8

Arts
Quarter 3 – Module 5
South, West, and Central Asian
Artworks in One’s Creation

CO_Q3_Arts 8_Module5
Arts – Grade 8
Alternative Delivery Mode
Quarter 3 – Module 5: South, West, and Central Asian Artworks in One’s Creation
First Edition, 2020

Republic Act 8293, Section 176 states that: No copyright shall subsist in any work of
the Government of the Philippines. However, prior approval of the government agency or office
wherein the work is created shall be necessary for exploitation of such work for profit. Such
agency or office may, among other things, impose as a condition the payment of royalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
trademarks, etc.) included in this module are owned by their respective copyright holders.
Every effort has been exerted to locate and seek permission to use these materials from their
respective copyright owners. The publisher and authors do not represent nor claim ownership
over them.

Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio

Development Team of the Module

Writer: Melanie P. Boteros
Editors: Paulita L. Vernal, Lenycres V. Libres, Charito B. Cabug-os
Reviewer: Cecilia M. Saclolo
Illustrator: Stephen B. Gorgonio
Layout Artist: Ivan Paul V. Damalerio, Razle L. Jabelo
Management Team: Francis Cesar B. Bringas
Isidro M. Biol, Jr.
Maripaz F. Magno
Josephine Chonie M. Obseñares
Bernard C. Abellana
Ma. Teresa M. Real
Dominico P. Larong, Jr.
Gemma C. Pullos
Dulcisima A. Corvera

Printed in the Philippines by

Department of Education – Caraga Region

Learning Resource Management Section (LRMS)
Office Address: J.P. Rosales Avenue, Butuan City, Philippines 8600
Tel. No.: (085) 342-8207
Telefax No.: (085) 342-5969
E-mail Address: [email protected]
 8

Arts
Quarter 3 – Module 5
South, West, and Central Asian
Artworks in One’s Creation
Introductory Message
This Self-Learning Module (SLM) is prepared so that you, our dear learners,
can continue your studies and learn while at home. Activities, questions, directions,
exercises, and discussions are carefully stated for you to understand each lesson.

Each SLM is composed of different parts. Each part shall guide you step-by-
step as you discover and understand the lesson prepared for you.

Pre-tests are provided to measure your prior knowledge on lessons in each

SLM. This will tell you if you need to proceed on completing this module or if you
need to ask your facilitator or your teacher’s assistance for better understanding of
the lesson. At the end of each module, you need to answer the post-test to self-check
your learning. Answer keys are provided for each activity and test. We trust that you
will be honest in using these.

In addition to the material in the main text, Notes to the Teacher are also
provided to our facilitators and parents for strategies and reminders on how they can
best help you on your home-based learning.

Please use this module with care. Do not put unnecessary marks on any part
of this SLM. Use a separate sheet of paper in answering the exercises and tests. And
read the instructions carefully before performing each task.

If you have any questions in using this SLM or any difficulty in answering the
tasks in this module, do not hesitate to consult your teacher or facilitator.

Thank you.
 What I Need to Know

This module was created as a guide for you to help you understand the design,
form, and spirit of South, West, and Central Asian artifacts and objects. The
information presented here can help you develop and enhance your capacity and
talent as an artist. Ultimately, incorporate what you’ve learned throughout the entire
module in creating your artwork.

After going through this module, you are expected to incorporate the design,
form, and spirit of South, West, and Central Asian artifacts and objects to one’s
creation. (A8PL-Ill-3)

What I Know

Directions: Choose the letter of the correct answer. Write your answer on a separate
sheet of paper.

1. Which one dominates the surviving art of South Asian sculpture before AD
1500?
A. Royal jewelry C. Pictures of palaces
B. Religious images D. Portraits of courtly life

2. Which is one of the most striking features of Hindu and Buddhist art?
A. Lavish jewelry
B. Elaborate hairstyles
C. Ugly expressions of deities
D. Multiarmed and multiheaded gods

3. It is a stance/position commonly found in South Asian art.

A. Kneeling position C. Sitting position
B. Lotus position D. Wheel position

1
CO_Q3_Arts 8_Module5
4. It is an ancient art in Turkmenistan.
A. Carpet weaving C. Embroidery
B. Ceramics making D. Pottery

5. Which product made the Kashan of Persia famous?

A. Carpet C. Tableware
B. Embroidery D. Lusterware

6. It is the fusion of substance to the body of the ceramics using fire.

A. Carving C. Glazing
B. Decorating D. Pottery

7. It is an intricate design that uses leaves and flowers commonly seen in wood
carvings, stone reliefs on buildings, textiles, and decorated books.
A. arabesque C. carving
B. calligraphy D. tessellation

8. Which one symbolizes the identity of the Kyrgyz people?

A. kalpak C. shyrdaks
B. keteni D. tush kyiz

9. Which is famous for its blue and white porcelain made from Iranian cobalt
during the 9th century?
A. East Asia C. South Asia
B. North Asia D. West Asia

10. The symbols below are commonly depicted in the iconography of all three
religions in India, EXCEPT for one.
A. Crown C. Lotus
B. Halo D. Wheel

11. These artifacts and objects were found in the Altaic burials EXCEPT for one.
A. cruder pottery articles
B. oldest embroidered Chinese silk
C. two pieces of woven Persian fabric
D. oldest woolen knotted-pile carpet

12. Why are Hindu and Buddhist deities reflected in contrasting depictions?
A. To illustrate the belief that dualities in the world are just an illusion
B. To illustrate the belief that there are two ultimate realities in life
C. To illustrate the belief that there is life after death
D. To illustrate the belief in reincarnation

2 CO_Q3_Arts 8_Module5
13. Why are Hindu, Buddhist, and Jain deities depicted in ideal human forms?
A. To symbolize their divine power
B. To visualize their beautiful human form
C. To visualize their love for the world and humanity
D. To symbolize their transcendent and divine natures

14. How do artists depict the ideal human image for each deity?
A. By using pictures of persons
B. By asking models to pose for them
C. By getting inspiration from daily life
D. By using metaphors derived from nature and their cultural beliefs

15. Why does Islamic art use geometric patterns and floral designs instead of
figures?
A. Because it is difficult to make
B. Because it is common and ordinary
C. Because it is forbidden by their religion
D. Because it is not popular among their artists

3 CO_Q3_Arts 8_Module5
 Lesson Design, Form, and Spirit of

1 South, West, and Central Asian

Artifacts and Objects

Studying the artifacts and objects from South, West, and Central Asia is an
interesting experience as each region’s art provides important information about its
people and its diverse culture.

What’s In

In the previous lesson, you learned to appreciate the artifacts and objects in
terms of their utilization and their distinct use of art elements and principles. Let us
see how much you can remember about this lesson.

Directions: Identify the pictures below. Choose your answers from the word bank.

Petra Taj Mahal Ajanta caves Rangoli

1. __________________________

4 CO_Q3_Arts8_Module5
 2. __________________________

3. __________________________

4. __________________________

5 CO_Q3_Arts8_Module5
 What’s New

Activity: Word Hunt

The word puzzle contains several words relevant to the new lesson. Find these
words and encircle/highlight them.

F A F F A A N N N T T Q R

L A I I M D D N N T T D D

O R N A M E N T T T T T D

R A O A M C N N N N N N D

A B O T F O R M N A O O E

L E B T P R R R R R M R I

L S I D P A A T I F A C T

L Q E E P T R I I T D C I

I U U S P I R I T T I C E

L E E I P V V I T T C C S

I C C G G E O M E T R I C

I C O N S E M M M T R R R

Processing Questions:

What can you associate with these words you found? What made you say so?

6 CO_Q3_Arts8_Module5
 What is It

The broad region of South, Central, and West Asia comprises countries with
diverse cultures. These cultures often provide important themes and inspirations for
art throughout the entire world. What makes this region unique is its location that
connects inner Asia (China and India) and the Western World via a historic and
fabled trade route known as the Silk Route.

South Asian Artifacts and Objects

Ruins such as stone temples, stone and metal temple sculptures, and smaller
religious sculptures created for personal worship dominated the surviving art of the
Great periods of South Asian sculpture. Their theme for these sculptures was mostly
religious in content. Mural paintings and textiles also enriched these sacred
structures.

On the other hand, not all art created in this period was religious. The
existence of many palaces made of brick and wood was proven through
archaeological excavations. The research described its interiors as decorated with
richly carved wood and murals depicting courtly life.

Identification of Hindu and Buddhist Deities

Hindu, Buddhist, and Jain deities are depicted in ideal human forms to
symbolize their transcendent and divine natures. To create the ideal human image
for each deity, artists used metaphors derived from nature and their cultural beliefs.

In India, worshippers recognize images of a deity or spiritual being by specific

attributes such as pose, gestures, color, and adornment. The following are the
features reflected in all three religions’ deity images:

 The Lotus - In India, the Lotus symbolizes excellence and spiritual perfection.
Just like how its flower arises clean from the muddy waters and blooms to the
sun, this reflects the devotee’s attempt to rise above the impure and
treacherous world and to be enlightened as a spiritually perfected being.
 The Wheel (Chakra) – This is another feature with various meanings
depending on the religion. For Buddhists, it symbolizes law. For the Hindus,
it represents time and the cycles of creation and destruction that form
successive universes; or weapons for others.
 The Halo or nimbus of light – typically surrounds the heads of deities or often
envelops their entire body, signifies transcendent happiness.

7 CO_Q3_Arts8_Module5
 Lotus Lotus pedestal Wheel

 Adornment - Deities wear lavish jewelry and elaborate hairstyles. Others often
found with a “sacred thread,” a symbol of learning and the transition to
adulthood. It crosses the left shoulder and falls in a curve across the torso
and around the right hip.

Standing Parvati portrayed here as the ideal consort

of Shiva wears a tiered tiara, luxurious jewelry, the
sacred thread, and a diaphanous and form-
revealing dhoti draped around her body and
secured with a heavy jeweled belt.

 Multiple Features – In Hindu and Buddhist

Art, one of the most striking features is the
portrayal of their deities with multiple arms
and occasional multiple heads, giving them
more power with greater responsibilities on
their hands. These unique attributes,
gestures, and physical forms allow
worshippers to identify each god.

Sixteen-armed Goddess Durga

Killing the Buffalo Demon
Mahisha

8 CO_Q3_Arts8_Module5
 Expressions - Although most human
depictions of deities are idealized and sublime,
some were created ugly and horrific. These
wrathful-looking deities had terrifying
energies that are directed against evil and
ignorance. These features also represent
human failings such as greed, hatred, and
ignorance, which one must recognize and
overcome for enlightenment. The Hindu and
Buddhist gods reflect the Indian belief that
dualities in this world are just illusions; one
cannot be good and bad at the same time.

The Great Goddess Chamunda

(The Horrific Destroyer of Evil)

 Poses - The lotus position, where yoga got its inspiration, was considered a
common pose for a deity. The iconic frontal pose, where feet or one knee slightly
bent, is supporting the body weight, and the dancing pose, which all weight rests
on one leg.

 Architectural Decoration - Sacred Hindu and Buddhist architectures are

decorated with flora, fauna (animals), mythical creatures, and human forms.
Carvings of fantastic, powerful animals signify protection. Patterns of flowers,
trees, vines, figures of yakshas and yakshis, loving couples, and sensuous women
allude to fertility, abundance, and the generative powers of the divine.

West Asian Artifacts and Objects

West Asian arts and crafts cover various forms and styles reflecting its culture
and Islamic religion. Typical artistic forms from the region include embroidery,
ceramics, wood carving, inlaid wood designs, calligraphy, hammered metalwork, and
blown glassworks.

Design

As Islamic religion law forbids idolatry, artists used geometric and floral
designs and patterns for their arts. One example is the Arabesque, an intricate design
that uses leaves and flowers commonly seen in wood carvings, stone reliefs on
buildings, textiles, and decorated books. Another design used by artists is called
Tessellation and Calligraphy, which uses geometric patterns instead.

9 CO_Q3_Arts8_Module5
 Islamic geometric design Arabesque design on the wall of a
(https://commons.wikimedia.org/wiki/File: mosque in the Middle East
Mekhnes_Place_El-Hedine_Mosaique.jpg) (https://study.com/academy/lesson/arabes
que-designs-patterns-islamic-western.html)

Ceramics

Ceramics made by Islamic artists used unique ways of glazing pottery. Others
were influenced by Chinese porcelain making. Glazing in pottery is the fusion of
substance to the body of the ceramic using fire. In addition to this pottery, they
created ceramic tiles. With bright patterns and designs, the tiles were used to cover
the outer walls of religious buildings.

West Asia is also known for its blue and white porcelain made from Iranian
cobalt during the 9th century. West Asia is also known for its blue and white porcelain
made from Iranian cobalt during the 9th century. During the 11th to 14th century,
Kashan of Persia was famous for its lusterware products in Islamic designs. These
were designed with geometric patterns since the use of figurative images is prohibited
in their religion.

Bowl from Iran, mid-800s in luster technique

10 CO_Q3_Arts8_Module5
Carpets

One of the most famous and recognizable of West Asian arts and crafts are
their carpets designed with colorful repeating geometric or arabesque patterns.

Carvings

Just like the other forms of Islamic art, carvings used the same arabesque and
geometric patterns in its design. Artists carve not only on wood but also on ivory,
stone, or plaster.

On the other hand, Assyrian art, particularly their reliefs, was known for using
kings and warriors as the subject in their art. Many of these were massive in size
and mounted on palaces. The same can be seen in Persia (now Iran), where massive
reliefs adorned official buildings and sometimes were carved into mountains.

Assyrian relief carving

Painting

Miniature painting was the most popular painting of Islamic art used in books
called “illuminated manuscripts.”

11 CO_Q3_Arts8_Module5
 Central Asian Artifacts and Objects

Central Asia developed art styles that combine local and foreign influences from
adjoining culture, primarily Islamic region. Fine-quality tableware and cruder pottery
articles were produced by potters of the Chust Bronze age of the Fergana Valley
(formerly Soviet Central Asia). The best Chust pottery was described as very thin,
covered with a red slip, and decorated after glazing with black triangular and scroll
designs.

In the Altai Mountains of Southern Siberia, Kazakhstan, and nearby Mongolia,

you can find the remarkable textiles of the oldest woolen knotted-pile carpet, the
oldest embroidered Chinese silk, and two pieces of woven Persian fabric. The carpet’s
main design shows riders, stags, and griffins and is dominated by red and ochre
colors. Elaborate designs in applique feltwork, dyed furs, and embroidery cover many
of the Pazyryk felt hangings, saddlecloths, and cushions. Clothing, whether of felt,
leather, or fur, was also lavishly ornamented.

Central Asia is one of the biggest sources of the finest rugs in the world.
Uzbekistan, particularly Bukhara, is known for its distinctive dark red designs.

Bukhara rug

In Tajikistan, the art of decorative carving is significant to its people and

culture. Carvings are often seen in architectural monuments, household structures
and objects, musical instruments, and souvenirs. Apart from carving, the Tajiks were
also known for producing unique fabrics, utensils, carpets, furniture, jewelry, and
many other things. In architecture, ornaments in the form of a lotus, tulips, and
other flowers are common.

Traditional arts in Turkmenistan and Kyrgyzstan include felt manufacture,

jewelry making, woodwork, ceramics, and silverwork. Turkmenistan is famous for its
carpets and is regarded as descendants of the purest and oldest carpet-weaving
traditions in Central Asia. Carpet weaving is an ancient art, and each tribe and clan

12 CO_Q3_Arts8_Module5
developed their unique design or gul. Apart from that, their carpets are prized for
their quality, rich colors, and geometric and floral designs.

.
Turkmenistan carpet

Also found in Turkmenistan is Keteni, a homespun silk used to make dresses

for Turkmen women on special occasions. Some of these dresses are embroidered
with different patterns unique for the artists’ tribes.

Keyik Dayza, a hereditary weaver by origin, has devoted over sixty years to making
extraordinary and unrepeatable fabric "ketene," an object of one of the beautiful
traditions of the Turkmen people.

Traditional Kalpak felt hats in Kyrgyzstan, Kazakhstan, and Western China

reflect Islamic, Buddhist, and more ancient origins, while felt rugs in Kazakhstan
copy those of Chinese and Persian carpets. To the Kyrgyz people, the Kalpak is more
than just a hat because it symbolizes the identity of this ethnic group. It also serves
as a reminder of the Kyrgyz people’s reliance on nature.

13 CO_Q3_Arts8_Module5
 Traditional Kyrgyz hats (kalpak)
https://www.westwards.de/photos/kyrgyzstan_201206/kalpak.html

Colors and designs are chosen to symbolize Kyrgyz traditions and rural life
when producing large, elaborately embroidered wall hangings or Tush Kyiz. Older
women in Kyrgyzstan and Kazakhstan typically made tush Kyiz. Common patterns
found in their designs are flowers, plants, animals, stylized horns, national designs,
and emblems of Kyrgyz life. Tush Kyiz has always been created as a deeply personal
family heirloom, symbolizing a newly married couple's union with family, regional,
and national tradition.

Tush kyiz from a 2007 exhibit at Santa Rosa Junior College.

The appearance of the European art forms in the early twentieth century saw
radical changes in the art, culture, and mindset of the people living in the Central
Asia region. However, traditional art forms such as artistic handicrafts, oral poetry,
traditional popular musical genres, and the performing arts continued to flourish.

14 CO_Q3_Arts8_Module5
 What’s More

The following task will help you deepen your understanding about the design,
form, and spirit of South, West, and Central Asian artifacts and objects.

Activity 1: Clustering

Directions: Arrange the words listed below according to where they originated from
or where they are common. Use the table below to write your answer.

keteni blue porcelain multiheaded gods

Finest rugs calligraphy hammered metalwork
lavish jewelry tush kyiz Uzbekistan ceramics
shyrdaks yoga blown glassworks
lusterware deities oldest woolen knotted-pile carpet

South Asia West Asia Central Asia

15 CO_Q3_Arts8_Module5
 What I Have Learned

Directions: Fill in the blanks with correct word/s. Use the spaces provided to write
your answers.

1. Ruins such as stone temples, stone and metal temple sculptures, and smaller
religious sculptures dominated the surviving art form of South Asian
___________ from the second century B.C. to A.D. 1500.
2. Hindu, Buddhist, and Jain deities are depicted in ideal human forms to
symbolize their ______________ and ____________ natures.
3. Metaphors derived from ___________ were used by artists to create an ideal
human image for each deity.
4. In India, worshippers recognize images of a ______________ by specific
attributes such as pose, gestures, color, and adornment.
5. In Hindu and Buddhist Art, one of the most striking features of their art is the
portrayal of their deities with ______________________.
6. The ________ position, where yoga got its inspiration, was considered a
common pose for a deity.
7. West Asia is known for its blue and white _________ made from Iranian cobalt.
8. Uzbekistan, particularly Bukhara, is known for its distinctive _________
designs of their rugs.
9. In Tajikistan, the art of decorative__________ is significant to its people and
culture.
10. _________ is a homespun silk that is used for making dresses for Turkmen
women on special occasions.
11. Elaborately embroidered wall hangings called __________ produced by
Kyrgyzstan and Kazakhstan elder women have colors and designs symbolic of
Kyrgyz traditions and rural life.
12. _______________ is an ancient art in Turkmenistan.
13. To the Kyrgyz people, the Kalpak symbolizes the ___________ of their ethnic
group.
14. The Kalpak serves as a reminder of the Kyrgyz people’s reliance on ___________.
15. Despite the appearance of European art forms in the early twentieth century
which created radical changes in the art, culture, and mindset of the people
living in the Central Asia region, _______________ art forms still continued to
flourish.

16 CO_Q3_Arts8_Module5
 What I Can Do

After reading the above lesson, let us try to create an artwork that will bring
out your creativity in incorporating the design, form, and spirit of South, West, and
Central Asian artifacts and objects.

Carving Soap blocks

Directions: Create your own South, West, and/or Central Asian-inspired design and
pattern and carve it on a soap block.

Materials:
 cardboard
 scissors
 pencil
 bar of soap
 paintbrush
 paper clip
 needle
 old newspaper
 improvised carving tool (nail pusher, cutter, plastic butter knife)

Procedures:

Creating the Design

1. Prepare your working area by spreading out an old newspaper to gather soap
scrapings
2. Outline the shape of the bar soap on cardboard.
3. Create your own design inspired by South, West, and/or Central Asian Art.
Use geometric shapes and flower patterns in creating your own design.
4. Use your improvised carving tools and carefully carve the outline on the soap.
5. Brush away any soap dust.
6. Repeat the steps until you can clearly see the form of design. The carve should
not be too shallow or deep.
7. Once you are done, write a brief description of your work by answering this
question “How is your design inspired by South, West, and/or Central Asian
Art?” and submit this together with the carved soap to your teacher.

17 CO_Q3_Arts8_Module5
Your artwork will be evaluated using these criteria.

Excellent Good Fair Poor

Criteria
(5 pts) (4) (3pts) (2 pts)
The student The student The student The student
clearly satisfactorily somewhat did not
explained how explained how explained how explain how
his design is his design is his design is his design is
Description inspired by inspired by inspired by inspired by
South, West, South, West, South, West, South, West,
and/or and/or and/or and/or
Central Asian Central Asian Central Asian Central Asian
Art. Art. Art. Art.
Student’s Student’s Student’s Student’s
output shows output shows output shows output shows
clean and good carving minimal minimal
Workmanship
clear carving details. carving details carving details
details. with few with many
mistakes mistakes
The design The design The design The design
created is created is created is created is not
inspired by somewhat minimally inspired by
Patterns and South, West, inspired by inspired by South, West,
Designs and/or South, West, South, West, and/or
Central Asian and/or and/or Central Asian
Arts. Central Asian Central Asian Arts.
Arts. Arts.

18 CO_Q3_Arts8_Module5
 Assessment

Directions: After reading and doing all the lesson tasks above, make an infographic
about the design, form, and spirit of South, West and Central Asia. An infographic
is a graphic visual representation of information, data, or knowledge intended to
present information quickly and clearly.

Your work will be graded based on the following rubrics/criteria.

5 4 3 2 1
The design/ The design/ The design/ The design/ The
layout is layout is layout is layout is design/
Design/ very neat, neat, and acceptably distractingly layout is
Layout clear, and attractive. attractive messy and poorly
visually though a bit unattractive. done.
appealing. messy.
All Majority of Some Information No real
Information information Information on the data or
on the on the on the South, West, facts are
South, West, South, West, South, West, and Central present.
and Central and Central and Central Asia
Asia Asia Asia artifacts
Content
artifacts artifacts artifacts shown in the
shown in shown in shown in infographics
the the the are mostly
infographics infographics infographics inaccurate.
is accurate. is accurate. are
accurate.
All visuals Majority of Most of the Some Visuals do
show very visuals show visuals show visuals are not fit the
clear connection connection at odds with content
connection to content to content the content and intent
Graphic
to content, and create a and create a
representation
fit the data visual flow. visual flow.
and create a
visual flow.

19 CO_Q3_Arts8_Module5
 Additional Activities

In India, worshippers recognize images of a deity or spiritual being by specific

attributes such as pose, gestures, color, and adornment.

Directions: Create your own human image of any Hindu Trinity Deities: Brahma the
Creator, Vishnu the Preserver, and Shiva the Destroyer. Submit your output upon
returning this module.

Materials: Use any paper and any available coloring materials at home.

Please be guided by the following rubrics/criteria of grading.

Criteria 5 4 3 2 1
The work The work The work The work The work did
Interpretation shows shows very shows good shows good not use any
of Hindu God excellent use good use of use of some use of few specific
of the different the different specific specific attributes in
specific specific attributes in attributes in drawing their
attributes in attributes in drawing their drawing their interpretation.
drawing their drawing their interpretation. interpretation.
interpretation. interpretation.

Drawing The drawing is The drawing The drawing The drawing The drawing
excellent and is very good is good. is somewhat is incomplete
clear. and clear. clear. and messy.

The work The work The work The work The work
Coloring shows shows very shows good shows fair use shows poor
excellent use good use of use of chosen of chosen use of chosen
of chosen chosen medium medium medium
medium medium

20 CO_Q3_Arts8_Module5
CO_Q3_Arts8_Module5 21
WHAT I KNOW WHAT’S IN
1. B 1. Rangoli
2. D 2. Taj Mahal
3. B 3. Petra
4. A 4. Ajanta Caves
5. D
6. C
7. A
8. A
9. D
10. A
11. A
12. A
13. D
14. D
15. D
WHAT’S NEW WHAT’S MORE WHAT I HAVE LEARNED
Floral South 1. sculpture
Arabesque  lavish jewelry 2. transcendent, divine
Design  yoga 3. nature and their
Decorative  multiheaded gods cultural beliefs
Nomadic  religious images 4. deity or spiritual being
Deities 5. multiple arms and
Ornament West occasional multiple
Form  blue porcelain heads
Artifact  calligraphy 6. lotus
Spirit  hammered metalwork 7. porcelain
Icons 8. dark red
 lusterware
Geometric 9. carving
 blown glassworks
10. keteni
11. tush kyiz
Central
12. carpet weaving
 ketene
13. identity
 finest rugs 14. nature
 shyrdaks 15. traditional
 tush kyiz
 Uzbekistan ceramics
 oldest woolen knotted-
pile carpet
Answer Key
References

Book:

B.R. Anido, et. al., Music and Arts of Asia 8 Learner’s Module. Quezon City:
Book Media Press, Inc.; Mandaluyong City: Printwell Inc., 2013.

Online Articles and Magazines:

A. Bairieva, Homespun Silk, accessed June 5, 2006.

http://countryturkmenistan.tripod.com/index.blog?start=1150697382

A. Kayaspor, The Stunning Beauty of Islamic Geometric Pattern,

accessed December 5, 2019.
https://medium.com/however-mathematics/the-stunning-beauty-of-
islamic-geometric-patterns-4fb57ed5644a

Central Asian Arts.

https://academia-eb com.eres.qnl.qa/levels/collegiate/article/Central-
Asian-arts/1061127

Central Asian Arts Nomadic Cultures.

https://www.britannica.com/art/Central-Asian-arts/Nomadic-cultures

Central Asia Cultures.

https://www.centralasiacultures.com/turkmenistan

Early Islamic World: Art.

https://www.ducksters.com/history/islam/art.php

Figural Art in West and Central Asia, accessed February 23, 2016.
https://study.com/academy/lesson/figural-art-in-west-central-asia-html

India.
http://factsanddetails.com/india/Arts_Culture_Media_Sports/sub7_5b/entr
y-4240.html).

Islamic Geometric Patterns.

https://en.wikipedia.org/wiki/Islamic_geometric_patterns

K. Meeke, “Discover the art and craft of the Silk Road,” Saga Magazine,
accessed August 21, 2018.
https://www.saga.co.uk/magazine/travel/destinations/asia/central-
asia/silk-road-crafts.

22 CO_Q3_Arts8_Module5
 Kyrgyzstan.
https://www.Kyrgyzstantravel.com/the-kalpak

Nikolai Alexandrov, Arts and Crafts of West Asia,

accessed October 11, 2019.
https://brainly.ph

Shyrdak.
https://en.wikipedia.org/wiki/Shyrdak

S.M. Kossak and E.W. Watts, “The Art of South and Southeast Asia: A
Resource for Educators.” The Metropolitan Museum of Art. (2001)
https://www.metmuseum.org/-/media/files/learn/for-
educators/publications-for-educators/sseasia.pdf

The Art of South and Southeast Asia: A Resource for Educators. (n.d.)
https://www.metmuseum.org/-/media/files/learn/for-
educators/publications-for-educators/sseasia.pdf

Turkmenistan.
http://factsanddetails.com/central-asia/Turkmenistan/sub8_7b/entry-
4827.html

“Visual Arts: Prehistoric Cultures,” Encyclopedia Britannica.

https://www.britannica.com/art/Central-Asian-arts/Visual-arts

Photograph:

Fabos, File: Mekhnes Place El-Hedine Mosaique,

https://commons.wikimedia.org/wiki/File:Mekhnes_Place_El-
Hedine_Mosaique.jpg)

Arabesque designs patterns

https://study.com/academy/lesson/arabesque-designs-patterns-islamic-
western.html)

Tush Kyiz
https://enacademic.com/dic.nsf/enwiki/594400

westwards.de, Kyrgyzstan, “kalpak.” (2012)

https://www.westwards.de/photos/kyrgyzstan_201206/kalpak.html

23 CO_Q3_Arts8_Module5
For inquiries or feedback, please write or call:

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24 CO_Q3_Arts8_Module5