Asian Art

ASIAN ART
The history of Asian art or Eastern art, includes a vast range of influences from various cultures
and religions. Developments in Asian art historically parallel those in Western art, in general a few
centuries earlier. Chinese art, Indian art, Korean art, Japanese art, each had significant influence on
Western art, and vice versa. Near Eastern art also had a significant influence on Western art.
Excluding prehistoric art, the art of Mesopotamia represents the oldest forms of Asian art.
CHINESE ART
Chinese art has varied throughout its ancient history, divided into periods by the ruling dynasties of
China and changing technology. Different forms of art have been influenced by great philosophers,
teachers, religious figures and even political leaders. Chinese art encompasses fine arts, folk arts and
performance arts. Chinese art is art, whether modern or ancient, that originated in or is practiced in
China or by Chinese artists or performers.
In the Song Dynasty, poetry was marked by a lyric poetry known as Ci (詞) which expressed feelings
of desire, often in an adopted persona. Also in the Song dynasty, paintings of more subtle expression
of landscapes appeared, with blurred outlines and mountain contours which conveyed distance
through an impressionistic treatment of natural phenomena. It was during this period that in painting,
emphasis was placed on spiritual rather than emotional elements, as in the previous period. Kunqu,
the oldest extant form of Chinese opera developed during the Song Dynasty in Kunshan, near
present-day Shanghai. In the Yuan dynasty, painting by the Chinese painter Zhao Mengfu greatly
influenced later Chinese landscape painting, and the Yuan dynasty opera became a variant of
Chinese opera which continues today as Cantonese opera.
Gongbi means "meticulous", the rich colours and details in the picture are its main features, its
content mainly depicts portraits or narratives. Xieyi means 'freehand', its form is often exaggerated
and unreal, with an emphasis on the author's emotional expression and usually used in depicting
landscapes.
In addition to paper and silk, traditional paintings have also been done on the walls, such as the
Mogao Grottoes in Gansu Province. The Dunhuang Mogao Grottoes were built in the Northern Wei
Dynasty (386-534 AD). It consists of more than 700 caves, of which 492 caves have murals on the
walls, totalling more than 45,000 square meters. The murals are very broad in content, include
Buddha statues, paradise, angels, important historical events and even donors. The painting styles in
early cave received influence from India and the West. From the Tang Dynasty (618-906 CE), the
murals began to reflect the unique Chinese painting style.
Chinese Calligraphy
The Chinese calligraphy can be traced back to the Dazhuan (large seal script) that appeared in the
Zhou Dynasty. After Emperor Qin unified China, Prime Minister Li Si collected and compiled
Xiaozhuan (small seal) style as a new official text. The small seal script is very elegant but difficult to
write quickly. In the Eastern Han Dynasty, a type of script called the Lishu (Official Script) began to
rise. Because it reveals no circles and very few curved lines, it is very suitable for fast writing. After
that, the Kaishu style (traditional regular script) has appeared, and its structure is simpler and neater,
this script is still widely used today.
Jade
Early jade was used as an ornament or sacrificial utensils. The earliest Chinese carved-jade object
appeared in the Hemudu culture in the early Neolithic period (about 3500–2000 BCE). During the
Shang dynasty (c. 1600–1046 bce), Bi (circular perforated jade) and Cong (square jade tube)
appeared, which were guessed as sacrificial utensils, representing the sky and the earth. In the Zhou
Dynasty (1046–256 bce), due to the using of higher hardness engraving tools, jades were carved
more delicately and began to be used as a pendant or ornament in clothing. Jade was considered to
be immortal and could protect the owner, so carved-jade objects were often buried with the
deceased, such as a jade burial suit from the tomb of Liu Sheng, a prince of the Western Han
Dynasty.
Porcelain
Porcelain is a kind of ceramics made from kaolin at high temperature. The earliest ceramics in China
appeared in the Shang Dynasty (c.1600-1046 BCE). And the production of ceramics laid the
foundation for the invention of porcelain. The history of Chinese porcelain can be traced back to the
Han Dynasty (206 BC - 220 AD). In the Tang Dynasty, porcelain was divided into celadon and white
porcelain. In the Song Dynasty, Jingdezhen was selected as the royal porcelain production centre
and began to produce blue and white porcelain.
Modern Chinese art
After the end of the last feudal dynasty in China, with the rise of the new cultural movement, Chinese
artists began to be influenced by Western art and began to integrate Western art into Chinese culture.
Influenced by American jazz, Chinese composer Li Jinhui (Known as the father of Chinese pop
music) began to create and promote popular music, which made a huge sensation. At the beginning
of the 20th century, oil paintings were introduced to China, and more and more Chinese painters
began to touch Western painting techniques and combine them with traditional Chinese painting.
Meanwhile, a new form of painting, comics, has also begun to rise. It was popular with many people
and became the most affordable way to entertain at the time.
INDIAN ART
Indian art can be classified into specific periods, each reflecting certain religious, political and cultural
developments. The earliest examples are the petroglyphs such as those found in Bhimbetka, some of
them dating to before 5500 BC. The production of such works continued for several millenniums.
The art of the Indus Valley Civilization followed. Later examples include the carved pillars of Ellora,
Maharashtra state. Other examples are the frescoes of Ajanta and Ellora Caves.
The contributions of the Mughal Empire to Indian art include Mughal painting, a style of miniature
painting heavily influenced by Persian miniatures, and Mughal architecture.
During the British Raj, modern Indian painting evolved as a result of combining traditional Indian and
European styles. Raja Ravi Varma was a pioneer of this period. The Bengal school of Art developed
during this period, led by Abanidranath Tagore, Gaganendranath Tagore, Jamini Roy, Mukul Dey and
Nandalal Bose.
One of the most popular art forms in India is called Rangoli. It is a form of sandpainting decoration
that uses finely ground white powder and colours, and is used commonly outside homes in India.
The visual arts (sculpture, painting and architecture) are tightly interrelated with the non-visual arts.
According to Kapila Vatsyayan, "Classical Indian architecture, sculpture, painting, literature (kaavya),
music and dancing evolved their own rules conditioned by their respective media, but they shared
with one another not only the underlying spiritual beliefs of the Indian religio-philosophic mind, but
also the procedures by which the relationships of the symbol and the spiritual states were worked out
in detail."
Insight into the unique qualities of Indian art is best achieved through an understanding of the
philosophical thought, the broad cultural history, social, religious and political background of the
artworks.
JAPANESE ART
Main articles: Japanese art, Japanese painting, Ukiyo-e, Japanese sculpture, Ryukyuan lacquerware,
Japanese calligraphy, Nihonga, List of National Treasures of Japan (paintings), and List of National
Treasures of Japan (sculptures)
Four from a set of sixteen sliding room partitions (Birds and Flower of the Four Seasons) made for a
16th-century Japanese abbot. Typically for later Japanese landscapes, the main focus is on a feature
in the foreground.
Japanese art and architecture is works of art produced in Japan from the beginnings of human
habitation there, sometime in the 10th millennium BC, to the present. Japanese art covers a wide
range of art styles and media, including ancient pottery, sculpture in wood and bronze, ink painting on
silk and paper, and a myriad of other types of works of art; from ancient times until the contemporary
21st century.
The art form rose to great popularity in the metropolitan culture of Edo (Tokyo) during the second half
of the 17th century, originating with the single-color works of Hishikawa Moronobu in the 1670s. At
first, only India ink was used, then some prints were manually colored with a brush, but in the 18th
century Suzuki Harunobu developed the technique of polychrome printing to produce nishiki-e.
Japanese painting “Kaiga” is one of the oldest and most highly refined of the Japanese arts,
encompassing a wide variety of genre and styles. As with the history of Japanese arts in general, the
history of Japanese painting is a long history of synthesis and competition between native Japanese
aesthetics and adaptation of imported ideas.
The origins of painting in Japan date well back into Japan's prehistoric period. Simple stick figures
and geometric designs can be found on Jōmon period pottery and Yayoi period (300 BC – 300 AD)
dōtaku bronze bells. Mural paintings with both geometric and figurative designs have been found in
numerous tumulus from the Kofun period (300–700 AD).
Ancient Japanese sculpture was mostly derived from the idol worship in Buddhism or animistic rites of
Shinto deity. In particular, sculpture among all the arts came to be most firmly centered around
Buddhism. Materials traditionally used were metal—especially bronze—and, more commonly, wood,
often lacquered, gilded, or brightly painted. By the end of the Tokugawa period, such traditional
sculpture – except for miniaturized works – had largely disappeared because of the loss of patronage
by Buddhist temples and the nobility.
Ukiyo, meaning "floating world", refers to the impetuous young culture that bloomed in the urban
centers of Edo (modern-day Tokyo), Osaka, and Kyoto that were a world unto themselves. It is an
ironic allusion to the homophone term "Sorrowful World", the earthly plane of death and rebirth from
which Buddhists sought release.
In Japanese, "manga" refers to all kinds of cartooning, comics, and animation. Among English
speakers, "manga" has the stricter meaning of "Japanese comics", in parallel to the usage of "anime"
in and outside Japan. The term "ani-manga" is used to describe comics produced from animation
cels.
'Manga' is an art style that was created in the East, specifically in Japan. This style is generally a lot
more cartoonish with exaggerated proportions including exceptionally large eyes. This, however, is
not always the case.
Often disregarded as “Japanese cartoons” in the West, manga and anime are an important part of
Japanese contemporary art and, much like the avant-garde movements, the modern manga took
shape in the post-war decades.
KOREAN ART
Korean art is noted for its traditions in pottery, music, calligraphy, painting, sculpture, and other
genres, often marked by the use of bold color, natural forms, precise shape and scale, and surface
decoration.
While there are clear and distinguishing differences between three independent cultures, there are
significant and historical similarities and interactions between the arts of Korea, China and Japan.
The study and appreciation of Korean art is still at a formative stage in the West. Because of Korea’s
position between China and Japan, Korea was seen as a mere conduit of Chinese culture to Japan.
However, recent scholars have begun to acknowledge Korea's own unique art, culture and important
role in not only transmitting Chinese culture but assimilating it and creating a unique culture of its
own. An art given birth to and developed by a nation is its own art.
Generally, the history of Korean painting is dated to approximately 108 C.E., when it first appears as
an independent form. Between that time and the paintings and frescoes that appear on the Goryeo
dynasty tombs, there has been little research. Suffice to say that til the Joseon dynasty the primary
influence was Chinese painting though done with Korean landscapes, facial features, Buddhist topics,
and an emphasis on celestial observation in keeping with the rapid development of Korean
astronomy.
Throughout the history of Korean painting, there has been a constant separation of monochromatic
works of black brushwork on very often mulberry paper or silk; and the colourful folk art or min-hwa,
ritual arts, tomb paintings, and festival arts which had extensive use of colour.
This distinction was often class-based: scholars, particularly in Confucian art felt that one could see
colour in monochromatic paintings within the gradations and felt that the actual use of colour
coarsened the paintings, and restricted the imagination. Korean folk art, and painting of architectural
frames was seen as brightening certain outside wood frames, and again within the tradition of
Chinese architecture, and the early Buddhist influences of profuse rich thalo and primary colours
inspired by Art of India.
Contemporary art in Korea: The first example of Western-style oil painting in Korean art was in the
self-portraits of Korean artist Ko Hu i-dong (1886-1965). Only three of these works still remain today.
these self-portraits impart an understanding of medium that extends well beyond the affirmation of
stylistic and cultural difference. by the early twentieth century, the decision to paint using oil and
canvas in Korea had two different interpretations. One being a sense of enlightenment due to western
ideas and art styles. This enlightenment derived from an intellectual movement of the seventeenth
and eighteenth centuries. Ko had been painting with this method during a period of Japan's
annexation of Korea. During this time many claimed his art could have been political, however, he
himself stated he was an artist and not a politician. Ko stated "While I was in Tokyo, a very curious
thing happened. At that time there were fewer than one hundred Korean students in Tokyo. All of us
were drinking the new air and embarking on new studies, but there were some who mocked my
choice to study art. A close friend said that it was not right for me to study painting in such a time as
this."
Korean pottery was recognized as early as 6000 BCE. This pottery was also referred to as comb-
patterned pottery due to the decorative lines carved onto the outside. early Korean societies were
mainly dependent on fishing. So, they used the pottery to store fish and other things collected from
the ocean such as shellfish. Pottery had two main regional distinctions. Those from the East coast
tends to have a flat base, whereas pottery on the South coast had a round base.
TIBETAN ART
Tibetan art refers to the art of Tibet and other present and former Himalayan kingdoms (Bhutan,
Ladakh, Nepal, and Sikkim). Tibetan art is first and foremost a form of sacred art, reflecting the over-
riding influence of Tibetan Buddhism on these cultures. The Sand Mandala (Tib: kilkhor) is a Tibetan
Buddhist tradition which symbolises the transitory nature of things. As part of Buddhist canon, all
things material are seen as transitory. A sand mandala is an example of this, being that once it has
been built and its accompanying ceremonies and viewing are finished, it is systematically destroyed.
As Mahayana Buddhism emerged as a separate school in the 4th century BC it emphasized the role
of bodhisattvas, compassionate beings who forgo their personal escape to Nirvana in order to assist
others. From an early time various bodhisattvas were also subjects of statuary art. Tibetan Buddhism,
as an offspring of Mahayana Buddhism, inherited this tradition. But the additional dominating
presence of the Vajrayana (or Buddhist tantra) may have had an overriding importance in the artistic
culture. A common bodhisattva depicted in Tibetan art is the deity Chenrezig (Avalokitesvara), often
portrayed as a thousand-armed saint with an eye in the middle of each hand, representing the all-
seeing compassionate one who hears our requests. This deity can also be understood as a Yidam, or
'meditation Buddha' for Vajrayana practice.
Tibetan Buddhism contains Tantric Buddhism, also known as Vajrayana Buddhism for its common
symbolism of the vajra, the diamond thunderbolt (known in Tibetan as the dorje). Most of the typical
Tibetan Buddhist art can be seen as part of the practice of tantra. Vajrayana techniques incorporate
many visualizations/imaginations during meditation, and most of the elaborate tantric art can be seen
as aids to these visualizations; from representations of meditational deities (yidams) to mandalas and
all kinds of ritual implements.
In Tibet, many Buddhists carve mantras into rocks as a form of devotion.
A visual aspect of Tantric Buddhism is the common representation of wrathful deities, often depicted
with angry faces, circles of flame, or with the skulls of the dead. These images represent the
Protectors (Skt. dharmapala) and their fearsome bearing belies their true compassionate nature.
Actually, their wrath represents their dedication to the protection of the dharma teaching as well as to
the protection of the specific tantric practices to prevent corruption or disruption of the practice. They
are most importantly used as wrathful psychological aspects that can be used to conquer the
negative attitudes of the practitioner.
Historians note that Chinese painting had a profound influence on Tibetan painting in general.
Starting from the 14th and 15th century, Tibetan painting had incorporated many elements from the
Chinese, and during the 18th century, Chinese painting had a deep and far-stretched impact on
Tibetan visual art. According to Giuseppe Tucci, by the time of the Qing Dynasty, "a new Tibetan art
was then developed, which in a certain sense was a provincial echo of the Chinese 18th century's
smooth ornate preciosity.
BHUTANESE ART
The major orders of Buddhism in Bhutan are Drukpa Kagyu and Nyingma. The former is a branch of
the Kagyu School and is known for paintings documenting the lineage of Buddhist masters and the 70
Je Khenpo (leaders of the Bhutanese monastic establishment). The Nyingma order is known for
images of Padmasambhava, who is credited with introducing Buddhism into Bhutan in the 7th
century. According to legend, Padmasambhava hid sacred treasures for future Buddhist masters,
especially Pema Lingpa, to find. The treasure finders (tertön) are also frequent subjects of Nyingma
art.
Each divine being is assigned special shapes, colors, and/or identifying objects, such as lotus, conch-
shell, thunderbolt, and begging bowl. All sacred images are made to exact specifications that have
remained remarkably unchanged for centuries.
Bhutanese art is particularly rich in bronzes of different kinds that are collectively known by the name
Kham-so (made in Kham) even though they are made in Bhutan, because the technique of making
them was originally imported from the eastern province of Tibet called Kham. Wall paintings and
sculptures, in these regions, are formulated on the principal ageless ideals of Buddhist art forms.
Even though their emphasis on detail is derived from Tibetan models, their origins can be discerned
easily, despite the profusely embroidered garments and glittering ornaments with which these figures
are lavishly covered. In the grotesque world of demons, the artists apparently had greater freedom of
action than when modeling images of divine beings.
The arts and crafts of Bhutan that represent the exclusive “spirit and identity of the Himalayan
kingdom’ are defined as the art of Zorig Chosum, which means the “thirteen arts and crafts of
Bhutan”; the thirteen crafts are carpentry, painting, paper making, blacksmithery, weaving, sculpting
and many other crafts. The Institute of Zorig Chosum in Thimphu is the premier institution of
traditional arts and crafts set up by the Government of Bhutan with the sole objective of preserving
the rich culture and tradition of Bhutan and training students in all traditional art forms; there is
another similar institution in eastern Bhutan known as Trashi Yangtse. Bhutanese rural life is also
displayed in the ‘Folk Heritage Museum’ in Thimphu. There is also a ‘Voluntary Artists Studio’ in
Thimphu to encourage and promote the art forms among the youth of Thimphu.
CHINESE ART
INDIAN ART
JAPANESE ART
TIBETAN ART
KOREAN ART
NEPALESE ART
INTRODUCTION
The history of Asian art or Eastern art, includes a vast range of
influences from various cultures and religions. Developments in
Asian art historically parallel those in Western art, in general a
few centuries earlier. Chinese art, Indian art, Korean art,
Japanese art, each had significant influence on Western art, and
vice versa. Near Eastern art also had a significant influence on
Western art. Excluding prehistoric art, the art of Mesopotamia
represents the oldest forms of Asian art.
CHINESE ART
⁃ The oldest continuous art traditions
in the world are Chinese art traditions.
⁃ Chinese art in 10,000 B.C.E. included
pottery and sculptures.
⁃ Scholars and nobles preserved
Chinese artistic traditions, and these
were adapted by each successive dynasty.
Over the centuries, Chinese art produced the
following types of arts:
- Paintings
- Calligraphies
- Architecture
- Pottery
- Sculptures
- Bronzes
- Jade carvings
- Other fine or decorative art forms
Ancient Chinese Art
Calligraphy
⁃ The art of calligraphy aims to demonstrate superior
control and skill using brush and ink.
⁃ Introduced in the Han dynasty (206 BCE - 220 CE then
after two hundred years, all educated men were expected to be
proficient at it.
⁃ Lady Wei (272-349 CE) was an accomplished calligrapher
and said to have taught the great master Wang Xizhi (303-361
CE)
Ancient Chinese Art
Painting
⁃ Walls, coffins and boxes, screens, silk scrolls, fixed fans,
book covers, and folding fans were the most popular formats.
⁃ Wood and bamboo were the most popular materials used
by the earliest artists, and then adopted plastered walls, silk,
and paper.
⁃ Portraits and landscapes were the two most popular
themes.
Ancient Chinese Art
Pottery
⁃ The oldest known pots in the world was from
Xianrendong Cave Pottery (Jiangxi province)
⁃ Heavy and functional storage jars
⁃ During the Han dynasty, there were early
developments in techniques and kilns.
Ancient Chinese Art
Pottery
⁃ The oldest known pots in the world was from
Xianrendong Cave Pottery (Jiangxi province)
⁃ Heavy and functional storage jars
⁃ During the Han dynasty, there were early
developments in techniques and kilns.
⁃ Chinese art is greatly
influenced by Chinese
philosophies of Buddhism,
Confucianism, and
particularly Taoism. This
aims to show a sense of
harmony between humans
and the larger world.
Art Influence
⁃ Chinese art is greatly
influenced by Chinese
philosophies of Buddhism,
Confucianism, and
particularly Taoism. This
aims to show a sense of
harmony between humans
and the larger world.
Art Influence
INDIAN ART
INDIAN ART
Indian art consists of a variety of art forms, including painting, sculpture, pottery,
and textile arts such as woven silk. Geographically, it spans the entire Indian
subcontinent, including what is now India, Pakistan, Bangladesh, Sri Lanka,
Nepal, and at times eastern Afghanistan. A strong sense of design is characteristic
of Indian art and can be observed in its modern and traditional forms.
The origin of Indian art can be traced to prehistoric settlements in the 3rd
millennium BC. On its way to modern times, Indian art has had cultural
influences, as well as religious influences such as Hinduism, Buddhism, Jainism,
Sikhism and Islam. In spite of this complex mixture of religious traditions,
generally, the prevailing artistic style at any time and place has been shared by the
major religious groups.
Indian artist styles historically followed Indian religions out of the subcontinent,
having an especially large influence in Tibet, South East Asia and China. Indian
art has itself received influences at times, especially from Central Asia and Iran,
and Europe.
Yakshi Bracket Figure. East torana of the Great
Stupa at Sanchi, 1st century BCE/CE, in Madhya
Pradesh, India
The Priest-King is a carved steatite statuette
found during the excavation of the Bronze Age
city of Mohenjodaro,
Indian art consists of a variety of art forms, including painting, sculpture, pottery,
and textile arts such as woven silk. Geographically, it spans the entire Indian
subcontinent, including what is now India, Pakistan, Bangladesh, Sri Lanka,
Nepal, and at times eastern Afghanistan. A strong sense of design is characteristic
of Indian art and can be observed in its modern and traditional forms.
The origin of Indian art can be traced to prehistoric settlements in the 3rd
millennium BC. On its way to modern times, Indian art has had cultural
influences, as well as religious influences such as Hinduism, Buddhism, Jainism,
Sikhism and Islam. In spite of this complex mixture of religious traditions,
generally, the prevailing artistic style at any time and place has been shared by the
major religious groups.
Indian artist styles historically followed Indian religions out of the subcontinent,
having an especially large influence in Tibet, South East Asia and China. Indian
art has itself received influences at times, especially from Central Asia and Iran,
and Europe.
Yakshi Bracket Figure. East torana of the Great
Stupa at Sanchi, 1st century BCE/CE, in Madhya
Pradesh, India
The Priest-King is a carved steatite statuette
found during the excavation of the Bronze Age
city of Mohenjodaro,
My TeamsHistory Lesson Questions
www.topics.com
TopicsKapila Vatsyayan
Kapila Vatsyayan
The visual arts (sculpture, painting and
architecture) are tightly interrelated with
the non-visual arts. According to Kapila
Vatsyayan, "Classical Indian architecture,
sculpture, painting, literature (kaavya),
music and dancing evolved their own rules
conditioned by their respective media, but
they shared with one another not only the
underlying spiritual beliefs of the Indian
religio-philosophic mind, but also the
procedures by which the relationships of the
symbol and the spiritual states were worked
out in detail."
Insight into the unique qualities of Indian
art is best achieved through an
understanding of the philosophical thought,
Sculpture was a common practice among Indian Buddhists and Hindus.
Hinduism continued to be a main focus of Indian art for centuries, as
sculptures of deities like Shiva were commonly produced. By the 16th
century, Islam gained importance under the Mughal Empire and art
production grew under Islamic rulers. During this time, the arts prospered
and in 1631 construction began on the Taj Mahal.
The Taj Mahal under construction. (In total, construction of the 42-
acre (17-hectare) complex spanned 22 years.)
Sculpture was a common practice among Indian Buddhists and Hindus.
Hinduism continued to be a main focus of Indian art for centuries, as
sculptures of deities like Shiva were commonly produced. By the 16th
century, Islam gained importance under the Mughal Empire and art
production grew under Islamic rulers. During this time, the arts prospered
and in 1631 construction began on the Taj Mahal.
The Taj Mahal under construction. (In total, construction of the 42-
acre (17-hectare) complex spanned 22 years.)
The Iron Pillar, Delhi
This pillar, built in the 4th century, features Sanskrit inscription in Brahmi script that states it was
created in honor of the Hindu
god Vishnu. The pillar showcases India’s prowess in metallurgy, a branch of science that focuses
particularly on the properties,
production, and purification of metals.
Konark Sun Temple, Konark, India
Built in the 13th century, this impressive temple is dedicated to the Hindu sun god Surya. It was
carved from stone in the form of
a 100-foot-high chariot with immense wheels and horses.
Notable Indian Architecture
JAPANESE ART
JAPANESE ART
● Art in Japan has undergone series of transitions and periodization.
● Japan has transitioned into a cultural mixing pot.
● Based on artifact such as ceramic figures and ornaments.
● It was influenced by Korean and Chinese artwork
● Japanese art covers a wide range of art styles and media, including ancient
pottery, sculpture in wood and bronze, ink painting on silk and paper,
calligraphy, ceramics , architecture, oil painting,literature,drama and
music.
● Both religious and secular artistics traditions developed, but even the
secular art was imbued with Buddhist and Confuscian aesthetic principles,
particularly the Zen concept that every aspect of the material world is part
of an all encompassing whole.
.
● Over it’s long history, Japanese art absorbed many foreign artistics
traditions and carried on intermittent exchanges with china and Korea.
● When Japan came into contact with the western world during the 19th
century, Japanese woodblock prints, paintings and ceramics had a
considerable influence on European art particularly in cubism and
impressionism.
● Contemporary Japanese art is concerned with themes such as self-identity
and finding fulfillment in a world dominated by technology.
● Since the 1990s, Japanese animation known as anime, has become widely
popular with young people in the west.
● Over it’s long history, Japanese art absorbed many foreign artistics
traditions and carried on intermittent exchanges with china and Korea.
● When Japan came into contact with the western world during the 19th
century, Japanese woodblock prints, paintings and ceramics had a
considerable influence on European art particularly in cubism and
impressionism.
● Contemporary Japanese art is concerned with themes such as self-identity
and finding fulfillment in a world dominated by technology.
● Since the 1990s, Japanese animation known as anime, has become widely
popular with young people in the west.
Haniwa
Ceramic figures that is made up of clay.
That were made for ritual use and buried
with the dead as funerary objects
Haniwa
Ceramic figures that is made up of clay.
That were made for ritual use and buried
with the dead as funerary objects
Shinoism
● The native religion of Japan.
● A practice of religious rites based on the Japanese polytheistic
idea of ‘kami’ (deity).
● The word Shintō literally means “way of kami”.
● Collections of native beliefs and mythology.
● Worshipping nature and natural objects ranging from trees, lakes
mountains, flowers and rocks.
Buddhism
● Became an integral part of Japanese Culture, Artwork such as
images and sculptures of Buddha were produced.
● Buddhist temples are became staples key places.
● Art is essence became an expression of worship for the
Japanese people.
Ukiyo-e
Is an art movement which is flourished in 17th through 19th centuries.
It’s artist produced woodblock prints and paintings of such subjects as
travel scenes and landscapes, female beauties and sumo wrestlers
Ukiyo-e
Is an art movement which is flourished in 17th through 19th centuries.
It’s artist produced woodblock prints and paintings of such subjects as
travel scenes and landscapes, female beauties and sumo wrestlers
The Great Wave
of Kanagawa
● Nicknamed “The Wave”
● Hokusai, an artist with a unique talent.
● The Four details that made this
masterpiece famous: The waves, Prussian
blue color, Mount Fuji, The boats and the
Fisherman.
The Great Wave
of Kanagawa
● Nicknamed “The Wave”
● Hokusai, an artist with a unique talent.
● The Four details that made this
masterpiece famous: The waves, Prussian
blue color, Mount Fuji, The boats and the
Fisherman.
Hiroshige
● Known for his horizontal-format landscapes series “The Fifty-
three Stations of the Tokaido.
● Also known for his vertical-format landscape popular series
“One Hundred famous view of Edo.
● Hiroshige’s death marked the beginning of the rapid decline
in the ukiyo-e genre.
Sharaku ● Was a Japanese ukiyo-e print designer.
● Known for his portraits of kabuki actors.
● Over 140 prints have been established as the works of
Sharaku.
● The majority are portraits of actors or scenes from kabuk
iand the rest are the sumo wrestlers.
Sharaku ● Was a Japanese ukiyo-e print designer.
● Known for his portraits of kabuki actors.
● Over 140 prints have been established as the works of
Sharaku.
● The majority are portraits of actors or scenes from kabuk
iand the rest are the sumo wrestlers.
Nishiki-e
● Is a type of Japanese multi-colored woodblock
printing.
● The Technique is used primarily in Ukiyo-e. It was
invented in 1760s.
● Suzuki Harunobu developed the technique of
polychrome printing to produce nishiki-e
Nishiki-e
● Is a type of Japanese multi-colored woodblock
printing.
● The Technique is used primarily in Ukiyo-e. It was
invented in 1760s.
● Suzuki Harunobu developed the technique of
polychrome printing to produce nishiki-e
Kaiga
● Also known as Japanese Painting.
● Is one of the oldest and most highly refined of the Japanese art.
Panel form the Tale of Genji
Jomon Period
Pottery● The first settlers of Japan, the jomon people.
● Named for the cord markings that decorated the surfaces of
their clay vessels were nomadic hunter-gatherers.
Statuette with Snow Glasses
Yayoi Art
● Bringing knowledge of wetland rice cultivation, the manufacture of copper
weapons and bronze bells (dōtaku).
● Use for Rituals.
● The oldest dotaku found date from the second and third century.
Dotaku, Third Century
Kofun Art
● Represents a modification of Yayoi culture.
● Typical artifacts are bronze mirrors, symbol of political alliances
called haniwa.
Haniwa Horse
In Japanese, "manga" refers to all kinds of cartooning, comics, and animation.
Among English speakers, "manga" has the stricter meaning of "Japanese
comics", in parallel to the usage of "anime" in and outside Japan. The term "ani-
manga" is used to describe comics produced from animation cels. Often
disregarded as “Japanese cartoons” in the West, manga and anime are an
important part of Japanese contemporary art and, much like the avant-garde
movements, the modern manga took shape in the post-war decades.
"manga"
In Japanese, "manga" refers to all kinds of cartooning, comics, and animation.
Among English speakers, "manga" has the stricter meaning of "Japanese
comics", in parallel to the usage of "anime" in and outside Japan. The term "ani-
manga" is used to describe comics produced from animation cels. Often
disregarded as “Japanese cartoons” in the West, manga and anime are an
important part of Japanese contemporary art and, much like the avant-garde
movements, the modern manga took shape in the post-war decades.
"manga"
ART
KOREAN
ART
KOREAN
HISTORY OF KOREA
● Professional have begun to acknowledge and sort through Korea’s own
unique art culture and important role in not only transmitting Chinese
culture but also assimilating it and creating a unique culture of its own.
● Korea Arts include tradition in calligraphy, music, painting, and pottery
often marked by the use of natural forms, surface decoration..
● The earliest example of Korean art consists of stone age works dating from 300
BCE. These mainly consist of votive sculpture, although petroglyphs have also
been recently discovered
● Korean artists sometimes modified Chinese tradition with a native preference
for simple elegance, purity of nature and spontaneity.
● The Gotyeo Dynasty (1918-1392) was the one of the most prolific periods for the
artists in many disciplines, especially in pottery.
Melon-shaped wine ewer
Melon-shaped ewer with bamboo decoration first half of the 12th
century.
This elegant ewer demonstrates the Goryeo potter's technical skill and
conceptual sophistication in transforming everyday motifs from nature
—in this case, a melon and bamboo—into a functional and
aesthetically pleasing vessel.
Melon-shaped wine ewer
Melon-shaped ewer with bamboo decoration first half of the 12th
century.
This elegant ewer demonstrates the Goryeo potter's technical skill and
conceptual sophistication in transforming everyday motifs from nature
—in this case, a melon and bamboo—into a functional and
aesthetically pleasing vessel.
Neolithic Art
● Korean ancient pottery improved during the era of Neolithic art (c. 10,000-3,000 BCE) with the
creation of flat-bottomed vessels decorated with zigzag patterns, followed by comb-pattern
pottery (c. 3,000 BCE).
COMB-PATTERNED POTTERY
- The vessel form found in early comb pottery is a
simple V-shape with a pointed or rounded bottom.
The surface is entirely covered with impressed or
incised lines, short, slanting, and parallel, arranged
in either horizontal or vertical rows so as to
produce a sort of comb pattern.
- In later pottery the clay is often tempered with
asbestos or talc stone, and the base of the vessel
tends to be flattened. The earlier, space-filling
linear design yields to more sparsely placed
curvilinear designs consisting of dots.
Neolithic Art
● Korean ancient pottery improved during the era of Neolithic art (c. 10,000-3,000 BCE) with the
creation of flat-bottomed vessels decorated with zigzag patterns, followed by comb-pattern
pottery (c. 3,000 BCE).
COMB-PATTERNED POTTERY
- The vessel form found in early comb pottery is a
simple V-shape with a pointed or rounded bottom.
The surface is entirely covered with impressed or
incised lines, short, slanting, and parallel, arranged
in either horizontal or vertical rows so as to
produce a sort of comb pattern.
- In later pottery the clay is often tempered with
asbestos or talc stone, and the base of the vessel
tends to be flattened. The earlier, space-filling
linear design yields to more sparsely placed
curvilinear designs consisting of dots.
Jeulmun pottery period
The Jeulmun pottery period is named after the decorated pottery vessels that
form a large part of the pottery assemblage consistently over the above
period, especially 4000-2000 BC. Jeulmun (Hangul: 즐문 , Hanja: 櫛文 )
means "Comb-patterned". A boom in the archaeological excavations of
Jeulmun Period sites since the mid-1990s has increased knowledge about
this important formative period in the prehistory of East Asia.
Bronze Age
● In Korea, the Bronze Age began around the 15th century BCE, with the everyday use of mumun
pottery, ground stone tools, and wooden tools. During this period, only a few people possessed
bronze
tools, which served either as symbols of authority or as ritual instruments.
Korean- Sword
- have served a central place in the defense of the nation for
thousands of years. Although typical Korean land battles
have taken place in wide valleys and narrow mountain
passes, which favor use of the spear and bow, the sword
found use as a secondary, close-quarters weapon,
especially useful during sieges and ship-to-ship boarding
actions. Higher quality, ceremonial swords were typically
reserved for the officer corps as a symbol of authority with
which to command the troops. Ceremonial swords are still
granted to military officials by the civilian authority to this
day.
- Korean swords typically fall into two broad categories, the
Geom, and the Do.
Comma Shape Beads
Magatama ( 勾玉 , less frequently 曲玉 ) are curved,
comma-shaped beads that appeared in prehistoric Japan
from the Final Jōmon period through the Kofun period,
approximately 1000 BCE to the 6th century CE.
Iron Age
● The transition from the Late Bronze to Early Iron Age in Korea begins in the 4th century BCE. This
corresponds to the later stage of Gojoseon, the Jin state period in the south, and the
Proto–Three Kingdoms period of the 1st to 4th century CE.[8]
● The period that begins after 300 BCE can be described as 'protohistoric', a time when some
documentary
sources seem to describe societies in the Korean peninsula.
THE THREE KINGDOM
GOGURYEO
- Goguryeo, also called Goryeo, was a Korean kingdom located in the northern and central parts of
the Korean Peninsula
and the southern and central parts of Manchuria. At its peak of power, Goguryeo controlled most of
the Korean
peninsula, large parts of Manchuria and parts of eastern Mongolia and Inner Mongolia.
BAEKJE
- Baekje was founded as a member of the Mahan confederacy. Two sons of the founder of Goguryeo
are recorded to have fled a
succession conflict, to establish Baekje around the present Seoul area.
- Baekje absorbed or conquered other Mahan chiefdoms and, at its peak in the 4th century, controlled
most of the western Korean
peninsula. Buddhism was introduced to Baekje in 384 from Goguryeo, which Baekje welcomed
BAEKJE
- Baekje was founded as a member of the Mahan confederacy. Two sons of the founder of Goguryeo
are recorded to have fled a
succession conflict, to establish Baekje around the present Seoul area.
- Baekje absorbed or conquered other Mahan chiefdoms and, at its peak in the 4th century, controlled
most of the western Korean
peninsula. Buddhism was introduced to Baekje in 384 from Goguryeo, which Baekje welcomed
SILLA
- According to Korean records, in 57 BC, Seorabeol (or Saro, later Silla) in the southeast of the
peninsula unified and expanded the
confederation of city-states known as Jinhan. Although Samguk Sagi records that Silla was the
earliest-founded of the three
kingdoms, other written and archaeological records indicate that Silla was likely the last of the three to
establish a centralized
government.
- Silla was the smallest and weakest of the Three Kingdoms of Korea, but it used cunning diplomatic
means to make opportunistic
pacts and alliances with the more powerful Korean kingdoms, and eventually Tang China, to its great
advantage.
OTHER ARTS OF KOREA
- Korean arts is characterized by transition in main religion at the time;
early Korean shamanist art, then Korean Buddhist art and Korean
confucian art, through the various forms of Western Art in 20 century.
- Art works in metal, jade, bamboo, textiles have a limited resurgence.
OTHER ARTS OF KOREA
- Korean arts is characterized by transition in main religion at the time;
early Korean shamanist art, then Korean Buddhist art and Korean
confucian art, through the various forms of Western Art in 20 century.
- Art works in metal, jade, bamboo, textiles have a limited resurgence.
Korean Calligraphy and Printing
- i s seen art where brush stroke reveal the artist personality enhancing the subject matter that is
painted,
- This arts form represent the apogee and Korean Confucian Art.
Korean Fabric Arts
-
Korean Knot
- In the ruling palaces, knots were used to signify dignity and prestige. For religious purposes knots
decorated Buddhist
ornaments. The most common use of knots was in Norigae, traditional Korean ornaments worn by
women to decorate
clothing.
are craft of making fabric and textiles produced by the people on the Korean
Peninsula. They have a long history, which includes fabrics such as guksa,
nobang, sha, jangmidan, Korean-made jacquard, brocade and satin. Or crafts such
as the Korean quilts known as bojagi, Korean embroidery, Korean knots,
Korean clothing and the rarer arts of Korean blinds weaving and
Korean paper clothing. In old time, people usually wore natural dyeing clothes.
Korean Paper Art
-
Korean Mask
- have a long tradition with the use in a variety of contexts. Masks of any type are called tal (Korean:
탈 ) in Korean, but they are also
known by many others names such as gamyeon, gwangdae, chorani, talbak and talbagaji. Korean
masks come with black clothe attached
to the sides of the mask designed to cover the back of the head and also to simulate black hair.
Korean paper or hanji is the name of traditional handmade paper from Korea
.Hanji is made from the inner bark of Broussonetia papyrifera known colloquially
as paper mulberry, a tree native to Korea that grows well on its rocky
mountainsides, known in Korean as dak.
Korean Paintings Art
1.
2.Arahat, Joseon buddhist painting in the 16th century Korea.
3. were popular subjects in court paintings in the late Joseon Dynasty, and dozens of them were
produced for various occasions
including royal weddings. Peaches in these paintings grow only every 3,000 years and symbolizes
longevity.
-Western-style oil painting in Korean art was in the self-portraits of Korean artist Ko
Hu i-dong.
-Ko Hui- dong- Korean artist who pioneered in the application of Western
techniques to traditional painting styles. After World War II he became a
member of the South Korean government of Syngman Rhee.
Korean Paintings Art
1.
2.Arahat, Joseon buddhist painting in the 16th century Korea.
3. were popular subjects in court paintings in the late Joseon Dynasty, and dozens of them were
produced for various occasions
including royal weddings. Peaches in these paintings grow only every 3,000 years and symbolizes
longevity.
-Western-style oil painting in Korean art was in the self-portraits of Korean artist Ko
Hu i-dong.
-Ko Hui- dong- Korean artist who pioneered in the application of Western
techniques to traditional painting styles. After World War II he became a
member of the South Korean government of Syngman Rhee.
3 TYPE OF PAINTINGS IN KOREA
1.Buddhist Paintings
2.Confucian Paintings
3.Decorative Painting
3 TYPE OF PAINTINGS IN KOREA
1.Buddhist Paintings
2.Confucian Paintings
3.Decorative Painting
TIBETAN ART
⁃ Also called the “Himalayan art,” that refers to the
art of Tibet and other present and former Himalayan
kingdoms.
⁃ Also called Lamaism, which is a regional form of
northern Buddhism.
⁃ The artists were largely anonymous despite the
existence of flourishing workshops.
⁃ Also called the “Himalayan art,” that refers to the
art of Tibet and other present and former Himalayan
kingdoms.
⁃ Also called Lamaism, which is a regional form of
northern Buddhism.
⁃ The artists were largely anonymous despite the
existence of flourishing workshops.
⁃ Tibetan art evolved from the 7th century CE
⁃ Tubo Kingdom is when Tibetan arts have
developed. These originated from the rock paintings in
ancient times. The contents of these paintings include
animal images of deer, ox, sheep, horse, and more
relating to hunting scenes.
⁃ Religious paintings have made a further progress
most especially after introducing Buddhism to Tibet.
⁃ Tibetan art evolved from the 7th century CE
⁃ Tubo Kingdom is when Tibetan arts have
developed. These originated from the rock paintings in
ancient times. The contents of these paintings include
animal images of deer, ox, sheep, horse, and more
relating to hunting scenes.
⁃ Religious paintings have made a further progress
most especially after introducing Buddhism to Tibet.
Arts and Crafts
⁃ Stone carving,
mural painting, and
Thangka paintings
⁃ Often religious in
theme
Arts and Crafts
⁃ Stone carving,
mural painting, and
Thangka paintings
⁃ Often religious in
theme
Belief
⁃ Sacred art
⁃ Its drawing elements are from the religions of
Buddhism, Hinduism, Bon, and other tribal groups and
others reflecting the overriding influence of Tibetan
Buddhism.
⁃ Tibetan artists followed rules regarding
proportions, shape, colour, stance, hand positions, and
attributes in order to personify correctly the Buddha or
deities.
One of the particular
types of artwork of
Tibetan artists is Sand
Mandala. It is a spiritual
symbol depicting the
universe and the cosmos.
Sand Mandala
One of the particular
types of artwork of
Tibetan artists is Sand
Mandala. It is a spiritual
symbol depicting the
universe and the cosmos.
Sand Mandala
- Has geometric patterns
- Ceremonies and viewing are
done to symbolise the
Buddhist doctoral belief in the
transitory nature of material
life when it is being
ritualistically dismantled.
Sand Mandala
- Has geometric patterns
- Ceremonies and viewing are
done to symbolise the
Buddhist doctoral belief in the
transitory nature of material
life when it is being
ritualistically dismantled.
Sand Mandala
BHUTANESE
ART
In Bhutan, art remains an essential part of daily
life that retains the purity and handcraft of ancient
times that rarely manifests itself in Western Culture.
Certainly, these practices evolve and adapt through the
new generations, but at the same time it preserves the
internal and external spirituality—full of the sacred
beliefs of this mystic and mysterious land—of creating
a work of art from the past.
For the Bhutanese people, each piece they create
represents a religious experience, a connection with
something that goes beyond them and enlightens them
creatively, and this is why the 13 Traditional Arts and
Crafts, known as Zorig Chusum, have prevailed to this
day and continue to be one of the most consequential
aspects of Bhutanese culture.
OVERVIEW
In Bhutan, art remains an essential part of daily
life that retains the purity and handcraft of ancient
times that rarely manifests itself in Western Culture.
Certainly, these practices evolve and adapt through the
new generations, but at the same time it preserves the
internal and external spirituality—full of the sacred
beliefs of this mystic and mysterious land—of creating
a work of art from the past.
For the Bhutanese people, each piece they create
represents a religious experience, a connection with
something that goes beyond them and enlightens them
creatively, and this is why the 13 Traditional Arts and
Crafts, known as Zorig Chusum, have prevailed to this
day and continue to be one of the most consequential
aspects of Bhutanese culture.
OVERVIEW
ORIGIN
The 13 Arts are rooted in Buddhism. They are believed to
have been introduced by Pema Lingpa in the 15th century and
categorized in the 17th century by Tenzin Rabgye, the 4th Druk
Desi—the title given to rulers; it means “thunder dragon” in
reference to Bhutan. Each work of art contains the same
principles, symbolisms and ideologies that make this practice so
ancestral, but the artist inevitably leaves a print of their own
style, which contributes to the uniqueness of the piece.
However, one important aspect of Bhutanese art is that it is
always anonymous. If a work of art bears a name, it is usually
the name of the person who commissioned it, not the artist’s,
because the importance of the craft lies in the craft itself, not in
those who produce it. Art speaks for itself, the same as each
representation of belief and value. Thus, these objects decorate
every home, temple, and street. The ornaments are used every
day as simple, yet beautiful tools. Colors permeate every aspect
of the paintings, woodwork, sculptures, and embroideries that
depict deities, sacred animals and other relevant imagery.
ORIGIN
The 13 Arts are rooted in Buddhism. They are believed to
have been introduced by Pema Lingpa in the 15th century and
categorized in the 17th century by Tenzin Rabgye, the 4th Druk
Desi—the title given to rulers; it means “thunder dragon” in
reference to Bhutan. Each work of art contains the same
principles, symbolisms and ideologies that make this practice so
ancestral, but the artist inevitably leaves a print of their own
style, which contributes to the uniqueness of the piece.
However, one important aspect of Bhutanese art is that it is
always anonymous. If a work of art bears a name, it is usually
the name of the person who commissioned it, not the artist’s,
because the importance of the craft lies in the craft itself, not in
those who produce it. Art speaks for itself, the same as each
representation of belief and value. Thus, these objects decorate
every home, temple, and street. The ornaments are used every
day as simple, yet beautiful tools. Colors permeate every aspect
of the paintings, woodwork, sculptures, and embroideries that
depict deities, sacred animals and other relevant imagery.
13 BHUTANESE ARTS & CRAFTS
1. Lhazo - Bhutanese Wall Paintings
2. Jimzo - Sculpting
3. Shingzo - Wood Carving
4. Parzo - Carving
5. Dezo - Papermaking
6. Dozo - Masonry
7. Shagzo - Wood Turning
8. Thagzo - Weaving
9. Tshemzo - Embroidery
10. Lugzo - Casting
11. Tsharzo - Cane Weaving
12. Garzo - Blacksmithing
13. Troeko - Metal Ornaments
Page
of 6
ZOOM
SOUTHEAST ASIAN ART
LAOTIAN ART
Lao Buddhist sculptures were created in a large variety of material including gold,
silver and most often bronze. Brick-and-mortar also was a medium used for colossal
images, a famous of these is the image of Phya Vat (16th century) in Vientiane,
although a renovation completely altered the appearance of the sculpture, and it no
longer resembles a Lao Buddha. Wood is popular for small, votive Buddhist images
that are often left in caves. Wood is also very common for large, life-size standing
images of the Buddha. The most famous two sculptures carved in semi-precious
stone are the Phra Keo (The Emerald Buddha) and the Phra Phuttha Butsavarat.
The Phra Keo, which is probably of Xieng Sen (Chiang Saen) origin, is carved from a
solid block of jade. It rested in Vientiane for two hundred years before the Siamese
carried it away as booty in the late 18th century. Today it serves as the palladium of
the Kingdom of Thailand, and resides at the Grand Palace in Bangkok. The Phra
Phuttha Butsavarat, like the Phra Keo, is also enshrined in its own chapel at the
Grand Palace in Bangkok. Before the Siamese seized it in the early 19th century,
this crystal image was the palladium of the Lao kingdom of Champassack.
Many beautiful Lao Buddhist sculptures are carved right into the Pak Ou caves. Near
Pak Ou (mouth of the Ou river) the Tham Ting (lower cave) and the Tham Theung
(upper cave) are near Luang Prabang, Laos. They are a magnificent group of caves
that are only accessible by boat, about two hours upstream from the center of Luang
Prabang, and have recently become more well known and frequented by
tourists.The caves are noted for their impressive Buddhist and Lao style sculptures
carved into the cave walls, and hundreds of discarded Buddhist figures laid out over
the floors and wall shelves. They were put there as their owners did not wish to
destroy them, so a difficult journey is made to the caves to place their unwanted
statue there.
THAI ART
Thai art and visual art was traditionally and primarily Buddhist and Royal Art.
Sculpture was almost exclusively of Buddha images, while painting was confined to
illustration of books and decoration of buildings, primarily palaces and temples. Thai
Buddha images from different periods have a number of distinctive styles.
Contemporary Thai art often combines traditional Thai elements with modern
techniques.
Traditional Thai paintings showed subjects in two dimensions without perspective.
The size of each element in the picture reflected its degree of importance. The
primary technique of composition is that of apportioning areas: the main elements
are isolated from each other by space transformers. This eliminated the intermediate
ground, which would otherwise imply perspective. Perspective was introduced only
as a result of Western influence in the mid-19th century.
The most frequent narrative subjects for paintings were or are: the Jataka stories,
episodes from the life of the Buddha, the Buddhist heavens and hells, and scenes of
daily life.
The Sukhothai period began in the 14th century in the Sukhothai kingdom. Buddha
images of the Sukhothai period are elegant, with sinuous bodies and slender, oval
faces. This style emphasized the spiritual aspect of the Buddha, by omitting many
small anatomical details. The effect was enhanced by the common practice of
casting images in metal rather than carving them. This period saw the introduction of
the "walking Buddha" pose.
CAMBODIAN ART
Cambodian art and the culture of Cambodia has had a rich and varied history dating
back many centuries and has been heavily influenced by India. In turn, Cambodia
greatly influenced Thailand, Laos and vice versa. Throughout Cambodia's long
history, a major source of inspiration was from religion.[13] Throughout nearly two
millennium, a Cambodians developed a unique Khmer belief from the syncreticism of
indigenous animistic beliefs and the Indian religions of Buddhism and Hinduism.
Indian culture and civilization, including its language and arts reached mainland
Southeast Asia around the 1st century CE. It is generally believed that seafaring
merchants brought Indian customs and culture to ports along the gulf of Thailand
and the Pacific while trading with China. The first state to benefit from this was
Funan. At various times, Cambodia culture also absorbed elements from Javanese,
Chinese, Lao, and Thai cultures.
Visual arts of Cambodia
The history of Visual arts of Cambodia stretches back centuries to ancient crafts;
Khmer art reached its peak during the Angkor period. Traditional Cambodian arts
and crafts include textiles, non-textile weaving, silversmithing, stone carving,
lacquerware, ceramics, wat murals, and kite-making.[16] Beginning in the mid-20th
century, a tradition of modern art began in Cambodia, though in the later 20th
century both traditional and modern arts declined for several reasons, including the
killing of artists by the Khmer Rouge. The country has experienced a recent artistic
revival due to increased support from governments, NGOs, and foreign tourists.
Khmer sculpture refers to the stone sculpture of the Khmer Empire, which ruled a
territory based on modern Cambodia, but rather larger, from the 9th to the 13th
century. The most celebrated examples are found in Angkor, which served as the
seat of the empire.
By the 7th century, Khmer sculpture begins to drift away from its Hindu influences –
pre-Gupta for the Buddhist figures, Pallava for the Hindu figures – and through
constant stylistic evolution, it comes to develop its own originality, which by the 10th
century can be considered complete and absolute. Khmer sculpture soon goes
beyond religious representation, which becomes almost a pretext in order to portray
court figures in the guise of gods and goddesses.[18] But furthermore, it also comes
to constitute a means and end in itself for the execution of stylistic refinement, like a
kind of testing ground. We have already seen how the social context of the Khmer
kingdom provides a second key to understanding this art. But we can also imagine
that on a more exclusive level, small groups of intellectuals and artists were at work,
competing among themselves in mastery and refinement as they pursued a
hypothetical perfection of style.
Relief from Angkor
The gods we find in Khmer sculpture are those of the two great religions of India,
Buddhism and Hinduism. And they are always represented with great iconographic
precision, clearly indicating that learned priests supervised the execution of the
works.[15] Nonetheless, unlike those Hindu images which repeat an idealized
stereotype, these images are treated with great realism and originality because they
depict living models: the king and his court. The true social function of Khmer art
was, in fact, the glorification of the aristocracy through these images of the gods
embodied in the princes. In fact, the cult of the “deva-raja” required the development
of an eminently aristocratic art in which the people were supposed to see the
tangible proof of the sovereign's divinity, while the aristocracy took pleasure in
seeing itself – if, it's true, in idealized form – immortalized in the splendour of intricate
adornments, elegant dresses and extravagant jewelry.
The sculptures are admirable images of a gods, royal and imposing presences,
though not without feminine sensuality, makes us think of important persons at the
courts, persons of considerable power. The artists who sculpted the stones
doubtless satisfied the primary objectives and requisites demanded by the persons
who commissioned them. The sculptures represent the chosen divinity in the
orthodox manner and succeed in portraying, with great skill and expertise, high
figures of the courts in all of their splendour, in the attire, adornments and jewelry of
a sophisticated beauty.
INDONESIAN ART
Indonesian art and culture has been shaped by long interaction between original
indigenous customs and multiple foreign influences. Indonesia is central along
ancient trading routes between the Far East and the Middle East, resulting in many
cultural practices being strongly influenced by a multitude of religions, including
Hinduism, Buddhism, Confucianism and Islam, all strong in the major trading cities.
The result is a complex cultural mixture very different from the original indigenous
cultures. Indonesia is not generally known for paintings, aside from the intricate and
expressive Balinese paintings, which often express natural scenes and themes from
the traditional dances.
Other exceptions include indigenous Kenyah paint designs based on, as commonly
found among Austronesian cultures, endemic natural motifs such as ferns, trees,
dogs, hornbills and human figures. These are still to be found decorating the walls of
Kenyah Dayak longhouses in East Kalimantan's Apo Kayan region.
Indonesia has a long-he Bronze and Iron Ages, but the art-form particularly
flourished from the 8th century to the 10th century, both as stand-alone works of art,
and also incorporated into temples.
Some examples of Indonesian Art are:
Relief sculpture from Borobudur temple, c. 760–830 AD
Balinese painting of Prince Panji meeting three women in the jungle
Kenyah mural painting in Long Nawang, East Kalimantan.
Most notable are the hundreds of meters of relief sculpture at the temple of
Borobudur in central Java. Approximately two miles of exquisite relief sculpture tell
the story of the life of Buddha and illustrate his teachings. The temple was originally
home to 504 statues of the seated Buddha. This site, as with others in central Java,
show a clear Indian influence.
Calligraphy, mostly based on the Qur'an, is often used as decoration as Islam forbids
naturalistic depictions. Some foreign painters have also settled in Indonesia. Modern
Indonesian painters use a wide variety of styles and themes.
Balinese art is art of Hindu-Javanese origin that grew from the work of
artisans of the Majapahit Kingdom, with their expansion to Bali in the late 13th
century. From the 16th until the 20th centuries, the village of Kamasan, Klungkung
(East Bali), was the centre of classical Balinese art. During the first part of the 20th
century, new varieties of Balinese art developed. Since the late twentieth century,
Ubud and its neighboring villages established a reputation as the center of Balinese
art. Ubud and Batuan are known for their paintings, Mas for their woodcarvings,
Celuk for gold and silversmiths, and Batubulan for their stone carvings. Covarrubias
describes Balinese art as, "... a highly developed, although informal Baroque folk art
that combines the peasant liveliness with the refinement of classicism of Hinduistic
Java, but free of the conservative prejudice and with a new vitality fired by the
exuberance of the demonic spirit of the tropical primitive". Eiseman correctly pointed
out that Balinese art is actually carved, painted, woven, and prepared into objects
intended for everyday use rather than as object d 'art.
In the 1920s, with the arrival of many western artists, Bali became an artist enclave
(as Tahiti was for Paul Gauguin) for avant-garde artists such as Walter Spies
(German), Rudolf Bonnet (Dutch), Adrien-Jean Le Mayeur (Belgian), Arie Smit
(Dutch) and Donald Friend (Australian) in more recent years. Most of these western
artists had very little influence on the Balinese until the post-World War Two period,
although some accounts over-emphasise the western presence at the expense of
recognising Balinese creativity.
This groundbreaking period of creativity reached a peak in the late 1930s. A stream
of famous visitors, including Charlie Chaplin and the anthropologists Gregory
Bateson and Margaret Mead, encouraged the talented locals to create highly original
works. During their stay in Bali in the mid-1930s, Bateson and Mead collected over
2000 paintings, predominantly from the village of Batuan, but also from the coastal
village of Sanur.[39] Among western artists, Spies and Bonnet are often credited for
the modernization of traditional Balinese paintings. From the 1950s onwards Baliese
artists incorporated aspects of perspective and anatomy from these artists. More
importantly, they acted as agents of change by encouraging experimentation, and
promoted departures from tradition. The result was an explosion of individual
expression that increased the rate of change in Balinese art.
VIETNAMESE ART
Vietnamese art is from one of the oldest of such cultures in the Southeast Asia
region. A rich artistic heritage that dates to prehistoric times and includes: silk
painting, sculpture, pottery, ceramics, woodblock prints, architecture, music, dance
and theatre.
Traditional Vietnamese art is art practiced in Vietnam or by Vietnamese artists, from
ancient times (including the elaborate Đông Sơn drums) to post-Chinese domination
art which was strongly influenced by Chinese Buddhist art, among other philosophies
such as Taoism and Confucianism. The art of Champa and French art also played a
smaller role later on.
The Chinese influence on Vietnamese art extends into Vietnamese pottery and
ceramics, calligraphy, and traditional architecture. Currently, Vietnamese lacquer
paintings have proven to be quite popular.
The Nguyễn dynasty, the last ruling dynasty of Vietnam (c. 1802–1945), saw a
renewed interest in ceramics and porcelain art. Imperial courts across Asia imported
Vietnamese ceramics.
Despite how highly developed the performing arts (such as imperial court music and
dance) became during the Nguyễn dynasty, some view other fields of arts as
beginning to decline during the latter part of the Nguyễn dynasty.
Beginning in the 19th century, modern art and French artistic influences spread into
Vietnam. In the early 20th century, the École Supérieure des Beaux Arts de
l’Indochine (Indochina College of Arts) was founded to teach European methods and
exercised influence mostly in the larger cities, such as Hanoi and Ho Chi Minh City.
Travel restrictions imposed on the Vietnamese during France's 80-year rule of
Vietnam and the long period of war for national independence meant that very few
Vietnamese artists were able to train or work outside of Vietnam.[45] A small number
of artists from well-to-do backgrounds had the opportunity to go to France and make
their careers there for the most part.[45] Examples include Le Thi Luu, Le Pho, Mai
Trung Thu, Le Van De, Le Ba Dang and Pham Tang.[45]
Modern Vietnamese artists began to utilize French techniques with many traditional
mediums such as silk, lacquer, etc., thus creating a unique blend of eastern and
western elements.
Vietnamese calligraphy
Calligraphy has had a long history in Vietnam, previously using Chinese characters
along with chữ nôm. However, most modern Vietnamese calligraphy instead uses
the Roman-character based Quốc Ngữ, which has proven to be very popular.
In the past, with literacy in the old character-based writing systems of Vietnam being
restricted to scholars and elites, calligraphy nevertheless still played an important
part in Vietnamese life. On special occasions such as the Lunar New Year, people
would go to the village teacher or scholar to make them a calligraphy hanging (often
poetry, folk sayings or even single words). People who could not read or write also often
commissioned scholars to write prayers which they would burn at temple
shrines
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SOUTHEAST
ASIAN ART
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Laotian
ART
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Laos
- the only landlocked country in Southeast Asia
- arts influenced by Theravada Buddhism and Hinduism
- ceramics, Buddhist sculptures and lao music
Lao Buddhist sculptures
Were created in a variety of material including:
 Gold, silver and most often bronze.
 Brick-and-mortar
 Wood
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Phra Keo (The Emerald Buddha)
serves as the palladium of the
Kingdom of Thailand, and resides at
the Grand Palace in Bangkok.
Phya Vat Phra Phutta Butsavarat
also enshrined in its own chapel at
the Grand Palace in Bangkok
.
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VAT MANOROM
PHRA BANG
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PAK OU CAVES
• Near Pak Ou (mouth of the Ou river) the Tham
Ting (lower cave) and the Tham Theung (upper
cave) are near Luang Prabang, Laos.
• magnificent group of caves that are only
accessible by boat, about two hours upstream
from the center of Luang Prabang.
• noted for their impressive Buddhist and Lao style
sculptures carved into the cave walls, and
hundreds of discarded Buddhist figures laid out
over the floors and wall shelves.
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Thai
ART
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Thai traditional arts have numerous
distinctive qualities which make
them easily distinguishable
Traditional Thai paintings showed
subjects in two dimensions without
perspective.
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Corrado Feroci known as a
“Father of thai modern art” he is
a sculptor with a thai name Silpa
Bhirasi who made Victory
Monument.
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Chalermchai Kositpipat is a visual artist, his works
have been exhibited worldwide and known for his use of
Buddhist imagery in his art. Architecture, the style is
unique and very memorable with its bright colors, rich
ornamentation and sweeping, multi-tiered roofs, the
temple and palace architecture of Thailand is
immediately identifiable.
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Prasat Hin Phimai is one of the
famous architecture in Thailand
build between 11th-12th century.
Sukhothai Kingdom, Buddha
images of the Sukhothai period
which is 14th century are elegant,
with sinuous bodies and slender,
oval faces
This period saw the introduction of
the “walking Buddha post”
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Prasat Hin Phimai is one of the
famous architecture in Thailand
build between 11th-12th century.
Sukhothai Kingdom, Buddha
images of the Sukhothai period
which is 14th century are elegant,
with sinuous bodies and slender,
oval faces
This period saw the introduction of
the “walking Buddha post”
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CAMBODIAN
ART
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 The history of Cambodian art (Khmer: សសសសសសសសសសស) stretches back
centuries to ancient times, but the most famous period is undoubtedly the
Khmer art of the Khmer Empire (802–1431)
 Traditional Cambodian arts and crafts include textiles, non-textile
weaving, silversmithing, stone carving, lacquerware, ceramics, wat
murals, and kite-making.
 Because the arts and crafts are part of the daily life of the Cambodian,
most farmers have expanded their business by weaving silk, making
silkworms and raising silkworms in order to produce silk. In recent years,
the number of sculptors and painters has grown. In addition, a unique
Khmer style art we see today is a combination of culture animistic beliefs
which is originated by the religions of Hinduism and Buddhism of India.
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(ARTS)
TEXTILE WEAVING:
 The art of silk weaving in Cambodia has
contributed together with history of the nation.
A 19th century silk pidan
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The ikat technique (Khmer:
chong kiet) which produces
patterned fabric and is quite
complex.
There are two main types of Cambodian weaving.
 Cambodia's modern silk-weaving centers are Takéo, Battambang, Beanteay
Meanchey, Siem Reap and Kampot provinces.
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The ikat technique (Khmer:
chong kiet) which produces
patterned fabric and is quite
complex.
There are two main types of Cambodian weaving.
 Cambodia's modern silk-weaving centers are Takéo, Battambang, Beanteay
Meanchey, Siem Reap and Kampot provinces.
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The second weaving technique, unique to Cambodia, is called
"uneven twill"
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 Cotton textiles have also played a significant
role in Cambodian culture.
 Krama, the traditional check scarves worn
almost universally by Cambodians, are made
of cotton.
This has provided employment for many
rural women. Cambodian silk is generally
sold domestically, where it is used in sampot
(wrap skirts), furnishings, and pidan (pictoral
tapestries, but interest in international trade
is increasing
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NON-TEXTILE WEAVING:
 Basket weaving or “tbanh
kantrak”
 Most baskets are made of thinly
cut bamboo.
• Mat weaving (tbanh kantuel) is a
common seasonal occupation.
• Mats are commonly laid out for guests
and are important building materials
for homes.
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Wicker and rattan crafts (tbanh kanchoeu) made from dryandra trees are also
significant
LAQUERWARE:
 The height of Cambodian traditional lacquerware was between the
12th and 16th centuries
Khmer
lacquer box;
bamboo and
wood
Lacquer vase
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Wicker and rattan crafts (tbanh kanchoeu) made from dryandra trees are also
significant
LAQUERWARE:
 The height of Cambodian traditional lacquerware was between the
12th and 16th centuries
Khmer
lacquer box;
bamboo and
wood
Lacquer vase
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CERAMICS:
 Cambodian pottery traditions date to 5000 BCE. Ceramics were mostly
used for domestic purposes such as holding food and water.
Glazed pottery
with brown slip;
Bayon period,
12th century
An owl-shaped
lime pot;
Angkorian era,
12th-13th century
A water jar,
used as a
container for
water or food,
Angkorian era
Rabbit shaped
glazed stoneware;
Angkorian era,
11th-12th century
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BLACKSMITHING:
 Archeological finds near Angkorian sites in the former Khmer
empire have suggested a wide variety and quality of blacksmithing.
Khmer weapons, as recorded in 1880, and still
common among Khmer peasants to this day.
A Khmer-style royal sword
(preah khan).
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SILVERSMITHING:
 Silversmithing in Cambodia dates back centuries.
 Silver was made into a variety of items, including weaponry, coins,
ceremonial objects used in funerary and religious rituals, and betel
boxes.
A lotus-shaped Cambodian bowl
(gold and silver alloy), made c.
1222 CE
STONE-CARVING:
 Cambodia's best-known stone carving adorns the temples of Angkor,
which are "renowned for the scale, richness and detail of their
sculpture".
 By the 1970s and 1980s, the craft of stone carving was nearly lost.
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A stone bas-relief at Bayon
temple depicting the Khmer
army at war with the Cham,
carved c. 1200 CE
A stone carving at Banteay Srei of
goddess Tilottama, an
Angkorian
temple consecrated in 967 CE.
A seated figure in a niche; 950-975 AD; made in
the Bantey Srei style; Dallas Museum of Art
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MURALS:
 The best-known surviving murals are at the Silver Pagoda in Phnom
Penh, Wat Rajabo in Siem Reap province, and Wat Kompong Tralach
Leu in Kompong Chhnang Province. In the last decade, wat murals
have seen a resurgence, but Cambodia's surviving older murals are
generally more refined and detailed.
A mural of Gautama
Buddha gaining
nirvana; Wat Botum
A Ramayana
mural at Phnom
Penh's Silver
Pagoda
A Ramayana
mural at Phnom
Penh's Silver
Pagoda
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KITE-MAKING:
 Cambodia's kite-making and kite-flying tradition, which dates back many
centuries, was revived in the early 1990s and is now extremely popular
throughout the country.
Khmer
kites
ARCHITECTURES:
 They produce beautiful arts
depicted as a bas-relief on the
statues of the Khmer ancestors.
Nowadays, due to the needs and
demands of the tourists, you will
find out the Cambodian arts are
more into the design of the
temples you see in Angkor
complex.
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 Angkor Thom – The Impressive
Cambodian Architecture
 Bayon Temple – The Cambodian
Architecture of Mysterious Smiling• Angkor Wat - The Most
Famous Cambodian
Architecture
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 Royal Palace -
The Shining
Cambodian
Architecture
 Preah Vihear
Temple - The
Charming
Cambodian
Architecture
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INDONESIAN
ART
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 The culture and art of Indonesia has been shaped by interaction
between local indigenous customs and multiple foreign influences.
Situated on the ancient maritime trading routes between the Near
East and the Far East, Indonesia was exposed to a multitude of
foreign cultural practices and religions, including Hinduism,
Buddhism, and Islam. The result is a complex fusion of many
different customs, expressed in Indian art forms.
 Indonesia has a particularly rich tradition of Hindu–Buddhist
sculpture and architecture, and it was strongly influenced by India
from the 1st century CE onward.
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A Dayak longhouse isn’t just the focal point of a village: it is the
village. These imposing structures, sometimes over 200 meters
long, can contain dozens of separate family apartments, as well as
public spaces for cooking, blacksmithing, ceremonies, and social
life.
Indigenous kenyah paint design based on, as commonly found
among Austronesian cultures, endemic natural motifs such as
ferns, trees, dog, hornbills and human figures.
KENYAH DAYAK LONGHOUSE IN
EAST KALIMANTAN’S APO
ARCHITECTURES OF INDONESIA
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Most notable are the hundreds of meters
of relief sculpture at the temple of
Borobudur in central Java. It tells the
story of the life of Buddha and illustrate
his teachings. The temple was originally
home to 504 statues of the seated
buddha.
There are hundreds of meters of relief
sculpture at the temple of Borobudur in
central Java. It tells the story of the life of
Buddha and illustrate his teachings. The
temple was originally home to 504
statues of the seated buddha.
BOROBUDUR
TEMPLE
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PRAMBANAN TEMPLE
Near Borobudur is the 9th century temple
complex of Prambanan, one of theoldest
and largest Hindu temples in Southeast
Asia. The complex consists of eight main
shrines, surrounded by 224 smaller ones.
The Indian influence on the building is
unmistakable, not only in the architectural
style but also in the stone reliefs featuring
scenes from the Hindu epic Ramayana,
which adorn the outer walls of the main
temples.
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Megalithic sculptures have been discovered in several sites in Indonesia.
Wood and stone are common materials used as the media for sculpting
among these tribes. Between the 8th to 15th century, Javanese
civilization has developed a refined stone sculpting art and architecture
which was influenced by Hindu-Buddhist Dharmic civilization.
Stone and bronze sculpture flourished between the 8th and 10th century
CE under the Sailendra dynasty in Java and Bali. These sculptures were
either free-standing statues or relief sculptures and friezes incorporated
into temples; they are characterized by their delicacy and serenity of
expression.
SCULPTURES
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Prajnaparamita
of Java statue
from East Java
Architectural
fragment with a
demon's head; 13th-
14th century;
Philadelphia Museum
of Art (USA)
Roro Jonggrang
statue; 10th
century from
Java, Indonesia;
Indian and South
East Asian Art.
The Sleeping Buddha
Bronze
Maitreya
statue
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WOOD CARVINGS
 The art of wood carving is quite well-developed in Indonesia. Tribal arts
of Asmat, Batak, Dayak, Nias, and Toraja area is well known for its
refined wood carving culture
 Mas village near Ubud in Bali is renowned for its wood carving art.
Balinese woodcarving today has a sustained tourist market in Bali.
Mask
(HudoqLate
19th–early
20th century
Kenyah Wood,
Borneo,
Indonesia
The Nias
adu
zatua
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QU’RAN
 The Quran also romanized Qur'an or Koran, is the central religious text
of Islam, believed by Muslims to be a revelation from God (Allah). It is
widely regarded as the finest work in classical Arabic literature. It is
organized in 114 chapters which consist of verses.
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ARTS AND CRAFTS
 Modern Indonesia painters use a wide variety of style and themes.
 Indonesian painting before the 19th century is mostly restricted to
the decorative arts, considered to be a religious and spiritual
activity, comparable to the pre-1400 European art.
 Balinese paintings are initially the narrative images to depict scenes
of Balinese legends and religious scripts.
In 2018, scientists reported the discovery of
the then-oldest known figurative art
painting, over 40,000 (perhaps as old as
52,000) years old, of an unknown animal, in
the cave of Lubang Jeriji Saléh on the
Indonesian Island of Borneo.
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Traditional
Balinese
painting
depicting
cockfighting.
Paintings
depicting evil
spirits in
Indonesian
mythology
Javanese
Temple in
Ruins, 1860.
Painting from
the Ramayana
story, where
the king
Sugriva kills
his opponent
Subali. Ida
Bagoes Togog
Pettakere Cave
"Hand print
paintings", The
oldest known cave
paintings are more
than 44,000 years
old, Maros, South
Sulawesi, Indonesia
Linga Bawa
Shiva's painting
is based on the
symbolism of
the linga and
yoni. I. Goesti
Molog
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BALINESE
ART
My TeamsTitle Questions
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• Art of Hindu- Javanese origin that grew from the work of
artisans of the Majapahit Kingdom, with their expansion to
Bali in the late 13th century.
• From the 16th until 20th centuries the village of Kamasan,
Klungkung,( East Bali ), was the center of classical
Balinese art developed.
• During the 1st part of 20th century, new varieties are of
• Late 20th century, Ubud and its neighboring villages
established a reputation or as the center of Balinese Art.
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• Art of Hindu- Javanese origin that grew from the work of
artisans of the Majapahit Kingdom, with their expansion to
Bali in the late 13th century.
• From the 16th until 20th centuries the village of Kamasan,
Klungkung,( East Bali ), was the center of classical
• During the 1st part of 20th century, new varieties are of
• Late 20th century, Ubud and its neighboring villages
established a reputation or as the center of Balinese Art.
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TRADITIONAL BALINESE PAINTING:
COCKFIGHTING by Ketut Ginarsa
-Ubud and
Batuan
known for
their
paintings.
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BATUBULAN FOR THEIR STONE CARVINGS. “ A highly developed
although informal
Baroque folk art that
combines the peasants
liveliness with the
refinement of classicism
of Hinduistic Java, but
free conservative
prejudice and with a new
vitality fired by the
exuberance of the
demonic spirit of the
tropical primitive “.
-Covarrubias
“ Balinese art is actually carved, painted
woven, and prepared into objects intended for
everyday use rather than as object d’ art.
-Eiseman
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In the 1920s, the arrival of the western artist had a very little
influence on the Balinese until the post WWII period although
there are same accounts over emphasize by the western presence
at the expense of recognizing Balinese creativity.
Bali became an artist enclave (as Tahiti was Paul Gauguin).
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Adrien Jean le Mayeur Arie Smit Donald Friend
Walter Spies
The Merry-go-round
In Bali in the mid-1930s, Bateson and Mead

collected over 2000 paintings, predominantly
from the village of Batuan.
[39] Among western artists, Spies and Bonnet
are often credited for the modernization of
traditional Balinese Paintings.
1950
Balinese artists incorporated aspects of
perspective and anatomy of these artist.
Vietnamese ART
Vietnamese
-Encompasses art created in Vietnam or by
Vietnamese artists, from ancient times to the
present. Vietnamese art has a long and rich
history. Clay pottery of the Neolithic Age dates as
far back as 8,000 B.C.E. Decorative elements from
ceramics of the Bronze Age were used to ornament
large, elaborately-incised bronze cast drums of the
Dong Son culture that flourished in North Vietnam
Dong Son Drums is a type of ancient

bronze drum created by the Đông Sơn
culture that existed in the Red River Delta.
The Nguyen dynasty, the last ruling dynasty
of Vietnam (1802-1945), saw a renewed in
ceramics and porcelain art
-Ancient Architecture in Vietnamese from
Ly Dynasty
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Philippine Art
AGENDA:
• What is Philippine Art?
• Pottery, Weaving, and Wood carving
• Modern sculptures and architectures
• History
• Famous Philippine artist and composers
What is Philippine
Art?
Philippine art scene over time.
but also for religious
POTTERY
• Pottery produced items that are of practical value for
the early Filipinos, such as pots for cooking and large
vases for storing.
• Said to be one of the earliest art forms used by early
Filipino people.
• One of the most prominent artifacts related to
pottery Manunggul Jar found in Palawan.
POTTERY
MANUNGGUL JAR
• Represent the religious beliefs
and practices of early Filipino
People.
• Serves as a burial jar, which
depicts two men rowing a boat.
• reflects their belief in afterlife-
the crossing of the body of water
is a transition from life here on
earth unto the next.
WEAVING
WEAVING
• a method of textile production in which
two distinct sets of yarns or threads are interlaced at
right angles to form a fabric or cloth.
• People from Cordillera are one of the famous
artisans of weaving.
Lang Dulay Eliza ChawiT’nalak
LANG DULAY
• A Filipino traditional weaver
who
was a recipient of the National
Living Treasures Award.
• She is credited with preserving
her
people's tradition of weaving
T'nalak,
a dyed fabric made from refined
abaca fibre.
T’NALAK
• Weaving tradition of the
T'boli people of South
Cotabato, Philippines.
• T'nalak cloth are woven from
abacá fibers.
• The traditional female
weavers are known as dream
weavers, because the
pattern of the t'nalak cloth
are inspired by their dreams.
• They use this particular
cloth to make
ornaments, which also
represent their
beliefs through
symbols.
• One example is the
image of the frog,
which is their
representation for
fertility.
ELIZA CHAWI
• The oldest weaver of
traditional
Kankanaey cloth in the
Cordilleras
WOOD CARVING
• Woodcarvings from Palawan also depict animals like
birds, which are representations of their religious
beliefs.
• In Mindanao, the Tausug and Maranao people are
known for their
okir. Their common subjects include the
sarimanok, naga and the pako rabong.
• Each subject is a representation of symbols depict
their beliefs as a people.
WOOD CARVING
• Woodcarvings from Palawan also depict animals like
birds, which are representations of their religious
beliefs.
• In Mindanao, the Tausug and Maranao people are
known for their
okir. Their common subjects include the
sarimanok, naga and the pako rabong.
• Each subject is a representation of symbols depict
their beliefs as a people.
WOOD CARVING
• The Okir (motif) is an exclusive artistic
cultural heritage of the Maranaos of
Lanao, Philippines.
• It is as an artistic design of the Maranao
native inhabitants of southern Philippines
beginning from the early 6th Century C.E.
before the Islamization of the area.
WOOD CARVING
Pako Rabong
Sarimanok
Pako Rabong
PAKO RABONG
• An ancient indigenous form of the
Maranaw artistic design is the Pako
rábong. The "pakô", or "piyako", refers
to the beautiful motif that copied from
"Salimbayan-pilipit" design of the leaf.
It literally means "sumisibol o
yumayabong na pakô."
• It is often used in clothes and fabrics
laid out as décor indoors. It was also
designed with gold and silver jewelry.
Sarimanok
SARIMANOK
• The Sarimanok is the legendary
bird that has become an ubiquitous
symbol of Maranao art.
• It is depicted as a fowl with colorful
wings and feathered tail, holding a
fish on its beak or talons.
• The head is profusely decorated
with scroll, leaf, and spiral motifs.
• It is said to be a symbol of good
fortune
History of
Philippine Art
Spoliarium
Spoliarium
SPOLIARIUM
• Large-scale academic painting
garnered a gold medal and signified
that the reformists could come at par
with their European counterparts.
• At the same time, Luna’s win signaled
the start of the Filipino’s call for
equality.
Spoliarium
27
As modern paintings started to emerge, a
triumvirate of artist was formed
• CARLOS FRANCISCO • GALO B. OCAMPO • VICTORIO EDADES
José Honorato Lozano
• Was a Filipino Asian Antiquities artist who was born in 1815.
• Known today as the visual chronicler and ethnographic painter
par excellence of life in the Philippines in the second and third
quarters of the 19th Century.
• He is also renowned as the father of the art form known as
Letras y Figuras - literally 'Letters and Figures.' Mostly
watercolors on Manila paper, these artworks depict views of
quotidian Philippine life in the 19th century.
• Paintings of Jose Honorato Lozano has clear indication of East
and West influence.
What is Kut-kut art?
• Kut-kut art is another technique of
combining ancient Oriental and
European art process.
• It is considered a lost art and highly
collectible art form. Very few known
art pieces existed today.
• The technique was practiced by the
indigenous people of Samar
Island between early 1600 and
late 1800.
Modern
SculpturesIt is notable that when modernism was introduced in the Philippines in
the late 1920s, the practice of figurative painting using pigments on a
two- dimensional surface was just over a hundred years old.
• Spanish Colonial Period art forms
• Sculpture of saints replaced the anito carvings during the 17th
century.
• The earliest known sculptor in the
Philippines is the 17th century
sacristan, sculptor and silversmith.
• few of his extant works may be found
at the San Agustin Convent museum.
• One of his famous work is the
“Retablo”.
Juan De Los Santos
• This “retablo” (altarpiece) was executed in
1617 by the carver Juan de los Santos, as the
main altarpiece of San Agustin Church in
Manila.
• This “retablo” shows the symmetry of
Renaissance architecture, and the broken arch
pediment in the upper part the influence of
mannerist style.
• The original wood gilded image of “santos”
(Saints) that filled the niches were stolen by
the British in 1762, and the North American
soldiers in 1898. Some of the “santos” that
Retablo
Modern Sculptures: 19th
Century• Filipino sculptors came to be known in the middle of 19th
Century.
• Classical Philippine sculpture reached its peak in the
works of Guillermo Tolentino (1890-1976).
• He is consider as the “Father of
Philippine Arts” because of his great
works like the famous “Bonifacio
Monument” symbolizing Filipinos cry
for freedom located in intersection of
EDSA and Rizal Avenue and “The
Oblation” in UP signifying academic
freedom.
• represents the National Artist Awards
Guillermo Tolentino
• It was built way back November 30,
1933.
• It was designed by the National Artist
Guillermo Tolentino to commemorate
Philippine revolutionary Andrés
Bonifacio, the founder and Supremo of
the Katipunan.
Bonifacio Monument
• Recognized as the “Father of Modern
Philippine Sculpture”, Abueva helped
shape the local sculpture scene to
what it is now.
• Was the youngest National Artist
awardee.
• He used almost all kinds of materials
for his sculptures such as hard wood,
adobe, metal, stainless steel,
Napoleon Abueva
• It was included in the 1st ASEAN
Sculpture symposium at Fort Canning
Hill, Singapore, and has been there
ever since.
• The Fredesvinda was nicknamed 'The
Ship of ASEAN' as its structure
represent the skeleton of a ship.
• It also symbolises ASEAN unity and
cooperation.
Fredesvinda
The architecture of the classical
period of the Philippines is based
on vernacular architecture for
most of its centuries and Islamic
architecture in some coastal
areas at the south, plus the
interior of Lanao, after the 13th
century.
• Ancient Filipinos lived in big
settlements along sheltered
bays, coastal areas, and
mouths of rivers.
• The roof of the first Philippine
houses, nipa huts, or bahay
The architecture of the classical
period of the Philippines is based
on vernacular architecture for
most of its centuries and Islamic
architecture in some coastal
areas at the south, plus the
interior of Lanao, after the 13th
century.
• Ancient Filipinos lived in big
settlements along sheltered
bays, coastal areas, and
mouths of rivers.
• The roof of the first Philippine
houses, nipa huts, or bahay
Bahay Kubo
• The Bahay Kubo is the native
house of the Philippines and is
also considered as its national
shelter.
• These houses were elevated
three to four meters of the
ground, supported by wood or
bamboo. The structure was
usually four-walled with tukod
windows.
Bagubo and Kalinga • In the ancient times, early
Filipinos lived in houses which
were made of wood, bamboo,
and palm leaves. All houses
had a ladder which could be
drawn up at night. They also
have a place under their house
where they keep rice,
chickens, and firewood.
• people used this type of house
Bagubo and Kalinga • In the ancient times, early
Filipinos lived in houses which
were made of wood, bamboo,
and palm leaves. All houses
had a ladder which could be
drawn up at night. They also
have a place under their house
where they keep rice,
chickens, and firewood.
• people used this type of house
Famous Philippine
Artists
Felix Resurreccion Hidalgo (1855-1913)
• Félix Resurrección Hidalgo y Padilla was a Filipino
artist.
• He is acknowledged as one of the greatest Filipino
painters of the late 19th century
• Hidalgo won a silver medal for his entry in large
canvas, Christian Virgins Exposed to the Populace (Las
Virgenes Cristianas Expuestas al Populacho) at the
Madrid Exposition of Fine Arts.
• In 1984 Madrid Exposition, he set up residence in Paris
to serve a quieter life.
• He painted Charon’s Boat and Oedipus and Antigone.
Felix Resurreccion Hidalgo (1855-1913)
• Félix Resurrección Hidalgo y Padilla was a Filipino
artist.
• He is acknowledged as one of the greatest Filipino
painters of the late 19th century
• Hidalgo won a silver medal for his entry in large
canvas, Christian Virgins Exposed to the Populace (Las
Virgenes Cristianas Expuestas al Populacho) at the
Madrid Exposition of Fine Arts.
• In 1984 Madrid Exposition, he set up residence in Paris
to serve a quieter life.
• He painted Charon’s Boat and Oedipus and Antigone.
• The painting was a silver medalist during the 1884
Exposicion General de Bellas Artes in Madrid, Spain,
also known as the Madrid Exposition.
• Regarded as one of the national treasures of the
Philippines, a copy of the painting is part of the art
collection of the Bangko Sentral ng Pilipinas (Central
Bank of the Philippines).
• The original was destroyed in a fire at the University of
Valladolid in Spain
Las Virgenes Cristianas Expuertas al
Populacho (Christian Virgins Exposed to the
Populace)
• The painting was a silver medalist during the 1884
Exposicion General de Bellas Artes in Madrid, Spain,
also known as the Madrid Exposition.
• Regarded as one of the national treasures of the
Philippines, a copy of the painting is part of the art
collection of the Bangko Sentral ng Pilipinas (Central
Bank of the Philippines).
• The original was destroyed in a fire at the University of
Valladolid in Spain
Las Virgenes Cristianas Expuertas al
Populacho (Christian Virgins Exposed to the
Populace)
• Is an 1887 oil on canvas and allegorical painting by
award-winning Filipino painter Félix Resurrección
Hidalgo.
• The work was a gold medalist during the Exposicion
General de las Filipinas in Madrid.
La barca de Aqueronte (Charon’s
Boat)
• Also won an award
Oedipus Y Antigone (Oedipus and
Antigone)
Barcos... en el Horizonte , 1893 Seascape
His Sunrise (1985) revealed his ingenuity in painting landscape and seascapes
• was one of the two portraits he
did for his mother in Paris.
• Félix Resurrección Hidalgo,
Portrait of the Artist's Mother,
1897, Bangko Sentral ng
PilipinasThe Artist’s Mother
Juan Luna (1857-1899)
• Juan Luna de San Pedro y Novicio Ancheta was a
Filipino painter, sculptor and a political activist of the
Philippine Revolution during the late 19th century.
• He became one of the first recognized Philippine
artists.
• He won a gold medal in the 1984 Madrid Expositionof
Fine Arts, along with the silver win of fellow Filipino
painter Félix Resurrección Hidalgo, which prompted a
celebration that was a major highlight in the memoirs
of members of the Propaganda Movement, with the
fellow Ilustrados toasting to the two painters' good
Juan Luna (1857-1899)
• Juan Luna de San Pedro y Novicio Ancheta was a
Filipino painter, sculptor and a political activist of the
Philippine Revolution during the late 19th century.
• He became one of the first recognized Philippine
artists.
• He won a gold medal in the 1984 Madrid Expositionof
Fine Arts, along with the silver win of fellow Filipino
painter Félix Resurrección Hidalgo, which prompted a
celebration that was a major highlight in the memoirs
of members of the Propaganda Movement, with the
fellow Ilustrados toasting to the two painters' good
• A "dreamy" oil on wood painting
by Filipino painter and
revolutionary activist Juan Luna.
It depicts Luna's wife Maria de la
Paz Pardo de Tavera while sound
asleep.
• It is currently a part of the art
collection of the Lopez Museum.
Ensueños de Amor (Daydreams of Love)
• An 1895 classic oil on canvas
impressionist painting by Filipino
painter and revolutionary activist
Juan Luna.
• It depicts a Filipino man and a
Filipino woman having a lovers'
quarrel.Tampuhan
• It was painted shortly after he
was granted pardon by Alfonso
XIII for his involvement in the
Philippine Revolution.
Lady with Guitar
• a painting by Filipino painter Juan Luna. Luna, working on canvas, started
in 1886 and later completed in 1887 during the artist's honeymoon in
Venice after his wedding to Paz Pardo de Tavera. The painting was
submitted by Luna to the Exposition Universelle in 1889 in Paris, France,
where it garnered a bronze medal. The picture recreates a scene of a
Roman wedding ritual specifically the bride's entrance into the groom's
Hymen, oh Hyménée!
Fernando Amorsolo (1892-1972)
• Fernando Amorsolo y Cueto was one of the most
important artists in the history of painting in the
Philippines.
• Amorsolo was a portraitist and painter of rural
Philippine landscapes. He is popularly known for
his craftsmanship and mastery in the use of light.
• National Artist Awardee.
• In his golden years (1920-1945), he reaped
various honors.
• went to Madrid in 1917 to study museum classics
• Fernando Amorsolo y Cueto was one of the most
important artists in the history of painting in the
Philippines.
• Amorsolo was a portraitist and painter of rural
Philippine landscapes. He is popularly known for
his craftsmanship and mastery in the use of light.
• National Artist Awardee.
• In his golden years (1920-1945), he reaped
various honors.
• went to Madrid in 1917 to study museum classics
• He exhibited 40 of his genres and landscape
at the Art Center of New York World’s Fair
where he was acclaimed the best popular
vote.
• Armorsolo was also appointed Director of the
School of Fine Arts of the University of the
Philippines.
• He also did splendid illustration work in
Graphics, Liwayway, Sunday Tribune, Tagalog
Fernando Amorsolo with a portrait of
his first wife, Salud Tolentino Jorge,
who died in 1931 leaving him with
six children. This beautiful painting,
believed to have been lost or
destroyed during the war, is one of
his bestFernando Amorsolo with His
Wife Portrait
An interior scene of a blind man gently
strumming a guitar as a woman leans in
towards him with an adoring gaze.
El Ciego (The Blind Man)
• The Burning of Manila was painted
by Fernando Amorsolo, a famous
Filipino painter.
• This artwork depicts the idea how
the Manila is devastated during that
time.
• This painting shows the Battle of
Manila happened during the
Japanese era, he depicted the
tragedy and horror in this battle.
The Burning of Manila
• The Burning of Manila was painted
by Fernando Amorsolo, a famous
Filipino painter.
• This artwork depicts the idea how
the Manila is devastated during that
time.
• This painting shows the Battle of
Manila happened during the
Japanese era, he depicted the
tragedy and horror in this battle.
The Burning of Manila
• This oil painting on canvas depicts a
rural scene where a group of people
are shown celebrating a fiesta in
Antipolo.
• The main focus is on a pair of
dancers in the field surrounded by
revelers both young and old.
Antipolo Fiesta
• This oil painting on canvas depicts a
rural scene where a group of people
are shown celebrating a fiesta in
Antipolo.
• The main focus is on a pair of
dancers in the field surrounded by
revelers both young and old.
Antipolo Fiesta
• Amorsolo originally painted Dalagang
Bukid in 1958 in oil on canvas. The
painting bears his smiling muse, who
is wearing baro't saya and carrying a
banga (clay jar).
Dalagang Bukid
Vicente Manansala (1910-1981)
• Vicente Silva Manansala was a Filipino cubist
painter and illustrator.
• He was a member of the prominent Cruz,
Manansala, Lopez family clan.
• He is considered one of the 13 Moderns, a
group of modernists associated with Victorio
Edades.
• He was given a posthumous recognition as a
National Artist 1982.
• Madonna of the Slums is a portrayal of
a mother and child from the
countryside who became urban shanty
residents once in the city.
Madonna of the Slums
• This artwork was done in 1981 same
year that Manansala became
National Artist for Visual Arts and
also the year wherein he died. He
invested each human figure with
inner fortitude, making each one a
stoic figure of human dignity.
Give Me This Dairy (1981)
Carlos “Botong” V. Francisco (1912-1969)
• One of the best mural artist the country
was ever had.
• He created enormous canvasses that
chronicled the mythical world of the
Filipino and its history, often seeking
inspiration from tradition, folklore, myths,
legends, and customs.
• He also painted vital events in Philippine
• Bayanihan means being a hero to one
another. As in the classic tradition of
carrying a house. It is probably most
clearly and impressively displayed in
the old tradition of neighbors helping a
relocating family by getting enough
volunteers to carry the whole house,
and literally moving it to its new
location.
Bayanihan
• Filipino Struggles Through History was a commissioned for the Manila City Government in 1964 during the
mayoral tenure of Antonio Villegas. And was installed at the Bulwagang Katipunan
• On April 8, 1996, the artwork was declared a National Cultural Treasure by then National Museum director
Gabriel S. Casal. Filipino Struggles Through History
• Winning the first prize at the first competition of the Art Association of the Philippines in 1948 through this
entry.
 Kaingin
 The First Mass in the Philippines

Mauro Malang Santos (1928)
• Mauro (Malang) Santos, commonly known as just Malang, is a Filipino cartoonist and illustrator.
• He was born on January 20, 1928, in Santa Cruz, the Philippine Islands and, at the age of 19, dropped out of
formal education in order to begin working in the art department of the Manila Chronicle.
• In the 1960’s, he emerged as a serious artist with a knack in abstract painting.
• His illustration of Ang Kiukok formed the basis of a style in its enumeration of images, range of warm colors,
and evocation of joyous parochialism.
Mauro "Malang" Santos Collaboration (1928 - 2017) Fruit Vendor , 1997
Bird Mountain , 1988
 The Kiukok
Jose Joya (1931- 1995)
• graduated as a Magna Cum Laude at the University of the Philippines in 1953.
• He was also a recipient of the fullbright Scholarship at the Cranbrook Academy of Art in
1957.
• By the late 1950s, he had immerses himself on new idioms of contemporary art through the print media and
regular exhibitions at the Philippine Art Gallery.
• In the 1960s, he started to apply paint more
Granadean Arabesque, 1958 (Ateneo Art Gallery Collection)
Jose Joya (1931 - 1995) Mirage , 1975
ADDITIONAL INFOS (PICTURES CANNOT BE FOUND ON GOOGLE):

Cadmium Red Square and Binhi, both created in 1971, represented Joya’s shift to decorative painting-more
dramatic in style and the visual tensions visible.
Famous Philippine Composers
Col. Antonio Buenaventura (1904-1996)
• Obtained a Teacher’s Diploma in Composition and Conducting from the University of the Philippines and
later on became a faculty member of the UP Conservatory of Music.
• In 1937, he was commissioned into the military service and later became music instructor and band
conductor of the PMA in Baguio City.
• He reorganized the world famous Philippine Constabulary
• Band and appointed as assistant conductor of Manila Symphony Orchestra and was a member of the UP
President’s Committee on Folk Songs
Lucrecia R. Kasilag (1917-2008)

• Obtained a Music Teacher’s Diploma major in Piano from St. Scholastica’s University in 1949.
• Was scholarship grantee of the Fullbright Foundation at the Eastman School of Music degree major in theory
and minor in composition.
• Became the administrator of the Cultural Center of the Philippines.
Felipe Padilla (1912-1992)

• Felipe Padilla de Leon was a composer, conductor and a former student of Col. Buenaventura at the UP
Conservatory of Music.
• After Graduation in 1939, he was appointed assistant instructor at the UP Department of Science and
Composition where he taught history and music subjects.
• technical assistant on cultural affairs in the Office of the President of the Philippines.
• Was President of the Filipino Society of composers, Authors, and Publishers.
• President of the Pambansang Samahan ng mga Banda sa Pilipinas and the Diwa ng Nuweba Esih.
• Trustee of the Music Promotion Foundation of the
Antonio Molina (1894- 1980)

• born in 1894,
• faculty member of the UP Conservatory of Music where he taught harmony, compositions, and music history
as well as violoncello.
• a conductor in the concert stage of various schools, church, choirs, orchestra, bands, and rondallas.
• composed the zarzuela Ate Maria and hatinggabi.
• was member of the UP President’s Committee on Filipino Folksongs and Dances and Secretary of the
Conservatory of Music.
• received honors as a conductor of the Monserrat Philharmonic Band, the Yellow Taxi Orchestra, and
Lucio D. San Pedro (1912-2002)

• born in 1913
• married to Gertudes Diaz and had 5 children.
• During his graduation in Grade VII, he played the Poet and Peasant Overture on the banjo.
• started composing songs in college and conducted the UP ROTC Band.
• was assistant conductor and later, conductor of the Musical Philippines Philharmoni Orchestra and a musical
presented at the Metropolitan Theatre.
• won many prizes for his works
• was connected with major conservatories in the country and wrote sacred and secular vocal music,
overtures, tones, poems, symphonic poems, and
Page
of 5
ZOOM
PHILIPPINE ART
Throughout Philippine history, spanning from the precolonial period to the contemporary
periods, different art forms have emerged in the Philippine art scene. Before the colonizers came to
the
Philippines, ethnic minorities have used art not only for daily activities but also for religious rituals and
practices. Most art forms used by ethnic communities include pottery, weaving, carving, and the use
of
metalwork and jewelry.
Pottery is said to be one of the earliest art forms used by the early Filipino people. One of the
most prominent artifacts related to pottery is the Manunggol Jar found in Palawan. This jar is a
representation of the early Filipinos’ religious beliefs and practices. It serves as a burial jar, which
depicts two men rowing a boat. This reflects their belief in afterlife-the crossing of the body of water is
a
transition from life here on earth unto the next. Eventually, pottery produced items that are of practical
value for the early Filipinos, such as pots for cooking and large vases for storing. Weaving was also
one
of the earliest forms of art expressions in the Philippines. One of the most popular artisans of weaving
is
the people from the Cordilleras. They are known for their colorful woven cloth, which is also known for
their woven abaca cloth called t’nalak. They use this particular cloth to make ornaments, which also
represent their beliefs through symbols. One example is the image of the frog, which is their
representation for fertility. Woodcarvings from Palawan also depict animals like birds, which are
representations of their religious beliefs. According to local stories, the birds serve as the messengers
of
the people to the heavens and vise versa. In Mindanao, the Tausug and Maranao people are known
for
their okir, which are designs applied to their woodcarvings. Their common subjects include the
sarimanok, naga and the pako rabong. Each subject is a representation for a certain theme or motif
but
generally, these symbols depict their beliefs as a people. The sarimanok is a stylized design of a
mythical
bird either standing on a fish holding a piece of fish on its beak. The story of the sarimanok was a
central
figure to a number of legends. One narrative tells the origin of the word sarimanok. A Sultan of Lanao
once threw a party for his daughter named Sari who was beautiful but seemed unhappy with her
situation. On the day of her party, a rooster crashed, and the princess ran off with the rooster. She
was
never found. In memory of Sari, the sultan carved a rooster. The Sultan’s act paved the way for the
term
sarimanok. Initially, jewelry as ornaments integrated in their clothing. The naga forms an S-shape,
depicting an elaborate figure of a mythical dragon or serpent. The numerous curved lines serving as
detail for the figure depicts the scales. The fern gracefully stems and tapers upward. The sarimanok
and
naga are usually used as ornamental designs for the houses of the sultans.
Kut-kut art is another technique of combining ancient Oriental and European art process. It is
considered a lost art and highly collectible art form. Very few known art pieces existed today. The
technique was practiced by the indigenous people of Samar Island between early 1600 and late 1800
A.D. Kut-kut is an exotic Philippine art form based on early century techniques—sgraffito, encaustic
and
layering. The merging of these ancient styles produces a unique artwork characterized by delicate
swirling interwoven lines, multi-layered texture and an illusion of three-dimensional space. The
Filipino
signature is also very evident in architecture. One famous examples of this is how the Philippines
intentionally adapted the Baroque style of architecture which is famous in Europe at that time to the
earthquake-prone environment of the Philippines with ornamentation portraying Philippine culture,
environment and everyday life incorporating local motifs, for example; using things such as Banana
leaves which is very common in the Philippines. This became known as the Filipino Baroque with the
Earthquake Baroque being its famous variant that is present in the famous churches of the
Philippines.
Some Pre-Colonial art has made its way to the modern Filipino society especially in the Mindanao
and
other uncolonized parts of the Philippines one example of this is the Sarimanok symbolism on art.
Modern Sculptures. Of all the new art forms introduced, the Filipinos took to sculpture from the
Spanish instantly. The carving of anito was transformed into sculpture of the saints. These santos
were
used primarily for the church altars and retablos. It also replaced the anitos in the altars of the
natives
homes. The earliest known sculptor in the Philippines is the 17th century sacristan, sculptor and
silversmith Juan de los Santos (ca. 1590 ca. 1660) of San Pablo, Laguna. A few of his extant works
may
be found at the San Agustin Convent museum. Filipino sculptors came to be known in the middle of
the
19th century. Classical Philippine sculpture reached its peak in the works of Guillermo Tolentino
(1890-
1976). His best known masterpiece is the Bonifacio Monument , which is a group sculpture composed
of
numerous figures massed around a central obelisk. The principal figure is Andres Bonifacio, leader of
the
revolution against Spain in 1896. Napoleon Abueva (born 1930), one of Tolentino's pupils, is one of
the
pioneering modernists in sculpture. He used various media. Abueva's most famous work is
Fredesvinda,
which was included in the First ASEAN Sculpture Symposium held in Fort Canning Hill, Singapore,
from
March 27 to April 26, 1981shows the vitality of primitive forms.
As modern paintings started to emerge, a triumvirate of artists was formed- Carlos Francisco,
Galo B. Ocampo, and Edades.
Architecture: Ancient Filipinos lived in big settlements along sheltered bays, coastal areas, and
mouths of rivers. Interior settlements were established at the headwaters and banks of rivers and
their
tributaries. The houses were usually constructed side by side along the river banks or seashores.
Philippine architecture responds to the climate. Although there are many variations, generally the roof
of the first Philippine houses, nipa huts, or bahay kubo, were high pitched and usually open gabled to
allow for ventilation. The steeply sloping pitch also protected from the wind and rain in the typhoon
season. These houses were elevated three to four meters of the ground, supported by wood or
bamboo.
The structure was usually four-walled with tukod windows. The Bagobos and Kalingas people used
this
type of house for protection from enemies and wild animals on the ground. In the southern islands of
the Philippines archipelago, the Moros of Mindanao had distinct architecture of their own. It was
brought with them along with the Muslim religion.
FAMOUS PHILIPPINE ARTIST AND THEIR ARTWORKS
Felix Resurrecion Hidalgo (1855-1913)
Hidalgo won a silver medal for his entry in large canvas, Christian Virgins Exposed to the Populace
(Las
Virgenes Cristianas Expuestas al Populacho) at the Madrid Exposition of Fine Arts. Shortly after the
1984
Madrid Exposition, he set up residence in Paris to serve a quieter life. In this place, he painted
Charon’s
Boat and Oedipus and Antigone. His Sunrise (1985) revealed his ingenuity in painting landscape and
seascapes.
The Artist’s Mother (1888) was one of the two portraits he did for his mother in Paris. Hidalgo
returned
to Manila in 1912 for a visit but returned to Paris despite the pleas of his ailing mother.
Juan Luna (1857-1899)
After he won a gold medal in the 1984 Madrid Exposition, Juan Luna moved to Paris and stayed in an
apartment close to the Hidalgo’s. Shortly before his marriage to Maria de la Paz Pardo de Tavera he
visited The Hague and the seacoast of Scheveningen. In this place, he wrote two masterpieces. The
Dream of Love, a sensuous portrait of his sleeping wife Paz, whom he suspected of infidelity and shot
to
death in a jealous rage in 1872, and the celebrated Tampuhan, which he painted on his return to the
Philippines.
The lady with guitar was painted shortly after he was granted pardon by Alfonso XIII for his
involvement
in the Philippine Revolution. Upon his return to the Philippines 1894, after an absence of 17 years, he
painted Houses by a Narrow Road, one of the several views of Marikina. He died in Hong Kong at the
of
41.
Art became one of the avenues for Filipino nationalism and stood against the colorizers would be
Juan
Luna’s “Spoliarium.” This large-scale academic painting garnered a gold medal and signified that the
reformists could come at par with their European counterparts. At the same time, Luna’s win signaled
the start of the Filipino’s call for equality.
Hymen, oh Hyménée! , also known as Boda Romana, is a painting by Filipino painter Juan Luna.
Luna,
working on canvas, started in 1886 and later completed in 1887 during the artist's honeymoon in
Venice
after his wedding to Paz Pardo de Tavera. The painting was submitted by Luna to the Exposition
Universelle in 1889 in Paris, France, where it garnered a bronze medal. The picture recreates a
scene of
a Roman wedding ritual specifically the bride's entrance into the groom's home.
Hymen, oh Hyménée! is a history painting done in the historical realism style, which is closely
associated
with Luna's earlier notable works such as Spoliarium (1884) and The Death of Cleopatra (1881). This
artwork portrays a scene from a Roman wedding ritual, specifically the moment when the bride is
entering the groom's chamber. The painting draws upon the ancient tradition of invoking Hymen, the
Roman god of marriage, through nuptial songs dating back to the 5th century BCE. Its title is inspired
by
a wedding chant composed by the Roman poet Catullus.
Fernando Amorsolo was a National Artist Awardee. In his golden years (1920-1945), he reaped
various
honors. He went to Madrid in 1917 to study museum classics after receiving a scholarship grant from
a
rich businessman named Enriquez Zobel. His first portrait upon return to Manila was that of his wife
Salud. He exhibited 40 of his genres and landscape at the Art Center of New York World’s Fair where
he
was acclaimed the best popular vote. Armorsolo was also appointed Director of the School of Fine
Arts
of the University of the Philippines. He also did splendid illustration work in Graphics, Liwayway,
Sunday
Tribune, Tagalog novels such as Madaling Araw and Parusa ng Bayan, and posters and brochures.
He
painted acclaimed masterpieces like The Blind Man, The Burning of Manila, Antipolo, and Dalagang
Bukid, among others.
Vicente Manansala was one of the most popular progressive artists in the county. He was former
student of Cubist Ferdinand Leger and was respected by his peers because of the intellectual
underpinnings of his art. Before his death, he painted Give Me This Diary, a glimpse of his kind of
After he won a gold medal in the 1984 Madrid Exposition, Juan Luna moved to Paris and stayed in an
apartment close to the Hidalgo’s. Shortly before his marriage to Maria de la Paz Pardo de Tavera he
visited The Hague and the seacoast of Scheveningen. In this place, he wrote two masterpieces. The
Dream of Love, a sensuous portrait of his sleeping wife Paz, whom he suspected of infidelity and shot
to
death in a jealous rage in 1872, and the celebrated Tampuhan, which he painted on his return to the
Philippines.
The lady with guitar was painted shortly after he was granted pardon by Alfonso XIII for his
involvement
in the Philippine Revolution. Upon his return to the Philippines 1894, after an absence of 17 years, he
painted Houses by a Narrow Road, one of the several views of Marikina. He died in Hong Kong at the
of
41.
Art became one of the avenues for Filipino nationalism and stood against the colorizers would be
Juan
Luna’s “Spoliarium.” This large-scale academic painting garnered a gold medal and signified that the
reformists could come at par with their European counterparts. At the same time, Luna’s win signaled
the start of the Filipino’s call for equality.
Hymen, oh Hyménée! , also known as Boda Romana, is a painting by Filipino painter Juan Luna.
Luna,
working on canvas, started in 1886 and later completed in 1887 during the artist's honeymoon in
Venice
after his wedding to Paz Pardo de Tavera. The painting was submitted by Luna to the Exposition
Universelle in 1889 in Paris, France, where it garnered a bronze medal. The picture recreates a
scene of
a Roman wedding ritual specifically the bride's entrance into the groom's home.
Hymen, oh Hyménée! is a history painting done in the historical realism style, which is closely
associated
with Luna's earlier notable works such as Spoliarium (1884) and The Death of Cleopatra (1881). This
artwork portrays a scene from a Roman wedding ritual, specifically the moment when the bride is
entering the groom's chamber. The painting draws upon the ancient tradition of invoking Hymen, the
Roman god of marriage, through nuptial songs dating back to the 5th century BCE. Its title is inspired
by
a wedding chant composed by the Roman poet Catullus.
Fernando Amorsolo was a National Artist Awardee. In his golden years (1920-1945), he reaped
various
honors. He went to Madrid in 1917 to study museum classics after receiving a scholarship grant from
a
rich businessman named Enriquez Zobel. His first portrait upon return to Manila was that of his wife
Salud. He exhibited 40 of his genres and landscape at the Art Center of New York World’s Fair where
he
was acclaimed the best popular vote. Armorsolo was also appointed Director of the School of Fine
Arts
of the University of the Philippines. He also did splendid illustration work in Graphics, Liwayway,
Sunday
Tribune, Tagalog novels such as Madaling Araw and Parusa ng Bayan, and posters and brochures.
He
painted acclaimed masterpieces like The Blind Man, The Burning of Manila, Antipolo, and Dalagang
Bukid, among others.
Vicente Manansala was one of the most popular progressive artists in the county. He was former
student of Cubist Ferdinand Leger and was respected by his peers because of the intellectual
underpinnings of his art. Before his death, he painted Give Me This Diary, a glimpse of his kind of
cubism, in which some sides of objects are sharply cut into curved or angular form to catch the light
vibrantly. He was given a posthumous recognition as a National Artist 1982.
Carlos “Botong” V. Francisco (1912-1969)
Carlos “Botong” V. Francisco was one of the best mural artist the country was ever had. In his
paintings,
he featured Filipinos living in provincial towns and barrios. He showed them working on the field.
Going
about their daily chores, eating, relaxing, worshipping, and enjoying fiestas. He also painted vital
events
in Philippine History. The mural paintings he did were not only on Christian lowlanders but on
Muslims
and other cultural communities as well.
The turning point of Botong;s painting career was winning the first prize at the first competition of the
Art Association of the Philippines in 1948 for his entry Kaingin. Filipino Struggle Through History, a
mural
gracing the walls of Manila City Hall, was one of his major works.
He stayed permanently in Angono where he became the first major regional artist. In Angono, he
refined
the style he had made his own, his personal version of Post-Impressionism grafted into the Philippine
context.
Mauro Malang Santos (1928)
Maura Malang Santos was an illustrator-cartoonist for the Manila Chronicle and creator of comic strip,
Kosme the Cop (Retired) and Chain Gang Charlie. In the 1960’s, he emerged as a serious artist with
a
knack in abstract painting. His illustration of Ang Kiukok formed the basis of a style in its enumeration
of
images, range of warm colors, and evocation of joyous parochialism.
Jose Joya (1931-1995)
Jose Jaya graduated as a Magna Cum Laude at the University of the Philippines in 1953. He was
also a
recipient of the fullbright Scholarship at the Cranbrook Academy of Art in 1957. By the late 1950s, he
had immerses himself on new idioms of contemporary art through the print media and regular
exhibitions at the Philippine Art Gallery.
As his style evolved, he was later identified as a serious artist. After his return from the Venice
Biennale,
Joya painted a few vibrant works with dramatic contrast of color and dynamic lines. In the 1960s, he
started to apply paint more thinly on canvas; the form grew increasingly geometric with circles as the
main motifs.
Cadmium Red Square and Binhi, both created in 1971, represented Joya’s shift to decorative
painting-
more dramatic in style and the visual tensions visible.
Famous Filipino Composers
Col. Antonio Buenaventura (1904-1996)
Col. Antonio Buenaventura obtained a Teacher’s Diploma in Composition and Conducting from
the University of the Philippines and later on became a faculty member of the UP Conservatory of
Music.
In 1937, he was commissioned into the military service and later became music instructor and band
conductor of the PMA in Baguio City. He later on reorganized the world famous Philippine
Constabulary
Band and appointed as assistant conductor of Manila Symphony Orchestra and was a member of the
UP
President’s Committee on Folk Songs and Dances.
Col. Buenaventura composed short piano pieces, hymns and songs, pieces, and theater music.
Lucrecia R. Kasilag (1917-2008)
Lucrecia R. Kasilag obtained a Music Teacher’s Diploma major in Piano from St. Scholastica’s
University in 1949. She was scholarship grantee of the Fullbright Foundation at the Eastman School
of
Music degree major in theory and minor in composition. She later became the administrator of the
Cultural Center of the Philippines.
Felipe Padilla (1912-1992)
Felipe Padilla de Leon was a composer, conductor and a former student of Col. Buenaventura at
the UP Conservatory of Music. After Graduation in 1939, he was appointed assistant instructor at the
UP
Department of Science and Composition where he taught history and music subjects.
He became a technical assistant on cultural affairs in the Office of the President of the Philippines. He
was President of the Filipino Society of composers, Authors, and Publishers; President of the
Pambansang Samahan ng mga Banda sa Pilipinas and the Diwa ng Nuweba Esiha; trustee of the
Music
Promotion Foundation of the Philippines; and director of the SONGFEST Philippines and the Felin
Institute of the Philippines.
Antonio Molina (1894- 1980)
Antonio Molina, born in 1894, was a faculty member of the UP Conservatory of Music where he
taught harmony, compositions, and music history as well as violoncello. He was a conductor in the
concert stage of various schools, church, choirs, orchestra, bands, and rondallas. He composed the
zarzuela Ate Maria and hatinggabi. Molina was member of the UP President’s Committee on Filipino
Folksongs and Dances and Secretary of the Conservatory of Music.
Aside from a being soloist and composer, he also received honors as a conductor of the Monserrat
Philharmonic Band, the Yellow Taxi Orchestra, and Yellow Taxi Rondalla and the operas Madame
Butterfly, La Giaconda, La Fuerza del Destino, and Cavalleria Rusticana.
Lucio D. San Pedro (1912-2002)
Lucio D. San Pedro was born in 1913. He married Gertudes Diaz with whom he had 5 children.
During his graduation in Grade VII, he played the Poet and Peasant Overture on the banjo. He
started
composing songs in college and conducted the UP ROTC Band. He was assistant conductor and
later,
conductor and later, conductor of the Musical Philippines Philharmonic Orchestra and a musical
presented at the Metropolitan Theatre. He won many prizes for his works. He was connected with
major
conservatories in the country and wrote sacred and secular vocal music, overtures, tones, poems,
symphonic poems, and quartets.

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ASIAN ART

In Bali in the mid-1930s, Bateson and Mead

Dong Son Drums is a type of ancient

 The First Mass in the Philippines

ADDITIONAL INFOS (PICTURES CANNOT BE FOUND ON GOOGLE):

Lucrecia R. Kasilag (1917-2008)

Felipe Padilla (1912-1992)

Antonio Molina (1894- 1980)

Lucio D. San Pedro (1912-2002)

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