●​ We can realize our own potentials, and the

CONTEMPORARY potential of others, much more thoroughly.

ARTS 12
HUMANITIES TEXT, CONTEXT, AND SUBTEXT

●​ Comes from the Latin word Humanus, 1.​ TEXT

which means human, culture refined. ●​ The text of any primary source often
●​ Branches of philosophy and ethical refers to its medium (that is, what it is
perspective of humanism. made of), its form (its outward shape),
●​ Are non-scientific, have nothing to do, at and its content (the subject it describes).
least directly, with business or economics. 2.​ CONTEXT
●​ Are not part of physical education or sports. ●​ Describe the historical and cultural
●​ They are parts of education, of knowledge, background or environment of the
that make for a more refined sense of artwork.
knowing, thinking, and finer feelings. ●​ To determine the context, we ask:
a.​ In what time and place did the
artefact originate?
VARIOUS VIEWS ON ARTS b.​ How did it function within the society
1.​ VISUAL OR SPATIAL ARTS in which it was created?
➢​ Art forms that we perceive with our eyes c.​ Was the purpose of the piece
and occupy space decorative, didactic, magical, or
➢​ Examples: Painting, sculpture, propagandistic?
architecture, and photography. d.​ Did it serve the religious or political
2.​ AUDITORY OR TEMPORAL ARTS needs of the community or both?
➢​ Art forms that can be heard and 3.​ SUBTEXT
expressed in time. ●​ The subtext of the literary or artistic
➢​ Music is one art form that is entirely object refers to its secondary and
defined by time. implied meanings.
➢​ Once a piece of music is finished being ●​ The subtext embraces the emotional
performed, technically, when the last of and intellectual messages embedded in,
its echoes fade, it’s gone. or implied by, a work of art.
➢​ Examples: Music and Literature
3.​ PERFORMING OR COMBINED ARTS
➢​ Also known as performing arts since it EVOLVING PARADIGMS ON THE NATURE
involves performances. OF ARTS:
➢​ Art that is both seen and heard. GREEKS
➢​ Both unfold in space and time.
●​ Art is an imitation of reality.
●​ Art is imitative or representational
WHY STUDY HUMANITIES? ●​ Copies something in the real world
●​ Humanities makes us more human – in the ●​ PLATO
very best sense of that word “human”. ➢​ Art is an imitation of an imitation.
●​ We can, by studying what other men and ➢​ If art is imitating an imitation of an ideal,
women believed, created, and understood, then, art is doubly divorced from reality
also become better human beings. and doubly inferior.
●​ We can learn more about ourselves, and ●​ ARISTOTLE
other people and the world around us. ➢​ Art is an imitation, but imitation not of
the ideal world, but the real – physical -
world
 ➢​ Art is a mirror of reality around us and ●​ The key to correct interpretation – whether
within us. artistic, linguistic, and poetic - is the
●​ NOTION OF ART AS MIMESIS recovery of the maker’s original intention.
(IMITATION)
➢​ The meaning of art is that which it
19th CENTURY EXPRESSIONIST AND
represents.
POST-IMPRESSIONIST
●​ The paradigm of art as “expression” was
ROMANTICS historically paralleled by the trends of
●​ Art is primarily the expression of feelings or expressionism by the artists themselves.
intentions of an artist. ●​ These artists are:
●​ Not solely an imitation of an external reality, ➢​ VINCENT VAN GOGH
but the expression of an internal reality. ➢​ PAUL GAUGIN
●​ LEO TOLSTOY ➢​ EDVARD MUNCH
➢​ Art is the contagion of feeling. ●​ Directly opposed the realists’ and
➢​ The artist expresses feeling through the impressionists’ imitation of nature
artwork which in turn evokes that feeling
in the viewers
THE CUBIST AND THE FAUVES
➢​ Art is interpreted or judged by the quality
of feelings it expresses and infects with ●​ HENRY MATISSE – “What I’m after above
us. all is expression.”
●​ BENEDETTO CROCE
➢​ Art is the expression of emotion. EXPRESSIONISM
➢​ Emotions are a very real and primal type
of knowledge. ●​ Not a mere stylistic alteration of external
➢​ When expressed and evoked by great representation but a complete break with
works of art, it becomes powerful, often mimetic tradition.
cosmic. ●​ The various manifestations of
●​ R.G. COLLINGWOOD expressionism includes:
➢​ The original intention of the artist is the ➢​ WILLIAM KANDINSKY
actual art. ➢​ KLEE
➢​ The inward psychological vision of the ●​ ABSTRACT EXPRESSIONISM of:
artist is so primordial and it does not ➢​ POLLOCK KLINE
matter whether or not that vision ever ➢​ DE KOONING
got translated into art forms for the
public. PSYCHOANALYSIS BY SIGMUND FREUD
●​ It pointed out that many human intentions
MODERN “HERMENEUTICS” are in fact unconscious.
●​ The art and science of interpretation – still ●​ The artist, writer, or poet has various
depends on this view, that art is the unconscious intentions.
expression of an original intention, or ●​ The significant part of understanding an
feeling of vision of the artist. artwork is unearthing the unconscious
●​ Noted theorist along this line are: drives, intentions, desires, wishes, etc.
➢​ FRIEDRICH SCHLEIERMACHER
➢​ WILHELM DILTHEY UNCONSCIOUS STRUCTURES IN THE
➢​ EMILIO BETTI HUMAN BEING
➢​ E.D. HIRSCH
●​ MARXIST
 ➢​ Pointed out that artists exist in a setting ➢​ The artist intention is neither available
of techno-economic structures. nor desirable as a standard for judging
➢​ His works will inevitably reflect the the success of a work of art
“base” of economic realities. ●​ EDUARD HANSLICK
➢​ The meaning of music is its internal
➢​ Involves highlighting the class structures
forms - rhythm, melody, and harmony
in which art is produces
●​ ROGER FRY AND CLIVE BELL
●​ FEMINIST
➢​ Both maintain the nature and meaning
➢​ Aggressively tried to argue that the
of art is to be found in its “significant
fundamental and hidden structures were
form”
primarily those of gender.
●​ CEZANNE being a great example
➢​ Formalism, places the nature and
RATIONALISM meaning of art, not in the intention of the
●​ The realist trends in literature and painting artist.
(Zole, Balzac, Flaubert, Courbert) had
influenced the impressionists VALUES OF ART
●​ The impressionist repudiated much the
●​ Works of art have certain standard by
Romantic-Expressionist trends
which all artwork can be
1.​ AESTHETIC VALUE
IMPRESSIONISTS ●​ Refers to the value which causes an
●​ Monet, Renoir, Manet, Pissaro, and object to be a “work of art”
Degas ●​ Beauty of the artwork
●​ Sought to capture the immediate visual 2.​ INTELLECTUAL VALUE
impressions and render them ●​ Stimulate thought
impersonally ●​ Enriches our mental life by making us
●​ The emotions from the artists become realize fundamental truth about
secondary ourselves, and human beings and the
●​ The objective rendering of contemporary world around us.
and actual experience was sympathetic to ●​ The appeal of the artwork.
the realist attitude, at the danger of
3.​ SUGGESTIVENESS
becoming documentary.
●​ Great work of art moves us deeply and
stirs our feelings and imagination
FORMALISM ●​ Giving and evoking above and beyond
●​ The meaning of an artwork is found in the the plain of ordinary life and experience
formal relationship between elements of ●​ The emotional appeal of the artwork.
the work itself 4.​ SPIRITUAL VALUE
●​ The elucidation of these formal structures ●​ Arts elevates the spirit by bringing out
makes a valid interpretation of the work the moral values - makes us a better
●​ Rejects the significance of the artist original person
intention ●​ The capacity to inspire.
●​ The artist is totally irrelevant to the work 5.​ PERMANENCE
●​ “Amputate the art from the artist” ●​ a great work of art evolves
●​ MONROE BEARDLY AND WILLIAM ●​ Viewed again and again as each
WIMSATT JR. encounter gives fresh delight and new
insights
 ●​ Open new worlds of meaning and 1.​ REPRESENTATIONAL OR
experience FIGURATIVE ART
●​ Its appeal is lasting ➢​ portrays or depicts something other
6.​ UNIVERSALITY than its own form
●​ Forever relevant and appeals to one ➢​ Ex: Mona Lisa, Swan lake
and all, anytime, anywhere 2.​ NON-REPRESENTATIONAL OR
●​ Deals with element of feelings, NON-OBJECTIVE ART
fundamental truth, and universal ➢​ represents nothing except its own
conditions form.
●​ Great art is timely and timeless ➢​ Ex: the pyramids of Egypt,
Symphonies of mozart.
7.​ STYLE
●​ Peculiar way an artist sees his subject,
forms his ideas, and expresses them. THE ARTIST, WRITER, OR CREATER
●​ Great artworks are marked as much as ●​ “He who touches this book touches the
by their memorable substance as well man”
as by their distinctive style ●​ Art is a means of expression, a medium for
●​ Style should suit content communicating an idea, an emotion, or
8.​ FORM some other human experience, an
●​ Skeletal structure or conceptual impression of life, a vision of beauty.
framework designed to support and
enclose parts of the artwork
THE AUDIENCE
●​ Even the smallest detail is an artistic
decision made by the artist ●​ Art is experience; for what is a poem
●​ Every element contributes to the unless one can read it, what is a painting
effectiveness and beauty. unless one can see it, and what is a sonata
unless one can hear it.
●​ Art always has an audience, even if this
FOUR COORDINATES OF ART CRITICISM audience is none other than the artist
1.​ The Subject Matter themselves
2.​ The Artist
3.​ The Audience
THE FORM
4.​ Its Own Form
●​ Art is a composition, a whole consisting of
various parts or elements; the selection,
FOUR PRINCIPLES TO ART CRITICISM AND organization, and integration of these
APPRECIATION elements.
1.​ Mimetic (based on the subject matter)
2.​ Expressive (Based on the artist)
HOW TO CRITIQUE ART
3.​ Pragmatic (Based on the artist)
4.​ Aesthetic or Formal (Based on the form) ART CRITIQUE/CRITICISM
●​ is an evaluation of a work of art.
●​ Art criticism has a defined protocol for the
THE SUBJECT MATTER
discipline of critiquing a work of art.
●​ Art is an imitation, depiction, or
representation of some aspect of nature or
life. STEPS IN CRITIQUING ART:
●​ Art is subjected to two types: 1.​ DESCRIBE WHAT YOU SEE
●​ The objective portion of an art critique
●​ Involves a technical description - nothing ●​ There are no incorrect descriptions when
more. you critique an art work.
2.​ ANALYZE THE ARTWORK ●​ Your goal is not to say whether it's good or
●​ Evolve the art criticism from a technical not, but rather to impart as best as you can
description to an in-depth examination of the visceral response the artwork incites.
how technical elements were utilized by the
artist to create an overall impression ARTS IN THE PAST
conveyed by the artwork.
●​ DARANGEN
●​ Technical elements:
➢​ an ancient epic song that encompasses
➢​ Color
a wealth of knowledge about the
➢​ Shapes, forms, and lines
Maranao people who live in the Lake
➢​ Texture
Lanao region of Mindanao
➢​ Light and Shadow
➢​ How each technical element contributes
to the mood, meaning, ang aesthetic
sensation.
3.​ INTERPRET THE ARTWORK
●​ More subjective than others
●​ Use your analysis of technical aspects of
the piece of art to apply your own
supposition to the artist’s intended purpose
for the artwork
●​ When formulating you interpretation:
➢​ Communicate the artist’s statement
➢​ Expound on the feeling conveyed by the
artwork
➢​ Explain what you feel is the intended
●​ SPOLIARIUM BY JUAN LUNA
purpose of creating that particular work
➢​ a Latin word referring to the basement
of art.
of the Roman Colosseum where the
➢​ Identify symbols in the artwork and
fallen and dying gladiators are dumped
describe how they relate to the artist’s
and devoid of their worldly possessions.
technical choices, and contribute to the
execution of the intended purpose.
4.​ EVALUATE THE ARTWORK
●​ Summation of the art criticism process.
●​ Use your analysis and interpretation to
draw conclusions and reach judgements
about the artwork.
➢​ State what you think the artwork’s
value is for
➢​ Describe the artwork’s relevance to
the art community and to the people
●​ ANTIPOLO FIESTA 1947 BY FERNANDO
➢​ Explain where you feel the artwork
AMORSOLO
has a strong value and where it falls
➢​ This oil painting on canvas depicts a
short.
rural scene where a group of people is
5.​ USE ART VOCABULARY IN YOUR ART shown celebrating a fiesta in Antipolo.
CRITIQUE
 ➢​ The main focus is on a pair of dancers
in the field surrounded by revelers both
young and old.

VISUAL ARTS FROM THE REGIONS

●​ SCULPTURE
➢​ the most familiar art forms among
Filipinos.
●​ UP’s OBLATION BY GUILLERMO ●​ HIGANTES OF ANGONO, RIZAL
TOLENTINO ➢​ It was said that higantes started during
➢​ is the masterpiece of first National Artist the Spanish colonial times.
for Sculpture Guillermo Tolentino. ➢​ The Angono land tillers way of
➢​ In 1935, Guillermo was commissioned protesting their struggle is by making a
by then University President Rafael giant effigy of their landlords whose
Palma to craft a monument that would hands are usually high up on their waist.
express the second stanza of Jose
Rizal’s “Mi Ultimo Adios”.

●​ MANUNGGUL JAR OF PALAWAN

●​ TAKA OF PAETE, LAGUNA
➢​ a National Treasure of the Philippines. A
➢​ Taka refers to paper mache made using
secondary burial jar, it is designated
carved wooden sculpture used as a
item 64-MO-74 in the National Museum
mold.
of the Philippines, Manila.
➢​ The craft originated in the town of
➢​ The jar was found in Chamber A of the
Paete, Laguna in the Philippines.
Tabon Cave, one of the Manunggul
caves in Palawan. The jar is dated from
about 2800 years before the present.
➢​ It was found by Robert Fox and Miguel
Santiago
●​ SCULPTURES OF PAETE, LAGUNA
➢​ The name Paete derived from the
Tagalog word paet, which means chisel.
➢​ The town has had a long reputation for
it’s craftsmen highly skilled in wood
carving and it’s embellishment.

●​ SINGKABAN OR BAMBOO ART OF

BULACAN
➢​ Is the art of shaving bamboo into artful
creations that can be used as decor for
arches or for the home.
➢​ Skilled craftsmen patiently shaved off
the bamboo, layer by layer, to create
●​ GIANT LANTERN FESTIVAL OF curls and delicate twirls of thin bamboo.
PAMPANGA
➢​ It is an annual festival held in December
(Saturday before Christmas Eve) in the
City of San Fernando in the Philippines.
The festival features a competition of
giant lanterns.
➢​ Because of the popularity of the festival,
the city has been nicknamed the
“Christmas Capital of the Philippines.”

●​ BUL-UL OF IFUGAO
●​ SANICULAS COOKIE MOLD CARVINGS ➢​ Is a carved wooden figure used to guard
OF PAMPANGA the rice crop by the Igorot of Northern
➢​ Saniculas cookies are arrowroot cookies Luzon.
that have the image of St. Nicholas ➢​ The sculptures are highly stylized
molded on it. representations of ancestors, and are
➢​ Legend says that if you consume these thought to gain power from the presence
cookies when on is ill, you get healed of the ancestral spirit.
and recovered in a shorter amount of
time than it would usually take.
●​ OKIR DESIGN OF MINDANAO
➢​ Okir is the term for geometric and ●​ HAGABI OF IFUGAO
flowing designs which are often based ➢​ is a long wooden bench placed under
on an elaborate leaf and vine pattern the eaves is the stone-paved yard that
and folk motifs that can be usually found surrounds the house.
in Maranao and Muslim-influenced ➢​ It signifies an individual or family’s
artworks. wealth and prestige belonging to the
rank of Kadangyan (wealthy) who can
afford to perform the “Hagabi” feast.

●​ PABALAT OR BORLAS DE PASTILLAS

●​ SARIMANOK OF MARANAO
OF BULACAN
➢​ A legendary bird of the Maranao people.
➢​ The pastillas in Bulacan are wrapped
“Sari” means cloth or garments which
with decorative wrappers known as
are generally of assorted colors.
pabalat or borlas de pastillas.
“Manok” means chicken.
➢​ It is made of colorful Japanese papers
➢​ It is said to be a symbol of good fortune
which are cut with intricate designs.

.
●​ TOROGAN OF MARANAO
➢​ Torogan or Bahay Lakan is a type of ●​ PUNI OR PALM LEAF FOLDING OF
house indigenous to Maranao BULACAN
communities which is a symbol of high ➢​ Puni refers to the art of coconut leaf
social status. weaving.
 ➢​ Puni is a tagalog term from the province ➢​ Molding the clay required the use of
of Bulacan which means to beautify or wooden paddles and the clay had to be
decorate with the use of coconut leaf. kept away from sunlight.
●​ MUSIC
➢​ Philippine tribal music dates the first
Filipino musicians trained in western
music, most probably in the 17th
century.
➢​ The 19th century produced Marcelo
Adonay, trained by Augustinian Order,
and composer of full orchestral
accompaniment to the Grand Mass
●​ LITERATURE AND THEATER

PHILIPPINE ARTS
●​ In Philippine art, as in its culture, one notes
the various shades, lines and tones, and
even the contrasting characters that have
been absorbed and blended into new forms
that are particularly Filipinos.
●​ PAINTING AND SCULPTURE
➢​ Artistic paintings were introduced to the
Filipinos in the 16th century when the
Spaniards arrived in the Philippines.
●​ WEAVING
➢​ Philippine weaving involves many
threads being measured, cut and
mounted on a wooden platform.
➢​ The threads are dyed and weaved on a
loom.
●​ ARCHITECTURE
➢​ The basic form of architecture in the
Philippines before the Spanish came
was governed by the building’s
functional uses as shelter and by the
materials available.
●​ ARCHEOLOGY
➢​ Diggings in many parts of the
Philippines have yielded rich artifacts.
➢​ Battings has unearthed enormous
amounts of Philippine and Asian pottery
and porcelain.
●​ POTTERY
➢​ Traditional pot-making in certain areas
of the Philippines would use clay found
near the Sibalom River.