ndiv i
dualseeni nt heI t
ali
anRenai ssanceandmor ewi delydur i
ngt hePr ot estantRef ormat i
on.
Thinkers such as Rousseau,Vol taire and Di derotasser ted peopl e’s abilit
yt or eason f or
themsel vesi nsteadofr ely
ingont het eachingsofest ablishedinstitutions, suchast heChur ch.
TheAmer icanandFr enchRev oluti
onsdat etot hisper iod.Theemer gingmi ddl eclasses
(and latert he wor ki
ng-classes)began a cent uri
es-long campai gn t o gai n politi
calpower ,
challengingt hecont rolofthear i
stocr acyandmonar chy.Successi ver eform mov ement s(inthis
periodandt he19t hcent ury)andr ev ol ut
ionsgr aduallyext endedt hef ranchi se( therightt ov ot
e).
Prev i
ouslysuf fragehadbeenl imitedt omal eswhoownedl andorwhopai dacer tainamounti n

8
taxes.I
twasonlyi
nthesecondhal
fofthe19t
handt
he20t
hcent
uri
est
hatuni
ver
salsuf
frage
becamet henor
minEur
opeandNorthAmeri
ca.

Moder n(aft
erc.1800)
Capi
tali
sm becamet hedomi nanteconomi csystem duri
ngthisper
iod(thoughi thadi ts
rootsi ntheRenai ssance)
.Individualsr i
skedcapitaltoproducegoodsi nacur rency -
based
mar ketwhichdependedoni nexpensiv e,wagedlabor.Steam-poweredmachinesandunski l
led
l
abor ersi
nf actor
iesbegantor eplaceski l
l
edarti
sans.The20t hCenturywasthemostv iolentin
history
.Itincludedt wowor ldwar s,theCol dWar ,thedismantli
ngofcol onial
ism andt he
i
nv enti
onoft heTotali
tar
ianstate.Dictator
sandmor e.

TheHumaniti
esandtheFil
i
pino
Per
sonhood(Pagkat
ao) LESSON3
I
n1989,Virgi
l
ioEnr i
quez,aPhDhol derinsocial psychol
ogyf r
om theUni versi
tyofIl
li
nois,
proposedaper sonal
ityt heorybasedont heIKSPofFi l
ipinos.UsingWest ernscienti
fi
clingo,he
establ
ishedaframewor kforunderst
andingt heway soft heFili
pinocultur
e-bearers.Pagkataong
Fil
ipi
noemer gedthefirstacademi ctheorythatfor
mul atedav alue-sy
stem ofAsianper sonali
ty.
Thi
smostbl atantdi ffer
encebet weent heFi l
ipinoper sonal
itytheoryandi t
sWest ern
counterpar
tsisthedistincti
onbetween“ personhood”( pagkatao)and“ personal
i
t y”
. 

Enri
quez,whocoi nedt heterm“ personhood” ,chosetheEnglishsuffi
x“hood”tounderpin
hispsy chol
ogicalreasoning.Whent his“~hood”i saddedt oaroot-word,i
tdrawsattenti
ont o
thest ate,quali
ty,orconditionoft hi
sper son( orthing).Theconcept sformedwi t
h“~hood”ar e
closureseeki ng. Theyconv eyessencest hatareshar edbymany .Thus,“~hood”concept sare
deeper , wi
der,mor egeneric,morecompl exthant hosesuf fi
xedwithan“ ~it
y”.
 The“~it
y”wor ds
pointt oaper sonalizedorindivi
dualdomai ns(i.
e.ther epeatedactofbeinggenerousturnsinto
“gener osit
y”).
 Such“ ~it
y”wor dsmar kdistinct
ions--characteri
sti
csthatseparateoneperson(or
thing)f rom anOt her.Pagkatao--“personhood” -
-then,asser t
sthesharedhumani tyofapeopl e
whi l
e“ personali
ty”isconfi
nedt othei ndi
vidualviewpointofanout si
derobser vi
nganOther.

ThePhi
l
ippi
nePer
sonal
i
tyTheor
y:“
Pagkat
aongPi
l
ipi
no”(
Fil
i
pinoPer
sonhood)

TheFili
pino“ Per
sonhood”modelofEnr iquezisacent r
alparadi
gm wi t nSi
hi kolohiyang
Pi
li
pino.ValueSy st
em oft hePhil
i
ppinePersonalit
y”omi t
ssomeconst ructs,namelythet hree
Col
onial/Accommodat iv
eSur f
aceValuesandthet hreeAssoci
atedBehav i
oralPatt
erns.Int hi
s
pr
imeront hePhi li
ppinePersonal
i
ty(PagkataongFi l
i
pino)thethreeCore-Valuesofthet heory
ar
eexplained,t
ogetherwi t
htwomor econcepts.

9
 TheThr
eeCor
eVal
uesofPagkat
aongFi
l
ipi
no:

1.KAPWAorPaki ki -Pag- Kapwa( Shar edI dent i

ty )
 Thecor ev alueoft hePhi lippineper sonal ityis“ kapwa” .Thi snot i
onofa“ shar edsel f”
extendst he“ I”t oi ncl udet he“ Ot her ”.Itbr i
dgest hedeepestr ecessofaper sonwi th
any oneout sidehi m orher self_ _ev ent ot alst ranger s.“ Peopl ear ej ustpeopl ei nspi te
oft hei rage,cl othes,di pl
omas,col ororaf fil
iations” ,saidoneFi lipinoar t
ist( deGui a
2006) .
 “ Kapwa”i st he“ uni tyoft heone- of -us- and- the-ot her ”
,accor di ngt oEnr i
quez,who
i
nt roducedhi sconst ructasapr i
mev aluei nFi li
pinosoci al inter act i
on.Kapwai mpl ies
mor alandnor mat i
v easpect st hatobl igeaper sont ot reatoneanot herasf ellow
humanbei ngsandt her efor easco- equal ,sai dt heschol ar.Butheal sof oresawt hat
thisv aluewast hreat enedbyt hespr eadi ngWest erni nfluences,whenhewr ot e:
“..
.onceAKO( the‘ I’)st artst hinki ngofhi msel fassepar atef rom KAPWA,t heFi l
ipino
‘
sel f’get st obei ndi viduat edasi nt heWest er nsenseand, inef fect ,deni est hest at us
ofKAPWAt ot heot her ”.(Enr i
quez’ 89)
2.PAKI-RAMDAM ( Knowi ngThr oughFeel ing)
 Ast hehear ti scent ralt ot hebody , theshar edSel fnur turest hePhi li
ppi neper sonal ity
(Fil
ipinoper sonhood) .But“ kapwa”doesnotr esideal oneatt hecor e.Itmani fest si n
“paki -ramdam”_ _t hepi vot alint erper sonalv aluet hatwoul dt ransl atei ntot heEngl ish
wor d“ feeli
ng” .Butt hescopeofpaki -ramdam embr acessomuchmor ethanf eel ing!
Itmat chest heocean- li
keexpanseofkapwawi thanequal l
yl ar gef i
eldofpi ercing
awar eness.
 Accor ding t o Mat ar agnon’ sr esear ch,mostFi li
pi nos can boastt his hei ght ened
sensi tivity.Paki -ramdam i ndi cat es a t aci t cogni t
ive pr ocess t hat assembl es
i
nf or mat ionf r om amul ti
tudeoff ragment sandi mpr essions.I twor kswel lwi thint he
i
ndi genous Fi lipino soci alr eal i
ty ,wher e emot ions ar e par ticipat ory,open and
const antlyshar ed.Wher eper sonalpr ivacyi snei t
herexi stentnorneeded.Thekapwa
disposi ti
onmusthav ei tthi sway ,initiat ingconst ant lynewi nt erper sonalencount er s
throughshar ingspace,f ood,i deas,bel iefs,hi stories,opi nions,gossi p,j oys,t ear s,
andmor e.
3.KAGANDAHANG- LOOB( Shar edi nnerNobi l
ity )
 Thet hi rdcor e-v alueoft heFi lipinoper sonal it
yi s“ kagandahang- l
oob”“ shar edi nner
nobi li
ty ”.The di ct i
onar yr ender st hi s phr ase as a v er y gener alconceptt hat
emphasi zest hebeaut yofsomet hing.I tsmeani ngi ssobr oad_ itst andsf or“ any thing
goodaboutsomet hi ng” .Thet er m al sot ransl atesi nto“ nobi li
ty”and“ gener osi ty”.
 Asacor e-value, kagandahang- loobact sl ikeananchort hatgr oundskapwaandpaki -
ramdam i nt heendur i
ngbel i
ef sofFi lipinoI ndi genousKnowl edge.Thesear ebasi c:
Godi sgood.Li fei saboutl ear ning, creat i
ngandshar i
ng.Li fei sgood, eveni ft her ei s
har dshi p.Ev er ysunr isebr ingsanewday , anewhor izon.Ther eisal way shope.

10
 TheRel
evanceofEnr
iquez’
Cor
eVal
uesi
naNewWor
ldOr
der

I
nsummar y,t
hethr
eecore-conceptsoftheval
ue-str
uctur
eoft hePhili
ppinePersonal
it
y
Theor
y are kapwa,paki-
ramdam and kagandahangl oob.Tr ansl
ated as Shar ed Ident
it
y
(i
ncl
usi
veness)
,Shared I
nnerPerception( akeensensiti
vi
ty,enhanced feel
ing)and Shared
Humanity(
nobi
li
ty,
gener
osity
),t
hesev aluesshowthehumanisti
cincl
inat
ionoft heFil
i
pino.

Addi
ti
onal
Element
sOfEnr
iquez’
Theor
y:

1.Kal
ay aan( Freedom, I
ndependence, Thi nki ngOut si
de- The- Box)AndTheKapwaCul ture
 ThePhi li
ppi nev alue“ kalay aan”r ef lect st heunt amedneedofal llivi
ngbei ngst obe
free.I tisdubbedast hesi nequanonofFi li
pinoper sonhood.
 I l
eto( 1979) ,inhisst udyofhi storicalf reedom f i
ght ers,exami nedt hisFi li
pinoi deal
.
Henot icedt hatFilipi
nochi ldren,t radi tionally,enj oyedgr eatf reedom whi l
egr owing
up.I ndul ged byt heirpar ents,t heywer e all
owed t ol ear n att heirown speed,
exper imentwi thlifeas“ sal i
ngpusa”( i
nf ormalgr oupmember ),andsl owl ydi scover
andmani fest,whot heyreal lywer eashumanbei ngs( kapwat ao) .
2.Bahala-Na!TheTaci tTr ustThatCanMov eMount ains
 ThewayFi l
ipinosuset heexpr essi on,“ BahalaNa! ”isbei ngi nterpr
et edbysome
soci alsci ent i
ststodemonst rateourf atal i
sm andbei nghappy -go-lucky.But“ Bahala”
whi chmeans“ care”and“ responsi bility”act uall
yhassacr edunder tones.Theanci ent
i
nscr i
pt i
onsepar atest het ermi nto“ ba”( babae)f or“ woman”and“ la”( lal
ake)f or
“man. ”“Ha”( hangin)means“ breat h”or“ wind”or ,inal ar gersense, “
spirit”and“ God.”
“Ba-ha- la”wast hen i nt
er changeabl ef or“ Ba-tha-la”whi ch means“ God”f ort he
anci entFi lipinos.
 “ Bahal aNa! ”isal soawayofdr awi ngi nnerst rengt hev enwhi lewer emai ncool .
 
Suchmoment arydet achmenthel psr educesi t
uat i
onalst ress.I tmakesoneaccept
one’ sf eebl enessorf oll
ywhi lepushi ngt owar dsf i
ndi ngacr eat i
vesol ut i
onf ort he
probl em.I tfreesusf rom fol l
owi ngr igidr ulesall thet i
me.

TheFil
ipi
no
ConceptofAr
t LESSON4
Theartsoft hePhili
ppinesrefl
ectasocietywithdiver
secul t
uralinf
luencesandt r
aditi
ons.
The Mal ayan peopleshad ear l
ycont actwitht r
aderswho i ntr
oduced Chinese and I ndian
i
nfluences.I sl
amict r
adit
ionswer efi
rstint
roducedt otheMal aysoft hesout her nPhili
ppine
I
slandsi nthe14t hcentury.Mostmoder naspect sofPhil
ippi
necul tur
alli
feev ol
v edundert he
for
ei gnrul
eofSpai nand,later
,theUnitedStates.Inthe16thcent urytheSpani shimposeda
for
ei gnculturebasedi nCat hol
ici
sm.Whi l
et hel owl
andpeopl eswer eaccultur at
edt hr
ough
rel
igious conv er
sion,the Musl i
ms and some upl and tri
balgr oups mai ntained cultural
i
ndependence.

11
 Fi
lipi
noar ti
stshavehelpedtoshapeasenseofnat ionali
dent
ity.ManyMalaycult
ural
t
radit
ionshav esurvi
veddespit
ecenturi
esoff or
eignrul
e.Musli
msandupl andt
ribalgr
oups
maintaindisti
ncttr
adit
ionsinmusic,dance,andscul
ptur
e.Inaddit
ion,manyFi
l
ipinoart
ist
s
i
ncorporateindi
genousfolkmot
if
sintomodernforms.

1.Li
terature
 Thei ndi genousl iterat ureoft hePhi li
ppi nesdev elopedpr imar il
yint heor alt raditi
oni n
poet i
candnar rativef orms.Epi cpoems,l egends,pr ov er bs,songs,andr i
ddl eswer e
passedf rom gener ationt ogener at i
ont hr oughor alr ecit ationandi ncant ationi nt he
variousl anguagesanddi alect soft hei slands.
 Af tert hear rivaloft heSpani sh,Cat hol i
cmi ssi onar i
esempl oy edi ndi genouspeopl es
ast ransl at or s,cr eat ingabi l
i
ngualcl assknownasl adi nos.Lat er,t heSpani shbal lad
of chi val ry,t he cor r
idor , pr ovided a model f or secul ar ( nonr eli
gious)
l
iteratur e. Ver se nar rat i
ves,orkomedy a,wer eper for medi nt her egi onall anguages
forthei ll
iter atemaj or i
ty.
 Fr anci scoBal agtasBal taz ar,gener allyconsi der edt hef irstmaj orFi lipinopoet ,wrote
poemsi nTagal og.Hi sbest -knownwor k,Fl or ant eatLaur a( Flor anteandLaur a),
probabl ywr i
ttenbet ween1835and1842, isanepi cpoem t hatsubv ersivelycr iti
cizes
Spani sht y ranny .Thi spoem i nspi r
edagener at ionofy oungFi li
pinowr i
tersoft henew
educat edcl ass,ori l
ust rados,whousedt heirl iteraryt alent st ocal lf orpol i
ticaland
socialr efor m undert hecol oni alsy st em.Thesewr i
ter s,mostnot ablyJoseRi zal,
producedasmal lbuthi gh-qual i
tybodyofPhi l
ippi nel iter aturei nSpani sh.Ri zal'
s
nov elNol iMe Tanger e( Touch Me Not ),publ i
shed i n 1886,and i tssequel ,El
Fil
ibust er ismo ( The Subv ersiv
e),publ ished i n 1891,hel ped t o shape a new,
national isti dent itydur ingt he  l
asty ear s oft he19t hcent ur y.
 Thet r
ansf eroft hePhi l
ippinest oUni tedSt at escont rol in1898r esul tedi nadr amat i
c
i
ncr easei nl i
teracyand,consequent l
y ,li
ter arypr oduct i
on.Av ari
et yofnew l it
erary
j
our nal sbegant obepubl ished.Engl ish- l
anguageFi lipinonov els, 
shor tst or i
es,and
poemswer ef ir
stpubl i
shedi nbookf ormi nt he1920s.
 Thef i
r stbookpr i
nt edi nt hePhi l
ippinesi st he" Doct ri
naChr isti
ana" ,seeal sot he
wr i
ttenl anguage.I thadbeenpubl ished1593i nMani la.
 TomasPi npi nwr oteandpr intedi n1610" Li brongPagaar alannangmgaTagal og
nangWi kangKast i
la" ,119pagesdesi gnedt o hel pf ellow Fi l
ipinost ol ear nt he
Spani shl anguagei nasi mpl eway
 OnDecember1,1846,LaEsper anza,t hef i
rstdai lynewspaper ,wasav ailabl eint he
count ry .Ot herear lynewspaper swer eLaEst rella( 1847) , Di ariodeMani l
a( 1848)and
Bolet i
nOf icial deFi l
ipinas( 1852) .

2.Ar
tsandArchitecture
 Duri
ngmostoft heSpanishcoloni
alperiod,thear
tandarchi
tect
ureofthePhil
i
ppines
werestrongl yinfl
uencedbyt hepatronageoft heRomanCat hol
icChurch.Mostart
emphasizedr eligi
ousiconography.
 Anelabor ateand det ail
ed styl
eofPhi l
ippinepai
nter
sbegant o explor
esecular
themesi nt hemi d-1800s.ThepaintersJuanLunaandFel i
xResurrecci
onHidalgo

12
 producedwor ksi nt her omanticandear lyimpr essi
oniststyl
es, achievi
ngr ecogni t
ion
i
nEur ope.
 Paintersoft heear ly1900s- not ablyFer nandoAmor solo,Fabi endel aRosa,and
JorgePi neda- pr oducedr omant icizedlandscapes, genrescenes, andpor trait
s.Int he
l
ate1920sVi ct orioEdades, anAmer ican-tr
ainedpainter,i
nfusedmoder nism intot he
Phil
ippinear twor ld.
 Themaj orFilipinoscul ptoroft heAmer icancol oni
alperi
odwasGui ll
ermoTol enti
no,
whot rainedincl assi calscul
pt urei nRome.I nt he1950sNapol eonAbuev apioneer ed
moder nism inPhi l
ippinesculptur e.
 I
nr emot e ar eas,t ri
balgr oups hav e preser ved t
radit
ionalar tf orms such as
woodcar ving,t extile weav i
ng,bamboo and r att
an weav ing,and met alsmi thi
ng.
Arti
sticbodyador nment ssuchasbeadj ewelry,bodytattoos,andheaddr essesar e
i
mpor t
anti ndi cat i
onsofsoci alst atus.Mostknowni nthePhi l
ippinesi
st hbul -ul
fi
guresandr icet erracesinIfugaoandOki rdesignMi ndanao.

3.Pai
nti
ng
 Thef i
rstpai ntingswer ecommi ssionnedwor ksdur ingtheSpani shcolonialera.Since
mostar tpr oduceddur i
ngt hefirsttwocent uriesofSpani shoccupationwer ef orthe
church,t hef riarsenf orcedst r
ictsuper visionov ert heirproducti
on.Unt i
lthe19t h
century,ar twasonl yforthechur chandr eligioususe.
 Thereisal sosomeChi neseinfl
uencewhi chcanbef oundi nthebrushhandl i
ng.
 Tagalogpai ntersJoseLoden,TomasNaz ar ioandMi gueldel osRey es,didt hefir
st
sti
llli
fepai nt i
ngsi nthecount r
y .Theywer ecommi ssionedi n1786byaSpani sh
botanisttopai ntt hefloraandf aunaf oundi nt hecount ry.
 SeveralFi lipinopai nt
er shadt hechancet ost udyandwor kabr oad.Amongt hem
were Juan Nov icio Luna and Fel i
xResur eccion Hi dalgo who became t he fir
st
int
ernationalFi l
ipinoar tistswhent heywont hegol dandsi lvermedalsi nthe1884
Madr i
dExposi tion.
 DuringtheAmer icanper iod(1900-45)on- demandpor tr
aiti
stsincl
udedFabi andel a
Rosa,Mi guelZar agoza,Teodor o Buenav entura,Jor ge Pineda and abov e all
,
FernandoAmor sol o,whosest ylewoul ddomi natet heper iod.

4.Dance
 Asv ariedaret hepeopl eoft hePhi l
ippines,sot ooarethedances.Ther ear emany
dancesper f
ormedi nt hePhilippineI slandssuchast hepopul ar"Ti
nikling",t
ot he
exotici
zed" Pangalay",tot heski l
l-basedi nterpretat
ionoft he"Banga"andSpani sh-
ti
nged" Jota"
 ThePhi l
i
ppineshav emanypopul arf olkdanceswhi chhav eevolvedandchangedas
theyhav ebeenpassed downf rom gener ationt o generati
on.Danci ng playsan
i
mpor t
antr olei n Fi
lipino culture,t el
ling theirhistoryand pr eser
ving t r
adit
ions
throughf ol
kdancesandmusi c.Thesedancesar eentertai
ningtoobser ve,andev en
mor efunt olearnandper f
ormy ourself.

5.Musi
c
 Alt
hough,geographi
call
y,t
hePhi
li
ppi
nesbel
ongstot
heEast,i
tsmusi
chasbeen
heavi
l
yinfl
uencedbyt heWestowi
ngto333year
sofSpani
shrul
eand45year
sof

13
 Amer i
candomi nation.
 Threemai nroot sar eapparent :
o anol dAsi ani nfl
uencedmusi cr efer
redt oastheindigenous;
o ar eli
giousandsecul armusi cinfl
uencedbySpani shandEur opeanf orms; and
o anAmer i
can/ Europeani nspiredclassical,
semi -
classi
cal,andpopul armusi c.
 Asy stem toclassifyPhi li
ppines'musi cisageogr aphicorethno- l
i
nguisticapproach:
forexampl e,t
raditionalTagal ogmusi c,whichissomewhatmor eHi spanicinfl
av our,
dif
fersfrom If
ugaomusi candI slam influencedMar anaokul i
ntangmusi c.
 Inindigenousmusi c,v ari
ouski ndsofi nstr
ument sar emadeofbr onze,bambooor
wood.Thesei ncludegongsofv ariouskindsofsi zeandshapes,dr ums,f lutes,
zit
hers,lut
es,clapper sandbuzzer s.

6.Movi
e
 InAugust1897,Li ebmanandPer it
z,twoSwi ssent repr eneurs,pr esent edt hef i
rst
i
mpor tedmov iesont heLumi ereCi nemat ographi nMani laatEscol taSt reet.
 Aftert hesecondwor l
dwar ,aresur genceofVi say anfil
mscameaboutt hroughLapu-
LapuPi ctures.The1950swer el abeledast hef irstgol denageofPhi lippineci nema.
Four bi g pr oduction studios ( LVN Pi ctures,Sampagui ta Pi ctur es,Pr emi ere
Product i
onsandLebr anInternational)wer eatt hei rpeaki nfi
lmmaki ng.
 The1970swer ethesecondgol denageofPhi lippineci nemawi tht heper i
odoft he
avant -gardef i
lmmaker s.In1977,Ki dlatTahi mi k,madeaf i
lm entit
ledMababangong
Bangungot( PerfumedNi ghtmar e),whichwont heI nter nati
onalCr i
tic’sPr izei nt he
BerlinFi l
m Fest i
valthatsamey ear.
 They ear2009br oughtthehighesti nternationalest eem t oaFilipi
nof il
mmakerwhen
Bril
lant eMendozawasj udgedast heBestDi rectoratt heCannesFi lm Fest i
valf orhis
fi
lm Ki natay(But chered)
,amov ieaboutmur derandpol icebr ut
al i
ty.TheCannesFi l
m
Festivalpr ovest hatPinoymov iescanbeout standi ng.Andmor east oni shingi st he
factt hatJacl ynJosecoul dst epoutoft hismasspr oducti
on.TheCannesFi l
m
Festivali soneoft he3mosti mpor tantf i
lmf est i
valsi nEur opeasi deVeni ceand
Berlin.A" Palmed' Or"inCannesi scul turallymuchmor ewor tht hanan" Oscar "in
Hollywood.

7.Theatre
 Theat rear t
shav elongbeenexi stingasapar toft heFi l
ipi
not r
adit
ionandser ve
effecti
v elyasamedi um ofsoci alawar enessandent er tainment.Iti
salsoameansof
l
iberal andar t
fulwayofexpr essingopi ni
onsandt alent s.
 Aspar tofthePhili
ppinetradit
ion, manyf est
ival
sandoccasi onsarecelebratedinthe
count rywher etheatreartsar ei nuse.Fori nstance,dur i
ngHol yWeek," Cenacul
o"
takes pl ace as an on-stage per formance t hatr e-enact st he passion ofChr i
st.
Anot heri stheMor o-Morowhi chexpr essest heconf l
ictbetweenChr isti
ansand
Musl imsi nthecountry.
 I nothert owns, afamoust heatref orm cal l
edcar i
l
lo,whi chisusuallyadr amapl ay,i
s
shownaf tertheharvestseason." Zar zuela"i
sanot herf amoust heat
reper formance,a

14
 l
ocalv er
sionofSpanishoperet
ta.Inmanyotherplacesoroccasions,vari
etyof
tr
adi
tionalpl
ayst
hatexpresst
heFili
pinol
ovef
orart
sar eshownevenupt othi
sv er
y
day.

8.Handicraft
 I nspir
ed by t he Japanese One Vi l
lage One Pr oductMov ementof1979,t he
Phili
ppines'OTOP pr ogram was pr oposed byt hen-PresidentGloria Macapagal -
Arroyoasear lyas2002andl aunchedi n2004.Cur r
entFi l
ipi
noPr esi
dentBeni gno
'
Noy noy"Aquinohasaut hor
izedthecont inuat ionoft heOTOPpr ogr
am.
 OTOPpr oductsvary,andcani ncl
udef ruits, special
t ydishes,orhandmadepr oduct s.
Exampl esofOTOPpr oductsincludeAr abi cacof feei nt heCordil
l
er aregion,cacao
productsinSanI si
droi nDavaodel Norte, andbr oomsi nSant aFeinNuev aVi zcay a.
 Handi craftyoucanseeany ti
meandany wher einthePhi li
ppines.Onnear l
yanyi sland
youf i
ndabl ack-smithwhomakest het radi ti
onalbol os.Fishermenweart het ypical
conichatmadeofsl i
cedbambooorpal ml eav es.
 Handmadei temsar eusuallynotexpensi v e,ar edecorat i
veandmaket heper fectgi ft
(pasalubong)foryourf amil
yandy ourfriends.

ACTI
VITY1 Resear
fr
om t
chandpr
hePhil
i
i
nthi
ppi
st
or
nesandt
i
calorcont
heWest
empor
,wit
ar
hami
yar
ni
t
works
mum of
fi
ve(5)each.Provi
dedataaboutt
heartworkssuchasthe
ti
tl
eoftheworkandnameoft
heart
ist
,whenandwher et heworkwascr eat
ed,themedia
used,andlast
ly,t
hemodeofpr
esentati
on.Lookbackont heacti
vi
tyandanswert he
fol
lowi
ngquest
ionsbel
ow.

1.Whi chofthesear t
wor ksareclassi
fiedasPhi l
i
ppineartandWest ernart?Listthem i
nthe
table.
2.Basedont hev i
sual appearancesoft heartworks,whathav eyounot i
ced?Whatdoy ou
thi
nkar etheint enti
onsoft hearti
sts?
3.Youmayexpr essy ourownf eeli
ngsandv iewswhi l
eappr eciat
ingthear t
wor ks.
4.Whatar etheFi lipi
noandWest ernconceptsofar tdi
dy ouobser ve?
5.Aftercarefull
yobser vinganddescr i
bingthefeaturesofthear t
wor ks,conducta
compar ati
v eanal y
sismi ni
mum off ive(5)sentences.Dif
ferentiat
ethem int ermsofthe
datay ouhav epr ovi
ded.

Answert
hef
oll
owi
ngquest
ionsandexpl
ainbr
ief
ly. Assessment1
1.Whatarethei mpor t
antquali
ti
est oobserv
ein
i
denti
fyi
ngaFi lipinoandWest er
nart?
2.Whatdif
ferentiatest heFil
i
pinoconceptofartfr
om theWesternconceptofart
?Doy ou
t
hinkoneissuper ioroftheother?Expl
ain.
3.Howdoy out hinkdi dtheFili
pinoandWest er
nconceptsdevel
op?
4.Whatistheimpor tanceofrecognizi
ngtheFil
ipi
noconceptofartt
oy ournat
ional
ident
it
y?

15
 PARTI
I ArtAppreciaFtaiocna
ul
t
ndt
i
es
heHuman

Lear
ningOut
comes Att
heendoft
hisl
esson,
youshoul
dbeabl
eto:

1.Defi
neArtAppr
eciat
ion;
2.Defi
neHumaniti
es;
3.Defi
neFacul
ti
es;
4.I
nter
prett
hephasesofAr tAppreci
ati
on;
5.Eval
uatet
heworksofar tbasedontheconceptofar
tasr
eal
i
ty;
and
6.Appl
ytheconceptofartasreal
ityt
othestyl
esofart
.

Ar
tandHumanFacul
ti
es LESSON5
ArtAppreci
ati
on– refer
st othepursui
tofknowl
edgeandunder
standi
ngt
heuni
ver
saland
ti
melessqual
it
ieschar
acter
izi
ngworksofar
t.

Humaniti
es-theterm humanit
iescomef
rom theLat
inwords“humanitas”whichr
efer
sasart
,
l
it
erat
ure,musi
c,archi
tect
ure,
danceandt
hetheatr
ewhichhumansubjectiv
elyemphasi
zed.

Facul
ti
es-ani
nher
entment
alorphy
sical
power
.

I
n1883t hepubli
cati
onof  
Inqui
ri
esi ntoHumanFacul t
yandI t
sDev elopment 
by Fr
ancis
Galt
on 
foreshadowed t
hemeasur ementofi ndi
vidualpsychologi
caldi
fferences.In 1896 at
the 
Uni
versit
yofPennsyl
vania,
 
LightnerWi t
merest abli
shedtheworld’
sfi
rstpsy chol
ogi
calcli
nic
andinsodoingorigi
nat
edthefiel
dofcl i
nicalpsychology.

I
nabookenti
tl
edStr
angeTools:Ar
tandHumanNatur
e,t
hephi
losopherandcogni
ti
ve
sci
ent
istAl
vaNoeaskedmanyquest
ionsli
ke,Whati
sar
t?Whydowevalueartaswedo?And
whatdoesar
trev
eal
aboutnat
ure?

Weasani ndiv
idual
mustsetourmindsintofr
eet oj
udgeri
ght
ly.Wemustbeonour
guardsagai
nsttaki
ngourowninst
inct
sofwhati sbest.Thel
ivi
ngworl
ddoesnotconsi
stofa
repeti
ti
onofsi
mi l
arel
ements,
butanendlessvari
etyofthem.

16
 TheProcessofAr
t
Appreci
ati
on LESSON6
Artappreciat
ioncanbeapr ocesswhereisadoptedtocreateoneconsciousofbadf eat
ures
andallofthegoodthenconsiderandl
ear
nthethingofbeauty
.Itisaneasymethodofspeaking
exper
iencedinat hi
ngofbeautyandansweri
ngwor ksofartwhicharespeaki
ngint
ell
i
gentlyof
a f
uncti
onofar t
.

FourMaj orPhasesofAr tAppr eci at

ion
1.Recogni t
ion oft heJob
o St atet i
meort hedayoncet hef uncti
onwasdone, forexampl eMar ch2013.
o Ti tl
eal lofthet hingsobser vedi nthejobandexpl ainthem.
2.StockofI tems
o Cr eateani tem i nv entory.
3.Technical charact eristics
o Resour cesut ili
zedi nt hedel iver
yoft hej ob.Youmi ghtwanta  leatherhandbagl v
brandl ookal ike,soy ou’dneedf ir
stofal l,leather ,design,andot hermat eri
als.Ora
velcromat erial.Youmayal soneedt oolslikesci ssors,glue,cut t
ingbl ade,andmany
mor e.
o Condi ti
ont echni quesort het echniqueut i
li
zedbyt hearti
st,e.g.pat chwor ktechni
que
donei ncr ochet ing.
o Condi ti
ont hechar acterofdesi gnort hest ructur e.There’sunit yandst abi
li
tywithi
n
agreementandt hel ocati
onoft hesolderedi nscr ipt i
onalongwi tht hepr i
nteddesign.
4.I
nterpretationoft hej ob
o Thecol orusedf ort hatmar bli
ngoft heleat herwaspur plecol oronpr oductnatural
leather.
o Condi ti
oncapabi li
t i
esort heusesoft hej ob.

Ar
tAndThePer ceptionOfReal i
ty
 Per ceptioni nar t
 standsf oracompl exrel ati
onbetweenv i
sualst i
muliandaper sonal
understandingoft hem.I tisat heor eti
caldemandai mingacl ari
fi
cati
onofr elat
ion
betweenar t
wor ks,indivi
dual opinionsandei t
herevaluati
on.
 Per ceptioniscondi tionedbyacont extf r
om whi chobservat
ionandev aluati
onaremade.
 I tiscondi ti
onedbynumer ousf actor s,includingpolit
ical
,social,cult
ural
,genderand
raci
al.Itaf f
ect show weseear tandwhatmeani ngsweat t
ri
but etoi t
,butisalsoan
acti
vef actorinar t
isticcreation.
 Per ceptionaf f ectst hemeani ngweat t
ributet oar t
,andof tensuchunder st
andings
changeov erthecour seoft i
me.
ATakeonPer cept i
onwi thMaur iceMer leau- Ponty
 I n1945Maur iceMer l
eau-Pont ypubl i
shed  Phenomenol ogyofPer ception 
whichputhi m
ont hemapofmoder nphenomenol ogists,togetherwi t
hEdmundHusser l
,EugenFi nk,
andMar ti
nHei degger .
 Hedev elopedhi sowni nterpretationofphenomenol ogy’
smet hod,basedi nGest alt

17
 theory,psy chol
ogy ,neurology,and the cr it
ique ofpr ejudices ofempi r
ici
sm and
i
nt el
l
ect ualism.
 Indetermi nateandcont extualaspectsofthel ivi
ngreali
tycannotber emov edfrom the
wholeaccountoft hesensor y.
 Sensingi sa“ li
vingcommuni cati
onwiththewor l
dt hatmakesi tpresenttousast he
famili
arpl aceofourl i
fe.
 Mer l
eau- Pontyt urnst oexpr essionastheper ceptualexchangebet weenanor gani
sm
and i ts sur r
oundi ngs. 
Perception has creati
v e and expr essiv
e dimension t hatis
mani festedi nart,andpai nti
ngsar emanifestati
onsofexpr essivit
yofaper ceptualstyl
e
i
nt oamor emalleablemedi um.

Ar
tSt
yles-ACoher entDeformation
 Ar tstyleshaddev el
opedf r
om awi l
leddecisi
onofanar t
istthatcastshisinspir
ati
onin
visualf orm inside hi
stori
calt r
ajectori
es,and come as a coher entdeformation i
n
inheritedt r
aditi
ons.
 I nar t,meani ngsacqui r
edf rom per cept
ionareconcentr
atedi nvisualexpressi
on,and
sty l
erepr esents 
“anint
erpretat
ion,anopt i
onalwayofdepict
ingthewor l
d.”

ACTI
VITY2 Cr
Fi
eateapi eceofar
nd any av ai
l
abl
tinanywayt
e material
hatyouwantt
s such as gl
odoi
ue,scissor
t.
s,
kniv
es,tape,erasers,car
vingtools,thr
ead,needl
es,pins,
t
humbt acks,
paperpunch,l
ett
eri
ngpens,vari
etyofwi depaintbrushes,elect
ri
cneedleandet c.
t
oproceedont heacti
vi
ty.Makesur
et hattheartyouar edoingmat chesony ourowninter
est s
i
nli
fe.Answerthequesti
onsbel
owinrelat
iontowhaty ouhav edonei ntheacti
vi
ty.

1.Whendidyouhav edonet heartbeingmade?Didyoumakeitforashortorl

ongperiod
ofti
me?
2.Whatareitems/ resourcesyouusedi ncreat
ingtheart?Listofallt
hem inanitem
i
nventor
yprovided?
3.Whataretechniquesy ouuti
l
izedinmakingtheart?Expl
ainthem innotmoret
han5
sent
ences.
4.Looki
ngbackt othepi eceofartyouhavedone,whati
sthesubjectmatt
er(
mainfocus)
youemphasized?St at
eandexpl ai
nwhy.

Answert
hef
oll
owi
ngquest
ionsandexpl
ainbr
ief
ly.

1.Doy ouagr eethattheartst

yleschangedy namical
ly
Assessment2
withthetransiti
onoftimeinreali
ty?Whyorwhynot ?
2.Doar t
sy ouhav eseennowaday sst i
l
lhavet hepurposet
hatwantst
oconv eyamessage
onitsv i
ewer s?
3.Whyt herei sadiverseartst
y l
esindiff
erenterasandperiodsandcont
inuestoflouri
sh
overtime?
4. Whydoest hear tsty
lesbeingusedbyt hear ti
stcomplementtothemani f
est
ationof
real
it
y?

18
 PARTI
II Ar
tAppr
Phil
eci
at
osophy
i
onofReal
:I
mitati
i
t
oni
yArtand
sm and
Repr
esentat
ion

Lear
ningOut
comes Att
heendoft
hisl
esson,
youshoul
dbeabl
eto:

1. Def
ineimit
at i
oni
sm;
2. Def
inerepresent
ati
onism;
3. Di
ff
erenti
ateimitat
ioni
sm from r
epresent
ati
oni
sm;and
4. Di
scusshowy ouvi
ewar tconcerni
ngthereal
it
yandexi
sti
ngphi
l
osophi
es.

I
mit
ati
ononTheoryofAr
t
andBeaut
y LESSON7
IMITATI ONONTHEORYOFARTANDBEAUTY
 Thet heor yt hatar tinvolvessomef orm ofl imitati
onor iginatedwi tht heanci entGr eeks
parti
cul ar l
ywi thPl ato
 Itisimi tat i
onali nt hesenset hati tx- r
aysorr efl
ectsar epar ticularaspectofr eali
tythat
appear st obecompr ehensi ve,i
mpr ov i
ngourknowl edgeandunder standing.
 Wecandr awaconcl usionbasedonouranal ysi
soft heseconcept sinr elati
ont owor ks
ofar tasi mi t
ationr epr esentati
on,r efl
ectionouri nnersel fandwor l
dv i
ew concer ning
aspect sofr eality
 Platobel i
ev esint heexi stenceoft hei deal world,wher eexi stsar eal form ofev eryobject
foundi nnat ure.A wor kofar t–whi chr ef l
ectsnat ur e-i
st wicef arf r
om t her eali
tyit
represent s.
 Plato’saccountofi mitati
onwoul dseem t ober elativelysi mpl eatt hisst age;mimesi s
appear st obet ranslatableas“ represent ation”,anexpr essionofchar acterwher ebyt he
poet( usi ngdi alogue)andt heact or(inadr amat i
cpr esent ation)imi tateachar acter.
 Aristot le,ont heot herhand,doesnotdealwi tht hei dealwor ld,insteadheanal yses
natur e.I nt hissense, andar t
istdoesnotv i
olatethet ruthbutr eflect sther eali
ty.
 Socr at esexpl ainshow t hear ti
standpoetsi mplyandi mper f
ect lyimi t
atet heev eryday
wor l
dofsensat ionsandappear anceswhi char ei nt urnmer elypoorcopi esoft he
unchangi ng" real"wor ldofper fectessences.
 Apr obl em wi t
hi mitativetheoriesi st hattheircov er
ageappear slimi ted,thatis,theywor k
wel l
f orpor t
rait
s.
 Seeingar tasani mi t
ationofbeaut yinnat urebutal soemphasi zedt heexpr essionoft he
arti
st ’
sf eel i
ngsandt her ewasacor r
espondi ngdecr easei nemphasi sonl imitat
ion.

19
 Phi
l
osophi
cal
Theor
yof
Musi
c LESSON8
PHI
LOSOPHI
CALTHEORYOFMUSI
C

 Since1950s,t hephi l
osophyshar edamongmanyi nthefieldofmusi ceducat i
onshoul d
developt heaest heticpotent i
alwi thwhichv eryhumanbei ngisendowedt ot hehi ghest
possiblelevel.
 Philosophyofmusi ci sthest udyoff undament alquesti
onsaboutt henat ureandv alueof
musi candourexper ienceofi t.
 Any “ phil
osophy ofX” ,i tpr esupposes knowl edge ofi tst arget.Howev er,unl ike
phil
osophyofsci ence,say ,thet argetofphi l
osophyofmusi cisapr acticemostpeopl e
haveasi gnifi
cantbackgr oundi n,mer elyasar esultofbei ngmember sofamusi cal
culture.
 Musi cplaysacent ralroleinmanypeopl e’
slives.Thus,aswi t
ht hecent ralquest i
onsof
met aphysics and epi stemol ogy ,not onl y can most peopl e qui ckly gr asp t he
phil
osophi calquest i
onsmusi cr aises,theytendt ohavet houghtaboutsomeoft hose
quest i
onsbef oreencount eringt heacademi cdiscipli
neit
self.
 Musi cisper hapst hear tthatpr esent st hemostphi l
osophicalpuzzles.Unl ikepai nt i
ng,
i
tswor ksof t
enhav emul ti
plei nst ances,noneofwhi chcanbei dent i
fi
edwi tht hewor k
i
tself.Thus,t hequest i
onofwhatexact lythewor i
k sinit
iall
ymor epuzzl i
ngt hant he
samequest ionaboutwor ksofpai nti
ng,whi chappear( atleasti ni
ti
all
y )tobeor dinary
physicalobjects.

Repr
esentat
ionTheor
yof
Reali
ty LESSON9
WhatI
sAr t?
 I n1964, SupremeCour tJusti
cePot terSt ewartwasaskedt oconsidertheli
nesbetween
freespeech,ar t,andpor nography .Whenaskedt odefinethisboundary,heresponded' '
Per hapsIcoul dneversucceedi ni ntelli
giblydoingsobutIknowi twhenIseei t
''
.
 Thi ssamel i
tmust esthasbeenappl iedt hroughouthistory.Whatisart,andhowdowe
knowwhenwe' r
eobser v
ingar t
?Whatmakesar t,art
?Tomany ,t
heansweri ssimply''I
knowi twhenIseei t,
''
butwhatqual i
tiesar eyouseeingt oletyoumaket hatassert
ion?
 I ntell
ectualsintheEur opeantraditionhav edebatedt hi
sf oraslongaswehav eawr it
ten
recor d,andoneanswert heyroutinelycomebackt oi
st hi
s:itsarti
fiti
saboutsomet hing.
Inar tphil
osophy ,
wecal lt
histherepr esent ati
onaltheoryofar t
.

20
THEREPRESENTATI ONALTHEORY
 Ati tsmostbasi c,t her epr esentationalt heoryst atest hatt hef undament al,defi
ni t
ive
qualit
yofar tist heabi lit
yt ocapt uresomeaspectofr eal i
ty.Inshor t,ifit'
snota
refl
ectionofsomet hingt hatact uall
yexi sts,theni t'
snotar t.
 Ar tcanbedef inedf oremostasanext ensionofhumanper ception;it'sawayt oreflect
theway st hatt hemi ndper ceivesandunder standsr eal i
ty .Thi smakesr epresentational
theorydi stinctf rom ot heri deologies,suchast heexpr essiv etheor y,whichseest he
fundament al roleofar tast heexpr essionofemot ion.
 Ther oot sofr epr esent ationalt heor ydat eal lt hewaybackt oanci entGr eece,when
i
mi tati
ont heor ywast hef oundationofar ti
sticpr inciples.Accor dingtot heanci ent
Greeks,t hedef i
ni t
iver oleofar tist oimi tatenat ureini tsmostper fectforms,whi chi s
whyev erybodyi nGr eekscul ptureissoi mpossi blygood- looki ng.
 Lat ert heoristswoul dr ev isei mitati
ont heor y,cl
ai mi ngt hatt hepur poseofar twasnott o
stri
ctlyimi t
at enat ure, butt or epresenti tinanyf orm.
 Ther epr esent at i
onalt heor yhasbeenani mpor t antpar tofWest ernar tsi
ncet hefal lof
Rome, afterwhi char tbecamel essnat urali
sticforawhi le.
 Thedi recti mi tationofr eal i
tyi nartwasseenasanactofhubr is-ahumanat t
emptt o
recreatet hecr eationofGod.Howev er,throughsl i
ghtabst ractions,arti
stscoul dst i
l
l
representr ealitywi thoutbl asphemi ng.
 Ar ti
stscanf ocusont heugl y,thehor ri
fic,andev ent hingst hatcannotbephy sical
lyseen.

Romant
icReal
ism i
n
Phil
i
ppineArt LESSON10

ROMANTI
CREALI
SM I
NPHI
LIPPI
NEART

 Itseeksper sonalexpr essionofv al

ues,i mbui ngar twi thf eeli
ngsfori deast hatthe
arti
stholdspassi onatelyaboutl i
feandhumani ty ,thusi nf usingthewor kwi t
hagl owing
emot i
onalessence
 Romant icrealism isanaest heti
ct erm t hatusual lyr eferst o ar
twhi chcombi nes
elementsofbot h“ r
omant i
cism”and“ realism”hav ebeenusedi nvariedway sandar e
somet i
messeenasopposedt ooneanot her.
 Romant i
cReal istdoesnotf l
eet ohist ory,my t
hol ogy ,ther emot eorexot i
cf orsubj
ect
mat t
erbywhi cht oexpr essi ndivi
dual i
zedi mager y,br ushst rokes,orbravado.
 Contempor aryRomant icex pressesv aluest hroughi magesoft hepr esent.Theher e
andnow, t
her ealandr elevant.
 Romant icRealistknowst hatinar titisposi ti
ve,life-aff i
rmi ngv al
uesthatweneedt o
seetof eeli
nor dertomai ntainthecour ageandener gyt obr ingourownhi ghestand
mostpr omisingv isi
onsofv aluesi ntoexi stencei nt her eal wor l
d
 Representati
onal art’
sabi li
tytoaf fordusaspi r
itual exper ienceaswel l asanaest het
ic
one.Thespi r
itual i
narti snotev okedbyanescapef rom r ecognizabl
er eal
ity(asin

21
 unint
ell
igi
blear
t)butbyanembraceofi
tsex
ist
enceandconsci
ousnessuni
fi
edand
experi
encedasonebeautif
ulent
it
y.

ACTI
VITY3 Idealvs.Reali
tyArtcan be a gr eatt oolto express
emot i
onsandideas.Thus,itcanr epresentsomeone’ s
thoughtaboutaspecif
icthingorsi tuat
ion.Now,show
howy oupercei
vetheworldi
nreal
it
yandhowy ouwantittobe(imagineandpr esentyourideal
world).Youcandoitinanymedium l
i
kepoet r
y,pr
ose,dr
awing,paint
ing,musicandwhatnot .
Answert hefol
lowi
ngquesti
onsbelow basedont heart
workorpi ecet hatyoucr eatedand
presentedi
ntheacti
vi
ty.

1.Whatar
eyourst
andar
dst
oconsi
derawor
k/pi
ecet
obeanar
t?

2.Howwoul
dyoudescr
iber
eal
i
ty?Whataboutt
hef
ant
asyt
haty
oucr
eat
edt
hroughar
ts?

3.Whatar
ethei
nfl
uencesf
ory
out
odr
awy
ouri
deal
wor
ldt
hatway
?

4.Doy
oubel
i
evei
nani
deal
wor
ld?WhyorWhynot
?

Answert
hef
oll
owi
ngquest
ionsbel
ow. Assessment3
1.Whatdoy
out
hinkar
ethel
i
mit
ati
onsofar
t?

2.Atsomepoint,doy oufi
ndyoursel
fasastageactort
hatusesascri
ptforacertai
n
sit
uati
on,apoetthatusesdi
alogueoranarti
stt
hatpaint
sanideal
selftoescapefrom
real
it
y?Expl
ainhowandwhy .

3.Consi
deri
ngr
eal
it
yart
sandphi
l
osophy
,doy
ouconsi
derpor
nogr
aphyandbl
asphemous
pai
nti
ngsasanar
twor
k?Why?

4.Howromanticr
eal
ism combines“
romanti
cism”and“r
eal
it
y”?Doy
ouagr
eet
hati
nar
t,i
t
i
snecessar
ythati
tisalway
sposit
iveandli
fe-
aff
ir
mingval
ues?Why?

22
 PARTI
V ArtandPhilosophy:Formalism,
Expr
essi
oni
sm andHedoni
sm

Lear
ningOut
comes Att
heendoft
hel
esson,
youshoul
dbeabl
eto:

1.Def
ineandUnder
standFor
mal
i
sm;
2.Def
ineandUnder
standExpr
essi
oni
sm;
3.Def
ineandUnder
standAest
het
icHedoni
sm;
and
4.Evaluat
etheBeginni
ngsofPhilosophyofFor
mal
i
sm,
Expr
essi
oni
sm andHedoni
sm i
n
Relati
ontoArt
ist
icRepresent
ation.

For
mal
i
stTheor
yofAr
t LESSON11
FORMALI SM
 Formal ism i st hest udyofar tbyanal yzingandcompar ingf or
m andst y
le.I tsdiscussion
alsoincl udest hewayobj ectsaremadeandt heirpur elyv isualormat eri
al aspect s.
 Inpai nting,f or mal ism emphasi zescomposi tionalel ement ssuchascol or ,li
ne,shape,
texture,andot herper ceptualaspectsr athert hancont ent ,meaning,ort hehi st
oricaland
socialcont ext .Ati tsext r
eme,f ormalism i nar thistoryposi tsthatev er
y t
hi ngnecessar y
tocompr ehendi ngawor kofar tiscont ainedwi t
hint hewor kofar t
.Thecont extoft he
wor k,includi ngt her easonf oritscreation,thehi stor i
calbackgr ound,andt hel i
feoft he
arti
st,thati s,itsconcept ualaspecti sconsi deredt obeext ernaltot hear tisti
cmedi um
i
tself,andt her efor eofsecondar yimpor tance.
 Formal ism i saschoolofl it
erarycrit
icism andl i
terar yt heoryhav i
ngmai nlyt odowi th
structural pur posesofapar t
icul
artext.
 Formal ism descr ibest hecrit
icalposit
iont hatt hemosti mpor tantaspectofawor kofart
i
si t’
st hewayi tismadeandi t
spurelyv isualaspect sr atherthani t
snar rativecont entor
i
tsr elati
onshi pt ot hev isi
blewor l
d.

Formali
stTheory
InBrit
ainformal
i
star
ttheorywasdevel
opedbytheBloomsbur
ypaint
erandcr it
icRoger
Fryandt heBloomsburywri
terCli
veBell
.Inhis1914bookAr t
,Bel
lfor
mulatedt henoti
onof
si
gnif
icantform –thatf
ormi
tsel
fcanconveyfeel
i
ng.Al
lthi
sledqui
ckl
ytoabstractart
,anartof
pureform.For mali
sm dominat
edt hedevel
opmentofmoder nartunti
lthe1960swheni t

23
reacheditspeakintheso-cal
lednew crit
ici
sm oftheAmericanCr
it
icClementGr eenber
gand
others,par
ti
cular
lyi
ntheirwri
ti
ngsoncol orfi
eldpai
nti
ngandpostpaint
erlyabst
racti
on.I
twas
preci
selyatthatt
imethatfor
malism begantobechall
engedbypost
moder nism.

For mal i
sm asacr i
ticalstancecamei ntobeinginresponsetoi mpressioni
sm andpost -
i
mpr essionism ( especiallyt hepai nti
ngofCézanne)i nwhi chunpr ecedentedemphasi swas
placedont hepur elyvisualaspect softhewor k.In1890t hepost-impressioni
stpainterand
wr i
teronar t,Maur iceDeni s,publishedamani fest
ot i
tl
edDef i
nit
ionofNeo- Tradit
ioni
sm wher e
heemphasi zedt hataest heticpleasurewast obefoundinthepainti
ngi t
selfnotit
ssubject.This
becameoneoft hemostwi delyquot edt
extsint hehist
oryofmoder nart:Remember ,thata
picture,befor eitisapi ctureofabat tl
ehorse,anudewoman, orsomest ory,i
sessential
l
yaf lat
surfacecov er edi ncolorsar rangedi nacert
ainorder.

Expr
essi
onTheor
yofAr
t LESSON12


EXPRESSI ONISM
 Expr essionism,ar ti
sti
csty l
einwhi cht hearti
stseekst odepi ctnotobj ectiv
er ealit
ybut
rathert hesubj ecti
veemot i
onsandr esponsest hatobj ectsandev ent
sar ousewi t
hi na
person.
 Thear t
istaccompl i
shest hisai m t hrough di storti
on,exagger ation,pri
mi ti
vism,and
fantasyandt hrought hevivid,jarri
ng, v i
olent
,ordy nami cappl icati
onoff ormalel ement s.
Inabr oadersense
 Expr essionism isoneoft hemai ncur rentsofar tint helater19t handt he20t hcent ur i
es,
andi t
squal it
iesofhi ghlysubj ecti
v e,per sonal,spont aneoussel f-expressionar et ypical
ofawi der angeofmoder nar t
istsandar tmov ement s.
 Theexpr essiont heoryemphasi zesemot i
ons, notideasort hought s.Advantage:ani dea
ort houghtmustbeaboutsomet hing,butsomeemot i
onsdonot .Soar twor kst hatlack
denot ationcanst il
lbeart.
 In expr essionistar t
,colori n par ticularcan be hi ghlyint ense and non- naturalisti
c,
brushwor ki st y
picall
yf reeand pai ntappl i
cat ion tendst o begener ousand hi ghl y
textured.
 Expr essionistarttendst obeemot ionalandsomet imesmy st i
cal.Itcanbeseenasan
extensi onofRomant ici
sm.

ExpressionTheor y
Thev i
ewt hat“ arti
si mitat
ion( r
epresentati
on)”hasnotonl ybeenchallenged,i
thasbeen
mor i
bundi natl eastsomeoft hear tssincet he19t hcentury.I
twassubsequent l
yreplacedby
thetheor ythatartisexpr ession.Insteadofr efl
ecti
ngst at
esoft heexternalworld,ar
tishel dto
refl
ectthei nnerstat eoft hear ti
st.This,atleast,seemst obeimpli
citinthecor emeani ngof
expression:theout ermani festati
onofani nnerstate.Artasar epr
esentati
onofout erexistence
(admitt
edl y“seent hroughat emper ament ”)hasbeenr epl
acedbyar tasanexpr essionof

24
humans’innerli
fe.
Butt hetermsexpressandexpressi
onareambi guousanddonotal waysdenot
ethe
samething.Likesomanyot hert
erms,expr
essissubjecttotheprocess-productambi
guit
y:t
he
samewor disusedf orapr
ocessandforthepr
oductthatresult
sfr
om t hatprocess.

Aest
het
icHedoni
sm LESSON13

HEDONI
SM
 Thet er
m “ hedoni
sm,
”from t
heGr eekwordforpleasur
e,ref
ersto sev
eralrel
ated
theor
iesaboutwhatisgoodforus,how weshoul
dbehave,andwhatmotivat
esust o
behaveinthewaythatwedo.
 Al
lhedonist
ictheor
iesident
if
ypleasur
eandpai nast
heonl
yimpor
tantel
ement
sof
what
everphenomenatheyaredesi
gnedtodescr
ibe.
 Philosophi
calhedonistst
endtofocusonhedoni
sti
ctheor
iesofvalue,andespecial
lyof
well-bei
ng(thegoodl i
fef
ortheoneli
vi
ngit)
.Asatheoryofval
ue,hedonism st
atesthat
allandonl ypleasur
ei sint
ri
nsi
cal
lyval
uabl
eandal landonlypainisi nt
ri
nsi
callynot
valuable.
 Psychol
ogi
calHedoni
sm i
sthev i
ew t
hathumansar
epsy
chol
ogi
cal
l
yconst
ruct
edi
n
suchawaythatweexcl
usi
vel
ydesi
repl
easur
e.
 Ethi
calHedoni
sm,ont heot
herhand,isthevi
ewthatourf
undament
almoralobl
igat
ion
i
st omaximizepleasur
eorhappiness.I
tist
henormati
veclai
mthatweshouldalways
actsoastoproduceourownpleasure.

AestheticHedonism
Thi
sform ofhedonism i
sbasedonaf unct
ionalaccountofaest
heti
cpleasur
e,accor
ding
to whichi tmot i
vatesand enablesmentalengagementwi t
har t
works,and anaccountof
pl
easur elear
ning,inwhichitrei
nfor
cestheappreciat
ionofcultur
especifi
cway sofengaging
wit
har t.

I
nt hi
scont ext
,pleasuremaybenar r
owl yconceiv
edasanagr eeabl
esensat i
on,or
functi
onall
yasapsy chol
ogicalresponsethatreinf
orcesasubj ect
’spropensi
tytoperfor
mt he
acti
ont hatevokestheresponse.Eitherway,i
tmakesv al
uedependonhumanr esponse,noton
objecti
vequal i
ti
es.AH appl i
est hi
st hesi
st o aestheti
cvalue,holdi
ng thatitderi
vesf r
om
aestheti
cpleasure.

AH runscontrar
yt oobj ecti
vism—thei deathataestheti
cv al
uei sindependentofthe
valueofexper i
ence(experiencebeing,atmost ,anapprehensionofvalue).AHst ar
tsfr
om the
factthathumanbei ngs“l
ike”art;aest
heti
cv alueist
henunderstoodast heinst
rumentalval
ueof
givi
ngt hem whattheyli
ke.Howev er,
greattragedyarousesnegati
veemot i
ons, andthebestar
t

25
i
scogniti
vel
ydi
ff
icul
ttounder
stand.Thesear
epsy
chol
ogi
calbar
ri
erst
oengagementand
appr
eci
ati
on.

Mostaesthetic hedonist
s address the dif
fi
cultybydel imiti
ng the scope ei
therof
hedonism orofaestheti
cpl easur
e.Some, e.
g.Hume, saythatartmustbev al
uedr el
ati
vetothe
responseofsomebodywhohasbeensuf fi
cient
lyexposedt oit
,andhast husdev el
oped“tast
e”;
onlythepleasurethatsuchsubj ect
st akeinartispr obat
ive.Others,e.
g.Kant,positaspecial
kindofpleasur
echar act
eristi
cofaestheti
cappreciat
ion.

ACTI
VITY4 Pr
y
i
ntten(
oucanfi
10)pi
ct
ndonl
i
ur
esoft
ne.Rankt
hemostpopul
hesepictur
arpai
esaccor
nt
i
di
ngst
ngt
hat
oits
beaut
yf r
om 1 -10 (mostbeaut if
ultol eastbeauti
ful
).
Lookony
ourwor
kfr
om t
hepr
evi
ousacti
vi
tyandanswerthefol
lowi ngquesti
ons.

1.Whatisthenameofthepai
nti
ngthatyourankedasmostbeaut
if
ulamongtheten
pai
nti
ngs?Whatdi
dyouseeinthi
spaint
ingthatmadey
oudecidethati
t’
sthemost
beaut
if
ul?
2.Whatisthenameofthepaint
ingthatyourankedasleastbeaut
if
ulamongtheten
pai
nti
ngs?Whatmadei
tlessbeaut
if
ulthant
heot her
sbasedontheranki
ngst
haty
ou
made?
3.Whatt
heoryofar
tbestr
epr
esent
syourwayofar
rangi
ngt
hesepai
nti
ngsaccor
dingt
o
t
hei
rbeaut
y?Expl
ain.
4.Whi
choft
hesear
tbestr
epr
esent
sfor
mal
i
sm?Expr
essi
oni
sm?Aest
het
ichedoni
sm?

Answert
l
east1-
hef
2par
ol
l
agr
owi
ngquest
aphs)
ionsandexpl
ainbr
ief
ly.(
at Assessment4
1.Whatmakesanar
tbeaut
if
ul?
2.I
fyouwoul
dcr
eat
eanar
t,howwoul
dyour
epr
esenty
ourar
ti
str
y?
3.Whydoy
out
hinksomear
tsar
ebeaut
if
ulf
ory
oubutnotf
orot
her
s?
4.I
sy ourdef
ini
ti
onofbeautybet
tert
hansomeone’
sdef
ini
ti
onori
sitt
heot
her
wise?
Expl
ainy
ouranswerbr
ief
ly.

26
 PARTV Ar
tandPhi
l
Theor
osophy
yandI
:Funct
nsti
tut
i
i
onal
onal
i
sm,Act
Theor
y
ion

Lear
ningOut
comes Att
heendoft
hisl
esson,
youshoul
dbeabl
eto:

1.Def
ineFuncti
onal
ism;
2.Def
ineActi
onTheory;
3.Def
ineI
nsti
tuti
onalTheor
y;and
4.Rel
atet
hethreetopi
csthatwil
lbedi
scussedt
oar
t.

Funct
ional
i
sm LESSON14
FUNCTI ONALI SM INART
 Inthear tst hedoct ri
net hatt hedesi gnofanobj ectshoul dbedet er
minedsol elybyi ts
function,r athert hanbyaest heti
cconsi derations,andt hatany thingpracti
callydesigned
willbei nher entlybeaut i
ful.
 Term appl i
edt oar chitecturei nwhi cht hef orm ofabui ldingi sder i
vedfrom thef unction
i
tisi ntendedt of ul f
il
l.Itwoul d,howev er ,behar dt osubst antiatetheclaimt hatmoder n
architect ureist rulymor ef uncti
onalt hant hatofmanyot herper i
ods,parti
cular l
yasi t
wasi mpr egnat edwi t
haest het i
candsoci alconcer nsthatsomet imesconf l
icteddi rectl
y
withther equirement sofuse.
 Funct i
onal ism:ar ti s def ined bypur pose( s)t hatmake successf ulartv aluable.( A
defini
t i
onof" chai rwoul dnor mallyment iont hatt hepur poseofachai ri
sforsi t
ting.And
achai rt hatcannotbesatuponhasnov al
ueasachai r.Soi tseemst hatchairsrequi r
ea
functionaldef i
ni t
ion.Funct i
onalistst r
eatar tint hesameway .)Af uncti
oncommonl y
assignedt oar tist opr ovideasat isfyi
ngaest heticexper ience.

Funct
ionali
sm inPhilosophy
 I nthesocialsci encesthet heor iesofal laspectsofasoci etyserv
esaf uncti
onandar e
necessaryfort hesurvi
valoft hatsoci et
y.Functionalism ist heanaly
ticaltendencywi thin
thesocialsci encesmostnot ably,sociologyandsoci alant hr
opologyt hatexhi bit
sa
parti
cul
arinterestinthef uncti
onsofsoci alorcult
ural phenomena.
 I nit
smostt raditi
onalform,f unct ionali
sm hascl aimedt hatallit
emsandact i
vit
iesina
system shouldbeexpl ainedi nr eferencet othei
robj ectiveconsequencesf orthesy st
em
asawhol e.
 Asecondar ybutnonet hel esssi gnifi
cantmeani ngoff uncti
oni nsocialscienceissi milar
totheuseoft hetermi nmat hemat i
cs.Wheni tisst atedt hatxisaf uncti
onofy ,i
ti s

27
 meantt hatxvari
esindir
ectproport
iontovari
ati
oniny.
 In socialscience thi
s perspect
ive on the conceptoff uncti
on has to do wi
th
i
nterrel
atedness.Thedominantandt hesecondarymeaningsareli
nkedasfoll
ows.The
noti
on off uncti
on as consequence forthe st
ate ofthe syst
em suggeststhatal
l
phenomenai nthesy st
em areconsi der
ed,atleastini
ti
all
y,asbeingrel
evanttothe
system'spersi
stence.

Hi
stor
yofFunct i
onal ism inPhilosophy
 Funct ionalism di dn’tgaini t
snameunt ilt
he20t hcent ury,butt heear li
esttheorythat
coul dbeconsi deredaki ndoff unctional i
sm wasAr i
stotl
e’stheoryoft hesoul .Ar
istotl
e
didnotbel ievet hatthesoulexi stedindependent lyofthebody ,orthatitwasi denti
calto
themat erialoft hebodyorbr ai
n.Heseemedt oconsi dert hesoulident i
caltowhatwe
call“ consci ousness”andt obemadeofi tsfuncti
onalcapaci t
ies,suchasi tsabil
it
yt o
think.
 ThomasHobbes,i nthe17t hcentur y,v oi
cedapoi ntofv i
ew remar kablyli
kemoder n
comput ati
onalf uncti
onalism. He cl aimed thatment alact iv
ity was made outof
comput ati
ons, andanent i
relymechani calpr ocess,event houghhehadnev erheardofa
comput er.
 Dual i
sm i st hei deat hatmi ndandmat t
erar efundament al
lydifferent“substances”
(what evert hatmeans) ,andowesal ottor eli
gioust hought. Dual ism isf av
orable
towar dsthei deaofani ncorporealsoul .Butdual istswer enev erablet osaywhatt he
“thinkingsubst ance”oft hemi ndi s;andunabl etoexpl ainhow mi ndandbodycoul d
interactiftheywer emadeofcompl et el
ydi ff
erentstuff
.

Act
ionTheor
y LESSON15
ACTIONTHEORY
 Subf i
eldofphi losophyofmi ndthatisespeci all
yi mpor tantforethics;itconcernsthe
disti
nctionbet weent hi
ngst hathappent oaper sonandt hi
ngsonedoesormakes
happen.
 Act i
ont heorist
sconsi derissuessuchasmot ive,desire,purpose,deliber
at i
on,deci
sion,
intenti
on,t r
ying,andf r
eewi ll
.A centr
alpr oblem i sthequest ionofv olit
ion,orwhat
connect sintenti
onwi thbodilymovement .
 Donal dDav i
dsonasser tedthatanaction,insomebasi csense,i ssomet hinganagent
doest hatwas‘ i
nt ent
ionalundersomedescr i
ption,’andmanyot herphilosophershave
agreedwi thhi mt hatthereisaconceptualtiebet weengenui neaction,ont heonehand,
andi ntenti
on,ont heother.Howev er
,itistri
ckyt oexpl icatethepur port
edt i
ebetween
thetwoconcept s.
o Fi
rst,the conceptof‘
int
ent
ion’has vari
ous concept
ualinf
lect
ions whose
connecti
onstooneanot
herar
enotatalleasyt
odel i
neat
e,andther
ehav ebeen

28
 manyat t
emptstomapt herel
ati
onsbetweenint
ent
ionsf
ort
hef
utur
e,act
ing
i
ntent
ional
ly
,andact
ingwi
thacert
aini
ntent
ion.
o Second,t
henotionthathumanbehavi
ori
soft
enint
ent
ional
underonedescr
ipt
ion
butnotunderanotheri
sitsel
fhar
dtopi
ndown.

 Therehasbeenanotableornotori
ousdebateaboutwhet
hertheagent
'sreasonsi
n
act
ing ar
ecausesoftheactional ongst
andi
ng debat
eaboutthecharact
erofour
commonsenseexpl
anat
ionsofacti
ons.
Act
ionTheor y:Psy chological
 Act i
ont heor yisnotaf or mal i
zedanduni t
ar yt heoryagr eeduponbyt hesci enti
fi
c
communi ty
, butratherauni queper spect i
ve,nar rativeorpar adigm.
 Dur i
ngt hehi storyofpsy chol ogy,inGer many ,Br entano,at eacherofFr eud's,focused
1874oni nt enti
onal i
tyasabasi cf eatureofconsci ousnessl eadi ngtot heconceptof
‘actsofconsci ousness. ’
 Ten y earsl at
er,Di lthey di sti
ngui shed bet ween an expl anat i
on ofnat ure and an
under standingoft hemi nd/ soul,adi chotomy ,whi chpav edt hewayf ort heongoi ng
discour seont hedi chot omyofexpl anat i
onandunder standing.
 I n1920St er ncrit
icizedt hemai nstream psy chol ogyofhi st imebecausei tneglected
intenti
onal i
tyandal socul turalchangeasacr eat edf r
amewor kf orhumandev el
opment .
In Par i
s,Janetwr ote his di ssertation about‘ Aut omat isme’i n 1889.Thi s was t he
beginni ngofanel abor atedact iontheor eticalsy stem ofneur oses( Schwar tz1951) .
 Münst er berg,adi scipleofWundt ,pr oposedact ionast hebasi cunitofpsy chology
insteadofsensat i
onsatt het urnoft hecent ury.Theseear lytraditi
onswer eov er
ruledby
theneo- posi t
ivi
sti
cl ogi cofexpl anat i
onexpoundedbyt heVi ennacircl
ei nphilosophy
andbehav i
or i
sm inpsy chology .

I
nst
it
uti
onal
Theor
y LESSON16

INSTITUTI ONALTHEORY
 Thei nst i
tut
ionaltheoryofar ti
sat heor yaboutt henat ureofartthathol dsthatanobject
canonl ybe(come)ar tinthecont extoft hei nstit
uti
onknownas" theartwor l
d".
 In1913,Mar celDuchampopenedt hedoort oaquest i
onev eryonet houghthadbeen
answer ed:“Whati sart?”If“anything” ,evenabi cyclewheel,ev enabot t
lerack,evena
urinal
, couldbe“ art
”,thenhowcant he“ precincts”ofar tbeprotectedfrom “non”or“not”
art?Thepowershi f
tsf r
om the“ art
”i tselftot hegatekeepers,those–thear ti
sts—whoar e
(self)
-empower edtodef i
ne“ ar
t”.
 Iti
st het heorythattakesi tupintot hewor l
dofar t
, andkeepsi tfrom coll
apsingint
ot he
realobj ectwhichitis(inasenseofi sot hert hanthatofar t
ist
icidentif
icati
on).

29
 Theconceptoft he“ artwor l
d”—onewor d—wast akenupl aterbyt heaest heticianGeor ge
Dickiewhosuggest edamor ecompl ext heor yofar tt hatr estedupont hei nsti
tuti
on,
whichwasknownast he“ insti
tut
ionalt heoryofar t.
”“Awor kofar ti
nt hecl assifi
catory
sensei s(1)anar tif
act( 2)asetoft heaspect sofwhi chhashadconf erreduponi tthe
statusofcandi dat ef orappr eciat
ionbysomeper sonorsomeper sonsact i
ngonbehal f
ofacer tai
nsoci alinst i
tuti
on( theartwor l
d).”
 Inhis2009book, ”Howt oSt udyArtWor l
ds”,Hansv anMaanen,concl udedhi schapter
onGeor geDi ckiebyexpl ainingtheimpor t
anceofhi stheor y :
o Fi r
stly,ther ei shisconceptofr olesandr ules,whi chcl arifi
est hesi gnifi
canceof
conv entionsi nmaki nganar twor ldsy stem op-er ate;
o secondl y, t
her eishi semphasi sont heessent i
alr ol eoft hepubl i
c, apubl i
cwhi ch
existsasamor eorl essprepar edaddr esseeoft hear ti
st’
sact i
v i
ty.
 Artwasr elative,cont i
ngent ,anddependentupont heexi stenceofi nstituti
onalspace.
Thear tinsti
tut i
onwasmor ethanaphy sicaloneofmuseumsandgal leries,itwasal soa
productofr eadi ngaboutar tbyanar taudi ence, wr i
ti
ngaboutar tbyar thistoriansandar t
cri
ti
csandcur rentconv ersat i
onsaboutar t–artdiscour se, allofwhi chcont r
ibutedt othe
“making”ofanar tistorawor kofartthroughnami nganddesi gnation.Al lt
he“ insti
tuti
on”
hadt odowast oacknowl edget hepresenceoft hear t
ifactand“ art”was“ made. ”

ACTI
VITY5 I
magi
r
ne y
esponsibi
ou ar
l
ityt
e a wor
olookaft
keri
eral
n a museum.I
lt
heartworkspl
tisy
acedi
our
nsi
de.
I
fanemer gencyoccur swithi
nt heplace,whichoft he
fol
l
owingwouldyouretr
iev
ef i
rst?Rankaccor dingtoyourpercepti
ononwhati sthemost
val
uabl
eart
.Answerthequestionsbel
owi nrelationtowhatyouhav ewri
ttenintheactiv
ity
.
Youmayapplythel
essonsthatwerediscussedi nansweri
ng.

1.Whati syourreasoninchoosingno._____asthemostv al
uableartt
hatisneededtobe
ret
ri
evedf i
rsti
ntheactivi
ty?
2.Withregardsonwhatar tyousavedfi
rst,whatcanyousayaboutyourdefi
nit
ionofar
t?
3.Whatar eyoursourcesofknowledger egar
dingart
sthatshapedyourviewofwhatisan
art
?
4.Ast he three t
heori
eswer e di
scussed,whati deol
ogydo y ou mostconsiderwhen
assessinganart’
svalue?

30
Answert
hef
oll
owi
ngquest
ions.
Assessment5
1.Do you agree thatthe beaut y ofan ar
twork
depends on one’s perspecti
ve oristhere an
absol
utestandar
dt oconsiderwhatanar
tis?
2-3.Ony ourownopinion,doyouconsidert
hepurposeortheessenceofanartwor
k,
whetheritmaybeapainti
ngorathi
ng(l
ikefur
nit
ure)
,afact
ort
odeter
minei
tsval
ue?How
aboutit
sbeauty
?

PARTVIArtandSci
ence:
Desi
Elements,
gnandTechnol
Medi
ogy
um,

Lear
ningOut
comes Att
heendoft
hel
esson,
youshoul
dbeabl
eto:

1.Knowthetheoryofbeautyandart;
2.Li
stdowntheelementsandmedi umsofv isualar
t;
3.Fi
ndoutthediff
erentdesignsandpri
ncipl
esofcomposi t
ionofar
t;
4.Knowthedevelopmentofar ti
ntheappli
cati
onoftechnology
;and
5.Under
standtheimportanceoftheartofself
ieandgroupi
e.

TheDar
wini
anTheor
yof
Beaut
yandArt LESSON17
Phil
osopherDenni
sDuttondismissest
henot
ionthatbeautyisi
ntheeyeoft hebehol
der
orissomehow connectedtoidealform.Inst
eadhetakesaDar wini
anapproach,argui
ngthat
ourresponsetobeaut
yiswir
edi nt
oourhumanexist
enceandourneedt ofi
ndmat es.

Hedescr ibest hei dealpict

oriallandscapeascont ai
ninganopenv ist
a,withanel ement
ofwat er,af orkedt ree,andasampl ingofwi ldl
if
e,andapat horar oadleadingint
ot hedistance.
Hear guest hati tisuniv ersal
lyappealingacrossculturesbecauseitappealedtoourPl ei
stocene
hunter-gathererancest ors,presumabl yscanningforgamet of eedthei
rmat es.Andartdoesnot
i
ncludeonl yskilledact ion.Manypeopl eregardasar tcer
tainobjectsthatconsciousl
yexhi bi
ta
l
ackofski ll:fauv e,neo-primiti
ve,andsuch.

Dut t
ondoesn’tdigverydeeplyi nt
ot henatureandt her angeofthecoreaest
hetic
responses,and whyt hose r
esponses mi ghtbe evolut
ionari
lyadapti
ve.He makes r
ather
unsupportablecl
aimsabouthowhet hinksHomoEr ect
usr espondedtohandaxes.Howdoes
heknowt heaxeswer eartobj
ect
s?May betheywereusedasmoney ,notar
t.Andhowdoeshe

31
knowHomoEr
ect
usdi
dn’
thav
elanguage?
  

Dutt
on’stheoryal
sopr oposesthatnaturalsel
ecti
onpr ovi
desforarepulsi
onreacti
onto
suchdangerousthingsasstandingattheedgeacl if
f.How,then,wouldDutt
on’stheor
yaccount
fortheexperi
enceoft hesubl i
me,asf ormulat
edbyaest heticphil
osopherssuchasEdmund
Burke?Accordi
ngt oBurke,we’reatt
racted,r
atherthanrepulsed,byunsett
li
nganddi squi
eti
ng
experi
ences

Tolstoy’
snotionthatartisthedel
iber
atetransmi
ssi
onofemot ion.Itappl
i
estodance,
theat
er,painti
ng,music,andal
lotherfor
ms.Andi tisimmenselypr
act
icaltotheworki
ngar
ti
st,
becauseitprovidesacleart
estfort
heaesthet
icvalueofapart
icul
arwork.
 

El
ement
sandMediaof
Visual
Art LESSON18
TheElementsofVisualArt
TheVisualEl
ementsofl
ine,
shape,t
one,col
or,pat
ter
n, t
extureandform ar
ethebuil
dingblocks
ofcompositi
oninart
.Whenweanal y
zeanydrawing,painti
ng,scul
ptur
eordesign,weex amine
thesecomponentpar
tst
oseehowt heycombinetocreatetheoveral
leff
ectoft
heartwork.

TheVi
sualElement shavear elati
onshipt ooneanot her:
 Mos timagesbegi ntheirli
feasl i
nedr awings.
 Li
nescr ossov eroneanot hertof orm shapes.
 Shapescanbef il
ledwi tht
oneandcol or,orrepeatedtocreat
epatt ern.
 As hapemayber ender edwithar oughsur facetocreateatextur
e.
 As hapemaybepr oj
ectedintothr eedimensionstocr eatef
orm.
 Eachoft heelement smayal sobeusedi ndivi
duallytostr
esst heirownpar ticul
ar
characterinanar twork.Dif
ferentelement scanexpr essquali
ti
essuchasmov ement
andr hyt
hm, spaceanddept h,growt handst r
ucture,harmonyandcont r
ast,noi
seand
cal
m andawi derangeofemot i
onst hatmakeupt hesubject
sofgr eatart
.

1.LI
NE
 Line 
ist hef oundat i
onofal ldr awing.Iti
st hef i
rstandmostv er sati
leofthev i
sual
el
ement sofar t.Lineinanar twor kcanbeusedi nmanydi fferentway s.I
tcanbe
usedt osuggestshape,pat ter n,form,str
uct ur
e,growth,dept h,di st
ance,rhyt
hm,
movementandar angeofemot ions.
 Linesar ecat egori
zedasv ertical,hori
zontal
,diagonal
,andcurved.
a)Ver ticall i
nes ar e embedded f ordefining hei
ght.Pai ntings hav i
ng ampl e
architecturalwor ks(e.g.interiorsofchurches,monument s,et c.)havenumerous
verti
call i
nesi nthem.Si ncet hel i
nesaredr awnperpendi
cul art otheEarth,they
signifyany thi
ngt owardst hesky .

32
 b)Hor i
zontall i
nesar ebasi cal l
ydr awnt odef i
neobj ectst hatarepar al
leltot he
ground.Youcandel ineatel ongst ret chesofl andscapes,baseofmount ainsor
anythingthatmov esawayf rom thespaceandcomest owardstheEar th.Ev ena
horizonisdepi ctedbyhor izont all
ines.
c) Thegr adientandcont ourofl andscapesi sdefinedexpl i
cit
lybyCur v
edl ines.Itis
al
sousedt oaddsensuousnessandpr ecisi
ont ofiguresandpor t
rait
s.Ev ena
sl
ightestv ari
ationinthenat ureoft hecur veaffect
st hepor t
rai
t.Useofi magi nary
curvedlinesi sextensiveinscul pt
ures.
d)Di agonall inesar esy mbol icofdy nami cand unst ableobjectspr esenti na
painti
ng.Theangl eofadi agonall inedev iat
esf r
om 90degr eesandt hereby,it
entersint hest at
eofunst ableequi li
brium.Forexampl e,abui ldi
nghi tbyan
earthquakeorashi pst uckint hest or m wi l
lhavediagonal li
nesinthem.

Wehav
eapsy chologi calresponsetodif
fer
enttypesofl
i
nes:
 Curvedli
nes  suggestcomf ortandease
 Hori
zontallines  suggestdi
stanceandcalm
 Vert
icall
ines  suggestheightandstrengt
h
 Jaggedlines suggestt urmoilandanxiet
y

Thewaywedr awal inecanconv eydi ff

erentexpressi
vequalit
ies:
 Freehandl ines canexpresst hepersonalenergyandmoodoft hear
ti
st
 Mechani cal l
ines canexpressar igi
dcont r
ol
 Continuousl ines canleadtheey eincertai
ndirecti
ons
 Brokenl i
nes  canex pr
esstheephemer alortheinsubst
anti
al
 Thicklines canexpr essstrength
 Thinlines canexpr essdeli
cacy

EXAMPLEOFTHEUSEOFLI NEI NART

 Li
neasToneandFor m
Thev ocabular
yofscr ibbledandhat chedlinesthatHenryMoor eimageofSheep
1972dev elopedf ort hesedr awingsi sv erycompat i
blewi t
ht hei
rsubject.His
swirl
ingscribblescor respondper fectlytot hebouncyt extureofaf leece.He
graduall
ybui l
dsupt hedensi tyofl inetor enderthedar kerareasoft oneand
reducesittosuggestt helight
er.Int hebackgroundoft hewor kheuseshat ched
l
inest odrawt herowoft reesandt hegat ebutanyi nconsist
encyintheirst
y l
eis
i
mmedi at
elyconcealedi nahazeofscr ibbles.

 Li
neasSt r
ucture
Linecanbeusedt ogener atethefundamentalforcesinthecomposi tionofan
artwork.In RobertDelaunay'simageoft heEiffelTower,onef rom aser iesof
eleven painted during 1909-11 when the t
owerwas t he tal
lestman- made
struct
ureont heplanet
,t hearti
stusest herhy t
hmicl i
nesofi tsstructuret o
suggestitsst agger
ingpowerasi tascendsint
otheskies.Thecont rast
ingcurv es
oft hecloudsdoubl eupasbi ll
owingdustast hiscolossalconstruct
ionbur sts
throughthemuni ci
palbuil
dingstobecomet heglobalsymbolofmoder nityatt he

33
 onsetoft
heModer
nistage.

 Li
neasMov ement
Allt helinesi n Hokusai'
swoodcut  sweep witht r
emendousf orce,r i
sing toa
crescendoont hecrestofthe '
GreatWav e'
.Theswel lofeachwav eisr ei
nforced
byt hecont ourli
nesthatdescribethedensityofitswal l
,whil
et hebr eakingsurf
clawst heai rtomai ntai
nitsseismi cenergy.Thepoweroft hismov ementi s
furtherampl if
iedbyt hehelplessboats,castadr iftont hemer ci
l
esssea.To
heightent hedr ama,Hokusaifreezestheactionjustatthecri
ti
cal pointwher ethe
'
Gr eatWav e'breaks,
threat
eningtoengulfthedistantpeakofMountFuj i.

 Li
neasEmot
ion
Picasso's'Weepi
ngWoman'  
wasthel astofninepainti
ngsandt wentyseven
drawings on the t
ragict heme t
hatwas dev eloped f
rom '
Guerni
ca'
,hisvast
monochr omaticmast er
piece ofthe same year.Itsymboli
zed the gr
iefand
sufferi
ngoftheinnocentv i
cti
msofGuer ni
ca,
theBasquet ownthatwasbombed
byt he 
GermanLuf t
waf f
e andtheItal
i
anFascist 
Av i
azi
oneLegionar
iai
nsupport
ofGener al
Francoduri
ngt heSpani
shCi vi
lWar.

2. Shape
 Shape  canbenat uralorman- made,r egularori rr
egul ar,fl
at( 2-dimensi onal)orsol i
d
(3-
dimensi onal )
,representat ionalorabst ract,geomet ricoror gani c,transpar entor
opaque, posi tiveornegat ive, decorati
v eorsy mbol i
c, colored,pat t
ernedort extured.
 Thecont our ,anat omyandconf i
gurationofobj ectsf ormedi nt hespacedescr i
be
shape.Most l
ycommonl yusedshapesar esquar es,r ectanglesandci rcles.Compl ex
geomet ri
c shapes gai n pr omi nence i ni ntr
icate ar tworks,scul ptur es,f r
escoes,
murals,andar chit
ecturaldr awi ngs.Theyi ncludehexagons, polygons, pent agonsand
vari
ousot hert ypesofov er
lappi ngshapes.
 ThePer spect iveofShapes:Theangl esandcur v esofshapesappeart ochange
depending on ourv iewpoi nt.Thet echni queweuset o descr i
bet hi schangei s
cal
led perspect i
vedr awing.
 The Behav i
orofShapes:Shapes can be used t o cont r
oly ourf eel i
ngs int he
composi tionofanar twork:
 Squa r
esandRect angl es canpor traystrengthandst abilit
y
 Ci rclesandEl li
pses canr epresentcont inuousmov ement
 Tr iangl es canleadt heey einanupwar dmov ement
 InvertedTr iangles cancr eateasenseofi mbal anceandt ension.

TYPESOFSHAPES
 TwoDimensionalShapes: Mostoftheartweseeistwo-
dimensional
:adrawi
ng,a
pai
nti
ng,apri
ntoraphot ographwhichisusuall
yvi
ewedasaflatsurf
ace.Mostt
wo-
di
mensional
arttr
iestocr eat
etheil
lusi
onofthreedi
mensi
onsbycombi ningt
he
vi
sualel
ementstoagr eaterorl
esserdegree.

34
 Three Dimensi
onalShapes :Ant honyCar o uses indust
rialbeams,bars,pipes,
secti
onsandst eelplat
ewhichhecut s,
bends,welds,bolt
sandoccasional
lypaint
sto
for
mt heshapesf orhisconst r
uctedmet alsculptures.Youcanwal karoundand
between these thr
ee dimensionalabst r
actformst oi nt
eractwit
ht he changi
ng
rel
ati
onshipsoftheirdeli
cat
elybalancedstruct
ures.

 Repr esentat
ionalShapes:At temptt oreproducewhatweseet oagr eaterorl esser
degr ee.Representati
onalarti sthebl ankett erm weuset odescr i
beanyar t work
whoseshapesar edrawnwi thsomedegr eeofv i
sualaccuracy.Real i
sm,howev er,i
s
nott hesoleobjectiv
eofr epresentat
ionalart.Itcanbest yl
i
zedwi thvariouslevel sof
det ail,fr
om asi mplemonochr omeout li
netoaf ull
yrenderedf orm wi t
hcol or,t one,
pat ternandt extur
e.Forexampl e,compar et heexquisit
edet ailof'Stil
lLife:An
Allegor yoft heVanitiesofHumanLi fe'byHar menSt eenwyckt o'TheBl ueFan'by
Franci sCadellatthet opoft hepage.Bot har est i
lll
i
fepainti
ngst hatuseaccur at
e
repr esentati
onalshapesbutt heformerev ol
v esasanout standingst udyoft oneand
text urewhi l
ethelatt
erabstractsanddev elopscol orasamaj orthemeoft hewor k.

 Geometri
cShapes:Wer eori
ginall
yformedmechanical
lyusi
ngarul
erorcompass.
Howevertoday,ev
ent hemostcompl exgeometr
icformscanbeeasi
l
ycreat
edusing
di
git
alimagingsoftware.I
nartt heytendtobeusedt oconveyt
heideaofri
gidi
ty,
st
ruct
ure,patt
ern,
perspect
iveand3di mensi
onalfor
m.

 OrganicShapes: Areusual
lynatural
,i
rregul
arandfreef
ormincharact
er.Youcansee
them inthepatternsofgrowthanddecayi nnat ur
e;intheshapesofseeds,plants,
l
eaves,flowers,frui
t,t
rees,branches;andint heephemeralformsofcl oudsand
water.Theyar ealsoassociat
edwi thanatomicalformssuchashear tandki dney
shapes.

 Decorati
veShapes  :Alldecorativeformsarebasedonei t
herNatureorGeomet ryor
acombi nati
onofbot h.Wi t
hineachoft hesecat egor iesliesahuger angeofst yl
es
thatcrosshi stor
ical,geographi cand cult
uralbor der si ncl
udi
ng Egypti
an,Gr eek,
Roman,Ar abian,Turkish,Persi
an,Islami
c,Indian,Chi nese,Japanese,
 Afr
ican,Asian,
Oceanic, Nat i
ve Amer ican, Celti
c,
Byzanti
ne, 
Got hi
c,
 Renaissance, Bar
oque, 
Rococo, Neocl assici
sm, 
Arts and Cr af
ts,
ArtNouveau, ArtDeco, Modernism andPost-Moder nism ( t
heeclect
iccombi nat
ionof
anyoftheaf orementioned).

 TransparentShapes all
owl i
ghttopasst hroughsot hatyouar
eabletoseewhatli
es
beyondt hem.
 Refl
ect i
veShapes r
eflectli
ghttocr eat
eami rr
orimageofwhati sref
lect
edonthei
r
surface.
 OpaqueShapes  absorblightbutalsoreflectsomeofi tascol
or.Asli
ghtisnotabl
e
topasst hrought
hem, youar eunabletoseet hroughthem.

35
  Perspect
iveofShapes 
ist
hetechni
quethatar
ti
stsusetocal
culat
etheangl
esofa
t
hreedimensi
onalshapewhendrawi
ngitonatwodimensi
onalsurf
ace.

3.COLOR

 TheVi sualEl ementofCol or hast hest rongestef f

ectonouremot i
ons.I ti st he
elementweuset ocreat et hemoodorat mospher eofanar t
wor k.
 Col orisdef i
nedast hev isualandper cept ualpr oper tyofani mage.Theyor iginat e
fr
om t hespect r
um ofl ight .Thei nt ensi ty,st rengt h,pur ity,and dept h ofcol or s
cont r
ibut etot hepur poseandt hef eel oft hepai nt ing.Thebasi ct hingy oumustknow
i
s,howandwher etousedi fferenti nt ensi tiesofcol ors.Dar kshadesl i
kebl ackand
grayar esy mbol i
cofnegat ivit
yandasomber ,ser iousandmel ancholicmood,whi le
brighthuesr eflecthappi nessandopt imi sm.
 Ther ear ethreepr oper ti
est ocol or .Thef irsti shue,whi chsi mpl ymeanst hename
wegi vet oacol or( red,y ell
ow,bl ue,gr een,et c.).Thesecondpr oper tyisi ntensi t
y,
whi chr eferst ot hev i
v i
dnessoft hecol or .Acol or 'si ntensi tyi ssomet imesr eferredt o
asi ts"col orfulness",i ts" sat uration" ,its" pur i
ty "ori ts" str engt h”.Thet hi
rdandf i
nal
proper tyofcol orisitsv alue, meani nghowl i
ghtordar ki ti s.[4]Thet ermsshadeand
ti
ntr efert ov aluechangesi ncol or s.I npai nt i
ng,shadesar ecr eatedbyaddi ngbl ack
toacol or,whi l
et i
ntsar ecr eatedbyaddi ngwhi tet oacol or .
 Col ortheor yissi mplified,i tcanbebr okendowni nto3par ts-Thecol orwheel ,col or
value,and col orschemes.Each par tofcol ort heor y bui l
ds on t he pr evious.
Under st andingeachsect i
onofcol ort heor yf ully,wi l
lhel py oubet terunder standi ts
i
mpor tancei nt hecr eat ionofar t.
o Col orTheor yPar t1-TheCol orWheel
 Thecol orwheelwasdev el opedbySi rIsaacNewt onbyt akingt he
colorspect rum andbendi ngi ti ntoaci r
cl e.I fy ouf oll
ow ar oundt he
colorwheel ,y ouwi l
lf indt hesameor deroft hecol orspect rum-r ed,
orange,y ellow,gr een,bl ue,i ndi go ( blue- violet),and v i
olet.Some
rememberi tbyt heacr ony m ROYG.BI V.
 Thecol orwheel ismadeupoft hr eedi fferentt ypesofcol ors-Pr imar y
,
Secondar y ,andTer tiary .
 Thepr imar ycol orsar er ed,y ellow,andbl ue.Theyar ecal led
primar yf oracoupl eofr easons.Fi rst,not wocol orscanbe
mi xedt ocr eat eapr i
mar ycol or.Inot herwor ds, pri
mar ycol or s
can onl ybecr eat ed t hrough t heuseofnat uralpi gment s.
Secondl y ,al lot hercol or sf oundont hecol orwheelcanbe
creat edbymi xingpr imar ycol orst oget her .
 Thesecondar ycol or sar eor ange, gr een, andpur ple.Secondar y
color sar ecr eat edbymi xi ngequalpar t
sofanyt wopr i
mar y
color s.Yel low andbl uewi llgi vey ougr een.Redandbl uewi l
l
creat epur ple( v i
ol et).Redandy ell
owwi l
l gi
vey ouor ange.
 Ter tiary col ors ar e cr eat ed by mi xing equalpar ts ofa
secondar ycol orandapr imar ycol ort ogether .Therear esi x

36
 terti
arycolor
s-red-purpl
e,red-
orange,bl
ue-
green,
yell
ow-green,
blue-pur
ple,andy ell
ow-orange.Noticet
hattheproperwayt o
refertoterti
arycolorsisbyl i
sti
ngt hepri
marycolorfi
rstand
thesecondar ycolor,
second.

o Col
orTheoryPart2-Col orValues
 Thesecondpar tofcolortheorydealswi t
hcolorvalues.Val
uei
st he
darknessorlightnessofacol or.Whendeal i
ngwi t
hpur ecol
or(hue)
,
val
uecanbeaf fectedbyaddi ngwhi t
eorbl ackt oacol or
.Adding
whitetoacolorpr oducesatin
 Addi ngblacktoacol orproducesashade
 When gr aysareadded t othecol or
,t heintensi
tyoft hecol
ori s
aff
ected.Int
ensityisrel
atedtovalue.

o Col
orTheoryPar t3-Col orSchemes
 Col orschemesar eway scol or
sar eputt ogetheri
nani ntell
igentway
 Monochr omat i
c-l i
terall
ymeansone( mono)col or( chroma) .Soa
monochr omat i
ccol orschemei smadeupofonecol orandi tsshades
andt ints.
 Anal ogouscol ors-ar ecol orst hatar enextt oeachot heront hecolor
wheel .When used as a col orscheme,anal ogous col ors can be
dramat i
c.Ex.Bl ue,blue-gr een,gr een,andy ell
ow-green; red,red-purple,
purple, blue- purple
 Compl ement arycolors-ar ecol orsfounddi r
ectl
yacr ossf rom each
otheron t he colorwheel .Compl ement arycolorscheme pr ov
ide
strongcont rast.Ex.Bl ueandor ange,redandgr een,y ell
ow- greenand
red-pur ple.
 Col ort riads-consi stoft hreecol orsfoundont hecol orwheelt hatare
equal lyspacedapar tf rom eachot her.Ex.Red,bl ueandy el
low or
orange, greenandpur ple.
 Spl itcompl ement ary-col orschemesar emadeupofacol orandi ts
compl ement scl osestanal ogouscol ors.ExBl ue,y ellow-orangeand
red-orange.Red- orange, red-purpl e,
green.
 War m col ors-col orsthatar eusual l
yassoci atedwithwar mt hings.Ex.
Red, yellow, orange.
 Coolcol or s-col orst hatar eusual lyassociatedwi t
hcoolt hings.Ex.
Blue, pur ple,green

Ther
earemanydif
ferentappr
oachest
otheuseofcol
ori
nar
t:
 Col
orasli
ght
 Col
orastone
 Col
oraspattern
 Col
orasform
 Col
orassymbol

37
  Col
orasmov ement
 Col
orasharmony
 Col
orascontrast
 Col
orasmood

EXAMPLESOFTHEUSEOFCOLORI
NART

 Col
orasFor m
Tocr eatethei l
lusi
onoff ormi napai nt
ing,ar ti
stst r
aditi
onallyaddedl i
ghterand
darkerpigment st othemai ncolorofanobj ectinor dert orendert henatural
ist
ic
eff
ectsofl ightandshade.Themai ndi sadv antageoft hi
st echniquewast hat
muchoft hei ntensit
yoft heor i
ginalcolorwassacr i
ficedwheni twasbl ended
with highli
ght s and shadows.  
The Impr essionist
s had i ntroduced a mor e
scienti
fi
cappr oacht ot
heanal ysisofcol ort ot r
yt osol v
et hisproblem while
some oft he PostI mpressionists 
had begun t o use col orst ructur
all
y( Paul
CézanneandGeor gesSeurat)andsy mbol i
cally(Gaugui nandVanGogh) .

 Col
orasHar
mony
Harmonyist
hecompat
ibi
l
ity
,bal
anceorpr
ogr
essi
onofsi
mil
arel
ement
s.

 Col
orasSy mbol
ThisisVanGogh' smast erpiecef r
om t hef irstperi
odofhi swor kbef orehe
mov edt oPar isin1886. 
'
ThePot atoEat ers'
 areapoorDut chpeasantf ami l
y
sitt
ingdownt oshar
ethei
rf rugaleveningmeal .Theyar eagri
cult
urallaborersand
theearthygr eensandbrownst hat
 VanGogh  usest opai
ntthem symbol izet hei
r
closenesst oanddependenceont hel andf ort hei
rsurv
ival
.Therei sauni t
yof
colorandt extur
ebetweent hehandsandf acesoft hepeasantsandt hepot atoes
andcof feetheyareshari
ng.Thedar ksombr et onesofthewor ksympat heticall
y
refl
ecttheirhumbleexi
stenceandt hear t
ist'
srespectforthequietdignityoft hei
r
labor.

 Col
orasMood–Anxi et y
'TheScr eam'byEdv ardMunch  hasent eredthepubl i
cconsci ousnessasan
emblem ofanxi ety.Allitscomponent scombi netoform ani mageofi mpending
doom; i
tisapani cat t
acki nvi
sualel ement s.Thetwomai ncol orsofthepainti
ng
are orange and bl ue,a l ur
id cont r
astf r
om opposite endsoft he spectr
um
guaranteedt of or m at enser elationship.Ananxi ousst ateofagor aphobiais
generatedbyt heext endedper spect i
v eoft hebri
dgeandt hehauntingwav esof
soundt hatechoar oundt hefj
or d.Ast omachchur ninggli
mpseov ertheedgeof
the handr ai
li ni
tiates an at t
ack ofv ert
igo.A deep sense ofi solati
on and
helpl
essnessi sexper iencedbyt hef igurewhoi sholdinghi sheadtoabsor bthe
phobicassaul tfrom t hisenvir
onment ,whi l
ehispathofescapei sbl
ockedbyt he
spectralfiguresatoneend oft hebr i
dgeand t hemy st er
iousbor derwhich
channelst hebur ningcol oroftheskyatt heother.

38
4.FORM
 The t erm  f
or m can mean sev eraldi ff
erentt hings i n art.For
  m is one of the
seven element sofar t
 andconnot esat hree-di
mensi onalobj ecti nspace.A formal
analysis ofawor kofar tdescr i
beshow t heel ement sandpr inciplesofartwork
togetheri ndependentoft heirmeani ngandt hef eelingsort hought st heymayev oke
i
nt hev iewer .Fi
nally
,f
 orm  i
salsousedt odescr ibet hephy sical natureoftheart
wor k,
asinmet al
scul pt
ure,anoi lpaint
ing,etc.​
 Whenusedi nt andem wi t
ht hewor ar
d  t 
asi n ar
tf orm, itcanal someanamedi um of
arti
sti
cexpr essionrecogni zedasf ineartoranunconv enti
onalmedi um donesowel l
,
adroit
ly, orcreativ
elyast oel ev
atei tt
ot helev el
off i
near t.

AnEl
ementofAr
t

 Geomet ricForms:f ormst hatar emat hemat ical,pr ecise,andcanbenamed,asi n

the basi c geomet r
icf orms:spher e,cube,py r
ami d,cone,and cy li
nder. 
A ci rcle
becomesaspher eint hreedi mensi ons,asquar ebecomesacube,andat riangl e
becomesapy rami dorcone.
 Organicf orms: formst hatar ef r
ee-flowi ng,cur v y
, sinewy ,
andar enotsy mmet rical or
easil
ymeasur abl eornamed.Theymostof tenoccuri nnat ure,asi nt heshapesof
fl
ower s,br anches,l eav es,puddl es,cl ouds,ani mal s,t hehumanf i
gur e,etc.
,butcan
alsobef oundi nt hebol dandf ancifulbui ldingsoft heSpani shar chi
tect Antoni
Gaudi (1852t o1926)aswel lasinmanyscul pt ures.
 Form i nScul pt ur e:f orm i smostcl osel yt iedt o scul ptur e,sincei tisat hree-
dimensi onalar tandhast radi ti
onallyconsi stedal mostpr i
mar i
lyoff or m,withcol or
andt ext urebei ngsubor dinat e.Thr ee-di mensi onalf ormscanbeseenf rom mor e
thanonesi de.Tr aditionallyf or mscoul dbev iewedf rom al lsides, cal
ledscul pture in-
the-
round,ori n  reli
ef,thosei nwhi cht hescul ptedel ement sr emai nat t
achedt oa
soli
d backgr ound, i ncludi ng  bas-reli
ef ,
 haut -
relief, and  sunken- rel
ief. Historically
sculptureswer emadei nt hel ikenessofsomeone, tohonoraher oorgod.
 Form i n Dr awi ng and Pai nting :i n dr awi ng and pai nting,t he i l
l
usi on oft hree-
dimensi onalf or mi sconv eyedt hrought heuseofl ighti
ngandshadows,andt he
renderingofv al ueandt one.Shapei sdef inedbyt heout ercont ourofanobj ect,
whichi showwef ir
stper cei vei tandbegi nt omakesenseofi t,butl i
ght,value,and
shadowhel ptogi v
eanobj ectf orm andcont exti nspacesot hatwecanf ull
yident ify
i
t.

5.VALUE
 Val uei sabasi cel ementofar tthatreferstot hegr adualchangeofl ightnessor
dar knessofacol or.Iti
scr eatedwhen alightsource shinesuponanobj ectcreat i
ng
highlights, f
orm shadows  andcastshadows.
 Val ue ismostev i
dent  
ont hegr ayscalewher ebl acki sr epr
esentedas lowestor
dar kest andwhi teisr epr
esent edas thehighestorl ightestvalue.
 Ormor esimpl y
said,t heyar ethev ari
ousshadesofgr eybet weenwhi teandbl ack.Arti
stsust hem
tocr eate hi
ghli
ght sandshadows( shading)inobj ects andcr eat
edept hi nt heir
paint i
ngsordr awi ngs.
 Col ors canhav e valuetoo.I npaint
ing,valuechangescanbeachi evedbyaddi ng
ei
t herbl ackorwhi t
et othechosencol or
.Somecol ors,likeyell
owandor ange, 
are

39
 nat
ural
l
yli
ghti
nval
ue.

6.SPACE
 Spa ceisoneoft he basicel ementsofar t.I
trefer
st o t
he di
stancebetweenorthe
areaaround andwi thi
n shapes,f or
ms,col orsandl i
nes.Spacecanbeposi ti
veor
negat
ive.
 I
tincludest hebackgr ound,f or
egroundandmi ddleground.Bothposit
ive
andnegativespacecanpl ay  
importantrol
esintheov eral
lsuccessof aworkofart.
Byunderstandingthedifferencebetweent hetwo,youwi l
l:
1. Becomebet t
erat designing 
unifi
edcompositi
ons.
2. Bemor esuccessf ul i
nv i
sual
ly communicati
ng yourstor
y.
3. Gainimportantcluesaboutt hemeani ngofanar tpiece.

 Ther
ear
etwot
ypesofspacet
hatexi
stwi
thi
nar
t 
—posi
ti
ve 
spaceandnegat
ive
space.
 Pos i
ti
v eSpace:Posi t
ivespace  i
st heareaorpar tof 
thecomposi t
ionthatan
objectorsubjectoccupi es.Iti
susual l
ythemai nfocusoft hepainti
ng,such
asav aseoff lowers,frui
t,orcandle inastil
ll i
fe,aperson’sfaceinapor t
rai
t,
oranani mal i
nawi ldli
fepainting,
 orabui l
ding, t
reesandhi l
l
si nalandscape.
When used ski l
lf
ull
y,posi ti
ve space  wil
l
 add i nter
estby enhanci ng and
balancing t
henegativespacei na composi ti
on.
 Negat iveSpace: Negat iv
espacei st hat 
empt yoropenspacet hatsurr
ounds
anobj ect.I
thelpstodef i
netheobj ect,gi
vesi tsomebr eathi
ngr oom to
preventthepainti
ngf r
om bei ngtoocr owdedandhasahugei mpactonhow
theartpiece i
sperceived.

7.TEXTURE
 Te xt
urei soneof  sevenel ement sofart.Iti susedt odescr i
bet hewayat hr
ee-
dimensi onalworkact uall
yf eelswhent ouched.I nt wo-dimensi onalwor k,suchas
painti
ng, i
tmayr ef
ertot he 
v i
sual "
feel
"ofapi ece.
 Ati t
smostbasi c,textureisdef i
nedasat actil
equal it
yofanobj ect'
ssur f
ace.It
appeal stooursenseoft ouch,whi chcanev okef eeli
ngsofpl easure,di
scomf ort
,or
famili
arity.Ar
ti
stsuset hisknowl edgetoel
icitemot ionalresponsesf rom peoplewho
viewt heirwork.Ther easonsf ordoingsov arygr eatl
y,butt extureisaf undamental
elementi nmanypi ecesofar t.

 Textur
ei nThree-
Di mensionalArt
Three-di
mensi onalartwork r
eli
eson text
ureand y ou cannotf i
nd a pi
eceof
sculptur
eorpot t
erythatdoesnotincl
udei t
.Fundament all
y,themater
ial
sused
giv
eapi eceofar tt
exture.Thatmaybe marble,bronze,
 
cl ay,metal
,orwood,but
thi
sset sthefoundati
onf ortheworkf
eelsifi
twer etouched.

 TextureinTwo-
DimensionalArt
Arti
stsworki
ngi nat wo-dimensi
onal 
medium al
soworkwithtext
ureandthe
textur
emayeitherberealorimpli
ed.Phot
ographer
s,f
ori
nst
ance,al
mostal
ways

40
 wor kwi t
ht her eal
it
yoft ext
ur ewhencr eatingart
.Yet ,theycanenhanceor
downpl aythatthroughthemani pul
ati
onofl ightandangle.Inpainti
ng,drawi
ng,
and pr intmaking, an arti
st often implies text
ure t hrough the use of
brushstrokes l
i
nesasseeni ncr osshat
ching.Whenwor kingwi t
ht he 
impast
o
painti
ngt echni
que orwi
thcollage,t
hetext
urecanbev er
yr ealanddynamic.

Medi
umsOfVi
sual
Art
s

1.Pai
nti
ng

 Iti s t he expressi on of i deas and emot i

ons, wi th t he cr eati
on of
certain 
aesthet
ic 
qual i
ti
es,inat wo- dimensi onalv i
sual language.Theel ement sof
thislanguage—itsshapes,l i
nes,col or
s,t ones,andt extur es—areusedi nv ari
ous
way st oproducesensat i
onsofv olume,space,mov ement ,andl ightonaf lat
surface.Theseel ement sar ecombi ned i nto expr essi v
epat ternsi n or
dert o
representrealorsuper naturalphenomena,t ointerpretanar r
at iv
et heme,ort o
createwhol l
yabstractv i
sualr el
ati
onshi ps.Anar ti
st’
sdeci siontouseapar ti
cular
medi um,such as  temper a, f
resco, oil
,
 acry l
ic,
 watercol or orot herwat er
-based
paints, 
i
nk, 
gouache, encaustic,or casein,aswel last hechoi ceofapar ti
cular
form,such as  mur al,easel ,panel ,mi niature, 
manuscr i
pti l
lumi nati
on,scr oll
,
screenorf an, 
panorama,oranyofav arietyofmoder nf orms,i sbasedont he
sensuousqual iti
esand t heexpr essivepossi bil
it
iesand l i
mi tati
onsoft hose
options.Thechoi cesoft hemedi um andt hef orm,aswel last hear t
ist
’sown
technique,combinet orealizeauni quev isual image.

Di
ff
erentMedi
umsUsedi
nPai
nti
ng

a)OIL
Inoilpai
nti
ngs,thepigment
saremi xedinoil
.Thesurfaceusedusual
l
ycanvas
alt
houghothersurf
acesmaybeused.Pi gment
smixedwi t
hoilpr
ovi
deamedium
thatgi
vesr
ichnessi
ntheopaci
tyofl
i
ghtanddepthofshadow.

b)TEMPERA
Thi
si sami xtur
eofgroundpigmentsandanal umi
nousorcoll
oidalvehi
cle(egg,gum
orglue),usedbyEgypti
an,Mediev
alandRenaissancepai
nter
s.Itisusual
lydoneona
wooden panel ,itdr
ieseasil
yand hast hreepr i
nci
paldimensionswhi ch isthe;
Unvarnishedorgouache-li
ketempera,Varnishedtempera,Temper aasanunder
pai
nting.

c) WATERCOLOR
Requir
eahighdegr
eeoftechni
caldext
eri
ty.Thepi
gment
sar
emi
xedwi
thwat
erand
appl
iedtof
ine,
whit
epaper.

d)PASTEL
Past
elcol
orpossessesonl
ysurf
acesofli
ght
,gi
vesnogl
azedef
fectandmost
cl
osel
yresembl
esdr ypi
gment
.Thepigmenti
sboundastofr
om acrayon/
cis

41
 appl
i
eddi
rect
lyt
othesur
face,
usual
l
yapaper
.Iti
sav
eryf
lexi
blemedi
um.

e) FRESCO
Themostpopulartypeofpai
nti
ng.Thecolor
sar emixedw/waterandappl
iedto
fr
eshplast
erw/cabsorbst
hecolor
.Thewor d“f
resco”meansf
reshandisusedto
desi
gnatetheprocessofpai
nti
nginfreshwetplaster
.Iti
salsoav er
yexacti
ng
medium.

f
) ACRYLIC
Thesearesynthet
icpaint
susingacr y
licemulsi
onasbi nder
.Theycombi nethe
tr
anspar
encyandquick-
dry
ingqual
i
ficat
ionsofwater
col
orandaref
lexi
bleasoil
.

2.SCULPTURE
 Itisanar t
isti
cformi nwhi chhar dorplasticmateri
alsar
ewor kedi ntothr
ee-
dimensionalar tobj
ects.Thedesi gnsmaybeembodi edinfr
eestandingobjects,
inreli
efsonsur f
aces,orin 
env i
ronments 
rangingfr
om tabl
eauxto context
s t
hat
envelopt hespectat
or.Anenor mousv ar
ietyofmediamaybeused, incl
uding 
clay,
wax,st one, 
metal,fabri
c, 
glass, 
wood,
 plaster
,rubber,and random “ f
ound”
objects.Mat er
ial
smaybecar ved,modeled,molded,cast
,wr
ought,welded,sewn,
assembl ed,orotherwi
seshapedandcombi ned.

3.PRI
NTMAKI NG
 Thi sinvolvescreati
ngimagesfrom i
nkt hatistr
ansferr
edtopaperfr
om another
material,eit
herwoodenbl ockormet alplatethatareetchedorcarvedwi th
designsi nthereverseposi
ti
on.Thisissowheni nkisappli
edoverthesurf
ace
andt hismol di
spr essedoverpaper,animagei sprint
edout.Pri
ntshavebeen
producedi n4diff
erentways:

 Rel
iefpr
int
ing(
woodcut)
. 
Thei
nksi
tsont
het
opsur
faceofapl
ateor
bl
ockthathasbeencar
ved.

 I
ntagl
i
opr
int
ing(
etchi
ngandengr
avi
ng)
.Thei
nksi
tsi
nthegr
oov
es.

 Planogr
aphicpr
int
ing(
li
thography)
. 
Thematr
ixi
sfl
at,andt
hepr
int
ing
partist
reat
edtoholdi
nk,theotherpar
ts,
tor
epeli
t.

 Stenci
lpri
nti
ng(si
l
kscr
een)
. 
Ther
eisahol
ecuti
nthemat
ri
xandt
hei
nki
s
pushedthroughi
t.

4.PHOTOGRAPHY
 Phot ography(fr
om theGr eek'phos'whichmeansl i
ghtand' graphis' whichmeans
representati
on by dr awing)ist he pr ocess ofcr eat
ing pi ct
ur es usi ng l
i
ght
projectedonal ight-
sensiti
vemedi um ( thephotographicf il
m) .Iti st heartof
recordinglightonasensi ti
vemat erialcal l
edfi
l
m madef rom t hin,transparent
basecoat edwi t
hl i
ghtsensiti
vechemi cals.
 Thea r
tinphotographydoesnotsol elyr esideonthecamer a, butont heskil
lsand
techniquesofphot ogr apherincontroll
ingt het
ool.Someoft hebasi cconcept s

42
 t
hataphotographerneedst ocont rol:
 Focus.  
Theadj ustmenttopl acet heshar pestfocuswher ei
tisdesi
redon
thesubject .
 Exposur e. 
Theamountofl i
ghtt hatreachesthef ilm.
 Aper ture. 
Theaperture(ordi aphragm)i sli
ket heirisofoureyesthat
contr
olst heamountofl ightpassi ngthrought hel ens.
 Shut t
erspeed.  I
tcontr
olst het i
medur i
ngwhi cht hei mageiscapt
ured.
Theshut t
erist
hemechani caldev i
ceinacamer at hatcont
rol
sthe
amountoft imeli
ghtisallowedt oexposet hef i
l
m.

5.ARCHI
TECTURE
 Architect ureisanar tformt hatr eflectshow wepr esentour selvesacr osst he
earth’sl andscape,and,l ikeot herexpr essivemedi ums,i tchangeswi t
hst y l
es,
technol ogiesandcul turaladaptati
ons.
 From t he Lat i
n wor d ar
chitectur
a,t he wor d we use descr ibes the j
ob ofan
architect.The anci ent Gr eek ar
khi tekt on was the chi ef bui lder or mast er
techni ci
anofal lcr aft
smenandar t
isans.  
 Dependi ngont hecont ext,thewor d" ar chi
tectur
e"canr efert oanyman- made
buildingorst ruct ur e,l
ikeat owerormonument ;aman- madebui ldingorst r
uct ure
thatisi mpor tant ,large,orhi ghlycreat ive;acar ef
ull
ydesi gnedobj ect,suchasa
chai r
, aspoon, orat eaket tl
e;adesi gnf oral ar
gear easuchasaci t
y ,
town, par k,
orl andscapedgar dens;t hear torsci enceofdesi gningandbui ldi
ngbui ldings,
structures,obj ect s,andout doorspaces;abui l
dingst yle,method,orpr ocess;a
planf oror ganizingspace; el
egantengi neer i
ngandet c.

TYPESOFCONSTRUCTI
ON

 POSTANDLI NTEL-consi
stoft
wov
ert
icalpost
sforsuppor
t(post
)andhor
izont
al
one(
li
ntel
).

 ARCH-isanarchit
ectur
alfor
msbuiltofpi
ecesofwoodcal
ledv oussoi
rswit
hjoi
nts
bet
weenthem andarearr
angedinsemi-
cir
cle.Domei
sanextensionofthear
ch.I
tis
al
sodominanti
nRomanAr chit
ect
ure.

 DOME-r oofr
esembli
nganinv
ertedcuporhemispher
e,f
ormedbyr
oundar
chesor
vaul
tsr
isi
ngfr
om aroundormanysidedbase.

 CANTILEVER-anyst
ruct
uralpar
tpr
oject
inghor
izont
all
yandanchor
edatoneend
onl
y.

 COLUMN OR PILLAR -a rel

ati
vel
yslenderstr
uctur
alelement
,typi
cal
l
yci
rcul
ar,
squar
eorpol
ygonali
nplant
hatbearst
heweightofstr
uct
ureabove.

 DOORWAY-openi
ngi
nawal
l
,ty
pical
l
yrect
angul
ar,pr
ovi
dingmeansofaccess,

43
 usual
l
ywi
thagat
eordoort
opr
ovi
desecur
it
yandweat
herpr
otect
ion.

 TRUSS-ast ructur
espanninginthesamewayasbeam butusi
ngmat
eri
alsmor
e
ef
fi
cient
lybyusingtri
angul
ati
ontocreat
ear
igi
dst
ruct
ure.

 VAULTS-acurvedmasonryst
ruct
urespanni
ngi
nthesamewayasanar
ch,
for
ming
ei
therar
ooforsuppor
tforafl
oorabov
e.

 WALL-ali
nearst
ruct
ureencl
osi
ngt
heex
ter
iorofanar
eaorbui
l
dingorsubdi
vi
ding
ani
nter
nal
space.

 WI
NDOW -anopeni
ngi
nawal
l
,ty
pical
l
yrect
angul
ar,
prov
idi
ngl
i
ghtandv
ent
il
ati
on.

Desi
gnandPri
nci
plesof
Composi
ti
on LESSON19

COMPOSI TION
Term usedtodescri
bethearrangementoft hev i
sualel
ementsinapaintingorotherart
work.I
t
i
show t he 
elementsofartanddesign—line,shape,color
,val
ue,text
ure,for
m,andspace—ar e
organi
zed orcomposed accor di
ng tot he pr
inci
ples ofartand design—balance,contr
ast,
emphasis,movement,pat
ter
n, r
hythm,uni
t y
/vari
ety—andotherel
ementsofcomposi ti
on,
 togi
ve
thepaint
ingstr
uctur
eandconv eythei
ntentofthear t
ist
.

Bal
anceisanevenuseofelement
sthr
oughoutawor kofar
t.Iti
stheconsi
der
ati
onofv
isual
wei
ghtandimpor
tance.I
tisawayt
ocomparether
ightandl
eftsi
deofacomposi
ti
on.
1.Formal Balance
Bothsi desar esi mi l
ari nv isualwei ghtand al mostmi rr
ored.Becausesy mmet r
ical
balanceof t
enl ooksmor est if
fandf ormal ,
somet i
mesi tiscal l
ed formal balance.
2.Asy mmet r
icalBalance
Bothsidesar esi mil
ari nv i
sualwei ghtbutnotmi r
rored.Itismor ecasual ,dynamic,and
rel
axedf eeli
ngsoi tisof tencal led 
informal balance.
3.RadialBalance
Isnotv erycommoni nar tist'
scomposi t
ions,buti tislikeadai syorsunf lowerwi t
h
everyt
hing ar r
anged ar ound acent er.Rosewi ndowsofcat hedralsuset hisdesign
system.
 Sy mmet r
yisav eryf ormal t
ypeofbal anceconsi st
ingofami rr
oringofpor ti
onsof
ani mage.Bi lateralsy mmet ry,thatis, t
wo-sidedsy mmet r
y,isthemostcommon,
inwhi cht wohal vesofawor kofar tmi r
roreachot her.Thesy mmet r
ygivesthe
paintingnotonl yasenseofbal ance,butal soasenseofcal m,st abil
it
y,and
formal i
ty.
 Emphasi sconsi stsofdr awi
ngat tentiontooneormor epoi ntsinawor k.Thiscan
beaccompl ishedt hroughanyoft hev isualelements.Say" CenterofI nter
est.
"Iti
s

44
 aboutdomi nanceandi nf l
uence.Mostar tist sputi tabi tof fcent erandbal ancei t
wi t
hsomemi nort hemest omai ntainouri nt er est.Somear t i
stsav oi demphasi s
onpur pose.Theywantal lpar tsoft hewor kt obeequal l
yint erest i
ng.
 Mov ementr efer st oasenseofmot ionast heey eisgui dedt hroughawor kofar t.
Thi scanbeaccompl ishedbyshowi ngf i
gur esi nmot i
on,orsi mpl yt hr ought he
visual element s.
 Propor tionr ef erst ot her elationshi pofpar t
sofabodyorf ormt ooneanot her
andoft hepar tst ot hewhol e,f orexampl e,t hesi zeoft heheadofaf i
gur ein
relat i
ont ot heent irebody .
 Scal ei st her el ationshi pofpar tsofani maget othei mageasawhol e,ort o
somet hingi nt hewor ldout sideoft hei mage, forexampl e,thesi zeoft hef igureof
aki ngi nani mageascompar edt ot hesi zeoft hef igureofhi sser v anti nt he
samei mage,ort hesi zeofast atueoft heki ngascompar edt ot hesi zeofan
act ual per son.  
 Repet iti
oncanbel essst ruct uredt hanpat ter n,whi chi smor er egul ar .Thel arge
base ofa Mi ng Dy nast y Chi nese Br onze st atue ofVai r
ochana Buddha i s
composedofl iterallyt housandsoft inywhi cht her eforeseem t oser v et osuppor t
Buddha f igur at ively ,as wel las v i
sual ly .Thei rr epetition i sv eryr egular,
est abl i
shi ngacl earpat tern.Thi si sal sot hecasei nt heBuddhi stmandal af r
om
the9t hcent ur y.Thepat t erni nbot hcasesemphasi zest heuni t yofpur pose
shar edbyt heset housandsoff i
gur es,eachanembodi mentoft hei dealof
compassi on.
 Rhy t hm i st he v isualt empo setbyr epeat ing el ement si na wor k ofar tor
archi tect ure.Thear chesandcol umnsoft he  Gr eatMosqueofCor doba  prov i
dea
goodexampl e.Theyar espacedv eryev enl y,set ti
ngupanev ent onet ot he
buildi ng.Thi si st henenl i
v enedbyt her hy thm cr eatedbyt hest ri
pedpat ternon
thear ches.
 Var ietyi st heuseofdi fferentv i
sual el ement st hroughoutawor k, wher easuni t
yis
af eel ingt hatal lt hepar tsofawor kf i
tt oget herwel l
.Thesedonothav et obe
opposi tes, asawor kf ill
edwi t
hv ari
et ymi ghtal sohav euni ty.
 Uni tyi nacomposi ti
oni sachi ev edwhenal loft hedesi gnpr inci ples( balance,
emphasi s,pr opor tion,cont rastandmov ement )hav ebeencor rect l
yappl iedand
ther ei shar monybet weent hem.Ev er y
thi ngsel ectedf orusei nacomposi ti
on
mustcompl ementt hekeyt hemeandmustal soser vesomef unct ionalpur pose
wi t
hi nt hedesi gn.Achi ev i
nguni tyi ny ourcomposi t
ionswi l
lonl yr esul tf r
om
pract i
cing,knowi ngandsel ectingt her ightv isualel ement sandusi ngt hebest
princi plesofdesi gnt or el at et hem.
 Opposi t
ionbasi callymeansdi vidingspacewi thst raightlines.I t’sasi mpl epl ace
tost art,wi tht hei ntent iont hatt her eadercanbegi nt ogetaf eel ingf or‘ fi
ne
relat i
ons’ –har monyandbeaut y–wi thoutdi st ractions.

45
 Appl
icat
ionofTechnol
ogyt
o
t
hePr oduct
ionofAr
t
LESSON20
TheRi
seofTechnol
ogyi
nAr
t–byThomasEv
ans

Since the earl

iestcave paint
ings,t he hist
ory ofarthas ev olved i
nt andem wi t
h
t
h
dev elopment si ntechnology.I
nt he15   centur
y,JanVanEy ckexper i
ment edwithoil
-based
pigment s,usheri
nginanewer aofpainting.Thei ntr
oducti
onofphot ographyattheendoft he
t
h
19   centurychangedhow ar ti
stsseet hewor l
df or
ever.Morer ecent
ly,AndyWar hol’
smost
famouswor ksusedscr een-
pri
nti
ng,ani nnovati
venew technologyborrowedf r
om thegr aphi
c
arts.

Today ,technologyismov i
ngatamuchf asterpacet haneverbef
oreandart
ist
shav ea
huger angeofcont empor ar
ymedi aand techniquest o choosef r
om.From 3D print
ing t
o
i
nteracti
veinstall
ati
onst oconducti
vepai
nt,
arti
stshav efoundmy ri
adnewway stoconnectwit
h
thetechnologicall
ydev el
opedworldweli
vein.Wewant edt osharesomeofthemostcommon
technol
ogiest hatart
istisuti
l
izi
ngtodaytogiveagoodper specti
veontheri
seoftechnologyi
n
art.

3DPRI
NTEDART
 3Dpr int
ingor“ addit
ivemanuf act
ur i
ng”technologyhasbeeni ndev el
opmentf orsev er al
decadesnow, butitwasi ntheear ly2000st hat3Dpr i
nti
ngexpl odedintot hepubli
cv iew,
withthemedi areporti
ngont hetechnique’spot ent
iali
nt hef i
eldsofscience,medi cine,
andmanuf acturi
ng.In2005,agr owingt r
endf orincorporati
ng3Dpr i
ntingintoartand
designwasf i
rstnoted,andt histechnologyhasbecomei ncreasingl
yprevalenti
nar t.3D
pri
ntingallowsar t
iststocreat ehighlydetail
edandi nfi
nitelymani pul
ablemodel s,whi ch
canbepr esentedasar tworksi ntheirownr i
ghtorwhi chcanbeusedasscal emodel s
foral ar
gerpiece.
 
INTERACTI VEART
 Interactiveartandi nst al l
ati
onar thav ebeenaroundsincet he1950s, butrecentl
ydi gital
dev elopment shaveal lowedar ti
stst ocreatecompl et
elyi mmer siveexperiences,whi ch
thev iewercani nt
eractwi thonanumberofl evel
s.
 One pi oneer of di gital inst
allati
on ar t was Raf ael Lozano- Hemmer . Hi s 
2005
piece  Subti
tl
edPubl ic  consistedofadar kenedroom install
edwi thinfra-r
edsur veil
lance
camer as.Thecamer ast r
ackedv isi
torsast heymov ed,andasi ngleverbwaspr ojected
ont oeachv i
ewer’
st or so, foll
owingt hem aroundtheroom.I fonev isit
ortouchedanot her,
theirv erbswouldbeexchanged, encouragingv i
ewerst oengagewi t
heachot heraswel l
aswi ththeartwork.
ONLINEART
 Wi ththepr eval
enceoft heInter
netandourconst antvi
sualconsumpt iononline,i
tmakes
senset hatwe’restar tingt oseear twork,whichonlyexistsont heweb.Muchoft hiswor k
chal l
engest heconv ent ionsoft hear tworldsincewebsi tescanusual l
ybeaccessedby
allandar ediffi
cultt osel lont het radi
ti
onalar tmarket.Internet-
basedar t
workshav e

46
 beenar oundsi ncet he1990swhent he“ net .
ar t
”mov ementt ookof f.Exampl esfrom this
periodinclude OliaLial i
na’s MyBoy fri
endCameBackf rom theWar  (
1996) ,abr owser-
basedar texper i
encei nwhi chanar rativ
eunf oldsast heusercl icksv ariouslinks.
AUGMENTEDREALI TY
 Augment edrealit
ypr ogr amsuseexi sti
ngcamer asandsmar tt echnol ogyt oaddl ayers
ofinf or
mat i
onandi mager ytoauser ’
sv iew oft hewor ld.Augment edr eali
tyof f
ersa
uniquecr ossov erbet weent hephy sicalwor l
di nwhi chwel iveandt hedi git
alwor l
di n
whichwespendmuchofourt i
me.I t’
sbei ngadopt edbymuseumswor ldwideinor der
engagev iewer s(parti
cul arlyyoungerones)wi tht hear tandar t
ifactsondi splay.
NEW FRONTI ERS:VIRTUALREALI TYI NART
 Ri ghtnow, it
’sar t
istswor kingwithvirtualrealitywhoar ereall
ypushi ngt heboundar i
esof
cont emporaryar t.Aut hor i
tati
veartedi tori
alwebsi t
e Ar t
syhasev enar guedt hatvirt
ual
reali
tyis“themostpower fulart
isti
cmedi um ofourt ime” .Most lyachi evedt hroughmul ti
-
sensor yheadset s,v irtualr eali
typl aces t he v ieweri n a compl etelynew si mulated
environment, wher etheycanl ook,li
stenandi nteractwi thav i
rtual versionofr eali
ty.

TheAr
tofSelf
ieand
Groupi
e
LESSON21
Artmov eswiththetimes.500y earsagopai ntingwast hebestwayt ocreat
eanimageof
your sel
f(beingi
nopulentsurroundi
ngsandposi ngasorwi threli
giousfi
gureswasopti
onalbut
highlyrecommended) .We' dcallal
lThomasGai nsboroughpai nti
ngsar t— andmanyofhi s
wor kswer emerelycaptur
ingthemoment /showi
ngpeopl eint heirbestl
ight
.Thenphot
ography
tookov erwithamor ereal
ist
ic,andeventuall
yaff
or dabl
e,representati
on.

Now sel f
ies are whatwe use t o show peopl e wher e we ar e and whatwe' re up t o.
Smartphoneshav emadei tpossi bleforev eryonet obecomeaphot ographerandsomei mages
takenwithphonest heseday sar esuper b— manyphot ogr aphycompet i
ti
onsnow hav ea
smartphonecat egory.Ifar tisaboutexpr ession,not hingismor eexpr essivet hant hehuman
face.
 Sel fi
es,digit
alimageschar acterizedbyt hedesi ret oframet hesel finapi cturet akent o
beshar edwi thanonl i
neaudi ence,ar ei mportantr ef
lect i
onsoft hecont empor arysel f
.
Muchext antpsy chologicalr esear chonsel fieshast akenapat hologizi
ngv iew oft he
phenomenon, focusingoni tsrelationshi ptonar cissi
sm.
 Sel fi
esisconsi derasat ypeofdy nami car tform.Anal y sisidentifi
esar angeofdi f
ferent
typesofmuseum sel fies:ar tint eractions,blendi ngint oar t
,mi rrorsel f
ies,sill
y /
clever
selfi
es,contempl ati
vesel f
ies,andi conicselfies.Consi der edandst udiedi ncont ext,the
museum sel fiephenomenonr ev ealsf armor et hant henar cissi
sm oft hesor tex plored
bypastpsy chologicalr esearch.Theet hnographi cexpl orati
onoft hesel f
ieseesi tas
mor ethanaquestf orat tenti
onbutl essthanagenui nelydest abili
zingsoci alforce.
 Sel fi
et akingi scompl exandmul tidi
mensi onal ,acul turalandsoci alact,acal lfor
connection,anactofmi mi cry,andpar tofpeopl e’sever -i
ncompl etei dentit
ypr ojects.In

47
 theWest ,sel f-port
raitsemer gedasani mpor tantv isualgenr ei nandar oundt he16t h
cent ury,typifiedbypai nterssuchasAl brechtDür erandRembr andt .Thesepai ntersused
self-portrait
ur et oenshr i
net hemsel vesasar tists, aswel last orev ealt hei nnerdept hsof
theirchar act er ”
.
 Car bon( 2017)usesanar thi storyperspect ivet oexpl or ethisar tfulel ementofsel fies.
Hef indst hatsel fi
esai m t o communi cateand expr esscompl ex,mul tidimensi onal
culturalmessagessi mi l
artot hoseofsel f
-por tr
ai t
sf rom t hedomai nofar ti
st icpaint i
ng
hav edonef orcent uri
es( seeSchr oeder,2002, 2013) .
 Selfies“ rev ealsomet hingaboutt hecr eatori npar ticular,butal sosomet hingabout
humansi ngener al”(Car bon, 2017, p.17
 Theext entofsel fi
e-takingi nconsumercul tureaswel lasi tsev ol uti
on.Googl eTr ends
showst hatsel fieasasear cht erm emer gedi nDecember2012.I nstagr am cur rently
features277, 724,072post st hatar etaggedwi tht hehasht ag“ #sel fi
e” .Thatmuseums
play an i mpor tantr olei nf acili
tati
ng sel fie-taking becomes appar entt hr ough t he
extensi ve use oft he sel f
ie subcat egor y hasht ags “ #ar t
selfie”( 36,426 post s on
Instagram)and#museumsel fie(29,139post s).Onapr agmat i
cl ev el,itisappar entint he
so-called “ sel fi
e museums”i n SoutheastAsi at hatpr esentar tobj ects especi ally
selectedf ort heirsuit
abi li
tyassel fi
ebackgr ounds( Nat i
onal post.com, 2015) .
 Selfie-t
aki ngasanaest heticconsumpt i
onexper i
enceandt hesel fasanaest het icobject
comei ntopl ayi nav ari
etyofway sint hesel f
iest akenatmuseums.Fi rst,wef i
nd
evidencef ort he“artaswal l
paper ”selfi
eassuggest edbyGol dsmi thi nBur ness( 2016) .
Inthesesel fies, fr
agment sofar tworkformt hebackgr oundf orclose- upv iewsoft hesel f
.

ACTI
VITY6 Lookatt
Writ
ey
hepict
ur
ouranswer
est
si
henanswert
nt
hespacepr
ov
hequest
i
ded.
ionsbel
ow.

1.Lookatt hefi
rstpictur
e,Doyouseeanyl i
nes?Diditsetamoodt oyou?Whatemot i
ons
di
dt hefir
stfi
gureshows?
nd
2.Lookingatthe2 pi ct
ure,di
dyounoticesomethi
ng?Whati sitanddoyout hi
nkthi
sis
i
mpor tanti
narts?Why ?
3.Number3f i
gureshowsaposi ti
vespace.Whydoy outhinkspacei
simport
antinmaking
anar t
?
4.Whatdi dthefigurenumber4setamood?Howdoy out hi
nkthecol
orsofthispai
nti
ng
addintotheemot ionoftheart
?

48
 MI
DTERM ASSESSMENT
I
. Di
rect
ions:
Answert
heFol
l
owi
ngquest
ions.
:

JudgingAWor kOfAr t
1.Whatmakesanyworkofartgr eat?
2.Whatar
ethestandar
ds/cri
teri
abywhi chthewor ksofartarejudged?
a.Whatar etheunderl
yingpr i
nciplesbehi
ndt hesestandards/cr
it
eri
a?
3.Whogetstodeter
minethev al
ueofar t?Why ?
4.Whogetstoaccessar
tintheexi st
ingpl at
for
ms?Why ?
5.Wemightask:Whyaresomear t
wor ksmor evaluedinthemar ketascomparedt
oot
her
s?
a.Howi sitevenpossibletoexpr esstheequival
enceonlyinmonet ar
yti
me?

I
I. Giv
esspecif
icnames,
places,
dat
es,
andnamesofacti
vit
iesfory
ouranswerasrequi
red.
Thespeci
fi
cplaceofy
ourcommunit
ycover
ingy
ourresearchmustbeclear
lyst
ated.

KnowMYCommuni t
y
Cul
tur
alMappingmakesthelocalcult
ureandhist
orymor evi
sibl
esot
hati
tcanbeut
il
izedi
n
newproduct
iveway
sthatenabl
eustor edi
scov
erandrespectt
hecommuni
tybet
ter
.

Mechani
cs:
1.Tel lme abouty ourcommuni ty( Muni cipali
ty/Provi
nce).Sear ch fort he detail
st o
completebel ow.
A.I dentifyt hef ollowi ng.Pr ov i
depi cturesanddescr ipti
onabouti t.(atleast1-2in
eachcat egor y )
 Founderofcommuni ty
 di ff
er entar tisansandt radesmen( i
.e.shoemaker ,baker ,storeowner ,poli
ce
offi
cer ,bar angayof fi
cials,fi
refighter,photographer,etc.)
 modesoft ranspor tati
on
 museums
 l ibrar i
es; archiv es
 oosorani mal sanctuar i
es
 col l
ect i
onsofmemor abili
a,heirlooms, anti
ques
 chur ches, houses, buildings,out doorstatues,theatersandot heredif
ices
 bui l
tbef ore1900
 bui l
tbet ween1901and1946
 bui l
ty ear2000’ sorr ecent
 desi gnedbyNat i
onal Ar t
ist
 hi storical shrinesandl andmar ks
 out doorscul ptureorot hervisual art
s
 ar ti
st ’
sgr oupsorar tschool s( ball
etacademi es, pi
ano/ dance/ si
ngingschools,
etc.)
 f i
est acommi t
teest hatusest atuesandpr ops
 gr oups t hatper f
or m pasy on,komedy a,panunul uyan orot herf orms of
tr
adi ti
onal l
iterature

49
  scientificinsti
tuti
onsorsoci et
ies(
agri
cul
tur
alnet
wor
k,cl
i
nics,
etc.
)
 tree’
st hatis100y earsoldandabov e.
 fi
elds
 clothingandj ewelry
 furnit
ur eandot herhomeaccessories
 musi cal instr
ument s
 Theol deststill
inexistence

B.Identif
yi fany
thing el
se si
gni
ficantoccur
red inthe communi
ty such as a
signifi
cantbat
tle,speci
alparade,conventi
on,confer
ence,wor
kshops,etc.?
Indicatesomedetai
lsofwhathappenonthatevent
?

C.Whooft hefol
lowingimportantper
sonsli
vedorv isi
tedi nyourcommuni t
y?When
andWhy ?AnyNat i
onalHeroorher oi
ne,personssi gnifi
canttothereform and
rev
oluti
onarymov ements,
Wor ldWarI,Worl
dWarI I
, presi
dents,senat
ors,sai
nts,
i
nternat
ionalr
eli
giousorart
isti
corpoli
ti
calf
igures?

D.Whatar
ethet
hingsi
nyourcommuni
tyt
hatst
il
lrecogni
ti
on?

I
II
. Answert hef ol l
owi ngquest i
ons.
1.I fi
ny ourcul turalmappi ngr esear chandy ou’veal readyv i
sitedamuseum orgal lery,
asky our self: whatwasont heexhi bitandwhatwasy ourexper iencedur ingy ourv isit?
Ifyouwer et oaddanot herobj ecti nt heexhi bi
tt hatwoul dmakei tmor emeani ngf ul
forthemuseum, whatwoul di tbe?Expl ainy ouanswer ?
2.I fyouwer et ocr eateamuseum, whatwoul ditbef ocusedon?Why ?Whowi llbey our
tar
getaudi ence?Descr i
bey ourt ar getaudi enceaccor dingt oage,educat ion,cl ass,
rel
igion,educat i
on,et c.Ar ey out ar get i
ngt hegener alpubl i
corhi ghschoolst udent s
l
ikey our self,ory ourl ocalgov er nmentof fi
cials,ormanyot her st hatwer enot
ment ionedher e?Whodoy out hinkwoul dbenef i
tmostf rom t heknowl edgey our
museum wi ll i
mpar t?Howwi l
lyougoabouti mpar ti
ngt hisknowl edge?
3.I fyouf oundanar torgani zat i
onorcol l
ecti
ve, i
nter vi
ewi tsmember s.Listdownwhat
youwoul dl iket oknowaboutt hem.I nqui r
eaboutt hekindofwor kthatt heydo,and
whyt heyf eel thatt heirwor kasacol lectiveisimpor tant.
4.I fyouwer et ocr eateanar tfestiv aliny ourcommuni t
y,how woul dy ouenv i
sioni t?
Whi chpl aceswoul dy oul i
ket oact ivateasasi t eofexhi bit
ionsandot herr elated
activi
ties?Whatar ey ourconsi derat ionsi nmaki ngy oursel ecti
on?I tcanbei nschool ,
i
nt hemar ketgr ounds,i nahi storichouse,apubl icpar k,amongot hers.Drawamap
ofy ourexhi biti
on- acti
v i
tysi t
es.

50
 PARTVI
I ArtsandMathematics
Lear
ningOut
comes Att
heendoft
hisl
esson,
youshoul
dbeabl
eto:

1.Def
ineaestheti
cfor
mal i
sm;
2.Def
ineart
isti
cpropor
tional
i
sm; and
3.Rel
atet
hest udyofarttomathemati
cs.

Aest
het
icFor
mal
i
sm LESSON22
For
mal i
sm in aest heti
cs has tradi
ti
onal
lybeen taken t
or efert othe vi
ew int he
phil
osophyofartthatthepr opert
iesinvi
rtueofwhichanartworki
sanar t
work—andinvir
tueof
whichitsval
ueisdet ermined—aref ormalinthesenseofbeingaccessiblebydi
rectsensat
ion
(t
ypical
l
ysightorhearing)alone.

Thewor ds“form”and“ f
ormal i
sm,”evenwhenl imi t
edt ot hecont ext
sofaest heti
cand
l
iterar
yt heory,canhav edi f
ferentmeani ngsandr ef ertoost ensibl
yv er ydiffer
entf ormalobj ects.
Specifi
cally,“
formal i
sm”canr ef
ert oanaesthetict heoryaboutei t
herwhatar twor ksdoorwhat
theyoughtt odo.Thef i
rstuseoft hewor d“formal ism”i nanaest heti
csensei sdat edtot he
RussianFor mal i
sts.Givent hewor k,notonlyoftheRussi anFormal ists,butofot herNewCr it
ics,
onecandoubtt hatthatistheear li
estsuchusage, butonecannotdoubtt hatt heconceptdat es,
asdoest hefirstusage,t ot her iseofmoder nism i nt heear lyt wentiethcent ury.From t his
coinci
denceofoccur renceemer gesascausal ,t hreer elatedclaims.Tost ar thisdef ini
ti
onal
argument ,theaut hort urnst oKant 'sfamouscl aimt hataest heti
cappr ehensi onf indsnat ural
objectsbeaut i
fulwheni tper ceiv
est hem ashavingpur posivenesswi thoutpur pose.

 Aesthet i
cTheor yknownasFor mal
i
sm stressesthev isual quali
tyofthear t
work.
 Focusesont heef f
ectiv
ear r
angementsofcolors,size, shapes,lines,andotherel
ement s
ofarts.
 Ofteni nadi stort
edandabst r
actproj
ecti
onandi tdoesnothav etobepr esentedina
reali
sticway .
 Referst ot he style ofcrit
ici
sm thatfocuseson t he artist
icorl i
ter
arytechniques
themsel ves,i
nsepar ati
ontoitswork'
ssocialandhistor icalcontext.
 Consci ouslydetached f r
om ideol
ogicaland cont ext ualcont entsand degrading the
poli
tics.

51
 Har
monyofPr
opor
ti
on LESSON23
Thebasi cpostul
atesofthetheory,whichunitespropor
ti
onsinstat
icsanddynamics,explai
n
theirti
eswiththesoci
alsyst
em f unct
ions.Ver i
fi
cati
onofthetheor
yhasbeencarri
edout .It
s
valueisexplai
nedi ntheconcreteexampl es,notonlyforfor
ecast
ingsoci
alprocessesand
determiningopti
malcorrel
ationsinsociety,butalsofordevel
opmentofthegeneraltheory
ofsy st
ems.

Togetherwithi t
sunder l
yi
ngmat hemati
call
awsofpr oport
ioni tisthesoundofthe
har
monyoft hecreatedbeingoftheuni
verse,
theharmonyofwhatPl atocall
edthe"
onevi
sibl
e
l
ivi
ngbei
ng,contai
ningwithini
tsel
fal
ll
iv
ingbeingsofthesamenatur
al order
".

Pr
oport
ioni
narti
sther
elat
ionshi
poft
woormor eel
ementsinacompositi
onandhow
t
heycompar
etooneanot
herwi
threspectt
osi
ze,
col
or,
quant
it
y,degr
ee,
sett
ing,
etc.
;i.
e.r
ati
o.

Whent hepri
ncipl
eofproport
ionisappli
edt oawor kofar
titi
susual
lyi
ntherel
ati
onshi
p
ofsize.Thatis,t
hesizeofoneel ementascompar edt othesizeofanot
herrel
atedel
ement
wit
hinthesamecomposi ti
on.Inthi
sinst
ance,acompar isonofsi
zeismadebetweenthe:
 Hei ght
,widthanddepthofoneelementt othatofanother
 Si z
eofonear eatothesizeofanotherarea
 Si z
eofoneel ementtothesizeofanotherelement
 Amountofspacebet weentwoormor eel ements

Ther
earesev eral
way sforachievi
nggoodpr opor t
ion:
 Placelikeelementstogetherwhi charesimi larincharacterorhav eacommonf eature.
 Create maj orand mi norar eas i nthe desi gn,as equalpar t
s can qui ckl
ybecome
monot onousandbor ing.Howev er ,t
hedi ff
erencesi nsi zemustnotbesogr eatast o
maket hepartsappearunrelatedandt herefore,outofhar monywi theachot her.
 Arrangementofspaceshoul dbei nsuchawayt hatt
heey edoesnotper ceiveastandar d
mat hematicalrel
ati
onship.Di vi
dingupt hecomposi ti
oni nhal ves,quartersandt hirds
shouldbeav oi
ded.Asubt l
er el
ationshipcreatesamor edy namicdesign.
 Createhar monyi nthear twor k.Har monyi sanagr eementbet weent heshapest hat
stressesthesimilar
it
iesofal lparts.I
notherwor ds,t
heshapeofonepar tshould“ fi
t”the
shapeoft headj oi
ningelement s.Shapesshoul d“fit”pr oper
lyint hei
rposi ti
onsand
spaces.

52
 TheGol
denMeasur
e LESSON24
Thenumberphi ,of
tenknownasthegoldenr at
io,isamathemat i
calconceptthatpeoplehav e
knownaboutsi ncetheti
meoft heancientGr eeks.Iti
sani rr
ati
onalnumberl ikepiande,
meaningt hatitstermsgoonf orev
erafterthedeci malpointwithoutrepeat i
ng.Ov erthe
centur
ies,
agr eatdealofl
orehasbuil
tuparoundphi ,
suchastheideathatitrepresentsperf
ect
beautyorisuniquel
yfoundthr
oughoutnat
ure.Butmuchoft hathasnobasisinr eal
ity
.

Def
ini
ti
onofPhi

Phicanbedefi
nedbytaki
ngast i
ckandbreaki
ngitintotwoport
ions.I
fther at
iobetween
theset woporti
onsi
sthesameast herat
iobetweentheoverall
sti
ckandthelargersegment ,t
he
portionsaresaidt
obei nt
hegoldenrati
o.Thiswasfir
stdescri
bedbytheGr eekmat hematici
an
7Eucl i
d,though he call
ed it"the di
visi
on in ext
reme and mean r ati
o," accor
ding to
mat hemati
cianGeorgeMarkowskyoftheUniver
sit
yofMaine.

Youcanalsot
hinkofphiasanumberthatcanbesquaredbyaddi
ngonetothatnumber
i
tself
,accor
dingt
oanexpl ai
nerf
rom mat
hemati
cianRonKnottattheUni
ver
sit
yofSurr
eyinthe
U.K.So,phi
canbeexpressedthi
sway:

phi
^2=phi
+1

Thi
sr epr
esentati
oncanber earr
angedi nt
oaquadrati
cequationwit
ht wosoluti
ons,(
1+
√5)/2and(1-√5) /
2.Thef i
rstsol
uti
ony i
eldstheposi
ti
vei
rrat
ionalnumber1.6180339887…(the
dotsmeant henumber scont i
nueforever)andt hi
sisgenerall
ywhat '
sknownasphi .The
negati
vesoluti
onis-0.6180339887.
..(noti
cehow thenumbersaf t
erthedecimalpointarethe
same)andissomet imesknownasl it
tl
ephi .

Onef
inal
andr
atherel
egantwayt
orepr
esentphi
isasf
oll
ows:

5^0.
5*0.
5+0.
5 Thi
sisf
iver
aisedt
otheone-
hal
fpower
,ti
mesone-
hal
f,pl
usone-
hal
f.

Doest
hegol
denr
ati
oexi
sti
nnat
ure?

Thoughpeopl ehav eknownaboutphif oralongtime, itgai

nedmuchofi tsnot orietyonly
i
nr ecentcenturi
es.Itali
anRenai ssancemat hematicianLucaPaci oliwroteabookcal led" De
Divi
na Proporti
one"( "
TheDi vi
nePr oporti
on")in 1509 thatdi scussed and popul arized phi ,
accordi
ngt oKnott.PacioliuseddrawingsmadebyLeonar dodaVi ncithatincorporatedphi ,and
i
tispossi blethatdaVi nciwast hefir
sttocal litthe" secti
oaur ea"(Lati
nf ort he" golden
secti
on")
.Itwasn'tuntil
the1800st hatAmer icanmat hemat i
cianMar kBarrusedt heGr eekl ett
er
Φ( phi
)torepresentthisnumber .Asev i
dencedbyt heot hernamesf orthenumber ,suchast he
div
ineproporti
onandgol densecti
on,manywondr ouspr opertieshav ebeenat t
ri
butedt ophi .

53
 Mat
hemati
calSt
ruct
ure
ofMusi
c
LESSON25
Readi
ngNot
esAndFr
act
ions

Musicalpiecesareread much l
ike you wouldread math sy
mbols. The sy mbols
repr
esentsomebi tofinf
ormati
onaboutt hepiece.Musicalpi
ecesaredivi
dedintosections
call
edmeasur esorbar
s.Eachmeasureembodi esanequalamountofti
me.Furthermore,each
measureisdiv i
dedint
oequalport
ionscalledbeats.Theseareallmathemati
caldiv
isi
onsof
ti
me.

Fr
actionsareusedi nmusi ctoindi
catel engthsofnotes.Eachnotehasadi ff
erentshape
toindicat
ei t
sbeatl engthortime.Not esarecl assifi
edintermsofnumber saswel l
.Ther eare
whol enotes( onenot epermeasur e),hal
fnot es( t
wonot espermeasur e),quart
ernot es(f
our
notespermeasur e),ei
ghthnotes(eightnotespermeasur e),andsixt
eenthnot es(si
xteennotes
permeasur e).Thesenumber ssignif
yhowl ongt henoteslast.Thatis,awhol enotewoul dl
ast
throughtheent ir
emeasur ewher easaquar ternot ewouldonl ylast¼oft hemeasur eandt hus
therei s enough time forf ourquar ternotes i n one measur e. Thi s can be expressed
mat hematicall
ysince4x1/ 4=1.Anot ewi
thadotaf teri
tlengthensthenot ebyhalf.

FI
BONACCI

TheFibonaccisequencei
saf amousandwell
-knownsequencethatf
ol l
owsas:1,1,2,3,5,8,13,
21,34,55,89,…andsoon, addi
ngeachter
mtot heonebeforei
ttocreatethenextter
m.Thati s,
5+8=13, 8+13=21, 13+21=34, andcont
inuingi
nfi
nit
ely
.Inmusi c,theFi
bonaccisequence
canbeseeni npianoscal
es.

IntheFibonaccisequence,therati
obet weeneacht ermisv er
ycl oseto0. 618,whi chis
knownast hegoldenr at
io.Musicisev i
dentlymorethanacol l
ect
ionofnot eswhi chcr eat
e
harmony .I
ti saboutr hythm and melody,and thechangi ng ofnotesinr elati
on tot i
me.
Int
eresti
ngl
y,ari
thmet i
candgeomet ri
cpatternscanbefoundi nmusi candi t
scomposi tionsi f
examinedclosely
.Onecanobser vet
hattheoddt er
msoft heFi
bonaccirati
o( t
he1st ,3r
d, 5th…
terms)arealll
esst hanthegoldenrati
o,whil
et heeventermsoft heFibonaccirati
on( t
he2nd,
4th,6th…terms)areallabovethegoldenrati
on.

Thegol
denr ati
oisapower fult
oolasithasageometricinter
pret
ati
on.Dividi
ngalineint
o
twounequalpart
sf oll
owst hegeometr
icappli
cat
ionofthi
sr at
ioifthepropor
tionofthelengt
h
ofthewholeli
net othelar
gerli
nesegmentisequaltot
hepr oporti
onofthebiggerli
nesegment
tot
hesmal l
erli
nesegment .

Thegoldenrat
ionmakesworksofartappearbal
ancedandbeauti
ful
.Iti
sfound:t
hroughout
ar
chitect
ure,suchasinmosquesandtheAcropoli
s;i
nbookdesign;
photographs;
andpainti
ngs.
Ar
tistsdonotal waysconsci
ousl
yuset hegoldenrati
o,butsometimesi t
susei saresultof
i
mpr essi
onofbeautyandharmony.

54
Py
thagor
asandFr
equency

ItwasPy thagoraswhor ealizedthatdifferentsoundscanbemadewi thdif

fer
entwei ghts
andv ibr
ati
ons.Thi sledtohisdiscoverythatthepi t
chofav ibrati
ngstri
ngi
sproport
ionaltoand
canbecont rol
ledbyi tslengt
h.St ri
ngsthatar ehalvedi nl
engt hareoneoctav
ehigherthant he
ori
ginal.Inessence,t heshort
ert hestri
ng,thehi gherthepitch.Heal sor
eali
zedthatnotesof
cer
tainfrequenciessoundbestwi t
hmul t
ipl
ef requenciesofthatnote.

Thecl osesttiebetweenmusi candmat hi

spat terns.Musicalpiecesoft
enhaverepeat i
ng
chorusesorbar s,simil
art opatterns. I
nmat hemat ics,welookf orpatter
nstoexplainand
predi
ctt he unknown. Musi cusessi mil
arst r
ategies. When looking ata musicalpi ece,
musiciansl ookf ornotest heyrecognizetof i
ndnot esthatarerare( hi
ghorlow)andl ess
famil
iar.Int hisway,notesrelat
etoeachot her
.Rel ati
onshipsarefundamentalt
omat hemat i
cs
andcr eateani nt
eresti
nglinkbetweenmusi candmat h.Whenhumanear shearanote,theyare
real
lyperceivingaper i
odicsequenceofv i
brati
ons;soundent er
sourear sasasinewav e,which
compr essest heairi
naper iodpattern.

Thef r
equencyoft hissinewav ei sdefi
nedbyt hef requencyatwhi chmaxi mum and
minimum airpressur
ealternat
epersecond.Sounds,incl
udingnot esplayedbyi nst
ruments,do
notr each ourearsi ntheirpure,basic sound wave.Instead,the noteʼs sound wav eis
accompaniedwi t
hov er
tones.Anov er
toneisanotewhosef r
equencyi sanexactmul ti
pleofthe
fundamental.Anci
entGreekswerenotawar eofthepowerofov ertones,whichwer edi
scovered
i
n1636byt heFrenchmathemat i
cianMarianMersenne.

Pythagoras,thefi
rstrealmusi ct heori
st,andhi sschooloft hought,werethefi
rstt
omade
thisi mportantdiscovery.Py thagorasf oundt her el
ati
onofmusi calinterval
swit
hr at
iosof
i
nt egers,byusi ngtheintervaloft hef i
ft
ht ocr eatefurt
herinterval
s.DescribedbyaMasonic4
biographerofPy t
hagoras,Jambl ichusi nhiswr it
ing:“[
Pythagoraswas]r easoni
ngwithhimsel
f,
whet heritwoul dbepossi bletodev iseinstrument alassi
stancet othehear i
ng,whi
chcouldbe
fi
rm anduner ri
ng,suchast hesightobt ainsthrought hecompassandr ul
e.”

Themusi calinter
valbetweent wonotest hatwer epr oducedbyt wodi ff
erenthammer s,
dependedonl yonthewei ght
softhehammer s, andinpar t
iculart
heconsonantmusi cali
nter
vals
(whi
ch,i n AncientGr eek musi
c,was t he i nterv
al s oft he octave,the fi
fth,and fourth),
corr
esponded wi th weightstof ract
ions,2/ 1,3/ 2,and 4/ 3r especti
vel
y[ 4].Pythagoras
conductedaser iesofexperiments,asexplainedi n[ 4]
,usingdifferentinst
rumentst oconfi
rm
therel
ationshi
pbet weenmusicali
nterval
sandf ract
ions.

55
 ACTI
VITY7 Answert
hef
oll
owi
ngquest
ions.

1.Whatisaesthet
icformalism?
2.Whatisproport
ionsinart?
3.Whatisther el
ati
onshipofar tandmathematics?How ar
emat
hemat
icalconcept
sli
ke
PhiandFi
bonacci usedinart?
4.Giv
eexampl esofartthatusedmat hemat
ics.

PARTVI
II Ar
tandAnt
hropol
ogy

Lear
ningOut
comes Att
heendoft
hisl
esson,
youshoul
dbeabl
eto:

1.Def
inecul
tur
alr
elat
ivi
sm;

2.Exami
ne,
anal
yze,
andunder
standwor
ksofar
tfr
om v
ari
ouscul
tur
es;

3.Di
scussmul
ti
cul
tur
alf
ormsofbeaut
yandappr
eci
atedi
ver
sit
y;and

4.Compar
eaesthet
icappr
oachesf
rom cul
tur
esoft
hepr
imi
ti
veer
atot
hepopul
arcul
tur
eof
moder
nperi
od.

Cul
tural
Relati
vi
sm i
n
Aesthet
ics LESSON26
Cul
tur
alRel
ati
vi
sm

Cult
urecouldbebasedonshar
edet
hni
cit
y,gender
,cust
oms,v
alues,
orevenobjects.I
nadditi
on,
cult
urecanalsodemonstr
atet
hewayagr oupthi
nks,t
hei
rpr
acti
ces,orbehav
ioralpatt
erns,or
thei
rviewsoftheworl
d.

Someexampl es:
 Insomecount r
ieslikeChina,i
tisaccept
abletost
areatother
sinpubl
i
c,ort
ostandvery
closetoothersinpubl i
cspaces.
 InSout hAfr
ica,ifyouboar danearlyemptybusorenteranearl
yempt
ymov i
etheat
er,
it
i
sr egardedaspol i
tetositnexttotheonl
ypersonther
e.

56
Cul
turalrel
ati
vism r
efer
stonotj
udgi
ngacul
tur
etoourownstandardsofwhati
srightorwr
ong,
st
rangeornor mal.I
nstead,
weshoul
dtr
ytounder
standcul
tur
alpract
icesofot
hergroupsi
nit
s
ownculturalcont
ext.

Cult
ural
rel
ati
vism i
sthei
deathataper
son'
sbel
ief
s,val
ues,andpract
icesshoul
dbeunder
stood
basedonthatperson'
sowncult
ure,
rat
hert
hanbejudgedagainstt
hecrit
eri
aofanot
her
.

Anthropol ogist
ssayt hatwhenwet hi
nkaboutdiffer
entcul
tur
esandsociet
ies,weshouldthi
nk
aboutthei rcustomsi nawayt hathel
psusmakesenseofhowt hei
rcult
uralpract
icesf
it
swith
thei
rov erallcult
ural
context.Forexample,havi
ngseveralwi
vesper
hapsmakeseconomi csense
amongher derswhomov earoundfrequentl
y.Thr
oughsuchanunderst
anding,poly
gamymakes
cult
ural sense.

Aest
het
ic

Aesthet
icisthecreat
ionandappreci
ati
onofBEAUTI
FULhuman-madeobj
ect
sbythearti
stsin
thei
rint
heircreat
ivi
ty,byt
heartspect
atorwi
thar
ti
sti
ctast
e,any
thi
ngwi
thaval
uethatdel
ight
s,
andartdist
ingui
shedfrom nat
ure.

“
Subli
me”and“ beauti
ful
”areonlytwoamongstt hemanyt er
mswhi chmaybeusedt o
descri
beouraesthet
icexperi
ences.Cl
ear
lyt
herear e“ri
dicul
ous”and“ ugl
y,”f
orast ar
t,aswell.
Butthemor ediscri
minati
ngwi l
lhavenodi f
ficul
tyalsof i
ndingsomet hingmay be“ f
ine,
”or
“l
ovel
y”rat
herthan“awful
”or“hi
deous,
”and“exquisi
te”or“superb”r
atherthan“gr
oss”or“ f
oul.
”

Foronecandescr i
bewor ksofar t
,oftenenough,i
nt er
mswhi chrel
atepr i
mar i
l
yt ot he
emot i
onalandment alli
feofhumanbei ngs.Onecancallthem “
joy
ful,
”“melanchol
y,”“serene,
”
“wi
tty,
”“vulgar,
”and“ humble,”forinst
ance.Theseareev i
dent
lynotpurelyaestheti
ct erms,
becauseoft hei
rfur
theruses,buttheyar
estil
lver
yrel
evanttomanyaesthet
icexperi
ences.

Cul
ture,
Beaut
yandt
he
Femal
eBody LESSON27
Beaut
ySt
andar
ds:
SeeHowBodyTy
pesChangeThr
oughHi
stor
y

Anci
entEgypt:Brai
dedWi gsAndLot
sOfEyeliner(
c.1292–1069B.
C.)
Inthi
ser a,t
hei dealwomanisdescr
ibedas:
 Sl ender
 Nar rowShoul ders
 Hi ghWai st
 Sy mmet ricalFace

InAncientEgypt
,womenwereencour
agedinthei
rindependenceandbeaut
y.Ancient
Egy
pti
ansocietypromotedasex-
posi
ti
veenv
ironmentwherepremarit
alsexwasenti
rel
y

57
accept
abl
eandwomencoul
ddi
vor
cet
hei
rhusbandswi
thoutshame.

Womeni nEgy pt
ianartareoften depi
cted wi
thsl
i
m,hi ghwai
sts,andnar
rowhips.
 Dar
k
black hai r,possi bl
y even wit
h a bl uish ti
nge,and golden or“bri
ght”ski
nf orwomen
wer e consideredideal.Women alsowor elong,brai
dedwi
gs.Menandwomeni nEgyptr
outi
nel
y
shav edt heirhairandwor ewi
gsinstead.Menandwomenal sobothworemakeup,namelyheav
y
blackey elinerthatdoubledasprotect
ionf r
om thesun.

Anci
entGr
eece:Uni
browsAndBleachedCurl
s(c.500–300B.
C.)
Duri
ngthi
sti
meperiod,
theidealwomanwas:
 Plump
 Full
-bodi
ed
 LightSki
n

Anci
entGr eecewor shipedthemalef orm,goingsof arast oproclaimt hatwomen’s
bodi eswer e‘ disf
igur
ed’v ersionsofmen’ s.Inthistimeper i
od,menf acedamuchhi gher
standar dofbeaut yandper fecti
ont hanwomen.Whi l
emanywoment odaywoul dplucka
thick “uni
brow,” 
womeni nAnci entGreecel
ikedthelook,andmanyuseddar kpigmentt odr
aw
onei n.
Theyalsobl eachedt heirhairinvi
negar,whichoftencausedhairl oss,sowigswer e
popul ar.Longhai rwasal soconsi der
edbeautif
ul,asonlyupper-
classwomenwer eal
l
owedt o
growt hei
rhairlong.

HanDy
nasty(
c.206B.C.–220A.
D.)
I
nthi
stimeperi
od,t
hei
dealwomanhad:
 Sli
m Waist
 PaleSki
n
 LargeEyes
 SmallFeet

SmallfeetareoneaspectofChinesebeautythathascont
inuedforhundr
edsof
y
ear
s.Dur
ingt
heHanDy nast
y,Chi
nesecul
turefavor
edslim womenwi t
hlongblackhair
,whit
e
t
eet
handredl
i
ps.Histor
ical
ly
,theChi
nesepeoplehavefav
oredwomenwi thult
ra-
femini
nit
y.

Hei
anJapan:
Super
-LongHai
rAndSmudgyEy
ebr
ows

InmedievalJapan,longhairwaspr ized,socour
twomengr ew thei
rhairaslongas
possi
ble,andwore i
tstr
aightdownt hei
rbacksinaloosepony
tai
l
. 
Theirhairwoul
doftenreach
thefl
oor.Theyalsoshavedof fthei
reyebrowsanddrew onsmudgynew oneshighupont he
for
ehead,almostneart
hehai r
li
ne.

Hei anbeaut
yincl
udedpaleski
n,roundandrosycheeks,andli
ttl
ebowli
ps.
Butbecause
t
heypaintedtheirf
aceswhit
e,thei
rteet
hl ookedy
ell
ow i
ncompar ison.Sot
heyusedtopaint
t
hei
rteethblack.

58
I
tal
i
anRenai
ssance: Hi
ghForeheadsAndStr
awberr
yBlondeHai
r(c.1400–1700)
Inthi
ser a,t
heideal
womani sdescr
ibedashav
ing:
 Ampl eBosom
 RoundedSt omach
 Ful lHips
 Fai rSkin

Duri
ngt heItali
anRenai ssance,itwasthewi fe’sdutytorefl
ectherhusband’sstatus,
bot
hi nbehavi
orandout wardappear ance.Afull
body ,
lighthai
randli
ghtskinallwer
ethoughtof
asthesuperi
orindicati
onsofbeaut y.
Women’ sbeaut yatthistimewast i
edtovir
tue,andabeautif
ulwomanwast houghttobe
avirt
uousone.Af ullfigurewi thar oundedstomachwasconsi deredbeautif
ulandl i
nkedto
motherhood,andpal eski nsignifi
edal i
feawayf rom labor.
Othermust-haveswerestrawberr
y
bl
ondecur l
sandahi ghf orehead.Womenoft hi
st i
mebl eachedtheirhai
randpl uckedtheir
hai
rl
inestogetthislook.

Vi
ctor
ianEngland(c.1837–1901)
Thi
sti
meper i
odfeat
uredbeaut
if
ulwomenas:
 Desirabl
yPl ump
 Full-
fi
gured
 Cinched-waist

Theer aofthecorset
.Inthistimeperi
od,womencinchedtheirwai
stswithti
ght-
fitt
ing
undergarmentstogiv
etheperceptionofthedesi
rabl
ehour
glassfi
gure.Thi
stimeperiodlasted
thr
ought hereignofQueenVict
oria,consi
der
edbymanyasoneoft hemosti nf
luent
ialf
igures
ofthetime.

18t
h-Cent
uryFr
ance:
Doubl
eChi
nsAndWhi
teSki
n

Anovalfacewaspr i
zed,andsowasasli
ghtdoubl
echi
nanddimpl
ed,r
osycheeks.
Womenwore 
theirhai
rlongandcurl
y.Hai
rwasal
sopowder
edtogi
vei
tawhiteorgr
aylook,
andwi
gswerepopular
.

Toachievethelookofpaleski
n,manywomenwor eheavywhit
emakeup—oftenmade
wi
thpoisonousleadandmer cur
y.Tocov erupscarslef
tbysmal l
pox,menandwomenali
ke
wor
ebeautypatches,
smallpi
ecesofblackfabr
icpast
edtothefaceovert
hescar
s.

TheEdwar
dianEr
a:Tousl
edHai
rAndAnHour
glassFi
gur
e

Aftertheideal
izedfrai
lt
yoftheVict
ori
anwoman,womeni nthelat
e1890sgotsl ightl
y
morer obust.Thehour gl
assfigur
e,wit
hasmal lwaistaccentuat
edbyf ul
labosom andhi ps,
wereallther ageatthistime,andwomenwor et i
ghtcorsetstoimitat
etheidealshape.The
“Gi
bsonGi r
l,
”withhersl ight
lytousl
edhairandsy mmet ri
calfacecamet o symboli
zet hi
s
peri
od’
si dealbeauty.Andbecauseski r
tswerewor nlong,women’sankleswer econsidered
sexy.

59
Roar
ingTwenti
es:ASlim Si
lhouet
teAndBobbedHai
r(c.1920s)
I
nthi
sti
meper i
od, t
heidealwomanhad:
 Fl
atChest
 DownplayedWai st
 ShortBobHairstyl
e
 Boyi
shFigure

Beaut yinthe1920sf eaturedanandr ogynousl ookf orwomen.Theywor ebrast hat

fl
att
ened t heirchestand wor e cl ot
hing t
hatgav ethem a cur ve-l
ess look.Women ev en
short
enedt hei
rhair,l
eavingbehi ndt helong-heldbelieft hatlonghai rsignifi
edbeaut yand
desi
rabi
lity
Thankst owomen’ ssuf f
rage,womeni nt he1920shadnewf oundf r
eedomsandpower ,
andshowedi tthr
ought heirl
ooks.Fl apper
s,ast heywer eknown,  
choppedt heirhai
rintobobs
andstartedshowi ngofftheirl
egs.Asl i
m,boy ishsil
houet t
ebecameal lther ageinreacti
ont o
thefr
ailVictori
anideal
,andwomen  start
edvaluinganathl et
icbuild.

Gol
denAgeOfHoll
y wood:Flawl
essSki
nAndACur vyShape(
c.1930s–1950s)
I
nthi
sera,t
hei dealwomanisdescr
ibedashavi
ng:
 Curves
 Hourgl
assFi gur
e
 LargeBreasts
 Sli
m Waist

Theboyishfiguretrenddidn’
tlastforl
ong.Fast-
for
wardadecadeandt hehourgl
ass
fi
gureisback.Theclassicexampl eofthi
sidealwoman’sbodyisMari
ly
nMonr oe,t
heGolden
Gir
lofHol l
ywood.Thi speriodsaw womenbecomi ngmoreandmor eanxi
ousabouthav i
ng
fl
awlessski
n,hair
,andteeth.Itwasalsowhenteenagegi
rl
sstar
tedbuy
ingbeaut
yproduct
s.

Swi
ngi
ngSi
xti
es:
Andr
ogy
nyAndLot
sOfEy
elashes(
c.1960s)

Thi
sti
meper iodador
edthi
sfemal
elook:
 Will
owy
 Thin
 Long,sli
m Legs
 AdolescentPhysi
que

Peace,loveandt hi
nseemedt obethemot t
oofidealbeaut yf orwomeni nthe1960s.
“Swingi
ngLondon, ”at erm usedt odescri
bet hefl
ouri
shingf ashionandcul tur
alsceneof
Londoni nthe1960s,inf l
uencedwomen’ sdressandstyl
ei nAmer icaduringthesameper i
od.
Beautyideal
s,l
ikefashion,arecy cli
cal,
soit’
snosurpri
sethattheFlapper-l
ikebodyshapecame
back,asdi dshort,smoot hhai r
st yl
es.Evenunderwearstart
edt ochanget orefl
ectthenew
shape.Thankst omodel slikeTwi ggy,thel
ookofbigdoeey eswithl ot
soft hi
ckeyel
asheswas
all
therage,buttherestoft hefacewaskeptf reshwit
hnatural
-color
edmakeup.

60
Super
model Era(c.1980s)
Thi
ser acelebr
atedthi
sbodyt
ype:
 Athletic
 Sv elt
e,butCurvy
 Tal l
 TonedAr ms

Thistimeperiodbr
oughtaboutanexerci
se-
crazedphenomenon.Workoutvideoswer
e
al
ltherage,encouragi
ngwoment obet hi
n,butalsof it
.Thiser
aal sosaw anupswi ngi
n
anor
exi
a,thoughtbysomeexper
tstobecausedbyanwi despr
eadobsessi
onwithexerci
se.

1980s:
AnAppr
eci
ati
onOfDi
ver
sit
yAndBi
gHai
rForAl
l

Foralongti
me,beaut yinAmericameantbl ondehairandbl ueeyes,butbythe1980s,
peoplestar
tedcel
ebrati
ngbeaut yinot herethni
citi
es.Morediv er
semodel sandcel ebr
it
ies
star
tedtaki
ngcenterstage.Butonet hingdidunitethem:hugehai r
! 
Adramatical
l
ysculpted
facewasalsoinst
yle,
andt helookwasachievedthroughcontour
ingmakeup.

Her
oinChi
c( c.1990s)
Theideal bodytypeoft
hist
imeper
iodf
eat
ured:
 Wai fi
sh
 Ex tremelyThin
 Tr anslucentSkin
 Andr ogynous

Thecelebrat
ed bodyoft
histi
meper i
od wasawomanwho l ooked t
hin,f
rai
land
negl
ect
ed.ModelKateMosswast
heheroi
neofthi
sher
oindecade–pal
e,withdr
awnandthi
n.

Post
modernBeauty(c.2000s–Today)
Ourcurr
entbeaut yst
andar
dsf
orwomeni
ncl
ude:
 FlatStomach
 ‘Healt
hy’Skinny
 L ar
geBreast s+Butt
 ThighGap

Kim Kar dashi

an,asunfort
unateasitmaybe,i sthepost
erwomanofi dealbeaut
y
standardsforthemoder nwoman.Womenar eexpect
edtobeski
nny,butnott
ooskinny,wit
h
l
ar gebreastsandabi gbutt
,allwhil
emaintai
ningaf l
atst
omach.Womeni ncr
easingl
yare
seekingplast
icsurgery‘
fi
xes’
toachiev
ethi
slook.

61
 TheArtofPleasur
ei nHindu
Cult
ureandReligion LESSON28

Rel
i
giousatti
tudestowardthebodyinHi ndui
sm tr
adi
ti
onall
yosci
l
lat
ebet
weent
he
i
mpul
sesofpleasur
e,especi
all
yer
oti
cpl
easur
e,andceli
bat
eascet
ici
sm.

 Classi calBr ahmani c sour ces ment ion f ourai ms orgoal s ofhuman l ie:dhar
f ma
(ri
ght eousbehav ior,ethi cs, dut y);artha( power ,economi ccommodi ties);kama( pleasure,
especi al lysexual pleasur e); andmoksa( spi r
itual l
iberation) .
 Text sconcer nedwi tht hepr incipl eofkama, i
ncl udingt heKamasut raofVat syay ana( ca.
300CE) ,descr i
besexualpl easur ebyi nv okingwor dssuchasr asa( aestheticr eli
sh),
bhav a( emot i
onalat t
itude) ,r ati( passi on),pr iti(l
ov e),r aga( attachment ,andsamapt
) i
(release, orgasm) .Anot herSanskr itwor dcommonl yusedi nregional languagest ospeak
oft hepr inci pleofsexualpl easur ei sbhoga( enjoy ment ),andt hesamewor di si nvoked
i
nav ar ietyofot hercont ext sr elatedt osensor yindul gence,i ncl udingt heconsumpt i
on
andr elishingoff ood.
 Althoughcl assicalt extsof tenf ocusont hecont rolandr egulat i
onofdesi reandbodi ly
pleasur e,Hi ndut raditionsofpoet r
y ,v i
sualar t,iconogr aphy ,ritual ,musi c,anddance
oft enf av orer oticexper ienceandof f
eradi fferentper spect iveont hepl aceandf unct i
on
ofpl easur e.
 Poet ict radi ti
ons—i ncl udi ngt hemedi ev aldev otionalpoemsdedi cat edt odeiti
essuchas
Kr i
shnaandShi va—appealt oGodt hr ought hef i
v esenses,andof t
enspeakofdesi re
unabashedl yi nahi ghlyer ot i
ci zedl anguage.
 Hi nducour tlyculturessuchast hoseoft heNay akaki ngsi nSout hI ndi a(ca.sixteent hto
eight eent hcent uriesCE) ,wer edeepl yi nvestedi naest het i
cpl easur es.Theyf ost er
eda
vitalcul t
ur eofl i
teraryandar ti
st i
cpr oduct i
ont hatt ransf or medt hesoci alrelat i
onsof
thei rcour t
st osuchanext entt hatcour t
esanswer emadequeensbecauseoft hemer its
oft heirv erse.Cour tesanscal ledv esyaorgani kawer epi v otalfigur esi nimper i
alcul ture.
Ascondui tsf orandagent sofsexualpl easur e,power ,andpol iti
cs,t heysi gni fi
cantly
i
nf luencedt hepubl i
candpr iv atespher es.

AnI
nsi
ghti
ntoLi
fest
ylesofCul
tur
edMenandWomen

Foryouth,theKamasutrat eachingsofferaninsi
ghtint
ot heli
festy
lesofcul turedmen
andfashionabl
ewomen.Mor eover,thedetail
soncer tai
naspectssuchaset hics,morali
tyand
spi
ri
tuali
tycananswermanyofy out h’
squestions.I
tdoesn’tteachtosegr egat ewrongf r
om
ri
ght
, i
tdoesenv i
sagehumanact ions( dhar
maorv i
rt
ueandr i
ghteousness,arthaorweal thand
power,andKamaorpl easur
e).

62
TheReal
Meani
ngOfTheKamaSut
ra

 TheKamasut
ra,t
heol
destext
antHi
ndut
ext
bookofer
oti
clov
e,of
fer
sdescr
ipt
ionsof
theposi tionsi nsexual i
nt ercour se, theer ot i
ccount erpar ttotheascet i
casanasofy oga.
 Wr it
tenbyVat syay anaMal lanagai nSanskr it
,pr obabl ysomet i
mei nt hesecondhal fof
thet hir
dcent uryCEi nNor thI ndia,t het extmeans“ desi r
e/l
ov e/ pleasur e/sex”(kama)
and“ atreat i
se”( sut r
a).
 Ther ealKamasut rai snotonl yaboutsexualposi t
ions;i tisalsoabookaboutt hear tof
l
iving,from f indi ngapar tnert omai ntai ningpoweri namar r
iage,commi t
ti
ngadul t
er y
,
usingdr ugs, orl ivi
ngasorwi thacour tesan.
 IndianKamasut rai sconsi der edasoneoft hosebookswhi chhav et akencar eofalmost
alltheaspect sofsexual i
ty .Thesebooksnotonl ydescr ibethesexualact iv
iti
esassuch
butt heseal sohel pi nr ediscov eringt heemot ionalbondagebet weenpeopl eandv ar i
ous
otheraspect sofr elationshi psbet weenmenandwomen.Thet i
tleoft hesebooksmeans
“dispositionofpl easur e”assut rameansmanualoragui det osomet opicorsomet hi ng
and‘ kama’ meansdesi re.
 TheI ndianKamasut rai sdi v i
dedi ntosev enbooksandeachonet alksaboutadi ff
er ent
aspectofl if
ei ndet ail
.
o Thef irstbookshowshow t hemenandwomenar ecreat edbyBr ahma.I tt alks
aboutt het hreemosti mpor t
antt hingsf ormensuchasDhr ama, Ar t
haandKama.
o Thes econdbookshowt hev arioust y
pesofmenbasedont heirl i
ngam andt he
ty pesofwomenbasedont hey oniorgeni talia.I thas64f ormsofsexualuni on
whi chpeopl ecoul dpr acti
cet ohav emaxi mum pl easurei nsext hought hechoi ce
dependsont hei ndi viduals.
o Thet hi rdbookofKamasut rai saboutmar riageandt hev ariousr ulest obe
fol l
owedaf termar riage.
o Thef our thbookexpl ainsaboutt her oleofwi fei namar riedr elationship.
o Thef i
f thbooki saboutt henat ureofmenandwomenandhowt heirnaturev aries
andwhatar ethev ariousexpect at i
onsf rom them i nafami l
y .
o Thes ixt hbooki saboutt hecour tesanandwhyi st hi
si mpor tant .Thisstresson
theemot ional relat i
onshi pbet weent hehusbandandwi fe.
o The l astbook i s aboutdi ffer entway st he men and women coul d make
themsel vessex uallyat t
ract i
ve
 TheKamaSut ra meanst he“ desiresong” , andi sdividedi nto7books:
o i nt r
oduct ion
o s exual uni on
o a cquisit i
onofawi fe
o t henat ureofwi ves
o t hewi vesofot hers
o c ourtesans
o howt oat tractot her s

63
 Aesthet
icRelat
ivi
sm i
n
PopularCul
ture LESSON29

Aest
het
icRel
ati
vi
sm

 Aest
het
icr
elat
ivi
sm i
sthephi
l
osophi
calv
iewt
hatt
hej
udgementofbeaut
yisr
elat
ivet
o
differentindiv i
dual sand/ orcul t
uresandt hatt her ear enouni versal crit
er i
aofbeaut y.
 Aest heticrelat i
v i
sm i sav ar ietyoft hephi l
osophyknowngener al l
yasr elat
ivism,whi ch
cast sdoubtont hepossi bi li
tyofdi r
ectepi stemi caccesst ot he" exter nalwor ld",and
whi cht heref orer eject st heposi ti
vecl ai mt hatst atement smadeaboutt heext ernal
wor ldcanbeknownt obeobj ectivelytrue.
 Aest heticandEt hical relativism ar esub- cat egor iesofCogni tiv
eRel ativ
ism.Phi losopher s
who hav ebeeni nfluent i
ali nr elativ
istt hinkingi ncludeDav i
dHume,par t
icul ar l
yhi s
"radicalscept icism"assetouti nATr eat i
seofHumanNat ure.
 Themostpr omi nentphi l
osophi calopponentofaest heticr elati
vism wasI mmanuelKant ,
whoar guedt hatt hej udgmentofbeaut y,whi l
esubj ective,isuniv er sal.
 Recentexper iment si npsy chol ogyseem t ocont radi ctaest heti
cr elativism.I nst udi esof
facialat tr
act ivenesst hereseemst o bewi decr oss-culturalagr eementast o what
const it
utesbeaut yi nt hehumanf ace.Whet hert hisisdownt osy mmet ryorav er ageness
i
samat terofdi sagr eement .
 Att hesamet i
me,t hedomi nantmedi a-gener atedi magei nt ermsoff aci
alst ructur e,
bodyshapeandhai rcol ouri st hatassoci atedwi thnor thernEur opeans.Fur ther mor e,i t
shoul dbenot edt hatt hef ashi onf ordar kerski namongwhi t epeopl ei sofr el ati
vely
recentor i
gin,coi ncidingwi tht hef ashionamongt heuppercl assesf orsun- holiday si n
theear lytwent i
et hcent ury.
 Insomecases, commonsensemayappeart osuggestt hataest het icrelativ
ism i sf alse.
Ther ei s wi despr ead agr eement —atl eastamong t he " i
nfor med"and " educat ed"
publ i
c—ast ot heaest heticv alueofi ndividual wor ksofar chitectur e, painting,musi c,etc.

AestheticRel ativ
ism inPopul arCulture
 Th enat ureofar tbeaut y,andtast eareassessed, creat ed,andappreciat
edi nthe
fi
eldofAest hetics.
 Indi ff
er entpart soft hewor l
d,culturesest abli
sht hei rownuni queaest het
ics
whi char eformedandper cei
vedi nvar i
ousf ormsandst yles.
 Da vidHumecont r
adictedandexpl ainedhi sst andt hatbeaut y“isnotaf eature
thatbel ongst or eal
it
yi ndependentoff eeli
ngandsent i
ment …thereisnobeaut y
orugl iness inherenti n paintings,nov els,”t hus,t here existsar el
ati
onship
betweenexper i
enceandaest het i
cperception( Suoj anen, 2016)
.
 Ae sthet i
crelati
vism referstot hephi l
osophi calv iewt hatconsidersjudgmentof
beaut yasr elat
iveandsomet hingt hatv ari
esf rom di ff
erentindi
vidual
sand/ or

64
 cul tures.Hence,i tar guest hatt herei snouni versallyestabli
shedst andar dof
beaut y.
 Ac cor dingt oCrowl ey( 1958) ,“
At t
itudest owar dv aluejudgmentonar tobj ects
from al iensocietiesrangef rom extremesubj ect i
vitytoextremeobj ectivi
ty ,from
ev aluationi ntermsofper sonalintuiti
onor“ significantform,”t oev aluationsof
thecr eatorsandmemeber soft hesoci ety
,t ost udiesofmuseum speci mens
usi ngt heknownet hnogr aphicdata, tomeasur ementandquant if
icationstudi es.”
 Ae st heticRelati
v i
sm i soneoft hecat egoriesunderPhi losophicalRel at i
v i
sm
whi chdebunkst hei deaofanyabsol utestandar dsoft ruthormor ali
ty,andof
cour se,ofaest heti
cj udgmentasof tenci t
edf r
om t hepost -
moder ntheor yof
Niet zsche, andCogni ti
veRel ativ
ism
 Ae st heticRelati
vism ispr ev al
entinsoci alsciencesandi nf eministt hought .In
this,beaut yistreatedmor eassomet hingmer el
yconst ructedbysoci etyr ather
thananat uralf
unct i
on.

Bat
ok:
Artoft
heTat
too LESSON30

 Tattooi ng was pr ev alentdur i

ng t he pr e-Hispani c and ear l
y col onialper iod int he
Phili
ppi nes.Thepr act icewascommonamongt heBont ok,IfugaoandKal ingapeopl e,
themaj orwar ri
orgr oupsi nt heCor dill
era,inthe16t hcent ury.
 “Batok”i st hegener alt ermf ort att
oos.Butt attooingi ssowi despreadi nther egiont hat
therear elocal equiv alent sinot herCor di
lleranlanguages: whatok( But butKalinga),bat ók
(Kalinga),f atek( Bont oc),bát ok( I
fugao) ,bát ek( Il
ocano,I baloy ,Lepant oandSagada
Igorots) ,
andbát ak( Kankanaey ) .
 Mostt att
oosdocument ed i nt he pr e-and ear l
ycont actper i
odswer e ofabst r
act ,
geomet ri
cdesi gnst hatf oll
owedasi mi l
arpat t
ernandf or m,andcov eredaman’ schest
andbackaswel lasot herpar t
soft hebody .
 Earlydocument ationofi ndigenoust attoosi nnor thernLuzonshowst hatt hehuman
bodywasf ull
yt attooedwi t
hdi st i
nctandabst r
actpat terns,asseeni nt hetattoosf ound
onmummi esinKabay an, Benguet .
 Mostt attoo pr act itioner s( mambabat ok)i nt he pastwer e men. Femal et att oo
pract i
ti
oner swer er are,aswast hecaseofWhang- udf rom Buscal aninTi ngl
ay an,
Kalinga.
 Ther ewer et woki ndsoft attooar t
istsint hepast :ar esidentt att
ooar t
istwhost ayedi n
thev il
lage, andat r
av elingt att
ooar ti
stwhov isitscommuni ti
est opl yhist r
ade.  Atatt oo
arti
stcan, howev er,bebot h
 Thet r
adi t
ionalt attoowasconsi deredapai nfulr it
eofpassage,abodydecor ati
on,a
tal
ismanagai nstmal ev olentf orces,amar kofbr avery,av i
siblemar kofr eligiousand
politi
cal affil
iati
onsi nt hecommuni t
y,andasy mbol ofst atusoraf fluence.

65
  Batokisaninscr
ipti
onofcul t
ureonthebodyt hatcanf ocusonr el
i
gion,pol
it
ics,
warfare
andrit
uals.Theyar ealsoseenasar eposit
oryofst oredmemor i
es,experi
encesand
i
nformati
on.Tattoosrecordthebiographyofaper sonaswel lasthecomplext r
adi
tion
ofthecommuni t
y.Iti
sasi gni
fi
erofcoll
ecti
veethnicidenti
ty.

Recei
vi
ngat attoof rom Whang- Od
 Bef or eshet attooingherguest s,Whang- Od’sbegi nsbyr emov i
nghert attooingtool s,
whichi ncludesabamboost ick,or anget hornneedl e,ashor tstick,andacoconutmi xing
bowl .Afterwar ds,sheget ssootf r
om herf ir
eplacewhi chshemi xeswit hwat ert ocreate
i
nki nsidet hecoconutmi xingbowl .Shet hendi psabl adeofgr assintot hei nkt ocreate
apat ternony ourski n.
 Af terdr awingt hepat tern,ApoWhang- Odbegi nshert att
ooingsessi on.Shedi pst he
oranget hor nneedl ei ntot hei nkandf oll
owst hepat ternshedr ewbef or ewi thabl adeof
grass.Thi sisdonebyusi ngashor tbamboost i
ckwi tht heoranget hornneedl e.
 Shekeepsf oll
owi ngt hesamepat ternunt ilthewhol einki sabsor bedfrom t heneedl e.In
caset het attoodesi gni ssmal l,itmi ghtt akeherhal fanhourt ocompl ete.Howev er,if
thetat t
oodesi gnisl arge, i
tmi ghtt akebet weent wot ot hreehour stocompl ete.
 I ti
spai nfult opr i
cky ourski nusi ngat hornsot haty oucangetananci entt attoo.Thisis
becauset het horni snotsmoot hlikeaneedl ewhi chaddst otheamountofpai nyouwi ll
exper i
ence.Howev er ,the ov erallbenef itofbeaut y outwei ghs the pai ny ou wi ll
exper i
encewheny ougetat attoof rom mambabat ok.

ACTI
VITY8 Answerthef ol
l
owingquesti
onscogent
lybuthonest
ly.
Writ
eyouranswersint
hespacepr
ovi
ded.

1.Whatarethebeliefs,pract
ices,andnor
mspr esenti
ny ourcul
tur
e?Hav eyouev
erhad
negat
iveexperi
encesbecauseofi t?Whoaret hepeopleorinst
it
utionswhopl
ayeda
majorr
oleindevelopingknowledgeandappr
eciati
onofyourownculture?

2.Areyouawar eofothercult
uresasi
def r
om your
s?Ifso,
howdoy ouengagewi
ththem?
Howdoy outreatpeoplewhosebeli
efsandpract
icesdi
ff
erf
rom yourown?Doyousee
yourcul
tureassuperiorori
nfer
iort
oothers?

3.Whatmeasuresdoyoutakeinpr
eserv
ingyourcul
tur
eint
hisdi
git
alagewher
eiti
seasy
toexchangeknowl
edge,inf
ormati
on,andpracti
ceswit
hotherpeoplewit
hdif
fer
ent
backgr
ounds?

4.Fol
lowi
ngthequest
ionsabove,canyouprovi
desolut
ionsi
ndecr
easi
ngt
hei
nst
ancesof
di
scri
minat
ionandvi
olencebasedonraceorcul
tur
e?

66
 PARTI
X ArtandPsychology
:
Per
cepti
onandSy mboli
sm

Lear
ningOut
comes Att
heendoft
hisl
esson,
youshoul
dbeabl
eto:

1.Defi
neper
ceptionandsy mboli
sm;
2.Descri
bet
hei mportanceofpercept
ionandsy
mbol
i
sm i
nar
t;
3.Descri
bet
heGest al
tPr i
nci
ple;
and
4.Defi
nepsychoanaly
sis.

Gest
altPri
nci
plesAppl
i
edt
o
Vi
sualArt
s LESSON31

Accordingt oGestalttheory
, t
heprocessesofper cepti
onandimagi nati
ondonotcompl y
withlogicalorr ationalrul
es,butr atherfollow andtesti
fytoanaest heticorderofsensual
experi
ence( “Gestaltlaws”)
.Theaest heti
csofsensual i
tyareconsol
idat
edbyt heproducti
onof
the art
s,concent rat i
ng cr
eative and percepti
ve processes i
n pr
otot
y picalpatt
erns (pul
se,
symmet ry,polari
ty)andatthesamet i
mei ntroducingambigui
ty,
over
loadandmet amorphosisi
n
theorderofper ception.

TheBer l
inschoolofGest alttheoryfocuseditsi
nt erestont hemechani smsofgr oupi
ng
andr egroupingi nthev i
sualf i
eld.Becauseoft hepar ticularr esearchinterest
sofi tsearly
repr
esent ati
ves,theGestalttheoryismostf requentl
yappl i
edt ov i
sualart
s.Har dlyexpl
ored,
howev er,isit
sconnectiontocor econcept sofaest het
ics( ant hroposophy,Russianformali
sm)
andofar ttheory(avant-
garde,Bauhaus) ,
whosemai nexponent sdef i
nedthemsel vesasexpert
s
offormat i
onandf igur
ati
oni nthev i
sualfi
eld(Kandinsky,Klee, Alpers,Moholy-Nagy,Kepes)
.

Per
cept
ionofSpace:
Per
specti
ve LESSON32
Spacepercept
ionisapr
ocessthr
oughwhichhumansandot herorgani
smsbecomeaware
ofther el
ati
vepositi
onsofthei
rownbodi esand obj
ectsaround them.Spaceper
cepti
on
provi
descues,suchasdept
handdistancet
hatar
eimportantf
ormov ementandori
ent
ati
onto
theenvi
ronment.

67
 Humanbeingshavebeenint
erest
edinthepercepti
onofobjectsinspaceatleastsi
nce
ant
iquit
y.I
twaspopularl
ythoughti
nancientGreecethatobj
ectscouldbeseenbecauset hey
emitt
edwhatwasi maginedtobeacont i
nuousseri
esofextremelythin“membranes”inthei
r
ownimage;thesef
ell
upontheeyeandmer gedi
ntothepict
urethatwaspercei
ved.

Cent uri
esofexper i
mentalresear chl edt oamor et enabl econcept i
oni nwhi chspacewas
descr i
bedi nt ermsoft hreedi mensi onsorpl anes:hei ght( verticalplane) ,width( hori
zontal
plane) ,anddept h( sagitt
alpl
ane) .Thesepl anesal linter
sectatr i
ghtangl es, andtheirsingl
eaxis
ofinter sectioni sdef i
nedasbei ngl ocat edwi thinper ceivedt hr ee-dimensi onalspace—t hatis,i
n
the“ ey e”oft heper ceivi
ngindividual .Humansdonotor di
nar ilyper ceiveabi nocularspace( a
separ atev isualwor ldf r
om eachey e)buti nsteadseeaso- calledCy cl
opeanspace,asi fthe
i
magesf rom eachey ef usetopr oduceasi nglev isualfieldaki nt ot hatofCy cl
ops,aone- eyed
gianti nGr eekmy thology.Thehor izont al,v erti
cal,andsagi ttalpl anesdi videspacei nt ovari
ous
sector s:somet hingi sperceivedas“ abov e”or“ below”( thehor izontalplane) ,as“infrontof”or
“behind”( thev erticalplane),
oras“ t ot her ight”or“ totheleft”( ofthesagi t
tal pl
ane).

Gener
alConsi
der
ati
ons

Anear lyt
heor yputforthbyt heAngl i
canbi shopGeorgeBer keleyatthebegi nningoft he
18thcenturywast hatthet hi
rddimension( depth)cannotbedi r
ectl
yper ceiv
edbyt heey es
becausether eti
nalimageofanyobj ectistwo-dimensional,asinapai nti
ng.Hehel dthatthe
abil
i
tyt o hav
ev i
sualexper i
encesofdept hisnoti nbornbutcanr esultonlyf rom logical
deducti
onbasedonempi r
icall
earni
ngt hr
ought heuseofot hersensessuchast ouch.Although
modernr esearch fail
st ov er
ifyBerkeley’
s emphasis on r eason as centralto perception,
contemporaryt heori
es stil
lincl
ude bot h nati
v i
st(i
nborn)and empi ri
cal( l
earned through
experi
ence).

Sy
mbol
i
cMeaning:
Psychoanal
yzi
ng
theAr
tandtheArt
ist LESSON33
Ar thistoryandpsy choanalysisareinterdiscipl
inar ysubj
ect
st hatrel
yoni mager yfort heir
veryexi stence.Wor ksofar tar e,bydef initi
on,images,whet herthesearet wo-ort hr ee-
dimensional .Psychoanalyt
icinterpret
ati
on,bot hclinicalandasappl i
edtoot herfiel
ds,deal s
withtheobser vat
ionandanal ysisofimager y:i
ndr eams,sy mptom formati
on,sy mboli
sm,and
fantasy.Theset wof i
eldsoff i
ciall
ycamet ogetheri n1910,whenFr eudpublishedt hef irst
psychobi ographyofanar t
ist(namel y,
Leonar dodaVi nci)
,andtheymetagainfoury earslateri n
Freud’sshor tessayontheMosesofMi chelangel o.

Thef iel
dofartandpsy choanalysisexpandedint
ov ar
iousapproaches,dependingont he
part
icularpsychoanal
yti
c orar t-
histori
calbias ofthe author.Although there has been
considerabl
eoverl
apintheseapproaches,theycanbediv
idedintothr
eemaj orcategori
es:

1.psy
chobi
ogr
aphy
,inwhi
cht
hear
ti
st’
sli
fei
sdi
rect
lyr
elat
edt
ohi
sorherwor
k;

68
 2.psy
cho-iconogr
aphy,i
nwhi chtheiconographyofawor kisdeterminedbyconvent
ion
andthemeandcanbeanal y
zedpsychological
l
y;psy
cho-i
conographycanal
sopr ov
ide
i
nsi
ghtsi nt
owor ksofartwhenthearti
st’
sl i
feiswel
lknownandcanber el
atedtothe
meaningoftheimagery;
and

3.theori
ginandnatureofcr
eativ
ityandsy mbol
izat
ion.Thesethr
eemet hodsofanal
yzing
artandart
ist
sformthemajorsectionsofthi
sarti
cle.Bot
hpsychobi
ographyandpsycho-
i
conographyareofmostv aluewhent heycl
arif
yt heart
,especi
all
ywi t
hregar
dtoi ts
meaningortechni
que.

Theor i
ginandnat ureofcr eat
ivi
tyandsy mbolizationar emor er el
evanttot hecr eati
ve
processandcanbeappr oachedei t
herfr
om t hepoi ntofv i
ew ofaspeci fi
carti
storv iathe
conventi
ons preval
entata speci f
ictime and place.Br iefbibli
ographicalentr
ies are also
provi
ded fortangenti
alissues,aswel lasf orgener aldiscussionsoft hemet hodologyof
psychoanaly
sisappli
edt oart.Therearegeneraloverviewsoft heapplicati
onofpsy choanalyti
c
thi
nkingtoworksofart,aswel laspubli
cat
ionsthatexpandt heboundariesofpsychoanalysis.

Theseov ervi
ewsincl udemor erecentapproachest oart,andcompi lat
ionsofessaysort alks
gi
v enatconf er
encest hatdealwi thdiffer
entway sofr eadingar taccor di
ngt otheschoolof
psy choanal
ysis f av
ored by t he aut hor
. Addi t
ional appr oaches t o the appli
cation of
psy choanal
ysist oarti ncludefemi ni
ststudies,semi ot
icsandst r
ucturali
sm,genderst udies,
coloniali
sm andnon- West ernart
,andneur obi
ology.Thei ssueofaest heti
csiscov eredonl y
wheni ncl
udedi nwor kspr imari
lyconcernedwi t
hpsy chobiography ,psycho-i
conography ,or
creativi
tyandsy mboli
zat i
on.Theappl icat
ionofpsy choanaly si
st oaest heti
cshasbecomea
maj orfi
eldinitsownr ightanddeser vesasepar at
esetofbi bliographicalentri
es.

Subl
imalSuggest
ionsand
Scapi
sm inMusic LESSON34
 Subli
minalmessage-asubl i
minalmessageisamessaget hati
smeantt osortof
‘
sli
ppasty ourmentalr
adar’andembedi t
sel
fdeepintoyoursubconsciousmind.
Thewor dit
sel
fref
erstothefactthatthi
smessageshouldpassbel
ow( thati
s,sub)
yournormalper
cepti
on,under
neathitsli
mit
s–theref
orebei
ngluminal
.

 Subl
imi
nalmessagei
nmusic-Embeddi
ngamessagei nasong,
eit
heri
nthehi
gher
orl
owerfr
equenci
esorbysi
ngi
ngsomet
hingbackwar
ds

 Escapi
sm -thetendencytoseekdist
ract
ionandrel
i
effr
om unpl
easantr
eal
i
ties,
especi
all
ybyseeki
ngenter
tai
nmentorengagi
nginf
ant
asy
.

 Escapi
sm thr
oughmusi
c-Escapism canbeseennegativel
yandposi t
ivel
ybut
musicser
vesasmor et
hanjustonewaytoescape.Thearti
ststhatwri
temusic
escapebyphysi
cal
l
ywrit
ingthei
remoti
onsandexperi
encesintomelodi
eswhile

69
 l
i
stener
sescapebyexper
ienci
ngt
hosemel
odi
e

Exampl
eofSubl
i
minal
Messagesi
nMusi
c

 Umbr el
labyRi hanna-I n"Umbr el
la,
"thecanopyi sasy mbolforpr otect
ion,li
kea
condom.Ri hannasings,"Ooh,baby/It
'sraini
n'
,rai
nin'baby/Comeher etome/ Come
i
ntome. "JayZr aps,"Nocloudsi nmyst ones,"meani nghistest
iclesarewor king
properl
y.Het hensay s,"I
nant i
cipat
ionf orpreci
pitat
ion/St
ackchi psf ortherainy
day,Jay/RainMani sback. "JayZi splanningon" maki ngitr
ain,
"ify oucatchour
dri
ft.

Exampl
esofEscapeMusi
c

 HalfTheWor ldAwaybyAur ora(Cover)-Thesongbegi nswi t

ht hespeakert alking
aboutwant i
ng a fresh start
;he want st oleavet his"oldt own"i n search of
somet hi
ngnew.Hi smi ndhasgi venhim" warningsigns"t o"leavethisci t
y "for
reasonsexplai
nedlaterinthenextst anza.Thecityhaslefthim drai
ned,t herefore
oncehel eav
es-ifev er-hewi l
l"bookhimselfi
ntoasoulasy l
um"orapl acewher e
hecanshel t
erhisspiri
tthatmayhav ebeenbr okenfrom stayi
ngi nthe" oldtown"
forsolong.

ACTI
VITY9 Usi
ngy ourartmaterial
s,creat
eani mageusingonly
symbol
ismsthatrepresent
sy ourmessage.Show y
our
ar
ttooneofyourclassmatesandlett
hem int
erpr
etyou
ar
t.Then,
answert
hef
oll
owi
ngquest
ionsonthespaceprovi
ded.

1.Whati sthemessagebehi ndyourart

?
2.Whatsy mbol sdidyouuseandwhatar etheirmeani ng?
3.I
st hemessageofy ourartsamewi ththeinterpretat
ionofyourclassmate?
4.Whydoy out hi
nkthei nt
erpr
etati
onofy ourclassmat eonyourartisthesameordi
ff
erent
fr
om t hemessagey ouareshowing?
5.Aret heresomei ncident
st hatyourinterpret
ationofi magesi sdiff
erentwi
thother
s'
i
nterpretat
ion?

70
 PARTX Ar
tandHist
ory
:
TheEvol
uti
onofStyl
es

Lear
ningOut
comes Att
heendoft
hisl
esson,
youshoul
dbeabl
eto:

1.Under
standdiff
erentperiodsofart;
2.Comparedif
ferentperiodsfrom oneanother;
3.I
denti
fyfamousar tsty
lesandmov ement
si nthePhi
li
ppi
nes;and
4.Di
scusshowt hedev el
opmentofst yl
esterminatei
ntheconsci
ousnessofar
t.

St
ylesofCl
assi
cal
Art LESSON35

I
ntheear ly5thcent uryGreekarti
stsbeganconsci ouslytoattemptt orenderhumanand
ani
malf orms r eali
sticall
y.This ent ai
led carefulobser v
ation oft he modelas wel las
under
standingthemechani csofanat omy-howf rontalbutwi t
hthewei ghtshi f
tedtooneside
ofthebody ,andhowabodybehav esi nvi
olentmot i
on.Thesuccessor stot hearchaickouroi
,
mainl
yathletefi
gures, arethusregular
lyshown' atease',onelegrel
axed, wit
hacompl ementary
shi
fti
ntheshoul ders,andt hewholeemphasi zedbycont rast
sofr i
gidandr elaxedinli
mbs.

Thenewst yleisbestexpr essedi nthePar t

henonmar blesofabout450-435BCbutt here
wasapr ecedingstyleofsomei mpor tance-t heEarl
yCl assical,sometimescal l
edtheSev ere
St
yle,which is exempl if
ied i
nt he scul pt
ures forthe Templ e ofZeus atOl ympia.These
i
nnovati
onswer eforeswor nbyPhei dias,inhisdesignforthePar t
henon,andreplacedbyamor e
i
deali
zedreali
sm inwhi chbodyf ormswer eoftenmor eregulart haninl
if
e, andheads,exceptfor
monstersl
ikecentaurs, seem passionless,calm.

Thenewr eal
ism coul
dnotbeachiev
edbyt heol
dtechni
quesofcar
vingdirectl
yintoa
st
oneblock,buthadtobebasedonamodel l
i
ngtechni
que,bui
l
dingupthefigur
esi nclayon
ar
matur
es, l
i
keaskelet
on,andthencopy
ingi
ntost
one.

Thetr
adit
ionofthearchai
cgraverel
i
efsi
sconti
nuedout
sideAthens,
wherethepracti
ce
resumes,i
nthenewst yle,wel
lexpl
oitt
hecalmreal
i
sm ofthefi
gureswhichfort
hemostpar t
depictt
hedeadasi nli
fe,int
hecalmermomentswhichmayimplyaf ar
ewell
,andtheyi
nclude
thebestcl
assi
calstudi
esofwomen.
Theendoft
he5t
hcent
uryi
smar
kedbyAt
hens'
def
eatatt
hehandsoff
ell
owGr
eeks,

71
fol
lowedbytheri
seinimpor
tanceofvar
iousGreekLeaguesofstat
es,and,
int
henor
th,t
he
growingpowerofMacedoni
a.Thismeanttheproduct
ionofmorecivi
cmonument
s,andeven,
fortheMacedoni
ans,r
oyalf
amilygr
oups.

4th-
centur
ystylesdevelopf rom the5t h-
cent
ury,st
il
lideal
izedr eal
ist
ic,butbolderin
posesandbegi nni
ngt ocreat
ei nt
eracti
vegr oupswhichlentaf ur
therdegreeofdept ht othe
renderi
ngofsubjectssuchasbat tlesorhunt s.Indi
vi
dualreal
ism,ratherthangenerali
zed,is
pickedupagainaft
ertheexperi
ment sofOl y
mpi a.

Asinthe5t hcentury,muchofthebestwor kwasdonei nbronze,butforthemostpar t

wehav etojudgest yl
ef rom sur
vivi
ngmarbles(usuall
yf r
om ar chi
tect
ure)ort hemanycl ose
copiesmadeofear li
erwor ksforRomanpat r
ons,whichf i
llmostmuseum gal leri
estodayand
arewellr
epresentedinOxf or
d.Onenewuseofmar bl
ewasf orthefemalenude,since,al
though
stat
ueswerest i
l
lallpai
nted,thef
lesh-
li
kequali
ti
esofpolishedmar blewereappreciat
ed,andwe
getthefi
rstsensualstudiesofthefemalebody,at r
endst art
edbyt hesculpt
orPr axi
tel
esand
hi
sf amousAphrodite-losttousexcepti
npoorcopies.

The Western Greeks areless act

ive,though prosperous,and especial
ly develop
'
acrol
it
hic'
stat
ues,headsandf l
eshpart
sin'The4thcentury'i
snotast y
leastheClassi
cal ofthe
5thcentur
yhadbeen,andi nsomer espectsthesculptur
eseemst obemar ki
ngt i
mebef ore
dramati
cdevel
opmenti nthefoll
owingperi
od.Purereali
sm isini
tswayanendi nitsel
fandany
devel
opmentfrom i
thast oabandonsomeofi tsbasi
cprinci
ples.

St
ylesofModer
nAr
t LESSON36
MostI
mpor
tantMov
ement
sofModer
nAr
t

1.I
MPRESSI
ONI
SM (
1870s,
1880s)

Exempl ifi
edbyt hel andscapepai nti
ngsofCl audeMonet( 1840-1926),Impressionism
focusedont heal mosti mpossi bletaskofcapt ur
ingf leetingmoment sofl ightand
colour.Introducednon- naturali
stcol ourschemes,andl oose-of tenhighlytextured-
brushwor k.Cl ose-
up many I mpr essionist painti
ngs wer e unrecognizabl
e.Hi ghly
unpopul arwi t
ht hegener alpublicandt hear tsauthorit
ies, al
thoughhighl
yr at
edbyot her
moder nar tists,dealersandcol l
ectors.Ev entual
lybecamet heworld'
smostf amous
painti
ngmov ement .Themai ncont ri
but i
onofI mpr essionism to"moder nar t
"wast o
l
egiti
mi zet heuseofnon- naturali
stcol ours,thuspav ingt hewayf orthewhol l
ynon-
natural
istabst ractartofthe20t hcent ury .

72
2.FAUVI
SM (
1905-
7)

Shor t
-li
ved,dramaticandhi ghl
yinfluenti
al,LedbyHenr iMatisse( 18691954),Fauv i
sm
was' the'fashi
onablestyl
edur i
ngthemi d-1900sinParis.Thenewst yl
ewasl aunchedat
theSal ond' Automne,andbecamei nstantlyfamousfori tsv
ivid,garish,non-
naturali
st
colourst hatmadeImpr essi
onism appearalmostmonochr ome.Themai ncontr
ibuti
onof
Fauv i
sm t o" modernart"wast odemonst ratetheindependentpowerofcol our
.Thi s
highlysubj ecti
veapproach to artwasi n contrasttot heclassicalcontent-or
iented
outlookoft heacademies.

3.CUBI
SM (
fl
.1908-
14)

An aust ere and challenging styl

e ofpai nti
ng,Cubi sm i nt
roduced a composi tional
system off l
atspl i
nter ed pl
anes as an al ter
nativ
et o Renaissanceinspir
ed linear
perspecti
ve and r ounded v olumes.Dev el
oped by Pabl o Pi casso (1881-1973)and
Geor gesBraque( 1882- 1963)i ntwov ariant
s-Anal yticalCubi sm andl aterSynthetic
Cubism -itinf
luencedabst ractartforthenext50y ears, al
thoughi t
spopul arappealhas
beenl i
mited.Themai ncont ri
butionofCubi sm t
o"moder nar t
"wast oof f
erawhol enew
al
ternati
vet oconventionalperspective,basedontheinescapabl efactofthef l
atpicture
pl
ane.

4.FUTURI
SM (
fl
.1909-
14)

Founded by Fi l
i
ppo Tommaso Mar i
netti(1876-1944),Futuri
startgl ori
fi
ed speed,
technol
ogy ,the automobil
e,the air
plane and scienti
fi
cachievement.Al t
hough very
i
nf l
uenti
al,i
tborrowedheav i
lyfrom Neo-I
mpr essi
onism andItal
ianDivi
sioni
sm,aswel l
as Cubism,especi al
lyitsfragmented forms and mul t
ipl
ev i
ewpoi
nt s.The main
contri
buti
onofFut uri
sm to"modernar t
"wast ointr
oducemov ementint othecanvas,
andt ol
inkbeautywi thsci
ent
ifi
cadvancement .

5.EXPRESSI
ONI
SM (
from 1905)

Alt
houghant icipatedbyar ti
stslikeJMW Tur ner(Int
eri
oratPet worth,1837) ,VanGogh
(WheatFi eld wi t
h Cr ows,1890)and PaulGaugui n( Anna The Jav anese,1893) ,
expressi
onism was made f amous byt wo gr oups in pre-warGer many:Di e Brucke
(Dresden/Berl
in)andDerBl aueRei ter(
Muni ch),l
edbyEr nstLudwi gKi r
chner( 1880-1938)
andWassi lyKandinsky( 1866-1944)respectivel
y.Insculpt
ure, t
hef ormsoft heDui sburg-
bornar ti
stWi lhel
m Lehmbr uck( 1881-1919)wer e( andst i
l
lar e)sublime.Themai n
contri
buti
onofex pressioni
sm t o"moder nart"wast opopul ari
zet heideaofsubj ectiv
ity
i
npai nti
ngandscul pt
ure,andt oshowt hatrepresentat
ionalartmayl egiti
mat elyi
nclude
subjecti
vedistorti
on.

6.DADA(
1916-
24)

Thefir
stant
i-
artmovement
,Dadawasar evoltagainstthesy
stem whichhadallowed
thecar
nageofTheFi
rstWorl
dWar(1914-18).Itr
apidlybecameananarchi
sti
ctendency
whoseaim wastosubver
tthear
tsestablishment.Launchedinneutr
alSwitzer
landin

73
 1916,itsleaderswer ei nt heirearl
yt wenti
es,and mosthad " opted out",avoiding
conscri
pti
onint heshel t
erofneut ralcit
iessuchasNew Yor k,Zur i
chandBar celona.
Foundersincluded thescul ptorJean Ar p(18871966)and theRomani an poetand
demonicact i
vistTrist
anTzar a(1896-1963).Themai ncontr
ibuti
onofDadawast o
shakeupt hear t
swor l
dandt owidentheconceptof" modernart
",byembr aci
ngt otall
y
new typesofcr eati
vit
y( perfor
mancear tandr eadymades)aswel lasnew mat eri
als
(j
unk art)and t hemes.I ts sedi
tious sense ofhumourendur ed i nt he Surreali
st
mov ement.

7.SURREALI
SM (
from 1924)

Foundedi nPar i
sbywr i
terAndreBr eton( 1896-1966),Sur realism was'the'f
ashionabl
e
artmov ementoft heinter-
waryears, alt
hought hest y
leisst i
l
lseent oday.Composedof
abstractandfigurati
vewi ngs,i
tev olvedoutoft heni hil
i
st i
cDadamov ement ,mostof
whosemember smet amorphosedintosur reali
sts,butunlikeDadai twasnei t
heranti-
art
norpol i
ti
cal
.Surreal
istpaint
ersusedv ari
ousmet hods-i ncludi ngdreams, hal
l
ucinati
ons,
automat i
corr andom imagegener at ion-t ocircumv entr ationalthoughtprocessesin
creati
ngwor ksofar t.Themai ncont ri
butionofSur reali
sm t o"moder nar t
"wast o
generatear ef
reshinglynew setofi mages.Whet herthesei mageswer euni quel
ynon-
rati
onal i
sdoubtful
.

8.ABSTRACTEXPRESSI
ONI
SM (
1948-
60)

Abroadstyleofabstractpainti
ng, dev
elopedi nNewYor kjustaf terWor l
dWarI I,
henceit
i
sal socall
edt heNew Yor kSchool .Spear headedbyAmer icanar ti
sts-t hemselves
str
onglyi
nfluencedbyEur opeanexpat r
iates-i tconsist
edoft womai nstyl
es:ahighly
ani
matedf orm ofgest ur
alpai nti
ng,popul ar
izedbyJacksonPol lock(1912-56),anda
muchmor epassi v
emoodor ientedstyl
eknownasCol ourFi eldpai nti
ng,championedby
MarkRothko( 1903-70).Themai ncont ri
buti
onofabst ractexpr essi
onism to" modern
art
"wastopopul ari
zeabstraction.InPoll
ock's case,byi nventinganewst y
leknown
as"act
ionpainti
ng".

9.POPART(
Lat
e-1950s,
1960s)

Asty leofar twhosei magesr efl

ectedt hepopul arcul
tureandmassconsumer i
sm of
1960sAmer ica.Fir
stemer gi
ngi nNewYor kandLondondur ingthelate1950s,i
tbecame
thedomi nantav ant-gardest y
leunt i
lthel at
e1960s.Usi ngbol d,easyt or ecognize
i
mager y,andv ibr
antbl ockcolour s,Popar ti
stslikeAndyWar hol(1928-87)createdan
i
conogr aphybased on phot osofpopul arcelebri
ti
esl i
kef il
m-stars,advert
isement s,
posters,consumerpr oductpackagi ng,andcomi cstr
ips-mat eri
althathelpedtonarrow
thedi vi
debet weent hecommer cialart
sandt hef i
near ts.Themai ncontri
butionof
abst
r actexpr essi
onism t o"moder nar t
"wast oshow thatgoodar tcouldbel ow-brow,
andcoul dbemadeofany thi
ng.

74
 St
ylesofPostModer
nAr
t LESSON37
Theterm" postmoderni
start
"referst
oawi decategoryofcont
empor ar yartcr eat
edfrom about
1970onwar ds.Thehall
markof" post
modernistart
"isit
srej
ect
ionoft heaest heti
csuponwhi ch
i
tspredecessor-"modernart"(
1870-1970)-wasbased.Oneoft heser ejectedv al
uesi
st heidea
that"
art
"issomet hi
ng"speci
al"whichshoul
dbe" el
evatedfr
om"popul art aste.

Coincidi
ngwi t
haraftofnew technol
ogi
caldevel
opments,postmoder
nism hasledt o
almostfi
vedecadesofar ti
sti
cexperi
mentati
onwithnew mediaandnew artforms,incl
uding
"Concept
ualar t
",v
ari
oustypesof"Per
formanceart
"and"Inst
all
ati
onart"
,aswellascomput er
-
aided mov ementsl i
ke Deconstr
uct
ivi
sm and Pr oj
ecti
on art.Using t
hese new f orms,
postmodernistart
ist
shavestret
chedthedefi
nit
ionofarttothepointwher
ealmost" any
thing
goes".

Exampl esofPost modernst y

les
 PopAr t
Popar ti
stsbr okedownt hesepar ati
onbet weenf inear tandpopularcult
ureinthei
rwor k:
Lichtensteinbor rowsthelanguageofcomi csforhispai nti
ngWhaam.
 Femi nistArt
Inthe1970swomenar ti
stsbegant omakear tinresponset othedev el
opmentsinfeminist
theory.Theyusedt hei
rper sonalexper i
encesofbei ngwoment oinformt hei
rwork.Ex:
Guer ri
ll
aGi rl
s,DoWomenHav etoBeNakedToGeti nt
ot heMet.Musem? ,1989.
 Neo–Expr essionism
Neo- expressionism sawpai ntersret
urningtomy thicalandhist
ori
calsubjects(i
nreact
iont o
thenegat ionoft hesubjectbymoder nistpaint
ers).Itwasanti-
int
ell
ectualandindi
vi
duali
stic
andr eferencedear li
erpaint
ingst y
les.

75
 Phi
l
ippi
neArtSt
ylesand
Movement LESSON38
A broaddescr i
pti
onondi f
fer
entartworkswhosethemesspew bi t
ingcomment ar
ieson
soci
o-pol
it
icalissuesoft hecountr
y.Accordingt
oartcr i
ti
candwr i
terAli
ceGuil
ler
mo,social
real
i
sm rearedi t
sheaddur ingtheawakeningofpoli
ti
cizedFi
li
pinoconsci
ousnessduri
ngthe
l
ate1800sr ev
olutionaryper
iodandthenagainint
heFi
rstQuart
erStor
mi nthe1970s.

Someoft heart
ists:PabloBaensSant os,PapoDeAsi s,Anti
pasDel
otav
o,EdgarTalusan
Fer
nandez,Renat
oHabul an,
AIManri
que,Leonil
oDolor
icon,
JoseTenceRuiz,t
heNat i
onalAr
tist
BenCab,Nunel
uci
oAl v
ar ado,JehoBi
tancor,MannyGar
ibay,Charl
i
eCo,Mar
kJusti
nianiandetc.

Fi
gurativeAr t
Thisisoneoft hemostpopul arartmovements,asf igurat
iveartisrepresentati
onal
,
meaningi tisderiv
edfrom r
ealobject sour
ces.Earl
yf igurat
ivear ti
nt hePhi li
ppinesis
mostlyr eal
ist
icandclassi
cal,
butinmoder nti
mes,sur
realdepicti
onsofhuman f i
gur es and
condi
tionsent eredfi
gurat
iveart
.Av i
sualmixofhues,andinsomecases, ir
onyisbr oughtinto
adddr amat oanot herwi
secommonpl aceeventorsit
uation.Also,figur
esandanat omyar e
di
stort
edoral t
ered.

Someoft heart
ists:Earl
yproponentsoff i
gurati
vear
taretheoldmast ersli
keJuanLuna,
Fel
ixResurr
ecionHidal
go; art
ist
sduringt hewary earsandbeyondincludedVicent
eManansal a,
Nati
onalArti
stsCarl
os" Botong"Francisco,FernandoAmor sol
o;sculptorsGuil
ler
moTol ent
ino
andAnastacioCaedo;r ecentfigur
ati
vear ti
stsar eElmerBorlongan,IvanRoxas,andPat r
ick
Fl
ores

Abstr
actAr torNon–Repr esentati
onalArt
Objectsfrom thenaturalwor ldandal soideasareportr
ayedusingcolorandf or
m.
Abstr
actartinthePhil
i
ppinesemer ged aft
erWor l
d WarI I
;duri
ng thi
st i
me,moder ni
sts
weresteeri
ngawayf r
om themor econserv
ativestyl
eofAmorsol
o,andfi
nding new way s of
expr
essingt hemsel
ves.Moder nist
sr ecei
vedpl ent
yofsupportfr
om twoi nst
it
uti
ons:t
heAr t
Associ
ationofthe Phi l
i
ppinesandt hePhi l
i
ppineArtGal
l
ery.

Someoft hearti
sts:Nati
onalAr t
istHROcampo' swor ksplayonPhi l
i
ppinefl
oraand
fauna,FernandoZobelwentthr
oughaper iodofpaintingblackandwhi t
ebef oreret
urni
ngt o
color
,JoseT.Joy api
oneeredabstractexpressi
oni
sm, andNational Arti
st for Scul
pture
NapoleonAbuev amadeuseofal lkindsofmat er
ialssuchaswood,met al
,adobe.Therecent
generationofabstr
actart
istsi
ncludesTonyLeano, Lexygi
usCal i
p,andRM deLeon.

Concept
ualArt
I
nthi
smov ement,t
hei deaismoreimport
antt
hantheobject,andencompassessit
e-
speci
fi
cartinstal
l
ations,t
hree-di
mensi
onalassembl
agesofdiscardsandnon-artelement
s,

76
perf
ormance,andvideoart
.Itgivesemphasi
sonthear
ti
st'
sthi
nki
ngwhil
ethear
twor
ksare
merelydocument
soft hear
ti
st'
sthought
s.Someoft
heworksar
eephemer
alort
empor
ary,
and
ther
efor
erequi
resdocumentat
ion.

Theor
yoft
heEndofAr
t LESSON39

Arthi storianshav el ongar guedt hatt heanci entGr eekssoughtt oi mi t

atethehuman
bodywi t
hev ergr eaterdegr eesofv er i
simi l
i
t ude,amodelt hatwasr esur recteddur i
ngt he
Renaissance.Thi sconcepthol dsthatar ti
stsshoul dseekt omast ert
heimi tationofreali
ty( t
he
storyoft hepai ntingcont estbetweenZeuxi sandPar rhasiust ypifi
esthisideal ).Anumberof
earl
yar thi stori
anssoughtt odemonst ratehow v ariousar ti
stshadpr ogressed( andinsome
cases,stunt ed)t hisultimategoal,andi ndoi ngso, engi neeredoneoft hedomi nantnar r
ativesof
arthist
ory .Ther esulti sabasi c(andv eryreduct ive)i nterpretationofar thistory.Summedup
crudely
,itr esembl essomet hi
ngliket his:Thecr aftsmanoft hesocal l
edDar kAges‘ f
orgot ’t
he
mimet i
cski l
lsandv aluesoft heanci ents.Cl assicali dealswer et henr esurrecteddur i
ngt he
Renaissanceandwer econst antl
yr eev aluatedupt ot hel ateni neteenthcent ury.Byt heear l
y
20thcent ury,arthadf ract
uredintoamul ti
tudeofconcur r
entmov ement s.

ThestoryDant ot ell
sin“TheEndofAr t
”followsonf rom thismodel .Accor dingt oDanto,
thecommi t
mentt omi mesisbegant ofalterdur i
ngt heni neteenthcent uryduet ot her i
seof
photographyandf i
lm.Thesenewper ceptualtechnologiesl edar t
iststoabandont hei mit
ati
on
ofnature,andasar esult,20thcenturyart
istsbegant oexpl orethequest i
onofar t
’sowni dentit
y.
Whatwasar t?Whatshoul ditdo?Howshoul dar tbedef ined?Inaski ngsuchquest i
ons, ar
thad
become sel f-conscious.Mov ement s such as Cubi sm quest i
oned t he pr ocess ofv i
sual
repr
esent at
ion,andMar celDuchampexhi bit
edaur i
nalasanar twork.Thet went iet
hcent ury
oversaw ar apidsuccessi onofdi fferentmov ement sand‘ isms,’allwitht heirownnot i
onsof
whatar tcouldbe.“ Al lthereisatt heend, ”Dant owr ote,“istheor y
,arthav i
ngf inall
ybecome
vaporizedinadazzl eofpur ethoughtabouti t
self,andr emai ni
ng,asi twere, solel
yast heobject
ofit
sownt heoreti
cal consciousness.”

Warhol’sBr i
ll
oboxesandDuchamp’ sr eady
-madesdemonst ratedtoDant othatarthad
nodi scer
nibledi recti
oni nwhi chtopr ogress.Thegr andnar rat
iveofpr ogressi
on— ofone
mov ementr eactingt oanot her— hadended.Ar thadr eachedapost -hi
stori
calst
ate.Dant o
bel
ievedt hatanysubsequentmov ementswer enonessent i
alinthatt heywoul dnol onger
contri
butetot hepur suitofart
’sself-
def
init
ion.“Weareent eri
ngamor estable,
happierper
iodof
art
isti
cendeav orwher ethebasi cneedstowhi charthasal waysbeenr esponsivemayagai nbe
met ,
”hewr ote.

Al
thoughDantocl
aimedt heendofartwasn’
tini
tsel
fabadt hing,henonethel
ess
appear
ed tol at
erl
amentits demise.I
n hi
srev
iew oft
he 2008 Whi
tneyBienni
al,Danto

77
l
ambast edthethemel essst at
eoftheartworld.“I
tisheadinginnodir
ecti
ont ospeakof,”the
phi
losopherwr ote.Thoughwi delyread,Danto’
st heor
iesarenotwhol l
ybelov edbythear t
i
ndustry.Ar
tist
sdon’ tnecessari
lywanttohearthatthei
rwor khasnodevelopmentalpot
ent i
al.
Danto’
swor kal sopresentsachal l
engefortheartmar ketwhichrel
i
esonper cei
vedhistori
c
i
mpor t
anceasauni quesell
ingpoint
.

Hepr edi
ctedthatthedemandont hemar ketwoul
dr equi
rethe“il
l
usionofunending
novelt
y,”l
aterciti
ng 1980s Neo-Ex
pressi
onism as an example ofthe i
ndustr
y’s need t
o
conti
nuall
yrecycl
eandr epackagepri
oraestheti
cformsandideas,achargethatparall
elst
he
contemporarydebat
eregardi
ngzombieformalism.

ACTI
VITY10 Answerthefoll
owingquest
ionscogentl
ybuthonest
ly.
Writ
eyouranswersint
hespacepr
ovided.

1.Pr
etendy
ouhav
en’
tst
udi
edt
hel
essonsy
et.Howdoy
oudef
inear
tiny
ourownwor
ds?

2.Fol
l
owi
ngt
hequest
ionsabov
e,howdoy
ouseet
hewor
ldwi
thoutar
t?

3.Whati
sther
elev
anceofPhi
l
ippi
near
tandmov
ement
stot
hel
i
feofi
tspeopl
e?

4.As a yout
h,whatcan t
he y
out
h do i
n or
dert
ofl
our
ish t
he ar
tand cont
inue i
ts
dev
elopmentov
ert
ime?

78
 FI
NALASSESSMENT

I
. I
denti
fyal
lthenewestthi
ng/tr
endsinyourcommunity
.
Pr
ovidepi
cturesanddescri
pti
onsaboutit
.(atl
east5i
neachcat
egor
y)
 Landmar ks
 Food
 Fashionstyl
es
 Musi c
 Technology
 Fit
ness
 Beauty
 SocialMediaPl
atfor
ms
 Hobbies
 Sports

I
I. Aft
ery
ou'vedonetheact
ivi
tyabove,chooseoneineachcategor
ythatf
ory
oui
sthebest
amongthebestt
hencreat
eabr ochureusingi
t.Makeitar
ti
sti
casyoucan.

I
II
. Answeral lt
hef oll
owingquest ions( atleast2par agraph)
1.Whati strends?
2.Whatar et heposi ti
veeffect soft r
endst oday?
3.Whatar et henegat iveeffectsoft rendst oday?
4.Asami l
lenni al
,whatwasy ourideaaboutt r
endst oday?Doesithelpful?Inwhatway
5.Howwasy ourideaofwhati slocalchangedornotchangeaf t
ergoingoutt odof i
eld
wor k?
6.Whathav ey oulearnedabouty ourcommuni tyandy oursel
f?Howmuchoft hatself
canr emainconst antandhowmuchcanr emainopent ochange?Howdoy oukeepa
senseofcommuni tyatt hesamet imebui ldasenseofsel fthatassumesv ar
ied
rolesinanenv ir
onmentt hatconst antl
yshi f
ts?
7.I nt hefaceofsomuchi nfor mation,andt hemanyway sbywhi cht hisinf ormation
reachus,how doesonekeepf rom justmer el
ygoingwi ththef l
ow orbecomi ng
bli
ndlysubj ectt owhatist rending?Howwoul dast udenttodaynurturehi s/ herself
-
i
dent i
ty?

79
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e( art
icl
e).(n.
d.)
.Retri
eved Febr
uary 29,2020,f r
om
ht
tps:
//www.khanacademy.or
g/humanit
ies/
ap-art
-hist
ory
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tur
es-
rel
igi
ons-
ap-ar
thi
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y/a/
a-
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ief
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y-of
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n-cul
tur
e

Adams,LaurieSchnei
der(1993)
:Ar tandPsy
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ysi
s.New York:I
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ri
eved
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om: https:
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ographi
es.
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Analyn Sal
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-Amor
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2017)
. ht
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rer
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bat
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ng-
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ng-
mambabato

Ari
ola,Mar
iano(2014)
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eci
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es,C & E
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ng,
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“Ar
t Appr eciat
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on Pr
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ri
eved f
rom
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hsociety.
org/
the-
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-appr
eci
ati
on-
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Ar
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arCul
tur
e.(
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tRel
ati
vi
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ri
evedf
rom www.
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andpopul
arcul
tur
e.com/
Aest
het
ic_
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ati
vi
sm

Bartel
,M."Thear
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vat
ionandcri
tiqueinself-
dir
ect
edlear
ning.
"ThisisChapt
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131-142,
inananthol
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oncont
ri
buti
onsedit
edbyJaquith,Di
ane
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NanE.TheLearner
-Di
rectedclassr
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ege
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Beaut
ySt andar
ds:See How BodyTy pes Change Thr
ough Hi
stor
y.(
n.d.
).Ret
ri
eved f
rom
ht
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enceof
peopl
e.com/
beauty-standar
ds/

Ber
nar
d,Ther esa.(
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uar
y17,
2020)
.Ret
ri
eved f
rom:ht
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eresaber
nar
dar
t.
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basi
c-ar
t-
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ement-
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Bl
anco, Fel i
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ri
eved f
rom
ht
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es.
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2010/06/
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ee-
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-ar
ts.
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Bl
uma, M. ( 2018)."In Our Feeli
ngs: Escapi
sm Thr
ough Music". Ret
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eved f
rom
ht
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ves/
in-
our
-f
eeli
ngs- escapi
sm-
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ough-
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Boardman,
J..(2012).“
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evedf
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m

Bour
ne J. ( 2003) “I
mit
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” v
ol.
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ri
eved f
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