Activity 1: Compare It!

Direction: Observe and identify the

arts of South, West, and Central Asian
Arts and compare it to Philippine arts.
 Philippine Jeepney

Pakistani Truck
Maranao Malong Turkmenistan Keteni
Paete, Laguna Wood Tajikistan Kandakory
Carving
Guide Question:

What can you say about the

Philippine Arts and the
South,West, and Central Arts?
Learning
Competency:
Creates arts and crafts
that can be locally
assembled with local
materials, guided by local
traditional techniques.
(A8PR-IIIf-2)
 SOUTH, WEST
AND CENTRAL
ASIAN ARTS:
COMMONALITIES
&
DIFFERENCES
South Asian Arts
• The concept of
Trinitarian gods or “one
god in three divine
persona” is common
around the world, most
especially in Catholicism.

• The Hindu Gods Vishnu,

Shiva, and Brahma, who
serve as their three
primary gods.
INDIA
BRAHMA SHIVA VISHNU
• is “the creator” of the
universe and all beings, as
depicted in Hindu mythology.
• He is the first god in the
Hindu Trimurti.
• Brahma's job was the
creation of the world and all
creatures.
• Brahma is to be found to
exist more in scriptures than
in homes and temples.
• In fact, it is hard to find a
temple dedicated to Brahma.
Brahma
• known as "The Destroyer"
within the Trimurti
• Shiva is the Supreme Lord who
creates, protects, and transforms
the universe. Shiva is seen as
the source of both good and evil.
• Shiva is known to have
untamed passion, which leads
him to extremes in behavior.
• Hindus believe his powers of
destruction and recreation are
used even now to destroy the
illusions and imperfections of
this world, paving the way for
beneficial change. Shiva
• known as "The Preserver"
within the Trimurti.
• Vishnu is the preserver and
protector of the universe.
• His role is to return to the
earth in troubled times and
restore the balance of good
and evil.
• He has been incarnated nine
times, but Hindus believe
that he will be reincarnated
one last time close to the end
of this world. Vishnu
• known as "The Preserver"
within the Trimurti.
• Vishnu is the preserver and
protector of the universe.
• His role is to return to the
earth in troubled times and
restore the balance of good
and evil.
• He has been incarnated nine
times, but Hindus believe
that he will be reincarnated
one last time close to the end
of this world. Vishnu
• The most powerful.
• Bathala reigns supreme in
the heavens, and he is the
leader of the gods in the
Tagalog myths.
• Bathala (sometimes spelled
Batala) is the supreme deity
who created the universe.
• Some refer to him as the
Bathalang Maylikha (Bathala
the Creator; Actor of
Creation) and as the
Bathalang Maykapal (Bathala
the Almighty; Actor of Power).
• known as the ruler of the
sea.
• The goddess was described
as a maiden by the
fishermen, whom she guided
and blessed with fishes'
plentiful bounty.
• She is one of the three
founding gods who watched
over the lands along with
Bathala, the sky god who
was Aman Sinaya's fierce
rival.
• a genderless deity that is
depicted as a bird in
Philippine Mythology.
• Amihan is the first to
inhabit the universe, along
with Bathala and Aman
Sinaya.
• In the legend, Amihan is
described as a bird who
saves the first human
beings, Malakas and
Maganda, from a bamboo
plant.
Central Asian Arts
• Like Central Asian
textile arts, the
Philippines textile arts
are rich in color, pattern,
and texture. They reflect
many things on cultural
differences within tribes,
lifestyles, religious
beliefs, history, and
geography.
CENTRAL ASIA
• Woodblock printing on textiles
in Uzbekistan is printing
patterns on fabrics, usually
linen, cotton, or silk, through
incised wooden blocks.
• It is the earliest, simplest, and
slowest of all methods of textile
printing.
• Block printing by hand is a
slow process.
• Woodblocks for textile
printing may be made of boxes,
lime, holly, sycamore, plane, or Woodblock Printed
pear wood. Cloth of Uzbekistan
• The arid desert climate of
Turkmenistan is favorable to
the growth of white mulberry
trees, which is the only source
of food for silkworms.
• a single silkworm cocoon can
produce a strand over 1000
meters long. The thread is then
colored with natural dyes
created with local plants and
minerals.
• This thread is processed to a
homespun silk fabric called Keteni of
"keteni." Turkmenistan
• The determining feature of
"keteni" is color, which depends
on the quality of dyes.
• Turkmenistan carpets'
prominent color was red, which,
according to national beliefs,
possesses magical properties
and protects from malicious
forces; besides, people have
always identified red color with
beautiful and cheerful red color.
• The red color was especially
popular with girls and children. Keteni of
Turkmenistan
• A shyrdak is a stitched and
often colorful felt floor-
covering, usually handmade
made especially in
Kyrgyzstan.
• shirdak mats have been
made by women.
• The Shyrdak is usually
designed in an inlaid
patchwork with highly
contrasting colors such as red
and green, yellow and black,
brown and white. Shyrdak of
Kyrgzstan
 • The process creates a
stunning
positive/negative style
visual image usually full of
symbolic motif images
representing things
around them, i.e., the
water, goat horns, a yurt,
etc. Shyrdak of
Kyrgzstan
• Inabel fabrics made of
cotton and may be plain or
patterned.
• The abel cloth is well
known and much loved for
its softness, beautiful
designs, and strength.
• The binakul pattern, a
dizzying pattern, is meant
to ward off and distract evil
spirits, protecting the
wearer. Inabel of Ilocos
• Other patterns include
the multi-heddle design
technique, the pinilian
or brocade weave, the
suk-suk or
discontinuous
supplementary weft
technique, and the ikat
tie-dye technique.
Inabel of Ilocos
• is prized locally and
internationally for its
luxurious sheerness and
durability.
• It comes in different
varieties such as piña seda
(woven with silk) and piña
jusi (woven with abaca).
• Fibers used to make piña
cloth are derived from the
mature leaves of the red
Bisaya pineapple plant.
Piña Cloth of Cebu
• Individual fibers are
knotted seamlessly together
by hand (pagpanug-ot), and
then spun into spools
(pagtalinuad).
• The piña threads are woven
into a cloth on an upright
two-treadle loom (paghaboe).
• Piña cloth can be decorated
with a traditional style of
hand-embroidery, a
technique called calado. Piña Cloth of Cebu
CALADO EMBROIDERY
• They are used by the
Maranao and Maguindanao
from southern Philippines.
• It can be worn by women as
a dress and by men over
trousers as a formal wear.
• The malong is handwoven by
women using a backstrap
loom. The malong of the
Maranao and the Maguindanao
can either be made of silk for
ceremonial occasions, or
cotton for everyday wear. Maranao’s Malong
Malong has three types:
 Andon is considered the
most expensive, the
rarest, and the oldest
among the three types.
“Andon” refers to the
“patola” motif.
 Landap is
characterized by
“langkit”, or
decorative strips of
profuse geometric
designs, hand-sewn on
the Malong. This is
the most popular type
of Malong.
 Ampik is
characterized by a
square pattern with
lines and cross lines
of contrasting
primary colors along
black and white
geometrical shapes.
 T'nalak cloth are
handwoven from abacá
fibers which traditionally
has three primary colors,
red, black and the original
color of the Abaca leaves.
 The traditional female
weavers are known as dream
weavers, because the
pattern of the t'nalak cloth
is inspired by their dreams.
T’nalak of T’boli
 They can't create a design
of the T’nalak if they
haven't dreamed of it.
 T’nalak is ever present in
significant turning points in
a Tboli life, such as birth,
marriage, and death.
 The T’bolis expressed
everything they are in the
T’nalak: their dreams,
beliefs, myths and even
their religion.
T’nalak of T’boli
 Artisans in Central Asia
have been carving wood.
 Everyone who has been in
Tajikistan knows how
important the art of
decorative carving for
residents is.
 In Tajikistan, these
artisans are known as
kandakori.
Tajikistan
 Craftsmen use pine,
walnut, apricot, plane, and
apple trees to create
tombstones, bookstands,
latticework, pencil cases,
molding for traditional
short-legged tables, etc.
 Other carvings depict
gods, luminaries, and
overlapping various
buildings. Tajikistan
 The name of Paete is derived
from the Tagalog word paet,
which means chisel.
 Paete, Laguna is known for its
generations of skilled artisans
and their woodcarvings – from
life-size statues of saints to
miniature sculptures and wall
hangings.
 The wood carving process
begins with drying wood for at
least a week to prevent any
damage such as cracks during
the carving process. Woodcarving of Laguna
 Aside from religious wood
carvings, the town became
distinguished for wooden
shoes (bakya) beautifully
handcrafted and chiseled in
various remarkable designs.
It also believed that the
modern yo-yo, which
originated in the
Philippines, was invented in
Paete.
 They carved during any
season to identify any
particular season. Woodcarving of Laguna
 Rock engravings or
petroglyphs is an image
created by removing part of
a rock surface by incising,
picking, carving, or
abrading, as a form of rock
art.
 They embossed in the rock
with stone or metal tools,
are particularly common,
and the geology and
landforms of the country's
mountain ranges.
Petroglyphs
 The art of Kazakhstan
covers all forms of art
created throughout history
by the peoples living on the
territory, and one of their
art is sculptures.
 The most common images
are horses; deer, which
symbolize power and beauty
in Kazakh art; and eagles,
representing immortality
and the sky. Petroglyphs
 In the Philippines,
petroglyphs were also
evident in Angono, Rizal.
It consists of 127 human
and animal figures
engraved on the
Rockwall, probably carved
during the late Neolithic
period.
 It is the oldest known
work of art in the
Philippines. Petroglyphs
in Philippines
 The engravings are
primarily symbolic
representations and are
associated with healing
and sympathetic magic.
 The site is sacred for
indigenous Tagalog folk
tribes and is believed to
be a home for anitos.
Petroglyphs
in Philippines
West Asian Arts
 Persian rug is also known as
Iranian carpet, is a heavy textile
made for a wide variety of
utilitarian and symbolic
purposes.
 The most common Persian
patterns and motifs are: Floral,
Allover, Geometrical, Tribal.
Rugs were initially woven as
articles of necessity to cover the
floors of nomadic tribesmen,
giving them protection from the
cold and damp.
Irans’ Persian rug
 A Turkmen rug is a type of
handmade floor-covering textile.
 The yarn used in Turkmen rugs
is taken from the wool of Sarajin
sheep, which is valued for its
ability to absorb heat, dyes and
scents.
 The origin of ornamental carpet
designs is rooted on the realities
of Turkmen everyday life and
the area where they have lived
such as local vegetation and
animals, irrigated fields.
Turkmenistan’s Carpet
 It is sometimes augmented
with feelings, dreams, joys,
griefs, hopes and wishes of
the weavers and their tribes.
 It also expresses heroism,
courage and devotion to the
Motherland.
 They have traditionally been
brilliant red and decorated
with indigo, black and white
designs.
Turkmenistan’s Carpet
 The red has been
traditionally made with
madder an rubia tinctorum,
an herb that produces
extraordinarily brilliant and
long-lasting reds.
 Other colors come from
beetle dyes. The best ones
are made with the soft,
curled grey, black or brown
wool from the pelts of
Karakul or Sarajin sheep. Turkmenistan’s Carpet
 We also have our craft
which can be compared to
West Asian rugs but
technically this is not a
textile.
 It is mostly produced in
Basey, Samar.
 These mats are usually used
for sleeping and eating but
are now being made into
another new and creative
materials that could also be
useful to people. Banig
 The most interesting feature
perhaps of their banig is its
round-shaped variation,
which is the only mat of such
shape produced in the
country.

Banig
Take note:
 Whether it is from the Philippines or
other countries, arts and crafts are a
practice that was developed and passed
from generation to generation for
centuries. As discussed in this module,
some similarities can be seen from their
crafts to ours, like their function and
purpose, process, materials used, and
even designs.
 Whether one is raised on an
Island or the middle of the
desert, our arts and crafts are
living proof that our Ancestors
think alike.
ACTIVITY 1: Fill in the Box
Directions: Write a brief description
of the similarities and differences of
the pair of arts and crafts listed
below. Write your answers on a
separate sheet of paper.
 ARTS AND SIMILARITIES DIFFERENCES
CRAFTS(South, West,
and Central Asia, and
the Philippines
Pakistani Truck Art and
Philippine Jeepneys
Carpet of Turkmenistan and
Banig of Basey, Samar
Woodcarving of Tajiks
andWoodcarving of Paete,
Laguna
Keteni of Turkmenistan and
T’nalak of T’boli
REMINDER!
Review the lesson we discussed
today about “SOUTH, WEST AND
CENTRAL ASIAN ARTS:
COMMONALITIES AND
DIFFERENCES”
Thank You for
listening!