Art Around the World

7/14/2019 Art Around the World

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Around the World in One Classroom!An Evening for Educators

at the Springville Museum of Art


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The Earth seen from Apollo 17 NASA 7 December 1972

public domain

hp://en.wikipedia.org/wiki/File:The_Earth_seen_from_Apollo_17.jpg


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Around the World in One Classroom!Contents

AustraliaAboriginal Dreamtime prints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9TongaTapa Cloth Prints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15IndiaIndian Mandalas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21JapanNotan Collages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31SwedenSwedish Cookie Stamps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37UkraineUkranian Eggs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43UkraineAdvanced VersionPysanky . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49Byzantine EmpireIcons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53The Far NorthInuit Sculpture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55AmericaWhats Your Heritage? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61AmericaJourneys End (Pioneers)Drama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63America & DenmarkAda & The Little Match GirlDrama . . . . . . . . . . . . . . . . . . . . . . 65MexicoOaxacan Paper animals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69MexicoOaxacan Alebrijes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83IndiaRangoli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85The Middle EastIslamic Art:Calligraphy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89Great BritainHeraldry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95PeruPeruvian Retablos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101USA, S. CarolinaCeramic Face Vessels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107ChinaChinese Jade Seals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111USA Pueblo TribesStoryteller in Clay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117The Far EastSumi-e Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123AfricaMaking a Kalimba . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129AmericaAn Alien in My Own World . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137


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Around the World in One Classroom!Lessons & Artworks on the CD

AustraliaAboriginal Dreamtime prints

Aboriginal sh

Aboriginal sh 2

Aboriginal Art Two Goannas

Aboriginal Art 3

Aboriginal X-ray Art

Aboriginal Log Tomb

Aboriginal Pinta

TongaTapa Cloth Prints

Stripping the Bark

Making tapa Cloth Tapa Cloth 1

Tapa Cloth 2

IndiaIndian Mandalas

Mandala, Hindu

Mandala Monks Making

Mandala Close-up View

Mandala Tibetan Painted

Mandala for the Dalai Lama

JapanNotan Collages

Notan 1 adult example

Notan 2 adult exampleNotan 3 student example

Notan 4 student example

Notan 5 student example

Notan 6 student example of Notan and Print

SwedenSwedish Cookie Stamps

Swedish Tray

Swedish Maypole

Swedish Dancing

Swedish Design

A Swedish Home Carl LarssonUkraineUkranian Eggs

Ukrainian Eggs Hanging

Ukrainian Eggs

UkraineAdvanced VersionPysanky

Pysanky

Byzantine EmpireIcons

Russian Icon

Icon for Home

Two-sided Icon

Iconstasis

The Far NorthInuit Sculpture

Eskimo Ivory Carver

Inuit Family 1930

Inuit Igloo

Inuit in Kayak

Inuit on dog sled

Inuit Postcard Pairs 110

AmericaWhats your heritage?

Dunlop H Taos Chief

Dallin C Pretty EagleAmericaJourneys End (Pioneers)Drama

CCA Christensen, Handcart Pioneers First

View of SL Valley

America & DenmarkAda & The Little Match

GirlDrama

Lee Bennion, Snow Queen

MexicoOaxacan Paper animals

MexicoOaxacan Alebrijes

Mexican Alebrijes 1

Mexican Alebrije 2

Mexican Alebrijes 3IndiaRangoli

Making Rangoli

Rangoli Examples

Rangoli with Lights

Rangoli on water

Rangoli Floor

The Middle EastIslamic Art:Calligraphy

Taj Mahal

Islamic Calligraphy 1

Islamic Calligraphy 2Islamic Calligraphy 3

Calligram 1

Calligram 2

Calligram 3

Islamic Art Arabesques 1

Islamic Art Arabesques 2

Grafti

Great BritainHeraldry

United Kingdom Coat of Arms


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Great BritainHeraldry cont.

Coat of Arms

Divisions of Shields

PeruPeruvian Retablos

Jeronimo Lozano Holy Week Procession

Retablo in Walnut Shell

Retablo in Matchbox

Retablo Close-up

Jeronimo Lozano CelebrationUSA, S. CarolinaCeramic Face Vessels

McDowell jug 1

McDowell jug 2

McDowell jug 2 Back view

McDowell jug 3

Face Vessels

ChinaChinese Jade Seals

Chinese Jade Seals 1 & 2

Chinese Jade Seal 3

Chinese ScriptChinese Seals Spring

Chinese Seals Summer

Chinese Seals Autumn

Chinese Seals Winter

USA Pueblo TribesStoryteller in Clay

Watson Roller Bug

Yanito Indian Way

Storyteller Pots

The Far EastSumi-e Painting

Calligraphy 1

Calligraphy 2 Hiroshige

Japanese Screen Li Bo

Japanese Screen Seven Sages

Oshin Bird on a Maple Branch

AfricaMaking a Kalimba

African Djembe Drum

Chewa Mask

Idoma Mask

Marka-Dang Mask

How to hold a Mbira

Urhobo Mask

African Musical Instruments

Ndebele House Painting 1



AmericaAn Alien in My Own World

Britsky New Americans


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Around the World in One Classroom!Lessons


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Around the World AustraliaAboriginal Dreamtime Prints

Elementary Lesson

By Joseph Germaine

Objective: Students will demonstrate anunderstanding of the Australian Aboriginalartwork relating to Dreamtime by creating acollagraphic glue print based on the Dream TimeMaps of the Aboriginal culture.

State Core Links:Rainbow Chart:

State Core in Visual Art, 4th grade Standard 4(contextualizing), Objective 2, Connect variouskinds of art with particular cultures, times, orplaces.

Materials:Matt board, white glue in squeeze bottles,printing paper, crayons.

Process: In Australian Aboriginal mythology,The Dreaming orAltjeringa (also called the

Dreamtime) is a sacred once upon a time inwhich ancestral Totemic Sprit Beings formed TheCreation. Aboriginal believe in two forms of time;two parallel streams of activity. One is the dailyobjective activity. The other is an ininite spiritualcycle called the dreamtime, more real thanreality itself. Whatever happens in the dreamtimeestablishes the values, symbols, and laws ofAboriginal society. It was believed that somepeople of unusual spiritual powers had contactwith the dreamtime and could bring it into dailylife through the medium of visual art. Much ofthe rock painting, drawing and painting on bark,body painting and stone and wood carving areseen as dreamtime maps or instructions fromwhat we might call, the other side. We are notexpecting students to buy into the cosmologybut by understanding Aboriginal thinking, a littlebit, and seeing the traditional images and thecontemporary art work based on these ideas, they

will be able to generate their own ideas usingthese motifs.

After students have learned about Australian

Aboriginal Art, have them draw a dream mapusing the dots and swirls common to this artform. The dream represented in the artworkdoes not have to be a real dream. An interestingstory can serve as inspiration for the ideaexpressed in the artwork. Let students use theirimagination. It will help to encourage studentsto discuss their dream maps with each other,answering questions and accepting suggestions.In the end we want a visual image that is

PINTA PINTA TJAPANANGKA, Untled, 1981 (c1937 1999) synthec polymer paint on linen 186.5 x 154.0 cm

hp://www.artnewsblog.com/2009/03/aboriginal-art-aucon.

htm


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interesting and perhaps enigmatic. When theyhave decided on the image they want to pursue,have them draw two versions on a piece of 5 x 7paper. Fold a piece of copy paper in half and youhave four thinking spaces in which to generate avisually interesting idea. When the students havedeveloped an idea, they will lightly drawn it ontoan appropriate sized piece of matt board. We use

a 5 x 7 format because that is the size of muchof our donated matt board from a local framingstore. Any size will do.

When the dream map is drawn on the matt boardhave students go over it with the glue bottle,drawing with a bead of glue or making dots with

the glue. It is dificult to ill in a space with theglue so using dots as texture to ill in spacesworks much better. Let the template dry to ahard three-dimensional surface. A solid borderof glue around the edge sometimes helps duringthe crayon printing of the template. When thetemplate has toughly dried, have students tape

it carefully to the paper to be printed on. Weusually start with copy paper until we haveworked out the printing technique.

Students should then print the image by carefullyworking the lat side of a crayon over the paperwith the template under for texture. This is muchlike doing a rubbing, but if you tell studentsto rub they will aggressively and inattentivelyrub back and forth with vigorous abandon andnot develop a clear and concise print of theirtemplate. First, have the students ind the edgeswith a black or neutral crayon and then carefullyadd color. We frequently use brown wrappingpaper or brown paper bags to resemble thebark paper used in Australia. The brown paper

This is the original drawing on paper

The nished template with fresh glue


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can even be crumpled up to resemble the naturaltexture of the bark.

Assessment: For a self-assessment processstudents, should record the meaning of theirdream map and display the writing when youexhibit the print. If a student goes throughthis extended process and writes a reasonablestatement, give them an A regardless of quality.Success breeds success.

Sources: BOOKS: The Dreaming Universe: amind-expanding journey into the realm where

psyche and physics meet, by Fred Alan Wolf;

Australian Dreaming: 40,000 Years ofAboriginalHistory, compiled by Jennifer Isaacs; WhiteMan Got No Dreaming: Essays1938-1973, by BillStanner; Klassic Koalas: Ancient Aboriginal Talesin NewRetellings,by Lee Barwood and JoanneEhrich (this one is good for children and has someexcellent illustrations); The Beginners Guide to

Aboriginal Art: The Symbols, TheMeanings andSome Dreamtime Stories, by R. Lewis; Uluru:

Australias Aboriginal Heart, by Caroline Arnold(for children).

AUDIO CD: Jinna Jinna: Australian AboriginalDreamtime Stories, by David Hudson.

DVD: Aboriginal Art: Past, Present, and Future,byCrystal Video The one I have at school

Variations: The dreamtime image can be doneby painting and drawing rather than by theprintmaking process. Marker pens do a verygood job on the complex dot pattern common todreamtime art. Homemade paper can be madefor this project. Look up simple instructions atwww.pioneerthinking.com for simple 10-steprecipe for recycled school paper.

Extension: Another project relating to thedreamtime work is known as x-ray painting.This is a style of rock and bark paint thatshows familiar Australian animals in a highlystylized decorative format that apparentlyshows the inside of the animal including thebones and has a look similar to an x-ray image.Students can achieve a similar effect by usingtransparent watercolor washed over blackballpoint pen drawing on good watercolorpaper. Look up X-ray style rock art at http://www.metmuseum.org/toah/hd/xray/hd_xray.

htm an adequate short history and descriptionand excellent downloadable images. Try www.enchantedlearning.com/artists/xraystyle/ forsimple instructions for an art lesson and someschematic examples of x-ray animals.

The nished print

The Three Places, by Dus, 4th grade

Once I dreamed that I was in three places at the

same me.

Barramundi Fish

GNU Free Documentaon license

hp://commons.wikimedia.org/wiki/

File:Aboriginal_art_barramundi_rock_art.jpg


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Finished examples

The Big X,by Jake, 1st grade

This is Jakes rst print in a series of 10. The X

marks the spot where the treasure is buried.

The Hand, by Michelle, 2nd grade

Michelle says this is her dream about a great big

hand coming down from Heaven to help her.

The River of Love, by Abby, 2nd grade

Three Green Eggs in a Basket,by Julia, 2nd grade

The End of the Rainbow, by Braxton, 3rd grade

Braxton says he dreams of gold at the end of the

rainbow, but he will share.


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X-Ray Kangaroo preliminary drawing by Haven,

2nd grade

X-Ray watercolor

The Two Lizards, by Bowdee, 4th grade

X-Ray watercolor

The Magic Turtle,by Izak, 4th grade

The Kangaroo, by Haven, 2nd grade


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Around the World TongaTapa Cloth Prints

Elementary Level

by Joseph Germaine

Objectives:Students willdemonstrate an understanding ofcalligraphic (rubbing) relief printingand the development of personalsymbolism by creating a cardboardtemplate relief print of an originaldesign that carries some personal

meaning and by generating a largerelief print by combining andrepeating the design motifs of thegroup (large or small) to simulatesomething aesthetically reminiscentof Tongan tapa cloth (ngatu). It canbe called Palangi (foreigner) tapa.Students will also demonstratean understanding of communitycooperation in the arts by workingtogether to generate their own

class project in which everyoneparticipates.

Utah State Core Links: Rainbow Chart Elements & Principles line, shape, value,pattern, rhythm, balance, composition

Materials:The template can be made ofcardboard, oak tag, or poster board. Youngerstudents can use oak tag and cut with scissorswhile older students can use poster boardand Exacto knives. Elmers glue works well forgluing the template pieces to the backing. Forthe printing paper, many materials work wellincluding brown paper bags, brown wrappingpaper of different weights and colors, tan butcherpaper, or even newsprint. Fabric seems like aninteresting alternative. Crayons, chalk, or tancont crayon can be used for the relief rubbing.For the direct painting, multicultural tempera

paint, watercolor, or thinned-out acrylic paint areall excellent.

After looking at the images of Tongan tapa(and any other reference material availableon tapa cloth construction techniques suchas Joseph Ostraffs video on Tongan tapa andAlisa Robertsons book Patterns of Polynesia-Tonga), students will discuss the techniques andmeaningfulness of creating a group art project inthis cooperative process and visual style.

Three questions to address in the discussionshould be:1. How is this cloth made?2. What does it look like?3. What meaning could it possibly have? Somemention of the European and American groupquilt-making tradition can be introduced to show

Stripping of the hiapo in Nomuka, Tonga; photo James Foster 1989Public domain

hp://en.wikipedia.org/wiki/File:Hiapostrip.jpg


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that there is a universal element to this seemingly

unusual art form.4. If you dont have cotton, lax or wool, what doyou use to make cloth?

Students should be given a chance to thumbnailsketch several geometric pattern designsthat represent something personal. To getstudents thinking, ask them, What symbolscould represent your family, your school, yourcommunity, your religion, your country, your

favorite sport, your hobby, or yourself? Helpstudents understand that symbols may or maynot have pictorial references. Sometime the rawelements of line, shape, and value can have greatsymbolic impact.

After choosing one design pattern as a personalsymbol, each student will make a cardboardtemplate to be used as a relief-printed motif forthe inished project.

Final ornamentaon

All three photos by galenfrysinger

hp://www.galenfrysinger.com/tonga.htm

Pounding bark to soen and spread

Applying pigment


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To make the template, have students cut theposter board to the desired size. (A 5 square isgood.) They should then draw the design lightlyon the face of the poster board square. Dependingon the age of the students, scissors and oak tag orExacto knives and poster board can be used to cutout shapes to approximate the design. Rememberthat a shape as ine as a pencil line is very dificult

to cut out of cardboard, so the design must it intothe limitations of the medium and the process.The cut pieces should be assembled and gluedonto the template face with Elmers glue.

When the template is dry, it should be lightlytaped face down on a piece of newsprint, turnedface up and the paper rubbed with black crayonuntil the image appears. An excessive amountof tape will become part of the print, so tape

sparingly and lightly. While the paper is still tapedto the template, color can be added to the design,if desired, with crayon or colored pencil. After theprint is removed, tempera paint or watercolorcan be used to darken and highlight the design. Ifcrayon is used excessively it will resist water-basepaint. A coral-colored chalk works well and leavesa delicate line from the relief template. It willtake more than one printing before the subtletyof the process is mastered. If students ind theirirst proof unfulilling, dont hesitate to have them

make a new design and template. Nothing willteach the students about the process like doing it.Not all designs are good for this technique. Warnthe students to keep their designs simple.

After some proiciency is developed in templatemaking and printing, (try a variety of papers)each student can create his or her own personalpiece of Palangi tapa paper by repeating thedesign in novel and personal ways. A classprocess should be developed to use several orall of the template designs to simulate the groupnature of the Tongan process and visual product.Brown wrapping paper or brown paper bags thathave been wrinkled to soften them up can beused. The group project can be made on one largeroll of paper or on smaller more manageablesheets that are glued together. The communitycooperative learning experience is stronger usingone large sheet of paper.

Care should be given to plan out the design of thewhole project before starting. Students shouldbe given a large voice in choices and decisionswhile the teacher should encourage and modelcooperative styles so the group comes to aconsensus.

Individual templates should be rubbed withcrayon, chalk, cont crayon or pastel to placethe designs. Issues of variation and repetition,rhythm and balance, and composition shouldbe addressed. When all the templates have beenprinted, thinned-out tempera or watercolor (orany other paint) can be used to brush stroke overthe designs to create the inished product. Forexhibition and evaluation, short statements about

Kalua Pig, by Hale Toa, 6th grade

The few Polynesian students I have respond

aggressively to this assignment. The seems to be

very few Polynesian teachers in Utah County and

the Polynesian culture does not get discussed

or praised very oen.


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the personal symbols can be written by studentsand displayed with the Palangi tapa mural.

Run, Jump and Dance, by Samuel, 5th grade.

This is a bit of a mulcultural project by its self.

Sam is Nave American. This is his version of a

Polynesian art form. Noce that he has included his

own cultural identy into this work. Aa Boy Sam!

Palangi Tapa. This is a group project with six 5th

grade students working together.

Below, Close up of the Palangi Tapagroup

project. Palangi is the Tongan word for foreigner.


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Art / Cultural Geography

Objective:Students will demonstrate anunderstanding of Paciic basin cultural geographyand the aesthetic cultural artifacts indicative ofpaciic Island cultures by making oral and visualpresentations (group or individual) to the class,focusing on a speciic culture and sharing theaesthetic sense of that place.

Students should spend some time looking atthe images of Tongan tapa and discussing,with teacher modeling) how this artifact is animportant representative of the Tongan culture.For example: The making of ngatu (Tongan styletapa cloth) is a cooperative work project whichbrings members of the community together fora shared purposethe making of the highly

revered tapa cloth. The cloth also is a valuedceremonial object for weddings, funerals, andpublic ceremonies involving the King. Tapa isused for special ceremonial clothing and is usedin home decoration and bedding. The traditionaldesign motifs of Tongan tapa cloth haveimportant meaning that relates to folklore, whichare ancestral stories and myths of the culturalorigins. These design patterns help bring thecommunity and culture together as a functional,cohesive whole.

The Paciic Ocean is the largest geographicalfeature on Planet Earth. It is ringed by andilled with many island cultures. After studyinga detailed map of the Paciic, students shouldpick one of the places to research. The objectof the research is to ind a cultural artifact thatrepresents each chosen culture in the same wayas tapa cloth does the Tongan culture. Studentswill then, as individuals or in groups, report theirindings orally and visually to the class.

The presentation should include examples(illustrations or an actual artifact) of the materialculture. Explanation of the importance, processesof construction, and speciic uses should beincluded. Where possible, members of thesePaciic cultures should be recruited as resourcesand as participants in the presentation to theclass.

The inal element of this project should be anexhibition of all the artifacts with brief poster-size explanations. Some Paciic Island culturesto research are Polynesia--Hawaiian sailingvessel construction, Hokulea; Fijian pottery;New Zealand, Maori jadeite stone carving andbody scariication; Samoan tattooing; Japanesetea ceremony ceramics; Philippine Island woodcarving; Aleutian Islands kayak making andbone carving; Paciic Northwest Indians (SanJuan Islands and Inland channel Islands) totemcarving; islands off the coast of Mexico and SouthAmerica, basketry and igurative pottery vessels;Easter Island (Rapu Nui) stone head carving,Aku Aku. These are only a few of the manycultures and specialized artifacts of the Paciic.An alternative is to focus on a single element of

each of these cultures such as clothing, textiles,architecture, or burial traditions and havestudents research and report on a speciic nuanceof one of the cultures.

Language Arts

Objective:Students will demonstrate their abilityto understand another culture, one that has notradition of a written language, by creating a new

Tivaevae (ceremonial quilt), Cook Islands

Museum of New Zealand

image may be used for educaonhp://collecons.tepapa.govt.nz/objectdetails.

aspx?oid=82966&term=vaevae


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form of written communication based on symbolsor designs and by recording a speciic event thatoccurred in their own life.

Many cultures, such as the Tongan culture,originally did not have a written language andused pictures or designs from the tapa clothto represent ideals and historical events of

importance. These designs served as a visualreminder for story tellers who memorized suchevents and passed their history and culture onorally, one generation to the next.

Show the images of tapa cloth, batik, and anyother similar pieces. Discuss the roles of thesefolk arts as ways to pass down historical andcultural information in cultures with strong oraltraditions.

Then have each student select a speciic eventof importance from his or her past and developa glossary of images that represent the criticalconcepts of the story. After the students havedrawn their stories using the newly createdglossary of symbols, display the pictorial storiesin class and ask for volunteers to translate someof them. After several student attempts, ask eachauthor to come up and give a complete translationof the story.

Have a class discussion addressing the strengthsand weaknesses of pictorial symbols versus awritten language.

Social Science

Objective:Students will participate in acollaborative art project and will discuss thechallenges and beneits of a society that producesart as a collaborative effort.

For speciic directions on how to create thecollaborative art project, see theArt Activity,or use a simpler method for producing theindividual design elements such as repeateddrawings of simple designs.

Show the class the image of the women workingon tapa cloth and the images of the inished

cloth. Briely discuss collaboration and have thestudents make a list on the board of what thespeciic requirements of a collaborative effort are.(Each person having some say in the design, eachperson being responsible for his or her part, notbeing bossy, etc.) Then assign students to createa large composition using designs from eachmember of the class. After the design is inished,have the students discuss the experience,including the following ideas, if age-appropriate:

What challenges did you experience because ofthe high demand for cooperation and the need fortotal inclusion of all members of the class?

Why do you think Tongan women chose to worktogether? What facts about Tongan life may havecontributed to the choice to make collaborative

art? (If your class has not already learned aboutTongan culture or other similar Polynesiancultures, you may need to introduce the slideswith a brief background that includes informationsuch as the luidity of family units, the instructedlife style, food gathering, etc.What are the beneits of making collaborative art?How might our society be different if we had astrong tradition of collaborative art?

Would you like to make more collaborative

projects? Why or why not?

Internet Sources:

Museum of Natural and Cultural History,University of Oregonmany examples of tapacloth from different placeshttp://www.uoregon.edu/~mnh/Pages/tapa/pages/11a.html

Making tapa clothhttp://www.kihikihi.com/Puuhonua%20O%20Honaunau/pages/Making%20Tapa%20Cloth.htm


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Around the World IndiaIndian Mandalas

Elementary Levelby Joseph Germaine

Objective:Students willdemonstrate an understandingof the history and signiicanceof the Asian Indian mandalaby creating a mandala of theirown design, which portrayssome cycle of life content

and demonstrates symmetryor asymmetry and a speciiccolor scheme.

State Core Links: RainbowChart: 5th/6th gradeselements of art, ColorScheme: Monochromatic,Complementary, Analogous.6th grade, Identify/Experience, Balance, Symmetry

and Asymmetry, Linear andRadial balance.State Visual Arts Core: 6thgrade, Standard 4 (contextualizing), Objective 1.Compare the arts of different cultures to exploretheir similarities and diversities.

Materials: Research materials, paper, pen andcolored pencil or watercolor.

Process: The irst step in this project is to do alittle research into the background and traditionof the mandala. The circle is obviously a terriicformat for creating a compelling design. Wewant to combine meaning and substance withthe design to create content-laden works of art toexpress something personal.

MANDALA comes for the ancient Sanskrit wordmeaning essence + having or containing.

It also translates as circle or circumference orcompletion. The traditional mandala is generallya concentric diagram having spiritual and ritualsigniicance in both Buddhism and Hinduism.In the Tibetan branch of Vajrayana Buddhism,mandalas have been developed into sandpainting. They are also a key part of meditationpractices. In various spiritual traditions,

mandalas may be employed for focusing attentionof aspirants and adepts, as a spiritual teachingtool, for establishing a sacred space, and as anaid to meditation and trance induction. Thepsychoanalyst, Carl Jung, saw the mandala asa representation of the unconscious self, andbelieved his paintings of mandalas enabled himto identify emotional disorders and work towardswholeness in personality.

Photo of a Chenrezig Sand Mandala created and exhibited at the House of Commons

on the occasion of the visit of the Dalai Lama on 21 May 2008

CCAS 3.0 Licensehp://en.wikipedia.org/wiki/File:Chenrezig_Sand_Mandala.jpg


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In common use, mandala has become a genericterm for any plan, chart or geometric patternthat represents the cosmos or the cycle of life,metaphysically or symbolically, a microcosm ofthe Universe from the human perspective.

In this project we are not going to try to duplicateany sacred image from Asia or try to change

those images to it our own beliefs. We are goingto try to create circle-based designs, which tellus something about ourselves and our personalrelationship to the cyclic nature of life. This mayseem too deep or intense for elementary studentsbut you will see by the product that this is arelatively accessible and fun idea for children. Mystudents have been doing Mandalas for years andit has become a form of self-portraiture.

The idea of the Mandala is found in many otherreligions and systems of philosophy. In Judaismthe Zohar (the foundational work in the literatureof Jewish mystical thought know as Kabbalah)says, There exists no circle in the world whichis not made from within a single point whichis located in the centerand this point, whichis located in the center, receives all the light,illuminated the body, and all is enlightened. TheStar of David symbol is a common motif foundin mandalas. Mandalas are prevalent symbols

in Christianity: the Celtic cross; the rosary; the

halo; the crown of thorns; rose windows; theRosy Cross and the dromenon (labyrinth maze)on the loor of Chartres Cathedral. The dromenonrepresents a journey from the outer world to theinner sacred centre where the Divine is found.Many of the exquisitely beautiful illuminations ofHildegard von Bingen can be used as mandalas,as well as many of the images of esoteric

Christianity. Joseph Smith reportedly deinedeternity by pointing to his ring and explainingthat it was without beginning and without endyet it still existed. (http://en.wikipedia.org/wiki/Mandala)

We will start this project by having studentsdesign four quick mandala ideas. To help themfocus their imaginations, have students comeup with four different design categories. We

use Symmetrical, Asymmetrical, Square in theCircle, and Single Line. This gives students anopportunity to think in these various structures.The Square in the Circle is the Asian symbolfor ininity. It is a square inside a circle inside asquare inside a circle and so on. The Single Lineidea is to have students divide the circle with asingle, non-crossing evocative and interestingline that divides the circle into two interestingshapes. Variations on these thematic ideas areencouraged.

Tibetan monks making a

temporary Sand-Mandala

in the City-Hall of

Kitzbuehel in Austria.

Henryart, July 2002

CCAS 2.0 License

hp://en.wikipedia.org/wiki/

File:Sand_mandala_bet_1.

JPG


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After students have designed four mandala ideas,have them label them as to the four categoriesand give the mandala a title to imbue content andmeaning. I also use this occasion to have studentsdemonstrate their versatility in color schemes.By sixth grade we have learned many colorrelationships and color schemes to help studentsorganize their thinking about color. We useprimary, secondary, warm, cool, complementary,monochromatic, analogous and neutral colorschemes. There is one other color scheme thatwe talk about. It is called the Kindergarten Color

Scheme. It is the dumping of all the colors onthe table and choosing a favorite color and thenchoosing another favorite regardless of colorrelationships and then choosing more randomcolors until we have used all of our favoritecolors. We try to avoid this approach to color.The principle is, The more colors you use theless color you can see. Have students label eachmandala idea with the color scheme they havechosen.

When the students have focused on a titledmandala they want to do in a larger format,remind them that there is a writing part of thisproject, and they need to choose the mandala thatthey can write about. The writing assignmentis a simple, short piece of prose or poetry thatexplains something about their mandala as ametaphor or symbol of the cyclic nature of life.

When the mandala idea is developed, it is timeto have students transfer the idea onto a largerformat. We usually do this with watercolor, but

any medium will work. If you do the inal productin watercolor, make sure you give some guidanceas to technique to avoid the brownish grayishpurple that watercolor wants to become on yourpaper. A pen and ink border using several valuesand textures and a space for the title will set thisproject off beautifully. This inished work is thenexhibited with the title and artist card including apoem about the mandala. Remember that the laststep in any art project is exhibition.

These are the thinking sketches for the mandala project showing four dierent design

ideas, symmetry, asymmetry, one line and square in the circle, four dierent color

schemes and four dierent tles.


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Assessment: See self-evaluation tools in Howand Why Art Evening for Educators packet.

Sources: DVD: Mandala, directed by AndreaCentazzo (this is a sonic-visual documentarybased on the Mandala symbols of the Buddhisttradition through out South East Asia); SandsofCompassion, Creating the Demchok Mandala,

by Bardor Tulku Rinpoche (this video is adocumentary record of the creation of theDemchok Mandala, one of the most rare andsacred of Tibetan Sand paintings and a symbol ofthe Wisdom of Compassion)BOOKS: Mandalas of the World, by RudigerDahlke; PrismaDesigns, by MindWare; CelticMosaics Coloring Book, by MindWare; EveryonesMandala Coloring Book (v.1),by Monique Mandali;Mandalas StainedGlass Coloring Book, by Anna

Pomaska;

WEBSITES: fullcircledesigns51.com(mandalas online). mindware.com (this site has lots of imagesand inexpensive books to order)http://www.nyfolklore.org/pubs/voic32-1-2/mandala.html

Variations: The obvious variation is to changemedium; watercolor, colored pencil, marker pens,and colored paper cuts.

Making a collagraphic print of the mandala is awonderful way to go. Use cardstock to draw andcut out the design and glue stick it to anothercardstock circle. Use glue stick because whiteglue will leave printable textures. Wood blockand linocut prints can also be made from themandala motif idea.

Extensions: The mandala project can be donein a large format. Have students follow the sameprocess but have them choose the size of theirinished project. We frequently make very largeformat artwork. Use the widest size of coloredbutcher paper. Size creates its own dificultiesbut if the original idea is irm enough, thestudents will be able to problem solve.

The mandala project can also be done as a groupproject. A whole new unique dynamic is created

when a group of minds try to function as one.Writing about your art idea is an excellent way toprocess and give meaning to the visual artwork.It is a kind of self-criticism and an extension ofthe idea. We write poems about the cyclic natureof life, and we even write circle poems. A circlepoem is written either in an actual circle or in avertical list of words that ends at the beginning

and begins at the end and can be started at anypoint.

Circle Poems: Usually poems where each wordtriggers the next, almost like word association,but (hopefully) more thought-through than that.It can be written in an actual circle using wordprocessing programs that allow that, but on theInternet you see them mostly as lists of words.When the poem is written in a circle, the reader

can start anywhere and read through; but when ina list, the author chooses the irst wordbut thelast word still relates to the irst. You can writethat type of poem using any words that conveythe general idea, but traditionally the endingshould lead back into the beginning, so you cankeep reading at the end and it still makes sense.

Japanese Tea Ceremony Circle Poems


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Mandala Illustraons Symmetrical, above, and Circle and Square, below

My Favorite Flower, Colored pencil Circle Around and Around, Colored pencil

Forever, Watercolor Connect the Dots, Watercolor


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Mandala illustraon One Line, above, Asymmetrical, belowSharper, Watercolor Coral, Watercolor

Sunset at Sea, Watercolor Santa Penny, Watercolor


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Mandala Illustraon Large format

Night and Dayby Dayanna, 6th grade

Oil Pastel

The Safey Mandala, by Peyton, 5th grade

Mandala Illustraon Mandala Print and Template

The Swirling Stars, by Tyler, 2nd grade

Two prints with cardstock templateThe Flower of Life, by Amanda, 4th grade

colloagraphic print


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The Star Spangled Mandala,by Dayanna, 6th grade

Dayannas Poem, 6th grade

A Blue Feeling, by A.J., 6th grade

A Blue Feeling

I have a blue feeling

It came from another blue feeling

I got it from my friend having a blue feeling

My friend got his blue feeling from his dog who was

having a blue feeling

My friends dog got her blue feeling from her pup

who was having a blue feeling

The pup got her blue feeling from me having a blue

feeling

I have a blue feeling

by A.J 6th grade


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Le,The End is at the End of the Beginning, by

Savannah, 5th grade

This work was the product of a printmaking exercise

using linoleum blocks and relief prinng ink.

Mandala Illustraons Linocut prints

The Music Goes Round and Round, by Paige,

5th grade

The Square in the Square

The Circle in the Circle, by Spencer, 6th grade


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Around the World JapanNotan Collages Expanding The Square

Elementary Level

by Joseph Germaine

Objective:Students will demonstrate anunderstanding of the Japanese design concept ofnotan, positive and negative shapes and spaceby designing and making a cut-and-paste notandesign collage.

State Core Links: Rainbow Chart, 5th grade,

Elements of Art-Positive and Negative Shapes.Identify/Experience: Distinguish between apositive shape and the negative shape/spacesurrounding it.State Visual Arts Core: Standard 1. (making),Objective 1, Explore a variety of art materialswhile learning new techniques and processes.

Materials: colored paper, scissors,good gluesticks.

Process: After looking through a variety ofnotan designs and discussing the history andorigin of the notan design idea of light-dark andits relationship with the idea of yin-yang, havestudents draw at least four ways to transform asimple square piece of paper into a positive andnegative design.

NOTAN is a Japanese design concept involvingthe play and placement of light and dark next

to each other in art and imagery. Notan can beexplained as follows: what is dark is not lightand what is light is not dark. This is the basis ofall design and an important guiding principle ofart. It seems so simple, but an artist can spenda lifetime exploring the possibilities of light anddark. This use of light and dark translates shapeand form into lat shapes on a two-dimensionalsurface. Notan is traditionally presented in paint,ink, or cut paper, but it is relevant to a host of

modern-day image-making techniques, such aslithography and collagraphic printmaking, androtoscoping in animation.

In the West we use separate terms such aspositive space and negative space, dividing theidea of light-dark into two separate components.Notan is the term used by the Japanese to expresslight-dark as a single element of design. Onpaper it is easy to see that dark shapes cannotexist without a surrounding area of light. Lightshapes cannot exist without dark to deine it. The

two elements are really one. This is an Easternconcept of yin-yang that each is what the other isnot and that it takes both to make a whole.

It is usually the dark aspects of a design that wesee irst and we are intrigued by optical illusionsthat seem to switch from one picture to anotherin our minds. We speak of negative space andmean the white holes in a dark design. In usingthe term negative we are giving it a connotation


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of null-ness or even sinister aspects. A darkpattern is considered positive and thereforedominant when that is not always the case.Sometimes the primary subject is light againstan area of dark and thus, a positive element. Theidea of positive and negative space is a relativeidea. For example, the space around a personsface in a painting is considered negative space,

but the face becomes the negative space aroundthe eye, which becomes the negative spacearound the pupil or iris.

Before students start randomly whackingat the paper with scissors, have them drawseveral examples of the notan light-dark designidea using black ballpoint pen to shade in thecontrasting values of the shapes they have drawn.Have students think about the color choices they

are making. Students should irst work out thedesign in contrasting values. After the valuescheme has been worked out, students can do thisproject with different colors of paper.

The drawings below are examples of preliminarydrawings of the positive and negative spacein designing the notan. Notice that the valuesare shaded in to help students visualize therelationship between the light and dark of the

idea. Each student is expected to work out theirdesign before they start cutting. It is import foryoung students to have a somewhat developedidea before they start whacking away with thescissors. The maturity of the work is exacerbatedby engaging in a real thinking approach to theproject rather than just spontaneous playingwith the medium. There is a place for theimprovisation approach but works best aftersome technique and strategy is developed

through successful experience. The students takemuch more pride and ownership in the moresophisticated product.

Courtney, 6th grade Sco, 6th grade


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This is an excellent project to help studentssee the differences in color schemes such ascomplementary, monochromatic, or analogouscolor relationships. Also have students thinkabout the visual impact of high and low contrast.These ideas are easily worked out with black andwhite irst. We want to learn something aboutthe Japanese tradition, but we dont need to be

limited by that tradition. Since most of us are notJapanese, it is O.K. to create our own twist on theidea.

Assessment: The criteria for this project is tohave at least three layers of shapes by cutting outa shape from the paper, then cutting out a shapefrom that and then cutting out one more shape toget the idea that positive and negative are relativeideas and that light needs dark and dark needs

light.

Sources: an excellent free video at NotanJapanese Design Concept for Studio Art.Wabi Sabi: A New Look at Japanese Design,by Lennox Tierney; Making Magic Windows:Creating Cut-Paper Art With Carmen Lomas Garza,

by Carmen Garza; Mon-Kiri: Japanese Art of PaperCut-out,by Isao Honda

Websites: emptyeasel.com(how to makestronger Compositions using lights and darks)notandrawing.blogspot.com(this site shows manyvariations on using the idea of notan in drawingand pen and ink work).

Variations: This project can be altered bychanging the colors to increase the contrast(complementary colors) or decreasing thecontrast (analogous colors. This project canalso be done very large. Try using 24X18 size

construction paper.

Try using other shapes beside the square to cutthe notan. A circle is a terriic shape to start withand can be used wonderfully to cut and paste alight-dark notan. Try making light notans on darkpaper.

Writing a haiku for the notan is a great way toprocess the artwork and to imbue it with meaning

and to learn more about the Japanese aesthetic.

Extensions: Since the inished product is slightly3-dimensional it becomes natural to make thisa collagraphic printmaking project by tapingthe inished notan to a sheet of paper and usingthe side of a crayon to rub the collagraphicimpression onto the paper.

Another successful way to use the notan ideais to use a piece of sheer tissue paper as thebackground paper. Use heavy black constructionpaper for the notan cut out. Add a blackconstruction paper border and mount the workon a bright window to create a stained glasswindow look. Color variations in the tissue papercan be carefully used to make different negativeshapes different colors.

Notans do not have to be paper cuts. Check outthe notandrawing.blogspot.comwebsite to seesome wonderful examples of how to use thenotan idea in drawing and painting.

NOTAN ILLUSTRATIONS:

The Friends, by Preston, 3rd grade


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Examples of Notans and Haiku

Birth of a New Day, by Emily, 5th grade

The Birth of a New Day

New light is rising

The sky is growing brighter

Pink clouds uer by

Around Here, by Dayanna, 6th grade

Around Here, by Dayanna, 6th grade

Around Here

The circle is round

I cut it out with scissors

This is the notan

Right,The Chimney, by

Hannah, 6th grade


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A logical extension to the notan project is toenlarge it. If students know they have that optionthey will plan more carefully. We usually do

these larger pieces as group projects. Three is anexcellent size for group work. Students choosethe size of the inal work and are limited only bythe size of the 6 foot wide butcher paper.See examples on the following page.

Examples of Notans and prints

Wake Up, by Natasha, 6th grade Natashas print of Wake Up

Notan, by Chad, 6th grade


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The large Notan.

Spencer, Rebecca and Lexie working and nished large notan, 6th grade.


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ElementaryJunior High School Levels

by Elicia Gray

Objectives :

Students will study the history of Swedish CookieStampsStudents will identify the ways in which cultureand tradition have affected folk arts in SwedenStudents will create their own 3-D Swedish

cookie stamp based on traditional designsStudents will bake, stamp, and exchange cookiesafter the traditional mannerStudents will create several drawings of potentialcookie stamps that could be used to representtheir own family or history

State Core Links State Core Links:Standard 1 (Making): Students will assemble andcreate works of art by experiencing a variety ofart media and by learning the art elements and

principles.Standard 2(Perceiving): Students will indmeaning by analyzing, criticizing, and evaluatingworks of art.Standard 3 (Expressing): Students will createmeaning in artStandard 4 (Contextualizing): Students will indmeaning in works of art through settings andother modes of learning.Rainbow Chart, Elements & Principlesline,shape, pattern, unity

Materials:

clay, linoleum cutting tools, paper, pencils, cookiedough

Activity:1. Begin by inviting students to read the briefhistory of Swedish cookie stamps and answer theaccompanying questions.

2. Show the class some examples of Swedishdesign and explain that Swedes decorate itemsfrom dinner ware to furniture with traditionaldesigns, even painting borders and images on thewalls. (see images on the CD)

3. Pass out the Cookie Stamp design sheet andhave students complete the designs. (see exampleof student work).

4. Make cookie stamps as follows:To make a cookie stamp, latten the clay intoa slab about a 1/2 inch thick. Cut out a circle,square or diamond shape that will act as the baseof the stamp. Next, create a handle. Make this byrolling the clay into a snake 1/2 inch thick. Placethe handle in the center of the base and join thetwo pieces together. Allow the clay to dry to theleather hard stage before cutting a design intothe stamp. Using linoleum-cutting tools, cut outgeometric patterns, lowers, snowlakes, hearts,animals, leaves, birds or other holiday symbols.A simple design cut with deep wide lines ismost effective. Let the stamp dry for severaldays before iring. The handle and the topside

Around the World SwedenSwedish Cookie Stamps


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of the base can be glazed for further decorationif desired, but the stamp part should remainunglazed. (see image of cookie stamps)5. Make the Almond Butter Cookie dough aheadof time and chill in refrigerator. Students willthen stamp, bake, and exchange cookies after thetraditional manner.

Assessment:Using a simple rubric, students willbe graded according to how well they have metthe following criteria.1. Student read the brief history of cookie stampsand correctly completed the question sheet.2. Student completed several different designs onthe cookie stamp worksheet.3. Student created a 3-D cookie stamp out of claythat integrated personal or family emblems ofsome sort.

4. Student created and exchanged cookies5. Drawings and cookie stamp are quality work.

Sourceshttp://library.thinkquest.org/J001272F/folklife/arts/arts_and_crafts.htmhttp://home.att.net/~DLeddy/Swedish.html

Variations

Students may use traditional cookie cuttersor potato stamps to create designs. Instead of

actually making cookies, students may createpretend cookies out of Playdough or salt dough.

Almond Butter Cookies1 cup butter

1/2 cup sugar

1 tsp almond extract

2 Cups our

1/4 tsp salt

Cream the butter and sugar until light. Add the

almond extract, salt, and our. Chill the dough about

one hour. Preheat the oven to 350. Form one-inch

balls and roll them in the sugar. Stamp with the

cookie stamps and bake for 12 to 15 minutes.

Makes about 3 dozen cookies.

http://home.att.net/~DLeddy/Swedish.html


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Swedish Cookie StampsA Brief History

In days gone by, the interiors of Swedish farmhouses were decorated with a variety

of colorful handcrafted items. During the long winters people spent plenty of timeindoors, and they occupied their time by fashioning arts of all sorts. Some of theseartistic creations included clothing, furniture, tools, and decorations for the home. Giftsof intricately decorated household items were given by young men to show seriousaffections for young ladies. These gifts were given a place of honor inside special chests,which young girls began illing with hand-woven or embroidered linens.

One traditional kitchen item that became a favorite was the cake or cookie stamp. Itwas customary for each family to have a set of carved stamps to use for special holiday

celebrations, weddings, and funerals. Visitors would be given small food items stampedwith their hosts design. Holidays also provided opportunities for families to tradecookies and cakes that had been stamped with intricate designs. Stamps were usuallyround, square, or diamond shaped. Designs included geometric patterns or simplerepresentations of animals or hearts.

According to folklore, a girls ianc would carve a cookie stamp and give it to her as asymbol of his love. In response, she would make cookies, stamp them with the prizedstamp, and give them back to her beloved. These were called ianc buns.

It is believed that the custom of making cookie stamps began sometime in the sixteenthcentury, and it became extremely popular in the eighteenth and nineteenth centuries.In fact, in some Swedish families, cookie stamps are still being used and handed downtoday.

image from hp://library.thinkquest.org/J001272F/folklife/arts/arts_and_cras.htm


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Swedish Cookie Stamps

Please read the brief history of Swedish cookie stamps and answer the questions on aseparate sheet of paper.

1. How were Swedish farmhouses decorated during the old days?

2. How did Swedish people pass the time during long, dark winters?3. What would young Swedish girls put in their hope chests?4. It was the custom for each family to have___________________?5. Guests were given small________________ stamped with __________.6. Typically, what shapes are the Swedish cookie stamps?7. What types of patterns were cut into the cookie stamps?8. What would a boy give to a girl if he wanted to show her his love?9. What would a girl give to a boy if she wanted to say she loved him back?10. Cookies given from one ianc to another were called______________.

11. When did the custom of making cookie stamps begin?12. What is still being used by Swedish families today?

Carl Larsson, In the Corner. FromA Home1894Public domain

hp://commons.wikimedia.org/wiki/File:Skamvr%C3%A5n_av_Carl_Larsson_1894.jpg


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Junior High School Student example


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Swedish Cookie Stamps

Name________________________________________________________________________ Period _________Swedish cookie stamps were made of clay or carved in wood. The stamps were round, square, ordiamond shaped, and cut into them were geometric patterns of igures of birds, animals, or hearts.Many families had special stamps that were handed down for generations. In the spaces below, please

design your own cookie stamps. Think about using simple shapes and repeated patterns.

Ge

ometric

p

atterns

Animals&

simplesh

apes

Designsuniqueto

youandyour

family


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Around the World UkraineUkrainian EggsPysanky

Elementary Levelby Joseph Germaine

Objective: Students will demonstrate anunderstanding of the Ukrainian tradition in eggdecorating by designing and decorating a holloweggshell.

Materials:

State Core Links: State Visual Art Core, Standard1 (Making), Objective 1, Explore a variety of artmaterials while learning new techniques andprocesses. D. Use value, color and texture tocreate interest.

Process: In this lesson we are going to learnabout a wonderful Eastern European tradition indecorating eggs. We will focus on the Ukrainiantradition called pysanky, however we are notgoing to copy either the speciic religious patterns

and designs or the wax resist and dye techniquethat the Ukrainians used. Let us start withlearning about the pysanky tradition.

Pasanky (pysanky-plural, pysanka-singular) isderived from the Ukrainian word meaning towrite. Pysanky are eggs (either raw eggs, orhollow) that have been decorated with a wax-resist and dye method similar to batik, whereone draws (or writes, as Ukrainians would say)those portions of the design that you want to

remain the color underneath the wax. A small,hollow funnel attached to a stick is used to heatthe wax and draw the design. This tool is called akistka.

Archeologists have discovered ceramic pysankyin Ukraine dating back to 1300 B.C. They havelinked pysanky designs to those of Egyptianceramics created in 1500 B.C., and to symbolism

of the Trypillian culture in Ukraine of 3,000 B.C.The Trypillijan culture lourished in Ukraineabout 6,000 years ago. The society existed 3,000years before biblical Abraham and long beforeGreek mythology and the Bronze Age. The

Trypillijans lived in the land of Ukraine at thesame time as the Egyptian pyramids were built.The Trypilljans were a matriarchal society thatworshipped mother earth and had little interestin power struggles concerning politics, taxes,money and ruling, as in patriarchal societies.In both design and color, Trypilljan symbolismechoed the peoples close attachment to thesoil and other elements of nature. Ukrainiansymbolic art is based, in large measure, on theseearly ideograms. The most notable example is

the Ukrainian meander or unending line, whichdenotes the cyclical nature of life. Other examplesinclude such motifs as the circle, cross, stars, dotsmatriarchal symbols, wheat, ir tree, horse, stag,and bears paws.

With the acceptance of Christianity in Ukrainein the year 988 A.D. pysanky became a part ofthe Christian tradition of Easter and now took

Pysanky, Created by Luba Petrusha 2006CC-BY-SA-2.5.

hp://commons.wikimedia.org/wiki/File:VolynPysanky.jpg


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on the meaning of the rebirth of man and theresurrection. The egg symbol was likened to thetomb from which Christ arose. The contemporarypysanky is an amalgamation of the pagan beliefand Christian symbolism. Today the designs area subtle blending of both. Each province, eachvillage, and almost every family in Ukraine had itsown special ritual, its own symbols, meanings and

secret formulas for dyeing eggs. These customswere preserved faithfully and passed down frommother to daughter through generations. Thecustom of decorating pysanky was observed withgreatest care as a way of passing on a 6,000 yearold tradition.

This somewhat tedious explanation and historyis to give content and meaning to the tradition ofegg decorating. Many other Eastern European

ethnic groups, including the Belarusians,Bulgarians, Serbs, Czechs, Lithuanians, Poles,Romanians, Slovaks and Slovenes decorate eggs ina similar manner. There is also a similar traditionin Russia culminating with the French FabergeEggs of the 19th Century. There is also a longtradition in Chinese painted eggs called Eglomiseof the Chou Dynasty about 770 B.C., Cloisonneeggs of brass and enamel and carved jadeeggs. There is also the tradition of the JapaneseSatsuma porcelain eggs. This is a big idea, folks.

Designs: The most popular pysanka designs aregeometric igures. The egg itself is most oftendivided by straight lines into squares, trianglesand other shapes. These shapes are then illedwith other forms and designs. These are alsoamong the most ancient symbols and motifsdating back to Paleolithic times. Geometricsymbols used on pysanky today include thetriangle (the Holy Trinity and the elements ofair, ire and water), diamonds (knowledge), curls(defense or protection), tripods (man, womanand child or birth, life, and death), and spirals(the mystery of life and death, as well as divinityand immortality). Dots, which once representedstars or cuckoo birds eggs (a symbol of spring)became symbols of the tears shed by the Christianmartyrs and probably started out as symbols forseeds.

Eternity bands and other dividing elements onpysanky are composed of meanders, waves, linesor ribbons. The so-called meander or eternalline motif is one of the most popular due to aninteresting legend. The meander on a pysankahas no beginning and no end, and thus an evil

spirit that happens to enter a house and land onthe egg is trapped forever and will never botherthe residents again. It symbolizes harmony,motion, ininity and immortality. Lines andribbons represent the thread of life or eternity.Waves and raindrops stand for wealth, because itwas rain that insured good crops.

Have students design several motifs on a piece ofpaper including color. These can be rendered asinished watercolors and exhibited. These two-dimensional designs are also the basis of the eggdesigns. Mistakes on the egg are dificult to ix sohave a good idea of what the design is going to beis important. After the idea has been developed,have students draw the motif on the egg witha 6H pencil. Students should know aboutdrawing pencils as early as possible. I introducekindergarteners to a pallette of drawing pencilsfor one of their projects. Caution students not to

The steps in dying a Ukrainian Egg

hp://scksite.net/web/SCA/Pysanky.html


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push too hard with the pencil and to let the linebe very light. The test we use is to see if someoneacross the room can see the lines. If they can thenyou drew too darkly. Only the artist needs to beable to see the line. This also avoids the needto erase. Caution children not to press too hardwith the hard lead or they will poke through theeggshell. Be aware that transferring an idea for a

2-dimensionsal image to a 3-dimensional objectis not as easy or obvious as it may seem. Studentswill have to slightly rethink their design toaccount for the other side of the object differencein circumference from the middle to the ends ofthe form.

When the design is drawn on the egg, it is time tocolor. During the planning stage color schemesneed to be discussed along with principles such

as value, contrast, composition and highlight.There are many different mediums that workwell. We have used crayon, colored pencil, andtempera paint; but we have found that permanentmarkers seem to give the best results. Usingboth ine-point and broad-point pens helps withthe ine details. There are a wide variety ofpens available including metallic, transparent,and neutral colors. If you have the budget, tryPrismacolor pens. They are expensive but theyreally work. I have used my drafting Rapidograph

pens with a special pallette of permanent inks.Also try spraying the inished product with aglossy polyurethane sealer. This surface sealer isavailable in most ceramic supply stores.

Since we are not trying to make Ukrainianpysanky but using the idea to make our ownideas for our own purposes, it is o.k. to ventureaway for the traditional and create our own newtradition. Try using these eggs as Christmasornaments.

Sources: Ukrainian Easter Eggs and How We

Make Them, by Anne Kmit and Loretta Luciow;Ukrainian Design Book I,by Natalie and LubaPerchyshyn; Easter Eggs for Anya: A UkrainianCelebration of a New Life, by Sally Wern Comport(childrens story); Pysanky, Ukrainian EggArt,byAnna Kinaszczuk.DVD: How to Decorate Beautiful Ukrainian Easter

Eggs (Pysanky) with Luba (traditional wax-resisttechniques with beautiful examples)WEBSITES: learnpysanky.com (good site forhistory and examples of process)http://www.instructables.com/id/Pysanky-Ukrainian-Egg-Dying/(good instructions, alsolinks to her site that has literally 100s fo examplesshe has made.)

Variations: Try using ceramic clay to makethe egg and using glaze to decorate it. A simpletwo-piece press mold can be made for the egg.Use a sand and grog free white earthenware orporcelain to give a stark white surface to workboth texture designs and color. This is an ancientproliic tradition in many cultures.

This project can also be done as two-dimensional

painting, papercuts, paper mache, and makinem big, projects.

Extensions:The decorative eggs can be displayedon simple cardstock ring stands. The standscould also be made of ceramic clay and glaze. Weuse these eggs as Christmas ornaments. Thisproject could be extended to include the gluing ofglitter and sequins and colored string or beads.Look up some of the Jewelers eggs on theInternet such as the famous Faberge eggs.


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Aer looking at some egg designs and color

schemes it is me to think up your own. Here we

have students doing some visual thinking.

This is the product of Maas (2nd grade) visual

thinking. She now has a plan.

More decorave ideas. If you only have one idea is

might be your best, but it is also your worst.

Maa (2nd grade) decorang her egg with a

metallic marker pen. This is a U. N. observer

watching closely to see if she is doing it correctly.

She is.


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This is Maas (2nd grade) nished Utah Valley

version of a Ukrainian egg.

Christmas Eggby Colleen, 5th grade

The Flower Eggby Cheyanne, 3rd grade

The Speckley Egg, by Ausn, 1st grade


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A bowl of egg ornaments ready to hang.

Remind students not to bring raw eggs.They rot.Also: Dont try to microwave a bowl fullof egg blowings to not to waste them.Just waste em.

Exhibion is always the last step in any art project.


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Secondary Level

by Elicia Gray

OBJECTIVES:

Students will understand and apply the process ofUkrainian egg dyeingStudents will learn terms and vocabulary relatedto Ukrainian eggsStudents will understand the history of Ukrainian

eggsStudents will design and create their own eggs

STATE CORE LINKS:

Standard 1 MakingStudents will assemble andcreate works of art by experiencing a variety ofart media and by learning the art elements andprinciples. Objective 1 Explore a variety of art media,

techniques, and processes.Standard 2 PerceivingStudents will ind

meaning by analyzing, criticizing, and evaluatingworks of art. Objective 2 Evaluate works of art.Standard 3 ExpressingStudents will createmeaning in art. Objective 1 Create content in works of art.Standard 4 ContextualizingStudents will indmeaning in works of art through settings andother modes of learning. Objective 1 Align works of art according to

history, geography, and personal experience.

Rainbow Chart, Elements & Principles: line,shape, repetition, unity

MATERIALS:

Eggs, egg dye, beeswax, candle, kistka or q-tips,hair dryer (optional), syringe (optional), sprayvarnish (optional)

Around the World UkrainePysankyUkrainian Legend & Tradition

The Art of Dyeing Eggs

ACTIVITY:

1. Motivation:

Ask students to imagine they have had a very longday on the farm, and they have just been asked togather the eggs from the chickens. The chickenshave a tendency to peck, so its not very fun togather the eggs. When students reach slowly intothe nests they pull out something very unusualnot the ordinary brown speckled eggs, but abrightly colored Ukrainian Egg.

2. Discuss: Aesthetics

Show images of Ukrainian Eggs (found oninternet). How are these eggs different than theeggs in your refrigerator at home? What are thesimilarities? Can these eggs be considered art?What do these eggs have in common with itemsfound in an art museum? Are these eggs morebeautiful that what you would usually ind in anest on a farm? Why/Why not? Is art generallymore beautiful that what we nd in the naturalworld? Can a chicken create an artwork

hp://commons.wikimedia.org/wiki/File:Egg_in_straw_nest.

jpg and

hp://commons.wikimedia.org/wiki/File:PysankyKolomiya.JPG


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just by laying an egg? What is the differencebetween the chicken as an artist and theUkrainian people as artists?

3. Explain and Discuss: Art History/ VisualCulture/ Criticism

Ukrainian Eggs are different because they havebeen written on. The art of writing on eggs

is called Pysanky. Ask students to recall a timewhen they have written on an egg. Showexamples of traditional American Eastereggs. Divide students into groups and ask themto complete a list of similarities and differencesbetween the eggs. Would one set of eggs rankhigher on the ne art scale than the other?Which eggs might be more valuable? Whatare the similarities/differences between theireggs and the pysanky eggs shown? For what

purpose were each of the eggs created?

Have students read the handout calledUkrainian Legend and Tradition in order tomore fully understand the origins of pysanky.Assess student knowledge by having themcomplete the accompanying worksheet.

4. Explain: Studio/ProductionInvite students to begin designing theirown Ukrainian egg by completing the Egg

drawing worksheet provided. Give them theEgg Symbols handout available on www.learnpysanky.com to assist their brainstormingprocess. Remind students to consider whowill receive the egg, and what messages theyplan to portray. Encourage students to includecontemporary symbols or messages as well.

5. Explain: Studio/ProductionShow the step-by-step process of pysanky. Usethe directions on www.learnpysanky.comto help you (the website includes step-by-stepinstructions for a wide variety of designs).

a. Step one: Draw your design withpencil on the egg. Fill the kistka witha small piece of beeswax and waveit a few times through the ame of acandle until the wax becomes liquid.Draw with wax over the places thatshould remain white.

b. Step two: Gently lower your egginto your rst color. (lightest rst,usually yellow) Allow it to soak untilit reaches the desired shade. Drythe egg, and then wax over the areas

that should remain your rst color.In other words, repeat step one, but

think about any areas that shouldremain yellow.c. Step three: Continue dipping and

covering with wax. Be sure to dyeyour egg in the proper color order.(for example, white, then yellow, thengreen, then orange, then red, thenblack)

d. Step four: Melt off the wax. Hold theegg low and close to the ame of acandle. Absorb the melted wax with

a tissue and wipe clean. You mayalso choose to melt the wax by usinga hot hair dryer to melt the wax, thenwipe with a clean paper towel.

e. Step Five: Carefully pierce both endsof the egg with a push pin or a sharpobject. Poke a needle tool or a paperclip inside the egg in order to breakup the yolk. Blow through the eggand empty the contents into the sinkor trash can. You may also choose touse a syringe to blow air into the eggin order to empty the contents morequickly.

f. Step Six: Coat the egg with a glossyspray varnish and display usinga candle holder, napkin ring, orminiature basket.

6. Assessment:Student work should be assessed according to


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the following criteria:a. Student completed the Art History

reading and worksheetb. Student completed the preliminary

drawing worksheetc. Student followed directions when

applying waxd. Student included symbols and

considered the recipient when designingegg

e. Project exhibits quality work and effortf. Students used time wiselyg. Project is complete/ on timeh. Student respected materials and left area

clean

Sources:Internet:www.learnpysanky.com

This is web site has step-by-step directions,design ideas, meaning of symbols and colors aswell as links to other useful sites.

http://www.princetonol.com/groups/iad/lessons/high/Sue-Pysanky.htm

This web site has a lesson for high schooland middle school with elementary versionIncludes history, directions, assessment rubrics,and links to other web sites


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Elementary Levelby Vicki Gehring

Objectives: Students will be introduced to theicons produced during the Byzantine Period, andhow icons are used in todays society. They willlearn how icons relect the culture in which theywere produced. Then they will create a personalicon.

Utah State Core Links:Rainbow ChartElements & Principles, shape

Materials:the icon images on the CD, drawingpaper, pencils, pens, markers, a self- adhesiveaddress label for each student

Teacher Preparation: Read the historicalinformation found on the Internet. One goodsource is http://en.wikipedia.org/wiki/Icon Youcan also Google: Art History-icons then choose

Byzantine Art-Byzantine Icons.

Icon: a likeness or image representation orsymbol of something; anciently it was a symbolicrepresentation of a sacred Christian personageand the image was also considered sacred.

Lesson:Instant Recall: Tell the students you aregoing to say a word and call on some studentsto tell you the irst thing they think of when theyhear the word.WORDS: McDonalds, Nike, Pepsi, the Red Cross,Target

After asking two or three students to tell youwhat their instant recall was for each word, askfor a volunteer to come up and draw the symbolfor McDonalds. Repeat the process for each onthe words.

Discuss: If you saw the McDonalds archeswithout any words, would you know what theyrepresented? Continue the discussion for eachword if necessary or if time allows.Ask why or how they think people can recognizesuch symbols.

Show: Icon images from the packet.Discuss: Does this picture look new or old? Whydoes it look old?Call on some students to describe the images.Who do you think the images in the picturerepresent? What are the clues that help youidentify whom the images represent?Share: What historical information on thewebsite you deem important or interesting to

Around the World TheByzantine Empire!

Icons Jumping Across the Centuries

Anonymous, Russian Icon c.19th CSt. Peter and Czarina Aleksandria

Springville Museum of Art


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your students. (If they have had a hard time

answering the questions repeat them aftersharing the historical information.)Ask: What do you see in this picture that relectswhat I have told you about the style of art thatwas done during this period of history?Tell: The deinition of icon.Discuss: What are some things about the iguresin this picture that show they are symbols and notnecessarily pictures of real people?(Have the students point out things like the halos,the plain gold background, the designs around theedge, the lat two-dimensional appearance of theigures, etc.)Discuss: If you were going to draw a symbol oricon of you and/or your family what would youdraw?Project: Pass out the pencils and drawingpaper. Have the students divide their paper intofour sections. In one section have them designa symbol they think represents them or their

family. Ask for volunteers to show their drawingsto the class and tell how it represents them. Askif they are willing to get feedback from the classmembers, and let some students give suggestionsabout what might be added or subtracted or whatother things they think might represent thatperson.

Have the students draw another icon. They mayuse some of the ideas from their irst image, butshould not make an exact copy.

(If possible continue this project the next dayasking the students to tell their family about whatthey are doing and getting ideas from them.)

Have the students do two more icon drawings.If possible, repeat the sharing process after the

third drawing.

After all four drawings have been completed,the students will choose their best one and copyit onto the address label using the pens andmarkers.

Conclusion: Discuss how the icons the studentshave designed represent them or their families.Discuss how their icons relect our culture, andwhat the differences are between their icons and

the Byzantine icons.

Assessment: Did the students workdemonstrate his or her understanding of an icon?Does the student understand how icons relectthe culture of the people who produced them?

Icon for home use

Seven Sleepers, Russian Icon XIX c.

Public domainhp://commons.wikimedia.org/wiki/File:Seven_sleepers_rus-

sia_XIX.jpeg


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Around the World TheFar North!Inuit Sculpture

Elementary Levelby Louise Nickelson

Objectives: The students will know who the Inuitsare, be able to identify and talk about theirartwork, will make an Inuit-inluenced sculpture,and will evaluate their own success.State Core Links: Elementary Standards 1, 2, 3, &4 Rainbow Chart, Elements & PrinciplesShape,form, unity

Materials The Postcard artwork images from the CD,

cut out and pasted on cardstock. You willneed one copy of each set

Background information on the Inuitsprovided here as well as from other sourcesif desired

A map that shows the arctic regions Photographs of Inuits: on the CD paper and pencils

clay: stoneware, oil-based modeling clay,air-dry clay such as Marblex, or salt dough

Note: Although many of us grew up using theterm Eskimo, because of its derogatory use, thepreferred term is Inuit. This group of peoples isactually made up of many groups who can be des-ignated by the language they speak. However, as agroup, they can be referred to as Inuit.

The following information was taken from http://www.inuitgallery.com/home.html

The Inuit

No one knows the exact origins of the Inuitpeople who have lived in the arctic regionsfor 5,000 years. However, it is clear that theyhave a strong tradition of carving skills. In the

beginning, like most indigenous peoples, skillswere used to sustain life. The irst Inuits, or theirparent culture (The Denbigh Flint Complex, Circa

2500 B.C. to 900/800 B.C.), made tools such asarrows, spears, and harpoon heads from lintand obsidian. Later, a variety of knives and otherweapon points were added to the craftsmensrepertoire (The Pre-Dorset Period Circa 2500 to900/800 B.C.).

The Inuits of the Dorset Period (Circa 900/800B.C. to 1300 A.D.), were skilled in chippingchert and quartz into useful tools; they also

Eskimo ivory carver, by H. G. Kaiser c.1912

CALL NUMBER: LOT 12917

REPRODUCTION NUMBER: LC-USZ62-101243

Library of Congress


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used caribou antler, bone, ivory, and slate. Itwas these Inuit who left us the irst examples

of Inuit carving made of antler, bone, woodand ivory. The superb carvings range in sizefrom several inches to only three-eighths of aninch. The subjects of their carvings come fromtheir lives and myths: animals such as bearsand walrus, extraordinary spirit igures, anddelicately balanced birds, many engraved withlinear patterns. In addition, they made humanigures and decorative items such as amulets,pendants, and combs, and they also carvedexquisite miniature masks. Despite the use of

Stone Age tools, the design and carving is delicateand expressive.

As the Cape Dorset culture was waning, the ThuleCulture (1000 A.D. to 1700 A.D.) emerged. Mostimportantly for futureInuit artists, whaling wasrediscovered during this period. Whale bonesprovided valuable building material to the Thulepeople, but 300 years later, they provided anequally valuable resource of old whalebone for

carving. Today, many Inuits carve in stone ratherthan bone, but they retain their ancestors simpleelegance of line and the ability to evoke emotionsin those who view their sculptures.

Only recently has Inuit art come to be known andappreciated by the world at large. Carving is stilla strong tradition, but some artists have adoptednon-traditional processes like printmaking, andcreated their own traditionart that relects

the Inuit inner eye, keenly attuned to the worldaround them by centuries of a life-and-deathrelationship with the physical worldbut thatmakes use of many media.

Other sites that display Inuit art and give somebackground information:http://en.wikipedia.org/wiki/Inuit_art

good information and some images, good links,including to images in wikimedia commonshttp://www.inuitart.org/content.aro?pageID=8good informationhttp://inuitartnortheast.com/ lots ofcarvingshttp://www.looknorthny.com/ many, manycarvings

Process:(Criticism) Divide the class into small groupsand give each group a copy of one pair of images.Ask them to look at the images and tell the other

An example of the image pairs

Prehistoric Inuit Carving

Fair Use, Educaon

hp://www.cyraucon.com/index.html?id=15


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members of the group what their reaction tothe images is. Explain that these are pictures ofsmall sculptures. If possible, show them a smallsculpture of some kind. After the students havehad the chance to share their initial reaction tothe artworks, ask each group to come up with onequestionsomething they would like to knowabout the sculptures or the people who made

them. Help the groups as necessary.

(Art History) Write each groups question on theboard and answer them, using the backgroundinformation. If a group asks a question you cantanswer, tell them youll ind out.

Have the students look at the images again. Tellthem some of the images are old and some weremade recently. Challenge the students to decide

which image is old and which new. Have twogroups compare their decisions and see whetherthey want to change their minds about any of theimages. Then compile the groups decisions onthe board.

(Art Criticism and Aesthetics) If the class doesntagree on some images, ask those differingto say why they think the sculpture is old ornew. Although there is a factual answer to thisquestion, the reason for having the children

decide is to get them to analyze the artworksand to think in terms of style, line, form, media,etc. Acknowledge any of that kind of reasoningwhich the students demonstrate. The experienceof thinking about the reasons is more importantthan whether they are correct.

(Production) Provide students with somepictures of animals. Then give students a piece ofpaper and have them divide it into four ThinkingSpaces by folding it in half one way and thenin half the other way. Students should make asketch of an animal in each of the spaces. Thesketches should not all be the same. Have thestudents refer to the Inuit sculptures to remindthemselves that sculptures can be very simple.

Students choose their favorite sketch and makemore drawings from several angles. Studentswill then sculpt a small animal from clay, based

on their sketches. If possible, give the studentssome simple tools such as plastic knives, smallsticks, and spoons. Pencils can also be used forindenting features.

(Exhibition) Have the students arrange thesculptures in an exhibit. Students should write a

label to go with their work, which has their name,the title of the artwork, and a sentence about theartwork. The teacher, an aide, or an older studentmay have to help with the writing.

Evaluation: Formative assessment (during thelesson) give each child a question mark printedon cardstock. When a child feels like he needshelp understanding, he can hold up the card. Atthe end of the lesson (summative assessment),

each child can assess her own performance andunderstanding by holding up or giving to theteacher one of the images from the followingpage.

Teachers can assess individual performance oneach part of the lesson by simply putting (cando better), (did Ok), or (did great). Teachersmay want to create a rubric that works forthis and similar lessons and that describes thebehaviors for the three levels.

Extensions and Connections:

1. Make and play a version of an Inuit game thatis very similar to a game the children willknowtic, tac, toe. Print copies of the gameboard and the pieces on cardstock. Have thechildren cut out the seal and bear pieces.The game is played like tic, tac, toe, using the

round shapes as marker pieces. Whoevergets three in a row irst, wins. The game canContinue to be used when students inish an

assignment early.

2. Learn about the animals that live in thearctic.You can use the sculptures as a place to start.

3. Learn about the arctics climate.


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4. Read an account of Inuit life or a story ormyth an adult might have told a child. Youmay also preform the story as readerstheater or as a skit.

5. Using appropriate music, have studentsdance ideas based on Inuit life. For example,use igloos as the inspiration for a short

movement pattern, making rounded linesand shapes. Next, create a movement pattern

based on the feelings you might get frombeing on a dog sled. Lastly, create amovement pattern based on theidea of ice. Remember, this dance, notpantomime! Put all three short patternstogether, perform the patterns for each other.Make sure the patterns have a clear startingand ending shape. You can add other dance

objectives such as using different levels andtempos. It will help if you give the studentsa specic number of counts for each section.You can use a drum or just your hand on your

leg to beat time.

The most appropriate music would bedrumming or throat singing, typical Inuitmusic. You can ind examples of throatsinging on youtube. Heres one possible site:www.youtube.com/watch?v=_86SiUS7oA&

featu re=relatedx86SiUS7oA&feature =related

6. Find other art that has some of the samequalities as Inuit art. (See the extension forolder students below.

7. After completing num

Documents

Art Around the World