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The Maharaja University of Baroda

FACULTY OF FINE ARTS

Pushpa Baug, Prof. C.C. Mehta Road, -390002

ACADEMIC CATALOGUE

MASTER OF VISUAL ARTS

The Maharaja Sayajirao University of Baroda

Brief Profile The Maharaja Sayajirao University of Baroda, originally founded in 1881 as the “Baroda College”, is a premier residential University, established on 30th April, 1949. It is a state University with English as the medium of Instruction, having 13 Faculties, 3 constituent Colleges, 2 Institutions and 8 Centers of Specialized Studies, wherein more than 36,000 students pursue higher studies, under the care and supervision of 1152 teaching and 1190 supporting staff members. It houses 89 departments spread over 6 campuses (2 rural and 4 urban) covering 275 acres of land including a built up area of 418500 sq.mt. There are 16 hostels (12 Boys & 4 Girls) which accommodates about 4000 students. There are 475 residential quarters too for teaching and non-teaching staff.

It is one of the few Universities in the country offering research opportunities in the Ancient Indian Traditions of at the Baroda Sanskrit Mahavidyalaya and Indian Classical Vocal and Instrumental Music, Bharatnatyam and Kathak Dances at the Faculty of Performing Arts; Painting, Sculpture, Applied Arts and Art History in the Faculty of Fine Arts. Preservation of Ancient India Literature and Vedic Traditions at the Oriental Institute, and an extraordinary collection of excavations, including relics of Lord Buddha at Department of Archaeology and rare collections like Dinosaur egg, rock, etc. Are some of the salient features.

The University offers 98 PG courses, 66 Ph.D. programmes, 39 PG Diploma courses and 88 UG courses with an option from 347 programmes in 92 subjects. It also offers 11 certificate programs and 3 post diploma certificate program. As many as 205 students are currently enrolled in Ph.D. Programme, out of which 33% of the students are from outside State.

University teachers publish a large number of research papers (over 500 per year) and many of the publications have high citation index. Visiting laboratories within India and abroad for the research work is also very .

The University has 3 units of NCC with an enrolment of 420 male students and 223 female students. In NSS there are 577 male and 443 female students.

Smt. Hansa Mehta Library is the Central Library. In addition to 14 constituent libraries and over 25 departmental libraries with over 7 lakh books, 63 computers and 17 nodes are exclusively marked for surfing. It has a single largest Reading Room within its 80,025 sq.ft. built area, which can accommodate about 1600 readers at a time and the library is open to readers 14 hours a day. It also has C.C. Mehta Auditorium with a capacity of 600 along-with several seminar halls in each faculty/departments. Message from the Dean

We at Faculty of Fine Arts, The M.S. University of Baroda have been deeply involved in serving best art education for last 63 years. We are dedicated to the education of painters, sculptors, designers, art historians, art critics, typographers, photographers, animators, museum curators and to the development of a collegiate environment conducive to the evolution of art and design.

Faculty of Fine Arts is the quintessential art school with a robust arts curriculum, state-of-art facilities and technology, and some of the most talented faculty and students around. You will find all the advantages of an intimate learning community as well as the academic and co-curricular resources of The Maharaja Sayajirao University of Baroda.

Our graduates are creative problem-solvers, highly qualified professionals, confident, life-long learners and engaged citizens - active in their workplaces and communities. Our students believe in the vital role of art in society, their responsibility and their ability to bring about constructive change.

Our students come from diverse cultural and economic backgrounds. Intellectual curiosity, creativity, motivation and self-discipline are among the attributes we look for in prospective students. The experience at Faculty of Fine Arts, by including internship programs as well as other co-curricular and professional development opportunities, offers students a platform upon which to launch and build a career.

Dr. Shailendra K. Kushwaha Dean Faculty of Fine Arts Contents

Highlights of the Faculty 06 The Faculty of Fine Arts 08 Introduction of Semester System 12 Department of Painting 17 Department of Sculpture 23 Department of Applied Arts 31 Graphic Arts 39 Core Theory: MVA Painting, Sculpture, Applied Arts & Graphic Arts 45 Department of Art History & Aesthetics 49 Department of Museology 71 Highlights of the Faculty  Founded in 1950 with introduction of UG and PG Programme. First time in India, Faculty was offering Bachelors, Masters and fully developed Ph.D. Programme  Awarded Three Phases of UGC-DSA and UGC/ASIHSS Programme in the department of Art History & Aesthetics.  The only RCC (Refresher Course Center) listed by UGC  Outstanding Faculty profile recipient of Padma-Bhusan and Padmashree Awards and number of State, National and International Awards and Fellowships  National and International scholars as Visiting Faculties. Exchange Programme with international level. Number of students pursuing further education abroad in various reputed Institutes  Very good placement track record. Around 80% placed in excellent positions in India as well as in various other countries including USA, UK, FRANCE, AUSTRALIA, NEWZEALAND, , KOREA, etc.  Products of the Faculty are appointed as Fine Arts teachers in most of the Art Institutes in India offering degree courses and excellent in free lancing work.

Research and Extension  Strong research culture and Excellent research output  Exceptional publication output by the Faculty and also the students consisting of more than 20 books and 500 articles and 500 Art exhibition AND Installation.  Frequent Organization and participation by Faculty Teaching Staff in the National and International Seminars, Workshops, Residency Programme by the faculty.

Infrastructure  Every department of the faculty enjoys a self-sufficient infrastructure  The only Visual resource center in the realm of Fine Arts in the Country comprising of 1,50,000 visuals that are regularly used for teaching and research also recognized by UGC as THE REGIONAL DOCUMENTATION CENTER

General Development of University: The Faculty shows consistency of growth through its inception and envisages in the next 5 years achieving the best of international standards in teaching and research in the field of Fine Arts.

Enhancing Access and Equity: Our plans for the Faculty envisage access and equity of the research resources to the entire staff and student community of the Faculty.

Quality and Excellence: The courses offered are already rigorous and with the changes in the existing curriculum that is being proposed the quality and excellence is visualized further to be enhanced in the coming five years.

06 07 The Faculty of Fine Arts

The Faculty of fine Arts is dedicated to the education of professional artists and scholars of the history and theory of art. It is considered to be the foremost institutes in the country and is recognized on global level. The emphasis is laid on creative identity of students and teachers to foster an approach to the study and practice of art which is inquiring, experimental and research minded. It has exchange program with some of the art schools in Europe, institutes in Australia and USA have been negotiating similar programmes which will be implemented soon.

For the first time in independent India, in June 1950, a programme of study was introduced to offer UG/Diploma, PG/Post-Diploma Courses at the Faculty of Fine Arts, a constituent institution of the Maharaja Sayajirao University of Baroda. Professor Markand Bhatt, N.S. Bendre, Pradosh Das Gupta, Shanko Chaudhury, Dr. Motichandra, Dr. Goetz, K.G. Subramanyan are amongst the pioneers. The alumni includes a large number of best known artists of the country.

The major subject areas are Painting, Sculpture, Applied Art and Graphic Arts which have a constructive and interactive relationship. The students are admitted to the Undergraduate courses on the basis of their aptitude in the subject so that they can learn within a specialist environment while benefitting from interaction with the staff, students and facilities. Students are expected to develop their own work with tutorials and technical assistance according to their needs. The Faculty also offers research facilities in every area, leading to Ph.D. The University Grants Commission has honoured the Faculty with prestigious Special Assistance Programme like D.S. A. and ASIHSS.

The Faculty is situated opposite Sayaji Baug and Baroda Museum in the leafy green surroundings adjacent to Sayajigunj. The pleasant environment and atmosphere of openness and freedom is backed by spacious and well- equiped studios. The training programme is oriented to one’s individual ability and expression through one to one teaching, group tutorials and seminars, visual aids, books, exhibitions, visiting artists, craftsmen and activities like study tours and field trips to provide necessary exposure.

The Fine Arts Fair, a biannual activity, encourages and involves students and teachers to experiment and work with materials to produce toys, utilitarian objects, illustrated books, masks and puppet shows to raise funds for students welfare. The fair brings together the city public and the faculty through creative diversity.

08 Academic Calender Application Procedure First Term: June to December Application Forms for admission can be obtained from the (Diwali vacation for 3 weeks as per University schedule) Faculty Office from 1st week of June every year, which are available for Rs. 250/- + Rs. 100/- Postage charges. Second Term: December to May For delivery of the form by Post, Bank Draft of Rs. 350/- (Followed by Summer vacation for 5 weeks) should be sent in favour of The Dean, Faculty of Fine Arts. Note: Semester System is likely to be introduced from the academic year 2012-13 onwards. The application form duly completed must reach the Faculty Office by the last date as printed on the form.

Post Graduate & PG Diploma Candidates applying for Painting, Sculpture, Applied Courses Arts and Graphic Arts are required to enclose the following : 2 years Full time Courses : 1. Folio or minimum 10-15 photographs or reproduction of Recent Works, duly attested by the Professor/Head M.V.A. & Post Diploma of the Department or Head of the Institution. 1. Painting 2. A brief statement on the work with intent for higher 2. Applied Arts study in 250 words. 3. Sculpture 3. Evidence of eligibility qualification with the mark 4. Graphic Arts sheets and certificate. 5. M.V.A. Art History and Aesthetics 6. M.A. (Fine) Museology The first scrutiny will be done on the basis of Photographs and the Statement of intent by the applicant and selected P.G. Diploma in Museology candidates will be called for an Entrance Test and Personal (1 Year Full Time in-service Course) Interview in the respective department on the notified dates printed on the form. All Applied Arts candidates should remain present for Research the Admission Test. Ph.D. Studies Candidates are required to produce portfolio of work Research Facilities for Ph.D. Studies in theory as well as during the interview. studio subjects in Visual Arts are available. For registration, usually follow the guidelines of UGC. Eligible The final selection is subject to the candidates is aptitude students have to submit a research proposal to the and excellence in the subject to specialization. recognized guide from the concerned discipline which is to Candidates whose results of qualifying examinations are be endorsed by the Departmental committee. awaited may submit the form and appear for the Aptitude Test provisionally. Their admissions, however can be The Ph.D. research can be pursued as a non collegiate confirmed only after they have passed the requisite students provided the candidate is not a recipient of grants qualifying examination before beginnings of the Classes in like UGC/JRF or SRF. the Faculty. Incomplete Applications will be rejected. Overseas Students Registration for Ph.D. Studies requires prior clearance Return of Photographs of Candidate’s work from the Department of Education, Ministry of Human Candidates wishing to receive Photographs of their work Resources Development, (Government of India), Shastri returned by post should enclose a self-addressed Bhavan, -110 001. envelope with necessary postage stamps. Non-Collegiate Entrance requirements for Post Subject to availability of studio space and facilities, a limited number of graduates are enrolled in studio Graduate & Post Diploma Courses disciplines for research work lasting under two years which Provisional Eligibility involves no Degree or Diploma. Students migrating from other Universities or Examination Boards/Bodies and seeking admission on the basis of Post Graduate & Post Diploma having passed recognized qualifying examination with the required subjects have to obtain a Provisional Eligibility Courses Certificate from the Maharaja Sayajirao University of Entrance Requirements Baroda Office in Fatehgunj, Vadodara. Applicants seeking admission for M.V.A./Post-Diploma Studies require BVA Degree for MVA and Diploma for the The Provisional Eligibility Certificate (PEC) can be Post-Diploma course either from this Faculty or obtained by paying Rs. 50/- for students from the qualification with the same specifications from an Universities from Gujarat State, Rs. 100/- for students institution recognized by the Maharaja Sayajirao University migrating from other Universities or Examination of Baroda, as a full time student. Boards/Bodies. The Provisional Eligibility Certificate (PEC) is required to be attached with the application for admission.

09 MVA in Painting & Post Diploma MA (Fine) in Museology Course Creative Painting Applicants seeking admission to M.A. (Fine) Museology Mural Design must have passed a Bachelor’s degree examination or a Master’s Degree examination in Arts or Science (with) Applicants seeking admission for the Post-Graduate subjects like History, Sociology, Political Science, Ancient studies require B.V.A. Degree or Diploma in Painting or History, Archaeology, Anthropology, Physics, Chemistry, Graphics or qualification with the same specifications from Geology, Botany, Zoology or a Bachelor’s degree an institution recognized by the Maharaja Sayajirao examination or Master’s degree examination in Visual University of Baroda, as a full time student. Arts/Fine Arts, Education, Library Science and Home Science. The candidates possessing Master’s degree in MVA in Sculpture & Post Diploma various subjects as stated above will be given preference Creative Sculpture for admission to the degree course in Museology. Ceramic Sculpture Metal Casting The M.A. (Fine) Museology Course is of two-years Wood Carving duration; spread over four academic terms like other post- Stone Carving graduate courses. (Those who have passed their last Monumental Sculpture degree examinations as private candidates are not eligible Portraiture for admission). The admission to the course will solely depend upon the performance of the candidate in the Applicants seeking admission for the Post-Graduate aptitude test. studies require B.V.A. Degree or Diploma in Sculpture or qualification with the same specifications from an Medium of instruction of the course is English. institution recognized by the Maharaja Sayajirao University of Baroda, as a full time student. One Year In-service Post-Graduate Diploma in Museology MVA in Applied Arts & Post Diploma Candidate who would like to join this course must have put Visualization in at least one year service in a recognized museum and Illustration should possess at least a Bachelor’s degree in one of the subjects like History, Ancient History, Sociology, Political Applicants seeking admission for the Post-Graduate Science, Archaeology, Physics, Chemistry, Geology, studies require B.V.A. Degree or Diploma in Applied Arts (or Botany, Zoology, Visual Arts/Fine Arts, Education, Painting may be considered for illustration) or qualification Psychology, Home Science and Library Science from any with the same specifications from an institution recognized recognized university. by the Maharaja Sayajirao University of Baroda, as a full time student. The condition of experience can be relaxed in case of candidates who possess collections and intend to set up a MVA in Graphic Arts & Post Diploma museum. Such cases will be decided by the departmental committee with approval of the Dean. Specialization in Printmaking include any two of the following: Certificate Course for In-service Relief Process Intaglio Process Foreign/Indian Students Admission Plano Graphic Process requirements: Screen Printing (a) Admission is open to persons who have already put in at least two years of service in a recognized museum Applicants seeking admission for the Post-Graduate on a post involving organization. studies require B.V.A. Degree or Diploma in Painting, (b) He/She should possess good knowledge of English Sculpture or qualification with the same specifications from and produce a certificate from a competent authority an institution recognized by the Maharaja Sayajirao to this effect. University of Baroda, as a full time student. (c) He/She should have passed a school leaving examination equivalent to Matriculation or S.S.C. in MVA in Art History and Aesthetics India or the Senior Cambridge certificate. Applicants seeking admission for the Post-Graduate (d) Duration of the course is one year. studies require B.V.A. Degree in Fine Arts/Visual Arts or (e) The candidate having passed graduate or post- Humanities with special aptitude and background in Fine graduate degree with at least six months museum Arts/Visual Arts subjects. experience (technical) can be considered for admission. University graduates in subjects other than Fine Art/Visual Arts may be considered subject to their individual aptitude Studio Hours and familiarity with the subject; provided that they put in an Studio Practice disciplines like Painting, Sculpture, Applied additional year of study to cover the prerequisites. Arts and Graphic Arts the Class hours are from 8-30 a.m. to 12-30 noon. Art History and Theory Classes are conducted in the afternoons as per the time table.

10 University Examination Student Accommodation Minimum 80% attendance in the Practical subjects and A limited number of seats are available for boarding in the 75% overall attendance for Theory subjects or minimum of University Hostels. 60% in any of the subjects required to qualify for appearing in the Examination. The University Examination is Application forms for Hostel Accommodation are available conducted for the Senior Post-Graduation and Post- from the Chief Warden’s Office. Diploma students. Further Information The students are required to undergo training in the prescribed subjects of each stream. Please write to : The Dean, Faculty of Fine Arts, Admission to Senior MVA or Post-Diploma depends upon The Maharaja Sayajirao University of Baroda full time regular work, attendance and satisfactory Prof. C.C. Mehta Road, Vadodara-390002, Guj., India. completion of Class work, Assignments and Test during Phone : +91-265-2795520 both Academic Terms as required by the Department at the end of the academic year of Jr. M.V.A./Post diploma.

Overseas Students Under Graduate, Post Graduate and Diploma Courses or Non-Collegiate.

Overseas Applicants are required to follow similar procedure for admission except that they are not expected to attend Aptitude Test or Interview in person.

Entrance requirements for the courses are same as for other students as shown in this brochure.

However, they require to send necessary documents by Post for the admission committee by enclosing the following to The Dean, Faculty of Fine Arts : 1. Enclose Port Folio (minimum 15 Photographs/slides). 2. Proposal of intent for the Programme of Study or Project. 3. Evidence of eligibility qualification with mark sheets and certificates. 4. Minimum 2 Reference letters from Teacher/Professor/ Head of the Institution. 5. Evidence of Financial Support. Application Form Prospectus and Application Form can be obtained by sending a Postal Order of $20 to The Dean, Faculty of Fine Arts, The Maharaja Sayajirao University of Baroda.

Completed Application should be sent to the Dean. Ph.D. Studies Registration for Ph.D. Studies require prior clearance from the Ministry of Human Resources and Development, Shastri Bhavan, Government of India, New Delhi 110 001, India. Affiliated Research Affiliated Research can be pursued by registering as a Non-Collegiate Student. Non-Collegiate Subject to availability of studio space and facilities, a limited number of graduates are enrolled in studio disciplines for research work lasting under two years which involves no Degree or Diploma.

11 Introduction of Semester System Keeping in touch with the development in higher education it is proposed to introduce the Semester system in the teaching curriculum of Faculty of Fine Arts from the academic year 2012-2013. Scope The regulations s provided herein shall apply to all regular Graduate and post graduate and Diploma and Post Diploma programs under different departments of Faculty of Fine Arts for the courses commencing from 2012 with effect from the academic year 2012-2013. Credit and contact hours Duration: MVA in 4 semesters [2 years]. Approximately 90 days per semester.

For the Studio Practice specialization students of MVA /Post Diploma course. Studio Course: Total Credit 36 (540 Hrs.) Theory: Total Credit 12 (72 Hrs.) The ratio of Studio Course: Theory = 70%: 30%

For the Art History & Aesthetic specialization students of MVA course. Project work: Total Credit 36 (540 Hrs.) Theory: Total Credit 12 (72 Hrs.)

MVA/POST DPLOMA COURSE in following specialization like Painting, Sculpture, Applied Arts, Graphic Arts and Art History shall be conducted in semester system as per guidelines of UGC to be completed in four semesters in 2 year duration. The course comprises Studio Course and Theoretical subjects. The ratio of Studio Course: Theoretical = 70%: 30%

MVA COURSE in specialization like Art History shall be conducted in semester system as per guidelines of UGC to be completed in four semesters in 2 year duration.

EXAMINATION/JURY: at the End of each Semester: There shall be University Examinations at the end of each semester for both Theory & Studio Course.

Studio Course examinations shall be conducted by exhibiting the Studio works done at the end of the each semester.

Viva-voce, if any, shall be conducted along with the Studio Course - examination cum exhibition.

Project evaluation shall be conducted at the end of the each semester.

Examination/Jury will consist of members of the internal and external examiners.

12 Semester regulation for undergraduate & post graduate program These regulations shall govern Undergraduate & Post graduate programrs under the semester system. These regulations shall come into force from academic year 2012-2013.

Definitions: 1. Post graduate Program means Master degree (MVA) & Post Diploma Program in Painting, Sculpture, applied Arts, Graphic Arts and Art History & Aesthetics.

2. The duration of Post-graduate Program (MVA/Post Diploma) shall be 4 semesters.

3. Each semester will have 15-16 weeks for academic work equivalent to approximately 90 days. The odd semesters may be scheduled from July to November and even semester from December to April.

4. Program has 3 major components i.e. papers will be referred as Core Studio Courses, Core Elective, and Core theory.

5. Each course is identified by a unique course code. Every course is not of equal weightage. Each course, in addition of having a curriculum will have learning objectives and learning outcome.

6. A course may be designed to involve Studio Practice/Lectures/Tutorials/ Fieldwork/Project work/Vocational training/ Viva Voce etc. combination of some of these.

7. Core Elective Course/optional Course means a compulsory course where the students can opt for a particular course from a bouquet of courses offered by the Departments in each semester. A stipulated number of these courses are required to complete the Program. These courses will be assessed or evaluated only internally.

8. In PG courses in Studio Practice Programs Elective will mean to complete a project chosen by the student to be undertaken outside the institution and submit a report in the third Semester which will again be evaluated internally.

9. Credit means the unit by which the course work is measured. it defines the quantum of contents/syllabus prescribed for the course. It also determines the number of hours of instructions required per week. In these regulations, one credit means of one hour of direct teaching per week for 15 weeks in a Semester. (APPLICABLE TO BOTH COMPONENTS OF STUDIO PRACTISE AND THEORY).

10. Grade Letter is an index to indicate the performance of a student in a particular course. It is arrived at by transformation of actual marks secured by a student in a said course. Grade letters are O, A+, A, B+,B, C, F and I

11. Grade Point is the weight allotted to each grade letter depending on the range of marks awarded in a course.

12. Semester Grade Point Average (SGPA) is the value obtained by dividing the sum of Grade points(GP) obtained by a student in the various courses taken in a semester by the total number of credits taken by him/her in that semester. SGPA determines the overall performance of a student at the end of a semester.

13. Cumulative Grade Point Average (CGPA) is the value obtained by dividing the sum of Weight in all the courses taken by the student for the entire Program by the total number of weighted grade points and shall be rounded off to two decimal places.

14. Fee means the fee prescribed by the University for the undergraduate & Post graduate Programs. The tuition fee and the examination fee of a semester will be in accordance with the Programs offered.

13 Weight Weight is a term that denotes the comparative ratio between internal & external scores within each course. For example, for assessment of all the courses combining the ratio between internal and External is 40 : 60 = 1 : 1.5. The weight will be calculated by multiplying internally scored grade point with 1 and externally scored grade point with 1.5. This will be applicable for calculating combined Grade Point (GP) in each subject where there is an internal and external component.

Similarly in Studio practice courses (students majoring in Painting, Sculpture, Applied Arts etc) where the weight is 70% for studio work and 30% for Theory papers the ratio of credit weight will be calculated as 2.5: 1. This is useful for calculating SGPA in each Semester and CGPA at the end of the program. For Teachers Each credit will mean approximately one contact hour per week. Contact hour of teaching includes lecture/ demonstration. Instruction/ Discussion/Project work/ assessment etc. In each SEMESTER each credit will mean approximately 15 to 16 Hours of contact (1 hour X 15 weeks = 15)

Calculation of Credit & Contact hour CREDIT WORKLOAD 1 Credit = 15 X 1 =15 Contact Hours per semester (1 X 15 weeks =15) (Approximately 1 contact Hour/week) 2 Credits = 15 X 2 =30 Contact Hours per Semester 4 Credits = 15 X 4 = 60 Contact Hours per Semester 6 Credits = 15 X 6 = 90 Contact Hours per Semester 8 Credits = 15 X 8 = 120 Contact Hours per Semester

20 Credits = 15X20 = 300 Contact Hours per Semester

Similarly 24 Credits = 360 Contact Hours per Semester.

Total Contact Hours @ 4 Hours every day for a whole Semester is 90 days x 4 = 360 hours for STUDIO PRACTICE COURSE Assessment Rules Internal Component 40% External Component 60 %

Internal assessment for each semester to be done by the class teacher or a committee constituted for such purpose by the head of the respective department.

The external component will be graded by a jury consisting of two teachers of the concerned department (other than class teacher) and at least one external jury member. This part of the assessment will be known as 'Semester Jury'.

The final semester (8th semester for UG courses) will present their works in a exhibition called Degree show and will be assessed by a Grand Jury. Grand Jury will be constituted by a panel of three juries from the Board of studies approved panel.

Three external jury members should be the norm but in case of unavailability minimum two jury members from outside the faculty for grand jury is required. This penultimate semester jury will be known as 'Grand Jury' for both UG and PG programs.

Evaluation terms: All Courses will be evaluated by Grade points (10 to4) and the internal and external combined component will also have an equivalent letter grade.

14 Promotion Rules and Criteria Dropped 1. Grade ‘Dropped' will mean partial or incomplete submission in either projects, class work/exam assigned and also absence during submission etc. student with an 'Incomplete' grade will be allowed to move to the next Semester and will be required to clear the concerned course(s) during the next semester.

2. A student who gets ‘Dropped' also means he/she has not been able to score pass grade in one subject but passes in all other subjects in the internal/external jury and also promoted to the next semester and also required to clear that particular subject in the next semester.

3. A student who gets ‘Dropped' in two consecutive semesters will be considered Failed and will not be allowed to move to the next Semester.

4. A student who gets ‘Dropped' means he/she has not been able to pass in more than two subjects in a semester and required to repeat the Semester.

5. A student who gets ‘Dropped' in two consecutive semesters will be barred from continuing the Course.

6. A student who gets ‘Dropped’ grade in the Grand Jury will also be required to Repeat the last two semesters in both UG and PG programs. Grade Calculator (As per the guidelines of University)

Attendance according to the university rules, 75% minimum attendance required.

Credit (Cr) of a course is a measure of the weekly unit of work assigned for that course.

'G' is grade awarded to a student's performance in a particular course. Letter Grade of simply Grade in a course is a letter symbol (A,B,C,D,E,F) which indicates the broad level of performance of a student in a course.

CV credit value is the number assigned to the course credit.

GP = CV x G, CV is a credit value of the said course. 'G' is the grade awarded to the student in a particular course.

Semester Grade Point Average (SGPA) is the value obtained by dividing the sum of Grade points(GP) obtained by a student in the various courses taken in a semester by the total number of credits taken by him/her in that semester. SGPA determines the overall performance of a student at the end of a semester.

Cumulative Grade Point Average (CGPA) is the value obtained by dividing the sum of Weight in all the courses taken by the student for the entire Program by the total number of weighted grade points and shall be rounded off to two decimal places.

Calculating SGPA and CGPA SGPA = Sum of the Grade Point(GP) of all Courses

Total Credits in the said semester.

CGPA = Sum of all Grade Points (GP) in all Semester

Total Credit s for the whole program.

CGPA is Cumulative Grade Point Average. It is obtained by dividing sum of credit point obtained by candidate in exams of all semester of course by total number of credits in all semesters.

SGPA is Semester Grade Point Average. It is calculated by dividing total credit points obtained by candidate in one semester by total credit points in that semester.

15 16 Painting

17 Department of Painting Research, consultancy and Introduction : extension In the fifty eight years of its existence, the Department of The department encourages research activities. There are Painting has gained a reputation of being a professional Ph.D. students, national Scholars & Reaserch Fellows department of higher education. Over the years, the alumni from (HRD Ministry, Govt., of India) among the students. All of this department have made a definite mark in the field of teachers are practicing artists and 80% have received visual art and remained in the art scene of India. Research Fellowship from HRD Ministry. Four teachers have done their Master Degree and fellowship abroad. Mission: Quite a few students have received various foreign scholarships and fellowships of Lalitkala Academy, Junior Our vision is to keep the department in the Avant Garde of Fellowship of Dept. of Culture. art education in India by remaining open to new ideas and challenges and providing students with the maximum The department pursues Research and Documentation possible exposure to the continuous development as well projects on its own with support from external and as the fundamentals of visual art. government agencies. For instance, in the past two years there have been two well documented research-projects which were sponsored by Objectives: the Regional Design and Technical Development Center, 1. Study of various traditional and modern media. Handicraft Board, on Vegetables Dyes and Mural 2. To expose students to the best of world art with special and Terra cotta. emphasis on our own culture heritage along with the contemporary developments by conducting workshops and lectures by distinguished artists. Infrastructure and learning 3. Constant evolution through tutorials, studio resources discussions and assignments. The department enjoys good infrastructure. The mural design section is well equipped with grinding mills for Curricular aspects fresco, medium scaffolding system made of iron pipes, The painting department offers four year specialization electric and gas kiln, compressor, clay (dry) grinder, course in Painting leading to BVA Degree or Diploma and manual and electrical hand tools. Also there are various two year MVA Painting or Post Diploma course in Creative and tools for the fresco technique such as burnishing, Painting , Portrait Painting and Mural design. Moreover, filtering, grounding etc., the cutters and clay press. studio initiation courses in Drawing and Painting (CD) for Art History students and Mural for BVA and Diploma The department has a library and has a sizable collection of students of Painting Department are offered. Our PG and books, reproductions, journals, exhibition catalogues and diploma students have the option of courses (optional) in slides. Department also has a collection of video cassettes other departments such as Pottery, Graphics and and educational CDs and DVDs which are used by the Photography. The History of Painting for MVA courses and teachers as teaching aids and the students are free to use guidance for their dissertation and non-collegiate short- them on all working days. term course are among the other responsibilities of the department. In the mural course, apart from the traditional fresco technique, the students are encouraged to explore Student support and progression various other mediums such as relief in wood, cement, plaster and board, mosaic and ceramics (stoneware) glass The student - teacher ratio on the average is 1:20. Hence, etc. there is a good deal of individual interaction between the All courses are offered by the department are reviewed Faculty and students. periodically by the Board of Studies. Healthy practices Teaching, learning & evaluation 1) Transparency in the marking system, two teachers are It is mandatory to judge the students’ creative potential, assigned for term marking. For the BVA, Diploma, knowledge and aptitude at the entry level. MVA and Post-Diploma final examinations, 60% of the marking is done by the external examiners on the basis of the display and the interviews to ensure In the Post-Graduation / Diploma courses method of fairness. weekly group discussions has been devised, where the 2) At least one foreign student in the PG/PD courses students present their works in mini-exhibition in their every year and 30% of the seats are reserved for respective studio spaces followed by discussions that outside Gujarat (OG) candidates in all courses. involves teachers as well as other students. 3) Encouragement to students to interact with the art world outside through invited lecturers and The method of teaching is mostly studio practice guided by workshops. teachers so the level of interaction between students and 4) The studio remains open for long hours beyond teachers is very high and these are supplemented specified class hours to facilitate students’ maximum adequately by outdoor studies, slide lectures and weekly access to their work space. video shows.

18 COURSE STRUCTURE MVA/ POST DIPLOMA PAINTING FIRST SEME STER CORE COURSES SUBJECT CODE Credit ASSESMENT Hours EXTERNA INTERNA L L % % ABBREVIATION CE - CORE ELECTIVE CORE STUDIO PRACTICE CS - CORE STUDIO Creative Pain ting M/S1/CS/ 503P 18 60 40 CT - CORE THEORY Mural Design M/S1/CS/ 502(M)P 18 A - APPLIED ARTS G - GRAPHIC ARTS CORE THEORY History of Painting M/S1/CT/ 552P 2 60 40 H - ART HISTORY P - PAINTING CORE THEORY SUBJECTS WILL BE CONDUCTED BY THE DEPARTMENT OF ART HISTORY & S - SCULPTURE AESTHETICS

SECOND SEMESTER CORE COURSES SUBJECT CODE Credit ASSESMENT Hours EXTERNA INTERNA L L % %

CORE STUDIO PRACTICE Creative Pain ting M/S2/CS/ 503P 18 60 40 Mural Design M/S2/CS/ 502(M)P 18 *CORE ELECTIVE Students have to select an ar ea of interest outside their regular programme and train/ work under an expert concerned from outside Faculty during the Summer break and submit a documentation/report on the programme in the third semester. CORE THEORY History of Painting M/S2/CT/ 552P 2 60 40

CORE THEORY SUBJECTS WILL BE CONDUCTED BY THE DEPARTMENT OF ART HISTORY & AESTHETICS

THIRD SEME STER CORE COURSES SUBJECT CODE Credit ASSESMENT Hours EXTERNA INTERNA L L % % CORE STUDIO PRACTICE Creative Pain ting M/S3/CS/ 603P 16 60 40 Mural Design M/S3/CS/ 602(M)P 16 *Students are expected to undertake *CORE ELECTIVE M/S3/CE/ 604P 2 100 their elective at the end of second semester during the summer break CORE THEORY History of Painting M/S3/ CT/ 652P 2 60 40 and submit it in the beginning of the third semester and it's assessment is CORE THEORY SUBJECTS WILL BE CONDUCTED BY THE DEPARTMENT OF ART HISTORY & done in the third semester. AESTHETICS

19 ABBREVIATION FOURTH SEME STER CE - CORE ELECTIVE CORE COURSES SUBJECT CODE Credit ASSESMENT CS - CORE STUDIO Hours EXTERNA INTERNA CT - CORE THEORY L L A - APPLIED ARTS G - GRAPHIC ARTS % %

H - ART HISTORY CORE STUDIO PRACTICE P - PAINTING S - SCULPTURE Creative Pain ting M/S4/CS/ 603P 16 60 40 Mural Design M/S4/CS/ 602(M)P 16 Viv a-Voce M/S4/CS/ 605P 1 100 Dissertation M/S4/CS/ 606P 1 100 **End of the fourth semester there will be a Grand Jury in which CORE THEORY History of Painting M/S4/ CT/ 652P 2 60 40 students expected to present their studio work in Display/exhibition CORE THEORY SUBJECTS WILL BE CONDUCTED BY THE DEPARTMENT OF ART HISTORY & followed by a Viva Voce. AESTHETICS

Course Descriptions FIRST SEMESTER MVA/POST THIRD SEMESTER MVA/POST DIPLOMA PAINTING AND MURAL DIPLOMA PAINTING AND MURAL DESIGN DESIGN CORE STUDIO PRACTICE CORE STUDIO PRACTICE CREATIVE PAINTING M/S1/CS/503P CREATIVE PAINTING M/S3/CS/603P Studios will be provided and students will settle down: -Research and exploration in the chosen area of creative Identifying areas of interest of individuals based on their expression. earlier body of work, suitable exercises will be given. -Elective project report to be submitted. Drawing for warming up and exploration from life, from -Choose dissertation topic. surrounding etc. -Start work on Dissertation topic. Individual discussion (one to one). -Individual one to one discussion. Assessment. -Studio visit by professional artists. -individual critique and assessment. MURAL DESIGN M/S1/CS/502(M)P  Introduction to traditional Mural techniques. MURAL DESIGN M/S3/CS/602(M)P  Exposing students to contemporary ideas of mural  Exploring further different mediums and concentrating on Making. Working with environment. developing original idea in chosen medium.  Preparatory exercises.  Deigning for a specific site.  Identifying areas of interest of individuals.  Elective project report to be submitted/dissertation work  One to one discussion. starts. Assessment.  Group & individual critique. Assessment. SECOND SEMESTER MVA/POST FOURTH SEMESTER MVA/POST DIPLOMA PAINTING AND MURAL DIPLOMA PAINTING AND MURAL DESIGN DESIGN CORE STUDIO PRACTICE CORE STUDIO PRACTICE CREATIVE PAINTING M/S2/CS/503P CREATIVE PAINTING M/S4/CS/603P Independent studio practice/work under supervision of Intensive studio work. tutors. -All works to be finished. Focus on producing original works in chosen medium. -Exploration of ideas of presentation Identify Elective Project and finalize details of what, where -Dissertation to be submitted. etc. -Group critique. Group & Individual critique. -Presentation of selected works in Degree show (Final Assessment. Display) and assessment by Grand Jury. MURAL DESIGN M/S2/CS/502(M)P MURAL DESIGN M/S4/CS/602(M)P  Exercises exploring medium of choice, technical  Intensive studio work. exploration and understanding nature of the material.  Exploration and finalizing original work.  Choosing elective project to complete during summer  Exploring ideas of presentation break.  Dissertation to be submitted. Group and one to one critique. Presentation of selected works in Degree show (Final Display) and assessed by external grand jury.

20 Theory Subjects The History of Painting programme emphasizes the innovative practices and profound changes brought on by traditions, schools, movements and individual artists. It chooses to investigate in-depth an emblematic or seminal school /movement/artist from a particular period rather than offer a chronological history of art in a broad sweep. The emphasis in 3rd and 4th semesters will be on the Modern and the Contemporary world of art covering India, Europe, US as well as recent developments in south- East Asia including .

HISTORY OF PAINTING M/S1/CT/552P  Comparative survey of development of the art of painting in the western and Indian cultures.  Seminal artists, schools and works in . Schools or traditions covering the ancient, medieval and pre Modern ( e.g. Ajanta narrative, Mughal court and its innovations and the changes brought on by the 19th century)

HISTORY OF PAINTING M/S2/CT/552P  Development of modernism in Indian art (tradition & modernism).  Recent developments in the Indian art and the international context.

HISTORY OF PAINTING M/S3/CT/652P  Seminal artists, schools, movements in European art with an emphasis on modern and contemporary world.

HISTORY OF PAINTING M/S4/CT/652P  Advent of technology and changing values in art.  Contemporary art in south-East Asia and China.

Dissertation Preparation and presentation of a written document of about 4000 words is regarded as a major subject. It is meant to reflect an understanding of the critical, historical and philosophical issues from the past or present in consultation with the Head of the Department and work on it under his guidance or a teacher approved by him and the Dean by the end of 1st Term of Junior MVA. The dissertation should be prepared in the prescribed manner and handed over to the Dean, through the Head of the Department positively before the commencement of the Theory examinations.

Viva-Voce It is an oral or oral part of an examination where dissertation by the student will be put forward for consideration especially to be proved or maintained against objections. For MVA candidates in each specialization it will be conducted by a panel nominated by the head of the Department and appropriate external experts from the Joint Board of Examiners.

21 22 Sculpture

23 Department of Sculpture Introduction : Sculpture is one of three major Studio Disciplines apart from Painting and Applied Arts. It is among the top University Departments in India.

Facilities: Facilities include spacious studio space for clay modeling, life study and sculpture composition, while workshop offers tools and equipment useful for cutting, welding, stone carving and wood working apart from foundry for metal casting. The pottery and Ceramic section provides basic training and experience in handling of clays for firing and glazes with different wheels, kilns and equipments. Programme of study: Programme of study is oriented for an individual development of intuitive and creative abilities of expression through one to one teaching, group tutorials, seminars, discussions, visual aids, books, exhibitions, visiting artists, craftsmen, study tours and field trips, with rich spread of specialization options after graduation /diploma. Assessment : Assessment is based on attendance, studio practical, assignments, tutorials, class and home work and overall development of students’ awareness and individual creative ability of expression. Class / home work 40% and examination carries 60% marks. The pioneers : The pioneers of the Department include Prodosh Das Gupta, Prof. (Padmbhushan) and V. P. Karmarkar. A large number of alumni are known for their contribution to the field of Sculpture apart from art education in India and abroad.

24 COURSE STRUCTURE FOR MVA/ POST DIPLOMA SCULPTURE

FIRST SEMESTER CORE COURSES SUBJECT CODE Credit ASSESMENT Hours EXTERNA INTERNA L L ABBREVIATION % % CE - CORE ELECTIVE CORE STUDIO PRACTICE CS - CORE STUDIO CT - CORE THEORY [ANY ONE] A - APPLIED ARTS Creative Sculptur e M/S1/CS516S 18 60 40 G - GRAPHIC ARTS Metal cas ting M/S1/CS515S 18 H - ART HISTORY Stone Sculptur e M/S1/CS513S 18 P - PAINTING Ceramic Sculpture M/S1/CS517S 18 S - SCULPTURE Monumental Sculpture M/S1/CS512S 18

CORE THEORY History of Sculpture M/S1/CT554S 2 60 40

CORE THEORY SUBJECTS WILL BE CONDUCTED BY THE DEPARTMENT OF ART HISTORY & AESTHETICS

SECOND SEMESTER CORE COURSES SUBJECT CODE Credit ASSESMENT Hours EXTERNA INTERNA L L % % CORE STUDIO PRACTICE [ANY ONE] Creative Sculpture M/S2/ CS/ 516S 18 60 40 Metal casting M/S2/CS/ 515S 18 Stone Sculptur e M/S2/CS/ 513S 18 Ceramic Sculptur e M/S2/CS/ 517S 18 Monumental Sculptur e M/S2/CS/ 512S 18

*CORE ELECTIVE Students have to select an area of interest outside their regular programme and tr ain/ work under an expert concerned from outside Faculty during the *Students are expected to undertake their elective at the end Summer break and submit a documentation/r eport of second semester during the on the programme in the third semester. summer break and submit it in the CORE THEORY beginning of the third semester and History of Sculpture M/S2/CT/ 554S 2 60 40 it's assessment is done in the third CORE THEORY SUBJECTS WILL BE CONDUCTED BY THE DEPARTMENT OF ART HISTORY & semester. AESTHETICS

25

THIRD SEMESTER CORE COURSES SUBJECT CODE Credit ASSESMENT Hours EXTERNA INTERNA ABBREVIATION L L CE - CORE ELECTIVE % % CS - CORE STUDIO CT - CORE THEORY CORE STUDIO PRACTICE A - APPLIED ARTS Creative Sculptur e M/S3/CS616S 16 60 40 G - GRAPHIC ARTS Metal cas ting M/S3/CS615S 16 H - ART HISTORY P - PAINTING Stone Sculpture M/S3/CS613S 16 S - SCULPTURE Ceramic Sculptur e M/S3/CS617S 16 Monumental M/S3/CS612S 16 Sculpture *Students are expected to undertake *CORE ELECTIVE M/S3/CE625S 2 100 their elective at the end of second CORE THEOR Y semester during the summer break History of Sculpture M/S3/CT654S 2 60 40 and submit it in the beginning of the

CORE THEORY SUBJECTS WILL BE CONDUCTED BY THE DEPARTMENT OF ART HISTORY & third semester and it's assessment is AESTHETICS done in the third semester.

FOURTH SEMESTER CORE COURSES SUBJECT CODE Credit ASSESMENT Hours EXTERNA INTERNA L L % % CORE STUDIO PRACTICE

Creative Sculpture M/S4/CS/ 616S 16 60 40 Metal cas ting M/S4/CS/ 615S 16 Stone Sculptur e M/S4/CS/ 613S 16 Ceramic Sculptur e M/S4/CS/ 617S 16 Monumental M/S4/CS/ 612S 16 Sculpture Viv a-Voce M/S4/CS/ 618S 1 100 Dissert ation M/S4/CS/ 619S 1 100 **End of the fourth semester there CORE THEORY will be a Grand Jury in which History of Sculpture M/S4/CT/ 654S 2 students expected to present their CORE THEORY SUBJECTS WILL BE CONDUCTED BY THE DEPARTMENT OF ART HISTORY & studio work in Display/exhibition AESTHETICS followed by a Viva Voce.

26 Course Descriptions FIRST SEMESTER MVA/POST  Evolution of Greek Art: Archaic, Classical and Hellenistic, roman portraits and architectural sculpture. Etruscan DIPLOMA SCULPTURE Sculpture (Specialization in any one of the subjects)  Romanesque and Gothic  Renaissance and Baroque  Neo-Classicism, Romanticism. CREATIVE SCULPTURE M/S1/CS516S *Course-pattern is continuous and overlapping between 1st  Execution of original Sculptures based on creative year and 2nd year MVA Sculpture. approach by using any suitable material.  Compositional analyses of Sculpture. COMPULSORY ELECTIVE  Introduction/implementation of conventional and non Internship; 21 days field training under the guidance of any conventional material. significant artist/craft-person/traditional artist/ industrial  Studies and exercises clarifying and developing methods design set up relevant to the art practice, for better and modes of expression. understanding of technique, discipline and material.  Compositional exercises in clay and any other medium based on studies showing creativity and originality.  Analytical understanding of visual language and SECOND SEMESTER MVA/POST expression of art through discussions, dialogues. DIPLOMA SCULPTURE  Material exploration-Round /Relief work in various medium and material. (Specialization in any one of the subjects)

METAL CASTING M/S1/CS515S CREATIVE SCULPTURE M/S2/CS516S  Exploring the possibilities and limitation of metal sculpture  Execution of original Sculptures based on creative by casting, clay studies, enlargement, piece mould and approach by using any suitable material. casting in metal.  Compositional analyses of Sculpture.  Building sculptures direct in wax and casting Exercises in  Introduction/implementation of conventional and non all stages of bronze casting like moulding, casting and conventional material. finishing of the final cast.  Studies and exercises clarifying and developing methods  Producing one original piece of bronze sculpture covering and modes of expression. all these steps.  Compositional exercises in clay and any other medium  Composition in clay or direct plaster and making piece based on studies showing creativity and originality. mould and casting in metal.  Analytical understanding of visual language and  Composition in metal, single cast and casting in parts and expression of art through discussions, dialogues. joining through welding and brazing.  Material exploration-Round /Relief work in various medium and material. STONE CARVING M/S1/CS513S  Nature of stone and its possibilities in sculpture in round METAL CASTING M/S2/CS515S and relief.  Exploring the possibilities and limitation of metal  Maquettes and sketches for visualizing a composition sculpture by casting, clay studies, enlargement, piece within a given stone block. mould and casting in metal.  Building sculptures direct in wax and casting exercises in CERAMIC SCULPTURE M/S1/CS517S all stages of bronze casting like moulding, casting and  Relief composition (mural) Study of a specific site and finishing of the final cast. making a scale model of proposed ceramic mural.  Producing one original piece of bronze sculpture  Preparing a miniature sketch showing full details colour covering all these steps. scheme of glaze application, size and projection,  Composition in clay or direct plaster and making piece  Study of any one period of ceramic history, keeping in mould and casting in metal. view techniques and aesthetic perspective.  Composition in metal, single cast and casting in parts  Creations of original functional sculpture and project work. and joining through welding and brazing.  Theory of ceramic technique, properties and STONE CARVING characteristics of clay, various compositions of clay-bodies M/S2/CS513S and firing methods, preparing glazes, raw materials and  Nature of stone and its possibilities in sculpture in round method of application of glazes. and relief.  Maquettes and sketches for visualizing a composition MONUMENTAL SCULPTURE M/S1/CS512S within a given stone block.  Construction of model for monumental sculpture for a CERAMIC SCULPTURE public space with scale1:4 in a suitable medium, Section M/S2/CS517S and isometric drawings of the sculpture on site.  Relief composition (mural) Study of a specific site and  Understanding of various material used in Exterior Site making a scale model of proposed ceramic mural. Specific Sculptures.  Preparing a miniature sketch showing full details colour scheme of glaze application, size and projection, HISTORY OF SCULPTURE* M/S1/CT554S  Study of any one period of ceramic history, keeping in  Early Sculpture Art of nomadic People, Hunters: Study of view techniques and aesthetic perspective. the primitive sculpture of Africa, South- Asia, Pre-Columbian  Creations of original functional sculpture and project and Mayan. Egyptian, Cretan, Assyrian and the work. Mediterranean sculpture.

27 Course Descriptions  Theory of ceramic technique, properties and STONE CARVING M/S3/CS613S characteristics of clay, various compositions of clay-bodies  Nature of stone and its possibilities in sculpture; in round and firing methods, preparing glazes, raw materials and and relief. method of application of glazes.  Modelling maquettes for stone, visualizing a composition within a given stone block. MONUMENTAL SCULPTURE M/S2/CS512S  Construction of model for monumental sculpture for a CERAMIC SCULPTURE M/S3/CS617S public space with scale1:4 in a suitable medium, Section  Large scale ceramic sculpture; creation of sculpture by and isometric drawings of the sculpture on site. various basic techniques, exploring section building and  Understanding of various material used in Exterior Site assembling for scaled composition. Specific Sculptures.  Preparing a sketches showing full details colour scheme, glaze application techniques, understanding of loading and HISTORY OF SCULPTURE* M/S2/CT554S firing methods.  Early Sculpture Art of nomadic People, Hunters: Study of  History of ceramics with perspective of the properties, the primitive sculpture of Africa, South- Asia, Pre- characteristics and techniques of that era. Columbian and Mayan. Egyptian, Cretan, Assyrian and the  Creations of functional sculpture and project work. Mediterranean sculpture.  Evolution of Greek Art: Archaic, Classical and Hellenistic, MONUMENTAL SCULPTURE M/S3/CS612S roman portraits and architectural sculpture. Etruscan  Construction of model for site specific monumental Sculpture sculpture, with scale1:4 in a suitable medium, to scale,  Romanesque and Gothic section and isometric drawings of the sculpture on site.  Renaissance and Baroque  Understanding of various material used in Site Specific  Neo-Classicism, Romanticism. Sculptures. *Course-pattern is continuous and overlapping between 1st  Historical Study of monumental sculptures, with reference year and 2nd year MVA Sculpture. to their context, period, scale, technique and aesthetic approach. COMPULSORY ELECTIVE Internship; 21 days field training under the guidance of any HISTORY OF SCULPTURE* M/S3/CT/654S significant artist/craft-person/traditional artist/ industrial  Rodin and the age of experiments design set up relevant to the art practice, for better  Individualism and modern concepts understanding of technique, discipline and material.  20th century sculptural practice  Sculptural Installation THIRD SEMESTER MVA/POST  Contemporary Sculpture

DIPLOMA SCULPTURE *Course-pattern is continuous and overlapping between 1st (Specialization in any one of the subjects) year and 2nd year MVA Sculpture.

CREATIVE SCULPTURE M/S3/CS616S FOURTH SEMESTER MVA/POST  Execution of Sculptures based on creative approach by DIPLOMA SCULPTURE using any suitable material, process and style.  Compositional exercises based on particular one (Specialization in any one of the subjects) concept.  Understanding of Kinetic sculptures, light and sound CREATIVE SCULPTURE M/S4/CS616S specific work.  Execution of Sculptures based on creative approach by  Compositional exercises in clay and other mediums using any suitable material, process and style. reflect in depth understanding of sculptural language.  Compositional exercises based on particular one concept.  Role of History of sculpture in visual understanding and  Understanding of Kinetic sculptures, light and sound execution of sculptures. specific work.  Exercises on Sculptural Installation.  Compositional exercises in clay and other mediums reflect in depth understanding of sculptural language. METAL CASTING M/S3/CS615S  Role of History of sculpture in visual understanding and  Exploring the possibilities and limitation of metal execution of sculptures. sculpture by casting,  Exercises on Sculptural Installation.  clay studies, enlargement, piece mould and final casting in metal. METAL CASTING M/S4/CS615S  Building sculpture directly in wax and casting exercises in  Exploring the possibilities and limitation of metal sculpture all stages of bronze casting to produce final bronze by casting, sculpture.  clay studies, enlargement, piece mould and final casting  Composition in clay or direct plaster, making piece in metal. mould, casting single or in parts and joining to create final  Building sculpture directly in wax and casting exercises in composition in metal. all stages of bronze casting to produce final bronze sculpture.  Composition in clay or direct plaster, making piece mould, casting single or in parts and joining to create final composition in metal.

28 Course Descriptions STONE CARVING M/S4/CS613S  Nature of stone and its possibilities in sculpture; in round and relief.  Modelling maquettes for stone, visualizing a composition within a given stone block.

CERAMIC SCULPTURE M/S4/CS617S  Large scale ceramic sculpture; creation of sculpture by various basic techniques, exploring section building and assembling for scaled composition.  Preparing a sketches showing full details colour scheme, glaze application techniques, understanding of loading and firing methods.  History of ceramics with perspective of the properties, characteristics and techniques of that era.  Creations of functional sculpture and project work.

MONUMENTAL SCULPTURE M/S4/CS612S  Construction of model for site specific monumental sculpture, with scale1:4 in a suitable medium, to scale, section and isometric drawings of the sculpture on site.  Understanding of various material used in Site Specific Sculptures.  Historical Study of monumental sculptures, with reference to their context, period, scale, technique and aesthetic approach.

HISTORY OF SCULPTURE* M/S4/CT/654S  Rodin and the age of experiments  Individualism and modern concepts  20th century sculptural practice  Sculptural Installation  Contemporary Sculpture

*Course-pattern is continuous and overlapping between 1st year and 2nd year MVA Sculpture.

DISSERTATION Preparation and presentation of a written document of about 4000 words is regarded as a major subject. It is meant to reflect an understanding of the critical, historical and philosophical issues from the past or present in consultation with the Head of the Department and work on it under his guidance or a teacher approved by him and the Dean by the end of 1st Term of Junior MVA. The dissertation should be prepared in the prescribed manner and handed over to the Dean, through the Head of the Department positively before the commencement of the Theory examinations.

VIVA-VOCE It is an oral or oral part of an examination where dissertation by the student will be put forward for consideration especially to be proved or maintained against objections. For MVA candidates in each specialization it will be conducted by a panel nominated by the head of the Department and appropriate external experts from the Joint Board of Examiners.

29 30 Applied Arts

31 Along with the main courses our students get first hand Department of experience in event publicity, event management, exhibition and display techniques and participatory media Applied Arts through other programmes of the University and the Faculty. Senior students visit to publishing houses, Applied Arts at a glance: processing studios and Advertising Agencies, giving them The Department of Applied Art has been part of the Faculty additional exposure. from its inception and is well known for its contribution to the University and the city of Baroda. In over fifty years of its existence, the Department has been running professional Courses: courses giving degree and diploma at graduate and The undergraduate batches are taught Foundation Art and postgraduate levels. Graphic design as their main subjects combined with Typography, Photography, Process, Screen Printing and The faculty has adopted a four year programme for BVA. the History of Art, Architecture, Advertising and Design. The post graduate courses are for two year durations. Our courses have gained wide professional acceptance. The The culmination of the graduate course is with a full objective of this course is to teach design and its advertising campaign for a product or service as well as a applications in communicative and advertising visual Social Awareness campaign complete with logo, stationary media. and publicity / communication material for various media.

At the post-graduate level the Department offers Objectives: Illustration and Visualization as options and the theory of Applied Art as the name itself suggests is an application of Business Organization is added to the History of the traditional art forms in day to day life adding aesthetics Advertising, plus a dissertation on a relevant subject, which of planned design and making 'art' more practical, include market research, data collection and an analysis. adaptable and feasible to use. The idea is not to The Visualization students work on Corporate Identity and 'commercialize' art as many wrongly believe. Product Publicity for different media. The Illustration The objective is to teach fundamentals of design and its students work on Story Book, Book Illustration, Editorial aesthetic applications in communicative and advertising Illustration, Caricature, Cartoons, Industrial and visual media. The guiding and teaching structure of the Environmental Illustration. Department is therefore to facilitate the understanding of a problem and then generate workable visual solutions for effective communication through various exercises and Advantage applied art: project assignments. The Department prides itself in designing the University’s Diary, Calendar and the Annual Report year after year, in which the students are thoroughly involved. Since last five Mission: years, it has become regular departmental event every Tremendous changes are taking place and information year to have an exhibition of Social/Public Awareness technology is sweeping the world. Traditional methods of Campaigns and is well appreciated by all course of people. mass communication and mass production now largely The Department also designs all prestigious presentations revolve around the internet - which requires a different kind for instance, we recently designed a brochure for the C.C. of mind set. Mehta Auditorium, and we are currently working on Signage System for the University. Our endeavour is to form a bridge between the conventional and the most modern design. Keeping close The Applied Art Department when approached has also to the basics and connecting them to modern applications. undertaken design and visual communication assignments Applied Art changes with the times because the for various organizations, commercial and social institutes applications and implications of art keep changing. and projects like Sardar Sarovar Punarvasavat Agency. Methodology: Infrastructure: The Department facilitates constant improvement of The Department has a well equipped Computer Centre with design skills through options and possibilities based on the latest graphic design software which is funded by rigorous mental and creative exercises. The staff is highly AICTE-MODROBS & TAPTEC Projects, New Delhi. The competent in their respective subjects. We also invite Department also has its own Process and Photography experts for workshops and interaction. studios with all necessary equipment. The students have access to a large collection of reference books at the The courses are extensive and practical. Teaching involves Faculty and Hansa Mehta Library of the University. interaction and discussions. The teacher-student relation forms a strong bond of trust. Students from diverse backgrounds are brought on one platform although the work maintains individuality.

32 Entrance test/ teaching and evaluation: It is mandatory to judge the student’s aptitude before admission. Our programme enjoys a good reputation at the entrance level for Bachelor’s and Master’s courses. Students from across the country apply for admission and the allocation of seats is as per University and UGC guidelines.

There is a continuous review of student’s knowledge and skills. This is done through frequent assignments, discussions and personal assessment.

There is a practical thrust to our entire course. A plan of different sets of progressive problem solving assignments is used. The syllabi are synchronized with the teaching schedule throughout the year. We also have projects, slide- shows, workshops and field trips. Milestones: Our students bring us name and fame by doing well in advance courses at international level and foreign universities. Our teachers are invited by other Universities and Institutions as examiners and visiting Faculties. l Many of our alumni have received National Awards and recognition for their work. l The Department has the privilege of having invited some world renowned Graphic Designers and Advertising Personalities.

33 COURSE STRUCTURE FOR MVA & POST DIPLOMA APPLIED ARTS

FIRST SEME STER CORE COURSES SUBJECT CODE Credit ASSESMENT Hours EXTERNA INTERNA L L % % CORE STUDIO PRACTISE [ANY ONE] ABBREVIATION Illus tration 1 / M/S1/CS/ 521A 18 60 40 CE - CORE ELECTIVE Visualisation 1 M/S1/CS/ 523A 18 CS - CORE STUDIO CT - CORE THEORY A - APPLIED ARTS CORE THEORY G - GRAPHIC ARTS History of Advertising M/S1/ CT542A 2 60 40 H - ART HISTORY Philosoph y of Art M/S1/CT551H 2 60 40 P - PAINTING Modern art M/S1/CT553H 2 60 40 S - SCULPTURE

SECOND SEMESTER CORE COURSES SUBJECT CODE Credit ASSESMENT Hours EXTERNA INTERNA L L % % CORE STUDIO PRACTISE [ANY ONE] Illustration M/S2/CS/ 521A 18 60 40 Visualiz ation M/S2/CS/ 523A 18

*CORE ELECTIVE For all the students of MVA(2nd semester) in Core Theory subjects will be Visualization/Illustration, Professional Training of 6 conducted by the Department of Art weeks in summer vacation in an advertising agency or History & Aesthetics design studio is compulsory & student should provide the Training certificate in the beginning of the 3rd rd *Students are expected to undertake semester to be promoted to the next(3 ) semester their elective at the end of second CORE THEORY semester during the summer break History of Advertising M/S2/CT/ 542A 2 60 40 and submit it in the beginning of the Philosoph y of Art M/S2/CT / 551H 2 60 40 third semester and it's assessment is Modern art M/S2/CT/ 553H 2 60 40 done in the third semester.

34 THIRD SEME STER CORE COURSES SUBJECT CODE Credit ASSESMENT Hours EXTERNA INTERNA L L % % ABBREVIATION STUDIO PRA CTICE CE - CORE ELECTIVE Illus tration M/S3/CS/ 621A 16 60 40 CS - CORE STUDIO Visualization M/S3/CS/ 623A 16 CT - CORE THEORY *CORE ELECTIVE M/S3/CE/ 625A 2 100 A - APPLIED ARTS G - GRAPHIC ARTS CORE THEORY H - ART HISTORY Business Organization M/S3/ CT/ 641A 2 60 40 P - PAINTING Philosophy of Art M/S3/CT/ 651H 2 60 40 S - SCULPTURE Modern art M/S3/CT/ 653H 2 60 40

Core Theory subjects will be FOURTH SEME STER conducted by the Department of Art CORE COURSES SUBJECT CODE Credit ASSESMENT History & Aesthetics Hours EXTERNA INTERNA L L *Students are expected to undertake their elective at the end of second % % semester during the summer break STUDIO PRA CTICE and submit it in the beginning of the third semester and it's assessment is Illus tration M/S4/CS/ 621A 16 60 40 done in the third semester. Visualiz ation M/S4/CS/ 623A 16 Viv a-Voce M/S4/CS/ 628A 1 100 **End of the fourth semester there Dissertation M/S4/CS/ 629A 1 100 will be a Grand Jury in which CORE THEORY students expected to present their Business Organization M/S4/ CT/ 641A 2 60 40 studio work in Display/Exhibition Philosophy of Art M/S4/CT/ 651H 2 60 40 followed by a Viva Voce. Modern art M/S4/CT/ 653H 2 60 40

35 Course Descriptions FIRST SEMESTER MVA/POST SECOND SEMESTER MVA/POST

DIPLOMA APPLIED ARTS DIPLOMA APPLIED ARTS CORE STUDIO PRACTICE CORE STUDIO PRACTICE ILLUSTRATION-1 M/S1/CS521A ILLUSTRATION-2 M/S2/CS522A Life study: studies in colour, line and wash Studies of Landscape.(Nature) Head study: studies in colour, line and wash. Sketches of different architectural styles (ancient and Full figure study: studies in colour, tone and wash. modern). Exteriors and interiors in wash, colour and line, outdoor VISUALISATION-1 M/S1/CS523A figure studies and composition in various media. Advertising campaign for existing product Four copies of different styles of compositions. A programme to develop an ability to create visual ideas for different type of advertising campaign designing. VISUALISATION-2 M/S2/CS524A Finding USP in campaign message and style, analytical New introduced or launched Product study of different product groups, commodity groups, class A programme to develop an ability to create visual ideas for of appeal. designing a promoting campaign for completely new product A programme to study, visualize and develop a complete to be introduced or launched in the market with specific product or service promoting advertising campaign for an segment keeping in mind setting advertising and design established product for various relevant press media objectives, including multimedia. Deciding the styles of advertising message execution and Product Campaign = Consumer Durable Budget part of the creative efforts. 5 Ads Students training Program 2 Poster A general programme to understand and gain knowledge of Hording different traditional and modern reproduction methods for Window Display / Exhibition Stall Design various advertising media. Students have to undergo training Promotional Booklet / Literature at the end of the junior year in the process section of Typographical advertising campaign advertising department, which is supported by practical work, A programme to study, visualize and develop a theoretical lectures including visits of printing houses. typographical advertising campaign design which will equip Departmental internal test students to study typography as independent design art All the students will have to go through a departmental and as a part of advertising copy writing. internal test at the end of the year, after submitting all his/her Objectives of copy and the role each plays in class work / home work prescribed by the concerned teacher. communicating the complete message. Students will have to fulfill not only the required percentage of Format elements. attendance but also complete the prescribed theory and Types and the role of various headlines. practical class work assignments to the satisfaction of the jury The elements that make up body copy. / a panel comprising of the class teacher, senior teachers and Service Campaign (Typography) (Non Product) the head of the department concerned in order to qualify to go Bank/ Hospital/ Hostel/ Airlines/ Service Providers/ into the senior class. Educational etc. Tour operator / Packers/ Builders CORE THEORY 5 Magazine Ads or Press Ads with Body Copy. HISTORY OF ADVERTISING M/S2/CT/542A 1. Pre-printing period. CORE THEORY 2. Period after Industrial Revolution. HISTORY OF ADVERTISING M/S1/CT/542A 3. Period of Scientific Modern development. 1. Pre-printing period. 4. Post war (IInd) Design Trends. Major Designers. 2. Period after Industrial Revolution. 3. Period of Scientific Modern development. Environmental graphic design 4. Post war (IInd) Design Trends. Major Designers. Multimedia Design Packaging Design Presentation and meeting Principals Advertising compels people to buy thing they do not need. Advertising increase the cost of goods. Advertising is false, deceptive and mist leading. It is vulgar and in poor taste. Advertising tends to develop monopolies. Advertising only transfers business from one to another.

36 Course Descriptions THIRD SEMESTER MVA/POST FOURTH SEMESTER MVA/POST DIPLOMA APPLIED ARTS DIPLOMA APPLIED ARTS CORE STUDIO PRACTICE CORE STUDIO PRACTICE ILLUSTRATION-3 M/S3/CS621A ILLUSTRATION-4 M/S4/CS622A Figure Composition. Studies and Compositions of Industrial plants and Story illustration. establishments in different media and techniques. Period Composition. Single and multi figure compositions for advertising Specimen copies in any of the following graphic media: in line, wash and colour. Lithography, photography, etching and wood engraving. Adaptation of different styles and techniques of painting and Developing an individual style and techniques of illustration. Ancient and modern-illustrations. Indian, illustration. Western and Far Eastern etc. VISUALISATION-4 M/S4/CS624A VISUALISATION-3 M/S3/CS623A Advertising campaign for social awareness Corporate communication campaign A programme to create and design an advertising A programme to understand and create visual solutions for campaign for social awareness subject as a part of our designing corporate communication campaign based on attempt to understand the society, its problem and help to various items like image building ad campaign, publications, find out relevant solutions in creative visual language as a community relations, corporate catalogues, annual reports, designer. press kit, community magazines, identity media and corporate events, keeping in mind building corporate Social Campaign = NGO awareness and credibility. Plan an event for an NGO + make a logo for it Corporate Design (Institutional) Invitation Cards/ Ticket Logo Posters Stationary Hording Other Applications Trophy/ Award Design Manual/ 3 Corporate Ads Stage Design Annual Report Press kit/ Folder Corporate Presentation PPT = 15 Slides / Web Page Shot film with Voice Over Script CORE THEORY Story Board BUSINESS ORGANISATION-1 M/S3/CT541A Advertising campaign (1) Guide to intellectual property in terms of advertising An advertising campaign based on marketing Design. communication mix elements like advertising, What is intellectual property? Direct marketing, What is Trademark? sales promotion, public relation and publicity and Registering a Trademark Personal selling in order to understand various aspects like What is copyright target audience, determining the communication objectives What are electronic rights? designing message. How long does copy right ownership lost What is Public Domain? How does a work enter the Public Product Campaign = FMCG Product Domain? 5 Ads How does a designers profit from copyright protection 2 Poster Hording BUSINESS ORGANISATION-2 M/S3/CT541A Dangler/ Show Card (2) Finding work as an Advertising graphic designer Packaging Where the jobs are Ambient/ Display Counter Internship Having a Plan The Resume CORE THEORY The Portfolio BUSINESS ORGANISATION-3 M/S4/CT641A The Interview (3) Pricing your service What employ looks for? Yearly revenue potential Being Great Employee Hourly rate structure For grid for estimate Industry pricing standards

BUSINESS ORGANISATION-4 M/S4/CT641A (4) What do Advertising Graphic Designers do? Area of specialization Art and creative direction Branding and graphic Identity Broadcast design and motion Graphics Corporate communication and information design Editorial design Education

37 38 Graphic Arts

39 Quite a few students from this department have gone abroad Department of on scholarships to pursue higher studies in printmaking. Number of students have been to France on exchange Graphic Arts programmes. The department has had in past a National UGC Workshop Introduction and various Workshops from time to time involving well known Department started in 1950 along with the college as a artists from India & abroad i.e. , Anupam Sud, subsidiary department. Later a need was felt in late sixties to John Babcock, Jaquin Capa, Carols Summers, & others. start a Post Graduate Degree and Post Diploma in As for extension the faculty organises Fine Arts Fair. The Printmaking. The first batch of MVA came out in 1971. Both the department has been producing Print Portfolios, Calendars & courses ran successfully and now admits a large number of other print images to enhance the public understanding & students from all over the country. appreciation for the Art of Print. This department is one of the most equipped printmaking department in the country to practice all methods of Infrastructure and learning printmaking. The department has specialized teachers to teach Intaglio, resources: Lithography, Relief printing, Serigraphy and Photography. The department houses 5 intaglio presses, 3 lithography The department handles the initiation programme to Art presses,1 off-set press, complete paper making unit, facilities Criticism students. to produce relief prints and serigraphy. The department has In the VIII Five Year Plan the department acquired full-fledged photography facility, which includes cameras, papermaking unit, which added a very important facility to enlargers for black & white and colour printing. Photography experiment in a new medium. The department held a major section is extremely vital to subsidiary education to applied art workshop with an American artist John Babcock & this gave a student. lead to experimentation in this medium. Student support & progression: Mission, objectives & future All the students who complete their education become fairly visions: competent & skilled printmakers. Within a short time of studies they achieve recognition in the field of printmaking. The department teaches all the techniques at undergraduate There is a large Collection of the Student’s Prints, which level introducing them to various methods by practicing comes as a great support to the new students & learning artists/ printmakers by conducting workshops regularly. This youngsters. method has been very successful in making the students To support various activities & to build infra structural facilities, aware of the contemporary printmaking in the other parts of Department undertakes production of various portfolios and the world and the country. In keeping with the lofty goals of the markets them. Besides supporting the Department financially Fine Arts Faculty and the University, the activities of the this activity teaches the student complete procedures from department are directed to discover and rediscover the making the plate to the making of a edition of prints. knowledge-theoritical and practical in Art of Printmaking. By creating the opportunity for the student to work with the professionals from time to time boosts the confidence of the Organisation & management: student and helps them to face the world after studies. Department also exposes students to art & culture of our past The Head of the Department, co-ordinates the programme & and present and world art. the activities, which is supported by the teachers in various In the prevailing scenario of art practices computer is sections. The Budget & Funding for consumables & other becoming an important tool, the department has acquired needs is centrally operated and provided by the Deans Office. computer and internet facility. This facility will enhance an extra method of making prints and open a super highway of Healthy practice: information and knowledge. 1. Strong communication with public at large through Print Folios & 'Exhibitions.' Teaching, learning & evaluation: 2. Active association with Artists & Art Teachers. The teaching is generally undertaken in one to one level and a 3. Department had International Exchange programme for continuous review of the student’s development is done students. through studio discussions, assignments and tutorials 4. Visits by well known Indian as well as International periodically.The final evaluation is done at the Annual Display Artists. by the external as well as by the internal examiners. 5. Demonstrations & Workshops with well known Indian The department has adopted the Self-Appraisal method to and International Artists. evaluate performance of the faculty as per the UGC 6. Students and Teachers participation in various State, guidelines. National & International Exhibitions. 7. Communication with other Institutions through Research, consultancy and Teachers' and Students' visits. extension: There is a provision and infrastructure available to pursue Research in the department. One JRF student has been already awarded Ph.D. for research work on “Printmaking in India”. There are several National Scholars (HRD Ministry, Govt. Of India) and other Scholarship holders pursuing their studies in the department.

40 Eligibility: MVA and Post Diploma BVA/Diploma of this University or equivalent degree /diploma recognised by this university. The student should have taken Graphic Arts as a subsidiary subject for their degree/diploma or show convincing proof of their aptitude and ability to undergo these courses. Highlights: The department has produced important individuals, who were awarded foreign scholarships, teaching assignments at various Indian Universities and many of them are well known professional printmakers. A large number of alumni were awarded for their prints in various important national and international exhibition. During the last fifty years many well known national and international artists visited the department with a purpose of having exhibitions, workshops, lectures and demonstrations. A large number of young alumni were awarded National and International Scholarships, Senior and Junior Fellowship from the Govt. of India.

COURSE STRUCTURE FOR MVA/ POST DIPLOMA GRAPHIC ARTS

FIRST SEME STER CORE COURSES SUBJECT CODE Credit ASSESMENT Hours EXTERNA INTERNA L L

ABBREVIATION % % CE - CORE ELECTIVE CORE STUDIO PRACTICE CS - CORE STUDIO CT - CORE THEORY Print Making M/S1/CS/ 531G 18 60 40 A - APPLIED ARTS G - GRAPHIC ARTS CORE THEORY H - ART HISTORY History of Print Making M/S1/CT / 555G 2 60 40 P - PAINTING Philosoph y of Art M/S1/CT/ 551H 2 60 40 S - SCULPTURE Modern Art M/S1/CT/ 553H 2 60 40

SECOND SEMESTER CORE COURSES SUBJECT CODE Credit ASSESMENT Hours EXTERNA INTERNA L L % %

CORE STUDIO PRACTICE Print Making M/S2/CS/ 531G 18 60 40

Core Theory subjects will be *CORE ELECTIVE Students have to select an area of interest outside conducted by the Department of Art History & Aesthetics their regular programme and train/ work under an expert concerned from outside Faculty during the

*Students are expected to undertake Summer break and submit a documentation/report their elective at the end of second on the programme in the third semester. semester during the summer break CORE THEORY and submit it in the beginning of the History of Print Making M/S2/CT / 555G 2 60 40 third semester and it's assessment Philosophy of Art M/S2/CT/ 551H 2 60 40 is done in the third semester. Modern Art M/S2/CT/ 553H 2 60 40

41 COURSE STRUCTURE FOR MVA/ POST DIPLOMA GRAPHIC ARTS

THIRD SEME STER CORE COURSES SUBJECT CODE Credit ASSESMENT Hours EXTERNA INTERNA L L

% % ABBREVIATION STUDIO PRA CTICE CE - CORE ELECTIVE Print Making M/S3/CS/ 631G 16 60 40 CS - CORE STUDIO CT - CORE THEORY *CORE ELECTIVE M/S3/CE/ 635G 2 100 A - APPLIED ARTS CORE THEORY G - GRAPHIC ARTS History of Print Making M/S3/CT / 655G 2 60 40 H - ART HISTORY Philosoph y of Art M/S3/CT/ 651H 2 60 40 P - PAINTING Modern Art M/S3/CT/ 653H 2 60 40 S - SCULPTURE

FOURTH SEME STER Core Theory subjects will be CORE COURSES SUBJECT CODE Credit ASSESMENT conducted by the Department of Art History & Aesthetics Hours EXTERNA INTERNA L L *Students are expected to undertake % % their elective at the end of second STUDIO PRA CTICE semester during the summer break and submit it in the beginning of the Print Making M/S3/CS/ 631G 16 60 40 third semester and it's assessment Viv a-Voce M/S4/CS/ 638G 1 100 is done in the third semester. Dissertation M/S4/CS/ 639G 1 100 **End of the fourth semester there CORE THEORY will be a Grand Jury in which History of Print Making M/S4/CT / 655G 2 60 40 students expected to present their Philosoph y of Art M/S4/CT/ 651H 2 60 40 studio work in Display/exhibition Modern Art M/S4/CT/ 653H 2 60 40 followed by a Viva Voce.

42 Course Descriptions FIRST SEMESTER MVA/POST THIRD SEMESTER MVA/POST DIPLOMA GRAPHIC ARTS DIPLOMA GRAPHIC ARTS (PRINT MAKING) (PRINT MAKING) RELIEF PRINTMAKING M/S1/CS/531G INTAGLIO PRINTMAKING M/S3/CS/634G Studios will be provided and students will start accordingly -Research and exploration in the chosen area of creative their own works respective print processes, Identifying areas expression. of interest of individuals based on their earlier body of work, -Elective project report to be submitted. Drawing for warming up and exploration from life, from -Choose dissertation topic. surrounding etc. -Start work on dissertation topic. -Individual discussion (one to one). -Individual one to one discussion. -Assessment. -Studio visit by professional artists.

SERIGRAPHY M/S1/CS /532G PHOTOGRAPHY M/S3/CS/635G Studios will be provided and students will start accordingly -Research and exploration in the chosen area of creative their own works respective print processes, Identifying areas expression. of interest of individuals based on their earlier body of work, -Elective project report to be submitted. Drawing for warming up and exploration from life, from -Choose dissertation topic. surrounding etc. -Start work on dissertation topic. -Individual discussion (one to one). -Individual one to one discussion. -Assessment. -Studio visit by professional artists.

HISTORY OF PRINTMAKING M/S1/CT/555G HISTORY OF PRINTMAKING M/S2/ CT /655G Printmaking in Europe in the 14th century, Albrecht Durer, History of Indian Printmaking , the beginning of printing in Rembrandt, and other major artists. India, the printmaking in Bengal, Raja Varma, and Indian -Submissions of the internal assignments. contemporary printmaking, and printmakers, European lithographers Honore Daumier, Toulouse Lautrec etc. SECOND SEMESTER MVA/POST -Submissions of the internal assignments. DIPLOMA GRAPHIC ARTS (PRINT MAKING) INTAGLIO PRINTMAKING M/S2/ CS/534G Elective projects could be started accordingly, along with their own interests, studio practice according the given choices, start thinking of their dissertations, subject matters etc. -Individual discussion (one to one). -Assessment.

PLANOGRAPHY M/S2/ CS/533G Elective projects could be started accordingly, along with their own interests, studio practice according the given choices, start thinking of their dissertations, subject matters etc. -Individual discussion (one to one). -Assessment.

HISTORY OF PRINTMAKING M/S2/ CT /555G Printmaking in the Japan in 17th to 19th century Ukiyo-e printmakers, In Europe Goya, Blake, And German expressionism movement. -Submissions of the internal assignments.

43 Course Descriptions FOURTH SEMESTER MVA/POST DIPLOMA GRAPHIC ARTS (PRINT MAKING) INTAGLIO PRINTMAKING M/S4/CS/634G Intensive studio work. -All works to be finished. -Exploration of ideas of presentation. -Dissertation to be submitted. -A formal presentation of studio work. -Presentation of in Degree show (Final Display) and Grand Jury.

RELIEF PROCESS M/S4/CS/631G Intensive studio work. -All works to be finished. -Exploration of ideas of presentation -Dissertation to be submitted. -A formal presentation of studio work. -Presentation of in Degree show (Final Display) and Grand Jury.

HISTORY OF PRINTMAKING M/S2/CT/655G The pop printmaking activities and the modern printmaking scene in the Europe, Picasso as a printmaker -Submissions of the internal assignments.

DISSERTATION Preparation and presentation of a written document of about 4000 words is regarded as a major subject. It is meant to reflect an understanding of the critical, historical and philosophical issues from the past or present in consultation with the Head of the Department and work on it under his guidance or a teacher approved by him and the Dean by the end of 1st Term of Junior MVA. The dissertation should be prepared in the prescribed manner and handed over to the Dean, through the Head of the Department positively before the commencement of the Theory examinations.

VIVA-VOCE It is an oral or oral part of an examination where dissertation by the student will be put forward for consideration especially to be proved or maintained against objections. For MVA candidates in each specialization it will be conducted by a panel nominated by the head of the Department and appropriate external experts from the Joint Board of Examiners.

PHILOSOPHY OF ART M/S1/CT/551/651H*** MODERN ART M/S1/CT/AH/553/653H*** **** THEORY CLASSES WERE CONDUCTED BY THE DEPARTMENT OF ART HISTORY & AESTHETICS

44 Core Theory

MVA Painting, Sculpture, Applied Arts & Graphic Arts

45 Course Descriptions CORE THEORY FOR MVA CORE THEORY FOR MVA PAINTING, SCULPTURE, PAINTING, SCULPTURE, APPLIED ARTS & GRAPHIC ARTS APPLIED ARTS & GRAPHIC ARTS SEMESTER 1 SEMESTER 2 MODERN ART M/S4/CT/553H MODERN INDIAN ART- PRE INDEPENCCE PERIOD MODERN INDIAN ART- PRE INDEPENCCE PERIOD VIII. Regional responses to the spirit of Revival I. Nineteenth century colonial India o Bengal,Gujarat,Western India,South India o Western impact and Indian response in Political, Social IX. Nandlal Bose and Santiniketan and Cultural Spheres o His contribution as a teacher and a muralist o Rise of Urban Centers -Printing, English language, o Association with Gandhi, Stella Kramrisch Education X. Benode Bihari Mukherjee o Middle class and the Bhadralok -Nationalist thought, o Contribution as a muralist and position for the subaltern. Intellectuals and activists XI. o Bankimchandra Chattopadhyay - - o Personality,Various influences,Use of unconventional Rammohan Roy and Brahmo Samaj materials,Primitivism and subaltern content o Dayananda Saraswati and Arya Samaj -Ranade and XII. Prarthana Samaj o Father of folk renaissance,Writings on Roy,Discussion of II. Western Impact on Indian Art works o Indian painting in the 19th century XIII. Amrita Shergill o Kalighat -Company School and the impact of European o Early career-Encounter with Indian art and architecture - realistic techniques Participation in art shows o British travelers in India -British painters in India o Extensive travels-Communication with scholars- o Indian painters encounter European techniques Thematic variances through out her career o Lucknow Murshidabad Patna Benaras Delhi Tanjore- o on Amrita Shergill-Feminist reading of Trichinapally Mysore Western India Shergill III. Positioning Raja Ravi Varma MODERN WESTERN ART -19TH CENTURY IV. Other Developments Impressionism------concept----social context - artists - o Archaeological excavations, discovery of ancient arts Manet, Monet, Renoir, Mary Cassat, Berthe Morisot and their interpretation Post- Impressionism---conceptRoger FryCezzanne, o Indian society of Oriental Art -Establishment of art Lautrec, Vangogh, Gaugin schools o Madras Bombay Calcutta Lahore o The Bichitra club -E B Havell -Kakuzo Okakura his Pan CORE THEORY FOR MVA Asianism -Coomaraswamy V. Abanindranath Tagore and questions of revivalism PAINTING, SCULPTURE, o Early Training -First Indian style painting -Wash phase APPLIED ARTS & GRAPHIC ARTS o Phalguni phase-Landscapes-Masks, Portraits, and relation with Rabindranath's theatre SEMESTER 3 Last phase. MODERN INDIAN ART: POST INDEPENDENCE ART VI. Gaganendranath Tagore and his internationalism 1. Bengal famines (1943): o Early accounts of his painting activity-Early sketches Prominent Artists : Chittaprosad Bhattacharya, Zainul o Jivansmriti in Japanese techniques -Chaitanya series Abedin, Govardhan Ash, Atul Bose, Gopal Ghosh The o Pilgrims, Nocturnes-Landscapes -Satirical drawings, Bengal Painters' Testimony: Asit Kumar Haldar, D. P. Roy caricatures Choudhury, Sudhir Khastagir, Nirode Majumder o Confrontation with cubism -Post cubist phase a. Tebhagar Diary Somnath Hore VII. and his eclecticism 2. The Calcutta Group (1943-53): o Initiation Prominent artists - Prodosh Das Gupta, , o Growth, association to his poetry, literary works and Kamala Das Gupta, Govardhan Ash, Gopal Ghosh, Abani theatrical compositions. MODERN WESTERN ART -19TH CENTURY Sen, Rathin Maitra, Prankrishna Pal, Sunil Madhava Sen.Amongst the other artists Hemant Mishra, Subho o Neoclassicismconcept- social-backroundart historians---- Tagore, Paritosh Sen -artists David,Ingers ,Canova 3. Progressive Artists' Group: Romanticismconcept---philosophical thoughtssublime--- b. Study of the post-independence political, social and picturesque----Casper David Fredrich,Fuseli cultural scenario. Reference to other mediums of o Realism---background----ProudhonMallarme--- expression literature, films, theatre both street and artistsGustave Courbet,Millet mainstream; progressive groups from different fields theatre, writers, etc. c. Detail study of the works of the members of the group - F. N. Souza, K. H. Ara, S. H. Raza, M. F. Husain, S. K. Bakre, H. A. Gade d. Role of Critics and collectors - Rudy von Leyden, art critic at Times of India, Walter Langhammer, Art Director, at Times of India and E. Schlesinger

46 Course Descriptions MODERN WESTERN ART - 20TH CENTURY CORE THEORY FOR MVA 1. Cubism a. Influence of Post-Impression on Cubism PAINTING, SCULPTURE, b. Prominent artists -Pablo Picasso, Georges Braque, Fernand Leger, Juan Gris APPLIED ARTS & GRAPHIC ARTS c. Pablo Picasso Blue Period, Red Period SEMESTER 4 d. Analytic cubism and Synthetic Cubism MODERN INDIAN ART : POST INDEPENDENCE ART e. George Braque 1. Other Progressive Schools/ Groups: 2. Futurism a. Notion of a manifesto a. Cholamandal Artists' Village : K. C. S. Paniker, M. b. Artists - Umbreto Boccioni, Luigi Russolo, Reddeppa Naidu, J. Sultan Ali, P. V. Janakiraman, C. Giacoma Balla, Gino Sevrini, Carlo Cara Dakshinamurthy, S. Nandagopala, S. G. Vidhyashankar 3. Fauvism Stapathy a. Three regions / groups Académie Carrière b. Delhi Silpi Chakra: B. C. Sanyal and P. N. Mago, other (under Gustav Moreau), from Châtou and from artists - Shankar Pillai, Kanwal Krishna, K. S. Kulkarni, Le Havre , Harkrishan Lall, Satish Gujral, Ram b. Artists at Académie Carrière :Henri Matisse, Kumar, Jaya Appasamy, , Krishen Albert Marquet, Charles Camoin, Henri Khanna Manguin, Jean Puy 2. Baroda School Faculty of Fine Arts. c. Artists from Châtou:Andre Derain, Maurice de a. Years of Inception, Faculty members- N. S. Bendre, Vlaminck Prodsh Das Gupta, Sankho Chaudhuri, K. G. d. Artists from Le Havre: Emile Othon Friesz, Subramanyan, V. R. Amberkar Raoul Dufy, Georges Braque b. Study of the contribution of other individuals too - V. P. e. Reaction from critics Karmarkar, K. K. Hebbar, Sivax Chavda, Ravishankar 4. Dadaism 1916 Raval, Somalal Shah, Herman Goetz, Markand Bhatt, a. A mid-world war art movement Hansa Mehta b. Jean Arp and Marcel Janco Zurich c. 1950's onwards - , G. R. Santosh, Jyothi c. Marcel Duchamp, Man Ray, and Francis Picabia Bhatt, Kumud Patel, Jyotsna Bhatt, Mahendra Pandya, New York Krishna Chhatpar, Nagji Patel d. Andre Breton with the above members in d. 1960's onwards e. Richard Huelsenbeck went to Berlin to draw - i. Group 1890 Ambadas, Jeram Patel, Gulammohammad John Heartfield and George Grosz Sheikh, Himmat Shah, , Raghav Kaneria, S. G. f. Max Ernst Cologne Nikam, Rajesh Mehra, Reddepa Naidu, Eric Bowen, g. Kurt Schwitters in Hanover Balkrishna Patel, J. Swaminathan ; Reference to Octavio h. Writers - Hugo Ball, Tristan Tzara, Richard Paz Huelsenbeck ii. i. Manifesto, Sound poems; Anti-art and art j. Accidental poetry, music, skits, storytelling and 3. Feminism : manifestos ; Aim to Liberate art a. Introduction to feminist theory and study of the same through works of artists : Arpita Singh, Navjot Altaf, Nalini 5. Surrealism 1924 Malani, Rumanan Hussain, Anita Dube, Aparna Caur, a. Manifesto Nilima Sheikh, Rodwittiya, b. Psychic automatism b. Newer ways of looking at feminism through New Media c. Prominent artists- Salvador Dali , René Magritte works, lesbianism, consumerism, etc - Mithu Sen, Tejal Joan Miró , Max Ernst, Man Ray, André Masson, Shah, Pushpamala N., Koumudi Patil Yves Tanguy, Giorgio de Chirico , 6. German Expressionism 4. 1980's onwards the change in the Indian art scenario a. Die Brücke, (The Bridge) 1905 with the advent of globalization: i. Ernst Ludwig Kirchner a. Study of notions of - global economy, internationalism, ii. Erich Heckel identity : Reference to prominent show - Place for People, iii. Emil Nolde 1981 -Gulammohammed Sheikh, Vivan Sundaram, Nalini Iv. Other artists - Otto Mueller or Müller , Malani, Bhupen Khakhar, Sudhir Patwardhan and Jogen Erich Heckel Fritz Bleyl , Karl Schmidt- Chowdhury Rottluff b. The Third Sotheby's Prize Exhibition 1982: Natraj b. Der Blaue Reiter (The Blue Raider) 1911 Sharma, Baiju Parthan, Anju Dodiya, Jitish Kallat and i. Wassily Kandinsky Sudarshan Shetty ii. Franz Marc c. Study of works of : Sudhir Patwardhan, Vivan Iii. Gabriele Münter Sundaram, Atul Dodiya, Baiju Parthan, Jitish Kallat, T. V. Santhosh, Sudarshan Shetty, Subodh Gupta, Ranbir Kaleka

47 MODERN WESTERN ART -20TH CENTURY SEMESTER -III 7. Abstract Expressionism SECTION II ORIENTAL (INDIAN) a. Two distinct categories  Oriental aesthetics and its scope. i. Action or Gesture painters Jackson Pollock, Williem de  Introduction to the basic principles of Indian Philosophy Kooning, James Brook, Franz Kline, Krasner, Robert and religious thought. Motherwell, Bardley Walter Tomlin  Vedic Upanishadic, Sankhyaik, Vedantic, Buddhist, jain, ii. Colour Field pictures Barnett Newman, Mark Rothko, Shaivite, Vaishnavite. A.D. Reinhardt - simple, unified blocks of colour  The Bhakti and sufi cults and their relation to arts. b. Two periodicals Possibilities and Tiger's Eye Relationship of Mythology and art in India. Sources and 8. Suprematism evolution of aesthetics concepts. a. Kazimir Malevich (1879 1935)  Concepts of the rasa sutra and its commentaries rasa 9. Constructivism (delineation of sentiments : study in the growth of form) a. Valdimir Tatlin (1885 1953) Sadharanikarana, Dhvani (Suggestiveness of works of Art : b. Naum Gabo (1890 - 1977) Richness of ambivalence and association, Alamkara c. Aleksander Rodchenko (artistic embellishment) Auchitya (Propriety in works of Art), 10. De Stijl Riti (style in art), Guna and Dosha (Merit and demerit in a a. Theo van Doesburg work of art. b. Piet Mondrian 11. Bauhaus SEMESTER -IV a. Eclectic attitude and multidisciplinary approach  Inter relationship of the various aesthetic concepts and 12. Pop Art their relevance to works of art. a. Overview of - late capitalism, consumerist society, mass  Inter-relationship of literature, Visual and performing production, advertising and mass media Arts. b. Great Britain - Formation of the Independent Group  Nature and function of works of art as understood in i. Broadening taste into more popular, less academic art Indian aesthetics. c. North America lived in experience  Shadanga and other canonical texts. i. Difference in -Fine Art and Pop ii. Art objects or mass culture objects d. Prominent Artists -Andy Warhol, Roy Lichtenstein, Richard Hamilton, Jasper Jones, David Hockney, R. B. Kitaj, Sigmar Polke, Robert Rauschenberg 13. Conceptual Art a. Dominance of cerebral over emotive aspect of art - Dematerialization b. Concept as a machine to make art c. Prominent Artists - Joseph Beuys, Joseph Kosuth, Yves Klein, Piero Manzoni, Gilbert Proesch and George Passmore d. Feminist artists - Cindy Sherman, Kiki Smith, Barbara Kruger, Guerrilla Girls, Judy Chicago 14. Neo-Conceptual Art a. Stuckists b. YBA Young British Artists i. Show titled - Brilliant! ii. Prominent artists - Jake and Dinos Chapman, Tracey Emin, Damien Hirst, Sarah Lucas, etc

PHILOSOPHY OF ART M/S4/CT/551H SEMESTER -I SECTION I OCCIDENTAL (WESTERN) Scope of aesthetics its relation to science, philosophy, art. Study of aesthetics in the department of fine arts (emphasis of the relationship between the actual works of art and the principles of aesthetics of significant periods of art History.

SEMESTER -II Concepts of art and beauty with special reference to various periods early Greek, Roman, Medieval renaissance and thinkers such as Plato, Aristotle, Vitruvius, Longinus, Plotinus, St. Augustine, St. Aquinas, Ghiberti, Leonardo da Vinci, Alberti. Classical and Modern periods and thinkers such as Lessing, Diderot, Baumgarten, Kant Hegal, Croce, Tolstoy, John Dewey, Santayana, Bulllough, Worringer, Vernon Lee, Gasset, I.A. Richards, Hume, CJ Jung, Bradley, Monroe, Baerdskey, Roger Fry, Clive Bell, Susanne Langer, C.D.Lewis, Sartre, Merleau Ponty.

48 Art History & Aesthetics

49 Department of Art History & Aesthetics Introduction: The Department of Art History and Aesthetic started the BVA with specialisation in the Art History in 1971 and subsequently in 1975 the MVA specialization course in the Art History together with the doctoral research programme.

The Department of Art History and Aesthetic started the BVA with specialisation in the Art History in 1971 and subsequently in 1975 the MVA specialization course in the Art History together with the doctoral research programme.

Considering the functioning, objective and academic achievements of the department including holding of National and International level Seminars, doctoral research and art-historical publication through the last four decades.

The University Grant Commission, New Delhi, has recognized the Department, thrice, for the Special Assistance programme since 1987. Regional Documentation Center: The UGC has also recognised the department as Regional Documentation Center to set up the first University level photo and slides archives of Indian-Architecture, Painting and Sculpture along the lines of American Institute of Indian Studies, New Delhi and French Institute (Pondicherry),for which additional premises have been provided together with a well-equipped photo lab. The Regional Documentation Center is managed by Documentation Officer, Archivist, Photographer and Attender. Further more the DSA programme has enabled to strengthen the number of the teaching staff of seven including full-time Sanskritist specialising in different areas of Art History and Aesthetics. The major thrust area of the Department for research and Study has been the Western Indian Region, (Gujarat, Rajasthan, Madhya Pradesh and ), Indian Aesthetics and Modern Indian Art.

Teaching Methods: Teaching of Art History is invariably done with illustrated visual material. Art History lecture are accompanied by a selected group of photographs and colour-reproductions displayed in the class room, supplemented by slides. For this purpose the Department is constantly enlarging its Documentation Archives which at present comprise of over 1 lakh photographs and 50,000 slides. The digitalizing of the Documentation Center is in the progress since last two years. Besides students are regularly given assignments and projects and time table is so devised that the students discuss their individual projects with assigned teachers. Some of these projects the students are asked to prepare as class presentation held every week. Moreover, the Department has organized departmental levels seminars, workshops and symposia in which all students and staff participate. This is apart from National and International level conferences that is held annually. Moreover, a weekly open session is held on Saturdays where outside teachers are also invited to speak on related topics. The Post Graduate and Ph.D. students make presentations based on their dissertation on a weekly basis. And since two years there is also a regular programme of inviting practicing artists on weekly basis to show slide and discuss.

50 COURSE STRUCTURE FOR MVA ART HISTORY & AESTHETICS

FIRST SEMESTER CORE COURSES SUBJECT CODE Credit ASSESMENT Hours EXTERNAL INTERNAL % %

CORE COURSES Art Historical Methodology M/S1/CC/551H 2 60 40 History of Western Art [Pre M/S1/CC/552H 2 60 40 Historic and Early Civilizations] Modern Indian Art M/S1/CC/553H 2 60 40 [Pre Independence Period] Modern W estern Art M/S1/CC/554H 2 60 40 th [19 Century] Indian Aesthetics & Criticism M/S1/CC/555H 2 60 40 Sources for Indian Art – M/S1/CC/556H 2 60 40 Sculptur e Study of Sanskrit OR Indian M/S1/CC/557H 2 60 40 Classical Languag e Critical Writing M/S1/CC/558H 2 100 CORE ELECTIVE 1 [ANYONE OUT OF THREE] History of Indian Art : Indian M/S1/CE1/560H 2 60 40

Painting His tory of Indian Art : Indian M/S1/CE1/561H 2 60 40 Sculpture Hist ory of Indian Art : Indian M/S1/CE1/562H 2 60 40 Architecture CORE ELE CTIVE 2 [ANYONE OUT OF THREE] Tribal, Folk and popular Arts M/S1/CE2/563H 2 60 40 History of Islamic Art M/S1/CE2/564H 2 60 40 Art of China, Japan and South M/S1/CE2/565H 2 60 40 East Asia CORE ELECTIVE 3 [ANYONE OUT OF FOUR] Pain ting M/S1/CE3/ 566P 2 100 Sculpture M/S1/ CE3/ 567S 2 100 Print making M/S1/ CE3/ 568G 2 100 Museum/ Art Administration M/S1/CE3/ 569M 2 100

51

SECOND SEMESTER CORE COURSES SUBJECT CODE Credit ASSESMENT Hours EXTERNAL INTERNAL % %

CORE COURSES Art Historical Methodology M/S2/CC/551H 2 60 40 History of Western Art [Pre M/S2/CC/552H 2 60 40 Historic and Early Civilizations] Modern Indian Art M/S2/CC/553H 2 60 40 [Pre Independence Period] Modern W estern Art M/S2/CC/554H 2 60 40 th [19 Century] Indian Aesthetics & Criticism M/S2/CC/555H 2 60 40 Sources for Indian Art – M/S2/CC/556H 2 60 40 Sculptur e Study of Sanskrit OR Indian M/S2/CC/557H 2 60 40 Classical Languag e Critical Writing M/S2/CC/558H 2 100 CORE ELECTIVE 1 [ANYONE OUT OF THREE] History of Indian Art : Indian M/S2/CE1/560H 2 60 40

Painting His tory of Indian Art : Indian M/S2/CE1/561H 2 60 40 Sculpture Hist ory of Indian Art : Indian M/S2/CE1/562H 2 60 40 Architecture CORE ELE CTIVE 2 [ANYONE OUT OF THREE] Tribal, Folk and popular Arts M/S2/CE2/563H 2 60 40 History of Islamic Art M/S2/CE2/564H 2 60 40 Art of China, Japan and South M/S2/CE2/565H 2 60 40 East Asia CORE ELECTIVE 3 [ANYONE OUT OF FOUR] Pain ting M/S2/CE3/ 566P 2 100 Sculpture M/S2/CE3/ 567S 2 100 Print making M/S2/CE3/ 568G 2 100 Art Administration M/S2/CE3/ 569M 2 100

52

THIRD SEMESTER CORE COURSES SUBJECT CODE Credit ASSESMENT Hours EXTERNAL INTERNAL % %

CORE COURSES Contemporary Critical M/S3/CC/651H 2 60 40 Theories History of Western Art M/S3/CC/652H 2 60 40 [Renaissance to Neo- Classicism] Modern Indian Art M/S3/CC/653H 2 60 40 [ Post Independence Period] Modern Western Art M/S3/CC/654H 2 60 40 [20th Cen tury ] Western Aesthetics & M/S3/CC/656H 2 60 40 Criticism Sources for Indian Art – M/S3/CC/676H 2 60 40 P ainting Study of Sanskrit OR Indian M/S3/CC/677H 2 60 40 Classical Languag e Critical Writing M/S3/CC/678H 2 100 Document ation M/S3/CC/679H 2 100 CORE ELECTIVE 1 [ANYONE OUT OF THREE] History of Indian Art : Indian M/S3/CE1/ 660H 2 60 40 Painting History of Indian Art : Indian M/S3/CE1/661H 2 60 40 Sculptur e History of Indian Art : Indian M/S3/CE1/662H 2 60 40 Archit ecture

FOURTH SEMESTER CORE COURSES SUBJECT CODE Credit ASSESMENT Hours EXTERNAL INTERNAL % %

CORE COURSES Contemporary Critical M/S4/CC/651H 2 60 40 Theories History of Western Art M/S4/CC/652H 2 60 40 [Renaissance to Neo- Classicism] Modern Indian Art M/S4/CC/653H 2 60 40 [ Post Independence Period] Modern Western Art M/S4/CC/654H 2 60 40 [20th Cen tury ] Western Aesthetics & M/S4/CC/656H 2 60 40 Criticism Sources for Indian Art – M/S4/CC/676H 2 60 40 P ainting Study of Sanskrit OR Indian M/S4/CC/677H 2 60 40 Classical Languag e Critical Writing M/S4/CC/678H 2 100 Document ation M/S4/CC/679H 2 100 CORE ELECTIVE 1 [ANYONE OUT OF THREE] History of Indian Art : Indian M/S4/CE1/ 660H 2 60 40 Painting History of Indian Art : Indian M/S4/CE1/661H 2 60 40 Sculptur e History of Indian Art : Indian M/S4/CE1/662H 2 60 40 Archit ecture

53 Course Descriptions FIRST SEMESTER MVA ART HISTORY & AESTHETICS CORE COURSES: ART HISTORICAL METHODOLOGY PART-1 M/S1/CC/551H  Development of art History as a Humanistic discipline, the leading scholars whose works have added new Dimensions to the discipline and expanded its area of exploration.  Analysis of significant masterpieces from different periods.  Stylistic conventions and various, themes and their sources.  Contribution in terms of connoisseurship and methodology. Visual analysis.  Symbolic meanings, iconological studies. Psychoanalytical and anthropological view points.  Vasari, Alberti Winckelmann Hegel Marxism-T.J. Clark, Arnold Hauser and Social History of Art  Introduction to the topic Indian Historiography  Ram Raz, Mekenzie, Fergusson, Foucher, E.B.Havell,  Archer, Anand Coomarswamy , Hermen Goetz, Stella Kramrisch, H. Cousens, J. Burgess.

HISTORY OF WESTERN ART : PRE HISTORIC AND EARLY CIVILIZATIONS M/S1/CC/552H 1. Pre-historic Art a. Introduction to nomadic lifestyle and the dependence on nature. b. Study of cave paintings at prominent sites Altamira in Spain, Lascaux in France - studying the visual format, technicalities involved, and the logic backing the works; utilitarian objects c. Dependence on nature mother goddesses, rituals d. Monolithic monuments Stonehenge, 2. Egyptian Art a. Locational significance and introduction to the dynasties b. Introduction to various notions as - Pharaoh as the absolute divine c. Notion of eternity and life after death, Mummified Early works - 3100 B. C d. Standard form of a tomb study of the Pyramids beginning from - The Great Pyramids at Giza of Mycernius, Chefren, and Cheops ; Great Sphinx - Chefren e. Sculptures, objects found in the burial chambers - Portrait Statues, utilitarian objects, etc. f. Study of Paintings through their visual language, format, narration, hierarchy of the deceased individual g. Middle Kingdom and New Kingdom - Amenhotep IV i. Temple of Queen Hatshepsut, ii. Temple of Khonsu, at Luxor iii. Paintings of the latter period and freestanding sculptures- 3. Other River Valley Civilizations a. Sumerian Art - i. Proto-literate society cuneiform writing; ii. Built- Forms “White Temple” on its ziggurat- iii. Sculptures religious and ritualistic association; visual language b. Assyrian Art i. Assyrian Palaces citadels- onwards ii. Sculptures - Composite figures c. Persian Art important site Persepolis- d. Aegean Art - Crete , Cycladic, Helladic onwards i. Cycladic Art tombs and idols ii. Minoan Art wall paintings e. Mycenaean Art tomb structures, sculptures 4. Greek Art a. Overview and understanding notions of - humanism, idealism, and rationalism, religion b. Utilitarian objects vases; development of these through various periods c. Greek Architecture i. Acropolis, Architectural Orders, detailed study of architectural elements and plans. - Basilica at the Paestum, temple at Poseidon- ii. Classical Phase - Parthenon iii. Propylaea and Amphitheatre - Understanding of terrain, improvisation of architectural elements d. Greek Sculpture religious and secular sculptures chronological variations e. Greek Coins 5. Etruscan Art Urns (funerary), built-forms, paintings and sculptures

MODERN INDIAN ART : PRE INDEPENDENCE PERIOD PART- 1 M/S1/CC/553H Nineteenth century colonial India o Western impact and Indian response in Political, Social and Cultural Spheres o Rise of Urban Centers o Printing, English language, Education o Middle class and the Bhadralok o Nationalist thought, Intellectuals and activists

54 Course Descriptions o Bankimchandra Chattopadhyay o Rammohan Roy and Brahmo Samaj-Dayananda Saraswati and Arya Samaj o Ranade and Prarthana Samaj

II. Western Impact on Indian Art o Indian painting in the 19th century o Kalighat o Company School and the impact of European realistic techniques o British travelers in India-British painters in India o Indian painters encounter European techniques o Lucknow Murshidabad-Patna-Benaras-Delhi-Tanjore- Trichinapally Mysore-Western India

III. Positioning Raja Ravi Varma

IV. Other developments o Archaeological excavations, discovery of ancient arts and their interpretation o Indian society of Oriental Art o Establishment of art schools o Madras-Bombay-Calcutta-Lahore o The Bichitra club o E B Havell-Kakuzo Okakura his Pan Asianism- Coomaraswamy

V. Abanindranath Tagore and questions of revivalism o Early Training o First Indian style painting o Wash phase Phalguni phase o Landscapes o Masks, Portraits, and relation with Rabindranath's theatre Last phase.

VI. Gaganendranath Tagore and his internationalism o Early accounts of his painting activity o Early sketches o Jivansmriti in Japanese techniques o Chaitanya series o Pilgrims, Nocturnes o Landscapes o Satirical drawings, caricatures o Confrontation with cubism o Post cubist phase VII. Rabindranath Tagore and his eclecticism o Initiation o Growth, association to his poetry, literary works and theatrical compositions.

MODERN WESTERN ART : 19TH CENTURY PART- 1 M/S1/CC/554H Neo Classism. Political background of the period. French Revolution, Age of Terror, Napoleonic Wars. Concepts of Neo Classicism. Neo Classicism and the nationalism. Neo Classical Historicism and David. Revival of Classical ideals by Ingres. Canova and Neo Classical sculpture.

Romanticism. Concept of Romanticism. Romantic philosophy. Romanticism in literature, Music and Architecture. Neo Gothic tradition. Concept of Sublime. Goya and the Spanish Romanticism. Turner, Constable and Fuseli and variant approach of English Romanticism. Delacroix, Gericault and French Romanticism. Casper David Freidriech and German romanticism

INDIAN AESTHETICS & CRITICISM PART- 1 M/S1/CC/555H PHILOSOPHY OF ART SECTION II ORIENTAL (INDIAN)  Oriental aesthetics and its scope.  Introduction to the basic principles of Indian Philosophy and religious thought.  Vedic Upanishadic, Sankhyaik, Vedantic, Buddhist, jain, Shaivite, Vaishnavite.  The Bhakti and sufi cults and their relation to arts. Relationship of Mythology and art in India. Sources and evolution of aesthetics concepts.

55 Course Descriptions CRITICISM : Introduction to the field of art criticism and aesthetics by way of critical examination of the theories of art and aesthetics in Indian tradition. Analysis of ideas on art and nature of aesthetic experience including canons of aesthetic criticism in correlation with works of art. The writings of important thinkers Bharat to Bhamaha, Abhinavagupta to Vishvanath.

SOURCES FOR INDIAN ART SCULPTURE- PART- 1 M/S1/CC/556H  All Textual sources for identification and interpretation of content.  Different religious Philosophies and conceptual background of deities and their iconographic representations.  The relevant textual sources for Iconographic identifications, Hindu, Buddhist and Jain Pantheon.  Textual sources of the myths, legends and literary themes depicted in paintings and sculptures and architecture.  Sources for Medieval architecture texts like Samaranganasutradhara, Aparajitapriccha etc.

STUDY OF SANSKRIT OR INDIAN CLASSICAL LANGUAGE M/S1/CC/557H 1. Historicity of Silpa Texts. 2. Introduction to classical literature with reference to Art Vedic literature. Grammar 1-4-6-10 ganas, -Present tense Past tense Vibhakti terminations- Subhasitas prose passage. 3. Translation of the selected passages from Sanskrit dramas, Kavyas etc. informative passages to visual arts from different textual sources and their evaluation 4. Bhasa dutavakya appreciation of scroll painting- Samudramanthan story Agnipurana Vivahamandapa Skandhapurana or Padmapurana- Bhagavadagita Yoga verses related to Buddhism- 5. Meghaduta Yaksapatni- Yaksa's house Sabha Mahabharata- Dasavatara Gita Govinda- Vishwarupa Visnupurana Rtu- Bhagavatpurana citra- guna citradosa, citrarasa 6. Visnudharnmotarapurana Mathuranagari Bhagavatapurana. 7. Artists Gayaka, Nartaka, Sthapati- Sangitamakaranda, Nartnanirnaya, Samaranaganasutradhara, Aparajitaprichha Natya rasa, Varna Natyashastra. Rtus in literature and art.

CRITICAL WRITING M/S1/CC/558H Practical course based on exercises on contemporary Praxis of art.

HISTORY OF INDIAN ART: INDIAN PAINTING M/S1/CE1/560H Rock-art Unit 1 Prehistoric painting-geographical distribution of rock shelter across the country, chronology, subject matter, magico-ritual significance, aesthetic of naive representation ,techniques,f ormal analysis, comparison with western prehistoric groups of rock shelters in Altamira and Lascaux caves, classification of period based on the methodology of Wakanker and other scholars-brief introduction Mural tradition Ajanta Unit 2  historical phases and patronage textual references to the techniques of mural paintings as described in shilpa texts- Vishnudharmottaram purana and other texts, distribution of frescos /mural painting across the country, detailed study of Ajanta cave groups- stylistic evolution of Ajanta painting based on the scholarship- Percy Brown, E B Havell, Herman Goetz, Stella Kramritch, Charles Fabri, Madanjeet singh, Karl Khandalwala, Problems related to the dating based on the methodology initiated by Walter Spink, Ratan Parimoo, Poduval, Narratives depicting major Jataka stories, morphology of style , Semiological relevance of the pictorial representation, techniques, impact of Ajanta painting in the art of modern India-case study of revivalism in Bengal. Post-Ajanta mural tradition Unit3  extension of Ajanta legacy in Ellora, Kanchipuram,Pannamalai Sittannvasal, Leepakshi,Hampi,Pattadakal,Tanjavur ,Padmanabhapuram and Krishnapuram palaces,Mattancheri palace, cochin

HISTORY OF INDIAN ART : INDIAN SCULPTURE M/S1/CE1/561H  Historiography of Indian Sculpture  Indus Valley Civilization Debatable period ---sites of Harappa, Mohenjodaro, Kalibangan, Lothal, Daimabad, Dholavira---- Sculptures, Pottery, Seals, Innovative toys and Terracotta-- relationship with Sumerian Art- Post Harrapan and religion.  Mauryan Period Sculpture Introduction of lithic tradition--- pillar capital sculpture Rajya shilpa and Gramya shilpa- Yaksha, Yakshi images--- relation of Mauryan styles to that of Achaemenid Persian.  Sunga period: Symbolism of Stupa--- Narrative of Jatakas and Buddha's earthly life--- their depiction and role of narrative in relief compositionregional developments--- Bharhut, Sanchi, Bodhagaya, Amravati, Nagarjunakonda Andhra and later periods etc.  Development of the Buddhist Sculpture during Kushana period.

56 Course Descriptions Image of Buddha, Controversy of image making. ---Mathura Sculpture--Kushan period. Analysis of Gandhara Sculptures on Indian artPortrait & Cultic tradition of Kushana periodco-existence of Buddhist, Jain and Brahmanical religion

HISTORY OF INDIAN ART : INDIAN ARCHITECTURE M/S1/CE1/562H  Evolution and development of Indian Architecture through various historical phases and different regions against the background of Indian Culture covering rock-cut shrines, structural monuments, independent architecture in stone, brick and other materials.  Historiography of Indian Architecture Ram Raz, Fergusson, Havell, Percy Brown, Cousens, Burgess, Stella Kramrisch. 1. Architecture of Indus valley civilization Town planning with modern -Urbanism- textural reference of Architecture in Vedas Culture relationship with Mesopotamia- Sumerian Art. 2. Mauryan period Buddhist architecture tradition expressed through pillars- introduction of Lithic tradition - cave architecture of Barabari Hills, Lomasrishi caves. 3. Development of the Buddhist architecture : Stupas and Viharas Development of stupas - various types - sites Bharhut, Sanchi and Amaravati symbolism of Stupa and the functionality of viharas. 4. Rock-cut architecture Chaityagrihas of Western India Hinayana Mahayana chaityagrihas and viharas development on the trade roots Patronage - caves of western India at Bhaja, Karla, Bedsa, Nasik, Ajanta, Pithalkhora, Junnar etc.

CHOICE BASED ELECTIVES TRIBAL, FOLK AND POPULAR ARTS M/S1/CE2/563H I. GENERAL OUTLINE 1. Background of present day interest in Primitive arts. 2. Introduction to the growth, development and various trajectories of Anthropology as a discipline. 3. Contribution and methods of enquiry of scholars such as Tylor, Frazer, Morgan, Durkheim, Radcliffe Brown, Levi Strauss, and others. 4. Introduction to seminal terms such as animism, fetishism, magic, fertility cult, ancestor cult, secret societies, etc. 5. Relationship between art and religion. 6. Discussion on art and handicrafts manipulation of material, cultural traits, etc. 7. Art and Craft movement and the interface between traditional craft practices and them being adopted for urban use for sustenance. 8. Role of government bodies and NGO's in promoting artists and repercussions and/or consequent art forms. 9. Role and place of artist in tribal and folk society.

SPECIFIC AREAS: II. INDIA 1. Introduction to tribal/folk India and geographical distribution. 2. Descriptive accounts of all kinds of  Terracotta traditions (Molela, Gujarat, Tamilnadu, Bengal).  Metal casting traditions (Dhokra casting of Bastar)  Wall painting traditions (Madhuban, Warli, Pitthoro, Gonds)  Textile painting traditions (Mata ni Pachedi, Phads, Puri patas)  Weaving traditions (Chanderi, Maheshwar, Ikat, Patola, Benarasi etc.)  Puppetry tradition Their religious and ritualistic significance. 3. Contribution of various scholars to the field of folk and tribal learning such as Jyotindra Jain, , Stephen Huyler, K G Subramanian, etc. 4. Role of J Swaminathan and Bharat Bhawan. 5. Cases of artists picked up for India fairs and the complex question of tribal/folk high art interface. III. AFRICA. 1. Introduction to prominent tribes, geographical distribution, religious manifestations. 2. Nyama 3. Cultural concepts underlying primitive art such as animism, fetishism, magic, sorcery, mythology. 4. Introduction to cults employing sculptures  Ancestor cult  Cult of the dead  Cult of totemism  Cult of secret societies and initiation rites 5. Characteristic forms of sculptures-  Nature spirits  Ancestor spirits  Magical statues  Animal carvings  Masks

57 Course Descriptions 6. Areas and Tribes  Bambara,Dogon, Senufo, Baga, Kissi, Mendi, Baule, Dan, Ashanti, Yoruba, Ibibo, Ife, Benin, Bakota, Pangwe, Bakongo, Bakuba, Baluba, Basonge, Bapende, Bateke. Etc. 7. Description and Analysis of art of above tribes. 8. Forms and functions 9. Masks 10. Contemporary situation of tribal art in the post colonized, Christianized era. 11. Select study of Afro-American artists working in ethnic styles.

HISTORY OF ISLAMIC ART M/S1/CE2/564  Introduction to Islam  Beginning of Islamic architecture  Ummayyads  Abbasids  Samanid  Selljuks  Islamic Caligraphy.  Expansion of Islamic art and Architecture  Ilkhanid,Timurid art & Architecture Islamic Paintings.

ART OF CHINA, JAPAN AND SOUTH EAST ASIA M/S1/CE2/565H CHINA  time line chronology of dynastic rule in china  Geographical distribution of important archaeological sites in major provinces and material culture. Mapping of landmarks in art, architecture and sculpture  Origin of art in china, decorative arts in ancient chine from shang, chou and Han dynasty - from Neolithic to modern times -porcelain , ceramic and bronze wares/vassels  Techniques of bronze casting significance of bronze vessels in Chinese's culture, classification, motifs and symbols in minor arts in china  Buddhist art in china and the trading links with outside world through silk route from tang to yuan dynasty painting in palaces and monastery- dun Huang caves  philosophical thoughts in china - lao tzu - taoism, Confucious Confucianism and its influence on art and culture of china

JAPAN  Chronological time line of Japan  Origin of painting in Japan based on early phases  Formal elements in Japanese makimono and kakemono types of scroll painting  Sources of Japanese painting from nara to kamakura-fuziwara phases till modern times  Salient features of Japanese painting, sculpture and architecture based on the studies on major landmarks

SOUTH EAST ASIA  Survey of southeast Asian art based on the geographical mapping against ethno-cultural diversity  Indo-Chinese sources

STUDIO ELECTIVES PAINTING M/S1/CE3/566P SCULPTURE M/S1/CE3/567S PRINT MAKING M/S1/CE3/568G ART ADMINISTRATION M/S1/CE3/569M

58 Course Descriptions SECOND SEMESTER MVA ART HISTORY & AESTHETICS CORE COURSES: ART HISTORICAL METHODOLOGY PART- 2 M/S2/CC/551H Development of Art Historical writings in Greek and Roman Periods, Renaissance Writings on Art- Ghiberti, Alberti, Leonardo, Vasari, Writings on Art during Romanticism - Schlegel, Herder, Goethe, Winkklemann, Lessing. Burkhart, Bellori, Morelli, Kant. Empiricism - Hegel. Vienna School - Riegel, Dvark. Formalism, Wolfflin, Roger Fry, Schapiro, Arnhiem. Iconography and Iconology- Panofsky. Psycho analysis - Freud, Lacan. Marxian Approach, Social Theory - Warburg, Houser, Marlaux, TJ Clark, Herbert Read, Gombrich, Adorno. Structurlism -Levistrauss, Semiotics- Julia Cristeva. Feminist Approach - Mirium Schapiro, Linda Nochlin, Grisselda Pollock, Carol Duncan New Art History -Norman Bryson.

HISTORY OF WESTERN ART : PRE HISTORIC AND EARLY CIVILIZATIONS M/S2/CC/552H 1. Roman Art study of the empire politics, and eclectic attitude a. Architecture Public and private structures b. Public structures temples, aqueducts; Prominent structures :Colosseum, Pantheon, Basilica of Constantine these are studied considering the improvisation in architectural orders, materials used and methods of building large structures, reflection of hierarchy etc. c. Private structures residential spaces e.g. House of Diana d. Few other structures - Temple of Venus, Peristyle - Palace of Diocletian, The Marble Gate from Miletus E. Roman Sculptures Freestanding, reliefs - Portraits, narrative panels, commemorative works; political figures, ancestral worship e.g. - Augustus of Primaporta, Roman Patrician with Busts of his Ancestors, Altar of Augustan Peace, Arch of Titus, etc. f. Sculptures marking Imperial presence e.g. Column of Trajan, busts of rulers, etc. g. Roman Paintings sites of prominence Herculaneum and Pompeii, early works, architectural perspective, narrations, mythological scenes, portraits, still life 2. Early Christian and Byzantine Art a. Historic background - shift of capital to Byzantium, religious split; early coins sculptures and manuscripts b. Architecture - Basic plans of a Basilicas; prominent examples - Santa Apollinare in Classe, St. Paul Outside the Walls, Stanta Costanza, Santa Maria Maggiore, c. Mosaic works in the basilicas- study of the visual language and religious and political connotations e.g. the above mentioned sites and St. Vitale d. Manuscripts and small votive objects narratives, textual quality, introduction of vellum codex, and visual format, understanding of perspective; e.g. - Vatican Vergil, Vienna Genesis, Sarcophagus of Junius Bassusetc. e. Later structures - Hagia Sophia- improved architectural elements, mosaics f. Second Golden Age variation in the architectural elements, dominance of regional elements; e.g. Monastery of Hosios Loukas, Monastery at Daphne, St. Mark's Basilica at Venice, and structures in g. Byzantine paintings and votive objects - encaustic ; Paris Psalter, method, The Harbaville Triptych,The Sacrifice of Iphigenia 3. Early Medieval Art a. Dark Ages -rule of Justinian till the beginning to Charlemagne's b. Celtic-Germanic art style, design element, animal forms c. Ireland monastic centre ornate copies of the Bible d. Carolingian Art printed books e. Architecture - Palace Chapel of Charlemagne, f. Ottonian Art 4. Romanesque Art a. Architecture - - Western Europe with regional variation, increase in structural solidity; e.g. St. Sernin atToulouse, Autun Cathedral, Durham Cathedral, St. Etienne at Belgium, Tournai Cathedral b. Sculptures in the architectural spaces and Bayeux Tapestry 5. Gothic Art a. The age of Cathedrals Political background b. Spread of the architectural style - through France to other parts of Europe; Early Gothic example - Abbey Church St Denis Skeletonized walls c. High Gothic - Notre-Dame, functional study of prominent architectural elements through cross sectional plans, understanding weight bearing mechanism and notion of verticalism. ; Chartres Cathedral Reims Cathedral, St- Urbain, Troyes d. Flamboyant Gothic - St-Maclou, Rouen e. Architecture Regional variation - England, Germany and Italy i. English Gothic - Influenced French style and Cistercian beliefs ; Salisbury Cathedral, Gloucester Cathedral,; English Late Gothic perpendicular style ; Westminster Abbey, London, - ornamentation ii. German Gothic impact of Romanesque, High hall church Hallerikirche e.g. St. Sebld

59 Course Descriptions iii. Italian Gothic - Cistercian influence over French influence; Franciscan Order ; prominent example - Santa Croce at Florence, Florence Cathedral, , Orvieto Cathedral, Cathedral f. Sculptures and Paintings i. Figures placed in architectural framework; and clarity , in tympanum spaces, pillars; Classic High Gothic - Death of the Virgin at Strasbourg Cathedral, Annunciation and Visitation at Reims, Signs of the Zodiac at Amiens Cathedral ; ii. Germany Naumburg Masters; Realism- exaggeration e.g. Roettgen Pietà iii. International Style artist - Clauster Sluter, Moses Well iv. Manuscripts - The Prayer Book of Philip IV the Fai, Psalter of St. Louis etc.

MODERN INDIAN ART : PRE INDEPENDENCE PERIOD PART- 2 M/S2/CC/553H VIII. Regional responses to the spirit of Revival o Bengal o Gujarat o Western India o South India IX. Nandlal Bose and Santiniketan o His contribution as a teacher and a muralist o Association with Gandhi, Stella Kramrisch

X. Benode Bihari Mukherjee o Contribution as a muralist and position for the subaltern.

XI. Ramkinkar Baij o Personality o Various influences o Use of unconventional materials o Primitivism and subaltern content

XII. Jamini Roy o Father of folk renaissance o Writings on Roy o Discussion of works

XIII. Amrita Shergill o Early career o Encounter with Indian art and architecture o Participation in art shows o Extensive travels o Communication with scholars o Thematic variances through out her career o Geeta Kapur on Amrita Shergill o Feminist reading of Shergill

MODERN WESTERN ART : 19TH CENTURY PART- 2 M/S2/CC/554H Realism. Ideological position of Realism. Bohemianism, Realism in allied fields. Class awareness in Realism and Courbet. Millet, Corot, Rousseau and Barbizon school. Impressionism. Impressionism as the ideological premise. Impressionism as the avant-garde movement. Impressionism and the techniques of painting. Impressionist exhibitions. Manet, Monet, Degas, Renoir, Marry Cassatt, Berthe Morisot. Post Impressionism. Neo impressionism, Chromo Luminarism, Pointillism, Cloisionism, Synthesism. Different approaches of Post Impressionism. Post Impressionism and its influence on 20th century art. Van Gogh, Gauguin, Lautrec, Seurat and Cezanne.

INDIAN AESTHETICS & CRITICISM PART- 2 M/S2/CC/555H Philosophy of Art Indian  Concepts of the rasa sutra and its commentaries rasa (delineation of sentiments: study in the growth of form) Sadharanikarana, Dhvani (Suggestiveness of works of Art : Richness of ambivalence and association, Alamkara (artistic embellishment) Auchitya (Propriety in works of Art), Riti (style in art), Guna and Dosha (Merit and demerit in a work of art.  Inter relationship of the various aesthetic concepts and their relevance to works of art.  Inter-relationship of literature, Visual and performing Arts.  Nature and function of works of art as understood in Indian aesthetics.  Shadanga and other canonical texts. Criticism: Indian Selected texts from Shilpasastras concerning techniques of painting, sculpture and iconology Critical references on painting and sculpture from ancient and medieval Sanskrit & Prakrit Literature. Writings on art by some modern Indian thinkers.

60 Course Descriptions SOURCES FOR INDIAN ART SCULPTURE- PART- 2 M/S2/CC/556H  All Textual sources for identification and interpretation of content.  Different religious Philosophies and conceptual background of deities and their iconographic representations.  The relevant textual sources for Iconographic identifications, Hindu, Buddhist and Jain Pantheon.  Textual sources of the myths, legends and literary themes depicted in paintings and sculptures and architecture.  Sources for Medieval architecture texts like Samaranganasutradhara, Aparajitapriccha etc.

STUDY OF SANSKRIT OR INDIAN CLASSICAL LANGUAGE M/S2/CC/557H 1. Brief introduction to Purana nature classification e.g. Bhagavatpurana, Matysyapurana, Skandhapurana,Agnipurana, Markenadeyapurana Kalikapurana. 2. Types of temples- Brihatsamhita-types of pillars classification of temples Garudapurana Agnipurana- chapters on Vastuvidya Sutra -literature with Sanskrit commentary. 3. Jain Tirthankaras, Shasanadevataas Aparajitaprichha 4. Sanskrit and Indian languages interrelationship of arts Visnudharmottarrapurana. 5. Sanskrit Numbers. 6. Pillars and Alasakanya

CRITICAL WRITING M/S2/CC/558H

HISTORY OF INDIAN ART: INDIAN PAINTING M/S2/CE1/560H  Pala and Sena school of painting on palm leaf from Bengal Orissa and eastern India  Western Indian school of painting Jain manuscripts transition from palm to paper, patronage,jain themes and its narrative pictorial representation, stylistic peculiarities, conventions, geographical affiliation from Gujarat, Rajasthan and Madhya pradesh and further extension to eastern India till Karnataka.  Major manuscripts like Oghanirukti, Kalpa sutra, Kalikacharya katha, non-Jain manuscripts, Balagopalastuti, Raspanchadhyai...Vasntavilasa, Shalibhadracharita, Supasanachariyam Katha  Critical reviews of scholarships based on the studies of UP Shah,Karl Khandalwala and Moti chandra,Ratan Parimoo,,Devangna Desai  Chaurapachasika group of painting, disputes and controversies Laura chanda-Mrigavati, Prince of Wales Geeta Govinda and early Bhagavata manuscripts,suri Ragamala, Mahapurana

HISTORY OF INDIAN ART: INDIAN SCULPTURE M/S2/CE1/561H  Rock-cut Sculptures (Buddhist, Jain, Brahmanical) at western and eastern India. Bhaja, Karla, Pitalkhora, Bedsa, Nasik, Ajanta, Aurangabad, Udaigiri &Kkhandigiri etc.  Gupta Period Golden age of Indian history--- notion of Classicism--- Mathura, Sarnath, Deogarh, Udaygiri and other centers in western Central and Eastern India.  Role of minor dynasties like Vakatakas, Kalachuris Tarikutaka in the western india.  Art patronage at Ajanta, Ellora, Aurangabad, Jogeshvari, Elephanta, and Vidarbha region sculpture.

HISTORY OF INDIAN ART : INDIAN ARCHITECTURE M/S2/CE1/562H Brahmanical caves- temple architecture excavated during the Gupta period. Origin and Development of Temple Architecture in North India (Nagara) innovation of the architecture styles evident at various sites of central india. Minor dynasties like Vakataka, Triakutaka, Kalachuri patronage art activities like Ajanta, Aurangabad, Elephanta, Ellora, Vidarbha etc. Pallava Period: Rock cut/Structural and Monolithic temples - Architecture of Mandagapattu, Mahabalipuram, Kanchipuram etc. role of individual expression of architecture. Innovation of dravida temple architecture form. Chalukyan Period: origin and development South Indian Temple architecture (DRAVIDA)- Political affiliation with Pallavas New architectural styles - Aihole, Badami, Pattadakkal, Mahakuta and Alampur.

Ellora caves: Patronage chronology, theme, architecture design, technique and innovations

TRIBAL, FOLK AND POPULAR ARTS M/S2/CE2/563H IV. OCEANIA: 1. Impact of Taboo and Mana on Oceanic arts of Polynesia, Melanesia, Micronesia and Australia. 2. Migration of artistic styles from Indonesia, to Melanesia and further diversification. 3. Characteristic art practices such as Korawar statues, canoe prows, lime spatulas, mortar pestles, jade ornaments, tortoise shell masks, Maori carvings, masks, mother of pearl artifacts, hooks, neck rests, clubs, Malanggan carvings, bark cloth attires, wigs, tapa cloth, adzes, etc. 4. Descriptive analysis of art practices of all Polynesian islands  Fiji  Marquesas Islands  Easter Islands  Hawaii Islands  Central Polynesia

61 Course Descriptions  New Zealand Discussion on Religion, social institutions, deities, tattoos, etc. also. 5. Descriptive analysis of art practices of Melanesian islands-  New Caledonia  The New Hebrides  New Britain  New Ireland  Admirality island  New Guinea 6. Descriptive analysis of art practices of Micronesian islands-  Caroline Island  Gilbert Island  Marshall Island  Marianna Island 7. Australia  Bark paintings  Boomerangs

V. NORTH AMERICA/SOUTH AMERICA:  North West Coast Indians  Tlingit and Haida masks, totem poles  wooden masks  Pueblo Indians painted pottery.  Navajo.  Pre Columbian pottery and textiles.

VI. POPULAR AND MASS ART:  Notions of mass and popular art with reference to various scholars, especially Noel Caroll, the Marxist school, the Frankfurt school etc.  Reading of essays pertainging to popular art.

HISTORY OF ISLAMIC ART M/S2/CE2/564H  Indian Sultanate  Deccani sultanate  Mughal art and architecture  Sufism  Safavid art and architecture  Ottoman Turks art and Architecture.

ART OF CHINA, JAPAN AND SOUTH EAST ASIA M/S2/CE2/565H CHINA  origin and development of figurative painting under confucianism based on well known masters  Taoism and the development of landscape painting in china from sung to ming and ching dynasties  comparison between the attitudes towards nature in Chinese and western traditions  six canons of hsieh ho and its comparison with Indian six limbs sadanga, application in aesthetic appreciation  techniques of Chinese art calligraphy, space, linearity, perspective and other formal elements. Basic architectural forms in Chinese temples and palaces JAPAN  surveys of Japanese literature and comparison in approaches with Chinese art  Japanese decorative art  origin of wood block printing in Japan against changing socio cultural mileu kabuki dance and theatrical forms and its impact on the art of print making, techniques, purpose ,well known print makers from different periods till Hokusai and Hiroshige, influence of Japanese print on western modern art SOUTH EAST ASIA  influence of Buddhist and brahminical iconography in art and architecture based on well known landmarks from Vieatnam, laos, Thailand, Cambodia, Indonesia, Myanmar(burma),Java,Sumatra and Balia  most recent modern trends in this region under changing identities in global art

Painting M/S2/CE3/566P Sculpture M/S2/CE3/567S Print Making M/S2/CE3/568G Art Administration M/S2/CE/569M

62 Course Descriptions THIRD SEMESTER MVA ART HISTORY & AESTHETICS CORE COURSES: CONTEMPORARY CRITICAL THEORIES PART- 1 M/S3/CC/651H  Formalism an overview.  Semiotics Saussure.  Structuralist theories o The linguist background o Structuralist narratalogy and Levi Strauss o Metaphor and metonymy o The scope of structuralism  Marxist criticism o Introduction Beginnings and basics of Marxism o Lukac and Brecht o The Frankfurt school: Adorno and Walter Benjamin o Structuralist Marxism: Althusser o New Left Marxism: Terry Eagleton, Jameson.  Post Structuralism and Deconstruction o Theoretical differences between Structuralism and Post-structuralism o Roland Barthes o Deconstruction and American Deconstruction o Derrida, Michel Foucault

HISTORY OF WESTERN ART : RENAISSANCE TO NEO-CLASSICISM PART- 1 M/S3/CC/652H 1. Early Renaissance. Beginning of Renaissance. Reasons political, social and Economic. Finding and awareness of classical ideals. Difference in the pictorial approach between Gothic painting and Renaissance. Rise of humanist philosophy. Introduction to Christian Iconography. Cimabue, Duccio, Pisano, Giotto, Fra Angelico. Brunelleschi and the Rise of Humanist architecture. Alberti and Codification of Raissance Architecture. Donatello, Ghiberti, Luca Della Robbia and Early renaissance Sculpture. Ucello, Piero Della Fracesca, Massaccio and studies in Renaissance perspective. Pisanello, Verrochio and Maturity in proportion and anatomy. Fra Fillippo Lippi Botticelli and Renaissance concept of beauty. Giovanni Bellini, Mantegna, Georgione and Mature Venetian School. Techniques of Italian Fresco. 2. Northern Renaissance. Concept of other Renaissances proposed by Panofsky, guild system. Renaissance in Netherlands Robert Campin, Roger Wandier Wyden, Hubert and Jan Van Eyck. Transition of dutch painting from the miniatures. Rise of Dutch genre paintings. Renaissance art in Germany Durer and Grunuwald. Rise of printing technology and the graphic prints in Germany. Mature Renaissance in Netherlands. Hieronimus Bosch and Brueghal. 3. High Renaissance. Concepts and ideals of High Renaissance. Rome as the centre of arts. Leonardo Da Vinci and the theories of painting. Michelangelo the Sculptor and Michelangelo the painter. Rapheal and the shift towards Mannerism. Concept and Technique of pfumato.Leonardo's Last Supper, Raphael's School of Athens and Michelangelo's Sistine Chapel Ceiling.

MODERN INDIAN ART : POST INDEPENDENCE PERIOD PART- 1 M/S3/CC/653H 1. Bengal famines a. Study of the social and political scenario of the period with special reference to the crisis of famines b. Prominent Artists: Chittaprosad Bhattacharya, Zainul Abedin, Govardhan Ash, Atul Bose, Gopal Ghosh c. The Bengal Painters' Testimony: Asit Kumar Haldar, D. P. Roy Choudhury, Sudhir Khastagir, Nirode Majumder 2. Tebhagar Diary The peasants movement - a. Somnath Hore 3. The Calcutta Group Prominent artists - Prodosh Das Gupta, Paritosh Sen, Kamala Das Gupta, Govardhan Ash, Gopal Ghosh, Abani Sen, Rathin Maitra, Prankrishna Pal, Sunil Madhava Sen.Amongst the other artists Hemant Mishra, Subho Tagore, Paritosh Sen 4. Progressive Artists' Group: a. Study of the post-independence political, social and cultural scenario. Reference to other mediums of expression literature, films, theatre both street and mainstream; progressive groups from different fields theatre, writers, etc. b. Detail study of the works of the members of the group - F. N. Souza, K. H. Ara, S. H. Raza, M. F. Husain, S. K. Bakre, H. A. Gade c. Role of Critics and collectors - Rudy von Leyden, art critic at Times of India, Walter Langhammer, Art Director, at Times of India and E. Schlesinger

MODERN WESTERN ART : 20TH CENTURY PART- 1 M/S3/CC/654H 1. Cubism a. Influence of Post-Impression on Cubism b. Prominent artists -Pablo Picasso, Georges Braque, Fernand Leger, Juan Gris c. Pablo Picasso Blue Period, Red Period d. Analytic cubism and Synthetic Cubism e. George Braque

63 Course Descriptions 2. Futurism a. Notion of a manifesto b. Artists - Umbreto Boccioni, Luigi Russolo, Giacoma Balla, Gino Sevrini, Carlo Cara 3. Fauvism a. Three regions / groups Académie Carrière (under Gustav Moreau), from Châtou and from Le Havre b. Artists at Académie Carrière :Henri Matisse, Albert Marquet, Charles Camoin, Henri Manguin, Jean Puy c. Artists from Châtou:Andre Derain, Maurice de Vlaminck d. Artists from Le Havre: Emile Othon Friesz, Raoul Dufy, Georges Braque e. Reaction from critics 4. Dadaism 1916 a. A mid-world war art movement b. Jean Arp and Marcel Janco Zurich c. Marcel Duchamp, Man Ray, and Francis Picabia New York d. Andre Breton with the above members in Paris e. Richard Huelsenbeck went to Berlin to draw - John Heartfield and George Grosz f. Max Ernst Cologne g. Kurt Schwitters in Hanover h. Writers - Hugo Ball, Tristan Tzara, Richard Huelsenbeck i. Manifesto, Sound poems; Anti-art and art j. Accidental poetry, music, skits, storytelling and manifestos ; Aim to Liberate art 5. Surrealism 1924 a. Manifesto b. Psychic automatism c. Prominent artists- Salvador Dali , René Magritte Joan Miró, Max Ernst, Man Ray, André Masson , Yves Tanguy Giorgio de Chirico 6. German Expressionism a. Die Brücke, (The Bridge) 1905 i. Ernst Ludwig Kirchner ii. Erich Heckel iii. Emil Nolde b. Other artists - Otto Mueller or Müller , Erich Heckel, Fritz Bleyl , Karl Schmidt-Rottluff Der Blaue Reiter (The Blue Raider) 1911 i. Wassily Kandinsky ii. Franz Marc iii. Gabriele Münter

WESTERN AESTHETICS & CRITICISM PART -1 M/S3/CC/656H PHILOSOPHY OF ART SECTION- I OCCIDENTAL (WESTERN)  Scope of aesthetics its relation to science, philosophy, art  Study of aesthetics in the department of fine arts (emphasis of the relationship between the actual works of art and the principles of aesthetics of significant periods of art History.  Concepts of art and beauty with special reference to various periods early Greek, Roman, Medieval renaissance and thinkers such as Plato, Aristotle, Vitruvius, Longinus, Plotinus, St. Augustine, St. Aquinas, Ghiberti, Leonardo da Vinci, Alberti. Western Criticism Introduction to the concept of criticism historically. 1. The Greeks and Romans: a. General Overview- characteristics of works of art and the then existing philosophical thoughts special reference to Plato, Aristotle and works Protagoras and Pythagoras b. Study of parameters for judgment (criticism) for Painting and Sculpture by (chronologically) i. Xenocrates, ii. Cicero, Dionysios and Quintilian iii. Lucian and Kallistratos iv. Di Chrysostom c. Criticism Architecture i. Vitruvius 2. The Middle Ages: a. Dominant religious thought notion of mythical aesthetics, and stress on iconographical repertory in works of art. b. Study of works of the following critics : Plotinus, St. Augustine, St. Thomas, Heraclius, Theophilus, Dionysius, Witelo, St. Bernard c. Period of transition Middle Ages to Renaissance i. Cursory view of the change in the visual language of the artists Boccaccio's writings on Giotto, and writings of Quintilian Study of written works of - , Filippo Villani, Cennino Cennini Science, Nature, Style, Fundamentals in art

64 Course Descriptions STUDY OF SANSKRIT LANGUAGE OR INDIAN CLASSICAL LANGUAGE M/S3/CC/677H 1. Sanskrit language and its connection to Indo-European group. Modern Sanskrit dramas. 2. Modern Sanskrit drama 3. Historical oration of musical treatise remarks on music in Carudattam, Mricchakatikam, Avimaraka symbols for svaras Naradiyashiksha Rasa svara Naradiyashiksha- Kula of svara Naradiya Shiksha- description of some ragas from different sources Sanngit darpana Pundarikavitthala Ragamala Sangit information from Vyupuranas. 4. Description of Rtus 12 Adityas description of arts Dasakumaracharita- description of arts Lalitavistara- advise to Candrapida Kadambari- Vasantasena's house Mrichhkatikam, Kavyapurausa Rajasekhara Vastupurusha Nakshtra and Vastu and Vamanapurana- Siva marraiage Kumarsambhava. 5. Nayaka Nayikabheda Sahitya darpana- Bahva praklasha Rasamanjari- Naya Rasamanjari- Sringarika texts. 6. Devi images Saptmatrikas Mayavmatam/alesha- Aparajitaprichh Durgasaptashuti

SOURCES FOR INDIAN ART - PAINTING M/S3/CC/676H o Introduction to literary sources of visual arts in India. o Introduction to various regional languages employed in miniature paintings. o Sources of painting in Sanskrit texts, vis-à-vis, CHITRASUTRA of Vishnudharmottara Purana. o Buddhist Jataka texts and related mural paintings Special programming of devising space to enumerate and narrate complex stories. o Formulation and comparison of pictorial language between sculptural reliefs/panels of Buddhist art and the painted language. o Introduction to the synoptic language of Jain miniature paintings o Thematic content of Jain miniature paintings such as o KALPASUTRA o KALAKACHARYA KATHA o UTTARADHYANA SUTRA o Visual vocabulary of the artist in treating allegorical, metaphorical and generally non-narrative texts such as o RASIKAPRIYA o RASAMANJARI o SURSAGAR o BIHARI SATSAI

CRITICAL WRITING M/S3/CC/678H

HISTORY OF INDIAN ART: INDIAN PAINTING M/S3/CE1/660H Unit 7  Sultanate school of painting  Eastern indian manuscripts- Sikandernama,Humza namah, Mandu Neemat namah Unit 8  Deccani school of painting  Bijapur, Golconda, Ahamadnagar,Aurangabad Unit 9  Mughal painting  Sources- Persian, Indian, European, historical development of Mughal paintings from Babur to late Mughals  Akbari school, painters and major manuscripts, Akbari conventions and the issue of imperial patronage, imperial-sub- imperial and popular styles, some major scholars and their methodological concern  Jehangiri school his eclecticism and shift in naturalism  Shajahan and his school  Auranzeb and later Mughals

HISTORY OF INDIAN ART : INDIAN SCULPTURE M/S3/CE1/661H  Chalukyan Period: Three phase of sculptural tradition visible at sites like Aihole, Badami, Pattadakkal, Mahakuta and Alampur.  Pallava dynasties: Rock cut Sculptures of Mahabalipuram, Kanchipuram- individual contributions by king on art patronage- environmental sculpture.  Ellora caves : Chronology, Theme and Stylistic evolution

HISTORY OF INDIAN ART: INDIAN ARCHITECTURE M/S3/CE1/662H 1. Medieval in North Indian Architecture: The development of temple architecture of western India. Paramara, Solanki, Chandela, Kalinga. Tradition goes with Regional Temple Architecture in the region like Gujarat, Maharashtra, Rajasthan, Madhya Pradesh, Orissa etc. 2. Medieval in South Indian Architecture like Chola, Hoysalas, Kakatiya, Nayakas and Vijayanagar architecture regional variations and idioms.

Documentation M/S3/CC/679H

65 Course Descriptions FOURTH SEMESTER MVA ART HISTORY & AESTHETICS CORE COURSES: CONTEMPORARY CRITICAL THEORIES PART- 2 M/S4/CC/651H • Psychoanalytic criticism o Freudian interpretation o Lacan o Julia Kristeva o Deleuze and Guattari • Postmodernist Theories o What is postmodernism? What was modernism? o Landmarks in Postmodernism Habermas, Lyotard, Baudrillard • Feminist Theories o Feminism and feminist criticism o French feminism Kristeva, Irigiray, Cixous. o Marxist feminism Grisellda Pollock • Postcolonial Theories o Background o Postcolonial reading o Orientalism o Edward Said and Aijaz Ahmed o Homi Bhabha o Race and Ethnicity • New Historicism and Cultural materialism

HISTORY OF WESTERN ART :RENAISSANCE TO NEO-CLASSICISM PART- 2 M/S4/CC/652H 1. Mannerism. The shift of concepts and ideals from High Renaissance to Mannerism. Neo Platonic philosophy, Ficiono, Pico. Mannerist concept of beauty. Designo, Contra Posta, Nuditas Virtualis, Figura Serpentinata and Maniera. Titian and the shift from High Renaissance to Mannerism. Early Mannerism of Rosso, Pontormo, Corregio and Cellini. Vasari and the Lives of Great Artists. Academia Della Designo. Tinteretto, Veronese, Parmaginiano and the Late Mannerism. El Greco and the transition to Baroque. 2. Baroque. Colonialism and the economic repercussions. Colonialism and the spread of art. Baroque concept of grandeur. Bernini, Poussin, Rubens, Velasquez and Form and space in Baroque. Carravagio, Rembrandt, Vermeer, George De Latour and the Baroque quality of light. Claude Lorrain and the development of Landscape painting. 3. Rococo. Rococo and the degeneration of art. , Boucher, Fragonard. Watteau, Hogarth, Whistler and emergence of Realism. 4. Neo Classism. Political background of the period. French Revolution, Age of Terror, Napoleonic Wars. Art as documentation of history. Concepts of Neo Classicism. Mengs, Lessing and Wincklemann. Neo Classicism and the nationalism. Neo Classical Historicism and David. Revival of Classical ideals by Ingres. Canova and Neo Classical sculpture.

MODERN INDIAN ART : POST INDEPENDENCE PERIOD PART-2 M/S4/CC/653H 1. Other Progressive Schools/ Groups: a. Cholamandal Artists' Village : K. C. S. Paniker, M. Reddeppa Naidu, J. Sultan Ali, P. V. Janakiraman, C. Dakshinamurthy, S. Nandagopala, S. G. Vidhyashankar Stapathy b. Delhi Silpi Chakra: B. C. Sanyal and P. N. Mago, other artists - Shankar Pillai, Kanwal Krishna, K. S. Kulkarni, Dhanraj Bhagat, Harkrishan Lall, Satish Gujral, Ram Kumar, Jaya Appasamy, Bishamber Khanna, 2. Baroda School Faculty of Fine Arts. a. Years of Inception, Faculty members- N. S. Bendre, Prodsh Das Gupta, Sankho Chaudhuri, K. G. Subramanyan, V. R. Amberkar b. Study of the contribution of other individuals too - V. P. Karmarkar, K. K. Hebbar, Sivax Chavda, , Somalal Shah, Herman Goetz, Markand Bhatt, Hansa Mehta c. 1950's onwards - Shanti Dave, G. R. Santosh, Jyothi Bhatt, Kumud Patel, Jyotsna Bhatt, Mahendra Pandya, Krishna Chhatpar, Nagji Patel d. 1960's onwards i. Group 1890 Ambadas, Jeram Patel, Gulammohammad Sheikh, Himmat Shah, Jyoti Bhatt, Raghav Kaneria, S. G. Nikam, Rajesh Mehra, Reddepa Naidu, Eric Bowen, Balkrishna Patel, J. Swaminathan ; Reference to Octavio Paz ii. Bhupen Khakhar 3. Feminism: a. Introduction to feminist theory and study of the same through works of artists : Arpita Singh, Navjot Altaf, Nalini Malani, Rumanan Hussain, Anita Dube, Aparna Caur, Nilima Sheikh, Rekha Rodwittiya, b. Newer ways of looking at feminism through New Media works, lesbianism, consumerism, etc - Mithu Sen, Tejal Shah, Pushpamala N., Koumudi Patil

66 Course Descriptions 4. 1980's onwards the change in the Indian art scenario with the advent of globalization: a. Study of notions of - global economy, internationalism, identity : Reference to prominent show - Place for People, 1981 -Gulammohammed Sheikh, Vivan Sundaram, Nalini Malani, Bhupen Khakhar, Sudhir Patwardhan and Jogen Chowdhury b. The Third Sotheby's Prize Exhibition 1982: Natraj Sharma, Baiju Parthan, Anju Dodiya, Jitish Kallat and Sudarshan Shetty c. Study of works of : Sudhir Patwardhan, Vivan Sundaram, Atul Dodiya, Baiju Parthan, Jitish Kallat, T. V. Santhosh, Sudarshan Shetty, Subodh Gupta, Ranbir Kaleka

MODERN WESTERN ART : 20TH CENTURY PART-2 M/S4/CC/654H 1. Abstract Expressionism a. Two distinct categories i. Action or Gesture painters Jackson Pollock, Williem de Kooning, James Brook, Franz Kline, Krasner, Robert Motherwell, Bardley Walter Tomlin ii. Colour Field pictures Barnett Newman, Mark Rothko, A.D. Reinhardt - simple, unified blocks of colour b. Two periodicals Possibilities and Tiger's Eye 2. Suprematism a. Kazimir Malevich (1879 1935) 3. Constructivism a. Valdimir Tatlin (1885 1953) b. Naum Gabo (1890 - 1977) c. Aleksander Rodchenko 4. De Stijl a. Theo van Doesburg b. Piet Mondrian 5. Bauhaus a. Eclectic attitude and multidisciplinary approach 6. Pop Art a. Overview of - late capitalism, consumerist society, mass production, advertising and mass media b. Great Britain - Formation of the Independent Group i. Broadening taste into more popular, less academic art c. North America lived in experience i. Difference in -Fine Art and Pop ii. Art objects or mass culture objects d. Prominent Artists -Andy Warhol, Roy Lichtenstein, Richard Hamilton, Jasper Jones, David Hockney, R. B. Kitaj, Sigmar Polke, Robert Rauschenberg 7. Conceptual Art a. Dominance of cerebral over emotive aspect of art - Dematerialization b. Concept as a machine to make art c. Prominent Artists - Joseph Beuys, Joseph Kosuth, Yves Klein, Piero Manzoni, Gilbert Proesch and George Passmore d. Feminist artists - Cindy Sherman, Kiki Smith, Barbara Kruger, Guerrilla Girls, Judy Chicago 8. Neo-Conceptual Art a. Stuckists b. YBA Young British Artists i. Show titled - Brilliant! ii. Prominent artists - Jake and Dinos Chapman, Tracey Emin, Damien Hirst, Sarah Lucas, etc 9. Subversive Art 10. New Old Masterism

WESTERN AESTHETICS & CRITICISM PART-2 M/S4/CC/656H PHILOSOPHY OF ART - WESTERN Classical and Modern periods and thinkers such as Lessing, Diderot, Baumgarten, Kant Hegal, Croce, Tolstoy, John Dewey, Santayana, Bulllough, Worringer, Vernon Lee, Gasset, I.A. Richards, Hume, CJ Jung, Bradley, Monroe, Baerdskey, Roger Fry, Clive Bell, Susanne Langer, C.D.Lewis, Sartre, Merleau Ponty.

WESTERN CRITICISM 1. Renaissance a. Transition of thought from Medieval times to Renaissance: Historical Economic and Cultural scenario; notion of humanism, Shift of art from public ream to private realm b. Transition from Middle ages to Renaissance: Lorenzo Ghiberti 1378-1455 c. Perfection of ideals of Renaissance: Leon Battista Alberti 1404-1472 d. 15th 16th century : Leonardo da Vinci, Raphael, Michelangelo, Titian e. Venice- Pietro Aretino, PaoloPino and Ludovico Dolce; theories expalined through the works of artists Donatello, Masaccio, Piero della Francesca, Titian, Durer, Robert Campin, Jan van Eyck, Tintoretto, etc. f. Giorgio Vasari Lives of Painters, Sculptors and Architects

67 Course Descriptions i. Cyclical model -Cycle 14th , 15th and 16th century; reference to art works of 1. 14th -Cimabue and Giotto 2. 15th - Masaccio, Piero della Francesca and Mantegna 3. 16th - Leonardo, Raphael and Michelangelo 2. Baroque Continuation of Renaissance and a new development 3. Neoclassicism a. Overview of the Revolutionary period, role of Napoleon, 1748 Excavations in Herculaneum and Pompeii, Ancient Rome as a symbol of an ideal civilization influence of the same seen in paintings sculptures and architecture. b. Transition from Rococo to Neo-classicism : Anton Raphael Mengs, Alexander Baumgarten, Johann Joachim Winckelmann, Gotthold Ephraim Lessing 4. Romanticism: a. Overview - 18th century Europe, Industrial Revolution revolt against the aristocratic, social and political norms of the Age of Enlightenment (Counter Enlightenment)

SOURCES FOR INDIAN ART - PAINTING M/S4/CC/676H o Bhakti oriented texts such as GEETGOVINDA, BALA GOPALA STUTI o Narratives and modes of narration employed in texts such as RAMAYANA, BHAGWAT PURANA. Comparison of these across various schools of painting such as early Rajasthani, Malwa, Mewar, Basholi, Kangra etc. o Study of narrative patterns in Mughal texts vis-à-vis, HAMZA NAMA, TUTI NAMA, RAZM NAMA, ANWAR I SUHAILI, etc. o Reading of text- painting relationship in SECULAR TEXTS such as o CHAURPANCHASHIKA o LAURCHANDA o MRIGAVAT o BARAMASA o Systems of categorization of RAGAS and iconographic conventions employed by artists to portray various RAGAS, o Comparison of RAGAMALA FOLIOS of different schools and understanding the similarities and dissimilarities between iconographic details. o Comparison of folios with same text but different visual representation in either the same school of painting or across other schools.

STUDY OF SANSKRIT LANGUAGE OR INDIAN CLASSICAL LANGUAGE M/S4/CC/677H 1. Iconography of Vishnu APRC- iconography of sun and Planets- Buddha- Ganapati Shilpatexts types of brushes Manasollasa. 2. Ship building Shilparatna. Manasollasa Ramayana Manasollasa- Yantravidhana Samaranganasutradhara, 3. Vedic iconography 4. Indo European and Sanskrit. 5. Inscription poetic literary inscription related to Art History. 6. Introduction to Alamkara 7. Lost wax Methods Madhuchhista Vidhana.

CRITICAL WRITING M/S4/CC/678H

HISTORY OF INDIAN ART : INDIAN PAINTING M/S4/CE1/660H  Rajasthani schools- Mewar Udaipur, Deogarh, Nathdwara, Kota, Bundi, Kishangarh- Marwar- Bikaner, Jodhpur  Validity of Mughal/Pouplar Mughal influence on Mewar school  Malwa school  Pahari school of painting  Origin and development of Pahari school  Basholi, Guler, Kangra and sub-schools  Painter's Genealogy and few significant painters  B N Goshwami s theory of migration painters  Mughal influence and declining interest of patronage by the close of 18th century in hills

HISTORY OF INDIAN ART : INDIAN SCULPTURE M/S4/CE1/661H  Medievalism: South Indian Sculptural-tradition goes with regional Temple Architecture like Chola, Pandyas, Hoysala and Kakatiya, Nayaka and Vijayanagara Sculpture.  Medievalism: North Indian sculptural - tradition goes with regional Temple Architecture Paramara, Solanki, Silahara and Yadava, Chandela, Pala and Sena. like Gujarat, Maharashtra, Rajasthan, Madhya Pradesh, Orissa etc.  Bronze Sculptures: Technique and Iconography of Akota, Palasena and South Indian Bronzes, analysis of some prominent images.

68 Course Descriptions HISTORY OF INDIAN ART : INDIAN ARCHITECTURE M/S4/CE1/662H 1. Islamic architecture tradition in India Delhi, Deccan, Western India and Malwa. Sources of Islamic architecture and aspect of eclectics. 2. Mughal Architecture: New Delhi, Agra, Fatehpur Sikri sources and innovations of Akbar, Jahangir and Shah Jahan period. 3. Palaces and Haveli Architecture of Gujarat, Rajasthan etc. - Shreenathji cult wooden architecture tradition. 4. Colonial architecture church architecture of Goa - eclecticism elements of Indo- Sarsenic. British innovation of design in Palaces as well as public buildings.

DISSERTATION M/S4/CC/679H Preparation and presentation of a written document of about 4000 words is regarded as a major subject. It is meant to reflect an understanding of the critical, historical and philosophical issues from the past or present in consultation with the Head of the Department and work on it under his guidance or a teacher approved by him and the Dean by the end of 1st Term of Junior MVA. The dissertation should be prepared in the prescribed manner and handed over to the Dean, through the Head of the Department positively before the commencement of the Theory examinations.

VIVA VOCE M/S4/CC/680H It is an oral or oral part of an examination where dissertation by the student will be put forward for consideration especially to be proved or maintained against objections. For MVA candidates in each specialization it will be conducted by a panel nominated by the head of the Department and appropriate external experts from the Joint Board of Examiners.

69 70 Museology

71 Proposed Teaching Scheme: M.A. (Fine) MUSEOLOGY, Part I SEMESTER I Course Subject Teaching scheme Credits No Total teaching hrs in 15 wks Theory Practical 1 Introduction to Museum, Museology and 45 3 Museum Profession 2 History and Development of Museums 45 3 3 Museum Management 45 3 4 Introduction to Conservation 45 3 5 Museum Environment 45 3 6 Ancillary Museum Techniques, Part I 90 3 7 Project 45 3

SEMESTER II

Course Subject Teaching scheme Credits No Total teaching hrs in 15 wks Theory Practical 8 Collection Management 45 3 9 Documentation and Research 35 20 3 10 Museum Education and Interpretation 35 20 3 11 Museum Extension Services and Publications 35 20 3 12 Curatorial Conservation 35 20 3 13 Ancillary Museum Techniques, Part II 90 3 14 Project 45 3

72 Proposed Teaching Scheme: M.A. (Fine) MUSEOLOGY, Part II SEMESTER III Course Subject Teaching scheme Credits No Total teaching hours in 15 weeks Theory Practical 15 Legislations and Conventions related to 45 3 Heritage 16 Professional Conservation, Part I 35 20 3 17 Museum Exhibition, Part I 35 20 3 18 Museum Exhibition, Part II 35 20 3 19 Specialized Museology 45 3 20 Ancillary Museum Techniques, Part III 90 3 21 Project 45 3

SEMESTER IV

Course Subject Teaching scheme Credits No Total teaching hours in 15 weeks Theory Practical 22 Museum Architecture 45 3 23 Preservation of Architectural Heritage 45 3 24 Professional Conservation, Part II 35 20 3 25 Museum Marketing 45 3 26 Dissertation 90 6 27 Practical Training: Report and Presentation 45 3

73 Proposed Scheme for EXAMINATION: M.A. (Fine) MUSEOLOGY, Part I SEMESTER I Course Subject Examination Scheme Total No Marks Internal University Exams Exams 1 Introduction to Museum, Museology and 25 75 100 Museum Profession 2 History and Development of Museums 25 75 100 3 Museum Management 25 75 100 4 Introduction to Conservation 25 75 100 5 Museum Environment 25 75 100 6 Ancillary Museum Techniques, Part I 100 100 7 Project 100 100

Total Marks 700

SEMESTER II

Course Subject Examination Scheme Total No Marks Internal University Exams Exams 8 Collection Management 25 75 100 9 Documentation and Research 25 75 100 10 Museum Education and Interpretation 25 75 100 11 Museum Extension Services and Publications 25 75 100 12 Curatorial Conservation 25 75 100 13 Ancillary Museum Techniques, Part II 100 100 14 Project 100 100

Practical Exam: Documentation 50 50

Practical Exam: Museum Education and 50 50 Extension services and Publications Viva-Voce 50 50

Total Marks 850

76 Proposed Scheme for EXAMINATION: M.A. (Fine) MUSEOLOGY, Part II SEMESTER III Course Subject Examination Scheme Total No Marks Internal University Exams Exams 15 Legislations and Conventions related to 25 75 100 Heritage 16 Professional Conservation, Part I 25 75 100 17 Museum Exhibition, Part I 25 75 100 18 Museum Exhibition, Part II 25 75 100 19 Specialized Museology: Project Report 25 75 100 20 Ancillary Museum Techniques, Part III 100 100 21 Project 100 100 Practical Exam: Conservation 50 50 Practical Exam: Museum Exhibitions 50 50 Viva-Voce 50 50

Total Marks 850

SEMESTER IV

Course Subject Examination Scheme Total No Marks Internal University Exams Exams 22 Museum Architecture 25 75 100 23 Preservation of Architectural Heritage 25 75 100 24 Professional Conservation, Part II 25 75 100 25 Museum Marketing 25 75 100 26 Dissertation 100 100 200 27 Practical Training: Report and Presentation 100 100 Practical: Conservation 50 Viva-voce 50 Total Marks 800

Total Marks for all the Four Semesters: 700+850+850+800=3200

73 Passing Scheme: Minimum Passing Marks required in each theory paper, project, dissertation and viva-voce. etc: Internal Exams = 40% University Exams= 40%

Scheme for awarding class/division: Pass class: 40% and above Second class: 50% and above First Class: 60% and above Distinction: 70% and above

Note: Grading system as per the University Guidelines will be used.

Promotion, Re-admission and Time for Completion of Course 1. A candidate who has undergone a regular course of study in semester I, fulfills the required criteria of attendance and has secured marks equal to passing standard both in Internal and University Examination shall be eligible for promotion to Semester II. He/She will have to earn minimum of 15 credits in Semester I. 2. A candidate who has successfully completed all the courses of Semester I and II will be eligible for promotion to Semester III. 3. A candidate who has undergone a regular course of study in semester III, fulfills the required criteria of attendance and has secured marks equal to passing standard both in Internal and University Examination shall be eligible for promotion to Semester IV. He/She will have to earn minimum of 15 credits in Semester. 4. A candidate shall have maximum of 10 semesters (Five academic years) for completion of the course.

Proposed Syllabus for M.A. (Fine) Museology, Part I SEMESTER I Course 1: Introduction to Museum, Museology and Museum Profession Definitions, purposes and social relevance of museum. Functions of museum: collection, documentation, conservation, research, exhibition and education. Changing role of museums. Role of museum in tourism. Types of museums - classification of museum on the basis of nature of collections, governing body, and scope. Specialised museums. Museum-like structures and allied institutions. Specific purposes of different types of museums.

Museology and Museography origin, meanings and definitions. Concepts of New Museology. Formation of ecomuseums, fragmented museums, open air museums, community museums and neighbourhood museums. Museum as a profession. Museology as an academic discipline and museum training. Museology courses and training programmes in India and abroad.

Professional organizations - International: ICOM, Commonwealth Association of Museums; National: Museums Association of India, Museums Association (United Kingdom), American Association of Museums. Regional: Museums Association of Gujarat.

Course 2: History and Development of Museums History of museums in global context Early collecting and ancient and medieval prototypes in Europe and elsewhere. Development of museums during Renaissance age, post renaissance period and Industrial age. Development of museums in the 20th and 21st century. Development of museums in America. Introduction to select museums in Europe and America. History of museums in India (Pre independence period): Early collecting and museum like structure. Phases of development of museums: Phase I (1796-1857) Formative phase. Phase II (1858 1898) Contributions of native kings and the impetus given by the celebration of Golden Jubilee of Queen Victoria. Phase III (1899-1927) Contribution of Lord Curzon and Sir John Marshall. Phase IV (1928-1947) phase of setback, emergence of university and personalia museum, and publication of report on Indian Museums. History of museums in India (Post Independence era): Phase V - Establishment of national and regional museums, NCSM, Cultural Centers, Tribal Research Institutes, CABM, Museology courses, etc. Introduction to select museums in India National Museums including museums of national importance, and select museums of state, regional and local level. History of development of museums in Gujarat. Introduction to select museums in Gujarat.

Course 3: Museum Management Management: Meaning and definitions. Decision making and leadership as essential elements of management. Management as science and art. Management versus administration. Functions of management.Managementasamuseumfunction. Defining vision, mission and objectives. Planning - types of plans and planning process. Policies, procedures and rules, etc. Controlling - meaning, importance, purposes and process.

Organising - types of organizational structures; Role of management boards and committees. Delegation of authority and responsibility. Directing - meaning, importance and functions; Issue of leadership in museums.

76 Staffing Recruitment rules and methods of recruitment, job descriptions, service conditions, motivation, training, performance management and performance appraisal etc. Prevention of harassment in work place.

Funding sources: admission fee, membership programmes, renting, food services, museum shop, donations, grant-in-aid, foundations and corporate houses. Process and terms of getting grant-in-aid from central and state governments. Strategy for seeking donations and sponsorships. Budget - meaning and importance; types of budgets; setting financial goals, evaluating financial performance.

Course 4: Introduction to Conservation Conservation concept and significance. Terms commonly used in conservation. History of conservation. Principles/Basics of conservation. Specific role of curator and conservator in conservation. Ethics of conservation. Traditional conservation versus professional conservation. Relevance of traditional methods in present day context.

Types of museum collections. Materials of collections, their nature and role in deterioration. Meaning of deterioration and other similar terms. Types of deterioration. Causes of deterioration.

Methodology of Conservation. Requirements for conservation. Introduction to various tools and equipment used in conservation.

Planning the conservation efforts. Documentation in Conservation and its significance and methods. Conservation audit. Research in conservation. Analytical tools employed in the study of deterioration and assessment of materials.

Conservation as a profession. Attributes of a conservation professional. Training and career enhancement opportunities. National and International conservation organisations and associations. Partnerships with outside agencies for conservation efforts.

Course 5: Museum Environment Meaning of museum environment; terms commonly used to describe museum environment; environmental factors: light, relative humidity, temperature, pollutants (particulate matter and gases), vibrations and various types of pests. Introduction to the effects of the various environmental factors on organic and inorganic material of museum artifacts.

Monitoring and assessment of environmental parameters using different equipments such as UV Monitor, Light meters, Hygrometers and Thermohygrographs, Data loggers, and Dossimeters. Environmental standards and compromise levels.

Strategies for mitigating and controlling environmental problems: RH use of silica gel, air-conditioning, humidifiers and dehumidifiers; Light use of filters, absorbers, reflectors, reduced exposure, dimmers, glazing material, etc.; Air quality use of air filters, sealed surfaces, good housekeeping. Creating micro-climates.

Integrated pest management: basic identification of common invertebrate and vertebrate pests; developing an awareness of pest population in and near museum facilities; infestation preventive methods; determining action thresholds; integrated control methods (both for building and in collections); health hazard relating to infesting pests and pest control efforts.

Green environment: Evaluating specific materials used in the production of exhibitions, storage systems and buildings in terms of their consequences for collections, people and environment.

Course 6: Ancillary Museum Techniques, Part I Photography: Importance of photography in museums, Basic principles of photography, Importance of Light and its control, Types of cameras SLR, Digital, Digital SLR Camera.

Taxidermy: Importance of taxidermy in museums. Introduction to techniques of taxidermy. Anatomy of birds and mammals. Introduction to tools, apparatus, chemicals, preservatives, material, used in taxidermy. Collection of specimen for taxidermy.

Molding and Casting: Importance of molding & casting in museum. Steps involved in preparation of model to enlarge and reduce size: Drawing, Sculpture, preparation of armature, etc. Introduction to basic principles of molding, casting, and tools and materials. Precautions in handling of the objects.

Course 7: Project Students will select a topic from the courses taught during the first semester and study it in detail as an extension of the topic under the guidance of a teacher. They will submit a project report in written form (3000 to 4000 words) and also make an oral presentation. The weightage of written report and oral presentation will be 75% and 25% respectively.

77 SEMESTER II Course 8: Collection Management Collecting - a historical perspective, purposes and ethics. Nature and range of tangible heritage. Collection responsibilities. Collection management policy including policy on acquisition, disposal, loaning. Administrative aspects of collecting- planning, obtaining necessary permissions, resource requirements, role of purchase committee, etc.

Methods of collecting tangible heritage: General methods such as purchase, loan, exchange, donation, gift, will, bequest, confiscation, fabrication etc.; and Specific methods according to discipline such as archaeology, art, anthropology and science. Disposing museum collections - Meaning and purpose of disposal, methods and procedures of disposal, terms and conditions of disposal.

Classifying objects in museum's collection. Classification systems for classifying man-made objects and natural history collections. Authentication of museum objects. Appraisal of museum objects.

Collection storage: meaning, importance and types. Planning establishing collection storage needs in terms of space, accessibility, retrieval, conservation, security, and relationship with collection support areas and other museum facilities. Storage systems. Specific storage conditions for different types of collections.

Security: Nature and assessment of risks; physical planning in terms - construction of building, doors, windows, showcases, storage systems, etc. Management of security personnel. Internal procedures. Protection from fire prevention, detection and counteraction. Electronic security. Emergency measures. Damage assessment and procedures after a damage has been done. Insurance and indemnity.

Course 9: Documentation and Research Meaning, purposes and scope of documentation. Documentation policy including accessioning, deaccessioning and temporary arrivals. Introduction to systems and process of documentation. Modern documentation techniques.

Types of documents Entry, Accession, Classified, Location, Movement and Deaccessioning Registers; Index and Catalogue Cards. Methods of taking field notes on archaeological, anthropological and natural history expeditions. Methods of documenting oral history. Numbering the objects: purpose; systems Simple, Bipartite and Tripartite; standard locations for numbering objects; applying numbers; processing unnumbered objects or objects having old numbers found in collections.

Documentation standards - Importance, format of various types of documents, use of standard terminology. Object ID concept of an international standard for describing art, antiques and antiquities; guidelines for writing descriptions and photography. Management of current and archival records acquired or generated by a museum - access, retrieval, storage, maintenance, safety, etc.

Definitions, objectives and scope of research in museums. Classification of museum research. Research policy. Methods of research. Writing research proposals and reports.

Practicals: Writing description of objects using general terms used for describing objects, images, edifices etc. and specific terms according to conventions of various types of collections. Preparing various types of documents.

Course 10: Museum Education and Interpretation Museum as an educational institution. Education role of museums in developing countries. Concepts of education, learning, interpretation, continuing education, adult education, life-long learning, etc. Structures of education/learning. Barriers to learning. Characteristics of learning in museums. Education versus interpretation. Ethics of museum education.

Management of education services - education philosophy of a museum; education policy; professional standards for museum educators; administrative procedures; resource requirement and development. Planning the learning experience: organised visits of children and adult groups, lesson plans. Training the education staff.

Basic theories of learning. Learning needs and characteristics of various target groups. Making provisions for visually impaired, physically challenged, deaf, learning disabled, mentally retarded etc. people. Liaison with education authority, community, and tour operators etc.

Methods of museum education and interpretation: direct teaching, discovery based activities, role play, live interpretation, activity sheets, tactile experiences etc. Developing appropriate programmes for various target groups such as school children, teachers, families, tourists, and people with disabilities. Feedback.

Practicals: Preparation of education material such as activity sheets, lesson plans, preparation of feed-back forms and conducting surveys in local museums. Interpretation of exhibits, etc.

78 Course 11: Museum Extension Services and Publications Extension service - meaning, purposes, scope and possibilities. Framework: policy, staffing, organization structure, finance, fieldwork. Community programmes: purpose; types; liaison with community; Case studies of some successful projects. Extension through Web sites.

School loan services: Purpose; linkage with curriculum; cross-curricular links; school museum liaison; loan kits: contents, lesson plans, inventory, design factors, storage, delivery and maintenance. Role and responsibilities of the borrowers. Resource requirements staff, funds and physical resources. Feed-back. Case studies of school-loan services.

Travelling and mobile exhibitions: origin and growth, choosing a theme, development of exhibitions; Organisation of travelling exhibitions: resource requirements, packing and transportation, design and safety considerations, planning and scheduling. Operation of Mobile exhibitions: types and design of mobile units, instruction manual for staff, Feed-back. Case studies of travelling and mobile exhibitions.

Museum publications - definitions, range and types of museum publications. Publications as a museum function and its significance. Production of publications: making decisions on paper, type, method of printing and binding. Acquisition of publications - Need for a library and its operation.

Practicals:Developing and visualising concept of loan kits, travelling and mobile exhibitions etc. Lay outing various types of publications.

Course 12: Curatorial Conservation Meaning and significance of preventive conservation. Professional conservation versus curatorial conservation: specific roles of curator and conservator in preventive conservation.

House-keeping in and around museum building: meaning and significance of housekeeping; principles of housekeeping; correct methods of cleaning; visual scanning of various areas for hygienic conditions, microbial growth, insect activities, physical and chemical changes in objects/specimen. Cleaning schedules; supervising the housekeeping staff; safe and eco- friendly methods of waste disposal.

Handling of museum collections: Significance of proper handling of objects; general rules of handling museum collections; specific rules of handing small delicate objects; flat and flexible objects; large flat textiles; books and manuscripts; furniture; framed objects; heavy and awkward objects. Packing and transportation of museum objects for various purposes.

Methods of examination and diagnosis, Analysis of deteriorated objects in the museum with a view to decide methods of curative and preventive conservation.

Practicals: Critical study of the museum galleries and collection stores to understand preventive measures (including maintenance of environmental standards) taken by museums. Preparation of reports.

Course 13: Ancillary Museum Techniques, Part II Photography: Types of lenses, films, filters and other accessories. Basic principles of museum photography. Practical exercise of taking photographs of museum objects.

Taxidermy: Stuffing of a small bird. Preparation of a cabinet specimen killing, skinning, preserving and filling. Preparation of a mounted specimen killing, skinning, preserving, modelling, mounting and labelling.

Molding and Casting: Preparation of models in various mediums: clay/ceramic clay, oil-based clay, polymer clay, papier maché, and wax.

Course 14: Project Students will select a topic from the courses taught during the second semester and study it in detail as an extension of the topic under the guidance of a teacher. They will submit a project report in written form (3000 to 4000 words) and also make an oral presentation. The weightage of written report and oral presentation will be 75% and 25% respectively.

79 Proposed Syllabus for M.A. (Fine) Museology, Part II SEMESTER III Course 15: Legislations and Conventions related to Heritage UNESCO and its role in heritage related issues. International Conventions (Part I) on: - Protection and Promotion of the Diversity of Cultural Expressions (2005) - Safeguarding the Intangible Cultural Heritage (2003) - Protection of the Underwater Cultural Heritage (2001)

International Conventions (Part II) on: - Stolen or Illegally Exported Cultural Objects (1995) - Protection of the World Cultural and Natural Heritage (1972) - The Means of Protecting and Preventing the Illicit Export, Import and Transfer of Ownership of cultural property (1970) - Protection of Cultural Property in the Event of Armed Conflict (1954)

Indian Antiquarian Laws: - The Indian Treasure Trove Act, 1878. - The Ancient Monuments and Archaeological Sites and Remains Act, 1958. - The Antiquities and Art Treasures Act, 1972.

Indian Legislation related to Natural History: - Wild Life Protection Act, 1972. - Gujarat Animal Preservation Act, 2011 - Prevention of Cruelty to Animals Act

Miscellaneous Legislation: - Persons with Disabilities (Equal Opportunities, Protection of Rights and Full Participation) Act, 1995 - Protection of Copyright and Neighboring Rights Act (1952) - RTI Act 2005

Course 16: Professional Conservation Part I Low and high tech methods of preventive and curative conservation: Gold, silver and its alloys objects. Copper, Iron and its alloys objects. Lead, tin and pewter objects, Enamel and lacquer works. Conservation of siliceous material - stone, pottery, terracotta, glass etc. Practicals: Identification of materials by various methods, Ways of identifying corrosion products, methods of Examining the type and extent of deterioration, methods of treatment and preservation. Method of preparing case study report for different kind of deteriorated objects.

Course 17: Museum Exhibition, Part I Exhibition as a communicating system. Definitions and models of communication in the context of museum exhibitions. Purposes of museum exhibition. Types of museum exhibitions permanent and temporary; historical, chronological, systematic, thematic and ecological; Evocative emotive, didactic and recreational.

Exhibition policy. Ethics of exhibitions. Strengths and weaknesses of exhibition as a communication system. Understanding exhibition as a complex environment exhibit components and their configuration, extra exhibit factors; and impact of exhibit components and spatial relationship on visitors. Ingredients of a good exhibition.

Exhibition text meaning, purpose, format and language. Methods of assessing readability and comprehensibility. Signage meaning, purpose and types. Typography in relation to exhibition text and signage. Methods of calculating size of the type.

Exhibition lighting - types of light, principal ranges of lamps for exhibition purposes and their characteristic features, fibre optics, track lighting various arrangements, methods of calculating position of lamps, computer controlled lighting system, lighting levels according to demands of collections and users.

Practicals: Critical analysis of exhibitions, writing and assessing exhibition text, lighting, etc.

80 Course 18: Museum Exhibition, Part II Designing of exhibits - concepts of design, elements of design - colour, texture, layout meaning, types and methodology to evaluate exhibition layouts, light; principles of design - balance, rhythm, emphasis, unity, simplicity and scale, etc. Human ergonomics and its relation to exhibition design. Design of exhibition furniture: showcase, pedestals, display boards etc. Purposes and types of showcases. Factors governing design of showcases, dioramas, period rooms, etc. Qualities of a good showcase. Exhibition planning - stages and strategies, exhibition team, preparation of exhibition brief and /or exhibition script, schedule of work. Exhibition planning check list. Use of Critical Path Analysis and Simple Bar Method in planning exhibitions. Exhibition evaluation: meaning and significance; Types front-end analysis, formative and summative; Methods: observation studies, experiments and surveys. Practicals: Analysis of design factors, use of Critical Path Analysis and Simple Bar method; Evaluation studies observing visitor behaviour in exhibitions and preparing questionnaires and conducting surveys.

Course19: Specialised Museology Students will select a particular type of museum from the following groups and study its peculiarities in detail under the guidance of a teacher. They will take up a project on any topic of museological interest and submit a report in written form. 1. Art, Archaeology, Anthropology, Ethnology and History museums 2. Natural History and Science and Technology 3. Specialised museums such as children's museum, personalia museum, eco-museum, and virtual museum, etc.

Course 20: Ancillary Museum Techniques, Part III Photography: Practical exercise of taking photographs of museum objects. Introduction to printing. Types of prints. Taxidermy: Stuffing of a small mammal. Preparation of a cabinet specimen killing, skinning, preserving and filling. Preparation of a mounted specimen killing, skinning, preserving, modelling, mounting and labelling.

Molding and Casting: Preparation of moulds in various mediums: Plaster of Paris, rubber/silicon, clay, fiberglass, paper, cement etc.

Course 21: Project Students will select a topic from the courses taught during the third semester and study it in detail as an extension of the topic under the guidance of a teacher. They will submit a project report in written form (3000 to 4000 words) and also make an oral presentation. The weightage of written report and oral presentation will be 75% and 25% respectively.

SEMESTER IV Course 22: Museum Architecture Museum building: Functions; types - adapted buildings, purpose-built buildings, single unit buildings, multi unit buildings, multi- storey and green buildings etc; Taxonomy of space and zoning.

General considerations affecting building decisions: site, location, nature and size of collections, contents other than collections; types and number of users, pattern of use, requirements of staff and public amenities, etc. Space requirements, organization of spaces with relation to movement of people and material, landscape and aesthetics.

Technical requirements in terms of security, conservation, safety, lighting, ventilation and disasters and calamities. Adaptation of existing buildings for museums: advantages and disadvantages, feasibility in terms of use and technical requirements.

The building process Specific roles of director/curator, architects and engineers, and building committee in a building project (new building, renovation and expansion). Preparing the brief: purpose, process and components. Basics of building maintenance. Case studies of museum buildings in India and some examples of new approaches and experiments in India and abroad.

Course 23: Preservation of Architectural Heritage Architectural heritage: meaning, definition and classification. Need for preserving architectural heritage. History of architectural conservation. Present scenario in terms of their state of preservation. Initiatives taken by the government. Agencies involved in conservation of architectural heritage. Public awareness programme for preservation of built heritage.

Approaches to architectural conservation: preservation, rehabilitation, restoration and reconstruction. Introduction to building materials used in ancient, medieval and present times. Need for hiring a conservation architect for a conserving a historic building.

Common architectural conservation/preservation problems. Causes of deterioration. Control measures for damaging factors - Climatic, Atmospheric and Biological. Preventive measures and maintenance programme.

General remedial measures. Repair and strengthening of structures. Documentation of preservation and conservation efforts. Ethics of architectural conservation.

Case studies of at least three major projects of architectural conservation. Visit to historic sites and analyses of their state of preservation. Writing structure and conservation reports.

81 Course 24: Professional Conservation Part II Introduction to organic chemistry, study of characteristics of different organic natured objects in museums and their requirements in terms of preservation.

Conservation of organic materials: archival material, textile, wood, leather, bone, ivory, horn/antlers, photographs, etc.

Conservation and restoration of paintings on canvass, wood, wall, textile, paper etc.

Preservation of Natural History specimens. Practicals: Identification of materials by various methods, methods of examining the type and extent of deterioration, methods of treatment and preservation. Various methods of Dry and Wet preservation, Herbarium Preparation and method of preparing case study report for different kind of deteriorated objects.

Course 25: Museum Marketing Marketing - meaning, definitions and functions. Core marketing concepts: marketers and prospects; needs, wants and demands; product; offering and brand; value and satisfaction; etc. Role of marketing in museums. Myths about marketing. Marketing versus Public Relations.

The product concept: definitions, product life cycle and marketing strategies in different stages of product life cycle. Types of products and their characteristics: goods and services; Museum as a product, multi-product organization and a service.

Meaning and dimensions of market. Market versus public. Market segmentation: meaning and significance, bases of segmentation demographic, geographic psychographic. Approaches to segment markets. Concept of targeting and target marketing. Consumer behaviour: meaning and importance, determinants of behaviour and consumer buying process.

Marketing-mix: concept and variables. Productproduct as proposition, product strategies and development; Pricingmeaning and strategies; Promotion: meaning, objectives and various aspects-corporate identity, positioning, relationships,publicity and advertising; physical distribution: accessibility.

Museum marketing process: consumer research - meaning, significance, types and methods; Organization meaning and need for a market-oriented structure; Planning situation analyses, strategy formulation and action plan; Control of marketing operation.

Course 26: Dissertation Students will select a topic of museological interest and study it in detail under the guidance of a teacher. They will learn research methodology and mechanics of writing; do an in depth study of the selected topic; and present the findings of the study in the form of a written dissertation (10,000 to 12,000 words).

Course 27: Practical Training: Report and Presentation The students will undergo practical training for four weeks in museums of repute any time during the entire course of study including vacations. The training may be organised in a single museum or more than one museum depending upon the opportunities.

They will submit a written report of the training (3,000 to 4,000 words) and also make an oral presentation. The will be awarded marks/grades on the basis of report and presentation and weightage will be 75% and 25% respectively.

82 Proposed Teaching Scheme: One Year In Service P.G. Diploma in Museology

SEMESTER I

Course Subject Teaching scheme Credits No Total teaching hours in 15 weeks Theory Practical 1 Introduction to Museum and Museology 45 3

2 Museum Management 45 3

3 Introduction to Conservation 35 20 3

4 Museum Documentation and Research 35 20 3

5 Project 45 3

SEMESTER II

Course Subject Teaching scheme Credits No Total teaching hours in 15 weeks

Theory Practical

6 Collection Management 45 3 7 Museum Education and Interpretation 45 3 8 Curatorial Conservation 35 20 3 9 Museum Exhibition 35 20 3 10 Project 45 3

83 Proposed Scheme for Examination: One Year In Service P.G. Diploma in Museology

SEMESTER I Course Subject Examination Scheme Total No Marks Internal University Exams Exams 1 Introduction to Museum and Museology 25 75 100 2 Museum Management 25 75 100 3 Introduction to Conservation 25 75 100 4 Museum Documentation and Research 25 75 100 5 Project 100 100 Practical: 1.Conservation 50 50 2.Documentation 50 50 Viva-voce 50 50

Total Marks 650

SEMESTER II

Course Subject Examination Scheme Total No Marks

Internal University Exams Exams 6 Collection Management 25 75 100 7 Museum Education and Interpretation 25 75 100 8 Curatorial Conservation 25 75 100 9 Museum Exhibition 25 75 100 10 Project 100 100 Practical Exam: 1. Conservation 50 50 2. Exhibitions 50 50 Viva-Voce 50 50 Total 650

84 Total Marks for Two Semesters: 650+650 =1300

Passing Scheme: Minimum Passing Marks required in each theory paper, project, and viva- voce. etc: Internal Exams = 40% University Exams= 40%

Scheme for awarding class/division: Pass class: 40% and above Second class: 50% and above First Class: 60% and above Distinction: 70% and above

Note: Grading system as per the University Guidelines will be used.

Promotion, Re-admission and Time for Completion of Course 1. A candidate who has undergone a regular course of study in semester I, fulfills the required criteria of attendance and has secured marks equal to passing standard both in Internal and University Examination shall be eligible for promotion to Semester II. He/She will have to earn minimum of 12 credits in Semester I. 2. A candidate shall have maximum of 06 semesters (Three academic years) for completion of the course.

PROPOSED SYLLABUS FOR ONE YEAR IN SERVICE P.G. DIPLOMA IN MUSEOLOGY SEMESTER I

Course 1: Introduction to Museum and Museology

Museum - origin, changing meaning and definitions; Purposes and social relevance of museum; Functions of museum. Professional organizations- Regional, National and International.

Museology and Museography - origin and meanings. Training opportunities in India and abroad. Concept of New Museology and Eco-museums.

Types of museums - classification of museum on the basis of nature of collections, governing body, and scope. New types of museums, museum-like structures and allied institutions.

History of museums in India. Introduction to select museums in India, with special reference to Gujarat.

History of museums in global context. Introduction to select museums abroad.

Course 2: Museum Management Management: Meaning, definitions, nature, purposes, etc. Functions of Management: Planning - types of plans and planning process. Policies, procedures and rules, etc. Controlling - meaning, importance, purposes and process.

Organising - types of organizational structures; delegation of authority and responsibility. Role of management boards and committees etc. Directing - meaning, importance and functions; Issue of leadership. Staffing -recruitment, job descriptions, work conditions, performance appraisal, motivation, training, etc.

Funding - sources, and process and terms of accepting grants, donations and sponsorships. Budget - meaning and importance; types of budgets; setting financial goals, evaluating financial performance.

Marketing - meaning, definitions and functions. Role of marketing in museums. Market segmentation and targeting. Consumer behaviour and buying process. Dimensions of market.

Museum marketing process - consumer research, product development, pricing, promotion, distribution etc. Organization, planning and control of marketing.

Course 3: Introduction to Conservation Introduction to conservation of cultural property. History of conservation. Concept, significance and principles of conservation. Conservation terminology.

Nature and types of materials of collections.

Causes of deterioration of collection: Climatic, atmospheric and biological.

Control measures for deteriorating factors: Climatic, Atmospheric and biological.

Practicals: Analytical study of deteriorated objects with regard to their causes of deterioration.

85 Course 4: Documentation and Research Meaning, purposes and scope of documentation. Documentation policy including accessioning, deaccessioning and temporary arrivals. Introduction to systems and process of documentation. Modern documentation techniques.

Types of documents Entry, Accession, Classified, Location, Movement and Deaccessioning Registers; Index and Catalogue Cards. Methods of taking field notes on archaeological, anthropological and natural history expeditions. Methods of documenting oral history. Numbering the objects: purpose; systems Simple, Bipartite and Tripartite; standard locations for numbering objects; applying numbers; processing unnumbered objects or objects having old numbers found in collections.

Documentation standards - Importance, format of various types of documents, use of standard terminology. Object ID concept of an international standard for describing art, antiques and antiquities; guidelines for writing descriptions and photography. Management of current and archival records acquired or generated by a museum - access, retrieval, storage, maintenance, safety, etc.

Definitions, objectives and scope of research in museums. Classification of museum research. Research policy. Methods of research. Writing research proposals and reports.

Practicals: Writing description of objects using general terms used for describing objects, images, edifices etc. and specific terms according to conventions of various types of collections. Preparing various types of documents.

Course 5: Project Students will select a topic from the courses taught during the first semester and study it in detail as an extension of the topic under the guidance of a teacher. They will submit a project report in written form (3000 to 4000 words) and also make an oral presentation. The weightage of written report and oral presentation will be 75% and 25% respectively.

SEMESTER II

Course 6: Collection Management Collecting - a historical perspective. Nature and range of tangible heritage. Purposes of collecting. Ethics of collecting. Restitution of cultural property. Policy on acquisition and disposing. Theory of selection. Disposing museum collections - Meaning and purposes of disposal, methods of disposal, terms and conditions of disposal. Procedures for disposal.

Legal aspect of collecting - The Indian Treasure Trove Act, 1878. The Ancient Monuments and Archaeological Sites and Remains Act, 1958. The Antiquities and Art Treasures Act, 1972. Wild Life Protection Act, 1972.

Methods of collecting tangible heritage - General methods like donation, bequest, will, loan, exchange, purchase, confiscation etc. Methods according to discipline i.e. anthropology, science, archaeology, art, etc. Advantage and limitations of various methods of collecting. Administrative aspects of collecting, planning, obtaining necessary permissions, resource requirements, purchase committee, etc.

Storage - planning of collection storage. Visual storage. Security and safety. Storage systems. Specific storage conditions for different types of collections.

Security - Nature and assessment of risks; physical planning in terms of security - construction of building, doors, windows, showcases, storage systems, etc. Management of security personnel. Internal procedures. Protection from fire. Electronic systems. Risk transfer - Insurance and Indemnity.

Course 7: Museum Education and Interpretation Museum as an educational institution. Concepts of education, learning, interpretation, continuing education, adult education, life-long learning, etc. Structures of education/learning. Basic theories of learning. Barriers to learning. Characteristics of learning in museums. Education versus interpretation.

Management of education services - education philosophy of a museum, education policy, administrative procedures, resource requirement and development. Planning the learning experience. Training the education staff.

Methods of museum education. Methods and devices of self directed learning. Learning characteristics of various target groups. Developing appropriate programmes for various target groups. Evaluation.

Outreach programmes - meaning, purposes, scope and possibilities, organisation, types of outreach activities. Evaluation.

Museum publications - definitions, range and types of museum publications. Publications as a museum function and its significance. Production of publications.

86 Paper 8: Curatorial Conservation Care and Handling of museum objects, House-keeping in and around museum building. Ethics of conservation.

Case studies on methods of preventive Conservation of a. Gold, silver and its alloys b. Copper, iron and its alloys c. lead, tin and pewter d. Siliceous materials

Conservation of organic materials Paper, textile, wood, leather, bone, ivory, horn/antlers, some case studies.

Conservation and restoration of paintings--- some case studies

Practicals: Analysis of the museum galleries from the point of preventive conservation adopted by the museums and preparation of critical reports.

Course 9: Museum Exhibition Purposes and types of museum exhibitions. Designing of exhibits - concepts of design, elements of design -colour, texture, layout, light, balance, rhythm, emphasis, unity, simplicity, proportions, etc. and principles for their effective use. Purposes and types of showcases. Factors governing design of showcases, dioramas, period rooms, etc.

Exhibition text - purpose, format and language. Methods of assessing readability and comprehensibility. Typography.

Exhibition lighting - types of light, principal ranges of lamps for exhibition purposes and their characteristic features, fibre optics, track lighting, computer controlled lighting system, lighting levels according to demands of collections and users.

Exhibition planning - stages and strategies, preparations of exhibition brief, exhibition team, schedule of work. Exhibition evaluation need and methodology.

Practicals: Critical analysis of exhibitions; writing and assessing exhibition text; evaluation studies observing visitor behaviour in exhibitions and preparing questionnaires and conducting surveys.

Course 10: Project Students will select a topic from the courses taught during the second semester and study it in detail as an extension of the topic under the guidance of a teacher. They will submit a project report in written form (3000 to 4000 words) and also make an oral presentation. The weightage of written report and oral presentation will be 75% and 25% respectively.

87