GRADE 8- ART LECTURE 13 S#antng ta4eta

(First Grading Period) 53 enga$ine ,ea+e

63 Eon* satin 7 all"natural lustrous
LESSON 1: FAR!C"FAR!C
AR!C"FAR!C DES!GN
silk hand"woven and dyed using ebony fruit
T#ai$and
pods
T#ai si$% is produced from the
• /o /iet C#ng  0ietnamese designer$
cocoons of Thai silkworms which is
uses ebony satin
considered to be one of the nest arts
!ndonesia 9a$a*sia  Singa.ore
in the world
• ati%
• &#orat - the center of the silk industry
" the
the fab
fabri
ric
c most
most comm
common on to
in Thailand
both countries
• Thai weavers raises
raises the caterpillars
caterpillars on " an ndo
ndonenesisian
an"&
"&alalay
ay wor
word$
a steady diet of '$err* $ea+es believed to be related to the
Ca'odia &alay word 3 titi%4$ which
• Silk weaving dates to as early as the means 5.oint)$ 5dot) or
rst century 5dro.)
• Types
Types of Cambodian
Cambodian weaving: " The
The 3dr3drop
op4 4 act
actio
ionn ref
refer
erss to
to
1. ikat techniqu
technique e  weavers
weavers tie and the process of dyeing the
dye before weaving begins fabric by making use of a
!. uneven
uneven twill
twill  yields
yields dingle
dingle or
or two"
two" resist technique
color fabrics produced by weaving Two Categories 6f %atik 7esigns:
three threads 13 geo'etri 'oti;s
• Cambodian te#tiles employed natural !. ;ree ;or' designs
dyes coming from: • n &alaysia$ the sates of &e$antan and
a. insect nests " red d*e Terenggan are considered the cradle
b. indigo " $e d*e where batik rst /ourished
c. prohut bark - *e$$o, and green d*e Two
Two &ain Types
Types 6f &alaysian
&alaysian %atik:
d. ebony bark - $a% d*e 1. 0and.ainted " the the arti
artist
st uses
uses thethe
• Takeo$
Takeo$ %attambang$
%attambang$ %eanteay
%eanteay anting
&eanchey$ Siem 'eap$ (ampot !. $o%.rinted " metal block is dipped
provinces Cambodia)s modern silk" into
into molten
molten wa# wa# and press presseded agains
againstt
weaving centers the fabric
• Cambodian silk is used in sa'.ot • &alays
&alaysianian batik
batiks s incor
incorpor
porate
ate leaves
leaves
*wrap skirts+$ furnishings$ and .idan and
and /owe
/owers rs$$ simi
simila
larr to ndondone
nesi
sian
an
*pictoral tapestries+ batiks
batiks$$ to avoid
avoid the interpinterpreretat
tation
ion of
• Cotton te#tiles is used in garments and human and animal images as idolatry
for household purposes in accordance with slamic doctrine
• (rama  traditional check scarves worn • &alaysian batik is famou mous for is
almost universally by Cambodians are geometrical designs or spirals
made of cotton • ndonesian 8avanese batik patterns are
Laos larger and simpler than &alaysian batik
,ccording to -ao tradition$ stories of • &or
&ore brusbrushh pain
painti
ting
ng is appl applie
iedd on
their history were not passed on orally &alaysian batik to be able to put lighter
nor was it written$ they were woven and more vibrant colors
-ao stories were weaved in the • 8avanese batik are are deep"colored
deep"colored
intricate dense patterns and motifs of
• n Singapore$ batik has been recorded
te#tiles
since the 1!th century but has receded
Si#n  -ao women)s ankle long skirt
in popularity through the years
whose form is undeniable but whose
9owadays$ batik is featured in as the
patterns are unique to each skirt
uniform of /ight attendants for the
t is traditional that every woman in
ocial /ag carrier airlines of Sinapore$
-aos weaves all the sihns she would ndonesia and &alaysia
wear throughout her lifetime rnei
They uses folkfolk icons to e#press
e#press %runei;s traditional te#tile is also called
personal views *crab  resourcefulness$ ati% but its designs have their
snake  fertility$ butter/ies  beauty$ national /ower si'.r, s'oi-
birds  success+ s'oi *pitcher plant+$ and %runei;s
/ietna' traditional design of air '$e#.
Go$den T#read Si$%s were born in 7i<erent techniques used:
0ietnam airrs#ing ra%ing $e
0a Dong - center of silk weaving and raino, s.rin%$e geo'etr* and
sericulture 'ar$e - --- these techniques are
o$d a2ard $oo's are still used applied on cotton$ chi<on$ linen and
Some opular 0ietnamese 2abric 'anges brocade
,re:
 =and"made batik designs are created 1. #and-dra,n
through the art of layering and mi#ing !. sing 'eta$ $o%s
of ccolors >. sreen .rinting
• %runei;s batik can be done in four ?. digita$ .rinting
di<erent ways:
LESSON 5 : ARTS AND CRAFTS
T#ai$and
• 2lying -anterns @ Sky -anterns @
Aish -anterns @ Bi eng
" made out of rice paper
with a bamboo frame
which contain a fuel cell or
small candle
- used during the year for
festivals
Ca'odia and Laos
• ndigenous people represent 1.?
percent of the total population in
Cambodia
• They live in remote rural areas
• They are referred to as
#ig#$anders
Handicrafts are part of their
traditional culture and their
livelihood
They make .a.er * #and for over
DD years using the bark of sa
*mulberry tree+
SA PAPER was used for calligraphy
and for temple decorations$
umbrellas$ fans and kites
n Lang Praang Nort#ern
Laos$ it is now used to create
lampshades$ writing paper$ greeting
cards and bookmarks
/ietna'
• Vietnamese silk painting is one
of the most popular forms of art
favoured for the mystical
atmosphere that can be achieved
with the medium
• 7uring the 1Eth and !Dth centuries$
2rench in/uence was absorbed 
liberal and modern use of color
• 0ietnamese silk paintings typically
showcase the countryside$
landscapes$ pagodas$ historical
events$ or scenes of daily life
!ndonesia
Shadow Puppetry is an ancient
form of storytelling and
entertainment which uses/at
articulated gures *shadow
puppets+
<a*ang &$it is a type of puppet
shadow play performed around the
ndo"&alayan archipelago tracing its
origins to ndia
t is derived from a 8avanese =indu"
%uddhist tradition$ where hand"
crafted leather puppets depict epic
stories of the gods in shadow play
, traditional gamelan accompany
the story"telling
<a*ang$ in modern ndonesian
language means Fs#o,F or
F.er;or'F
<a*ang is also attributed to
ndonesian word 3a*ang= which
means shadow
• &$it means Fs%inF$ a reference to
the leather material that the gures
are carved out of
• The puppets come in all siGes$
ranging from !H cm to H cm
• The puppets are usually made out
of bu<alo and goat hide and
mounted on bamboo sticks
• The puppets are moved behind a
cotton or linen screen by a da$ang
• Da$ang
" puppetmaster in shadow
puppet plays
" tells the story$ interprets
and voices each character$
producing sound e<ects
with speech and
movement and
manipulates all the gures
between the lamp and the
screen to bring the
shadows to life
9a$a*sia
• Wau Kite is a uniquely designed
&alaysian kite
• ts wings are similar to an ,rabic
letter
• 2armers used kites as scarecrows in
the elds and as a means to lull
their children to sleep
• (ite /ying has become a popular
sport internationally
• &alaysia has been celebrating kite
festivals annually like the Pasir
Gudang International Kite
Festial
rnei
songkok or peci or kopiah is a
cap widely worn in ndonesia$
%runei$ &alaysia$ Singapore$ the
southern hilippines and southern
Thailand$ mostly among &uslim
males in formal gatherings
*wedding feasts$ funerals$ festive
occasions such as the Muslim Eidul-
Fitr and Eid al-Adha)
Song%o% was associated with slam
in &alaysia
Pei in ndonesia is associated with
the nationalist secular movement
• n %runei 7arussalam$ men)s
headgears are categoriGed into
three:
 a) dastar " a piece of cloth tied
around the headI
) song%o% or %o.ia#  a type of
cap made from velvet
) tang%o$o% or seran "
resembles a turban$ typical headdress in
the &iddle Jast
LESSON 6: SCULPTURE
Ca'odia
• 2or many thousands of years$ the art of stone
carving has /ourished in Cambodia
• %reathtaking carvings found at ANG&OR <AT
has become one of the country)s most
cherished art forms
T#ai$and
Thailand is world"famous for its sculpture that
dates back ?DDD years
&ost commonly used materials are wood!
stone! iory! clay! and arious metals
&ost notable sculptures are the T#ai ron>es
famous for their originality and grace
<at P#o$ the oldest and largest %uddhist
temple in %angkok$ houses the largest
collection of %uddha images in Thailand$ also
known as the TE9PLE OF T0E RECL!N!NG
UDD0A
'JC-99K %L77=, " ?M meters long$ 1H
meters highI covered in gold platingI decorated
with mother"of"pearl inlay in his eyes and the
soles of his feetI bottom of the %uddha)s feet
are intricately decorated with 1DN auspicious
scenes in Chinese and ndian styles
Laos
• -ao artisans used a variety of media in their
sculptural creations
• recious metals *bronGe$ silver$ gold+ are used
for smaller obOects
• Two %uddha mages:
- P#ra Sai (%uddha of nspiration+
" P#ra ang ('oyal %uddha mage+
/ietna'
• 0ietnamese sculpture was in/uenced by
Taoism$ Confucianism$ and %uddhism
• The prehistory started from the 9ui 7o culture
*>DD$DDD year ago+ to the 7ong Son culture
*!$HDD years ago+
• n the 769K S69 CL-TL'J$ cultural activities
are not divided clearly$ there are no prehistoric
sculptures$ only e#pressions or manifestations
• ,mong the famous sculptures is the 1D$DDD"
year" old carvings on the Dong Noi Ca+e
• 7ong Son culture is famous for its kettledrums$
small carvings and home utensils
Sculpture of Krave =ouses in the Central
=ighlands: couples embracing$ pregnant
women$ and people in mourning$ elephants$
and birds
!ndonesia
ndonesia is known for its stone ron>e and
iron-aged arts
Sculptures can be found in numerous
archaeological sites in Sumatra$ 8ava to
Sulawesi
9ative ndonesian tribes usually create
sculptures that depict ancestors$ deities and
animals
The most amaGing sculptures are :
• ,fter a period of time the wearing of
songkok became a tradition and
synonymous with being a &alay
• Songkok replaced the dastar as part
the &alay)s national dress on most
formal occasions
a. As'at wooden sculpture of apua
b. Da*a% wooden mask and sculpture
c. The ancestral wooden statue of Toraa
d. The totem"like sculpture of ata% and Nias
tribes
• 2rom the classical =indu"%uddhist era of
ndonesia$ the most prominent sculptures are
the hundreds of meters of relief and hundreds
of stone %uddhas at the te'.$e o;
orodr in central 8ava
• 'ichest$ most elaborate and vivid ,ooden
s$.tre and ,ood ar+ing traditions can
be found in a$i and ?e.ara Centra$ ?a+a
• 8epara wood carvings " .e$a'inange*o%
*wedding throne with carved background+
9a$a*sia
• &ost of &alaysia)s sculptures are relief
Re$ie; S$.tres
" partially carved into or out of
another surface
" rely on a base or a plane to support
them
" a combination of both three"
dimensional and two"dimensional
art forms
T#ere Are T#ree 9ain T*.es O; Re$ie;
S$.tres:
13 A$to ;or' 7 is almost completely carved
from its surface$ highly"shaped$ very little of the
structure touching the base or planeI could possibly
stand alone if the base or plane were removed
53 as ;or'  is a relief that barely e#tends
past the base
63 Sn%en re$ie;  an image that is carved
into the surface
• 'elief wood carvings frequently adorn the
doors$ walls and windows of traditional &alay
housesI popular motifs of such relief carvings
are the various kinds of 9a$a*sian @o,ers
and .$ants
• The best &alay woodcarvings is from
Terenggan and &e$antan
a. %iran #a$s (ne ar+ing) - carving of
relief patterns$ hilts of %eris *short &alay
dagger+$ bed heads$ and cupboard tops
b. %iran %asar (rog# ar+ing) " carvings
on larger obOects like furniture$ pillars$
windows$ room portions$ and eaves of roofs
• Cenga$ is the preferred wood for building
houses and boats
• a$a or Pera# is used for rafters or
/oorboards of a house or for the prow of a boat
Singa.ore
The Sri 9aria''a' 0ind te'.$e was
constructed and dedicated to the goddess
9aria''an who is worshipped for her power
to cure disease
 ts most interesting feature is its impressive
go.ra' *tower+ over the main entrance$
which is decorated with numerous =indu
deities.
9er$ion was conceived because the
Singa.ore Toris' oard felt the country
lacked a distinct image representing the nation
and its history
,n icon which could tap into the particular
myths and folklore of the area$ many of which
feature sea"beasts and magical"sh creatures
• The 9er$ion is partly inspired by BT#e
Singa.ra Stor*=
is a mythical creature with the head of a lion
and the body of a sh$ used as a mascot and
national personication of Singapore
&erlion P sea lion
The Sentosa 9er$ion is the biggest replica$
standing at > meters and made from glass"
reinforced concrete$ designed and sculpted by
8ames &artin$ an ,ustralian artist
rnei
Sculpture in %runei takes on a more utilitarian
role than an aesthetic one
• J#cellent craftsmen used bronGe and silver to
create adornments and functional items such
as bowls$ tools$ and the like
• Sculpting is not yet widely practiced in %runei
7arussalam
• J#amples of their creations can be seen at the
ASEAN S2ares
The square has on display the work of a
sculptor from each of the original si# ,SJ,9
member countries: %runei 7arussalam$
&alaysia$ ndonesia$ Singapore$ Thailand and
the hilippines
The sculptures$ which have as their theme
F=armony in 7iversity4$ symboliGe ,SJ,9
solidarity and the aspirations of its member
countries$ which is love$ peace$ freedom and
mutual respect.
%runei 7arussalam)s 3The Aorld of ,SJ,94 by
&r. =aOi &arsidi =aOi ,kip
ndonesia)s 3Koals of ,SJ,94 by &r. =usna
&alaysia;s 3The Jmerging (ubah *7omes+4 by
&r. -atif &ohiddin
hilippines) 3%runei Jntelechy4 by &r. Jduard
Castrillo
Singapores)s Lnited role by &r. &ichael 6ng
Chu (eng
Thailand)s 3&ovement4 by &r. Saravudth
7uangOumpa
• rnei Arts and 0andira;t Training
Center was established in 1EH to revive and
promote the nation)s dying tradition of crafts$
including metalwork