LIGAO COMMUNITY COLLEGE

LIGAO CITY

ART APPRECIATION
Module 7
STUDENT’S NAME:
__________________________________________

YEAR AND SECTION:

__________________________________________

DATE RECEIVED:
__________________________________________

TEACHER’S NAME:
ROMNICK MEL S. MARTINEZ, MAED
I. Overview

It consists in analysing the symbolism of works of arts. For instance, art historians
identify the visual elements of a painting and interpret its meaning. Art historians are
interested in what the works of art represented at the time they were created. It is a way to
learn about the civilizations of the past.

II. Learning Outcomes

At the end of the course you will able to:

 Identify the underlying history, philosophy of the era or movements.

III.Discussion and
III.Discussion and
Self-Assessment
Self-Assessment
Activities(SAA)
Activities (SAA)

Prehistoric Arts
What is Cave Painting? Definition, Characteristics

In prehistoric art, the term "cave painting" encompasses

any parietal art which involves the application of colour
pigments on the walls, floors or ceilings of ancient rock
shelters. A monochrome cave painting is a picture made with
only one colour (usually black) - see, for instance, the
monochrome images at Chauvet. A polychrome cave painting
consists of two or more colours, as exemplified by the glorious
multi-coloured images of bison on the ceiling at Altamira, or
the magnificent aurochs in the Chamber of the Bulls at
Lascaux. In contrast, the term "cave drawing" refers (strictly
speaking) only to an engraved drawing - that is, one made by
cutting lines in the rock surface with a flint or stone tool, rather
than one made by drawing lines with charcoal or manganese.

Origins and History

Polychrome cave painting of a bison
head. (c.15,000 BCE) At present we have no firm idea when cave painting
- Altamira cave main gallery. first began. One theory links the evolution of Stone Age art to
the arrival of anatomically modern humans in Europe
during the period of the Upper Paleolithic. According to
this theory, the development of cave art coincided with
the displacement of Neanderthal man by anatomically
modern man, starting around 40,000 BCE. Indeed, it was
from about this date that the earliest rock art began to
emerge in caves and rock shelters around the world, but
especially throughout the Franco-Cantabrian region.
Painting comes first, followed by mobiliary art, as
exemplified by the portable Venus figurines like
the Venus of Hohle Fels (38-33,000 BCE). Broadly
speaking, cave painting techniques and materials
improved across the board, century by century. Thus we
see the monochrome paintings of Aurignacian culture Big Horn Rhino (25-30,000 BCE)
(40-25,000 BCE) give way to the polychrome art of the Cave painting from Chauvet Cave.
See: Oldest Stone Age Art.
Gravettian (25-20,000 BCE), leading to the apogee of
cave painting which is traditionally acknowledged to occur during the Magdalenian era (c.15-
10,000 BCE) at Lascaux, Altamira, Font de Gaume and Les Combarelles. During the Late
Magdalenian, the Ice Age ended and a period of global warming led to the destruction of the
Magdalenian reindeer habitat, along with its culture and its cave art.

Egyptian Art (3100 BCE - 395 CE)

A major contributor to late Neolithic art,
Egyptian culture is probably the best known form
of ancient art in the Mediterranean basin, before the
advent of Greek civilization (c.600 BCE). Ancient
Egyptian architecture, for example, is world famous
for the extraordinary Egyptian Pyramids, while other
features unique to the art of Ancient Egypt include its
writing script based on pictures and symbols
(hieroglyphics), and its meticulous hieratic style of
painting and stone carving. Egyptian civilization was
shaped by the geography of the country as well as the
political, social and religious customs of the period. Scene from the Book of the Dead
Protected by its desert borders and sustained by the (Thebes Dynasty c.1000 BCE)
waters of the Nile, Egyptian arts and crafts developed
largely unhindered (by external invasion or internal strife) over many centuries.
The Pharaoh (originally meaning 'palace') was worshipped as a divine ruler (supposedly the
incarnation of the god Horus), but typically maintained firm control through a strict bureaucratic
hierarchy, whose members were often appointed on merit.

For a contemporary comparison, see: Mesopotamian Art (c.4500-539 BCE)

and Mesopotamian Sculpture (c.3000-500 BCE). For oriental painting, pottery and sculpture,
see: Chinese Art. See also: Neolithic Art in China (7500 on) and also: Traditional Chinese Art.
The function of Egyptian art was twofold. First, to glorify the gods - including the
Pharaoh - and facilitate human passage into the after-life. Second, to assert, propagandize and
preserve the values of the day. Due to the general stability of Egyptian life and culture, all arts -
including architecture and sculpture, as well as painting, metalwork and goldsmithing - were
characterized by a highly conservative adherence to traditional rules, which favoured order and
form over creativity and artistic expression. Decorative arts included the first examples of Nail
Art.

Timeline of Ancient Egypt

Egyptian culture evolved over three thousand years, a

period usually divided as follows:

The Early Dynastic Period; The Old Kingdom (2680-

2258 BCE); The Middle Kingdom (2134-1786 BCE); The New
Kingdom (15701075 BCE), including the
controversial Amarna Period of King
Amenhotep (Akhenaton) (13501320 BCE). After this, came
an Intermediate Period until the Ptolemaic Era (323-30 BCE)
and the period of Roman rule (30 BCE - 395 CE).

Ancient Egyptian civilization is symbolized by the

Pyramids, most of which were constructed during the Old and
Middle Kingdom periods, when the Pharaoh's power was
absolute. Even today, the full significance of these funerary
Tuthankamen's famous Burial monuments and tombs is imperfectly understood by
Mask (c.1323 BCE) Egyptian
archeologists and Egyptologists. Testifying to the social
Museum, Cairo.
Includes 11 kilograms of solid
organization and architectural ingenuity of Ancient Egyptian
gold. A wonderful piece of culture, the Great Pyramid of Giza (c.2565 BCE) remains the
preciousmetalwork from the New sole surviving member of the Seven Wonders of the Ancient
Kingdom. World, as compiled by the Greek poet Antipater of Sidon.

Egyptian Artists and Craftsmen

Egyptian sculptors and painters were not artists in the modern sense of being a creative
individual. Ancient Egyptian art was rather the work of paid artisans who were trained and who
then worked as part of a team. The leading master craftsman might be very versatile, and capable
of working in many branches of art, but his part in the production of a statue or the decoration of
a tomb was anonymous. He would guide his assistants as they worked, and help to train novices,
but his personal contribution cannot be assessed. Artists at all stages of their craft worked
together. The initial outline sketch or drawing would be executed by one or more, who would
then be followed by others carving the intermediate and final stages. Painters would follow in the
same manner. Where scenes have been left unfinished it is possible to see the corrections made
to the work of less-skilled hands by more practised craftsmen. Many master craftsmen reached
positions of influence and social importance, as we know from their own funerary
monuments. Imhotep, the architect who built the Step Pyramid complex for King Zoser, 2660-
2590 BC, was so highly revered in later times that he was deified. The credit for any work of art,
however, was believed to belong to the patron who had commissioned it.

Egyptian Arts And The Afterlife

Nearly all of Ancient Egypt's surviving paintings were discovered in tombs of the
pharaohs or high governmental officials, and portrays scenes of the afterlife. Known as funerary
art, these pictures depicted the narrative of life after death as well as things like servants, boats
and food to help the deceased in their trip through the after life. These paintings would be
executed on papyrus, on panels, (using encaustic paint) or on walls in the form of fresco murals
(using tempera). In addition, models (eg. of boats, granaries, butcher shops, and kitchens) were
included in the tomb in order to guarantee the future well-being of the dead person.

As the spirit inhabited the body, the preservation of the latter against decay was also
critical. The use of tightly wrapped bandages to mummify the corpse, and the removal and
packaging of internal organs within ceramic canopic jars and other opulent sarcophagi became
widespread among the ruling elite. All these arrangements helped to support a nationwide
industry of Egyptian artists and craftsmen who laboured to produce the artworks (paintings,
scultures, pottery, ceramics, jewellery and metalwork) required.

Egyptian sculpture was highly symbolic and for most of Egyptian history was not
intended to be naturalistic or realistic. Sculptures and statues were made from clay, wood, metal,
ivory, and stone - of which stone was the most permanent and plentiful. Many Egyptian
sculptures were painted in vivid colours.

Greek Art (c.650-27 BCE)

Aegean art of Classical Antiquity dates back
to Minoan culture of the Third Millennium BCE, when the
inhabitants of Crete, known as Minoans after their King
Minos, began to establish a thriving culture around 2100
BCE, based on their successful maritime trading activities.
Influenced by Sumerian art and other strands
of Mesopotamian art, they built a series of palaces at Knossos,
Phaestus and Akrotiri, as well as the creation of a wide range
of fresco painting, stone carvings, ancient pottery and other
artifacts. During the 15th century BCE, after a catastrophic
earthquake, which destroyed most of her palaces, Crete was
overrun by warlike Mycenean tribes from The Parthenon (447-422) Athens. A treasury of Greek architecture,
the Greek mainland. Mycenean full of sculpture, like statues, friezes andreliefs; painting and
culture duly became the dominant force in decorative art. Built under the orders of Pericles,designed by Ictinus
the eastern Mediterranean. Then, not long and Callicrates,and sculpted by Phidias, during Athens' golden age.
after launching the Trojan War (c.1194–
1184), the city of Mycenae, along with its architecture and cultural possessions, was destroyed
by a new set of maurauders, known as Dorians. At this point, most production of ancient
art came to a standstill for about 400 years (1200-800), as the region descended into an era of
warring kingdoms and chaos, known as the "Greek Dark Ages" (or the Geometric or Homeric
Age).

Historical Background

Ancient Greek art proper "emerged" during the 8th century BCE
(700-800), as things calmed down around the Aegean. (See also Etruscan
art) About this time, iron was made into weapons/tools, people started using
an alphabet, the first Olympic Games took place (776), a complex religion
emerged, and a loose sense of cultural identity grew up around the idea of
"Hellas" (Greece). By about 700, kingdoms began to be replaced by
oligarchies and city-states. However, early forms of Greek art were largely
confined to ceramic pottery, as the region suffered continued disruption
from widespread famine, forced emigration (many Greeks left the mainland
to colonize towns in Asia Minor and Italy), and social unrest. This restricted
the development of architecture and most
other types of art. Not until about 650, when Discus Thrower (Discobolus)
maritime trade links were re-established Roman copy of the original
between Greece and Egypt, as well as bronze by Myron (425 BCE)
National Museum, Rome.
Anatolia, did Greek prosperity finally return
and facilitate an upsurge of Greek culture.

Chronology of Greek Art

The practice of fine art in ancient Greece evolved in three basic stages or periods:

• Archaic Period (c.650-480 BCE)

• Classical Period (c.480-323 BCE)
• Hellenistic Period (c.323-27 BCE).

The Archaic era was a period of gradual experimentation. The Classical era then
witnessed the flowering of mainland Greek power and artistic domination.
The Hellenistic Period, which opened with the death of Alexander the Great, witnessed the
creation of "Greek-style art" throughout the region, as more and more centres/colonies of Greek
culture were established in Greek-controlled lands. The period also saw the decline and fall of
Greece and the rise of Rome: in fact, it ends with the complete Roman conquest of the entire
Mediterranean basin.

Roman Art (c.500 BCE - 500 CE)

History of Roman Art

Although Rome was founded as far back

as 750 BCE, it led a precarious existence for
several centuries. Initially, it was ruled by
Etruscan kings who commissioned a variety of
Etruscan art (murals, sculptures and metalwork)
for their tombs as well as their palaces, and to
celebrate their military victories. After the
founding of the Roman Republic in 500 BCE,
Etruscan influence waned and, from 300 BCE, as
the Romans started coming into contact with the
flourishing Greek cities of southern Italy and the
eastern Mediterranean, they fell under the
influence of Greek art - a process known as
Hellenization. Soon many Greek works of art
were being taken to Rome as booty, and many
Greek artists followed to pursue their careers
Marcus Aurelius' Column (193 CE) under Roman patronage.
Erected in the Piazza Colonna, Rome.Depicts the
"rain miracle of Quadi".God rescues the Roman However, the arts were still not a priority
Legion from destruction by barberians by for Roman leaders who were more concerned
creating a terrible storm. about survival and military affairs. It wasn't
until about 200 BCE after it won the first Punic
War against Hannibal and the Carthaginians, that Rome felt secure enough to develop its culture.
Even then, the absence of an independent cultural tradition of its own meant that most ancient art
of Rome imitated Greek works. Rome was unique among the powers of the ancient world in
developing only a limited artistic language of its own.

Cultural Inferiority Complex

Roman architecture and engineering was never less than bold, but its painting and
sculpture was based on Greek traditions and also on art forms developed in its vassal states
like Egypt and Ancient Persia. To put it another way, despite their spectacular military triumphs,
the Romans had an inferiority complex in the face of Greek artistic achievement. Their ultra-
pragmatic response was to recycle Greek sculpture at every opportunity. Greek poses, reworked
with Roman clothes and accessories, were pressed into service to reinforce Roman power.
Heroic Greek statues were even supplied headless, to enable the buyer to fit his own portrait
head.

An example is the equestrian bronze statue of Emperor Marcus Aurelius (c.175 CE),
whose stance is reworked from the Greek statue "Doryphorus" (440 BCE). See: Greek Sculpture
Made Simple.

The reason for Rome's cultural inferiority complex remains unclear. Some Classical
scholars have pointed to the pragmatic Roman temperament; others, to the overriding Roman
need for territorial security against the waves of marauding tribes from eastern and central
Europe and the consequent low priority accorded to art and culture. To which we might add that
- judging by the narrowness of Celtic art (c.500 BCE - 100 CE) - Roman artists weren't doing too
badly. Moreover, we should note that cities in Ancient Rome were less provincial and far more
powerful than Greek city-states, so that its art invariably played a more functional role - not least
because Roman culture was actually a melange of different beliefs and customs, all of which had
to be accomodated. Thus, for example, art quickly became something of a status symbol:
something to enhance the buyer's home and social position. And since most Romans recognized
the intrinsic value of Greek artistry, buyers wanted Greek-style works.

Realist Propaganda

Like the Romans themselves, early Roman art (c.510 BCE to 27 BCE) tended to be
realistic and direct. Portraits, both two-dimensional and three-dimensional, were typically
detailed and unidealized, although later during the age of Hellenistic-Roman art (c.27 BCE - 200
CE), the Romans became aware of the propaganda value of busts and statuary, and sought to
convey political messages through poses and accessories. The same PR value was accorded
to relief sculpture (see, for instance, the Column of Marcus Aurelius), and to history painting
(see, Triumphal Paintings, below). Thus when commemorating a battle, for example, the artwork
used would be executed in a realistic - almost "documentary" style. This realistic down-to-earth
Roman style is in vivid contrast to Hellenistic art which illustrated military achievements with
mythological imagery. Paradoxically, one reason for the ultimate fall of Rome was because it
became too attached to the propagandist value of its art, and squandered huge resources on
grandiose building projects purely to impress the people. Construction of the Baths of
Diocletian (298-306), for instance, monopolised the entire brick industry of Rome, for several
years.

Medieval Art 1000 – 1400

To establish an exact time-frame of the Middle Ages, seen as a civilizational concept,

appears difficult. And in fact it is impossible. In case of the medieval art, however, it presents no
difficulty whatsoever. Because there is no such thing like an ancient-medieval art, and in the art
of the Antiquity no announcement of the Middle Ages is made. There were no pre-Middle Ages
because there could not be such thing. The reason for that is the very essence of the medieval art.

The entire culture of the Middle Ages is bound with the birth and development of
Christianity: understood not only as a new monotheistic religion but also as a revolutionarily
new, universal factor unifying the community. For the first time in history of humanity a
criterion of the membership to the community appeared. It was free of factors such as family
origin, race, ethnic membership and wealth—all of them usually dependent on different kinds of
force majeure. This criterion consisted of a conscious and voluntary (and, in the origins of
Christianity, often heroic) choice of a certain system of values.

Huge formal diversity of the medieval art resulted from the universalness of the Christian
doctrine. Implementing common values over huge areas inhabited by all sorts of cultures, it did
not formulate any manners in which those values could (or should) be expressed in art. Every
culture interpreted them according to its own artistic tradition so that formal elements of the
Celtic, Roman or Armenian art would soon form part of it, taking over gradually the shared
Christian symbolism.

This diversity requires a division of the medieval art history into the following chapters:

EARLY CHRISTIAN ART

it was emerging from the beginning of the 2nd century till the beginning of the 6th
century; it includes the catacomb painting, early Christian architecture and the decorative art of
Rome, Jerusalem and Syria, as well as the art of non-European peoples such as Copts and
Armenians.

BYZANTINE ART

coming into existence from the 6th century in Constantinople and in its zone of influence.
It emerged after the fall of the Western Roman Empire and after the appearance of regional and
doctrinal diversity in Christianity.

PRE-ROMANESQUE ART OF THE "BARBARIANS"

includes the art of the Visigoths, Lombards, Franks (Merovingian and Carolingian) and
Anglo-Saxons.

PRE-ROMANESQUE ART

includes the so-called "first Romanesque", developing in the area between Catalonia and
Lombardy, and the Ottonian art as well.

ROMANESQUE ART

emerging in the 11th and 12th centuries, it constituted—thanks to the international range
of Christian monasticism—the first codified style of the Christian Europe. It includes the
continental monastic architecture of Benedictine monks (Cluny), English Norman as well as
related to it Sicilian Romanesque.

GOTHIC STYLE ART

emerging from the half of the 12th century, it includes the architecture, sculpture and—
for the first time—painting as a self-reliant, independent of architecture form of art, having lots
of regional varieties: from the bombastic Spanish Gothic style till the German brick Gothic style.

Chinese Painting (from c.200 BCE)

Chinese art has a strong tradition of painting and the associated art of calligraphy. One of
the earliest forms was the painting of Chinese pottery, as exemplified by the so-called Painted
Pottery cultures during the era of Neolithic art, the last phase of the Stone Age. For details, see,
for instance, Neolithic Art in China (c.7500-2000 BCE), as well as the Bronze Age period
exemplified by Shang Dynasty Art (c.1600-1000 BCE) and Zhou Dynasty Art (1050-221 BCE),
whose traditions and practices were handed on to Qin Dynasty Art (221-206 BCE) and Han
Dynasty Art (206 BCE - 220 CE), which witnessed the first examples of Chinese porcelain,
around 100 CE.

Compared to Western art, Chinese painting is more

concerned with water based techniques, rather than oils or
acrylics. In addition, Chinese painting is traditionally more
stylized, more abstract and less realistic than Western types.
It also emphasizes the importance of white space and may
be said to favour landscape painting over portrait art,
or figure painting.

Traditional Chinese painting ("guo hua") is similar

to calligraphy - which itself is considered to be the highest
form of painting - and is executed with a brush (made of
animal hair) dipped in black ink (made from pine soot and
animal glue) or coloured ink. Oils are not generally used.
The most popular type of media is paper or silk, but some
paintings are done on walls or lacquerwork. The completed
artwork may then be mounted on scrolls, which are hung or
rolled up. Alternatively, traditional painters may paint
directly onto album sheets, walls, Chinese lacquerware,
folding screens, and other media. In simple terms, there are
two types of "guo hua": the first, known as "Gong-bi" or
meticulous-style, is also described as court-style painting;
the second, known as "Shui-mo" or "xie yi" or freehand-
style, is also called ink and brush painting, or "literati
painting", and was practiced by amateur scholar artists.
Portraits of the Yongzheng Emperor.
(1723-35). Hanging scroll from the A great deal of what we know of the ancient art of
later era of Qing Dynasty art. Chinese painting derives from burial sites from the late Iron
Palace Museum, Beijing. Age onwards (c.450 BCE). These tomb paintings were done
on silk banners, various lacquered objects, and walls. Their
primary function was to protect the dead or assist their souls on their journey to paradise. Tomb
painting and sculpture reached its high-point during the Han Dynasty (206 BCE - 220 CE). For a
guide to the main principles which underpin fine art in China,

Ukiyo-e (Japanese print)

The Japanese art of Ukiyo-e developed in the city of Edo (now Tokyo) during the
Tokugawa or Edo Period (1615-1868). These two names refer to the relatively peaceful 250
years during which the Tokugawa shoguns ruled Japan and made Edo the shogunal seat of
power.

The social hierarchy of the day, officially

established by shogun rulers, placed the merchants, the
wealthiest segment of the population, at the lower end of
the scale. With their political power effectively removed,
the merchant class turned to art and culture as arenas in
which they could participate on an equal basis with the
elite upper classes (warriors, farmers, and artisans). It
was the collaboration among the merchants, artists,
publishers, and townspeople of Edo that gave Ukiyo-e its
unique voice. In turn, Ukiyo-e provided these groups
with a means of attaining cultural status outside the
sanctioned realms of shogunate, temple, and court.

Although Ukiyo-e was initially considered

"low" art, by and for the non-elite classes, its artistic
and technical caliber is consistently remarkable.
Reading the images demands an extremely high level
of visual, textual, and cultural literacy. From its earliest
days, Ukiyo-e images and texts frequently referred to
themes from classical, literary, and historical sources.
At the same time, Ukiyo-e constantly expanded to
reflect contemporary tastes, concerns, and innovations
over the two and a half centuries of its development.
The result was an art that was both populist (of and for
the people, readily accessible, plentiful, affordable) and
highly sophisticated. In summary, Ukiyo-e presented
both the historical and all that was current, fashionable,
chic, and popular. In the hands of the Ukiyo-e artist, the
ordinary was transformed into the extraordinary.
IV. Summary/Key
Points

Art history is the study of aesthetic objects and visual expression in historical and
stylistic context. Traditionally, the discipline of art history emphasized painting, drawing,
sculpture, architecture, ceramics, and decorative arts, yet today, art history examines
broader aspects of visual culture, including the various visual and conceptual outcomes
related to an ever-evolving definition of art. Art history encompasses the study of objects
created by different cultures around the world and throughout history that convey
meaning, importance, or serve usefulness primarily through visual means.

V. End of Module
Assessment (EMA)

Search the internet and list down three (3) famous artists and their artwork for each
era of Arts.

Artist Artwork

Greek Art 1. 1.
2. 2.
3. 3.

Roman Art 1. 1.

2. 2.

3. 3.

Japanes Art 1. 1.

2. 2.

3. 3.

Chinese Art 1. 1.

2. 2.

3. 3.
VI. Looking Ahead

What do you think this artist is trying to say in this artwork? What is the meaning or
message?

VII. Self and Module

Evaluation

How was your experience? Tell me about it

1-Needs Improvement, 2-fair, 3-Good, 4-Very Good, 5-Excellent

Self-Evaluation (Write your response below)

4 – I learned a lot from this module

3 – I learned just right.

2 – I still need guidance on certain topics.

1 – I don’t understand anything discussed

Your Answer -

VIII. References

http://www.visual-arts-cork.com/prehistoric/cave-painting.htm

http://www.visual-arts-cork.com/ancient-art/egyptian.htm

http://www.visual-arts-cork.com/greek-art.htm

http://www.visual-arts-cork.com/roman-art.htm

https://www.historiasztuki.com.pl/strony/001-04-00-SREDNIOWIECZE-eng.html

http://www.visual-arts-cork.com/east-asian-art/chinese-painting.htm

https://www.loc.gov/exhibits/ukiyo-e/intro.html