PORTFOLIO

IN
ART APPRECIATION

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 Contents
SOULMAKING................................................................3
7 DA VINCIAN PRINCIPLES.........................................4
APPROPRIATION...........................................................9
SOUL AND SPACE.......................................................10
TOROGAN.....................................................................11
IFUGAO BALE..............................................................12
BAHAY KUBO..............................................................12
BAHAY NA BATO........................................................13
OTHER INDIGENEOUS HOUSES...............................13
SYMMETRY ART.........................................................16
OKIR/UKKI....................................................................17
IMPROVISATION IN VARIOUS ART FORM............18
INDIGENEOUS ART.....................................................21
MUSLIM ART................................................................23
CHRISTIAN ART...........................................................25
CONTEMPORARY ARTS.............................................28
REFERENCES:...............................................................30

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 SOULMAKING
In its simplest form, soulmaking is making and deriving meaning from Art. But, how do we
make and derive meaning from art?

Art communicates multifaceted ideas and emotions. An artwork, whatever the form is, may have
meanings, but as audience, do we truly understand the artist’s message? We do not just look at
an artwork and interpret our understanding of it. Art appreciation is deeper than this. We, as the
perceiver must take into consideration the entirety of the elements and principles used, the
underlying themes, motifs and the whole composition. It involves steps that will aid an
individual to create and get its significance or implications from it.

The first step is through Formal Analysis. This is the study of the elements and principles of
art . In essence, this is when we analyze the artwork’s form. It also includes studying the way
they are used in a specific artwork. You have learned in Unit 1 the various elements and
principles of art such as the symbolic value of line, color, shape, etc. They are used to evaluate
and analyze works of art. Basically, formal analysis consists of purely visual features of the
artwork regardless of the cultural context, history or artist motivation.

The second step is through Content Analysis. This is when we get the objective information of
the artwork. We now refer to identifying the subject matter or what is recognizable in the piece
of art. Then, we interpret the themes as suggested by the interaction of symbols present.

The next step is understanding the Context. All in all, this is researching the time, place, and
social conditions in which the artwork is made.

Finally, one has to consider Art Encounter or Viewing Context. This is when we identify any
possible prejudices or preconceived notions and values that resulted from viewing the artwork.

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 7 DA VINCIAN PRINCIPLES
1. Curiosita: An insatiably curious approach to life and an unrelenting quest for continuous
learning.

2. Dimostrazione: A commitment to test knowledge through experience, persistence, and

willingness to learn from mistakes.

3. Sensazione: The continual refinement of the senses, especially sight, as the means to enliven
experience.

4. Sfumato: A willingness to embrace ambiguity, paradox, and uncertainty.

5. Arte/Scienza: The development of the balance between science and art, logic and
imagination. “Whole-brain” thinking.

6. Corporalita: The cultivation of grace, ambidexterity, fitness, and poise.

7. Connessione: A recognition of and appreciation for the interconnectedness of all things and
phenomena. Systems thinking.

Here are some notes from the heart of the book:

Curiosita

All of us come into the world curious. We’ve all got it; the challenge is using and developing it
for our own benefit. Leonardo’s inquisitiveness was not limited to his formal studies; it informed
and enhanced his daily experience of world around him.

Da Vinci studied everything with same rigor.

Great minds go on asking confounding questions with the same intensity throughout their lives.
Leonardo’s childlike sense of wonder and insatiable curiosity, his breadth and depth of interest,
and his willingness to question accepted knowledge never abated. Curiosita fueled the wellspring
of his genius throughout his adult life.

By cultivating a Da Vinci – like open, questioning frame of mind, we broaden our universe and
improve our ability to travel through it.

First take self assessment of present level of Curiosita.

Keep a Journal or “Notebook”. Leonardo da Vinci carried a notebook with him at all times so
that he could jot down ideas, impressions, and observations as they occurred. His notebooks
contained jokes and fables, the observations and thoughts of scholars he admired, personal
financial records, letters, reflections of domestic problem, philosophical musings and prophecies,
plans for inventions, and treaties on anatomy, botany, geology, flight, water, and painting.

He was too busy searching for truth and beauty. For Da Vinci, the process of recording
questions, observations, and ideas was of great importance.

Busy lives and job responsibilities tend to drive us toward hard conclusions and measurable
results, but the exploratory, free flowing, unfinished, nonjudgmental practice of keeping a Da
Vincian notebook encourages freedom of though and expansion of perspective. In the manner of
maestro, don’t worry about the order and logical flow, just record.

Book discusses several techniques like generating top hundred questions, key themes, finding the
right questions by asking What? When? Why? Where? Who? and How? and contemplate on
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question. Fill your notebook with questions, observations, contemplations, notes, pictures,
drawings etc covering as many topics as you can.

Dimostrazione

The finest teachers know that experience is the source of wisdom. And the principle of
Dimostrazione is the key to making the most of your experience.

He viewed the work of others as “proxy experience” to be studied carefully and critically and
ultimately to be tested through his own experience.

Leonardo saw how preconceptions and “bookish prejudices” limited scientific inquiry. He knew
that learning from experience also meant learning from mistakes.

Despite mistakes, disasters, failures, and disappointments, Leonardo never stopped learning,
exploring and experimenting.

There is no doubt which principle Leonardo considered as defining the true direction for the
furrow he wished to plow. That principle was what he termed “experience”.

Book suggests applications and exercises to horn the principle.

Exercises are grouped as examine experience, check your beliefs and sources, learn from
mistakes, create affirmations and learn from anti-role models.

Sensazione

“All our knowledge has its origin in our perceptions” – Leonardo Da Vinci

Sight, sound, touch, taste and smell are keys to doors of experience. Da Vinci believed secret of
Dimostrazione are revealed through senses.

“The five senses are ministers of soul” – Leonardo Da Vinci Leonard reflected sadly that average
human “looks without seeing, listens without hearing, touches without feeling, eats without
tasting, moves without physical awareness, inhales without awareness of odour or fragrance, and
talks without thinking.”

Book presents several questions and exercise for looking and seeing, listening and hearing,
aromatic awareness, taste and touching & feeling. Attention is also drawn to synesthesia – the
merging of the senses.

Sfumato

As you awaken your powers of Curiosita, probe the depths of experience and sharpen your
senses, you come face to face with the unknown. Keeping you mind open in the face of
uncertainty is the single most powerful secret of unleashing your creative potential. And the
principle of Sfumato is the key to that openness.

“That painter who has no doubt will achieve little” – Leonardo

Book has many suggestion and exercise for developing the Sfumato principle.

Look at set of questions in your notebook and see which one causes greatest sense of uncertainty
and ambivalence. Describe the feeling of ambiguity. Describe the feeling of anxiety. Where in
the body do you experience them? Count number of times per day that you use an absolute such
as “totally”, “always”, “certainly”, “must”, “never” and “absolutely”.

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Practice the contemplation exercise with any of the chosen paradoxes such as joy and sorrow,
good and evil, intimacy and independence, strength and weakness etc

Spaces between you conscious efforts provide a key to creative living and problem solving.
These spaces allow perception, ideas, and feeling to incubate.

“Greatest geniuses sometimes accomplish more when they work less” – Leonardo

Neuroscientists estimate that your unconscious database outweighs the conscious on an order
exceeding ten million to one. This database is the source of your creative potential. In other
words part of you is much smarter that you are. The wisest people regularly consult that smarter
part. You can too by making space for incubation. Take time for solitude & relaxation and trust
your gut.

Arte/Scienza

The terms left-brained and right-brained came into popular parlance through the Nobel Prize
winning research of Professor Roger Sperry. Sperry discovered that in most cases, the left
hemisphere of cerebral cortex processes logical, analytical thinking while the right hemisphere
processes imaginative, big picture thinking.

Seekers of balance are invariably drawn to a study of Leonardo. He is considered supreme

“Whole brain” thinker.

Mind mapping is a whole brain method for generating and organizing ideas, originated by Tony
Buzan, and largely inspired by Da Vinci’s approach to note taking.

Leonardo urged scientist and artists to “go straight to nature” in the search of knowledge and
understanding. Perhaps the most amazing natural system of all is right inside your skull. The
basic structural unit of brain function is the neuron. Each of our billions of neurons branches out
from a center, called the nucleus. Each branch, or dendritic (from Dendron meaning tree) is
covered with little nodes called dendritic spines. As we think, electrochemical “information”
jumps across the tiny gap between spines. This junction is called a synapse. Our thinking is
function of a vast network of synaptic patterns. A mind map is a graphic expression of these
natural patterns of the brain.

Learn the rules of mind mapping briefly covered by the book. To create a mind map:

1. Take a blank piece of paper, and write the question you are considering at the top.

2. In the center of the page, draw a symbol which represents both the left- and right-sides of the
brain.

3. Next, print key words which come to mind on lines that radiate out from the central image.
Print one key word per line, with each line being the same length as each key word.

4. For each key word that you have drawn, draw lines out from there, listing the ideas that flow
from that key word. Give each of these second-generation words their own line, going outwards
from the parent key word.

5. Keep going without censoring what you’re doing. Write down whatever comes to mind for
each of the key words.

6. Once you’ve generated enough material, stop and look at your map. Look for major themes --
ideas that have been expressed in a few different variations. Number the themes you can identify.

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7. Connect ideas that are related with arrows, or use colors to connect these different themes.

8. Now redraw the mind map, with every theme grouped together. Keep refining it until you feel
you’ve completely exhausted the subject.

‘‘Everything is connected to everything else.’’ -- Leonardo da Vinci

‘‘Those who become enamored of the art, without having previously applied to the diligent study
of the scientific part of it, may be compared to mariners who put to sea in a ship without a rudder
or compass and therefore cannot be certain of arriving at the wished for port.’’ - -- Leonardo da
Vinci

Corporalita

In addition to cultivating an ability to think clearly, logically and creatively, da Vinci was in
exceptionally good physical health. He taught (and exemplified) the idea that smart people
should also take good care of their physical health and well-being if they expect to remain
productive throughout their lives.

To do this develop a regular fitness program, study practical anatomy, use the Alexander
Technique to relearn poise, cultivate ambidexterity and learn how to juggle.

Connessione ‘‘Everything comes from everything, and everything is made out of everything,
and everything returns into everything.’’ -- Leonardo da Vinci

Despite the fact we live in an age of specialization, maintaining an accurate visualization of the
grander scheme of things can be particularly worthwhile. The greatest success in business (as
well as the most inner happiness) will come to those who understand that all actions, patterns and
relationships are part of the totality that envelopes the human race.

Contemplate the concept of wholeness. Write down in your notebook your concept of wholeness.
What, precisely, does it mean to you? How can it be expressed most accurately? What is its
opposite? What about conflicts that may occur?

Study the system dynamics of your organization. Ponder the dynamics of any organization. What
are the roles people are called on to play? What happens when stress becomes involved? How
have the roles changed over the years? Try drawing a diagram that represents the entire
organization from different perspectives. Use the metaphor of a human body. How does that help
you gain some insights into the dynamics at work in the system?

Make some mutant combinations. Take some completely unrelated items and visualize them
being combined. What would such a mutant object look and act like? What would be its
advantages? Its disadvantages? Try and use this to your advantage by developing creative
variations to long-established and familiar systems.

Talk with an imaginary role model. Actually having an imaginary conversation with a role model
is often an excellent way to develop perspective and insight into any situation facing you. If
nothing else, it will most certainly stimulate your creative abilities and may provide additional
inspiration to action.

Ponder the origins of things you commonly use. This exercise makes you stop taking everyday
things for granted and sharpens your awareness of the present moment. Take any object you use
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and think about what was involved in bringing that product to you. There are an infinite variety
of topics you can think about along these lines, including the development of the materials and
manufacturing processes, the economic and social forces related to the manufacturing process,
the cultural results of those forces and so on.

Think micro / macro. Microcosmic thinking requires that you focus on the small level -- right
down to the cellular or molecular level even. Create an image in your mind of all the minute
systems and subsystems that work beneath the surface to create the larger system. Then, change
your viewpoint to a macrocosmic one by looking at how the system fits into the society or
economic network as a whole. How does this system create value, and how does that value flow
to other parts of the system. By thinking on a micro- and macro- level, you gain a much broader
and more detailed perspective.

Develop time lines. A time line of significant events definitely provides a big picture perspective.
It also enables you to define the decisions taken, the options not pursued and the relationship
between an action and its consequences. Try visualizing any timeline as flowing from a source to
a destination. If you can do this vividly enough, you start refining your predictive powers and
fine-tuning your intuition.

Make a master mind map of your life, your career, your company or your product. Take the time
to comprehensively set out -- in mind map format -- precisely what you expect to achieve during
your lifetime. The same exercise can also be used effectively to develop a broader perspective on
your career, your businesses entity or even for a specific product. This exercise will allow you to
craft a vision, develop specific goals and select effective strategies. It will also allow blind spots
to be highlighted, roadblocks to be avoided and missing elements to be addressed. This exercise
may take several days to allow ideas to percolate to the surface:

Day 1 – Sketch the big picture of your dreams, Day 2 – Explore your goals, Day 3 -- Clarify your
core values, Day 4 – Contemplate your purpose, Day 5 -- Assess your current realities, Day 6 --
Look for connections, Day 7 – Strategize for change

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 APPROPRIATION
Appropriation is an idea in Contemporary Art which refers to intentionally borrowing or using
well-known images or objects created by someone else. Appropriated elements might be used as-
is or combined and merged with other elements.

One can see the beginnings of this idea in the early 1900s, when some artists used found
objects, or cast-offs and everyday items repurposed to create art. Later in the 20th century, artists
like Andy Warhol used familiar images of Campbell's soup cans and repeated photos of Marilyn
Monroe to comment on celebrities and mass media.

In appropriation, the found image or object is not changed that much. While still recognizable, it
is given a new or different meaning. At least that is the intent. Appropriation became
increasingly common in the 1980s when artists like Jeff Koons copied elements of other
artworks or familiar figures and called them his own. Casting a copy of a bronze sculpture in
shiny stainless steel is just one example. Appropriation challenged the concepts of originality and
authenticity. It asked viewers to consider what was real and what was fake.

Despite the fact that there exists a lot of ways to create art, we cannot deny the fact that artists
intend to elicit a response from the audience. No matter what medium the artist uses —
traditional or out of the norms — a certain level of freedom and creativity can lead to many types
of artworks. And no matter what the finished product is, one must be certain that it does not
violate anything or anybody.

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 SOUL AND SPACE
SOUL

- as the immaterial essence or animating principle of an individual life, a person's total self or
even the cultural consciousness and pride of a person.

SPACE

-may refer to an area a distance from other people or things that a person needs in order to
remain comfortable an opportunity for privacy or time to one self.

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 TOROGAN

IFUGAO BALE

BAHAY KUBO

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 BAHAY NA BATO

OTHER INDIGENEOUS HOUSES

SAGADA HOUSE

ISNEG HOUSE

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KALINGA OCTAGONAL HOUSE, CORDILLERA
REGION

KALINGA RECTANGULAR HOUSE

BONTOC HOUSE,CORDILLERA REGION

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KANKANAY HOUSE

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 SYMMETRY ART
What does symmetry in art mean?

In art, “Symmetry” means that one side of the picture looks like the other side. Symmetrical
balance is pleasing because it replicates itself in all directions to make an even, symmetrical
whole. What does symmetry art look like?

You can easily see symmetrical balance in traditional paintings, including landscapes and still
lifes.

If you look at the example below, if you were to draw a line in the middle of the painting and
then compare the two halves, you would see that there would be symmetrical balance as both
sides would look almost identical.

“The Delivery of the Keys to Saint Peter” Fresco by Pietro Perugino

Why is symmetry important in art?

Symmetry plays a crucial role in our lives because we are very good at recognizing patterns—so
good that we can find patterns even when they’re not really there!

That tendency works to the advantage of artists who use symmetrical composition deliberately to
create beauty or suspense or just to organize complicated shapes into simple forms that seem
easy for your eyes to follow around the drawing.

When things are not in symmetry in art, the artwork or subject matter starts to look a little ‘off’.
It is the main reason why most portraits fail or why many artworks are actually disliked by
viewers. It gives you that feeling that something is just not right with the artwork.

When you get that feeling with your own artwork then chances are you messed up the symmetry
and you should look at fixing it.

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OKIR/UKKI

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 IMPROVISATION IN VARIOUS ART FORM
Art has evolved in many ways. Founded on imagination and creativity, coupled with an
incredibly skilled individual, one may find himself/herself out of dead-end when it comes to art.
Materials may not be readily available in creating a masterpiece, hence, the need to improvise.

Improvisation is using one’s spontaneity to create or perform given the available resources,
without prior preparation.

Actors may be required to memorize their scripts but nobody is perfect. Even the best actor
forgets a line occasionally, hence, he/she must cope with the situation and somehow move on to
the next line or scene, without leaving the necessary plot points out for the audience. Musicians
may also be following the central features of their music but again, even playing from a score,
accidents happen. To recover from the mistake, the musician must be able to keep on playing or
singing seamlessly. Painters, sculptors, and ceramists interpret emotions and sensory data into
physical representations. Likewise, they improvise: a sculptor has to deal with the imperfections
in his/her medium, potters must accommodate the clay with which they work; painters
manipulate the oil paints, watercolors and surface upon which they create. While you, students of
Art Appreciation, must first learn the rules of discipline to create something new and original,
you also must learn how to deal with uncertainties.

MUSICAL IMPROVISATION
Improvisation is an important aspect of music in general. Musical improvisors often understand
the idiom of one or more musical styles—e.g. blues, rock, folk, jazz—and work within the idiom
to express ideas with creativity and originality. Improvisation can take place as a solo
performance, or interdependently in ensembles with other players. When done well, it often
elicits gratifying emotional responses from the audience. Very few musicians have ever dared to
offer fully improvised concerts such as the famous improvised piano recitals by
composer/pianist Franz Liszt. Yet, some have managed some very successful attempts in this
tradition and genre such as a few pioneering improvised solo piano concerts in Stuttgart,
Southern Germany and in London in the United Kingdom in the 1990s (see Polo Piatti).

SINGING IMPROVISATION
Singing Improvisation is an ancient art form. Singing Improvisation is a mixture of musical
improvisation and improvisational theater. A singer makes up the words and melody to a song at
the same time the musicians are making up the music to the song. Additionally, aspects of dance,
comedy and showmanship are all part of the singing improvisers repertoire.

THEATER
According to the dominant acting theories of Konstantin Stanislavski, an actor improvising a
scene must trust his own instincts. According to Stanislavski, an actor must use his own instincts
to define a character's response to internal and external stimuli. Through improvising, an actor
can learn to trust his instincts instead of using theater mugging and 'indicating' to broadcast his
motives. Improv is also useful in its focus on concentration. Obviously, in an environment in
which anything is allowed to happen, the actors must be capable of keeping their concentration
throughout, even in difficult and stressful circumstances. Concentration is a staple of acting
classes and workshops; it is vital that an actor be capable of concentrating on the scene or action
at hand. Actors who fail to keep up with an improvisation are said to be 'blocking'.

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DANCE
Dance Improvisation as a Choreographic Tool

Improvisation is used as a choreographic tool in dance composition. Experimenting with the

concepts of shape, space, time and energy while moving without inhibition or cognitive thinking
can create unique and innovative movement designs, spatial configuration, dynamics, and
unpredictable rhythms. Improvisation without inhibition allows the choreographer to connect to
their deepest creative self, which in turn clears the way for pure invention.

Contact Improvisation
Contact improvisation is a form developed 30 years ago that is now practiced around the world.
It originated from the movement studies of Steve Paxton in the 1970s and developed through the
continued exploration of the Judson Dance Theater. It is a dance form based on sharing weight,
partnering, and playing with weight with unpredictable outcomes.

FILM
The director Mike Leigh uses lengthy improvisations developed over a period of weeks to build
characters and storylines for his films. He starts with some sketch ideas of how he thinks things
might develop but does not reveal all his intentions with the cast. They soon discover their fates
and act out their responses as their destinies are gradually revealed, including significant aspects
of their lives which will not subsequently be shown onscreen. The final filming draws on
dialogue and actions that have been recorded during the improvisation period.

COMEDY
Improvisational comedy is a common art performed throughout the world and throughout
history.

Some of the more famous North American comic improv groups are the 'Upright Citizens
Brigade' from New York City, the 'Groundlings' form Los Angeles, the 'Second City' from
Chicago, and 'Theatresports' from Calgary, Canada. They practice extemporizing on the methods
of pioneers such as Viola Spolin, Paul Sills, Del Close, and Keith Johnstone.

POETRY
Traditional epic poetry included improvisational moments where the reciter flattered the
audience (especially the authorities) or substituted forgotten passages to the delight of the
listeners.

There are also societies that value improvised poetry as a genre, often as a debate or "poetic
joust," where improvisators compete for public approval.

Some of those impromptu poems are later recorded in paper or transmitted orally.

Some forms of improvised poetry:

 Basque 'bertsos'
 Cuban 'décimas'
 The Dozens, ritual rhyming insults among African American ghetto youths
 Norse and Germanic 'flyting'

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  Provençal and Catalan 'Jocs Florals'
 Arabic 'naqa'id'
 Argentinian 'payadores
 The 'partimen' and 'tenso' of troubadours
 Lebanese 'zajal'
 Portuguese 'cantigas ao desafio' (sung)

Usually wit is as valued as conformity within the poetical form. Some of these forms also
include humor.

TELEVISION
In the 1990s, a TV show called Whose Line Is It Anyway? popularized shortform comedic
improvisation. The original version was British, but it was later revived and popularized in
the United States with Drew Carey as a host. More recently, television shows such as
HBO's Curb Your Enthusiasm (starring Seinfeld co-creator Larry David) and Bravo's (television
network) series Significant Others have used improvisation to create longer-form programs with
more dramatic flavor. Another improvisation based show is I-TV network's "World Cup
Comedy." In Canada, the Global Television Network's soap opera Train 48, based on the
Australian series Going Home, uses a form of structured improvisation in which actors improvise
dialog from written plot outlines.

Even more recently, Australia's 'Thank God You're Here' is a game show where celebrities are
put into scenes they know nothing about and have to improvise.

ROLE-PLAYING GAMES
Role-playing games often involve a casual form of improvisational acting. A player's character
may be pre-defined, with game statistics and a history, but the character's response to game
events and to other players is improvised. Some players are more interested in the depth of the
"acting" than others, while others enjoy elaborate plots, emotional investment in characters, and
intense or witty repartees. Some earlier role-playing games emphasize combat and game
mechanics over role-playing; however, modern storytelling games are often more plot-driven,
and live action role-playing games are often more acting-focused.

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 INDIGENEOUS ART
1. SARIMANOK

2.WEAVING

3. KALINGA ETHNIC ATTIRE

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 4. BATOK

5. FILIPINO BAWISAK EARRINGS

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 MUSLIM ART
1. TAJ MAHAL

2. A calligraphic panel by Mustafa Râkim (late 18th–

early 19th century)

3. Arabesque inlays at the Mughal Agra Fort, India

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 4. 9th century Quran

5. The Court of Gayumars, from the Shahnameh of

Shah Tahmasp

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 CHRISTIAN ART
1. THE LAST JUDGEMENT (MICHAELANGELO)

2. THE CREATION OF ADAM

(MICHAELANGELO)

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3. THE RETURN OF PRODIGAL SON
(REMBRANDT)

4. TRANSFIGURATION (RAFAEL)

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5. THE LAST SUPPER (LEONARDO)

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 CONTEMPORARY ARTS
1. ABSTRACT EXPRESSIONISM

2. POP ART

3. CONCEPTUALISM

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4. PHOTOREALISM

5. STREET ART

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 REFERENCES:
SOULMAKING:
https://www.studocu.com/ph/document/pamantasan-ng-cabuyao/bs-accountancy/art-
appreciation-cruz-nery/17945353

7 DA VINCIAN PRINCIPLES:
https://dl.motamem.org/How-to-Think-Like-Leonardo-Da-Vinci.pdf

APPROPRIATION:
https://www.studocu.com/ph/document/pamantasan-ng-cabuyao/bs-accountancy/art-
appreciation-cruz-nery/17945353

SOUL AND SPACE:

https://quizlet.com/542449478/lesson-16-soul-and-space-torogan-ifugao-bale-bahay-kubo-
bahay-na-bato-and-other-indigenous-houses-flash-cards/

TOROGAN:
https://en.wikipedia.org/wiki/Torogan#/media/File:Model_of_Torogan_Marano.jpg

IFUGAO BALE:
https://joansfootprints.com/2020/05/08/my-experience-in-ifugao-native-houses-getting-to-
know-the-ethnic-group-in-cordillera/

BAHAY KUBO:
https://www.quora.com/Is-the-element-of-bahay-kubo-still-applied-and-observed-today-If-
yes-how-does-it-look-like-If-no-why-is-it-not-visible-at-present

BAHAY NA BATO:
https://www.quora.com/What-are-the-Filipino-elements-on-the-Bahay-na-Bato

OTHER INDIGENEOUS HOUSES:

SAGADA HOUSE:
https://www.tripadvisor.com.ph/LocationPhotoDirectLink-g304053-d9802183-i276337084-
Sagada_Heritage_Village-Sagada_Mountain_Province_Cordillera_Region_Luzon.html

ISNEG HOUSE:
https://historyofarchitecture.weebly.com/vernacular-houses.html

https://historyofarchitecture.weebly.com/vernacular-houses.html
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https://historyofarchitecture.weebly.com/vernacular-houses.html

https://historyofarchitecture.weebly.com/vernacular-houses.html

https://historyofarchitecture.weebly.com/vernacular-houses.html

SYMMETRY ART:
https://wastedtalentinc.com/what-is-symmetrical-balance-in-art/

OKIR/UKKI:
https://en.wikipedia.org/wiki/Okir#/media/File:Mindanao_Bangsamoro_Islamic_Art_-
_24815385009.jpg

IMPROVISATION IN VARIOUS ART FORM:

https://www.studocu.com/ph/document/pamantasan-ng-cabuyao/bs-accountancy/art-
appreciation-cruz-nery/17945353

https://www.newworldencyclopedia.org/entry/Improvisation

INDIGENEOUS ART:
https://en.wikipedia.org/wiki/Sarimanok

https://www.tatlerasia.com/style/fashion/meanings-of-indigenous-filipino-textiles

https://www.pinterest.ph/pin/499829258641488461/

https://www.windowseat.ph/whang-od-buscalan/

https://www.slideshare.net/babaylan1111/philippine-indigenous-art

MUSLIM ART:
https://www.khanacademy.org/humanities/ap-art-history/south-east-se-asia/india-art/a/the-
taj-mahal

https://courses.lumenlearning.com/boundless-arthistory/chapter/introduction-to-islamic-
art/#:~:text=Islamic%20art%20is%20not%20art,%2C%20and%20textiles%2C
%20among%20others.

https://courses.lumenlearning.com/boundless-arthistory/chapter/introduction-to-islamic-
art/#:~:text=Islamic%20art%20is%20not%20art,%2C%20and%20textiles%2C
%20among%20others.

https://courses.lumenlearning.com/boundless-arthistory/chapter/introduction-to-islamic-
art/#:~:text=Islamic%20art%20is%20not%20art,%2C%20and%20textiles%2C
%20among%20others.

https://courses.lumenlearning.com/boundless-arthistory/chapter/introduction-to-islamic-
art/#:~:text=Islamic%20art%20is%20not%20art,%2C%20and%20textiles%2C
%20among%20others

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CHRISTIAN ART:
https://en.wikipedia.org/wiki/The_Last_Judgment_(Michelangelo)#/media/
File:Last_Judgement_(Michelangelo).jpg

https://en.wikipedia.org/wiki/The_Creation_of_Adam#/media/File:Michelangelo_-
_Creation_of_Adam_(cropped).jpg

https://en.wikipedia.org/wiki/The_Return_of_the_Prodigal_Son_(Rembrandt)#/media/
File:Rembrandt_Harmensz_van_Rijn_-_Return_of_the_Prodigal_Son_-
_Google_Art_Project.jpg

https://en.wikipedia.org/wiki/Transfiguration_(Raphael)#/media/
File:Transfigurazione_(Raffaello)_September_2015-1a.jpg

https://en.wikipedia.org/wiki/The_Last_Supper_(Leonardo)#/media/File:
%C3%9Altima_Cena_-_Da_Vinci_5.jpg

CONTEMPORARY ARTS:
ABSTRACT EXPRESSIONISM:
https://www.ideelart.com/magazine/abstract-expressionist-artists

POP ART
https://www.artyfactory.com/portraits/pop-art-portraits/pop-art-portrait-lessons.html

CONCEPTUALISM
https://www.artsy.net/article/artsy-editorial-if-you-don-t-understand-conceptual-art-it-s-
not-your-fault

PHOTOREALISM
https://www.slideshare.net/byn98/photorealism-48467632

STREET ART
https://www.alamy.com/illustration-of-a-graffiti-of-a-super-nurse-by-fake-an-artist-on-a-
wall-of-the-former-ndsm-shipyard-in-the-north-of-amsterdam-symbolizing-the-current-
worldwide-coronavirus-crisis-a-graffitis-an-illustration-of-a-nurse-wearing-a-mask-with-
the-superman-logo-symbolizing-the-fight-against-the-covid-19-in-tribute-of-the-doctors-
and-nurses-around-the-world-image355055853.html

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