THE PHILIPPINE ART

 Before the colonizers came to WOODCARVINGS

the Philippines, ethnic  Depicts animals like birds,
minorities have used art not which are representation of
only for daily activities but also their religious beliefs.
for religious rituals and  According to the local stories,
practices. birds serve as the messenger
 There are different art forms of the people to the heaven
emerged in the Philippines art and vice versa.
scene. Most art forms used by  In Mindanao, Tausug and
ethic communities include Maranao people are know for
pottery, weaving, carving and their okir , which are designs
the use of metalwork and applied to their woodcarvings.
jewelry. There common subjects
include the sarimanok naga
POTTERY and the pako rabong.
 Pottery produced items that  Each subject represents a
are practical value for the certain theme or motif but
early Filipinos, such as pots for generally, these symbols
cooking and large vases for depict their beliefs as a
storing. people.
 One of the most prominent
artifacts related to pottery is SARIMANOK AND NAGA
the Manunggal Jar found in  The naga forms an S-shaped,
Palawan. depicting and elaborate
 This jar is a representation of figure of a mythical dragon or
the early Filipinos ‘religious serpent.
beliefs and practices. It serve  The numerous curved lines
as a burial jar. This reflect their serving as detail for the figure
beliefs in afterlife- the crossing depicts the scales.
of the body of water is  The fern gracefully stems and
transition from life. tapers upward.
 The sarimanok and naga are
WEAVING usually used as ornamental
 One of the earliest forms of art designs for the houses of the
expression in the Philippines. sultans.
 They are known for their
colorful woven cloth, which is PAKO RABONG
also known for their women  Art was used by the Spaniard
abaca cloth called t’nalak to propagate their Christian
 They use this particular to faith while at the same time,
make ornaments, which also establish their foot hold in the
represent their beliefs through century. The Church became
symbols. the sole patron of the arts.
 Art became one of the venues  When former President Marcos
for Filipino nationalism and declared Martial law, social
stood against the colorizers realism became the norm.
would be Juan Luna’s Most artwork were form of
“Spoliarium” protest against government’s
suppression of freedom of
 Philippines liberated from the speech and expression.
Spanish rule, the Americans  Some of artwork reflected issue
took over to establish a like economic problems, land
colonial to establish s colonial performers, gender rights,
government. They also worker’s right and cultural
propagated their culture and minorities plaguing the Filipino
beliefs through the people brought by Martial
implementation of public Law.
school systems.  Photography has involves into
 Philippines became an art form, which highlights
independent state transitioning various artistic expression
into the formation of its evident in variety of events,
national identity. scene and activities.
 Artist focused on modern takes
when it comes to content, form
and subject matter. PRE-COLONIAL/PRE-PHILIPPINES
 Art should be done as CULTURE
“proletarian art” or “art for art’s  Emerged with the influenced of
sake” the Colonizers and Chinese
traders that melted and
As modern paintings started to evolved to its own unique
emerge, a triumvirate of artist was Classical Filipino Identity.
formed  Philippines was dived set of
• CARLOS FRANCISCO nations, island and tributes
• GALO B. OCAMPO being ruled by their own
• VICTORIO EDADES specific Social Kings, Chief
 1990s proved to be a period of tains, Lakans, Datus, Rajahs
modernism and dynamism with and Sultans. Every nations has
a lot of styles, Techniques and its own identity and some are
methods emerging. even part of a larger Empire
 Most artwork were reflections outside the modern day map.
of the political, social and  The advent of the colonial
economics situation of the arrival to the islands started.
Philippines during Marcos The modern day Philippines, as
administration it was during that time united
 A period where in people islands of today known as the
embodied and advocated for Philippines was created.
nationalist idea.
  These cultures the melted from leader of the revolution
pre-colonial internal and against Spain in 1896.
external influence is very
evident in the pre-modern arts NAPOLEON ABUEVA (BORN 1930)
and tradition of the Philippines.  the pioneering modernists in
 Paintings of Jose Honorato sculpture.
Lozano has clear indication of  He use various media
East and West influence.  one of Tolentino's pupil

KUT-KUT ART FREDESVINDA

 The merging of these things  which was included in the First
ancient styles produces a ASEAN
unique artwork characterized  sculpture Symposium held in
by delicate swirling and Fort Canning Hill, Singapore,
interwoven lines, multi-layered From March 27 to April 26,
texture and an illusion of three- 1981 shows the vitality of
dimensional space. primitive forms

MODERN SCULPTURES
 Of all the new art forms FAMOUS PHILIPPINE ARTIST
introduced, the filipino took to
sculpture from the Spanish FELIX RESURRECCION HIDALGO
instantly. (1855-1913)
 the carving of anito was  He won a silver medal for his
transformed into sculptures of entry in large canvas, Christian
the saints. Virgins Exposed to the
 Santos were used primarily for Populace at the Madrid
the church altars and retablos. Exposition of Fine Arts.
It also replaced the anitos in  The Artist’s Mother (1888)
the altars of the native homes.
JUAN LUNA (1857-1899)
Classical Philippine Sculpture  Won a Gold medal in the 1948
reached its peak the works of: Madrid Exposition
 Stayed on a apartment close
JUAN DE LOS SANTOS (CA. 1590 CA. to the Hidalgo’s
1660) of San pablo, Laguna.  The Dream of Love
 sculptor and silversmith  The Celebrated Tampuhan

GUILLERMO TOLENTINO (1890-1976) FERNANDO AMORSOLO (1892-1972)

 Bonifacio Monument - a group  Was a National Artist Awardee.
sculpture composed of  1920-1945: golden years
numerous figures massed  Went to Madrid year 1917
around a central obelisk. -  Some of his artworks:
1. THE BLIND MAN
 2. THE BURNING OF MANILA became a faculty member of
3. ANTIPOLO the UP Conservatory of Music.
4. DALAGANG BUKID  In 1987 he was commissioned
into the military service and
VICENTE MANANSALA (1910-1981) later became music and band
 Most popular progressive artist conductor of the PMA in
 Recognized as National Artist Baguio City.
year 1982  He composed short piano
 Give Me This Diary song pieces, hymns and songs,
pieces, and theater music.
CARLOS “BOTONG” V. FRANCISCO
(1912-1969) 2. LUCIO D. SAN PEDRO (1912-
 One of the best mural artist in 2002)
the Philippines  He married Gertudes Dias with
 Stayed in Agono 5 children.
 Had his own version of Post-  During his graduation in grade
Impresionism VII He played the poet and
 First Mass In The Philippines peasant Overture on banjo.
 He started composing song in
MAURO “MALANG” SANTOS (1928- College.
2017)  He was assistant conductor to
 Illustrator-catoonist Conductor
 Abstract painting  He conducted the Musical
1. Ang Kiukok Philippines Philharmonic
Orchestra and a Musical
JOSE JOYA (1931-1955) Presented at the Metropolitan
 Magna Cum Laude at the Theatre.
University of the Philippines in  He was connected with major
1953 conservatories in the country
 Cranbook Academy of Art in and wrote sacred and secular
1957 vocal music, overtures, tones,
poems, symphonis poems, and
quartets.

SPACE TRANSFIGURATION 3. FELIPE PADILLA DE LEON

 A composer, conductor and a
FAMOUS PHILIPPINE COMPOSERS former student at UP
1. COL. ANTONIO Conservatory of Music.
BUENAVENTURA  He was appointed assistant
 He obtained a teacher’s instructor at the UP
diploma in composition and Department of Science and
conducting from the University Composition.
of the Philippines. And later on  He became a technical
assistant on cultural affairs in
 the office of the President of
the Philippines. De Leon’s Orchestral music include:
 He was a president of the  Mariang Makiling Overture (1939)
Filipino Society of Composer,  Roca Encantada, symphonic
Authors and Publisher. legend (1950)
 He was a President of the  Maynila Overture (1976)
Pambansang Samahan ng  Orchesterstuk(1981)
mga Banda sa Pilipinas and  Choral music like, Payapang
the Diwa ng Nuweba Esiha. Daigdig, Ako’y Pilipino, Lupang
 A trustee of the Music Tinubuan, Ama Namin.
Promotion Foundation of the  Songs like Bulaklak, Alitaptap,
Philippines. and Mutya ng Lahi.
 Director of the SONGFEST
Philippines and Felin Institute of
the Philippines.
4. LUCRECIA R. CASILAG
 Obtained a Music Teacher’s  Other works are (orchestral
Diploma major in Piano from music) Misa Antoniana Grand
St. Scholastica’s University Festival Mass, Ang Batingaw,
 She was a scholar grantee of Kundiman- Kundangan;
Fullbright Foundation at the (chamber music) Hating Gabi,
Eastern School of music String Quartet, Kung sa Iyong
degree major in theory and Gunita, Pandangguhan;
minor composition. (vocal music) Amihan, Awit ni
Maria Clara, Larawan Nitong
5. ANTONIO MOLINA Pilipinas.
 Versatile musician, composer
and music educator.
 A faculty member of the UP
Consevatory of Music. ASIAN ART
 He was a conductor in the
concert stage of various HISTORY OF ASIAN ARTS
schools, church, choirs,  When ancient civilizations in
orchestra, bands and Asia flourished, trade become
rondallas. a very important activity. In
 He was a member of UP trading relationship Asian
President Committee on countries started sharing
Filipino Folksongs and Dances culture and belief system.
and a Secretary of the  China, being one of the oldest
Conservatory of Music. civilizations in Asia, it has a rich
 Molina’s most familiar history when it comes to culture
composition is Hatinggabi, a and arts.
serenade for solo violin and
piano accompaniment.
 Japan, they were influenced focal point in these vases
by China in terms of arts. Later depicts a central theme:
on, they opened themselves to Nature. They believe that man
the western world which they is an integral part of nature
allow fusion of East and West. ensuring that there is a certain
 Philippine arts was a product of balance in it.
several periods in history  Some of the common
spanning from the pre-colonial overarching themes of
period to the contemporary Chinese artworks include
times. everyday activities, war,
 Chinese also had interactions violence, death, and nature.
with Western missionaries who Also noted that Chinese
came from India and it brought artworks are infused with a lot
some of the Indian influences of symbolisms.
to china.  It is customary for the ancient
 And because of this, Indian Chinese people to show
models inspired a lot of respect for their ancestors and
Chinese artists for few Relatives. From a Western
centuries. point of view, Chinese can be
mistaken for as that of
worshipping gods. Most of the
 Most paintings were done in ancient Chinese were placed
Monumental styles wherein in either gold or bronze vessels,
rocks and Mountings served as depending on their social
a barrier that made the viewer status
distracted initially from the
main subject of the work.
Western landscapes usually BUDDHIST ART
had a single vanishing point  Originated in India
while Chinese paintings had subcontinent in the centuries
the opposite since most following the life of historical
paintings aimed to give the Gautama Buddha in 6th to 5th
audience a perspective on the century BCE.
subject.  It developed to the North
 Porcelain such as vases and though Central Asia into
jars is one of the commonly Eastern Asia to form the
used as decorative ornaments. Northern branch of Buddhist
Some artifacts show intricate art, and to the east as far as
works of the Chinese in these Southeast Asia to form the
porcelain vases. It has southern branch of Buddhist
attribution to the tradition of art.
passing down the artistry from  Buddhist art traveled with
one generation to the next. believers as the dharma
Just like Chinese artworks, the spread, adapted and
 evolved in each new host  Each divine id assigned
country. special shapes, color, and
 Buddhist art flourished and identifying objects, such as
even influenced the lotus, conch-shell,
development of Hindu art, until thunderbolt, and the begging
Buddhism nearly disappeared bowl.
in India around 10th century CE  All images are made to exact
due in part to the vigorous specification that have
expansion of Islam alongside remained remarkably
Hinduism. unchanged for centuries.
 A common visual design in 1. VAJRAYANA BUDDHISM
Buddhist art is the Mandala. 2. ART OF TIBET
 It represents schematically the
ideal universe. The major orders of Buddhism in
Bhutan are Drukpa Kagyu and
 In various spiritual traditions, Nyingma.
mandalas may be employed for  The Drukpa Kagyu is a former
focusing attention of aspirants branch of the Kagyu School.
and adepts, a spiritual teaching  It is known for paintings
tool, for establishing a sacred documenting the lineage of
space and as an aid to Buddhist masters and the 70 Je
meditation and trance induction. Khenpo
 Its symbolic nature can help one  The Nyingma order is known for
“to access progressively deeper images of Padmasambhava,
levels of the unconscious, who is credited with
ultimately assisting the mediator introducing Buddhism into
to experience a mystical sense of Bhutan in the 7th century.
oneness with the ultimate unity  According to the legend,
from which the cosmos in all its Padmasambhava hid a scared
manifold forms arises” treasures for the future Buddhist
 Psychoanalyst Carl Jung saw the masters, especially Pema
mandala as “A representation of Lingpa, to find.
the center of unconscious self”,  The treasure finders (Tertön) are
and believe his painting of also fluent subjects to Nyingma
mandalas enabled him to identify art.
emotional disorders and work
towards wholeness in personality. PEMA LINGPA
 Bhutanese art is particularly rich
BUTHANESE ART in bronzes of different kinds that
 It is similar to the art of Tibet. are collectively known by the
Both are based upon name Kham-so.
Vajrayana Buddhism, with its  Wall paintings and sculptures
pantheon of divine beings. are formulated on the principal
 ageless ideas of Buddhist art Japanese, Chinese, Lao and
form. Thai cultures.
 Their emphasis on detail is  Music, dance, theatre and
derived from Tibetan models, cinema flowed strongly
their origins can be discerned through the blood of the
easily, despite the profusely Cambodian people.
embroidered garments and
glittering ornaments which Visual Arts of Cambodia
these figures are lavishly  Cambodia, arts and crafts
covered. were generally produced by
 The arts and craft of Bhutan skilled artists.
that represents the exclusive  Traditional Cambodian arts
“spirit and identity of the and crafts include textiles,
Himalayan kingdom” is defined non-textile weaving,
as the art of Zorig Chosum, silversmithing, stone carving,
which means the “Thirteen arts lacquer ware, ceramics, wat
and crafts of Bhutan” murals, and kite-making.
 The thirteen crafts are  The Khmer art has roots from
carpentry, painting, paper the Angkor period. Massive
making, blacksmithery, temples from this period,
weaving, sculpturing , and including Angkor Wat and the
many other crafts. Bayon at Angkor Thom, testify
 Bhutanese rural life is also to the power of Angkor and
displayed in the ‘Folk Heritage the grandeur of its
Museum’ in Thimphu. There is architecture and decorative
also a ‘Voluntary Artist Studio’ art.
in Thimphu to encourage and
promote the art forms among Visual Arts of Cambodia
the youth of Thimphu. 1. Wat Murals
- Best known surviving murals
CAMBODIAN ART are the Silver Pagoda in
Cambodian Art and the Culture of Phnom Penh
Cambodia 2. Textiles
 Cambodia's history, religious - Known as silk Pidan
principles guided and inspired 3. Silver Gold-smithing
its arts. A unique Khmer style - Lotus-shaped Cambodian
emerged from the bowl (gold and silver alloy)
combination of indigenous
animistic beliefs and the  Stone carving at Banteay Srei
originally Indian religions of  Stone bas-relief at Bayon
Hinduism and Buddhism. temple depicting the Khmer
 Cambodian culture also army at war with the Cham
absorbed elements from
CHINESE ART
  Chinese Art has varied
throughout its ancient history, 3. POETRY
divided into periods by the  Ci known as lyric poetry
ruling dynasties of China and which means expressed
changing technology. feelings of desire.
 Different forms of art have  Many of its prime
been influenced by great proponents were female
philosophers, teachers, poets, such as Li Qingzhao.
religious figures and even Su Shi was another
political leaders. prominent Song poet
 Chinese art encompasses fine famous for writing in the ci
arts, folk arts and performance form.
arts.
Song Dynasty INDIAN ART
 Particularly noted for the great Indian art can be classified into
artistic achievements that it specific periods, which is:
encouraged and, in part, 1. Hinduism and Buddhism of the
subsidized. ancient period (3500 BCE-
1. PAINTING present)
 A landscape paintings, with 2. Islamic ascendancy (712-1757
a blurred outlines and CE)
mountain contours which 3. The colonial period(1757-1947)
means distance through an 4. Independence and the
impressionistic treatment of postcolonial period(posr-1947)
natural phenomena. 5. ModernWala and Postmodern
 New style of painting that art in India
employed calligraphic
brushwork for self-expressive a. CARVED PILLARS OF
ends. ELLORA,MAHARASHTRA
 Under, Yuan Dynasty is a
painting by Zhao Mengfu, b. FRESCOES OF AJANTA AND
greatly influenced laper ELLORA CAVES
chinese landscape
painting. c. RANGOLI

2. CHINESE OPERA The Visual Arts

 Under, Song Dynasty - Are tightly interrelated with
developed the oldest non-visual arts. According
extant form of chinese to Kapali
opera called Kunqu. Vatsyayan,"Classical Indian
 Under, Yuan Dynasty opera architecture,sculpture,paint
became a variant of opera ing,literature,music and
which continues today as dancing envolved their
Cantonese. own rules conditiond by
 their respective media,but  Indonesia has long-he
theyway shared with one bronze and Iron ages
anotherof not only the  8th - 10th century both as
underlying spiritual beliefs stand-alone works of art
of the indianancient religio- and also incorporated into
philosophic mind,but also temples
the proceduresprocedure  Most notable are the
by which the relationships hundreds of meters of relief
of the symbol and the sculpture at the temple of
spiritual states were worked Borobudur in central Java. It
out in detail. tells the story of the life of
Buddha and illustrate his
INDONESIAN ART teachings. The temple was
 Art and culture has been originally home to 504
shaped by long interaction statues of the seated
between original; buddha.
indigenous custom and
multiple foreign influences. BOROBUDUR TEMPLE
 Indonesia routes between  Calligraphy based on
Far East and Middle East, Qur’an, used as decoration
resulting to many cultural as Islam forbids naturalistic
practice, strongly depictions.
influenced by a multitude  Modern Indonesia painters
religions, including use a wide variety of style
Hinduism, Buddhism, and themes.
Confucianism and Islam.
 Indonesia is not generally QUR’AN
known for paintings, aside
from the intricate and BALINESE ART
expressive Balinese painting  Art of Hindu- Javanese
which often express natural origin that grew from the
scence and themes from work of artisans of the
the traditional dances. Majapahit Kingdon, with
 Indigenous kenyah paint their expansion to Bali in the
design based on, as late 13th Century.
commonly found among  From the 16th until the 20th
Austronesian cultures, centuries the village of
endemic natural motifs Kamasan, Klungkung (East
such as ferns, trees, dog, Bali) was the center of
hornbills and human classical Balinese Art.
figures.  During the 1st Part of the
20th century, new varieties
KENYAH DAYAK LONGHOUSE IN EAST are of Balinese art
KALIMANTAN’S APO developed.
  Late 20th century, Ubud produced. Buddhist
and it’s neighboring villages temples also became
established a reputation or staples in key places. Art in
as the center of Balinese essence became an
art. expression of worship for
the Japanese.
“ a highly developed. Although  UKIYO-E
informal Baroque folk art that - Is an art movement which is
combines the peasant liveliness with flourished 17th through 19th
the refinement of classicism of Centuries. It’s artist
Hinduistic Java, but free toof the produced woodblock prints
conservative prejudice and with a and paintings of such
new vitality fired by the exubernace subjects as travel scenes
of the democratic spirit of the and landscapes, female
tropical primitive.” beauties, & sumo wrestlers.
- Covarubbias
JAPANESE ART
 It covers from sometime
JAPANESE ART 10th millenium BC to the
 Art in Japan has undergone present.
series of transitions and  It covers a wide range of
periodization. art styles and media and a
 Japan has transitioned into myriad of other types of
a cultural mixing pot. works of art form the
 Based on artifact such as ancient times until the
ceramic figures and contemporary 21st century.
ornaments.
 It was influenced by Korean Second half of the 17th Century
and Chinese artworks. - They originate single color
HANIWA works of Hishikawa
 Ceramic figures that is Moronobu
made up of clay. That were
made for ritual use and Suzuki Harunobu developed the
buried with the dead as technique of polychrome printing to
funerary objects produce nishiki-e
- Woman visiting the shrine in
 SHINOISM the night.
- The native religion of
Japan. Nishiki –e
 BUDDHISM - Is a type of Japanese multi-
- Became an integral part of colored woodblock
Japanese Culture, Artworks printing. The technique is
such as images and used primarily in Ukiyo-e. It
sculptures of Buddha were was invented in 1760s.
Japanese Painting (Kaiga) CONTEMPORARY ART IN KOREA
- Is one of the oldest and - Self-portrait of Ko hui-dong
most highly refined of the (1886-1965)
Japanese arts. - Self-portraits impart an
understanding of medium
 Simple stick figures and that extends well beyond
geometric designs on the affirmation of stylistic
Jomon Period pottery and and cultural difference.
Yayoi period.
 Mural paintings with both EARLY TWENTIETH CENTURY
geometric and figurative  The decision to paint using
designs have been found in oil and canvas in korea
Kofun period. had two different
interpretations.
KOREAN ART  One is being a sense of
 Korean art is noted for its enlightenment due western
traditions in pottery, music ideas and art style. This
calligraphy, painting, enlightenment derived
sculpture and other genres, from intellectual movement
often marked by the use of of the seventeenth and
bold color, natural forms, eighteenth century.
precise shape and scale  Ko had been painting with
and surface decoration. this method during period
 The study and appreciation of Japan's annexation of
of Korean art is still at a korea.
formative stage in west. An  He state “ While I was in
art given birth to and Tokyo, a very curious thing
developed by a nation is its happened.at that time
own art there were fewer that one
 The history of Korean hundred Korean students in
painting is dated to Tokyo. All of us were
approximately 108 C.E. drinking the new air and
embarking on new studies,
- Korean painting has been a but there were some who
constant separation of mooched my choice to
monochromatic works of study art. A close friend
black said that it was not right for
- Brushwork on very often me to study painting in
mulberry paper or silky; The such a time as this.”
colorful folk art or min-hwa ,  Korean pottery was
ritual arts , tomb paintings , recognized as early as 6000
and festival arts. BCE. This pottery was also
referred to as comb-
patterned pottery due to
 the decorative lines carved
into the outside. NEPALESE ART
 The ancient and refined
Early Korean societies were traditional culture of
mainly dependent on Kathmandu, for that matter
fishing. in the whole of Nepal, is an
-East coast have a flat uninterrupted and
base. exceptional meeting of the
-South coast have a Hindu and Buddhist ethos
round base practiced by its highly
religious people. It has also
LAOTIAN ART embrace in its fold cultural
 Laotian art includes diversity provided by the
ceramic, lao Buddhist other religions such as
sculpture, and lao music. Jainism, Islam and
 Lao Buddhist sculptures Christianity.
were created in large
variety of material including
gold, silver and most often
bronze.
 Brick-and-mortal also was a TRADITIONAL CULTURE OF
medium used for colossal KATHMANDU
images, a famous of these is THAI ART
the image of Phya Avat 1. Traditional Thai art is primarily
(16th century) in Vientiane, composed of Buddhist art,
although a renovation which in turn often has Hindu
completely altered the elements and iconography in
appearance of the it. Traditional Thai sculpture
sculpture, and it no longer almost exclusively depicts
resembles a lao Buddha. images of the Buddha.
 Wood is popular for small Traditional Thai paintings
votive Buddhist images that usually consist of book
are often left in canvas it is illustrations, and painted
also very common for large, ornamentation of buildings
life-size standing images of such as palaces and temples.
Buddha. 2. Traditional Thai paintings
1. Phra Keo (the emerald showed subjects in two
Buddha) dimensions without
2. Phra Phuttha Butsavarat perspective.
- The phra phuttha 3. The size of each element in the
butsavarat, like the phra picture reflected its degree of
keo is also enshrined in its importance.
own chapel at the grand
palace in bangkonk.
 4. The primary technique of Buddhism also incorporates
composition is that of the monastic disciplines of
apportioning areas early Theravada Buddhism
5. This eliminated the and the shamanistic
intermediate ground, which features of the indigenous
would otherwise imply  Tibetan religion, Bon.
perspective. Tibetan art is primarily
6. Perspective was introduced sacred art, drawing
only as a result of Western elements from the religions
influence in the mid-19th of Buddhism, Hinduism, Bon,
century. and various tribal groups,
7. Thailand normally depicts and reflecting the over-
religious themes, most often riding influence of Tibetan
the Jataka stories ,Buddha’s life Buddhism.
story and stories of his previous The Sand Mandala or
incarnations, which often “Kalachakra mandala”
present visual explanations of - Sand Mandala is a Tibetan
various Buddhist principles the Buddhist tradition involving
Buddhist heavens and hells, the creation and
and scenes of daily life. destruction of mandalas
made from coloured sand.
The Sukhothai kingdom A sand mandala is
 Buddha images of the ritualistically dismantled
Sukhothai period are once it has been
elegant, with sinuous bodies completed and its
and slender, oval faces accompanying ceremonies
 This period saw the and viewing are finished to
introduction of the “walking symbolize the Buddhist
Buddha post” doctrinal belief in the
transitory nature of material
TIBETAN ART life.
 Also called Lamaism, Tibetan Buddhism contains
branch of Vajrayana Tantric Buddhism, Also known
Tantric, or Esoteric Buddhism as Vajrayana Buddhism for its
that evolved from the 7th common synbolism of the
century CE in Tibet. It is vajra, The diamond
based mainly on the thunderbolt known in Tibetan
rigorous intellectual as the dorje.
disciplines of Madhyamika Vajrayana Buddhism
and Yogachara philosophy - (also known as Tantric
and utilizes the Tantric ritual Buddhism, Tantrayāna, Esot
practices that developed in eric Buddhism, and
Central Asia and the Diamond Vehicle)
particularly in Tibet. Tibetan refers to a family of
 Buddhist lineages found five orthodox styles:
primarily citadels, palaces, castles,
in Tibet and Japan, which pagodas, and houses. It
combine Mahayana ideals was influenced by
with a body of esoteric Buddhism and served
knowledge and tantric Buddhism. So Thang Long
practice. capital culture deeply
mirrored characteristic of
VIETNAMESE ART the tower-pagoda. In 1031,
 Encompasses art created there were 950 pagodas
in Vietnam or by Vietnamese that built during King Ly Thai
artists, from ancient times to Tong.
the present. Vietnamese art
has a long and rich Vietnamese Calligraphy
history. Clay pottery of  Calligraphy has had a long
the Neolithic Age dates as far history in Vietnam, previously
back as 8,000 B.C.E.. using Chinese characters
Decorative elements from along with chu nom. However
ceramics of the Bronze Age , most modern Vietnamese
were used to ornament large, calligraphy instead uses the
elaborately-incised bronze Roman-character based
cast drums of the Dong Son Quoc Ngu, Which has proven
culture that flourished in North to be very popular.
Vietnam (from about
1,000 B.C.E. to the fourth Quốc ngữ
century B.C.E.)  A Lunar New Year banner
 Traditional Vietnamese art is art written in Vietnamese
practiced in Vietnam or by calligraphy; the Quốc
Vietnamese artist, from ancient ngữsyllables
times including the elaborate
Dong Son drums to post-
Chinese domination art which
was strongly influenced by Soulmaking: Making and Deriving
Chinese Buddhist art, among Meaning from Art In order for
other philosophies such as humans to make sense of language
Taoism and Confucianism. and derive meanings from words,
semantics and grammatical rules are
Ancient Architecture in Vietnamese
important elements to be
(Ly dynasty)
considered. Aside from this, context
- Ly dynasty opened the new
change for architecture and symbolisms are also considered
during developing feudal to interpret and analyze either
state. Generally, Ly verbal or written works: When it
dynasty’s architecture was comes to art, in order for people to
make sense of the work, it would present context, improvation has
require understanding the visual become an integral part of the arts.
elements where art was grounded Some would say that it is a reaction
on, especially the principles of agains the stiffness in the arts during
design. It is important to note that the twentieth century. There is a call
the audience of the artwork must for liberation from monotory that
have a certain level of awareness to aims to rekindle the creative spirits of
the style, form, and content of the people in the arts. For some artists,
said work. Without such infusing spontaneity and improvation
understanding, it would be difficult adds up to the totality of the work of
to appreciate the visual arts in its art. The unexpectedness of the
fullness and entirety. Style refers to changes brought about by
the distinctive handling of elements improvasation makes the artwork to
and media associated with the work have a distinctive quality that
of an individual artist, a school, a creates its individuality and identity.
movement, or a specific cuture or Some artists subscribe to the idea of
time period Throughout history, there allowing chances in the process of
have been developments in art producing the work. For example,
styles that depict different and artists would want to capture the
varied methods of expression. gloom brought about by an
Artworks also have a certain form. approaching storm or the beauty of
This form is what the audience sees-a a meteor shower at night. Since they
finished product put harmoniously do not necessarily have absolute
(or not) according to the different control over natural phenomena,
principles of design. In essense, form their reliance on chances may not
is the totality of the artwork, which necessarily produce their expected
includes the textures, colors, and outcome. Artists allowing their
shapes utilized by the artist. The subjects do improvise may have
content of an artwork includes the totally different result as well. When
not only its form but also its subject an artists makes his work, he has
matter and underlying meanings or already an idea of the elements that
themes. The perceiver of the artwork will be included in his work. As begins
must take into consideration the to craft his work, he may have
totality of elements, underlying deviated from his original plan. So in
themes and motifs, and composition. essence, improvisation is evident in
Improvisation Improvisation can be the process of making the painting.
defined as doing something without During the 1960s, art improvisation
prior preparation. There is a decision has taken from in the galleries
to act upon something that may not around New York City. Performance
necessarily be planned. Within the art, dance, and visual arts were
combined to create new forms of that copying the exact artwork of an
artworks usuing a new medium. artist and attributing it to his own. This
These performances were known as could pose a problem especially
the “happenings” which later on with authorship. The problem arises
paved the way for meodern body when the appropriation artist would
art and performance art. One of get bits and pieces from other works
central figures in the improvisation and incorporate these elements into
movement was Geaorge Mathieu. their own, their voices and
He started the “action painting” perspectives of the other artists get
wherein the process is seen real- lost with that of the appropriation
time. In scenario, the process is more artist. There seems to be a very thin
important than the finished product. demarcation line between
Appropriation If, for example, an appropriation art and forgery.
artist created a painting and Traditionally, forgery can be
displayed it in a museum, who do classified into two forms: outright
you think owns the artwork: the artist copies of existing works and
or his intended audience? During pastiches, which are works that bring
the twentieth century, people together elements from a work and
started raising the question whether infusing them to a new work. But in
or not the act of deriving meaning contemporary times, forgery can be
gives the ownership of the viewer in the form of creating an
rather than the artist himself. This approximate of what an artist would
notion paved the way for the do by prediction. This can be done
emergence of appropriation artists by observing the techniques and
who seem to promote the idea that style the artist employed and even
the authorship relies on the viewer. If the focal points highlighted in his
this is the case, then appropriation previous and existing works. The
artists can take as mush as he wants intensions of appropriation artist are
from an existing artwork. often questioned since issues of
Appropriation of arthas been a plagiarism or forgery sometimes
common practice throughout arise. Some would argue that the
history. In the past, if an apprentice reason behind the appropriation is
painter needs to hone his skills in his that they want the audience to
craft, he would be allowed to use his recognize the images they copied.
master’s work to copy. It is as if the There is a hope on the part of the
apprentice is trying to explore his artist for the viewers to see the
personal application of techniques original work in a new perspective.
to something he is more familiar with. That appropraition would bring
However, there are some people about a new context to the original
who go to the extreme by believing work. One of the most famous works
of appropriation would have to be and elements of culture that have
Andy Warhol’s Campbell’s Soup been appropriated commonly
Cans”(1962). Warhol copied the involve famous and recognisable
original labels of the soup can but works of art, well known literature,
cans is something new for the and easily accessible images from
audience. Just like any product, the the media. The first artist to
brand is integral to Campbell’s successfully demonstrate forms of
identity. As an artist, Warhol decided appropriation within his or her work is
to isolate the image of the product. widely considered to be Marcel
This attempt could in turn stimulate Duchamp. He devised the concept
product recognition. A common of the ‘readymade’, which
viewer would associate the essentially involved an item being
Campbell soup with the portraits of chosen by the artist, signed by the
the soup cans. This association would artist and repositioned into a gallery
bring about a certain kind of craving context. The concepts of originality
for the said product. In a way, it is a and of authorship are central to the
subtle form of advertising that would debate of appropriation in
entice the consumer to buy and contemporary art. We shall discuss
patronize the product. Appropriation these in depth in order to
refers to the act of borrowing or contextualise the works we will
reusing existing elements within a investigate later in this essay. To
new work. Postmodern appropriation properly examine the concept it is
artists, including Barbara Kruger, are also necessary to consider the work
keen to deny the notion of of the artists associated with
‘originality’. They believe that in appropriation with regards to their
borrowing existing imagery or motivations, reasoning, and the
elements of imagery, they are re- effect of their work. The term
contextualising or appropriating the ‘author’ refers to one who originates
original imagery, allowing the viewer or gives existence to a piece of
to renegotiate the meaning of the work. Authorship then, determines a
original in a different, more relevant, responsibility for what is created by
or more current context. In that author. The practice of
separating images from the original appropriation is often thought to
context of their own media, we support the point of view that
allow them to take on new and authorship in art is an outmoded or
varied meanings. The process and misguided concept. Perhaps the
nature of appropriation has most famous supporter of this notion
considered by anthropologists as was Roland Barthes. His 1966 work
part of the study of cultural change ‘The Death of the Author’ argued
and cross-cultural contact. Images that we should not look to the
creator of a literary or artistic work
when attempting to interpret the
meaning inherent within. “The
explanation of a work is always
sought in the man or woman who
created it… (but) it is language
which speaks; not the author.” With
appropriated works, the viewer is less
likely to consider the role of the
author or artist in constructing
interpretations and opinions of the
work if they are aware of the work
from which it was appropriated.