TITLE CARD

STRATEGIC INTERVENTION
MATERIAL OF EAST ASIAN
ARTS IN
MAPEH 8
Prepared by:
Lyrene Mae N. Conge
Archie B. Gunio
Cayla Jane D. Orlanes
Josselle L. Pena
Mariella B. Banzon
Kris Alem R. Batol
Regine Lei M. Cruz
Mark Kevin V. Garais
Bon Arris C. Banzon
Philip Jose S. Agcaoile
Mark Nelson C. Rodriguez

GUIDE CARD
Calligraphy is a visual art related to writing. It is the design and execution of lettering with a broad tip
instrument, brush, among other writing instruments. A contemporary calligraphic practice can be
defined as, "the art of giving form to signs in an expressive, harmonious, and skillful manner.
Modern calligraphy ranges from functional inscriptions and designs to fine-art pieces where the letters
may or may not be readable. Classical calligraphy differs from typography and non-classical hand-
lettering, though a calligrapher may practice both.

Calligraphy continues to flourish in the forms of wedding and event invitations, font design and
typography, original hand-lettered logo design, religious art, announcements, graphic design and
commissioned calligraphic art, cut stone inscriptions, and memorial documents. It is also used
for props and moving images for film and television, testimonials, birth and death certificates, maps,
and other written works.

HISTORY
Western calligraphy is recognizable by the use of the Latin script. The Latin alphabet appeared about
600 BC, in Rome, and by the first century developed into Roman imperial capitals carved on
stones, Rustic capitals painted on walls, and Roman cursive for daily use. In the second and third
centuries the uncial lettering style developed. As writing withdrew to
monasteries, uncial script was found more suitable for copying the
Bible and other religious texts. It was the monasteries which
preserved calligraphic traditions during the fourth and fifth
centuries, when the Roman Empire fell and Europe entered
the Dark Ages. Christian churches promoted the
development of writing through the prolific copying of the Bible,
particularly the New Testament and other sacred texts.] Two
distinct styles of writing known as uncial and half-uncial (from the
Latin "uncia," or "inch") developed from a variety of Roman bookhands. ] The 7th-9th centuries
Calligraphy in a Latin Bible of 1407 on display in Malmesbury Abbey,Wiltshire, England. This bible was
hand written in Belgium, by Gerard Brils, for reading aloud in a monastery.

In the eleventh century, the Caroline evolved into the Gothic script, which was more compact and made
it possible to fit more text on a page. The Gothic calligraphy styles became dominant throughout
Europe;

and in 1454, The Georgian calligraphy is centuries-old tradition of an artistic writing of the Georgian
language with its three scripts.

In the 15th century, the rediscovery of old Carolingian texts encouraged the creation of the humanist
minuscule or littera antiqua. The 17th century saw the Batarde script from France, and the 18th century
saw the English script spread across Europe and world through their books.
The Georgian calligraphy is centuries-old tradition of an artistic writing of the Georgian language with
its three scripts.

STYLE
Sacred Western calligraphy has some special features, such as the illumination of the first letter of
each book or chapter in medieval times. A decorative "carpet page" may precede the literature, filled with
ornate, geometrical depictions of bold-hued animals. The Lindisfarne Gospels (715720 AD) are an early
example.

As with Chinese or Islamic calligraphy, Western calligraphic script employed the use of strict rules and
shapes. Quality writing had a rhythm and regularity to the letters, with a "geometrical" order of the lines
on the page. Each character had, and often still has, a precisestroke order.

Unlike a typeface, irregularity in the characters' size, style, and colors increases aesthetic value, ] though
the content may be illegible. Many of the themes and variations of today's contemporary Western
calligraphy are found in the pages of The Saint John's Bible. A particularly modern example is Timothy
Botts' illustrated edition of the Bible, with 360 calligraphic images as well as a calligraphy typeface.

MODERN WESTERN CALLIGRAPHY

INFLUENCES
Several other Western styles use the same tools and practices, but differ by character set and stylistic
preferences. For Slavonic lettering, the history of the Slavonic and consequently Russian writing
systems differs fundamentally from the one of the Latin language. It evolved from the 10th century to
today.

EAST ASIA
See also: Chinese calligraphy, Japanese calligraphy, Korean calligraphy, and Vietnamese calligraphy

The Chinese name for calligraphy is shf ( in Traditional Chinese, literally "the method or law of
writing") the Japanese name shod (, literally "the way or principle of writing"); the Korean
is seoye (Korean: /, literally "the art of writing"); and the Vietnamese is Th php (, literally
"the way of letters or words"). The calligraphy of East Asian characters is an important and appreciated
aspect of East Asian culture.

HISTORY
In ancient China, the oldest Chinese characters existing are Ji g wn() characters carved on
ox scapulae and tortoise plastrons, because the dominators in Shang Dynasty carved pits on such
animals' bones and then baked them to gain auspice of military affairs, agricultural harvest, or even
procreating and weather. During the divination ceremony, after the cracks were made, the characters
were written with a brush on the shell or bone to be later carved.(Keightley, 1978). With the development
of Jnwn (Bronzeware script) andDzhun (Large Seal Script) "cursive" signs continued. Moreover, each
archaic kingdom of current China had its own set of characters.

In Imperial China, the graphs on old stelessome dating from 200 BC, and in Xiaozhuan styleare still
accessible.

About 220 BC, the emperor Qin Shi Huang, the first to conquer the entire Chinese basin, imposed
several reforms, among them Li Si's character unification, which created a set of 3300
standardized Xiozhun characters. Despite the fact that the main writing implement of the time
was already the brush, few papers survive from this period, and the main examples of this style are on
steles.

A Vietnamese calligrapher writing in Hn-Nm in preparation for T t, at the

Temple of Literature, Hanoi (2011).

TECHNIQUES
Traditional East Asian writing uses the Four Treasures of the Study (/): the ink
brushes known as mob () to write Chinese characters, Chinese ink, paper, and inkstone, known as
the Four Friends of the Study (Korean: ) in Korea. In addition to these four tools, desk pads and
paperweights are also used.

The shape, size, stretch, and hair type of the ink brush, the color, color density and water density of the
ink, as well as the paper's water absorption speed and surface texture are the main physical parameters
influencing the final result. The calligrapher's technique also influences the result. The calligrapher's
work is influenced by the quantity of ink and water he lets the brush take, then by the pressure,
inclination, and direction he gives to the brush, producing thinner or bolder strokes, and smooth or
toothed borders. Eventually, the speed, accelerations, decelerations of the writer's moves, turns, and
crochets, and the stroke order give the "spirit" to the characters, by greatly influencing their final
shapes.

On Calligraphy by Mi Fu, Song Dynasty

STYLES
Cursive styles such as xngsh (semi-cursive or running script) and cosh (cursive or grass script) are
less constrained and faster, where more movements made by the writing implement are visible. These
styles' stroke orders vary more, sometimes creating radically different forms. They are descended from
Clerical script, in the same time as Regular script (Han Dynasty), but xngsh and cosh were used for
personal notes only, and never used as a standard. The cosh style was highly appreciated in Emperor
Wu of Hanreign (140187 AD).[25]

Examples of modern printed styles are Song from the Song Dynasty's printing press, and sans-serif.
These are not considered traditional styles, and are normally not written.

INFLUENCES
Cursive styles such as xngsh (semi-cursive or running script) and cosh (cursive or grass script) are
less constrained and faster, where more movements made by the writing implement are visible. These
styles' stroke orders vary more, sometimes creating radically different forms. They are descended from
Clerical script, in the same time as Regular script (Han Dynasty), but xngsh and cosh were used for
personal notes only, and never used as a standard. The cosh style was highly appreciated in Emperor
Wu of Hanreign (140187 AD).[25]

Examples of modern printed styles are Song from the Song Dynasty's printing press, and sans-serif.
These are not considered traditional styles, and are normally not written.

MONGOLIAN CALLIGRAPH is also influenced by Chinese calligraphy, from tools to style.

Calligraphy has influenced ink and wash painting, which is accomplished using similar tools and
techniques. Calligraphy has influenced most major art styles in East Asia, including ink and wash
painting, a style of Chinese, Korean, Japanese painting, and Vietnamese painting based entirely on
calligraphy.

. Japanese calligraphy, the word "peace" and the signature of the Meiji
period calligraphe r ura Kanetake, 1910.

Painting can be mounted on scrolls, such as hanging scrolls or

hand scrolls, album sheets, walls, lacquerware, folding screens, and other media.
 ACTIVITY CARD
ACTIVITY 1:

Lets test your skill of making CALLIGRAPHY ARTS.

MAKING CALLIGRAPHY ARTS

Step1: Clear the table.

Step 2: Set up your supplies, (calligraphy pen ,ink, paper,)

Step 3: Show your child examples of calligraphy .Ask, how is this writing

different from writing that we use to make lists or write our names?

See reference books below for calligraphy resources.

Step 4: Practice drawing and writing. The object here is to have fun with the

pen/s and not worry too much about how the writing actually turns out.

ACTIVITY 2:
Fill in the blanks. Choose the correct answer below.

1._______ is a visual art related to writing.

2. Classical calligraphy differs from ________ and non-classical hand-lettering.

3. Western calligraphy is recognizable by the use of the ____________.

4. When the Roman Empire fell and Europe entered the ____________.
5. In northern Europe were the heyday of Celtic illuminated manuscripts, such as
_______________ Lindisfarne Gospels and the Book of Kells

6. When _______________ developed the first printing press in Mainz, Germany, he adopted the
Gothic style, making it the first typeface.

7. The _____________ is centuries-old tradition of an artistic writing of the Georgian language with
its three scripts.

8. __________________, the word "peace" and the signature of the Meiji period calligraphe r ura
Kanetake, 1910.

9. ______________ is also influenced by Chinese calligraphy, from tools to style.

 10. A Vietnamese calligrapher writing in Hn-Nm in preparation for T t, at the ______________.

CALLIGRAPHY LATIN SCRIPT

TYPOGRAPHY JAPANESE CALLIGRAPHY
DARK AGES MONGOLIAN CALLIGRAPHY
THE BOOK OF DURROW GEORGIAN CALLIGRAPHY
JOHANNES GUTENBERG STYLE
TEMPLE OF LITERATURE, HANOI INFLUENCES

ACTIVITY 3:
Identify the following statement.

(1)______________ continues to flourish in the forms of (2) ________ and event

invitations, (3)_____________ design and typography, original hand-
lettered (4)_________ design, (5)_______________ announcements (6)______________ and commissioned
calligraphic art, cut stone(7)__________, and memorial (8)_____________. It is also used for (9 )
___________ and moving images for film and
television, (10)__________, (11)___________ and (12)_______certificates, (13)__________and other written
works. Calligraphy is a (14) __________ related to (15)____________.

ASSESSMENT CARD

A. Choose the letter of the correct answer.

1. He is the first emperor to conquer the entire Chinese basin.

a. Xiauzhuan b. Qin Shi Huang c. Li Si d. Timothy Botts
2. He is illustrated the edition of the bible.
a. Qin Shi Huang b. Li Si c. Timothy Botts d. Xiauzhuan
3. It is give the spirit to the characters.
a. Stroke Order b. Hair Type c. Ink Brushes d. Chinese Character.
4. It is known as maobi.
a. Hair Style b. Chinese Character c. Stroke Order d. Ink Brushes
5. This cursive styles such as xngsh is also known as.
a. semi-cursive or running script b. cursive or grass script c. Han Dynasty
d. Song Dynasty

B.
 REFERENCE CARD

https://www.google.com.ph/search?
q=calligraphy&biw=1242&bih=603&source=lnms&tbm=isch&sa=X&sqi=2&ved=0ahUKEwjAu6GOhf3QA
hXFp5QKHYc0BK0Q_AUIBigB&dpr=1.1#tbm=isch&q=calligraphy+making&imgrc=3NaPftKTcRjxIM%3A
https://www.google.com.ph/search?
q=calligraphy&biw=1242&bih=603&source=lnms&tbm=isch&sa=X&sqi=2&ved=0ahUKEwjAu6GOhf3QA
hXFp5QKHYc0BK0Q_AUIBigB&dpr=1.1#tbm=isch&q=calligraphy+designs
https://www.google.com.ph/#q=calligraphy

KEY ANSWER
ACTIVITY NO. 1

ACTIVITY NO. 2
1. CALLIGRAPHY
2. TYPOGRAPHY
3. LATIN SCRIPT
4. DARK AGES
5. THE BOOK OF DURROW
6. JOHANES GUTENBERG
7. GEORGIAN CALLIGRAPHY
8. JAPANESE CALLIGRAPHY
9. MONGOLIAN CALLIGRAPHY
10.TEMPLE OF LITERATURE, HANOI

ACTIVITY NO. 3
1. CALLIGRAPHY
2. WEDDING
 3. FONT
4. LOGO
5. RELIGIOUS ART
6. GRAPHIC DESIGN
7. INSCRIPTION
8. DOCUMENTS
9. PROPS
10.TESTIMONIAL
11.BIRTH
12.DEATH
13.MAPS
14.VISUAL ART
15.WRITING

ASSESSMENT CARD

STRATEGIC INTERVENTION
MATERIAL OF EAST ASIAN
ARTS IN
 MAPEH 8

Prepared by:
Lyrene Mae N. Conge
Archie B. Gunio
Cayla Jane D. Orlanes
Josselle L. Pena
Mariella B. Banzon
Kris Alem R. Batol
Regine Lei M. Cruz
Mark Kevin V. Garais
Bon Arris C. Banzon
Philip Jose S. Agcaoile
Mark Nelson C. Rodriguez

TITLE CARD

EAST ASIAN ARTS UNIT II

 GUIDE
CARD

Painting in
China,
Japan,
and Korea
The
performers
from China
and Japan
usually
paint faces
depending
on the
character
or

personification they are portraying. So aside from painting on silk, paper, and printing in wood, Chinese
and Japanese also painted their face and Koreans painted masks for theatrical and festival
performances.
Peking opera face painting or jingju lianpu is done with different colors in accordance with the
performing characters personality and historical assessment. The hero type characters are normally
painted in relatively simple colors, whereas enemies, bandits, rebels, and others have more complicated
designs on their faces.
It is a traditional special way of makeup in Chinese operas in pursuit of the expected effect or
performance. Originally, lianpu is called the false mask.

Meaning of Colors in Face Painting

Guan Ju- Red indicates devotion, courage, bravery, uprightness, and loyalty.
 Huang Pang- Yellow significe
fierceness, ambition, and cool
headedness.

Zhu Wen- A green face tells the audience that the

character is not only impulsive and violent but also lacks selt-restraint.

Zhang Fei- Black symbolizes roughness and fierceness. The black

faceindicates either a rough and bold character or an impartial and selfless
personality.

Lian Po- Purple stands for uprightness and cool headedness while a
reddish-purple face indicates a just and noble
character.
 Cao Cao- White suggests treachery, suspiciousness, and craftiness.
It is commom to see the white face of the powerful villain on stage.

Jiang Gan- The clown or chou in Chinese opera has special makeup
patterns called xiaohualian (the pretty painted face). Sometimes a small
patch of chalk is painted around the nose to show a mean and secretive
character. At times, the xiaohualian is also painted on a young page or
jester to enliven up the performance.

Kabuki Makeup of Japan

Kabuki makeup or kesho is already in itself an interpretation of the actors own role through
the medium of the facial features. On stage, this interpretation becomes a temporalization of makeup in
collaboration with the audience. The result is a decoding of the drama traced out in the graphic designs
of the painted face. Masao Yamaguchi (quoted in The Painted Body, 1984)
Kabuki makeup is also another way of face painting which has two types:
1. Standard makeup applied to most actors
2. Kumadori makeup applied to villains and heroes
It is composed of very dramatic lines and shapes using colors that represent certain qualities.
- Dark red passion or anger
- Dark blue depression or sadness
- Pink youth
- Light green calm
- Black fear
- Purple nobility
Korean Masks
Korean Masks, called tal or tal, originated with religious meaning just like the masks of other
countries which also have religious or artistic origins. Korea has a rich history of masks. They use it in
funeral services to help banish evil spirits and theater plays dating back to the prehistoric age.
Mask were also used for shamanistic rites and were kept within temples where they were honored
with offerings. By the 12th century, the masks became part of elaborate dances and dramas.

The Roles of Colors in Korean Masks

1. Black, Red, and White masks bright and vibrant colors that help establish the age and race of
the figure.
2. Half Red and Half White masks symbolize the idea that the wearer has two fathers, Mr. Red and
Mr. White.
3. Dark-faced mask indicates that the character was born of an adulterous mother.

Activity No. 1
Give the correct answer.
1. What topic is all about?
2. It is the color which symbolizes roughness and fierceness.
3. It is called the pretty painted face.
4. Kabuki makeup is also known as.
5. It is called a false masks.

Activity No. 2

Give the meaning of given colors.

1. Pink
2. Light green
3. Dark blue
4. Black
5. Purple

Activity No. 3
 Give the colors to their masks.

1. Cao Cao
2. Zhu Wen
3. Huang Pang
4. Guan Ju
5. Jiang Gan

Assessment
Card

A. True or False.

1. According to Cao Cao green face tells the audience that the character is not only impulsive and
violent but also lacks selt-restraint.
2. Black symbolizes fear.
3. Purple symbolizes nobility.
4. Light green symbolizes passion or anger.
5. Dark blue symbolizes calm.

B. Fill in the blanks.

The performers from______________ usually paint faces depending on the character
or personification they are portraying. So aside from______________, __________,
and_____________, Chinese and Japanese also painted their __________and Koreans
painted masks for ___________and _________________.
Peking opera face painting or ___________is done with different colors in
accordance with the _______________personality and ________________. The hero
type characters are normally painted in relatively__________, ______________,
_________, _____________, and others have more complicated designs on their
faces.
It is a traditional special way of makeup in Chinese operas in pursuit of the
expected effect or performance. Originally, lianpu is called the _____________.

Enrichment Card

Give the colors and symbolizes of their masks.

1. Zhu Wen
2. Cao Cao
3. Liang Po
4. Zhang Fei
5. Huang Pang

Reference Card
https://www.google.com.ph/search?
q=chinese+painting&biw=1242&bih=603&tbm=isch&imgil=tjkgzcfKozTzCM%253A
%253BRyGxABji0-A8IM%253Bhttps%25253A%25252F%25252Fwww.pinterest.com
%25252Fpin%25252F512003051361064113%25252F&source=iu&pf=m&fir=tjkgzcfKozTzCM
%253A%252CRyGxABji0-A8IM%252C_&usg=__tAt6aQDXpU0yTl4z6_Vm2ohFXbs
%3D&ved=0ahUKEwjUoveio7HRAhXLGZQKHX94AgIQyjcILg&ei=kYVxWJSWOMuz0AT_8IkQ#tb
m=isch&q=zhang+fei+mask&imgrc=OelntVtU0BLUGM%3A

Key Answer

Activity No. 1
1. Painting in China, Japan, and Korea
2. Black
3. Xiaohualian
4. Kesho
5. Lian Pu

Activity No. 2
1. Youth
2. Calm
3. Depression or sadness
4. Fear
5. Nobility
Activity No. 3
1. White
2. Green
3. Yellow
4. Red
5. Clown
Assessment Card
1. True
2. True
3. True
4. False
5. False
B.
Enrichment Card
According to their colors.