HUMANITIES

HUMANITIES NATURAL SCIENCES

 Liberal arts Focus Internal aspect of man External aspect of man
Method Analytical, speculative empirical
- subjects such as history, languages, and philosophy that
Areas Philosophy, Art, Biology, Chemistry, Physics,
involve the study of culture and ideas, as distinct from
Languages, History, etc etc.
the sciences
Purpose Refinement, upliftment Improvement of life
 Classical studies
of taste
- the study of the language and literature of the ancient
Greeks and Romans
THE NATURE OF ART
 Academic disciplines that study aspects of human culture  In every age or country, there is always art.
 No central discipline  It is everywhere
 Liberal arts (Trivium: Grammar, Rhetoric, Language; Quadrivium:  A true work of art is made by man himself not imitatively, but
Arithmetic, Geometry, Astronomy, Music) creatively.
 Studies local traditions through their history, literature, music,  Art is a creation
and arts with an emphasis on understanding individuals, events,  Art is an expression
and eras  Etymological meaning:
 Includes ancient and modern languages, literatures, philosophy, From Latin ARS – ability or skill
religion, art, and musicology Italian word ARTIS – craftsmanship, skill, mastery of form,
 Records of man’s quest for answers to the fundamental inventiveness
questions he asks about himself and about life  A product of man’s need to express himself
 Focuses on things that are inherently human – man’s experiences,  Concerned with communication of ideas and feelings by means of
values, sentiments, ideals, and goals sensuous medium
 Expression of man’s feelings and thoughts  Brings life in harmony with the beauty of the world
 Treated as skills or ways of doing  An attitude of the spirit
 From “humanitatis” (Latin) = humanity, culture, refinement,  A state of mind
education  Skillful arrangement of composition of some common but
= education befitting a cultured man significant qualities of nature; expresses human feelings,
 Critical/speculative (with historical element), NOT empirical emotions, and thoughts in a perfect meaningful and enjoyable
way
FOUR ESSENTIALS OF ART
o man-made WAYS OF REPRESENTING THE SUBJECT
o Creative, not imitative 1. REALISM
o Benefits and satisfies man - Depicts the way the subject would normally appear in
o Expressed through a medium/material nature
- Note: No work of art is truly realistic.
- Only illusion of reality is presented through the careful
IMPORTANCE OF ART choice of details (ex. realistic novel)
o Communication
o Inspiration 2. ABSTRACTION
o Glimpse of thoughts, feelings, and beliefs of people - Process of simplifying and/or reorganizing objects and
o Means to change ways and behavior elements according to the demands of artistic expression
- Enough of a likeness of the reality may be retained or not

ART APPRECIATION 3. DISTORTION

- The ability to INTERPRET and UNDERSTAND man-made arts and - Figures have been so arranged that proportions differ
ENJOY them. noticeably from natural measurements
- Twisting, stretching, deforming the natural shape of an
object
SUBJECT OF ART
 Representational/Objective Art
- represents the world more or less as our eyes see it; may KINDS OF SUBJECT
either be naturalistic or stylized Landscapes, seascapes, cityscapes
 Abstract Art Still lifes
- takes certain aspects of visual reality which are simplified Animals
and recombined Portraits
 Nonrepresentational/Nonobjective Art Figures
- art that does not refer to the appearances of the visible everyday life
world History and legend
Religion and mythology
Dreams and fantasies
SUBJECT
- objects depicted by the artist “THERE IS NO WORD FOR ART IN MY LANGUAGE” (TRADITIONAL ARTS)
An interview with Ruel Bimuyag by A/Prof. Nerissa Guevarra
CONTENT
- what the artist expresses or communicates ; the meaning/theme Major Points
- Reveals the artist’s attitude towards the subject - Art as “a way of life”

LEVELS OF MEANING Rituals and Festivals

 Factual – literal statement or the narrative content in the work 1. DINUPDUP
 Conventional – special meaning for a particular culture - Practice: GITOK , music, dance, chants (Alim through a
 Subjective – personal meaning consciously or unconsciously mumbaki)
conveyed by the artist - Highest form of ritual for the KADANGYAN or IMUYAUY
- Extreme reasons for the performance
The subject of art has some intellectual content. o Dying man (To be cured of the illness)
- Osborne o Healthy (Thanksgiving; festive)

2. TUNGO (rest day)

THEMES AND PURPOSES OF ART - Tungo at Hungduan
1. Arts of daily life; Utilitarian/Physical (objects, architecture, community - Done April 16-18 (must have been last week of July or first
planning) week of August)
2. The sacred realm;Cultural - From HWA ritual (after the harvest)
3. The social order (influences social behavior; display and celebration; - To give thanks to MAKNONGAN by saying the BAKI
social description) - Does the PUNNUK (tug of war and BULTUNG); use of PAKIG
4. Storytelling - Chanting, oral prayers (day before)
5. Art and nature - IMBAYA (dancing and music if with good harvest)

 Art is a reflection of creativity, ingenuity, and inventiveness within 3. BAGNAS/ PANAGBENGA

a culture - War/rice cycle ritual/protection of the territory; food security,
 The primitive art is symbolic well-being, good health
- Involves music, trekking, and fire
- Done thrice a year (rainy season, planting, before
 harvesting)Leaves the DAP-AYS (council of elders) as the feasting, ceremonies, or other observances
others proceed to PATPATAYAN (sacred ground) - a periodic commemoration, anniversary, or celebration
- With bonfire in “bahag”/”wanis” tell stories (oral translation, - a period or program of festive activities, cultural events, or
tradition, explanation) followed by prayer in the morning entertainment
- Followed by TULING –men get spear with BUDBUD (band on
the head)in their WANIS for TUDEY and MABASIG (prayer) FESTIVIZATION
for abundant flow of water - Over-commodification of festivals exploited by tourism and place
- Ends up in DAP-AY with the playing of the gongs in 3-5 days marketers
- Women perform social responsibility
“But the instant the criterion of authenticity ceases to be applicable
4. AMON DE VO CHONG (Peace Pact; gathering)/ HIDIT to artistic production, the total function of art is reversed. Instead of
- With dancing, gong playing (for vochong only) , being based on ritual, it begins to be based on another practice –
merrymaking, symposia, trade fairs politics.”
- With three spears speared into the ground; cases to be -Walter Benjamin
solved
SCOPE OF ART
 According to Manaois
RITUAL  Fine/Independent Arts
- an established or prescribed procedure for a religious or other  Practical Arts
rite.
- a system or collection of religious or other rites.  According to Sanchez
- observance of set forms in public worship.  Visual
- a book of rites or ceremonies. Graphic (two-dimensional)
- a book containing the offices to be used by priests in Plastic (three-dimensional)
administering the sacraments and for visitation of the sick, burial  Literature
of the dead, etc.  Drama and theater
- a prescribed or established rite, ceremony, proceeding, or service:  Music
the ritual of the dead.  Dance
- prescribed, established, or ceremonial acts or features
collectively, as in religious services.  According to Estolas
 Major
 Minor
FESTIVAL
- a day or time of religious or other celebration, marked by * Visual
 * Performing References:
* Literary
* Popular * Art: Perception and Appreciation by Ortiz, et al.
* Gustatory * Art Appreciation by Galan and Guevarra
* Decorative * Encarta Encyclopedia
* Gilbert’s Living with Art by Mark Getlein (6th ed.)
- According to Panizo and Rustia
 according to purpose
o Practical/useful(produces artifacts for the
satisfaction of human need)
o Liberal(directed towards intellectual growth)
o Fine (focused towards creative activity for the
contemplation of the mind)
o Major (actual and potential expressiveness)
o Minor (concerned on practical uses)
 according to media and forms
o Plastic (developed through space and perceived
by sense of sight)
o Kinetic (involves element of movement)
o Phonetic (directed towards sounds and words)
o Pure (takes one medium of expression)
o Mixed (takes more than one medium)

THE WORLD'S MOST EXPENSIVE PAINTINGS - BBC DOCUMENTARY -

Discovery History Art (full documentary)
https://www.youtube.com/watch?v=IDzuhvz4-Sg

Scope of PLQ1

Scope: humanities, humanities vs. science, art-definition, subject,

nature, essentials, functions, and scope; art appreciation, “There is No
Word for Art..” and “Art Documentary”
 - Suggests action, life and movement (ex. running person)
 Crooked/jagged
- Suggests energy, violence, conflict, struggle

THE VISUAL ELEMENTS CLASSIFICATION

o Lines which follow or repeat themselves
1. LINE o Lines which contrast one another
- Man’s own invention o Transitional lines which may modify or soften the effect of others
- Used to imitate or represent objects and figures on flat
surfaces TRANSITION IN SCULPTURE
- May be short/long, fine/thick, wavy/jagged, straight/curved  Abrupt – intersection of the forms shows a clearly defines line
- Used across or within a shape giving the effect of solidity,  Smooth – one form flows into or blends with another element
volume, rough or smooth surface
- There can be no shape without it
ACTUAL LINES
 Straight line o Path traced by a moving point
- Basic framework of many forms though lacks softness o Records borders of forms, conveys direction and motion
and flexibility
- Suggests efficiency, simplicity and strength CONTOUR AND OUTLINE
- Moves in one direction: horizontal, diagonal or vertical  Outline – defines 2 dimensional shape
 Horizontal line  Contours – boundaries perceived by 3-dimensional forms
- Indicates repose and serenity  Contour lines
 Vertical line - lines drawn to record boundaries
- Suggest poise, balance, force, aspiration, exaltation, and - responsible for direction and movement, “decisive
dynamism movement”
- Express and arouse exaltation and restlessness - maybe in linear form
- Poised for action - may be implied
 Curved line
- Suggests grace, subtleness, direction, instability,
movement, flexibility, joyousness and grace 2. SHAPE AND MASS
 Diagonal line  Shape
 - 2-dimesional form - Primary hues: red, yellow, blue
- Occupies an area with identifiable boundaries - Secondary hues: produced with the equal mixture of
(created by line, shift in texture or shift in color) primary hues (orange, green, violet)
 Mass - Tertiary hues: primary and adjacent secondary color
- 3-dimensional form (yellow-green)
- Occupies a volume of a space (clay, mountain, work of - Complementary – colors directly opposite to each other
architecture)
3. LIGHT AND VALUE 2) Value
 Light - Relative lightness/darkness
- Responsible for revealing the form - All hues = normal value
 Value - Tint – lighter than the normal value (+ white)
- Refers to shades of light and dark - Shade – darker than the normal value (+ black)
 Implied light: Modeling mass in two dimensions
 Chiaroscuro – Italian for light/dark; contrast between light 3) Intensity
and dark - Chroma or saturation
- Relative purity of color
WAYS TO CREATE VALUE: - Pure/saturated
o Hatching – row of lines facing the same direction - Purest: high intensity
o Cross-hatching – same as hatching except adding lines that cross - Grayer color: lower intensity
over
o Scumbling – tiny squiggly, circular line; “controlled scribbling” COLOR HARMONY
o Stippling – many dots - Color scheme
- Selective use of two or more colors in a single composition

4. COLOR  Monochromatic
- Has the most aesthetic appeal - Variations of the same hue
- A property of light  Complementary
- When light goes out, color goes with it - Green, red; blue, orange; yellow, violet
- White, gray and black have no color quality, referred as  Analogous
neutral colors - Colors adjacent to each other

DIMENSIONS OF COLOR (PHYSICAL PROPERTY) PALLETE

1) Hue - Board in which artists traditionally set out their pigments
- gives color its name - Range of pigments
 - Uses diagonal lines without allowing the parallels to
a. Restricted converge
- Limited to few pigments and their mixtures, tints, and
shades
b. Open 8. TIME AND MOTION
- Colors vary at the artist’s disposal  Futurism
- not a fixed moment
- celebrates motion, speed, and energy
 Advancing colors – warm colors PRINCIPLES OF DESIGN
 Receding colors – cool colors
Design - composition or organization to satisfy the artist’s intent

5. TEXTURE AND PATTERN

 Actual Texture – tactile 1. UNITY AND VARIETY
 Visual Texture – less literal; can be achieved to pattern  Unity
- sense of oneness of things belonging together and
PATTERN making up a coherent whole Repeating forms and spaces
- Any decorative, repetitive notif or design unite the work
- Can be achieved by holding some of the visual elements
constant and varying others
6. SPACE  Visual rhyme
- Dynamic visual element that interacts with the lines, shapes, - may be achieved through repetition of shapes
colors, and textures of a work of art to give them definition - Visual unity - based on the elements of shape, line, color,
etc.
 Literal surface – picture plane - Conceptual unity- based on the unity of ideas
 Implied space – can be achieved through overlap and position

2. BALANCE
7. PERSPECTIVE  Visual weight
 Linear perspective - apparent heaviness or lightness of form arranged in a
- Brings about diminishing form and vanishing point composition, as gauged by how insistently they draw
- Foreshortening – makes the image appear short our eyes
 Atmospheric perspective/Aerial perspective  Symmetrical balance
 Isometric perspective - The implied center of gravity is the vertical axis, an
 imaginary line drawn down the center of the - certain areas of the composition are purposefully made
composition. Forms on either side of the axis less interesting, so that the areas of emphasis stand out.
correspond to one another in size, shape, and
placement. WAYS TO CREATE EMPHASIS:
- Relieved symmetry- when the correspondence is very  Size
close but not exact  Placement
- Asymmetrical balance - two sides do not match

PRINCIPLES OF VISUAL BALANCE

o A large form is visually heavier than the smaller form. 4. SCALE AND PROPORTION
o A dark value form is visually heavier than a light form of the same - both have to do with size
size.
o A textured form is visually heavier than a smooth form of the  Scale
same size. - size in relation to a standard or “normal “size (Normal
o A form placed close to the central axis may be visually heavier size is the size we expect something to be)
than a similar form placed near the outer edge of the  Proportion
composition. - size relationships between parts of a whole, or between
o Two or more small forms can balance a larger one. two or more items perceived as a unit
o A smaller dark form can balance a larger light one.  Hierarchy of scale
- use of scale to indicate the relative importance
Note: Balance encourages our active participation in looking. It also
helps communicate a mood or meaning.
5. RHYTHM
- based on repetition
3. EMPHASIS AND SUBORDINATION
- complementary concepts

 Emphasis
- attention more drawn to certain parts of the composition
than to others
 Focal point
- emphasis on a relatively small, clearly defined area
 Subordination