MODULE 2: FUNCTIONS AND

PHILOSOPICAL PERSPECTIVE ON ART

Course Title : GE 103 – Art Appreciation
Course Description :
Art Appreciation is a three-unit course that develops students’ ability to appreciate, analyse, and critique
works of art. Through interdisciplinary and multimodal approaches, this course equips students with a broad
knowledge of the practical, historical, philosophical, and social relevance of the arts in order to hone students’ ability
to articulate their understanding of the arts. The course also develops students’ competency in researching and
curating art as well as conceptualizing, mounting, and evaluating art productions. The course aims to develop
students’ genuine appreciation for Philippine arts by providing them opportunities to explore the diversity and
richness and their rootedness in Filipino culture.

Course Crédit/Unit : 3 units (3 hours/week)

OVERVIEW:
This module focuses on the function and philosophical perspectives on art, the difference between directly and
indirectly functional art, different function of some arts forms in daily life and the concept and theories on beauty and
aesthetics in real life scenarios.
This module also discusses the elements and principles of art, the different elements of visual and auditory art,
this also provide examples of the interrelatedness of some of the elements and principles of art in the study of art and
its products, this module also will focus on hybrid art and dissect what art forms are combined in an art piece.

INDICATIVE CONTENT
1. Functions and Philosophical Perspective of Art
1.1. Functions of art
1.1.1. Personal function of art
1.1.2. Social function of art
1.1.3. Physical functions of art
1.1.4. Other functions art
1.2. Philosophical perspectives on art
1.2.1. Art as an imitation
1.2.2. Art as a representation
1.2.3. Art as a disinterested judgement
1.2.4. Art as a communication of emotion
2. Elements and Principles of Art
2.1. Elements of art
2.1.1. Visual
2.1.2. Auditory
2.2. Principles of art
2.2.1. Balance
2.2.2. Scale and proportion
2.2.3. Emphasis and
2.2.4. Contrast
2.2.5. Unity and variety
2.2.6. Harmony
2.2.7. Movement
2.2.8. Rhythm
2.2.9. Repetition and pattern
2.3. Combined or hybrid art

OBJECTIVES
This module aims to:
 1. Explain the functions and philosophical perspective of art
 2. Discuss the elements and principles of art

MARIZEL L. SANTURAL, MSc. 1

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TIME- FRAME: Week 4-5

Let’s Get Down to Business

Greek philosopher Aristotle claimed that every particular substance in the world has
an end or telos in Greek, which translates into “purpose.” Every substance, defined as a
formed matter, moves according to a fixed path toward its aim. A seed is bound to become a
full-grown plant. A cocoon can look forward to flying high when it morphs into a butterfly.
A baby will eventually turn into a grown man or woman.
This telos, according to Aristotle, is intricately linked with function. For a thing to
reach its purpose, it also has to fulfill its function. Man, in Aristotle's view of reality, is
bound to achieve a life of fulfillment and happiness, or in Greek, eudaimonia. All men move
toward this final end. When one sees a new kitchen appliance in the department store, one
tries to know first what functions the appliance has. After knowing these functions, then one
Aristotle can claim to know the purpose of the appliance and then begins to realize what appliance
Source: Britannica.com one is holding in his arms.

FUNCTIONS OF ART

When one speaks of function, one is practically talking about the use
of the object whose function is in question. An inquiry on the function of art is
an inquiry on what art is for. Alternatively, the answer to the question "what is
it for" is the function of whatever “it” in the question refers to. Suppose one
asks, what is the Rizal monument for? Why was it erected in Rizal Park or
what then was called Luneta or Bagumbayan? Is it for pure sentimental value?
Is it for its aesthetic value? Or does it send a message to those who witness it?
In this string of questions, the inquirer is hoping to get the function of the piece
of art in Rizal Park.

PERSONAL FUNCTIONS OF ART

The personal functions of art are varied and highly subjective. This means
that its functions depend on the person-the artist who created the art. An artist
may create an art out of the need for self-expression. This is the case for an
artist who needs to communicate an idea to his audience. It can also be mere
entertainment for his intended audience. Often, the artist may not even intend
to mean anything with his work.

Figure 2. An adult coloring book

Source: Thaneya.com

An art may also be therapeutic. In some orphanages and home for abandoned
elders, art is used to help residents process their emotions or while away their
time. Recently, the use of adult coloring books to de-stress has been apparent
too, now with a lot of designs being sold in bookstores nationwide. These all
fall under personal functions of art.

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Social Functions of Art

Art is considered to have a social function if and when it addresses a particular collective interest as
opposed to a personal interest. Political art is a very common example of an art with a social function. Art
may convey message of protest contestation, or whatever message the artist intends his work to carry. Often,
art can also depict social conditions. Photography, as an art form, delivers this kind of function by taking
photos of subjects in conditions that people do not normally take a look at or give attention to. Pictures of
poverty may carry emotional overtones that may solicit action or awareness from their audience.

Physical Functions of Art

The physical functions of art are the easiest to spot and understand. The
physical functions of art can be found in artworks that are crafted in order
to serve some physical purpose. A Japanese raku bowl that serves a
physical function in a tea ceremony is an example. Architecture, jewelry-
making, and even interior design are all forms of arts that have physical
function.
A Japanese Raku Bowl
Source: japaneseobjects.com

Other Functions of Art

Music as an art is also interesting to talk about in relation to function. Music in its original form was
principally functional. Music was used for dance and religion. Unlike today, when one can just listen to
music for the sake of music's sake, the ancient world saw music only as an instrument to facilitate worship
and invocation to gods. Music also was essential to dance because music assures synchronicity among
dancers. There is now a lot of music that has no connection whatsoever to dance or religion. Serenade is one
example. People compose hymns of love to express feelings and emotions. Music is also used as a
wonderful accompaniment to stage plays and motion pictures. Interestingly, a piece of music can mean a
multitude of meanings to different people, a proof that as an art, music has gone a long way.
Sculpture, on the other hand, is another functional art form that has long existed for various purposes.
Just like music, from the early days of humanity, sculptures have been made by man most particularly for
religion. People erect status for the divine. In the Roman Catholic world, the employment of sculptures for
religious purposes has remained vital, relevant, and symbolic.

Sculptures were also made in order to commemorate important figures

in history. Jose Rizal's monument in Rizal Park and Andres Bonifacio's
Monumento in Caloocan are common examples. In the University of the
Philippines, the iconic statue Oblation by Guillermo E. Tolentino has
remained a pillar of the university and constant reminder of the need to
offer oneself up selflessly for the country. Coins are also manifestations of
sculpting's function.

Another art form that readily lends itself to multiple functions is

architecture. A lot of investments is put into making megastructures like
the pyramids of Giza, the acropolis, or the great cathedrals of the Middle
Ages. One cannot simply dismiss taking into consideration the function of
a building before construction. It is also in architecture where one can find
the intimate connection of function
and form. In planning out an architectural structure, one has to seriously
A Spanish House in The Philippines consider the natural conditions like topography and climate of the place
Source: Historichouse.pandom.com of erection and the social conditions such as the purpose of the building
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itself. In the Philippines, climate is a huge factor in building a house. Spanish colonial houses were designed
to allow for air to circulate inside the house. Large windows were staples then. Capiz shells were also
utilized to allow for light to enter the house even if the windows were closed.

Does Art Always Have to be Functional?

Most arts are functional, still there are some which are not. The
value of a work of art does not depend on function but on the work
itself. The plays of Aeschylus and the poetry of Robert Frost and
Edgar Allan Poe are still counted as examples of great works of art
despite their not having a known function. In those whose functions
The Plays of Aeschylus a classical
are ascertained, however, it is a different story. A functional object
drama and theater cannot be claimed to be beautiful unless it can perform its function
Source: www.usu.com sufficiently. Consider a house that cannot even protect its resident
from the nasty weather outside or a spoon that spills the food on it. Adequate performance of function partly
determines the beauty of a design in these functional art forms.

Philosophical Perspectives on Art

Art as an Imitation

Plato (2000) in his masterpiece, The Republic, particularly paints a picture

of Artists as imitators and art as mere imitation. In his description of the ideal
republic, Plato advises against the inclusion of art as a subject in the curriculum
and the banning of artists in the Republic. In Plato's metaphysics or view of
reality, the things in this world are only copies of the original, the eternal, and
the true entities that can only be found in the World of Forms. Human beings
endeavor to reach the Forms all throughout this life, starting with formal
education in school. From looking at “shadows in the cave,” men slowly crawl
Plato
outside to behold the real entities in the world. For example, the chair that one
Source: goodreads.com
sits on is not a real chair. It is an imperfect copy of the perfect “chair” in the
World of Forms. Much is true for “beauty” in this world. When one ascribes
beauty to another person, he refers to an imperfect beauty that participates only in the form of beauty in the
World of Forms. Plato was convinced that artists merely reinforce the belief in copies and discourage men to
reach for the real entities in the World of Forms.
The arts then are to be banished, alongside the practitioners, so that the attitudes and actions of the
members of the Republic will not be corrupted by the influence of the arts. For Plato, art is dangerous
because it provides a petty replacement for the real entities that can only be attained through reason.

Art as a Representation

Aristotle, Plato's most important student in philosophy, agreed with his teacher that art is a form of
imitation. However, in contrast to the disgust that his master holds for art, Aristotle considered art as an aid
to philosophy in revealing truth.
The kind of imitation that art does is not antithetical to the reaching of fundamental truths in the world.
Talking about tragedies, for example, Aristotle (1902) in the Poetics claimed that poetry is a literary
representation in general.

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Akin to other art forms, poetry only admits of an attempt to represent what things might be. For
Aristotle, all kinds of art, including poetry, music, dance, painting, and sculpture, do not aim to represent
reality as it is.
In the Aristotelian worldview, art serves two particular purposes. First, art allows for the experience
of pleasure. Experiences that are otherwise repugnant can become entertaining in art. For example, a
horrible experience can be made an object of humor in a comedy. Secondly, art also has an ability to be
instructive and teach its audience things about life; thus, it is cognitive as well. Greek plays are usually
of this nature.
Art as a Disinterested Judgment

In the third critique that Immanuel Kant wrote, the "Critique of

Judgement," Kant considered the judgment of beauty, the cornerstone of art,
as something that can be universal despite its subjectivity.
Kant mentioned that judgment of beauty, and therefore, art, is innately
autonomous from specific interests. It is the form of art that is adjudged by one
who perceives art to be beautiful or more so, sublime. Therefore, even
Immanuel Kant aesthetic judgment for Kant is a cognitive activity.
Source: Ethics.org
Kant recognized that judgment of beauty is subjective. However, Kant
advanced the proposition that even subjective judgments are based on some
universal criterion for the said judgment. For Kant, when one judges a particular painting as beautiful, one in
effect is saying that the said painting has induced a particular feeling of satisfaction from him and that he
expects the painting to rouse the same feeling from anyone. There is something in the work of art that
makes it capable of inciting the same feeling of. pleasure and satisfaction from any perceiver, regardless
of his condition. This is the kind of universality that a judgment of beauty is assumed by Kant to have. So
when the same person says that something is beautiful, he does not just believe that the thing is beautiful for
him, but in a sense, expects that the same thing should put everyone in awe.

Art as a Communication of Emotion

The author of War and Peace and Anna Karenina, Leo

Tolstoy, provided another perspective on what art is. In his book,
What is Art (2016), Tolstoy defended the production of the
sometimes truly extravagant art, like operas, despite extreme
poverty in the world.
For him, art plays a huge role in communication to its
audience's emotions that the artist previously experienced. Art
then serves as a language, a communication device that
Cambodia’s Angkor Wat articulates feelings and emotions.
Source: theworldtravelhuy.com
Art is central to man's existence because it makes accessible
feelings and emotions of people from the past and present, from one continent to another. In making these
possibly latent feelings and emotions accessible to anyone in varied time and location, art serves as a
mechanism of cohesion for everyone. Thus, even at present, one can commune with early Cambodians and
their struggles by visiting the Angkor Wat or can definitely feel for the early royalties of different Korean
dynasties by watching Korean dramas.

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Elements of Art

Visual

Taking off from the scientific reference, elements of art are akin to the atoms that are defined as the units
or “building blocks” of matter. Together, in a variety of combinations and formations, they have the ability
to create molecules such as water, or the more complex sucrose. These formulations are almost the same
with elements of art when they are joined together, in a variety of ways. In the same line of reasoning, the
elements of art are the aspects of an artwork that can be isolated from each other.

1. Line
 A line refers to a point moving at an identifiable
path-it has length and direction. It also has width however,
it has the capacity to either define the perimeters of the
artwork (edges) and/or become a substantial component of
the composition. Although a line is “simple," it has
variations in view of its orientation/direction, shape, and
Keith Haring “Todos juntos podemos parar el
thickness. These variations import not only the visual
sida” plastic paint on wall elements into the artwork, but suggest meaning or message
Source: Macba.cat being conveyed by the artist.

Known for using lines to provide the outline or contour of the figures he portrays in his work, Keith
Haring first executed the public mural "Todos juntos podemos parar el sida" (Together We Can Stop
AIDS) in Barcelona in 1989.In 2014, it was recreated at the foyer of the Museu d'Art Contemporani de
Barcelona (Barcelona Museum of Contemporary Art)to commemorateit. Haring battled with HIV/AIDS to
which he succumbed to in 1990.
A. Horizontal and vertical lines- refers to the orientation of the line. Horizontal lines are normally
associated with rest or calm. Landscapes often contain these elements as works like these often
connote a visual sense of being parallel to the ground. It also alludes to position of the reclined body
at rest. Vertical lines, on the other hand, connote elevation or height, which is usually taken to mean
exaltation or aspiration for action. Together, these lines communicate stability and firmness.
B. Diagonal and crooked lines- diagonal lines convey movement and instability, although the
progression can be seen. Crooked or jagged lines, on the other hand, are reminiscent of violence,
conflict, or struggle.
C. Curved lines- these are lines that bend or coil. They allude to softness, grace, flexibility, or even
sensuality.

One of the most important Spanish artists is Francisco de

Goya.Known for his prints, he is a master of etched works and use of
aquatint. He made use of this medium to articulate his political views
about the ills of society. war scenes, and even the dreamlike and
grotesque while still engaging with what was happening around him. As
with most etchings and other types of prints, lines are dominant visual
components.

Francisco de Goya: “Porque

Esconderlos” Lines may not necessarily be
explicitArtnet.com
Source: or literally shown.
As what many examples will portray,
implied lines may be just as powerful, if not more. In "The
Raft of Medusa," the position and orientation of the bodies that
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are aboard the raft are predominantly diagonal in direction. This creates not only movement but also tension
in the scene. Based on an actual event, the painting depicts the 1816 wreckage of the French government
ship called Medusa.

2-3. Shape and Form

These two are related to each other in the sense that they define
the space occupied by the object of art. Shape refers to two dimensions:
height and width, while form refers to three dimensions: height, width,
and depth. Even if shapes are part of a bigger picture, each can be
identified by breaking the visual components apart and making
distinctions based on what we know and what we have seen. Two
categories can be used as a broad distinction:
A. Geometric - these shapes find origin in mathematical
propositions. As such, its translation and use are often man-
made. These include shapes such as squares, triangles, cubes,
circles, spheres, and cones, among others.
Piet Mondrian: “composition with color planes and gray lines”
Source” Commons.wekimedia.org

B. Organic - organic shapes are those readily occurring in nature, often

irregular and asymmetrical. The design of the vase in Figure 55 is
foliage, a sample from a series that made use of morning glories.

Louis Comfort Tiffany(designer), Tiffany

Furnaces
Source: metmuseum.org

Shapes may also be implied. For instance, Raphael's famous painting "The
Madonna of the Meadows" depicts three figures: Mary, the young Jesus (right), and
the young John the Baptist (left). The positions in which the group takes allude to a
triangular shape reinforced by the garb of Mary.

4. Space

Related to shape and form is space. It is usually inferred from a

sense of depth, whether it is real or simulated. Real space is three-
dimensional. Like what has been previously mentioned, sculptures are a
perfect example of artworks that bear this element. However, this can only
be manifested in two-dimensional art works through the use of different
techniques, or the use (or non-use) of area around a drawing or picture.

In the middle of the AT&T Plaza at the Millennium Park in the Loop Community area in Chicago,
the iconic "Cloud Gate" occupies a considerable space. Shaped like a bean, hence its other referent, the
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public sculpture was unveiled in 2004. The dent in the middle offers a gap in which people can pass through
and gaze at the sculpture in a different perspective.
However, not all works are sculptures. In two-dimensional artworks, they may be implied.

A. Positive and negative space - usually identified with the white space is the negative space. The
positive space, on the other hand, is the space where shadow is heavily used.
B. Three-dimensional space- can be simulated through a variety of techniques such as shading. An
illusion of three-dimensionality can be achieved in a two-dimensional work.

5. Color

Color is. perhaps one of the elements that enhances the appeal of
an artwork. Its effect has range, allowing the viewer to make responses
based on memory, emotion, and instinct, among others. This element is a
property of light, as it is reflected off the object. Color is not intrinsic to an
object and without light, one cannot perceive color. Much of what we
know about colors begins with the notion of a Color Theory that was first
unraveled by the experiments undertaken by Sir Isaac Newton in 1666. A
ray of sunlight passing through a prism reveals an array of colors akin to
that of a rainbow.
An upshot of this color theory is the creation of a color wheel.
Color Wheel
Source: artpaletteonline.com

The color wheel corresponds to the first property of color, hue.

A. Hue-this dimension of color gives its name. It can be subdivided into:
 Primary colors-red,yellow, and blue
 Secondary colors-green,orange,and violet
 Tertiary colors-six in total,these hues are achieved when primary and secondary colors are
mixed.
B. Value-this refers to the brightness or darkness of color. Often, this is used by artists to create the
illusion of depth and solidity, a particular mood, communicate a feeling, or in establishing a scene
(e.g., day and night).
 Light ċolors - taken as the source of light in the composition
 Dark colors -the lack or even absence of light
However, we can identify the color even when a range is presented to us. Expectations are also
established based on the notion that yellow is within the light value; whereas, violet is in the dark. Each
primary color has a range of values based on the addition and diminishing quantity and quality of light.
 Tint-this is a lighter color than the normal value (e.g., pink for red)
 Shade- this is a darker color than the normal value (e.g. Maroon for red)
C. Intensity - this is the color's brightness or dullness. It is identified as the strength of color, whether it
is vivid or muted. To achieve a specific intensity of a color, one may add either gray or its
complementary color.
 Bright or warm colors - positive energy
 Dull or cool colors sedate/soothing, seriousness or calm
To better understand intensity of color, color harmonies are to be
considered. In interior design, we often hear designers refer to color
schemes-a guide for selecting not only wall paint but also furniture and
décor. However, color harmonies are also integral considerations not only
for pictorial arts but also for other art forms.

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Claud Monet's "Houses of Parliament."

Source: Commons.wekimedia.

 Monochromatic harmonies - use the variations of a hue. An

example is Claud Monet's "Houses of Parliament."
 Complementary harmonies- involve two colors opposite each
other in the color wheel. Since they are at contrary positions, the
reaction is most intense.
Notice the altar piece featuring Saint Anthony Abbot and Saint
Roch.
Along with them is Saint Lucy, patron of the blind, whose red
and green garb beautifully showcases an example of complementary
harmonies.
Clima da conegliano "three saints: roch, anthony abbot and lucy.
Source: Commons.wekimedia.org

 Analogous harmonies - make use of two co lors

beside each other in the color wheel.

Other harmonies have emerged such as triadic harmonies,

which make use of three colors from equidistant sites within the
color wheel. This, however, does not mean that artists will limit
themselves to these kinds of harmonies. These are but jump-off
points that artists and other creatives
use.
Edgar Degas - Before the Race Source:
Walterscommons.wikimedia.org

All in all, color presents a multitude of possibilities that affects

how works of art are taken in by the viewer. Just taking a look at fiery
and passionate reds of the clouds and the sky in Edvard Munch's "The
Scream," would bring oneself to ask: Did Munch depict a romantic
sunset or a warning of coming horrors? A clue is not in the colors
alone, but rather, in the face of the man himself that is prominent in
the painting.
Edvard Munch's "The Scream,"
Source: Edvard Munch's.org
His shriek would point to the latter. What is illustrated is that
colors and imagery work together to deliver a message, whether the
one intended by the artist, or what is facilitated by our own
experiences.
6. Texture

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Like space, texture can be either real or implied. This element in an artwork is experienced through
the sense of touch (and sight), This element renders the art object tactile.
Often, texture is commonly associated with textiles. In the portrait rendered by court painter Frans
Pourbus the Younger, Princess Margherita's garb is adorned in opulent bead and stitch work that are
befitting her rank. This was achieved using the techniques employed by the artist in creating the work.
aga
A. Textures in the two-dimensional plane - texture can be implied using one technique or a
combination of other elements of art. By creating this visual quality in the artwork, one can imagine
how the surface will feel if it was to be touched. Some of the words used to describe texture are the
following: rough or smooth, hard or soft, hairy, leathery sharp or dull, etc. To be able to
simulate the texture of a surface in a flat, two- dimensional plan is one important skill that an artist
must be familiar with, especially if his idea or concept necessitates it.
B. Surface texture - refers to the texture of the three-dimensional art object.

The elements of art make it possible to engage with the

visual and tactile qualities of the artwork through a "common
language" that may be widely understood.
Through these elements,there is something from which
the idea, concept, message, or intended mood of the artist may
be inferred. It offers a starting point or a baseline from which
analysis may take place. This kind of analysis is called formal
analysis of art.

School of ogata korin – Japanese 1658-

1716
Source: Metmuseum.org
Planes and Perspective

Some art forms work with actual spaces, such as sculptors, architects, and stage designers. However,
with pictorial art that is two-dimensional, notions of depth and hence perspective requires the
implementation of principles and techniques in creating an illusion that will fool the eye to three-
dimensionality when in reality there is none.
Picture plane is the actual surface of the painting or drawing, where no illusion of a third dimension
exists. Here, the elements lay flat, as if one was looking through a window into what lies on the other side of
the glass.

Its use was based on the following observations:

A. As forms and objects recede,the smaller they become.
B. We were taught that parallel lines never meet. However,when they,too, seem to converge when they
recede into a distance,at a point, they both disappear.This point of disappearance is called the
vanishing point.
An example often used to illustrate linear perspective is the railroad where tracks disappear off at a
distance.

A viewpoint may also be construed as normal (view standing up), low (view from a lower angle), or high
(view looking down on a scene) depending on the position the viewer takes.
There are three types of perspective, grounded on the number of vanishing points used by the artist:
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A. One-point perspective - often used in depicting roads, tracks,

hallways, or rows of trees; this type of perspective shows parallel
lines that seem to converge at a specific and lone vanishing
point, along the horizon line.

Herbert &Horace C.Bayley,photographer,Partington-New Railway Viaduct,Interior,

Source: Artsandculture.google.com

B. Two-point perspective - pertains to a painting or drawing that

makes use of two vanishing points, which can be placed
anywhere along the horizon line. It is often used in depicting
structures such as houses or buildings in the landscape that are
viewed from a specific corner.

Rue de Paris, temps de pluie by Gustav Caillebotte

Source : Encyclopedia britannica

C. Three-point perspective - in this type of perspective, the viewer is

looking at a scene from above or below. As the name suggests, it makes
use of the three vanishing points,each corresponding to each axis of the
scene.

berenice abbott "Chanon building, newyork"

Source: Pinterest.com
Elements of Art
Auditory

Music as an art form is classified as auditory art.However, some would argue that it is under the broad
category of performance art. Either way, music, much like the visual arts, has its own building blocks or
elements.
If there is an important quality that music has, it is having the capacity to transcend barriers, even that of
differences in language or conventions in sound. Different demographics,groups, and individuals may have
specific preferences as to the genre of music. However, in order to establish this preference, listeners often
take to its elements for its evaluation.
Some of the common elements of music are the following: rhythm,dynamics, melody, harmony, timbre,
and texture.
1. Rhythm

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Often associated to the terms beat, meter,and tempo,rhythm is the element of music that situates it in
time. It is the pulse of the music. Beat is the basic unit of music while tempo refers to its speed
(beats/second).Beats can be organized into a recognizable recurrent pattern, which is called themeter.

Classical terms are used to refer to the variations in tempo, some of which are:
Largo -slowly and broadly
Andante-walking pace
Moderato-at moderate speed
Allegro-fast
Vivace-lively
Accelerando-gradually speeding up
Rallentado -gradually slowing down
Allargando-getting slower, broadening
Rubato - literally "robbed time,”rhythm is played freely for expressive effect

2. Dynamics
The element of music that refers to the loudness or quietness of music is dynamics.Classical terms are
used to refer to the different levels pertaining to this:
Pianissimo [pp]-very quiet
Piano[p]-quiet
Mezzo-piano [mp] - moderately quiet
Mezzo-forte [mf]-moderately loud
Forte[f]-loud
Fortissimo [ff]-very loud

When composers indicate an increase,or decrease in loudness, they use the terms crescendo for the
former; and decrescendo or diminuendo for the latter.

3. Melody
Melody refers to the linear presentation (horizontal) of pitch. By horizontal,it means that in musical
notation, it is read in succession from left to right. Pitch is the highness or lowness of musical sound.

4. Harmony
If melody is horizontal, harmony is vertical. It arises when pitches are combined to form chords. When
several notes are simultaneously played, this refers to a chord. Harmony can be described in terms of its
“harshness”:dissonance is the harsh-sounding combination while consonance is the smooth-sounding
combination.

5. Timbre
Timbre is often likened to the color of music. It is a quality that distinguishes a voice or an instrument
from another. Dependent on the technique, the timbre may give a certain tone or characteristic to music,
much like how a painter evokes different effects or impressions onto the canvas.
6. Texture
The number of melodies, the type of layers, and their relatedness in a composition is the texture of
music. It may be:
Monophonic-single melodic line
Polyphonic - two or more melodic lines
Homophonic-main melody accompanied by chords
Principles of Art

MARIZEL L. SANTURAL, MSc. 12

 MODULE 2: FUNCTIONS AND
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To reiterate, the appreciation and engagement of art relies substantially on being equipped with the
appropriate language that allows it to be more comprehensible. If the elements of art were like the
letters(i.e.,combining these letters will form words, phrases, and sentences), then the principles of art would
perhaps be the closest to the rules of grammar and composition.
These principles will provide explicit ways in which these elements.are used, how they are manipulated,
how they interact, and how they inform the overall composition of the artwork to assist the artist in
conveying his intention. It is the principles of art that influence the effect achieved by the elements, and the
linkages of other principles. These principles are: balance, scale and proportion, emphasis and contrast,
unity and variety, harmony, movement, rhythm, and repetition and pattern.

1. Balance

This principle refers to the distribution of the visual elements in view

of their placement in relation to each other.

Isamu Noguchi. "Cube ." Entrance of Marine Midland Building, Manhattan

There are three forms of balance:

A. Symmetrical- the elements used on one side are reflected to
the other. This offers the most stable visual sense to any
artwork.
B. Asymmetrical- the elements are not the same (or of the same
weight)non each side,putting the heaviness on one side.
C. Radial- there is a central point in the composition, around
which elements and objects are distributed.
D.
UP Diliman Oblation Statue
Source: Pinterest.ph

2. Scale Propostion
Scale pertains to the size in relation to what is normal for the
figure or object in question.

Sculptures of exaggerate scale are common all over the world as many
artists are taken by the whimsical quality of these objects.One cannot help
but smile upon seeing them in public spaces. In the Philippines,Arturo
Luz has created enormous sculptural versions of the paper clip. For a long
time, It occupied a prominent spot at the entrance of the Ayala Museum.
Proportion, on the other hand,is the size of the components, or of objects
in relation to one another when taken as a composition or a unit. This can
also refer to values such as amounts or number of elements or objects in
the composition.
org

MARIZEL L. SANTURAL, MSc. 13

 MODULE 2: FUNCTIONS AND
PHILOSOPICAL PERSPECTIVE ON ART
Leonardo da Vinci's "Vitruvian Man" is an exploration on the ideas of the Roman architect
Vitruvius, in which the human body is an example of a classical proportion in architecture.
For da Vinci, man's body can be used to better understand the symmetry that exists in nature and the
Man
universe.
anica.org

Proportion can be:

A. A Natural- relates to the realistic size of the visual elements in the artwork, especially for figurative
artworks. When it is the accuracy in relation to the real world that the artist is after, this is now
referred to as the principle of scale.
B. Exaggerated- refers to the unusual size relations of visual elements, deliberately exaggerating the
immensity or minuteness of an object. In relation to this,there are notions in scale that differentiate
when an element is smaller than expected (diminutive), and when something appears to be larger
than what is presumed (monumental).
C. Idealized - most common to those that follow canons of perfection, the size-relations of elements or
objects, which achieve the most ideal size-relations.

3-4. Emphasis and Contrast

Emphasis allows the attention of the viewer to a focal point(s), accentuating

or drawing attention to these elements or objects. This can be done through
the manipulation of the elements or through the assistance of other principles,
especially that of contrast.
Contrast is the disparity between the elements that figure into the
composition. One object may be made stronger compared to other objects
(hence, emphasis). This can be done in many ways using the elements of art.
For instance, space, specifically the use of negative and positive space, is an
a example of contrast. Another example is the use of complementary colors in
g
a work of art.

5-6. 5-6.Unity and Variety

Unless intended to be otherwise, compositions are intended to imbue a sense of accord or completeness
from the artwork.This is unity.
Variety, on the other hand, is the principle that aims to retain the interest byallowing patches or areas
that both excite and allow the eye to rest (Vasudra Mandala).
7. Harmony
Like what is hinted above, unity and variety is related to the principle of harmony, in which the elements or
objects achieve a sense of flow and interconnectedness.
8. Movement
This refers to the direction of the viewing eye as it goes through the
artwork, often guided by areas or elements that are emphasized. These focal points can be lines, edges,
shape, and color within the work of art. among others.
9. Rhythm
This is created when an element is repeated, creating implied movement. Variety of repetition helps
invigorate rhythm as depicted in the artwork.
10. -11. Repetition and Pattern
Lines,shapes, colors, and other elements may appear in an artwork in a recurring manner.This is called
repetition. In addition,the image created out of repetition is called pattern.With repetition,there is a sense
of predictability that is conveyed, which in turn imbues the feelings of security and calmness.
Combined or Hybrid Art

MARIZEL L. SANTURAL, MSc. 14

MODULE 2: FUNCTIONS AND
PHILOSOPICAL PERSPECTIVE ON ART
Looking at the elements and principles of art previously discussed, it is apparent that art may be
defined under strict lines that separate one art form or style to another. In a broad sense, it is easy to decipher
visual arts from auditory arts. In the same vein, when looking at more specific art forms,there is a
considerable ease when one is confronted with the challenge of differentiating a painting from a sculpture, a
print from a drawing, or a soundtrack from a poem.
However, with the complexity of contemporary times in which experimentation and innovation are
encouraged,the arts are not exempted from the increasing overlaps, merger, and fusion of different aspects of
art production and their resultant consumption. One of the buzzwords at the tail end of the twentieth centur
is interdisciplinarity. Rooted on the realization that the problems of society are becoming more and more
complex, it is necessary that solutions become innovative, wherein alternative routes to what is familiar,
common, and customary are given premium.
It was also a direct upshot of postmodernist ideas in which barriers were more porous-strict
delineation of art forms was overthrown to make way for collaborations and partnerships between fields,
professionals, And creatives.
The idea of a single-medium-based art seems like a strange past that no longer holds in an
interdisciplinary reality we live in. In contemporary art,these developments were mirrored in the
multifaceted nature of artworks that were created.
It is not surprising that themes,subjects,and the problematique addressed shaped and produced new
kinds of articulation in which two or more art forms and styles are combined.Some examples of combined
arts include dance, theater, installation art, film, video art, documentary, photography, puppetry, design, and
other forms of production.

Let’s Work On This

Simple Project:

Using an A4 bond paper filed in a folder, make an album on the collection of art work by looking
around your house and identify a product of art. Trace the beginning of this item and identify what functions
it has played in history ( e.g., a painting of the last supper in your dining room or a spoon). Follow the
format below for your cover page

Republic of the Philippines

CAPIZ STATE UNIVERSITY
MARIZEL L. SANTURAL, MSc. 15
MODULE 2: FUNCTIONS AND
PHILOSOPICAL PERSPECTIVE ON ART
TAPAZ SATELLITE COLLEGE
San Julian, Tapaz, Capiz

Album in Art Appreciation

“Art Around Me”
Module 2

Name:_________________________________
Let’s Work On This!! Module 2

Answer the following questions as Precisely yet as thoroughly as possible.

1. What art form/artwork has change something in your life? Why? Account for the experience.

2. Does Art always have a function? Why? Support your response. Provide your own example.

MARIZEL L. SANTURAL, MSc. 16

MODULE 2: FUNCTIONS AND
PHILOSOPICAL PERSPECTIVE ON ART

3. If an art work cease to have a function. Will it remain an art? Why?

4. What are the elements of art?

5. What is the relevance of combined arts and hybrid art in the twenty-first century?

Name: _______________________________________

Evaluation Course & Year: _____________________________

MARIZEL L. SANTURAL, MSc. Score: _________________________ 17
MODULE 2: FUNCTIONS AND
PHILOSOPICAL PERSPECTIVE ON ART

Multiple Choice: Choose the letter of the correct answer and write it on the space provided before the
number. Strictly no Erasures. (10 points)

_______1. A Greek philosopher who claimed that every particular substance in the world has an end.
A. Aristotle C. Phytagoras
B. Plato D. Socrates
_______2. The Greek word “Telos” means______________.
A. Purpose C. Truth
B. Substance D. Value
_______3. _____________is a massive mausoleum of white marble built in Agra and constructed in
memory of the favorite wife of the emperor Shah Jahan.
A. Angkor wat C. Sistine Chapel
B. Rizal Park D. Taj Mahal
_______4. __________ refers to a point moving at identifiable path.
A. Geometry C. Shape
B. Form D. Line
_______5. It is one of the elements that enhances the appeal of an artwork.
A. Color C. Intensity
B. Space D. Value
_______6. This refers to the brightness or darkness of color.
A. Hue C. Texture
B. Intensity D. Value
_______7. ________ refers to color’s brightness or dullness.
A. Hue C. Texture
B. Intensity D. Value
_______8. This element in an artwork is experienced through the sense of touch is called ___________.
A. Hue C. Texture
B. Intensity D. Value
_______9. _________is the element of music that situates it in time.
A. Andante C. Rhythm
B. Largo D. Vivace
_______10. _________refers to the linear presentation of pitch.
A. Harmony C. Texture
B. Melody D. Timbre

Reference: Caslib Jr., et al, Art Appreciation (First Edition). Rex Book Store. 2018.

MARIZEL L. SANTURAL, MSc. 18