QUESTIONS FOR ORAL OR WRITTEN EXAM IN ART STUDIES 1.

Describe or explain the following for or concept:

1. Meaning and importance of Space
Definition: Space, together with time, is interwoven with the occurrence or existence of a
thing. It can only be perceived if it is contained. It is a self-contained entity, infinite or finite, an
empty vehicle ready and having the capacity to be filled with things.
Importance: Space relates to everything No matter what happens in the world of human
beings, it happens in a spatial setting, and the design of that setting has a deep and persisting
influence on the people in that setting. Space is also an essential factor in the conditioning of art
and culture. (Edward Halls The Hidden Dimension (1969))
2. Meaning and importance of culture or definition of culture by Schein
Culture is a body of knowledge and a model for perceiving, relating, and interpreting
realities. According to Schein, artifacts or the visible organizational structures are easy to observe
but difficult to decipher. To understand a groups culture, one must attempt to get its shared basic
assumptions to understand the learning process by which such basic assumptions come to be.
***shared basic assumptions - taken for granted, hard-to-decipher belief systems which are
operational at the unconscious level but which proved to be most meaningful to the people of a
particular group or society.***
3. Ukkil or Okir with its elements and principles of composition
Arabesque or in ukkil compositions of the Tausug or Maranao artists, the negative space
and the positive elements are balanced. With the space acting like a mediator or moderator, the
flowing lines of ukkil, which corresponds to the time aspect of reality, relate to the geometrical
shapes (siyabit) in a manner that reminds one of growth that does not disrupt order or order that
does not stagnate progress. Through the use of ukkil on many spaces or surfaces, the natural
materials are freed from its suffocating heaviness so as to allow the mind and the spirit of the
man viewing it or who is engulfed by it, to breath and to expand.
***Negative and positive elements play an equally central role, enabling the former to
enter into the very heart matter and to remove its materiality so the the Divine Presence is
illuminated. In the same compositions, the balance between stability and growth is rendered
symbolically.***
4. Sarimanok as having evolved from the Naga
Dr. Juan Francisco (following the explanations of Dr. Sutterheim on naga evolving to
makara mukha of Indonesia) suggests that the form of Philippine naga could have also evolved
into the Sarimanok. It was because of the Islamization of many parts of Southeast Asia, the
symbolic functions of naga, as guardian of treasure and water travel, had ceased. As a result of
this, the naga from became purely ornamental as it evolves into a form of a bird such as the
makara mukha of Indonesia or the sarimanok or manuk-manuk of the Philippines.

5. Torogan construction, distinct features and decorations

A torogan is built for the datu who holds the highest rank in the community. It is an
ancestral communal house occupied by at least two families, normally three or four and
sometimes as many as ten. It is a multi-purpose building which also serves as conference hall,
social hall and a place for setting family disputes. The torogan reflects the power of the owner and
the social rank of its occupants.
A torogan has a unique extended floor beams called panolong like wings with elaborate okir
designs. Its windows are narrow horizontal slits and its floor beams are supported by thick posts.
It also has a high and steep roof with carabao horn decoration and has no permanent partitions.
6. Burraq as hybrid creature used in the heavenly journey of Prophet Muhammad
Burraq was brought to convey the Prophet Muhammad as far as Jerusalem, sometimes the
same mount also carried him up to heaven. Passing through the seven heavens, one after the
other, he met in each place one of the Prophets who were his predecessors.
Hired painters from then on had presented this beast with a womans head. It was
influenced by the images of hybrid animals which served as their models. The representations of
hybrid animals were part of the ancient art traditions -- in the form of sphinx of Egypt and Syria,
the centaur of ancient Babylon and the man-headed bull of Assyria.
The burraq was that of a winged beast, white in color and in size somewhere between
mule and an ass. Thalabi suggested that the strange beast possessed any womanly features and
that it had a cheek like of a human being.
7. Muslim traditional cloths such as malong, luhul and pis siyabit
Malong refers to the Maranao and Maguindanao tubular garment that can be used as a
blanket or a garment.
Luhul is a Tausug - designed cloth used to cover the ceiling part of the a house during
festive occasions. Its symmetrically composed cutout designs in the form of a growing tree with
multiple roots, branches and leaves are believed to be a representation of the Tree Heaven
Pis siyabit refers to the Tausug handwoven square piece of cloth with intricate and varied
geometrical designs. Many believe that the pis syabit is the Tausug version of the Hindu Mandala.
8. Philippine Muslim traditional boats
Traditional boats from areas are designed and structured for beauty, speed and easy
maneuvering on rough seas. Also unique for having panolong beam end.
a. Tausugs big boats: adjung, parangkang, lansa and paraw, sakayan
b. Samas kumpit, pelang
c. Yakans typical boat: bangka Basilan by the Tausugs (has a narrow hull and short
and small outriggers designed for speed on a calm sea)
d. Badjaos houseboats: janging (slender body, flat bottom and identically pointed
prow and stern), sappit (no outriggers, bigger and has a stern fitted with a permanent
bottom)and lepa (wider bottom and controlled manually by paddles)

DISCUSSION
1. Discuss Chapter 1 (Introducing Space and Related Concepts) of the book Space and
Identity, with subtopics as follows:
a. The Muslim Concept of Ilm or Knowledge in contrast with Western
epistemology or theory of knowledge
Ilm refers to the Islamic epistemology or the system of knowledge in Islam. Everything is
relevant in the Muslim Concept of Ilm while value is not included in Western epistemology. Ilm
incorporates almost every form of knowledge from pure observation to the highest metaphysics.
It emphasizes the interconnectedness and the pursuit of all forms of knowledge within the
framework of Quranic values. Western epistemology emphasizes the dichotomy between facts
and values. The non- pragmatic values are sacrificed in the pursuit of knowledge.
b. The Emic Paradigm as contrasted with the Etic or StructuralFunctional Paradigm in Western Social Science
Emic paradigm is subjective, spiritual, and divine. It is the opposite of etic paradigm which
is scientific and the only thing that matters is the real and objective. Emic refers to the method or
approach to, knowledge using among others the cultural, interpretative and symbolic methods of
study. The emic paradigm in sociology and anthropology are used to help explain spatial signs
and symbols in a non-Islamic context, as well as to situate certain Islamic spatial claims within
Western social science perspective.
c.

Theory on Culture and Religion, especially the ones according to

Edgar Schein and Mark R. Woodward (1989)

According to Schein, artifacts or the visible organizational structures are easy to observe
but difficult to decipher. To understand a groups culture, one must attempt to get its shared
basic assumptions to understand the learning process by which such basic assumptions come to
be.
According to Woodward, in religion, the questions of truth and fiction are largely
irrelevant. Every person holds his o her own religion to be true. Consequently, if one seeks to
understand the nature of religious belief, he must explore he assumptions on which the
religion is based, te logic it employs and the claims it makes concerning the natural and social
worlds, together with the varieties of religious activities it motivates.
Also, religion explains the origins, organization, and in many cases, the ultimate destiny of
humankind and the cosmos as a whole.Thus, cultural axioms that guide behaviours are best
expressed when based on religion. Because axiomatic structures are located on the cognitive
rather than on the social plan, they cannot be observed directly.
These basic assumptions provide the bases for the formulation of abstract structural
principles known in social science as axioms or structural axiomities.

d. Theory on Structuralism of Levi-Strauss and Levy-Bruhl in Western

Social Science, and of related theory on deeper mental structure and process as
explained in Sufism or Islamic Mysticism by Laleh BAkhtiar, quoted in Chapter 1 of
the book Space an Identity
Levi Strauss structuralism is a complex and controversial form of analysis, devoted to
the understanding of myth, as well as religion. Levi Strauss posits that the inner meanings and
associations of myths follow something like a conventional logic. He explains that the same
symbolism may have several meanings, but each meaning is fixed within a network of
oppositions

at

given

level

of

interpretation.

Critics belonging to the Levy-Bruhl group asserted that Levi-Strauss penetrating and
insightful analysis of particular myths may not be dependent on structural approach. They have
argued

that

the

use

of

binary

oppositions

is

arbitrary.

According to Levy-Bruhl theory, myths may have more complex relationships and
oppositions than this, and that the binary structures do not capture the rich nuances and fluid
meanings which characterized cultural events such as religion and myth. In general, cultural
symbols in structuralism are not too luid and overdetermined in their meanings.
In Islam, the deeper mental structure and processes are explained by Sufis in terms of the
psyche or the inner senses that are just one part of a larger totality of the passive intellect or the
feminine principle or soul, incorporating the outer senses. The soul, the feminine principle, the
sensible and psychic structure within the human form, is believed to be of Divine origin.
On this regard, Laleh Bakhtiar explains that once this feminine principle has been
awakened to the realization that it came from some place other than the physical world, that the
physical world is, in a sense, only an illusion, it is overcome with an ardent desire to be known.
e. Theory on

Symbolization and symbolization process by Serber

(1989), involving the interaction between the so-called active and passive
memories in processing the meaning of symbol in art and religion
In symbolization, culture is viewed as the fabric of meaning in terms of which human
beings interpret their experience and guide their actions.
Sperber describes symbolization as a cognitive process through which uninterpretable
conceptual representations are altered to bring them into accord with established semantic
categories. Symbolization reinterprets defective conceptual representations.
Conceptual representations (canonical:at the top) - statements that describe the new
information

and

Active

focus

attention.

memory

(base)

Auxiliary statements (in between) - may be deduced from the conjunction of the focal and
the memorized statements. Auxiliary statements relate the new information to the active memory
and

allow

the

one

to

be

integrated

into

the

other.

On mental processes, Sperber regards memory as a constructive process. *Passive

memory* plays a vital role in the symbolization process. This view suggests that symbolization is
an unconscious, if not semi-conscious process through which new information is integrated into
the conceptual apparatus.
2. Discuss the expression of Space in the Arts of Painting and Architecture and in
Different Cultures particularly Chinese, Japanese and Hindu, among others.
1. Space in the Arts of Painting focuses to symbolize subjective facts such as feelings and
emotions. As a visual symbol, space in art provides the avenue for a clear visualization of forms
and for concretizing the meaning of these symbols. There is no single formula for creating space
in art. Artists manipulate space at will. According to Langer, Architecture creates a virtual place;
painting a virtual scene; and sculpture a kinetic space.
2. According to Bruno Zevi, the most exact definition of architecture is that which takes
into account interior space. In his book, he emphasizes that the important thing to establish is that
no work lacking interior space can be considered architecture. The direct experience of space in
architecture entails the active coordination of all the senses. All of the mans being participate in
the total experience of the building and the surrounding space where he is in.
Much of what Zevi had articulated about inner space is shared by the Muslims. In Islamic
architecture and town planning, space is also defined by the inner surface of surrounding forms
rather than by the positive, concrete object. Zevi further writes that. architecture is not alone, it
is not merely a reflection of conceptions of life or a portrait of systems of living. Architecture is
environment, the stage on which our lives unfold. It does not only enclose space but manages it
and designs the way that space flows within the different parts of the building.
3. Among the Hindu, the sense of space gives the feeling of multiplying and swarming
forms leaving no area on space uncovered implying horror vacui. Another characteristic of
Hindu space is described as the Mandala. This is a geometric shape used as an aid to mental
concentration and meditation, leading to mystic exaltation. The Mandala represents not only the
earth but also the mircocosm and the macroosm. A mandala maintains three basic principles: a
center, symmetry, and cardinal points.
Among the Chinese the location of settlements were determined by studying earth
currents and these are called geomancy or Feng-Shui. They are thought to be the principle agents
in shaping the landscape. Geomancy is the art of adapting the residences of the living and the
dead so as to cooperate and harmonize with the local currents of the cosmic breath. Geomancy
assumes that the earth is alive. When it moves, its breath produces the Yang or male energy and
when it rests, its breath produces the Yin or female energy. In Chinese landscapes, space is the
infinity aimed by the line of sight but beyond the reach of the eye. The aim of the Chinese artist is
to portray the chii or spirit of the subject of their calligraphy.

The Japanese notion of shin-gyo further elaborates on this view of things. Thsi term
embraces the three levels of spatial and temporal, mental and social organizations that are bound
together by the relationships of reciprocal implication. It informs the composition of spatial
ensembles accommodating the broadcast possible range of activity. Under its aegis the spaces of
social relationships and actions are connected with the private areas via mixed areas linking
thoroughfares and other functional spaces. Nature and Divinity, social life and relationships, and
individual and private life - all these aspects of human reality have their assigned places in
Japanese space, all implicitly linked in a concrete fashion.
3. Discuss about Rhythm as the expression of element of time, such as pattern f
design, on cloth and mat weaving (in pages 173-174 and 181-183 of the book Space and
Identity)
A weaver in a contemplative mood unites the continuous and uninterrupted body rhythm
and repetitive motifs with her own inner complementary opposites- her active and passive
intelligence, masculine and feminine forces within her being, her body and soul, conscious and
subconscious cognition, emotion and intuition- which work together to produce a beautiful fabric.
This represents the interaction of warp and weft in weaving. Because of the harmonious weaving
of the horizontal weft and vertical warp, unity is achieved.
As a quality of time, rhythm when induced by a contemplative mind is conceived to be in
harmony with the Divine. The role of time as rhythm in traditional weaving allows an unbroken
flow of boundary lines, like the waves of the sea. Only through rhythm is one able to escape the
constraints of time.
Mat weaving is a rhythmic operation and at a high level of virtuosity, the weaver practices
an art of geometrical precision. The repetitions of if rhythmic body movements involved in
weaving cause elements and motifs to form into symmetrical patterns and to interact in ways that
cannot be reduced to a simple or fixed analytical thought.
4. Enumerate and discuss the 4 or 5 point summary or principles of composition of
space, as used in organizing curvilinear ukkil or okir composition, or on mat angular
geometrical design
a. Horror vacui (fear of empty space) - blank spaces as not visually pleasing,
making available spaces filled with varieties of motifs
b. Maranao okir composition generally observes symmetry - exception: panolong
of torogan
c. Continuity of line from a central motif- like a vine that continues to grow and be
nourished through its parts which are connected to the roots
d. Form follows function - obi-obid/tiali-tali as border design, binotoon as central
design, and potyok which determines the terminal or end part of the deisgn.
e. Interrelatedness of art elements - The ornament is defined as the relationship
between the forms or motifs rather than as the sum of these elements. It has the effect of

directing the believers mind to go beyond those lines and shapes and contemplate on an
encompassing Higher reality.
f. Axial Centers - The main geometric units of some ukkil and siyabit compositions
form symmetrical lines around a variable number of axes. The axes tend to be a form of
visual imagination for they do not exist by themselves but emerge as a result of the rest of
the design.
g. The infinite patterning - Infinite growth is possible because it is not the design of
the unit but the will of the artist which defines the limits of the design. The artist can
lose himself in the contemplation of details.
h.
5. Discuss the culture and history of the Muslim or Moro people in the southern
Philippines
How are the different Muslim ethnic groups in the Philippines similar and different from
each other.
The various Muslim groups speak different dialects. Maranaos and Maguindanaos
constitute one Mindanao language. The dialects of Samas and Badjaos are closely related. The
Yakan dialect has many aspects in common with that of the Samas but have difficulty
understanding what is being said by the other. The Tausug on the other hand is distinct from
other Muslim dialects.
6. Discuss the Islamic concept of Space in arts and culture as it relates to Muslim
Belief on Tawhid, Islamic Cosmology and the Muslim concept of Man, such as artist and
architect, as Khalifa or Gods trustee in this temporal life.
An islamic art is intertwined with Islamic space, understanding of the Muslim concept of
space is basically and profoundly approached from the underlying Islamic principles of Tawhid,
cosmology and man as Khalifah or Gods trustee. These three interrelated principles have varied
manifestations on the space of culture, arts and society of Muslims in the Philippines.
a. Tawhid - The Islamic core principle of Divine Unity. It is the single
most important doctrine of Islam which is related to the radical unity of God and
with God.
b. Islamic Cosmology - Muslims see the whole of nature in all its
dimensions not as a phenomenon divorced from the real world but as signs of
God. Cosmos contains the elements fire, water, earth and air combined and
controlled by One Supreme Necessary Being. It shows the unity of diversity that
offers peace as a dominant character reflecting the essence of the Divine.
c. Man as Khalifah - Every human being is bearer of Gods Trust in
the world. Islam has established a unique social order. Shared values and natural
correlation between individual actions produce a strong social network resulting
in coherent spatial patterns that can be seen in the Islamic architecture and
geographical settlements as well as in symbolic traditional visual art patterns.

Discuss also these Muslim ideals in relations to their struggle to preserve their identity
a. as human being with individual rights and freedom being secured
b. as member of the Ummah or Muslim global social community and
c.

as citizen of Dar al Islam whose ideal role is to reserve this ideal

Muslim community and prevent this from becoming Dar-al Harb or hostile
territory of Religious Intolerance, corruptions and ices.
Today, Muslims are now living in the space of Dar-al-Aman but they can still pray
on Fridays and fast during Ramadan. There are Muslims who feel that their region is in
danger of becoming Dar-al-Harb and that the government policies are responsible for this.
Similarly, some aspects of Filipino scholarship seem to reduce Islam to insignificance
which is viewed by Muslims as a push towards Dar-al-Harb.
7. Cite and discuss the important Spatial points raised in Chapter 10 of the book
Space and Identity. What are the problems raised with respect to prevailing Western
conditioned or Molded World order as manifested through the dominance of Western
epistemology and economy. Mention and comment on the alternatives that was proposed
to reconstruct the global space or mitigate the global crisis of the environment.
***Problems: alienation, dehumanization, homogenization overcrowding and congestion
Environment Causes - destroys balance in environment
a. Technical Cause (industrial revolution, imperialism)
b. Trust in Knowledge (Reductive Method) - empirical, objective,
logical
***do not give chance on the subjective, spiritual, moral and ethical
c. Highlight in pragmatic, practical (maximizes gains, loses ethical,
moral, intellectual in the equation and values not prioritized)
d. Instigate sense of Competition (outdoing others, kills instinctive
empathy)

e. Culture Homogenization (imitation of the West, presence of high-

rise buildings, and culture lose/death (e.g in architecture))

***No to urban sync - spacing urban are privileged (Mass Suicide)
Islamic alternatives to Western epidemiology: they offer world a view of knowledge that
unites and connects diverse realities. This alternative epistemology emphasizes the main features
of the worldview of Islam and highlights on the moral and ethical principles to guide
epistemological

inquiry.

Emphasis on: the totality of experience and reality, promotes diverse ways of studying
nature, the Islamic concept of ilm, emphasis on interconnectedness of all forms of knowledge of
Islam.

8. Discuss the Muslim Perspective of the so-called Moro Problem in the Philippines.
Define the Problem and highlight in your discussion the interrelated multi-dimensions
and levels of the problem. Include especially the following:
a. misreadings
and
Muslim
reading/definition

of

the

Moro/Mindanao Problem
b. deeper cultural root of the problem citing specific cultural/identity
aspects for clarity
c. historical root: acts and criticisms and the 2-nation perspective of
the Philippine history
d. Dar-al Islam, Dar-al Harb (and alternative Dar-al Aman) Muslim
territorial

views

Territorially, the areas inhabited by Muslims in Mindanao had been regarded by

them as part of Dar-al-Islam. But the use of force and imposed migration and
resettlements by the central

government put the Muslim region in dubious

position, as far as the Shariah or Islamic law is concerned. This uncertainty makes
many Muslims assess whether their homeland can still be regarded as territorially
part Dar-al-Islam or whether it has already become Dar-al-Harb or the territory of
contradictions and greed. This dichotomy is an important parameter for
understanding the Philippines so-called Moro problems. There are three different
views taken by the Muslims on this issue. To many of them, they are pushed to the
Dar-al-Harb and this condition makes lawful for them to use force to oppose the
enemy. There are Muslims, however, who feel that because the government still
allows sufficient freedom of religion, their religion is still part of Dar-al-Islam.
Another view belongs to a group of Muslims who feel that their homeland is(pp.
36-37 is missing )
e. Structural/administrative dimension -- weakness of unitary and
government sponsored autonomy
f. Mitigating structural, political, historical and other positive
measures to deal with the problem

QUESTIONS TO HELP STUDENTS EVALUATE HIS/HER UNDERSTANDING OF ISLAMIC

or PHILIPPINE MUSLIM CULTURE, HISTORY AND ART:
ON ISLAM, THE MUSLIMS AND PHILIPPINE MUSLIM HISTORY:
1. What is Ilam? What are the 5 Pillars and the 6 Articles of Faith of Islam?
>ISLAM, as a religion, is concerned with 3 interrelated dimensions of reality: the Shariah or
Divine Law; Tariqah or Spiritual way or Path; Haqiqah or Truth which to the Muslims is the origin of

both the Law and the Way. Islam is derived from the word aslama which means to submit or to
surrender.

>5 Pillars
Shahadah- "There is no God but God & Muhammad is the Messenger of God."
Salah- offer five daily prayers at dawn, noon, mid-afternoon, sunset and evening
Zakat- almsgiving
Sawm- fasting during the holy month of Ramadan
Hajj- the pilgrimage to Makkah
> 6 Articles of Faith of Islam
One God (Allah)
The angels of God- spiritual creatures that serve the purposes of Allah
The books of God, especially the Qur'an- Quran means recitation
The prophets of God, especially Muhammad- Muhammad means highly praised
The Day of Judgment (or the afterlife)-belief in the continued existence of the soul and a
transformed physical existence after death
The supremacy of God's will (or predestination)
2. What is the Islamic concept of Tawhid? How does the Tawhid Model help explain
the concept of Man as Khalifa, Muslim Culture and Arts and the general world view of the
Muslims?
Tawhid means Divine Unity. It is the most important doctrine of Islam which is related to the
radical unity of God and with God. This defines God by the Will- The Omnipotent, The Perfect, The
Unknowable and The Incommensurable. He is One with no beginning and no ending, no one can equal
His power. Tawhid means monotheism. Tawhid, as an encompassing concept, considers everything in
relationship and in unity. In Sufism, Tawhid means the ultimate non-existence of nything but the Divine.
Some refer to tawhid as the condition leading to the attainment of a hal or state that makes Union or
Encounter between man and the Divine possible.
3. How does the Dar-al Ilam - Dar-al Harb Muslim spatial or territorial dichotomy
explain Muslims world view? What is the intermediary space of Dar-al Aman?
Dar-al-Islam (Space of Peace and Justice in Islam)
Dar-al-Harb (Space of Vices, Corruptions and Injustice)
Dar-al-Aman ( Space of Trust)
>>Territorially, the areas inhabited by Muslims in Mindanao had been regarded by them as part
of Dar-al-Islam. But the use of force and imposed migration and resettlements by the central
government put the Muslim region in dubious position, as far as the Shariah or Islamic law is
concerned. This uncertainty makes many Muslims assess whether their homeland can still be

regarded as territorially part Dar-al-Islam or whether it has already become Dar-al-Harb or the
territory of contradictions and greed. This dichotomy is an important parameter for
understanding the Philippines so-called Moro problems. There are three different views taken by
the Muslims on this issue. To many of them, they are pushed to the Dar-al-Harb and this condition
makes lawful for them to use force to oppose the enemy. There are Muslims, however, who feel
that because the government still allows sufficient freedom of religion, their religion is still part of
Dar-al-Islam. Another view belongs to a group of Muslims who feel that their homeland
is

(Sorry!! kulang yung page na na-xerox =< di ko na alam

yung kasunod. huhu _Marissssssss)

4. Who are the Muslims in the Philippines? How are the 13 Muslim Ethnic groups
similar with and different from one another?
5. Why are the Philippine Muslims sometimes called Moro?
6. How did these southern people become Muslims?
7. What is addat? How is addat related to Islam?
8. What is the Muslim perspective of Philippine history (The two-nation theory)?

ON THE MORO PROBLEM

9. What is the Muslim perspective of the so-called Moro Problem? How should this
problem be holistically read or analyzed in its different levels and dimensions?
10. What is the underlying cultural (nationality) root of the problem? What is culture?
What is Bangsa
Nationality or Bangsa -is technically defined as a people who because of their belief in their
common descent and their mission in the world, by virtue of their common cultural heritage and
historical career aspire to sovereignty over a territory or seek to maintain or enlarge their
political or cultural influence in the face of opposition.
Culture- huh???
Underlying Cultural root of the problem- the fact that the Muslims in the Philippines constitute
a nationality or a bangsa that is culturally distinct from and historically older than Filipino
nationality.
11. How does the Two-Nation view of the Philippine History shed light on the
problem?
12. What is the structural dimension of the Moro Problem? What are its agrarian
and demographic dimensions?
13. What is so-called Moro Image? How did the attitudinal survey of Rodolfo Bulatao
shed light on this socio-psychological dimension of the Moro Problem?
14. What is the political solution to the problem? Assimilation, Autonomy or
Secession?
15. Why is autonomy itself a problem? How can Muslim Mindanao autonomy work
work?

16. Globally, what is this so-called Age of Muslim Wars? a Clash of Cilization beween
ISlam and the West, as well as the rest?

ON MUSLIM ARTS
17.
18.
19.
20.
21.
22.
23.
24.
25.

What is Islamic Art? Is it different from Muslim Art?

What are the basic principles of Islamic Art? How is Tawhid expressed in the arts?
What are the traditional art forms of the Philippine Muslims?
In what are the does each Muslim ethnic group xcel?
What is okir or ukil? What are its elements and basic compositions?
How does ukkil (okir) figure on the MAranao panolong and Sulu sunduk?
Does ukil in Sulu convey any ethnic continuum in the area?
What are the general characteristics or principles of Maranao oki copositions?
How are the geometrical siyabit motifs relate to the curvilinear okir in Islamic

Art?
26. What are the flying arts of the Philippine Muslims? What does having wings
mean in Islamic art?
27. Why does the burraq have womans face?
28. How is kurah sambalani related related to the Muslims belief on martyrdom
(Jihad)
29. What is naga? How does it figure in Philippine Muslim visual arts? What were its
symbolic significance in the Hindu context? How did Islamization affect its structural
development?
30. Did sarimanok originate from a manok? How did sarimanok formally originate?
31. What make Muslim architecture in the Philippines distinct? What make a torogan
unique?
32. How does the Mecca- or Qiblah- orientation affect Muslims architecture and
spatial behavior
33. What is the Muslim view on the issue of figurative form (human or animal) in
Islam? Is the so-called prohibition of figurative form in Islam doctrinal or attitudinal? Cite
evidences from the Quran, Hadith (Saying) and Sunnah (traditions of Prophet
Muhammad and from Muslim history in general)

Andon Malong

Habul Tiyahian

Luhul
(Tree of Life)

Pis siyabit

Yakan
(saputangan)

Yakan Pis

Langkit

Kabah

Tubao

Awang