PROSPECTUS

. Ir. iAUN filii ~ Il'

FACULTY OF flH£ ARTS THE MAHAR/UA SAYAJIRAO UNIVERSITY Of BARODA PROSPECTUS 1976·77

•• The full-blown lotus growing out or the lake symbolises the emergence of mind and its triumph over matter. The flame risiog from the centre of the lotus is the Dame of buman knowledge, spreading light and learning for the coming generations. The motto inscribed below the lotus defines the purpose and ex.istence of life which is lovo of beauty. goodness and intellectual curiosity," Table or Content§ Page Nos.

Courses of study 1 Rules of admission 2 .m 'fit """ ~ '""'" Admission procedure S .m 1Pr.I 1Pr.I 'I{ 'Iil'Im The year's programme 6 fI1r.t ~ .m ~ Fees 7 .m ~ ... fdlil." ~ Scholarships, studentships, prizes 9

Ilfi qomft rc.al~~'11 !@iif(lqi\ '«'1m Special facilities 11 , Students organisations 13 , "'" ~ III1"W( ~ ~ '"' Details of courses 14 Preparatory Unit 15 Specialization Unit-Degree. Diploma 16 - I I "C' Post-graduate and Post-diploma Unit 22 Syllabi . . 28 Certificate Courses 63 Rules regarding tests and examinations 67 Programme of tests and examinations 69 Rules regarding mark-lists .• 82 , Rules regarding Post-graduate studies including ~ . D. 82 Members of the Faculty and Administrative Staff 91 PrIe. R"~ Pbono No. : 64510 1176.77 Officers of the University 92

PrlDled at the Maharaja Sayajirao UDI~y of BaTOda P ..... Baroda. Calendar 93 2651 (SOO) 6-76. list of Holidays 94 •

Courses of Study

Thi s insti tut ion offers the fo ll owing regular courses : Post-Graduate o M.A. ( Fine) in Painting, Sculpture, Applied Arts, Graphic Arts, Art History, Art Criticism, Art Education. Degree a B.A. ( Fine) in Painting, Sculpture, Applied Arts, Art History. a Specialization in Painting, Sculpture, Applied Arts. Graphic Arts. , Diploma a Specialization in Painting, Sculpture, Applied Arts. Certificate o Training in Photography. Lithography. Woodcraft, Process (Block Making). Pottery and Ceramics, '- Metal Casting, Printing. Any department or section of this institution may accept a limited number of students for non-collegiate training. No degree, diploma or certificate will be awarded to these students. The degree and diploma courses consist of two years of preparatory training and three further years of speci­ li zation in a subject. The Post-Graduate and Post-Diploma courses consist of two years specialization in anyone of the following subjcetS: ' . IJ' i ~ 3

Painting o Creative Paintin~ . Degree and Diploma students have to seek readmission Portrait Painting. every year before the stipulated date. Thei r admission Mural Design. in the Second Year Preparatory, First Year Specialization, Sculpture Portraiture, Second Year Specialization and Third Year Specialization Monumental Sculpture, will depend on their completing satisfactorily the Stone Sculpture, previous year's courses and passin g fully in the annual Wood Sculpture. tests. Metal Sculpture, Admissions into lst Year Specializaton class of the Creative Sculpture. various departments wi ll be decided by a committee A pplied Arts o fllu stration, taking into consideratiou the capacity of the respective Vi sualization, departments and the special aptitude of students as Outdoor Publicity. shown ill their performance in the second year Pre­ Graphic Arts o Primmaking, paratory class, and each studenl be required to indicate Book Production. in his application form his order of preference for the Theory 0 Art History, available streams: Painting, Sculpture. Applied Arts, Art History. Art Criticism, Art Education. Students s~ekj n 2 admission into the M.A. ( Fine) and The ccnificate courses are of two years' duration. Post-Diploma courses should have the minimum quali­ fication of holding the B.A. ( Fine) Degree or Diploma Rules of Admission of this University or any recognized equiva lent thereto, with the same specifications. Students seeking adntission into the lirst year Preparatory All admissions into the M.A. ( Fine) and Post-Diploma Degree must have passed the S.s.c. or its equivalent courses will be made on the basis of the studems being rccoglllsed ~ Y the M. S. University, with English as one found suitable for the courses by the Head of the Depart­ of the subjects. Students seeking admission into the ment and the Dean. first year Preparatory Diploma must have passed the S.S.c. or it s equivalent recognized by the M. S. Uni­ Students holding Degrees and Diplomas recognised by vemty. the M. S. University as equivalent to the degree and All students seeking adntission into th e first year Pre­ Diploma of this Faculty and considered for admission paratory Degree or Diploma will have to appear for for lhe M.A. ( Fine ) or Post-Diploma courses may aptllude tests ltl have to join the third year class of B.A. (Fine) or Diploma to complete the pre-requisites if so desired I Drawing, by the Dean. 2 Design, 3 Clay Modelling, The details of the admission req uirements arc as 4 Colour and Sight, follows: 5 General Knowledge and be found suitable on the basis of these. M.A. ( Fine ) Painting Sculpture, Applied Arts: B.A. (Fine ) in tbe relevanl subject. Su~h students. as have pursued a previous two years' Graduate in Architecture may be con­ training. In FlOe Arts in a recognized Art School or sidered for M.A. ( Fi ne) course in \jOl verslty may be conSidered for exemption from the Monumental Sculpture. Students who hrst Preparatory year, provided they will clear a test in hold B.A. (Fine ) in Sculpture or Ap­ - ,C" ~ .:lire Hj~tory of Art, AJI other students will be considered plied Arts may be considered for tbe for adntission in the first Preparatory Y~,f\r ._ . . M.A. (Fine) course in Mural Design 4 5

and those holding B.A. ( Fine) in Pain t- Students seeking admission into (he certifIcate courses 109 for the M.A . (Fine ) eourse in mu

The admission of students wi ll be finalised after the 2 If the student produces a certmcate of medical un­ scrutiny of the applications, the admission tests and fi tness from the Civil Surgeon, Baroda. the interviews of the students. Each appl icant will be 3 If the student is over-age viz. over the age of 26 years. informed of the dates of the tests or iuterviews and will have to be present for them on the dates mentioned. 4 If the studeni has already compleled two years' train­ The admissions into the Degree and Diploma courses ing in the N.C.C. or PoT. during hi s earlier career will be fi nalised before the 1st of Julv and the Post­ in this or any other umverslty. Graduate, Post-Diploma and Certificate Courses before the 15th of July every year. 5 [ f the student is a commutor from a distant town amI produces lhe necessary documentary proof of Halls of Residence this. Limited rcsidemial accommodation for boarders is 6 If the student is in part-time employment and pro­ provided in the U ni versity Hostels. Applications for duces a certificate to this effect. admission to these shoul d be at~ ures s~d to the Dean of the Faculty along with a fee of Re. l !- by Postal National Sen ice Scheme Order. National Service Scheme is meant 10 pyovide opport.u­ nities to tbe University students to parttclpate m Socll~1 The Year's Programme Service Programmes in the city. Enrolment In thiS Scheme is voluntary. The break·up of the year into working days and vaca­ tions will be os stated at the end of the prospectus. General Education Programme The minimum attendance necessary for keeping terms e General Education Programme will be as follows : in the Faculty for all the courses will be ( I ) 75 percenl A r First Year Specialization Degree Clas e overall attend ance of the number of l eclur~s , tutorials, . e : SCIence and Clvilizallon. B. F econd seminals etc in a ll the SUbjects. wilh at least 60 percent Sp lizaiion Degree Classes th ourses are : attendance in anyone subject, ( 2 ) 80 percent attclldance Politica -and Economic PlY ms of India. of all Ihe practical classes and sludio work. ( ii ) Readings In L,iter tUTe and Values of life. National Cadet Corps (N.C.C.) Physical Training For any informati ' o u.t the General Education (P.T. ) Programme-d . s of c -uQ:'es,_ exammatlons, grade, An new eniralllS into the Degree and Diploma courses reading erial etc. the s!\1dent~ may contact the are expected to undergo Physical Training or Training offie the General Education Centre. in N.C.C. for the first two years. A student who has registered in N.C.C. in the first yea r is expected to continue the training in the second Fees year; similarly a student who has opted for Physical Training in the first year will have to continue it in th e Registration Fees second year. . Post-Graduate students shall have to pay Registration ree of Rs. 10/-, and the Ph.D . students of Rs. 20/-. Students may be exempted from Physical Training or Training in N.C.C. on tbe following grounds if they Compulsory Fees for Degree, Diploma, Post-graduate apply for the exemption early in the session as per rules : and Post-diploma I if the student is a foreign national having a valid foreign nationality certificate or similar proof of Rs. 9/- Gymkhana Fee per annum, the same. J ;. Rs. 5/-. ~ni~ Jlee pef.l~nnum. 9

Re. 1/- Medical In.;pection Fee per annum Scholarships, Studentsbips Prizes Re. 1/- Poor Students' Aid Fund Fee per ~nnum, R e. 1/- Locker Fee per term, Merit Scholarships Cor Post-Graduate and Post-Diploma R 5. 75/- Tuition Fee per term, Students Rs. 20/ - Practical Fee per term. Three scbolarships of Rs. 60/- a month will be awarded Com. ulsuryFecs for Certificate Courses in each of the two veal's of the Post-Graduate classes 10 students who top the li st of the Degree examination, Rs. 9/- Gj mkhana Fee per annum securing a t least 50 percent of the aggregate marks at Rs. 5/· Union Fee per annum. ' the first attempt. Re. 1/- M edica l Inspection Fee per annum, Re. 1/- Poor Students ' Aid Fund Fee per annum Three scholarships of Rs. 30/- a month will be awarded Re. 1/- Locker Fee per term, . in each of the two years of the Post-Diploma classes Rs. 25/- Tuition Fee per term. to students who top the list of tbe Diploma examination, Rs. 10/- Practical Fee per term. securing a t least 50 percent of the aggregate marks at t he first attempt. Compalsory Fees for Non-Collegiate Students Merit Scholarships for Degree and Diploma Students Locker Fee Re. 1/- per term. Full Tuition Fees a nd full practical fees. Two scholarships wi ll be awarded in each year from Preparatory to Third Year Specialization in the Degree Compulsory Fees fo r Ph.D. class as under:- Rs. 9/- Gym khana Fee per annum. Preparatory 1st Year Rs. 20/- and Rs. IS/- Rs. 5/- Union Fee per annum, Preparatory find Year R s. 20/- and Rs. IS/- R e. 1/- Medica l Inspection Fee per a nllum First Year Specialization R s. 20/- and Rs. IS/- Re. 1/- Poor Students' Aid Fund Fee per a nnum, Second Year Specialization Rs. 25/- and Rs. 20/- Re. 1/ - Locker Fee per term, Third Year Specialization Rs. 25/- and Rs. 20/- Rs.120/- Tuition Fee per term, Rs. 20/- Practical Fce per te rm . Three scholarships " 'ill be awarded in each year from Prepara tory to Third Year Specialization in tbe Hostel Fecs including Electricity Charges Diploma classes as under :- Rs. 80/- per term for a seat in the Hostel. Preparatory 1st Year Rs. 10/­ each Rs. 5/- per term for a General Fund Contribution . Preparatory lInd Year Rs. JO/­ each First Year Specialization Rs. IS/­ each Examination Fees Second Year Specialization Rs. IS/- each Third Yea r Specialization Rs. 20/- each Degree Course Diploma Courses The,e Merit Scholarships will be awarded 10 the students R s. Rs. who top the list in each class, Degree or Diploma, on Preparatory 1st year IS/­ Preparatory 15t year 7/- the basis of the last qualifying examination. In the Preparatory 2nd year IS/- Preparatory 2nd year 7/- case of the 1st. Ye"r Preparatory class the scholarships 1st year Sp. 20/- 1st year Sp. 7/- will be recommended by the Committee appointed by 2nd year Sp. 25/- 2nd year Sp. 7/- the Dean, on the basis of the results of the S.S.C. 3rd year Sp. 50/- 3rd year Sp. 25/- Examination, . the admission. tests and the progress M.A. (Fine ) 100/- Post-Diploma 75/- reports of- the first term. 10 11

The Vice-Chancellor's Gold Medal (to be awarded to F rccstudeolships of tbe F scully differenl Faculties by rotation) will be awarded to tbe The llumber of freestudentships in the FacuIty is fixed candidate securing the hi ghest percentage of marks at 15 % of the total number of studellis. Freesludent­ at the Bachelor'S Degree Examination in the different ships will be awarded on the basis of the economic Faculties of the University provided, however, that tbe condition of tbe students. Deserving students should cand idate secures a first class. ap"ly within the specified time on the prescribed appli­ catlOll form 111 each term. They shall be interviewed A CnshPriz. of Shri Hariyadan Bhatt Smarak Fund by the Committee appointed by the Dean, hefore the aWards are made. Freestudentship will no t be renewed Every year a Cash Prize is awarded to the best candidate to a student if his ac~demic record durill. the pre- passing B.A. (Fine ) Examination of the Faculty of ceding term is not satisfactory. ~ Fine Arts in Painting and Sculpture Departments by rotation. Economically Backward Class Freestudentsbip A person shall be deemed to belOllg to the economically Blckward Class if his net income does not exceed Rs. Special Facilities 900/- per year. Hobby Workshop For the purposes of these rules income shall mean the sum total of the income from whatever source including The University H ob~y Workshop provides for the practice of l be followmg bobbles: share in the joint family income and independent ind i­ / vidual income of Ihe student and his parents. Carpentry, Assembly of clecllonic and electri""l a ~pli­ The declared income should be the income during tbe ances Music Claymodelliug, Photography. E.ght fi nancial year preced ing the year in whi ch freestudent· part time i.ns tn;ct~rs look after l.he COll? Uct of ~i.lTcrent ship is sought. hobbies and prOVIde necessary. 1Ilstructl?llS.to ?ludents. Application fo r the award of th~ freestudentship may Students from different facuh.cs and IIlSt.tutlOtlS can be made In duplicate every year III tbe prescribed form avai l to lhe facilities provided. available from the F acuIty's office along with the incom. Studeuts' Weifare Fund of the Faculty of Fine Arts certificale from a Gazetted Officer. / This Fund is raised to help deserving, students of the Poor Boys' Aid Flmds Faculty with 10aos, scholarships. and in itiate other welfare activities as per decisions of the Students' Assistance from this fund is available to deserving students, on conSIderation of theIr need and merit for Welfare Fund Committee. meeting expenses of tuition fees, and/or purchas~ of Exhibitions and Stody Tour books and/or eqUIpment on the recommendation of the Faculty authorities. Exhibitions of the works of the studems, teachers a?-d / arti,ts from outside will be part of the regular actIVlty Students shall have to apply for this fund in the of the Faculty. The Faculty al so organises study tours prescribed form ·available from the Faculty Office. to various places of arti stic interest (IS ~t part of ltS yea rly Prizes programme. The Chancellor's Gold Medal is awarded by rotation Smt. Hans" M.bta Libraf) "~~~"" d\­ as per rules, to the candidate securing the highest per­ Sm!. Hansa Mehta Library has nearly ;;,90,000 books centage of marks at Master's Degree Examination .aea ae911l 1,300 journals and periodicals 011 .all c· in different. Faculties:pravided that the candidate secures subjects life sabscIibed. It has a curncular sectIOn a first class. ., __ . _ ~ :.:. _ 12 13

consisting of books prescribed or recommended for Students' Organisations study. The Reading Foom contains a chosen collection of books of literary and general interest. The library remams open from Monday to Saturday. The timings Faculty Students' Association are as follo",s :- I. Every student enrolled in the Faculty shall be a ( a ) Reading Room 8 a.m. to 10 p.m. member of the Association. ( b ) Iss ue of books for home-reading II a.lIt. to 2. The aims and objects of the Associatio n shall be 7-30 p.m. For the whole academic year the ( i ) to promote the general welfare. of th e students; Rcadlllg Room of the library remains open from ( ii ) to bring the stalf and the students III greater contact 8-00 a.m. to 10·00 p.m. on Sundays. with each other; (iii) to consider the diflicullies of the Students Counselling Centre students if any, with a view to helping them. 3. Subscription fee to be paid by each sl1ldelli Rs. 3/­ The Uni versity Coul elling Centre is local In the per year. Faculty of Education nd Psychology, Ba a. 4. There shall be an Executive Committee of the The Counselling Centre an aeency ich undertakes Faculty Association. The Committee shall consist of­ to discuss the student's p blerns Ith him and help ( i ) The Dean, Ex-officio President : ii )~:Per sons him to arrive at his own sci'luf s. e ted by the members of the Association as at own The Centl e aims at help ' 0 l he students with their under p, v; provi at In no case this number problem s in three main' cas: Educational Vocational shall be less tban four. and Pers09al. In 0 er to underst"l:!.u these problems The Committee after it is founded shall elect its Vice­ better, th e Centr undertakes research studies also. President and the Secretary from amongst its members. University Health Centre 5. The No. of elected members of the Executive Com­ mittee shall be on the basis of one student for each The Helth Centre of the M.S. University is located class on the following basis: In Pratapganj, Baroda. It provides medical assistance to the students and staff of the University. Emergencies Upto 100 srudents in each class I member are attended to at all time. Telephone No. 3716. Upto 200 students in each class 2 members The Medical Ollicer or the Lady Doctor also vi sits the Over 201 studcnts in each class 3 members. students residing in Halls of Residence, when called Ie term of the office of the members shall be one upon to do so by the Wardcns/Superintendents of the academic year. The Executive Committee will be HaH , for urgent illness requiring the patient to be con­ formed on or before the expiry of six weeks from the fined to bed. opening of the session. fj'. The Executive Committee shall have power to appoint sub-committees for specific purposes by co­ opting members from teachers and students when necessary. Students' Union There is a common Students' Union called .. The Maharaja Sayajirao University Union". The aims and objects of the Union are as under:- (i) To hold debates so as to enable students to learn the art of debating. (ii) To arrange pubhc lectures 14

so as to stimulate ~ ntere s t in cultural and public affairs. Preparatory Unit ( iii) To promote social intercourse amongst the students of the Union by developing the Union as a club for the students. ( iv ) To further the academic Courses for preparatory DegreefDiploma and social interests of students generally by maintaining a Jibrary, a reading-room, a game-room and a refresh­ The courses for the First Year Preparatory Degree! ment-room. (y) To maintain a co-operative store Diploma will be as follows: - and a co-operative bank. (y; I To develop a sense of social servic(" Tbeory Course Credits Story of Art "'"l( 1.-,,""': C' J. '.;hi"" . 101 4 Engl ~ f""'-.L~ -.P, "{ l kI-. III 2 Hindi 11 2 2

The Diploma students wiII ne required to attend only course No. 101 of tbe theory courses.

Practice Course Credits Drawing 121 5 Colour 131 5 Details of Courses Clay modelling , 141 ~ ~ .~ 5~/ 1-0 All practical and theoretical courses fo r Degree, Diploma, Post-Graduate Degree and Post-Diploma The course for the Second Year Preparatory Degree/ will be numbered as below'- Diploma. 1st Year Preparator) Degree/Diploma 100 to 199 Tbeory Course Credits 2nd Year Preparatory Degrce/Diploma 200 to 299 I st Year Specialization Degree/Diploma 300 to 399 Cultural History of India 201 2 2nd Year Specializat ion Degree/Diploma 400 to 499 Fundamentals of Arts-Painting 202A 2 3rd Year Specialization Degree/ Diploma 500 to 599 . . Sculpture , 202B M.A . Fine/ Post-Diploma Jjnior Year 600 to 699 '. Applied Ans . 202C M.A. Fine/Post-Diploma Senior Year 700 to 799 Graphic Art . 2020 English - 211 2 Certificate courses arc not numbered. Detail s of these Hindi 212 2 courses can be looked for in the syllabi. Credit Points and Marks The Diploma students will be required to attend only Each course will be assigned a specific number of Credit course No. 201 and 202 of the theory courses. Points. One Credit in a course would mean one lecture of 45 minutes, or practical work of 45 mintues dura­ Practice Course Credits tion per ·week. The value in terms of marks of one credit 'PoilU would normally be 100. in determining Painting 221 5 the credit'Poiol in-terms of marks obtained by a student Sculptnre 231 5 the quality. of assignments. completed by him will be Applied Arts 241 5 considered. ,. , • .fo !!l

Specialization Unit as their second subject, makiug sure It is not the same ~ro up as their major :- Courses for First Year B.A. (Fine )/Diploma Course Credits Study from Life Course Credits Painting 321m 2 Theory Composition 322m 2 Near Eastern An 301 I Sculpture Study from Ljfe 331m 2 Art of Fa,. East 302 I Composition 332m 2 Art of Ancient India 303 2 Introduction to Psychology (only for Applied Arts Foundation Art 341m 2 Painting and Sculpture students) 304 2 Advertising Design 342m 2 Advertising Theory ( ooly for Graphic Art and Crafts: Applied Ans students) 305 2 English 311 2 Students taking Applied Arts as the main subject have Hindi 312 2 to choose two of the courses 351, 352, 353, 354.. Others may choose anyone of the six courses. Credit distribu­ lion for each of these . courses for Applied Arts will All Diploma students will be required to alleod cou rses be 2. Nos. 301 , 302 .and 303 of the theory courses. Applied Course Credits Arts Diploma students will have to allend course No. 305 in addition to these. Print-maki ng by woodcut and linocut or Lithography or Serigraphy 35 I 4 Photography 352 4 Practice Process cngraving 353 4 Typography and Printing 354 4 Students have to opt for one of the following courses Pottery .nd Ceramics 355 4 as the major :- Carving in wood and plaster 356 4

Painting : Course Credits Courses for Second Year B.A . (Fine )/Diploma

Study from Life 321M 6 Theory Course Credits Composition 322M 6 European art from Greek to Renaiss­ Sculpture : ance 401 2 Indian art from the end of Gupta Study from Life 331M 6 period to Rajasthani pafnting 402 2 Composition 332M 4 lndian Aesthetics (only for Painting Terra-cotta and Glazed Sculpture 333M 2 and Sculpture students) 403 I Advertising Theory (only for Applied Applied Arts : Arts students) . 404 1 Methods and materials of··SCulpture Foundation Art 341M 7 (only for Sculpture students) 405 I· Advertising Design 342M 7 English 41.l 2 Hindi 412 2 Students of Applied Arts need not take an.y optional - To be included within the tCD crediis of coune minor subject but students specialising in · Painting and No. 442. c ,.e: :: :"" ,-, .. !C • •. ,. ' Sculpture should choose one of the following courses 18 19

All the Diploma stu!!ents will have to attend Courses Tbeory Course Credits Nos. 401, 402. Applied Arts Diploma students will have to attend course No. 404 and SculptUle Diploma Indian Art from Mughal io Modern 502 3 students course No. 405 in addition to these. . Introduction to Western Aesthetics (only for Painting and Sculpture Practice Course Credits students ) 503 2 Painting (Mail.l) : Advertising Theory (only for Applied Study from Life 421 7 Arts students) 504 2 ( omposition 422 10 Diploma students of Painting and Sculpture will have Painting (Subsidiary~ Qne Qf tile following : to attend course No. SOl and 502; Diploma students of Applied Arts will have to attend course No. 501, Print-making by 502 and 504. Wood-cut 431 3 Lithography 432 3 Practice Course Credits Etching 433 3 Painting (Main) : ( Students who take one of these print-making courses Study from Life 511 8 should take the corresponding course 521, 522 or 523 Composition 512 8 in the following year) : Mural techniques 434 3 Painting (Subsidiary) : (Students have to choose any one of 521 522 523 or (Students who take cOllrse No. 434 will have 10 take course No. 524 in the following year ) : 524 in continuation of the corresponding ~our~ of the prevIous year ) Sculpture (Main) : Study from Life 441 7 Print-making : Composition 442 \0 Wood-cut 521 4 Sculpture (Subsidiary) : Lithography 522 4 Etching 523 4 Carving in relief or round in stone 451 3 Mural Techniques 524 4 Applied Arts (Main) : Sculpture (Main) : Foundation Art 461 7 Advertising Design 462 10 Study from Life 541 8 Composition ( round and relief) 542 8 Applied Arts (Sullsidiary) : Sculpture (Subsidiary ) : Any two of 471 , 472.473,474 or 415 Lithography 471 Ii Bronze-casting 551 4 Photography 472 Ii Applied Arts (Main ) : Process . 473 It Advertising Design 561 Typography and Printing 474 It 8 562 Interior Design 475 It Foundation Art 8 Applied Arts ( Subsidiary) : Courses for Tbin! Yoar B.A. (Floe )/D1ploma Students have to choose anyone of 571 572 573 574 • " , Tbeory, CO,IIIse Credits or 575. ' , , Etlropean Art from Manncri&m to Process Engraving 571 4 ~~m _ 3 Lithography sn 4 20 21

Photography 573 4 Course for B.A. (Fine ) in Art History if I?,~ Typography and Printing 574 4 fnterior Design 575 4 Courses for F irst Year B.A. ( Fine) in Art History : A student for B.A. ( Fine) in any of tile practical sub­ /course Credits jects (Painting, Sculpture or Applied Arts ) can opt Near Eastern Art 301 I in the IIIrd Specialization Year for a course in B.A. Project Work fo r the above 30lH I! ( Fine ) in Art Education. The course will be as Art of Far East 302 I follows :- Project Work fo r the above 302H It Art of Ancient India 303 2 Course for B.A . (Fine) Art Education Project Work fo r the above 30m 3 304 1 1 Outline of the Philosophy and History of Art Edu­ Introduction to Psychology 0' Fundamentals of Art. 306H 1 cation. Cultural Background of India Part 307H 2 Why Art Education? Art Educational Systems of Background of World Civilizations previous times: Present-day Concepts in Art Part J 308H 2 Education. ( 4 Credits ) English 311H 2 Hind i 32 IH 2 2 An Education- Methods and Practice. Classical Indian or Foreign Language 313H 2 Teaching of Art and Craft in the Primary School; Practical Work Teaching of Art and Craft in the Secondary School; Evaluat ion and Reporting ; Functions and Respon­ Courses for Second Year B.A. (Fine) in Art HistoryY: sibilities of the Art Teacher ; Art-room Equipment. ( 6 Credits) European Art ( fr om Greek to / Renaissance) / 40 I 3 Introductory Courses in Education and Psychology Project Work fo r the above 40lH Introduction to Psychology ( general); Introduction Indian Art (Gupta period to Rajasthan; to Educational Psychology; Child Psychology and P. inting) 401 2 Development; Philosophy and Psychology of Edu­ catio n; Introduction to Learning; Curriculum Plan­ Project Work fo r the above 402H 3 ning ; Mental Hygiene, and Adjustment. Indian Aesthetics 403 I ( 10 Credits ) Cultural Background of India Part II 407H 2 Background of World Civilizations 4 Studio and Teaching PraCtice Part l! 408H 2 Studio Work ; Panici pation m School Teaching English 411H 2 (obsen'ation, planning, teaching); Community pla­ Hindi 421H 2 cement; prepar~tion and use of Teachings Aids. Practical Work (8 Credits) ~ 5 Art History and Art Appreciation Courses fo r Third Year B.A. (Fine) in Art History : Art in the East and t he West; Appreciation of Art ( 3 Credits) European Art (Mannerism to Modern) 0 01 3 Project Work for the above 50lH 4 6 Seminar and Personal ConferenCe (related to the Indian Art ( Mughal to Modern) 502 3 Pililosophy . and Pr~cticum of Art Education) Project Work fo r the baovc 502H 4 Semester Project; Assignment: Personal Participa­ Introductiou to Western Aesthetics 503 2 tion. (3 Credits) Influences of Indian Art outside India 505 2 Practical Work 6 ( This course ",iii be implemented from June 1976.) ./ 22 23

Post Graduate and Post Diploma Unit Courses for M.A. ( FIne )JPost-Dlploma, Scnior Year Painting Credits Credits Theory Course Post- Post- Graduate Diploma Courses for M.A. (Fine )/Post-Diploma, Junior Year Philosophy of Art 601/701 Ii Credits Credits Modern Art 603/703 I~ Theory Course Post­ Post­ History of Sculpture . 604/704 It Graduate Diploma Practice Philosophy of Art 601 / 701 2 History of Painting 602/702 2 Portraiture 731 15 15 Modern Art 603/703 2 Monumental Sculpture 732 15 15 733 15 IS Practice' Stone Carving Wood Carving 734 15 15 Students have to choose anyone of the Practical subjects: Metal Sculpture 735 15 IS Portrait Paintin)! 621 18 18 Creative Sculpture 736 15 15 Mural Design 622 18 18 Creative Painting 623 18 18 Applied Arts Courses for M.A. (Fine )/Post-Diploma. Junior Year Courses for M.A. ( Fine )/Post-Diploma, Senior Year Philosophy of Art 601 / 701 I{ Theory History of Painting 602/702 I ~ 2 Modern Art Business Organization 605/705 603/703 I! History of Advertising 606/706 2 Practice Modern Art 603/703 2 Portrait Painting 721 15 15 Practice Mural Design 722 15 15 Creative Painting 723 15 15 Students have to choose only one of the practical· subjects: Sculpture Illustration 641 18 18 Courses for M.A. (Fine )/Post-Diploma, Junior Year Outdoor Publicity · 642 18 18 Visualization 643 18 18 Tbeory Philosophy of Art 60//701 2 Courses for M.A. ( Fine )/Post-Diploma, Senior Year Modern Art 603/703 2 History of Sculpture 604/704 2 Theory Practice Business Organization 605/70S Ii History of Advertising 606/706 It Students have to choose anyone of the practical subjects: Modern Art 603/703 It Portraiture 631 18 18 Monumental Sculpture 632 18 18 Practice Stone Carving 633 18 18 Wood Carving 634 18 18 Illustration 741 15. 15 Metal. Sculpture 635 18 18 Outdoor Publicity 7.42 \5. IS Creative Sculptnre 636 18 . 18 Visualization 743 IS IS 24 25

- ,. .- Credits Credits ' Graphic Arts ( PrInt-making) Course Post- Post­ . Gra_duale Diploma Connes for M,A. (Fine )/Post-Diploma. Junior Year Practice · . Book Design 651 9 9 Credits Credits Printing Processes 6~2 6 6 Theory Course Post­ Post­ Binding . , 653 3 3 Graduate Diploma Course for M.A, · (Fiiie )/Post-Dlplomi. Senior Year Modern Art 603/703 2 Modern Art 603/703 Ib History of Print-making 613/713 2 Economics of production 615/715 It ' Methods and Materials 614 I &: Business Organization ('Compulsory for Post­ History of Print-making 6\3/713 Diploma students also ) *Reproductin Processes 714 ( ' Compulsory for Post- Practice Diploma stude!'.ts also)_ Relief Process 648 6 6 Practice Intaglio Process 649 6 6 Design of a complete Planographic Process 650 6 6 book 6~1 15 15 COline. for M.A. (Fille )/Post-DiploOla, Senior Year Courses for M.A. (Fine) Art Hiltory Course Credits Modern Art 603/703 History of Print-making 613/713 . Junior· Year/Senior Year £Reproduction Processes 714 I, (i) Art Historical Methodology) (£Compulsory for Post­ and Interpretation, , >-601 /70IH 3 Diploma students also ) (ii) ·and Contemporary Arts" and) Ideas . Practice 4. Modern Indian An 602/702H 3 Students should take any two of the followi ng : 3. MOdern Western Art 603/703H 3 Relief Process 748 71 7l; 4. Indian Air: Intaglio Process 749 71 7* Religious and Te:

Course Credits Theory Course Credits .1. Optional: Paper: 607/707H 3 Far Eastern Art ( China and Art Curriculum and Foundation 617/717 Japan ) , Methods or Audio-visual Education 61 8/71 8 Influences of Indian Art in Teaching Methods 61 9/71 9 Central 'and SOl/th East Asia Child Art 620/720

.' _~ or : Practice Art of AnCient Near Eastern Cultures Practice in Teaching 660/760E 5 Painting Practice 661 /771E 5 Islamic Art Sculpture Practice 662/762E 5 or Graphic Practice 663/763E 5 Art of Ancient Latin American Cultures or Prehistoric and Tribal Arts 8. Dissertation 608!70SH 4 Courses for M_A. (Fine) Art Criticism Junior Year/Senior Year Course Credits Theory History of Indian Art 609/709 2 History of Western Art 610/710 2 Modern Indian Art 602/702H 2 Modern Western Art 603/703H 2 History of Art Criticism (Oriental ) 611 /711 2 !;Iistory of Art Criticism (Western) 612/712 2 Practice Critical writing and speaking on Art 644/744 2 Practical study of an assigned pro- blem (Disseclation) ,,' 645/745 4 Initiation' in Painting, Sculpture, Graphic Arts and Crafts 646/746 2 ' .. ( Methods and Materials of Fine Arts to be done with above .)

C

Syllabi:-of Courses 141 Clay modeUing- Learning to see, e~perience, ~tudy of n.atu,:,,1 or man made objects mvo!vlDg percept 1011, analysts ot perceptual 101 Story of Art elements and understanding of their relationships. Introduction to the main masterpieces of 'art and their Modelling in Clay in round-Natural or man-made social and religious background. , . .. objects in relief-Most familiar areus of contact. Origins of art. Paleolithic and Neolithic art. Arts of the primitive and tribal societies. Art of the early 151 Print-making- civilizations in Anc·ient Near East. Printmaking by woodcut and linocul in black and white. Oriental Art: 201 Cultural History of ludia- Persia, . rodia, China, Japan. A brief introduction covering the following topics: European Art: J Sources of Ancient Indian history : Literary, archaeo­ Greek, Roman, Byzantine, Romanesque, Gothic, logical, inscriptional elC. 2 Early Paleolithic and periods, Renaissance to the present da y. Neolithic cultures in Indi&. 3 The Indus Valley Civi­ Main trends of the twentieth century. lization-Its uature &nd significance. 4 The Aryans Classifications of Art: and Early Vedic civilizalion : literature of the Vedas, religion and social system of the Aryans. 5 The later Painting Sculpture, Architecture, Design. Major Vedic age: the Epics : changes in Vedic society. Minor arts. 6 lainism and Buddhism- Life of Gautam Buddha, his teachings and their impact on contemporary Iudia; 111 English Mahavir and lainism. its impact Oil India. 7 Rise of As prescribed every year by the Board of Studies in Magadha, Alexander's invasion, the foundation of English. Maurya n empiro. 8 Life and culture under the·Mauryas. 9 Central Asian invasions, Indo-Bactrians and Kushans, 112 Hindi the Satvahanas; Iiteralure, society and culture during the age of Greco-Scythian invasions. 10 The Gupta As prescribed every year by the Board of Studies in empire; social and cultural conditions; religion and Hindi. literature: 11 Kanauj and Harsha; Ban Bhatta and Huen-Tsang. 12 Pallavas, Chalukyas aud Rashlra­ 121 Dra"'ing kutas of South India. 13 The rise of Rajput power and Rajpul dynasties; religion, social conditions and ( a) Study of forms in nature, single objects and literature. 14 The foundation of Muslim rule in India; groups of objects in line, tone and texture. Slave dynasty, Khiljes, Tughluq and Lodi . dynasties. (b) Study of geometrical shapes and constructions 15 Provincial dynasties: Bahmanis; Gujarat; Malwa. involved in (a). Jaunpur. 16 Hiudu Kingdoms during the Sultanate. ( c) Study of Perspective and basic shapes involved Vijayanagar and its culture, F1 SOCial. conditions n ( a). .duri.ng. the age of Sultans,. the Bha\

The British East India Company. 23 Growth of British 121. Paintlng~ ... power in Bengal and the expansion of British rule in ( a) Drawing-Study from ' nature and human figures. India. 24 The Sepoy Mutiny. 25 Western impact on " :- - . (b) Composition based o n. StudIes from nature; Com­ Indian trade, industry ami crafts. 26 Introduction of positional analYSIS of pamtmgs. Western Education and establishment of I\niversities. L · 27 Indian intellectuals and influence of Western social .,,' 231 Sculpture- and political thought. 28 Westernisation of Indian .( a) Introduction to sculpture, Basic elements and Ih~ir life, rise of commericial cities and ports. 29 Social relationships. Sculptural exerCIses based on studIes and religious reforms, national awakening. 30 Begin. from nature, human figures or other areas of contact. ning of archaeology; Discovery of the "rt of the past. ( b) Exercises in Sculptur«1 expression. Manlpulalton 31 Gandhiji and the Independence movement. 32 Cul­ of space and volume, using diffe rent materials. tural conflict in 20th century India. 202 Fundamentals of Art- -241 Applied Arts- . . ( a) Lettering : Serif, Sans Serif and Devnagari Types. A Fundamentals of Painting: ( b ) Sketches and drawings of human figure in colour 1 The characteristics of visual data. 2 Use of visual and monochrome. data in painting. 3 Compositional a nalysis of a paint­ ing. 4 Survery of various painting media. 251 Pottery- B Fundamentals of Sculpture: \. Wheel Pottery-Throwing on wheel: Finishing a (a ) Vi sual, Tactile etc. contact with and experience of Pot Surface Designing. objects, human figures or environment. 'Perception, 2. 'Non-Wheel Pottery-Pinch Poltery; Coil Pottery; Manipulation and Interpretation of this in sculpture. Slab and Slip casting from ready moulds ; Surface ( b ) C haractristics of Space- volume, dimensions, geo­ designing. mentric space, perceptual space, conceptual space, etc. Space-volume as medium of experience and expression. 301 Near Eastern Art: An introductory survey- ( c) An acquaintance with sculptural materials. ( d) Discussion- analysis of some examples of sculpture. I. Prehistoric period: Egypt, Mesopotamia, Crete. 2. Egyptian Old Kingdom; Sumerian and . AkkadIan C Fundamentals of Applied Arts: period; early Aegean Ci v ili z atio~. 3. EgyplIan MIddle Basic principles of visual communication. Their kingdom ; BabylonJ3n penod ; Mmoan art. 4 . Egyptian application in Applied Arts. M edia of communica­ New kingdom and later penods, Assynan art, late tion in Applied Arts and their technical differences. Minoan Art. 5. Achaemenid; Sassanian and early D Ftmdamentals of Graphic Arts: Islamic Art. Knowing the print. The characteristics of Fine prints. Different processes of reproduction in graphic print 301H Near Eastern Ait- making. Survey of different graphic prints of old I Schematization in Neolithic pottery patterns and masters and contemporary artists. Egyptian painting. 2 Treatment of form and its rela­ tion to material in Egyptian and Mesopotamian ·211 . English- . sculpture . .As prescribed every year by the Board of Studies in 1!n·ghsh. 301 Art of Far East- A I Geography of China. 2 Ancient history : Peking 212 Hindi"':" man and early caves. 3 Early Chinese religion: Lao As prescribed every year by tbe Board of Studies iq . ·::·Tzc. . 4 ;Ritual · bronzes; their religious ' and plastic Hindi Significance. 5 The silk trade during Hau' dynasty. 33

6 Introduction of Buddhism in China. 7 BuildiDg 01 305 Ad" ertising Theory- j the .Great wall. 8 Tang dynas.ty; paintings and ceramiea. Basic Principles of Advertising. Their mani festation 9 Sung dynasty. 10 Mongol empire, Ming dynasty and in the practice of Advertising. Different media of later history. . .. Advertising. Potenti.1lity of Advertising and its various 8 II Elements of Chinese painting, its origin and aspects. function, technique and tools. Canons of paint... 12 Magicill writing to calligraphy interrelation of paiat. 306 H Fundaon entals of Art_ ings and calligraphy. Signific ance of Chinese Paintiaa and Call ig raph\'. Important painters. . 307 A/407H Cul tural BaCans: The British East India Com­ ; :: ;:.:Psydiology• . :' c. . ..- - .~ . pany. 23 Growth ' of Br itish power in Bengal and the 34

expansion of British rule in India. 24 The Sepoy Mutiny. English 25 Impact on Indian Trade, Industry and Crafts. 311" 26 Introduction of Western education and establishment As prescribed every year by the Board of Studies in of universities. 27 Indian intellectuals and influence English. of western social and political thought. 28 Westernisa_ tion of Indian life, rise of commercial cities and POrts. 312 Hindi- 29 Social and religious reform, national awakening. every year by the Board of Studies in 30 Beginning of archaeology; discovery of the art of As prescribed the past. 31 Gandhiji and the Independence Movement. Hindi. 32 Cultural conflict in 20th Century India. 311H Hindi- 308H/408H Background of World CIvilizations ( lst ... As prescribed every year by the Board of Studies in 2nd year ) Hindi. The aim of this course is to provide necessary informa­ 313H- tion regarding the society, religion, myth010gy "nd patronage pertaining to respective periods of Ill. Course in Sanskrit prescribed by Ihe Bo~ rd of Studies I Stone Age life. 2 Neolithic revolution, beginning of in Sanskri t. community life and social institutions. 3 Beginuina Course in Foreign language as prescribed by the relevant of religion and primitive religion. 4 Egytpian religion, Board of Studies. myt hs and legends. 5 Sumerian mythology. 6 'The beginning of writing and the alphabet. 7 Greek life, Practical Courses : city states, theatre and drama and the Homeric myths. 8 Alexander "lid his military campaigns. 9 ROIDlll 321 Study from Life ( Paintlng)- life "lid legends. 10 Taoism and Confucius. 11 Story of Moses. 12 Story of Christ. 13 Christian Icono­ Study of human head ill various media. Study of human graphy. 14 Medieval thought and the hegemony figure groups. Study of animals. the church. 15 Crusades and its consequences. 16 cient Persians, Islam and its expansion. 17 322 Composition (Paintiug)- life and chivalry. 18 Rise of Renaissance, ec()uo.mil i Compositional exercises based on studies of objects and changes, individualism, Italian states object groups in space, on studies of human figure and life, Humanism and Rationalism. :~:~~~:~r~~:~ . animals on studies of the local scene. Compositional art, philosophy and literature. analysis of paintings ; exercises in the use of colour counter-reformation. 20 Galileo, scientific and texture values. invention orthe printing press, sea voyages. nobility in the 18th century. 22 French 331 Study from Life ( Sculptore )­ and Napoleon. 23 The Concept of Socialism, Marx. 24 Industrial revolution: 25 West Head Study in Clay: East, beginning of Archaeology and ( a) One male and one female showing the main planes. 26 Rise of Photography. 27 Modern Science, Study of parts of heads from casts. Comparative Cinema. 28 The two World Wars. study of the Egyptian and Greek head s from casts and photographs. JII English- ( b) Drawing and modelling in clay. Simple figure , showing construction and proportions. Moulding, As preScribed every year by the Board of Studies casting, terracotta, plaster work of head study and . English. composition. . 332 CompositioD (Sculpture) J54 Typograpby and Printing Compositional exercises in round and relief with various Knowledge of point system. Recognition of type faces. materials (clay, plaster, wood, metal ). Reading of layout. Composing practice. Printing.

333 Terra-cotta and Glazed Sculpture 355 Pottery and Ceramics p'ottcl y by advanced tcchniques: throwing, building 341 Foundation Art (Applied Arts)- and slipeasting. Head swdy, Figure .study and Architectural draWing 356 Can'iog in Wood and Direct Work in Plastft III penCIl, pen and IIlk and monochrome siudies in diITelcnt graphic media. Various techniques. Executing low and high reliefs suitable for wood. Direct work in plaster and craving 342 Advertising Design (Applied Arts) from clay block; Composition in plaster on wire arm a­ lure. Carving of simple figures or compositions from Press layout, Poster, Magazine adyenisements (Primary) Lettel head, Trade mark and Symbol. a block of clay. Typography (introduction ). 401 European Art from Greek to Renaissance I Influence of Egypt, Mesopotamia 0 11 the art of the 351 Graphic Arts and Crafts Moditerranean islauds, Early Greek art. 1000 B.C. to Printmaking by wood-cut and Lino-cllt 0 1 Lithograpby 700 B.C. 2 Arcl",ic Period. evolution of the male nude or Serigraphy. fIg ure. 3 C1assic.1 period, Polycli tus, canons of ideal proportions, Phidias and P"rthenon, Sculptures with Design for two colour wood-cut blocks. Executing the movement and balance. 4 Praxitelcs, Lyssipus, Scopas. design. Methods of correct regist ration. Prepatina 5 Realism and grandeur Pergamon, Laocoon, realistic papers for printing. Printing method. portraiture. 6 Greek vase paintings. 7 Greek Printing process and lithographY. humanism, the development of vario us arts. 8 Alexan­ graphy in derail. Practice in der and the expansioll of the empire. 9 The military of lithographic printing. empire of Rome. 10 The Great builders of Rome: ntarkets, courts. temples. roads, aquaducts. The use p, inciples of stencil printing. Preparing drawing for of arch in building. 11 Mosaics and paintings at ste nci1. Preparing frame for printing. Pompeii etc. and their subjects. 12 Portrait sculp­ glue and tusche for printing. ture and war columns. 13 Rise of Christianity; life of Christ, Early Christian symbols, art of Catacombs. 352 Photography 14 Basilica and the first church. 15 Shifting of empire to Constantinople, the contact with the East ; Mosaics Introduction to ' dilIerent types of cameras and their in the churches of Hagia Sophia, San Vitale, San mechanism. DilIerent types of sensi tising materials, Apollinare in C1asse. and in San Apollinare Nuovo. exposures, their uses and developments. Printing, 16 Spread of Byzantine art to Russia, manuscripts and enlarging and developing processes, Indoor, outdoor icon paintings. 17 Scythian, Celtic, Viking and Caro­ photogmphy and darkroom practice. lingian ornamental art. 18 Art of westem Europe; Romanesque churches at Autun, Moissac, in France, 353 Process Engraving Ghiselbertus. 19 Manuscripts and book covers; Principles of Photography. Pbotography of art Tapestry and decorative objccts. 20 Crusades. 21 The for reproduction. Block-making for line. great Gothic cathedrals and stained glass: Chartres, for line with screen. Cologne, Salisbury. The pointed arch, ribbed vault 38 39 •

etc. 22 Realism in Gothic sculpture and paihling in (a ) theorie; of Rasa, Dhavani, Alankara, Auchitya, Frallce, Ilaly. and Germ~ny. 23 Revival of Clas;ical ( b) interrelationships of the above concepts and their Ideal ; HumaOlsm, reformists. 24 Renaissance painting relevance to arts. 4 Interrelationships of visual and and sculpture ID Florence and Vcmce; Giotlo Mas­ performing art. 5 Shadanga. saccio, Mantegna, Piero della Francesea, Bo'ttieeUi, Leonardo, Michelangelo, Raphael, Ghiberti, Donalello 404 Advertising Tbeory- Brunelleschi. 25 Renaissance in Ihe NOrlh ; Van Eyck' Gnmcwald, Bosch. Cranach, Durer, Holbein, Clau~ General historieal background of advertising. How Sluter. necessity demanded advertising. Social aspect of advertising. Economic aspect of advertising. Psy- 401H European Art- From Greek 10 Renaissance , . chology aspect of advertising. Scope and limita­ tions of advertising media. Advertising as a force. I Contribution of illdividual sculptors in Greek Art 2 Ghiselbertus. 3 Mediaeval Christian iconographY _ . 405 Methods and Matorials of Sculpture- 4 Jan Va" Eyck. 5 Leonardo's Drawings. 6 Michel­ angelo. I Clay-Types of clay, Their use; shrinkage and plasticity; Preservation of clay: use of grog and 402 Indian Art from the end of Gupta Period .. quartz. Banking methods. Rajasthani painting 2 Plaster- Raw material ; quality of plaster and its I Chalukya, Pallava and Rashtrkuta period- Rock behaviour; suitability of matttial to sculpture: different cut archnecture and sculpture at Ellora, Mahabalipuram ways of reinforcing ihe plaster. Moulding, Casting, and Elephanta. 2 Early structural temple, at Aihole, preference of plaster to cement. Patt~d" k al etc. 3 Temples and sculpture in OriSll, 3 Cement-Raw material, different proportions of sand KhaJuraho and Western IndIO. 4 Temples of Hima­ and cement; their advantages; reinforcing cement layan reg ion. 5 Pala-Sena period ; stone and melll with different sizes of iron bars; and its relation to the sculpture. 6 Art in South India ; Halebid, Belur: size of Sculpture. bronze Images from Chola to Vijayana"ora period. 4 Wood- Its growth and process of seasoning; different 7 Pai,ntings at Badami, Ellora.. K Pala 0 manuscript pal.ntmgs . . 9 Western India,? PalDting. 10 Origin 01 types of wood. their grains, heart; use of instrumenls and hollowing out; different treatments for preserva­ RaJastham pamtmg, pamlIng III Mandu, Malwa, Mewar and other centres in Rajasthan. II Fusioa tion; joining of wood and its advantages. of Medieval Hindu ~nd Saracenic architecture dUriD, 5 Stone- Its formation; marble and stone; lime-stone; the Sultanate period. 12 Rajput architecture. difference between sandstone and marble; their composi­ tlun, strength and comparative weight. Methods of 402H polishing marble and sandstone; lise of different instruments. I Iconogra~hy of temple archilecture. 2 Styles 01 templc arch!tec~ure. 3 Ellora; chronology, iconograpby, 6 Bronze- Copper and its alloys; virgin metal, brass, sly Ie. 4 Jam IConography in manuscript illustrations bell metal etc. Melting points of different metals. Pro­ and sculpture. 5 Technique . and iconography 01 porllons of bronze. Resistance of mortar to heat; South Indian brollzes, analysIs of some promineat difference between sand casting and lost wax process. Jmages. Various processes of patina ; treatment for other metals i. e. Aluminium, Iron elc. Composition of modelling 403 Indian Aestbetics- wax, b..'Cs wax, paraffin wax and resins. Various methods 1 Introduction to Aesthetics and its scope. 2 Bna of Bronze casling : Indigenous Indian, Nepalese and introduction to Ibe basic principles of Indian philosopby South. .Indian.. Use of core, and moulding sand, as related to atis. 3 Evolution 'of aeslhetic concepts AlumllllUmcashngelC. Preparation of sand' for moulding 40 4i

mixtures, molasses, tar and bentonite, sodium silicate. 432 Printmaking by Lithography- Carbon dioxide and its use, making of mortar for plaster Use of various materials in litho\lraphy. Limits and cast and use of lime for stucco. possi bilities of lithographIc expressIOn. 7 Enlarging and reducing devices-Three Compasses, Universal Compass and Cage method. The basic prjn.. 433 Printing by Etebing- ciples of enlargement, moterial suitable for enlargement. Preparation of various .grounds. Elementary com~ s i­ Methods of adjusting a pointing compass and taking tion. Etching, soft blhnll, var.lOus d~pth s, lacquermg points for copying of sculpture. the unwanted parts, ftmshmg bIte. Prmtmg of a proof. 8 Welding torch- Temperature required for welding diffel'ent metals, adjustment for welding and cuttiDa. 434 Mural Techniques- Oxygen and acetyliue flames. Advantages of welding Mcthods of plastering and making grounds, lransfer of ever Roman joints and rivetting. drawings, and painting on wet and dry grounds. 407H Together with 307H. Exercises in Italian wet process. 408H Together with 308H. 441 Study from Life ( Sculpture)- 411 English- Construction of a fi gnre, (male and fe,,:,ale ) lWO each; ,Iifferent characlerislics and proportIons of male, 411H English- female and child figures. Study of anatomy .. StudIes As prescribed every year by the Board of Studies in in clay fr om oricntal sculpture. Ammal or bird study English. - one each.

412 Hindi- 442 Composition ( Sculpture)- Composilion suitable for bronze, SlOne, welded sculp­ 412H Hindi- lure based on the studies from the envtroument. As prescribed every yea r by the Board of Studies in Hindi. Studies fr om Indiall, Egyptian, Indonesian, and Cambo­ dian reliefs. Construction of relief for stone and stucco 421 Stud} from Life ( Painting)- of given subjects. Stndy of the siructure of the human body and ill 451 Can'ing in relief or round in stone- articulation. Studies of animals. Studies of humu Methods and Techniques of Stone carving. Making of figure, draped and nude. Studies of figures in actiOll a macquette and carving in stone. A simple figure from the lo(al scene. compositor.

422 Composition (Painting)- 461 Foundation Art (Applied Arts)­ Composi tions of stiUlife, interior and landscape subjects: Life study and 1Ilustration. Composilional exercises to understand .the use of space. Compositions from preparatory studIes of the local 462 Advertising Design (Applied Arts)- scene. Poster, Press Advertisement, Magazine Advertisement (Monochrome and colour). 431 Printmaking by Wood-cut- Designing wood prints with more tha.n. ~,,:o coloun.. 471 Lithography- Use of overlapping of colours.. P09Slblltue. of tM Making of key drawing. Colour separation. Sequence textural values of '>'a,ious types of woo(!. of colour printing. Printing practi.:e. p

42 43

471 Pbotograpby- Maillol, Barlach, Lehmbruck, Brancusi, Archipenko, Lipchitz, Picasso, Gabo, Moore, Gonzalez Laurens, Introduction of creative Photography. DevelopiDa techniques, enlarging, dodging and cropping. Reduo­ Zadkine, Glacomettl. tions, Intensification and Toning Process. Creative 50tH European Art-from Mannerism to Modern- photography and darkroom practice. I EI Greco. 2 Bernini; His relationship with High Re­ 413 Process Eograving- naissance and the antique. 3 Rembrandt. 4 Delacroix Line block from Scraper Board Art Work. Two-colour and Romanticism.. 5 Van Gogh: in relationship to line block. Half-tone block. Combination of liae Impressionism and Expressionism. 6 Rodin and the and half-tone. Nvolution in modern sculpture. 502 Iodinn Art from Mugbal to Modern- 414 ..Typograpby and Printlng- Combination system of type used in various layouts. Origin of Mughal painting. Background of Saracenic Composing layouts with illustration and copy matter. and Persian architecture and Painting. M1I ghal painting Printing practice. during Akbar, Jehangir, Shah Jahan, Provincial Mughal schools and Deccani painting, Mughal architecture· : principal towns and buildings. Pahari painting, various 415 Interior DecoratiOD- Schools; Literary and religious themes. ' Painting during Draughtsmanship, plan, elevation, section, measured company period, Patna, Murshidabad. Realistic­ Drawings, principles of perspective, sciograpby; render­ academic painting and sculpture. Revivalism and ing in pencil, pen and ink and wash. Bengal School, Abanindranath, N. L. Bose. Painting and Sculpture since 192~. 50t European Art from Mannerism to Modem-- I . Mannerism-Rosso, Parmagianino, Correggio, 502H- Tintoretto, EI Greco. 2. 17th Century : Baroq_ I Persian iufluence on Indian painting. 2 16th century Caravaggio, Poussin, elude Lorraine, Indian painting; emergence of Rajasthani and Mughal Vermeer, Franz Hals, Rubens, Velazquez. 3. styles. 3 Pahari p.1inting, regional kalams. 4 European Century: Rococco·Watteau, Fragonard, Boucher, influence on Indian art : Mughal period, Company din; Tiepolo, Gainsborough, Hogarth, school, Art schools. 5 Conflict between tradition and 4. 19th Century: Neo-classicism and modernity. David, Ingres, Goya, Delacroix, Blake, renes; Realism Naturalism, 503 Introduction to Western Aesthetics- Millet, Corot, Manet, Degas, Impressionism :--Cezanne, Van Gogh, The nature of beauty. Theories relating to the ongtn Symbolism, and • Fin de Siecle': VULIIOU and creatIOn of art : Communication, expression and Toulouse-Lautrac, Munch, Bonnard. release of emotions; Imitation, Play and Intuition. stable, Ttlrner, Pre-Raphaelites, Whistler, Inspiration, imagination and the role of the subconsci­ 5. 20th Century : Cubism, Abstraction and ous Theories relating to the work of art : Organic nism : Matisse, Pic(lsso, Braque, Mondrian, sttucture, Content and Form, Expressiveness. Theories Delaunay, Kirchner, Nolde, Klee. ~. Sculpture: relatmg to aesthetic response and appreciation : nerists-Gianbologna, Cellini, Jean Goujan. Empathy, Psychic distance, Pleasure. Art in relati on _ to society. century: Bernini, Puget, Girardon. 18th ~~;i Roccoco and Neoclassicism: Canova, Clodion. 19th Century: Daumier, Degas, 504 Advertising Theory- Rude, Carpealll\, . RQliW.. . 2Otb. Century: Business organization. Contemporary art and its 44 45

impact on advertising design. History of adlvelrt;<;no 524 Mural Techniques- Relation of Industrial designing and Industry. Exercises in different mura1 media, jaipur wet process,

mosa ics j sgrafit to. 505 Iolluences of Indian Art outside India- 541 Study from Life (Sculpture)- Tibet and Nepal­ Quick sketches in clay of difficult poses of male, female I Meeting place of Indian and Chinese I~I~:~~ and child, suitable for sculpture. 2 Lamaistic Buddhism. 3 Hindu and Buddhist Enlarging from sludles of .olle male, one female, and Iconography. 4 Miniature and Tanka Paintings. one child with surface timshlOg sUItable for dIfferent malerials. Ceylon- 542 Composition (Sculpture)- I Monuments at Anuradhapura and Polannaruva painting at Sigirya. Analysis of arcbitectural sculpture. Drawing from contemporary Western and Indian reliefs. Making Indonesia, Indochina- of two-facade reliefs- in stone stucco or bronze. Clay sketches of subjects from surrounding scene and I Colonization and the sproad of Hinduism and Bud­ adapting them for a sculpture in stone. wood or bronze. dhism in the region. 2 Monuments at Angkor Vat and Borobudur. 551 Bronze Casting- 5ll Study from Life (Painting)- Piece mould, wax cast from a simple fi gure or head. Making of a composition directly in wax and casting Study of human figure in backgrounds, in this in brOtl7..e. Study of animals. Making of finished dl'llwiiJIII from scribbles. 561 Advertising Design- 512 Composition ( Painting )- Press advertisement, half page, full newspaper page. Press campaigns, Magazine advertisement, two-colour Identification of the compositional problems of and multi-colour. Showcards. folders. cinema slides. type of painting. hoarding and outdoor publicity. 521 Printmaking by Wood-cut- 592 Foundation Art- .- Advanced experiments in wood·cut Study from life ( full figure in colour or monochrome) wood-cut. lithography and silk screell . Illustrating a given theme in two colours. a print ? 571 Process Engra.ing- S22 Printmaking by Lithography­ Half-tone block-making witlt various types of screens. Advanced cxperim'ents in one colour. Three-colour line work. Three-colour line block with with more than one .lone of t he same colour. screens. Three and four-colour half-tone blocks. Slide­ lithography. making and printing. 523 Printmaking-Intaglio Process- 572 Lithography- Preparing grounds for aquatint. Composition. Advanced experiments in one colour. Lithography ing in stages; Proofing. with more than one tone of the same colour. 46 47

S13 Photography- B. Oriental: Developing chemicals and fine grain developers. Copy­ I Oriental aesthetic and its scope. ing processes : Continuous, line, direct and indirect. Photograms and ontdoor photography. Creative 2 Introduction 10 the basic principles. of Indian phil!," photography and darkroom practice. sophy and religious thought .( Vedtc, . Upamsha

EUlruscan sculpture, ( d) Romanesque and Gothic, socio-political and religious ide~s to the art activity ( e) Renai ssance and Baroque, ( f) Neo-c1assicism, and artistic thinking in each penod. Romanticism, (g) Rodin and the age of experiments, (h ) Individualism and modern concepts. 611 /711 History of Art Criticism includiog AesthetiCll ( Oriental) 605/7OS Business Organization- I ntroduction to the field of art criticism and aesthetics General introduction to the business organization of by way of critical examination of the theones of art Advertising agencies. and aesthetics in Indiau and Chmese tradltl?ns. Analy­ sis of ideas 011 art and nature of aesthetIC expertence Studio organization, card index system, list of actnal including canons of aesth.ctic criticism in corelation customers and prospective customers grading the with works of ~rt. Matenals for lectures to be drawn artists organization and maintenance of work schedule from: ( I ) The writings of important thinkers-Bharata of the studio. Organization and maintenance of art to Bhamaha, Abhinavagupta to Visvanath. (2). Select­ referenee files and art books. Maintaining the account ed texts from Silpashastras concernmg techmque . of of the acutal cost of visualization and linal art work. painting and sculpture and iconology. (3) Cnt.lcal Specific study of advertising business- advertising references 00 painting and sculpture from ancIent agency-Its different departments. Their inter-relations and medieval literature. (4) Writings 011 art by some and respective functions. Business and economic hSpect modern Indian thinkers. of advertising. Role and responsibility of an Applied Art designer in the general set up of the advertising 612/712 History of Art Criticism (Westero) including "gency. Organization of the freelanee studio--corres­ AestlJetics-- pondenee and accounts, studio and establishment charg­ Based on LioneUo Venturi's book of History of Art ing of art work and services. Planning and schedule. Criticism, supplemented by the following : ( a) Theore­ tical background as 10 the PhIlosophy of Art, M.A. 606/106 History of Advertising- ( Fine) Course 601-701. . (b) Kno.wledge ?f relevant From Pre-Painting period to the period of Scientific writings of Aristotle, AlbertI, Vasan, Bell~lft, Hogar~h , development. Reynolds, Diderot, Wincklemann, Lessmg, Ruskm, Wol ffi n, Roger Fry, Arnbeim, Susl.'n Langer. (c ) 609/709 History of Indian Art- Principles and problems of Art CnlIctSm based on the writings of T.M. Munro, Pepper and C!sborne. Detailed survey of Indian art from prehistoric times Notc:-The books by the above-menttOned auth?rs to the 19th century. Geographical, ethnic, social and will be used as books of reference and not as specIfic cultural fonndations of Indian art. Religious and mythological background, iconographical principles and text-books. symbolism. Analysis of chief masterpieces of art and Following topics from Psychology :- main monuments. Main features of Buddhist, Hindu, 1 Perceptual Process, 2 Emotions, 3 Imagination, Mughal and Rajput architecture, Influences of Indian 4 Creativity, 5 SubconSCIOUs and psycho-analytical art on Asian countries. General background of Persian, theories. Chinese and Japanese painting. 613/713 History of Print-making-- 610/710 History of Western Art- Pre-historic prints. Eady orna~ented and decorated Detailed survey of main periods of western painting manuscripts. Calligr~phy-:-EgyplIan, ?ersl~n, IndIan and sculpture (including primitive and tribal art) and European. Textile pnnts. <:Jraphlc pru~ts of Pre­ from p"leolithic times through Egypt to the end of renaissance artists. Spread of Pnnts and Prmt-makmg 19th century. Emphasis on important artists, signi­ methods from 14th to 18th century including inven­ ficant masterpieces, stylistic evolution, relation between tion of printing types and machines. Work of western 50 51

Study from contemporary sculpture: Rodin, Despiau, artists from 17th to 19th Century, print-making from Marino Marini, Epstein. the Impressionists to the present day. Print-making in (2nd Term) Japan. Indo-China, India and other Eastern countries. Treatment of a head (bust with drapery) suitable for bronze and stone, one each. Casting of a head in bronze 614/714 Methods and Materials- methods of patina. Pre-historic and early methods. New inventions. Reproduction processes-Complete survey of Relief 632 Monumental Sculpture­ process, Intaglio process, Planographic process. ( 1st Term) Development of Printing and Reproduction processes. Place of sculpture ill architecture and monuments­ Mass production. - Study of the elements of architect~re . ":nd sculpture and their relation, explonng the POSslblblles of a matenal 615 Eoonomics of Production and Business Organization for monumental sculpture. Life study in clay-one full ( Theory and Practice of Applied Arts Designing r­ size. Two head studies-one male, one female (as General principles of advertising. General principles in stone carving) showing monumental treatment stone of Book design in stages. General principles of bind­ or bronze. Visualisation of Monumental sculpture in mg. Planning and organization of printing press. a given stone block sC''!e I : 8, I : 4. t 2nd Term) 715 Economics of Production and Business Organization Tllree enlergements in clay or plaster from a small ( Theory and Practke of Applied Arts Designing r- sketch by cage method, three compasses, and mecha­ Prac~jcal ' si~e of Advertising. Designing-various nical compass, o'!t of three ~nlargements one should medIa. Their scope and potentiality. Advertising as be of life size. Direct carvmg III stone of a composltJon a force In modern times-social, economic, educationa1 of not more than three figures. and national. 633 Stone Carving- . 621 Portrait Painting- ( I st Term) .' '1 '" I . Study of head, drapery, objects-Full and half length Nature of stone and liS. pos~lbt Itles III scn pture. 1Il studies of figure, male and female, in different age round and relief. Modelhng ID clay of a composItIon groups. Studies from life. suitable for open ai~. . Macquettes for stone, visualizi.ng of a composition wlthm a Slven block. ExeCClses With i22 Mural J>esign- plaster and clay blocks. Me~hods of carving by stages. Studies ,?f different murallechniques and their presenta­ Carvihg of a rehef composItIon. tIOnal bmllallons. Stud,es of methods and media. (2nd Term) technical exercises, Preparatory studies for a mural­ Study from Egypt, Assyria, Romanesque, Gothic, :;ketches, visualization, enlargement. Bharhut, Amaravati-small plaques in plaster-Figure studies in clay of male, female, blfds and ammals and 623 Creative Painting- their adaptation for a sculpture III the round. Compositional exercises to clarify each student's methods of visualisation. Studies from the local scene. 634 Wood Carvi,ng- (1st Term) . . . . . 631 Portrait lIte­ Modelling in clay, oue composlllOn usmg bJfd, alllmaJ (1st Term) or human figure, in round and relief suitable for wood. Study from head of different age groups, showing Study from African, South Seas, South Indian and .char.acteristics of pl~nes, soft, hard and rounded forms. Gujarat wood carving and carving these in plaster Stu~ies from :. J:gypli~1); Roman ,and Indian sculpture 52 53

blocks. Carviug of a relief in auy suitable wood. 648 Relief Process- Carving of a composition in round from a given log of wood. Lecture and demonstration of techniques of Wood-cut : Selection of material. Preparation of wood and stone carving. Carving of a relief in stone surface. Direct print from uncut surface. Various (I credit). experiments in tonal values, relating to textures in monochrome. Preparing design, transferring and 635 Metal Sculpture cutting and printing. Poss ibiliti~s of textural val~es of various wood surfaces. LIDo-cut : Transfenng ( 1st Term) drawing :-Cutting for the first colour block, ~eter­ Exploring the possibilities and limitation, of metal sculp­ mining sequence of colour pnntmg by analYSIS of ture by casting, clay studies, enlargement, p ie~ mould­ colour design to print from the sa me surface used ing and casting in metal one piece. Bnilding sculpture above. Cutting and printing accOlding to the .phases direct in wax and casting. Exercises in all stages of determined registration prepari ng phases, multIcolour Bronze casting like moulding, casting and finishing of blocks ( Two assiglll11euts). wax image, casting and finishing of the fi nal cast, patination. Producing one origiual piece of bronze 649 Intaglio Process- sculpture covering all these steps. (2nd Term) Etching-zinc metal. Preparation of sens itive surface. Composition in clay or direct plaster and making fie.,ible Applying ground, dry or li quid. E X l? er im~nts in mould and casting in metal. One composition in various textures and toaes by etching WIth aCIds and metal, cast in pdrts and joined. 1D0rdants. Exporiment in fo ll owing :- Inta glio tech­ niqueS-Etching, Engraving, Aquatint, Relief-Coilage, 636 Creath'e Sculpture- (two assignmen ts ). Preparatory studies and exercises clari fy ing and develop­ ing methods and modes of expression. Exercises 650 Planographic Process- based on the surroundings including human beings. Lithography, Preparation of surface-polished or 641 DlustratioD (Applied Arts)- grained. Basic ex periments with line and tone on both the surfaces. Technique of printing, understand­ Life study-Head study-50 studies in colour, line and ing the chemical properties of Litho surface. ( Two wash. Full figure study- 30 studies in colour, tone and assignments) Stencil process :-Cutting basic shapes wash. Studies in laudscape. Sketches of different ill paper. Preparing by stencil process. Preparation architectural styles (ancient and modern ). Exteriors of screen. Preparing design on screen by glue and and iuteriors in wash, colour and line. Outdoor tusche method, Printing techniques. (Two assign­ figure studies and composition in various media. Four ntents ). copies of different styles of compositions. 651 Book Design- 642 Outdoor Publicity - The style of house including capitalization, w0r? ~vid (a) Hoarding ( I ) Various sizes (eighteen ), (2) One sion ' use of italics and numerals. General pnnclples finished 6' x 12'. and 'practice of making up a book. jobbing.

643 VisualizatioD- 65l Printing Process- Advertising campaign for the press. Analytical study Letter press, Lithography, Letter press :-Principles .of of different product groups. Vi SUd Is-to be based on hand setting and distribution. Point system and Its the follOWing aspects, class of commodity and class of application to type and spacing materials. Proof appeal, different styles of layouts. Study of typography. readers correction marks. Classification. and charac- 54 55

tenstlc features of type face s. Elementary typesett­ ing of solid matter and simple display layouts. Litho­ ( 2nd Term ) graphy : characteristics of the lithographic 5-urface and One architectural relief wih lelter-cutting in stucco, its preparation. Direct drawing on stone and its tret­ stone or metal. Project work. ment for printing. Transferring and printing of editions. 733 Stone Carving­ 653 Binding- ( 1st Term) Direct work in stone based on a given macqnette. Paper-its physical structure, standard sizes and sub­ Pointing . in stone from d. plaster cast. Stone collage divisions. Simple impositions. Mill boards, straw­ and their use as a rehef decoration. Methods of boards, cloth, leather and adhesives. Flush work and fini shing stone, use of enlarging methods. cloth cased binding. (2nd Term) Enlarging of a sculpture for various kinds of stone. 721 Portrait Paioting- One each should be executed in lime stone, sand stone Study of portrait paintings: their compositional analy­ or marble. Lectllfes on methods and techniques. sis. Compositional analysis of painting in general. Full-length and half-length portraits. 734 Wood Carving- ( 1st Term) 722 Mural Design- Carving a fi gure sculpture in parts, and joining them, Makmg of a sculpture in wood by joining different Mural designing for a specific building, alternati"e coloured wood, plank etc., one relief. Methods of visualizations, model making. Execution of mural. joining wood, wood treatment, and wood seasoning Compositional analysis of paintings. Studies from tbe ctc., Carving of a relief as partition screen or a local scene. scull?tured lotem. Study of medieval European wood carvmg. 123 Creative Paioting- Original paintings based on preparatory studies.. 735 Metal Sculpture-- . Compositional analysis of paintings. ( 1st Term) Reliefs and their suitability in metal sculpture. Brass 731 Portraiture-­ bronze and aluminium. Cas.ting in sand process 0; (lst Term) sllch. other process WIthout wax, fini shing and patina. One life size full figure study of a male or female­ Cas.tIng of a work done directly in wax with a core complete with drapery, suitable for stone. Execution and without core--direct work with pla~ter core and of portrait from a photograph-male and female, casting this in clay or cow-dung mOUld. Methods of enlargement from macquettes. (2nd Term) (2nd Term) A given project in any of the above techniques suitable Carving of one bust in slone or marble by pointing for bronze (the problem to be discussed with the teachers compass. coucerned) and casting this independently. 732 Monumental Sculptore-­ 736 Creative Sculpture Execution of original sculptures based on preparatory ( 1st Term) studies. Constrnction of a model monument for a public park, scale 1 : 4 and monumental sculpture in I : 3, in a 741 mustration- suitable medium, one section drawing of the site scale Figure composition. Story. illustration:-:period com­ 1 : 8. position-single and multI-figure I

advertising in line, wash and colour. Adtlptations of 751 Production of complete Book- different style and techniques of painting and illustra­ Productioh of a complete Book. Paper, its various tion, ancient and modern- Indian, Western and Far sizes. Book sizes and use of general materia1. Impo­ Eastern etc. Studies and compositions of industrial sition and paging. Forme technique : 4 page, 6 page, pla!lts and establishments in different media and tech­ S page- 16 page, formes. Designing and display of a niques. Specimen copies-in anyone of the following book. Various techniques of binding: folding. sewing graphic lJIedia : lithography-photography, etching and attaching plates and folded maps or leaves. Album wood engraving. Developing an individual style and binding and fin ishing marbling. Leather binding-rexine wood engraving. Developing an individual style and binding-gilding simple decorations. technique of illustration. GOl/70lH ( i) Arl HIstorical Metbodology and 742 Outdoor Publicity­ interpretation- Construction of model (eigh teen ). Display work ( six) Development of Art History as a humanistic discipline, shop window, Exhibition stalls and Neon signs. Ihe leading scholars whose works hove added new Architecutal drawing ( forty-eight). di mensions to the discipline and expanded its area of exploration. Contribution in terms of connoisseurship 743 Visualization- and methodology. Visual analysis. Symbolic meanings. Complete scheme for ' a full ftedged campaign for an Iconographic studies. Psychoanalytic, Sociological and established product. Study of copy. Study of mea­ ant hropoJ ig ical view points. suring and setting the copy for visual layouts.' Photo­ graphic visuals. Knowledge of different reproduction ( ii ) Contemporary Arts Ideas- Drocesses for different advertising medIa. Preparing ;. complete scheme for an entirely new product to be Modern culture and milieu. The technological and introduced in a specified market. socio-political facto rs, the thinkers who have contri­ buted to modern thought and their analyses of the 748 Relid Process- twentieth century culture. Their implications on con­ lemporary arts and aesthetic thinking. Wood-cut and Iino-cut. Preparation of multi-colour blocks. Printing fine details. Water colour effects­ 602/702H Modem Indian Art EKperiments of different types and texture of papers. ( 1800 A.D. to present day)- 749 lntaglio Process-- Historical background. Symploms of decline of patron­ Etcbing. Introduction to copper. Preparation of age of traditional art at Rajasthan and Hill courts sensitive surface. Basic experiment in various textures during early nineteenth century. Introduclion of as done on zinc. Aquatint, lift ground, soft ground, European (mainly British) art, curios, engravings, relief and collage. Multicolour printing with soft and plaster casts and visiting European (mainly Bri lish ) hard rubber or gelatine rollers. artists in India and their impact on tbe sensibility of urban patrons. lodian art under the British. Esta­ 750 Planograpbic Process- blishment of art schools, British Academicism, Ravi Varma and his followers. Nationalist movement and Offset and direct Lithograpby. Various experiments Revival of Traditional Indian arl. Views and works in tones and textures, with different grained surfaces, of Ananda Cpomaraswamy, E. B. Havell, Abaindra­ rough, medium and fine. Key drawing for multicolour nath Tagore, Gagendranath Tagore, Nandalal Bose, work. Colour separaton. Printing technique, regis­ Benode Behari Mukherjee, Jamini Roy, Ramkinker Iration for colour. Edilion printing. Screen process. Baij, Analytical study of the works of artists from Bengal Photographic slencils, Printing. Combination plano­ and tbeir pupils and followers. grapbic and relief processcs. S8 S9

Advent of tcofmology and changing values in European variations. Main features of Temple and Islamic Society. Modernism in art: Rabindranath Tagore Architecture. and Amrita Sher-Gi!. Analytical study of their impor­ Special emphasi; on problems of Chronology including tant works. inscriptional data, Greco-Roma n infiuence, the charac­ Painti ngs and sculptures in the forties at Madras, Lahore, teristics of thc classical phase and its influence, the Lucknow Calcutta and Bombay. Important artists relationship between iconography and sculptural image, of post-independence India and analytical study of significance of Todian Sculpture for Asiatic art and their works. Art schools galleri es and patronage of culture. art in Modern India. A survey of architecture ( Coloni al and modern) in the nineteenth and twentieth cen­ However, it is expected that only certaiu phases, areas and monuments may be selected by the student for turies. intensive study. Major problems of contemporary Indian an : between tradition and modernity, contemporary Indian art in ( B) Indi an Painting- the context of Internationa l ar t scene. Historical evolution of Indian Painting, Prehistoric, 603/703H Modern Western Art- Ajanta and subsequent continuation of mural tradition at Bagh and in South India and Manuscript illustra­ Main movements in Painting and Sculpture from mid tions of Western and Eastern India (Jain-Buddhist) 19th century to the present day with emphasis on the early Rajasthan, Mugha!. Deccani, later Rajasthani contri bution of i m parlant masters in Europe and Pahari schools and America. visual analysis and ideological sources. Ethnic, geographical, socio-politica l and cultural foundations of indian Paintings. 604/704H Indian Art- Religious and mythologica l background. Religious and Textual sources of Indian art (All textual Iconographic principles and symbolism. sources for identification and interpretation of con­ Analytical study of the main masterpieces of Indian tent). Beginnings of religion, fetishism, animism Painting. and anthropomorphism. Different religious philo­ Murals and miniatures in urban, fo lk and tribal tradi­ sophies und conceptual background of dieties and tions : their technique and form . thei r iconographic representations, comparative mytho­ Some salient features of Indian painting: logy and origin of symbolism. The relevant textual Interrelationship of the arts of poetry, Music and Painting sources for iconographic identifications, Hindu pantheon Buddhist Pantheon and Jain pantheon, Textual sources Relevance of aesthetic principles to painting. of the myths legends and literary themes depicted in Extention of Indian Painting outside india. paintings and sculptures. A study of content in Indian pa inting with referoce to sources. However, it is expected that only certain 605!70SH Indian Art (anyone)- pbases, areas and schools may be selected by the stlldent fo r intensive study. ( A) Indian Seulpture and Architerture Evo lution and d.evelopment of Indian Sculpture through 606170. H Western Art (any otle) various historical phases and di fferent regions against the background of Indian culture covering rock-cut ( A) Greco-Roman art- shrines, stuctural monuments, independent sculptures Historical evolution of Cretan, i\.fycenean, Etruscan, In stone und meta l and other materials. Buddhist, Greek (Archaic, Classical, Hellenistic) Roman and Hllldu and Jain iconographic types, their geographical Egypto-Roman art and architecture 60 61

Geographical, ethnic, socio-political fo undations of view of art principles of painting. Extension of Chinese Greco-Roman Art and culture. Reli gious and Mytho­ art in Japan and South-East ASIa. . EvolutIOn of logical background. Greco-Roma" ideals of art and Japanese art , architecture and prmtm

- (in Syria.. Iraq ,etc. ) and a detailed study of Turkish Certificate Courses and Perslau trad,t,ons of painting; vari ous important schools (Bukhara., Herat, Sh,mz" Tabri7 etc. ) alld Certificate Courses in Pbotograpby­ artl ~ts (Blhzad, MJr Musawwlr, Mlr Suyy;u Ali, Abd­ us-sa mad, R,za-" AbbasI, Aqa R,za etc.). Illustrated First Year manuscnpts In Pers i ~ anu India ( The Shah-Nameh the Different cameras and tbeir mechanism, and their Khamsa of N,zam" the Gulistan of Sa'di, Zafar­ special applications. Elements of photographic pro· Nameh, K ahl ah-Dlmna, Anwari-Suh ay Ji , Hamza­ cesses, Chemistry of photography, Photographic Nameh, Tmlur-Nameh etc, ). optics. Studio Practice- Introduction to dift'erent photographic emulsions. Sensit ive materials and exposure. Developers and developing technique. Fixing, hardening and washing, printing, enlarging and mounting. Introduction to creative photography.

Second Year Stndio Practice- Developing materials and fin e grain development. Reducers and intensifiers. Toning. Copying process, continuous and line, direct and indirect. Enlarging, dodging and cropping. Filters, their uses and effects.

Creath'e Photography­ Outdoor pltotogmphy. Photograms. Pictorialism. Introduction to Colour phctography. (Exposing and processing ). Certificate Coorse in Lltbography-

Flnt Year Stone grinding with carborundum or sand, fine grain and rough grain grinding. Preparing copy on transfer paper. Drawing on stone with tusche, Iithocrayon and ink. Proof printing (one colour). Removing of etching and inking defects. Lithographic materials. Preparing of tr~nsfe r papers. Second Year Drawing on stone with tusche, lithocrayon and ink by various methods (point, screen and spray method). '_. Multicolour lithography. ' Transfer on stone. Colour 64

separation. Etching. Registration. Litho process on traditional pottery and their design. Methods of making zinc pldte. different shapes. Throw ing of shapes for functional and decorative ware in various bod y compositions. Certilk3t. Co",se in Wood Craft- Various methods of decorating pottery in the unftred state by simple devices. Turning of shapes, Blelld­ First Year ing of plaster, scratching and finishing flat moulds for plates, saucers etc. Block moulds and casting. of Drawing and designing for carving and inJny work. moulds ror all kinds hollow ware. Box castmg, Clay modelling. Method of carving, simple wood block moulding figures, animals and birds or figure-groups for printing on cloth. Study of various tools and their for pottery. Various methods of decorating p.ottery uses. Practical work of planning wood and making in clay state by incised lines, slip decoratIOn, spnnglllg simple joints. Study of various kind s of woods. Plane and stamping. Firing biscuit warc, glazes, enamels and solid geometry. Drving in low and high relief. and various methods of obtaining spcical glaze effects Carving in teak wood, yellow wood, sevan wood, and and lustre. To prepare at least 12 different stains, 6 rose wood. Fret-work. Inlay with metal wire and different olazes 6 different bodies, engobe on terracotta wood engraving. Simple ornamental and geometrical and fire -2 bi~llit and 2 glaze furnaces, all alone. parterns in plan inlay work. Drawing once a week . Second Year Certificate Course in Metal Castiog­ Working of halld lolhe. Practical work of carving in hioh and low relief and jali work. Turning of simple Hrst Year l . , . S h~pe s 011 hand-lathe. Applying pl~ill lacquer c.o l~urs I Composi ti ons in Clay and making : while turning on hand-lathe. Chasmg and pohshmg. ( a) Waste moulds. ( b ) Piece moulds, (c) Flexible moulds. Certificate Course in Process (Block-making)- 2 Compositions in Plaster and Casting in sand process: First Year ( a) Round Composition- without core, (b) Round Composition-with Core, (c) Relief Composition­ Photography (Principles). Handling of prism camera. Two, ( d) Lettering. Polisbing and sensilisillg the plate (Whirling). Print­ ing, washing, heating and inking of the metal plate. 3 Composi tion in direct wax casting in lost wax process. Etching, Routing, bevelling and mount mg. Prepara­ tion of adhesive glue. Use of Dragon's blood or etchmg Second Year powder. I Composition in Plaster or direct wax and casting in ancient Indian process. ,. Second Year . 2 Composition in Plaster and Casting independently in Course of the First Year plus Colour block-making. any of above techniques. Typography and Slide-making. 3 Lectures on technique of Metal Casting. 4 Experiments on preparing different metal composi­ ' Certifi"te Conrse in Pottery and Ceramics-- tions refractory materials and patina.

First Year and Second Year Certificate Course in Printing­ Knowledge of various raw materials used in pottery and their sources. Simple lessons on the classifica­ First Year " . tions of potteries, on body composition, glazes, stains Reading of type case. Composing lines. Composing and engobe and firing · of pottery wares. Study of in layout form. Printing of the compose. 66 67

Rules Regarding Terminal AssessmeDt, ADDual Second Year Tests, ExaminatioDs, Cbauges of Courses Printing of line block proof. Printing of half-tone block proof. Printing of line block two colours proof. Every student's Home and Class Work will be assessed Printing of half-tone two colours proof. Printing . at the cnd of each tertn and the terminal report of line three colours proof. Printing of half-tone three drawn upon this basis. colurs proof. Printing of embossing mask. Faculty tests will be held at the end of each academic Post Graduate Diploma in Museology- year for the First year Preparat?r~, Second year The Department of Muscology of the Faculty of Fine Preparatory, First and Secpnd SpecIalization years 10 Arts has been offering museum training programme Degree and Diploma. since 1952 which is recognized by the national profes­ sional bodies. The course is of two years duration. There will be a Universitv Examination at the end of For details and the Prospectus contact: Head, Depart­ the third Specialization year, for B.A. (Fine) or Dip­ ment of Museology, Faculty of Fine Arts, Baroda, loma, and the second Post-graduate or Post-di ploma 390005. year, for M.A. ( Fine ) or Post-diplom3. . Students will have to fu lfil the followmg reqUlrements for appearing at the F"culty tcst or Universit Examination :- t Attendance as per university rules in both theory and practical courses. 2 Attendance in the N.C.C. or Ph ysica1 Training programme as per university rules.

For purposes of assessmeht in B.A.(Fine)jDiploma courses in Painting, Sculpture and Applied Arts and M.A.(Fine) courses in Painting, Sculpture, Applied Arts and Graphic Arts- the practical subjects shall be considered . major' and Theory subjects ' minor ' . In B.A.(Finc) course in Art Hi story and M .A.(Fine) in Art History, A rt Criticism and Art Education, the Theory subjects shall be considered • major' and practical subjects" minor" .

The standard of passing for a II major courses ( Practical or Theory) will be 50 % minimum and for all minor courses (Practical or Theory ) will. be 35 % in the internal assessment and lests and III the UOlverslly

. \..~ .. examination .

(This passing standard will also apply to suc ~ of th.e heads of studies lU a course carrymg only certalU maxI­ mum marks for Home and Class Work etc. but to which no maximum marks for Annual Faculty Test or Uni­ versity Examinatious are allotted under the scheme 68 69

of courses concerned. The total marks assigned to a They shall be entitled to only two additional chances course will be made up of 40 % reserved fo r H ome and of repeating the courses and reappearing in the tests Class Work and 60 % reserved for Fac ulty Tests and! and this within three years of the li rs t attemrt. or UDlverstty ExamlDatlon 10 both Theory and Practical as the case may be). For st udents who miss such chances on medical grounds, suitable extension on lhe period will be considered by In B.A. (Final) and Diploma examinations. students the Dean. whose marks are below 55 % in the overall total will be declared to have passed in the pass class. Students Such degree students as have failed in the Faculty test wbose marks arc 55 % anct above but below 65 % in the but have passed in all the subjects of the Diploma course overall total WIll be declared to have passed in the may be considered for promotion to the Diploma class Second Class. Students whose marks are 65 % and if the Dean is satisfied. above III the overall total will be declared to have passed in the First Class . . Students who secure 75 % or more Students wh o have fail ed in theory papers shall be 10 ~ pra~tlc a l subject and 65 % or more in a theory eligible to appear in those as ex-students. Those subject WIll be declared to have passed with distinction who have failed in the practical subjects will have to in those subjects. study them afresh.

In M.A. ( Fine) and Post-Diploma examinations, the Students who arc in the 1st Specializati on year will be candIdates have to secure at least 50 % in aggregate to allowed to change thcir Specialization subject if they pass. The classes will be uwarded as under :- make a written application to that elTect within the lirst 20 days. 50 % and above- Second Class 65 i~ and above- First Class Students will be allowed to change their optional 75 % and above- Distin ction Graphic arts subjects also if they make a written Students who have failed in the Faculty or University application to that elTeet within the first 20 days. hn ve to repeal their courses and appear E xa.ml~ a tlOn Students who have studied one of th e subjects oftcred agam ,10 the Faculty or University EXaJnination the for course or followltlg ye,ar or any subsequent year within 3 years certificate as a subsidiary for Degree of the first attempt. Diploma for at least three years. will be considered for direct admission into the second vear of the Certificate tudents of the Prepa ratory Unit wi ll h3" e to pass course in that subject if they so -desire. !ully fo r promotion to Specialisation unit. However. If they have fa ~led in o n~ theo ry and in one practicai ncourse. they wtll be entitled to a supplementary test prOVIded they have se~ured minimum of 25 % of marks III theory and 40% ot mark s in practical tests. ' """Si:W:rents of the 1st and 2nd Speciali sat io n years of the Degree or DIploma course ha\'e to pass full y in their annual tests to be promoted to the nex t year. There Interna I Tests IS no prOVI Sio n fo r supplement ary tests. Those wh o. fail ha\e to repeat all the courses again in Tests in practical subjects will be identical for both the followlln£ year and appear for tests afresh at the Degree and Diploma students. Diploma students end of lhat year except in those subjects in which they wiH have no annual tests in their theory subjects ; their have scored dlstm ctlOn marks in the previous test. performance in these will be assessed by tutorials. 70 71

.First Year Preparatory Degreefl)iplom·. : ~ Marks fo r Marks fo r Exam in a- Class Work/ Marks fo r !vfarks for tion Assignments Examina- Class Work/ Tutorials tion Assignments 'Tutorials 303 An of Ancient India 120 80 Theor)' 304 Introduction to Psychology 120 ~O '101 ' Story of Art 2';0 160 305 Advertising Theory 120 80 III EhgJi sh 120 80 311 Engli s.h 120 80 11 2 Hindi 120 80 312 Hindi 120 80 PCOi ctice Pr.ctice 121 Drawing 300 200 Painting 131 Colour 300 200 141 Clay Modelling 300 200 321M Study from Life 360 240 15 1 Print-making 300 200 322M Composition 360 240 321m Study from Life 120 80 322m Composition 120 80 Second Vear Preparatory Degree/Diploma Sculpture Theory 331M Study from Life 360 240 332M Composition 360 240 101 Cultural Histo ry of In dia 120 SO 331m Study from Life 120 80 202 Fundamentals of Art 120 80 332m Composition 120 80 ABCD ( Painting, Sculp- ture. Applied Arts and Applied Ahs G raphic Arts ) 2 11 English 120 80 341M Foundation 420 280 212 Hindi 120 80 342M Advertising 420 280 341m Foundation Art 120 80 Theor)' 342m Advertising Design . 120 80 351 Print-making by Wood 200 221 Painting 300 200 cut and Linocut or Litho- 231 Sculpture 300 200 graphy or Serigraphy 24 1 Applied Arts 300 200 352 Photography 200 251 Pottery 300 200 353 Process , 200 354 Typograpby and Printing 200 355 Pottery and Ceramics 200 First Year B.A. ( Fine )jDiplom. 356 Carving in wood and , plaster 200 Theory .. . Tlleory 30 1 Ncar Easter n' A.rt 60 40 European Art fro,n 120 80 302 Art of the F ar-East 60 40 f: . 401 9ree~ .> to Renaissance 73

Marks for Marks for Test Paper for First and Second Yt'sr B.A. ( Flnt') In Art Examinra - Class Work! History tion Assignments Tutorials Marks for Marks for 402 India Art from the end 120 80 Examina- Class Work; of the Gupta period to tion Assignments Rajasthani Pai nting Tutorials 403 Indian Aesthetics 60 40 1st" Year B.A. (Fine ) 404 Advertising Theory 60 40 4 11 Engli sh 120 80 Paper I Fundamentals 3 hrs. 120 80 412 Hindi 120 80 of Art Paper II Cultural 3 hrs. 120 80 P ractice Background of India ( Part I) Painting (Main) Paper III Background 3hrs. 120 SO 421 Study from Life 420 280 of World Civilizations 422 Composition 600 400 ( Part I) Paper IV English 3 hrs. 120 80 P ainting ( Subsidiary ) Paper V Hindi 3 brs. 120 80 Paper VI Psychology 3 hrs. 120 80 431 Print-making by Wood-cll! 300 432 Litnography Paper vn Classical 3 hrs. 120 80 300 India n or Foreign language 433 Etching 300 434 Mural techniques 300 2nd Year B.A. (Fine ) Sculpture ( Main ) Paper I Cultural 3 hrs. 120 80 441 Study from Life 420 280 Background of India 442 Compositi on 600 400 ( Part II) P aper II Backgro und 3 brs. 120 80 Sculpture (Subsidiary ) of World Civilizations 451 ( Part II) Carving in Relief or 80 Round in Stone Paper III English 3 brs. 120 Paper IV Hindi 3 hrs. 120 80 Paper V Indian 3 hrs. 120 80 Applied Art ( Main) Aesthetics 461 Foundation Art 420 280 462 Advertising Design 600 400 University Examination for B.A. (Fine) Applied Arts ( Subsidiary ) Diploma 471 Lithograpby ISO The examination in practical subjects will be identical 472 Photography ISO fo r botb degree and diploma students. Diploma 473 Process ISO students will have no examination in tbeir tbeory sub- 474 Typograpby and Printing ISO jects, their performance in these will be assessed through 475 Interior Decoration . -- IsO tutorials . . 74 75

Marks for Marks for University Examination for B .A. ' ( Fine) in Examina­ Class Workl tion assignments Art History Tutorials Theory Marks for Marks for Examina- Class Workl 501 European Art, MaD- 180 120 tion Assignments nerism to Modern Tutorials 502 Indian Art, Mughal 180 120 Paper 1 to Modem Section I 1 503 Introduction to Western 120 80 P rehistoric Art I Aesthetics Section Il 120 80 504 Advertising Theory 120 80 Ancient Near Eastern J> 3 hrs. Art Practice Section III Far Eastern Art

Painting (Main) Paper II Indian Art J hI'S. 120 80 511 Study from Life 480 320 (Early and Medieva l 512 Composition 480 320 Period ) . Painting ( Subsidiary) Paper III Indian Art 3 hr;. 120 80 (Mughal to M odern ) ~ 521 Wood-cut 200 and I nfluences of U 522 Lithography 200 Indian Art outside 523 Etching 200 India 531 M ural Techniques 200 Paper IV European 3 11fs. 120 80 Sculpture ( lain) Arl (Greek to Renaiss- 541 Study from Life 480 320 ance ) 542 Composition 480 320 Paper V European Art 31m. 120 80 (Mannerism to Modern) Sculpture (Subsidiary) 551 Bronze-casti ng 200 Paper VI Aestbetics 3 Ius. 120 80 ( Indian and Western) Applied Arts (Main) 561 Advertising Design 480 320 562 ' Foundation Art 480 320

Applie,1 Arts (Subsidiary) University Examination for M.A. (Fine) and 57 1 Process, .. 200 Post-Diploma 572 Lithography 200 573 Photography 200 " _ ' 574 Typograp)1y and Printing .. 200 150 marks out of tbe Practical Examinations are reserved :c" ' :" sis Tnterior Decoration' .. 200 for a Viva-Voce Examination for all Post-Graduate M.A. ( Fine ) students, excepting those of Art CriticislU. 76 77

Painting Marks for Marks fo r Examina- Class Work/ Candidates for M.A. (Fine land Post-Diploma Specia­ tion Assignments lization havo to take olle examinatioll only from Por­ Tutorials trait Painting, Mural Design or Creative Painting; Post Diploma Specialization will have no theory papers. Practice 631 /731 Portraiture 240 hrs. 1080 720 Marks fo r Marks for 240 11[5. 1080 720 Examina- Class Work/ 632/732 Monumen- tion Assignments tal Sculpture 633/733 Stone 240 Ius. 1080 720 Tutorials Carving Theory 634/734 Wood 240 Ius. 1080 720 Carving 601/701 Metal 240 l1[s. 1080 720 Philosophy 3 hrs. 120 635/735 of Art 80 Sculpture 240 hrs. 1080 720 603/703 Modern Art 3 hrs. 120 636/136 Creative 602/702 80 Sculpture History of 3 hrs. 120 80 Painting Dissertation 200

Practice Applied Arts . F ) d Post-Diploma SpecIal 621 /721 Portrait 240 hrs. 1080 Candidates for M ·(~ke( ~~amillation only from Painting 720 0:: ~~f~~~::'t~oa:.. o~;door Publicity or Visualization. ;~~~- 622/722 Mural 240 hrs. 1080 Design 721') Diploma Specialization WIll have no theory p p . 623/723 Creative 240 hrs. 1080 Theory Painting 720 Dissertation 605/705 Business 3 hrs. 120 80 200 Organization Sculpture 606/106 History of 3 hrs. 120 80 Advertising Candidates for M.A. (Fine) and Pos t-Diploma 603/703 Modern Art 3 hrs. 120 80 Specialization have to take one examination only from Practice Portraiture, Creative Metal Sculpture, Monumental Sculpture Stone Carving, Wood Carving or Bronze 641 /741 Illustration 240 hrs. 1080 720 Casting, Post-Diploma Specialization will have no 642/742 Outdoor 240 hrs. \080 720 theory paper. Publicity 6431743 Visualization 240 1m. 1080 720 Theory Dissertation 200 601 /701 Philosophy 3 hrs. 120 80 Art Critklsm of Art 603/703 Modern Art 3 hrs. Theory 604/704 120 80 History of 3 hrs. 120 80 609/709 History of 3 hrs. 120 80 Seulpture Indian Art 78 79

Marks for Marks for Marks for Marks for Examina w Class Work! Examina- Class Work/ tion tion Assignments Tutorials Tutorials Practice 610/ 71 0 History of 3 hr• . 120 80 \Vestern A ri 648/748 Relief 120 hrs. 540 360 602!702H Modern Indian 3 h

and speaking ~ on Art Theory ( Viva-Voce) 603/703 Modern An 3 hrs. 120 SO 645174 P ractical study 400 of an assign. 615/715 Economics of 3 Ius. 120 SO cd problem Production ( Dissertation) and Business 646/ 746 Initiation in Organization 200 80 Painting, Sculp- 613/713 History of 3 1m. 120 lure, Graphic Print-making 80 Al'l and Crafts 714 Reproduction 3 hr •. 120 ( including Processes '. methods and materials of Practice Fine Arts) 65 1/751 Design of a 240 hrs. 1080 720 complete book Graphic Arts (Print.making) Dissertation 200 An Education . Theory T heOry 603/703 Modern Art 3 hrs. 120 80 120 80 613/713 History of 3 hrs. 120 80 616/716 History of 3 hrs. Print-making Art with Art 7 14 Reproduction 3 hrs. 120 SO Appreciation Process 608/708 Psychology . ~ hrs. 120 80 80 31

Marks for Marks for Marks for Marks for Examina- Class Work/ Examina- Class Work/ tion Assignments tion Assignments Tutorials Tutorials Art eurri- 3 hrs. 120 80 617/717 60S/70SH Indian Art: culum Indian Sculp- 3 hr>. 120 80 Foundation ture and Archi- Methods tecture 80 618/718 Audio-visual 3 hrs. 120 OR Education Indian Painting. 619/719 Teaching 3 hrs. 120 80 606/706H Western Art: 3 hrs. 120 80 Methods G reco Roman 620/720 Child Art 3 hrs. 120 SO Art OR Practice Christian Art ( Byzantine and 66O/760E Practice in 120 80 Medieval) Teaching OR Term Work Art of European 661/761E Painting 120 80 Renaissance and Practice Baroque. Term Work 607/707H Optional Paper 3 hr>. · 120 80 662/762E Sculpture 120 80 Far Eastern Practice Art ( China and Term Work and Japan) 120 SO 663/763E Graphic OR Practice Influences of Term Work Indian Art in Central and Art History South East Asia OR 601 /70m Art Historical 3 hrs. IlO ~l' Art of Ancient Methodology and Near Eastern Interpretation, Cultures and Contempo- OR rary Arts and Islamic Art Ideas OR 602/702H Modern Indian 3 brs. 120 80 Art of Ancient Art Latin American 60317038 Modern Western 3 hrs. 120 80 Cultures ~ :0 Art OR ;, 604/704H I ndian Art: Prehistoric and Religions and 3 hrs. 120 80 Tribal Art ":' -;, Textual sources 60S/70SH Dissertation . 400 1 ·' of Indian Art .,. Viva-Vo~ · 200 . 83

Rules Regarding Mllrklists graduate Studies and Research may approve of any other arrangement for the purpose. Issue of Statement of Marks (2) The University Teachers shall conduct the Post­ The statement of marks obtained by a candidate at graduate Studies under tbe control of and subject to lhe University examination will be supplied only by the the rules made by the Council of Post-graduate Studies University Office on the payment of fee of Rs. 2/-. and Research. . The students should apply to the Registrar ( Examina­ lions ) of the Universiy for the statement of marks ( 3) Every candidate for a Post-graduate degree or obtained at the University examinations. Post-graduate diploma of the University shall:- Rules regarding Verificatkln and Statement of Marks for (i) in case where a Post-graduate degree is to be Unil'ersity Examination awarded on the basis of research thesis, attach himself The University will after the declaration of results to a University Teacher in the subject of his studies, and entertain applications from candidates for re-checking work under him for the period ...pres cribed by the of marks and not re-assessment on payment of a fee of Ordinances ; Rs. \0/- per paper provided that :- ( ii ) pay to the authorities concerned, the fees pre­ ( i ) the application is made through the Head of scribed by them ; the institution tbrough whicb tbe students appeared and ( ii ) the application is made not later than 6 weeks ( iii) apply to the University in the prescribed forlll aner the date of declaration of results. for registration as a Post-graduate student of the Uni­ Application received thereafter will not be attended versity. The institution which the student joins shall to. The University will on receipt of such application collect the registration fee at the time of admission and scrutinize the answer-paper as to wbether all the forward it, ·along with the form, to the University within questions attempted by the candidate in that paper have one month from tbe date of commencement of the been assessed by the examiner and whether the totalling academic year, i,e. on or before. the 20th July. of marks assigned to all the answers is correct. NOTE :- ( a ) Those who intend to take their examina­ This will not be done in the presence of the candidate. tion by thesis, may register at any time of the year. In case where an answer has remained to be assessed (b) No candidate for a Masters degree or Post­ the University will get it assessed from tbe examiner graduate dinloma by papers shall be permitted to concerned and declare the result consequent upon it. commence his work in the second term of an academic In such case, the fee paid will be refunded to the year. candidate irrespective of whether tbe candidate passes or fails as a result of the assessment of the answer. ( iv) Pay the registration fee of Rs. 10/- for a In a case whether the total of marks assigned is found Master's degree or a Post-graduate ·diploma and Rs. on re-checking to be incorrect tbe fee paid will be 20/- for the Ph.D. degree: refunded to the candidate irrespective of wbether the candidate passes or fails as a result thereof. In all ( v) no student can register himself simultaneously other eventualities, the fee paid by tbe candidate will for more than one Post-graduate degree/diploma. The not be refunded by the university. pcriod of registration for a Post-graduate degree/diploma ends with his completion of the required terms. Rules Ralating to Pest-graduate Studies NOTE:- Only sucb students as have been registered as (Approved under S.R. No. 22 dated 23-12-61 ) Post-graduate students and have been paying regularly ( I) Post-graduate teaching shall as far as possible be the fee due to the institution shall be permitted tl> carried on in the University, but tbe Council of Post- a~tend Post-graduate lectures, 84 85

(4-) No Post-graduate student for a Master's degree second term provided that the applications for registra­ or Post-graduate diploma will be eligible to appear for ti on are... sent to the Registrar as required under Rule an examination by papers fo r a Post-graduate degree/ No. 3 above. _diploma unless he has attended not less than three-fourth 'of the numbers of lecturers delivered in each subject ( 8 ) Any perso n intending to take a Post-graduate and 80% :If the days allotted fo r practical classes and deoree in a subject diiferent from tbe one for whIch he laboratory work as per O. 183_ wa~ registered, mu st register him se lf afIesh by paying the prescribed registrat ion fee; provided tbat such ( 5) Candidates who ha"e registered themselves for registration shall be pennitted only during the first term Post-graduate deg~ee s in certain specified subjects may and on a certificate from the Head of the Department be permItted, subject to the approval of teachers in in the new subject and the Dean concerned that it will the subjects con~rned , before the end of the first term be possible for him to keep the necessa ry attendance. after _ registration, to change their subjects without losing the term and be- allowed to take up an allied original. Provided however the change shall be ( 9) (a j A change in the Principal L anguage can be immediately communicated to the Registrar by the permitted only during the first term, on the certificate -Dean concerned before the-beginning of the second term of the Head of the Department of the new Principal and incorporated in the Registration Certificate. L anguage and the Dean concerned. Students may ue permitted to change the'ir subordi nate language or (6 ) (a) Candidatcs registered for certain groups subject on the certificate of the Deportments cOllcerned in the Social Sciences or Humanities fo r the M.A. and the Dean concerned not later th an ' the beginning Examination may be permitted to change their group of the third term . within their registered subject only if the application for such changes are received by the Registrar before the ( b) Post-graduate sludents who have taken up Lan­ commencement of the third term, duly recommended guages may be permi tted to interchange th eir Principal by the Head of the Department in the subject and the and Subordinate Languages before the end of their Dean concerned. Candidates changing both the seconr! term on the recommendation of the Heads of groups must register their names afresh, and keep for the Departments and the Deans concerned . Such fresh term. . students need not register the~r llames afresh. ( b). Candidates registered for certain sub-groups or optional papers of a subject for the Master's degree ( c) Students taking uJl a new Principal Language examination may be permitted 10 change their sub­ at th e end of two years, or after hav in g railed in an groups or papers onl y if the application/s for such examination have to keep at least four term s in the changes arc received by the Registrar not later than the Language provided that in the case of those who have date of commencement of the third term duly recom­ take n for their Principal Language, their old Subordi­ mended by the Head of the Department in the subject nate Language, the period of further study shall be only and thc Dean concerned. Th is rule shall also apply two terms. Such students need not register their to the change in the title of the di ssertation or Research names afresh. Report, wherever applicable. ( 10) A change in the title of tbesis/dissertation/Re­ (7) Wherever ordinances require determining of search Report for which a candidate has been registered titles of dissertati(>n/Researeh Report after some time mal' be permitted by the Vice-Chancellor at any time on after joining the course, the certificate of registration the reco mmendation of the guiding teacher, Head of shall be issued only after the titles are finalised and com­ the Department and the Dean of the Faculty cOIl­ municated by the Head of the Department and Dean ' cerned. concerned but in DO case.!ater than the beginning oCthe 86 81

( II ) (a) Candidates wishing to submit thesis for Degree of the Doctor of philosophy research degrees can do so at any time after the com­ pletion of the prescribed number of years from the date of registration, but within two years after the date of The Degree of Doctor of Philosophy maybe subject to completion of terms. No candidate shall be permitted the conditions mentioned below:- to submit thesis thereafter unless permitted by the Council of Post-graduate Studies and Research. TIle O.Ph.D. f Research Student should be constantly in touch with his guide and must work to his satisfaction. Conferred · upon nolders of any other University recog­ nised by this university. ( b) The research student who in the opinion of his NLTE: - For purposes of this Ordinance, holders of guide and the Dean concerned is considered to be in­ (i) B.Sc. (Tech. ) degree of-the university of Bombay, active for a long time o r is otherwise considered unfit ( ii) Associateship of the Indian Institute of Science, to contin ue as such a student, shall be liable for the Banglore, ( ii i) Associateship Course in Fruit and cancell ati on of his registration at any time the Uni­ Vegetable Technology (Assoc. ) (C.F.T.R.I.), Mysore ·vcrsity receives such a report. and (iv ) Post-graduate Diploma in Social Services Administration of Tata Institute of Social Sciences, ( 12 ) A research student, already registered and Bombay, will be · considered eligible for registration. received guidance from his teache r shall be deemed to continue under the guidance of his teacher till he O.Ph.D. 2 completes the minimum peri od for which he is required A candidate before being registered for the degree of to take the guidance. The Doctor of Philosophy shall be required to satisfy after proper scrutiny of his attainments, tne Board ( 13 ) Fees for registration of Post-graduate students consisting of the guiding teacher, the Head of the will , in no case, be refunded, after the issue of registra­ department and the Dean of the Faculty concerned, t.i on certi fi cate . at an interview, held for the purposes that he possesses adequate general knowledge to pursue successfully the ( NOTE:- These revised' rules are to be el!'ective from courses in his special fi eld of study. No candidate the academic year commencing from June 1962 to shall be registered unless he is recommended by the all Post-graduate and Research students even if regis­ Board. tered earlier. ) O.Ph.D. 3 A candidate for Ph.D. degree must have worked after passing the examination for the Master's degree for tl!e necessary period under the guidance of a recognised university teacher. The period shall be two academic or calender years. The term ' academic year' applies to candidates who register within one calender month of the first day of any academic year and that of • calender year' to candi­ dates who register at any other time. NOTE:-The Council of Post-graduate Studies and Research may waive the condition of working under the guidance of a teacher in special case, if it is satisfied that the candidate who is enaaaed in academic profession, 88 89

wiil be able to do his research work independenJly and fee of Rs. 150/-. The thesis may be submitted any time it will not be possible for him to · arrange for the neces­ during the year. sary guidance consistent with his professional work. O.Ph.D. 8 O_Ph_D_ 4 (i) The Council of Post-graduate Studies and Re­ No cand idate shall be permitted to appear fo r the Ph.D. search having before it the panel prepared by the degree in a subject different from the oue in which he appropriate Board of Studies shall recommend to the has obtained his Master's degree. Provided however Syndicate the names of at least four referees including that recognised ieacher may recommend to the Council the internal referee who shall be the teacher who has of Post-graduate Studies and Research admission of guided the candidate's work for examining the thesis. a student to th e Ph.D. degree in a related subjec t. The Syndicate shall appoint three referees, including the teacher who has guided the candidate's work. If O.Ph.D.5 the candidate is permitted by the Council of Post­ graduate Studies and Research, to work independently, A ca ndidaie will not be · permitted to submit as his no internal referees shall be appointed bui two external thesis, a thesis for which a degree has been ·conferred referees shall be appointed as usual. The referees shall on him in this or in any other University but a candi date examine the thesis and submit a joint repori whether shall not be precluded from incorporating. his wo rk there is a primafacie cas< for the acceptance or the which he has alreadv submitted for a degree in this or rejectio n of the thesis. Provided, however, that.a Ph .D. in an v other University in a thesis covering a wider candidate art er completing four terms under a re­ 11 eld, -in which case he shi ll indicate in a· wri tten cognised teacher, shall be at liberty to submit his thesis statement acco mpanyin g -the thesis any work which independently, in case the guide under wh om he has has been so incorporated. . wor~ ed, leaves thi s University. 1n such cases, no . internal, referee shall be appointed. O.Pb.D. 6 (ii) If the two external referees consider the thesis Each candidate for the · degree shall send fo ur type­ nnsuita ble for the award of the degree: no viva-voce written or· printed copies of hi s thesis embotlying the test (,f the candidate shall be held and the report shall results of his research and stating whether the work is be placed before the ·Syndicate for nnal decision. If based on the discovery of new facts by the candidate the external referee s agree that there is a prima-facie or of new relations of facts, observed by others and how case fo r the award of the degree; a viva-voce test or the work tends to the generAl adva·ncement of know­ the cand idate by the internal and at.:least one external .ledge. The thesis shall be written or printed in English, referee shall be arranged. The referees present at the save that when the subject-matter of thesis rei ales to viva-voce iest shall report jointly to , the Syndicate a Modern ·European, or Indian Language, it may be whether the thesis be accepted for the awa rd of the written or printed in that language. degree or not, and the Syndicate shall decide whethe r the thesis should or should not be accepted for the O.Ph.D. 7 award of the degree, and their decision shall be fi nal. Provided. however where no internal referee IS ap­ Two mouths before submitting the thesis the candidate pointed the Registrar will arrange the viva-voce shall forward to the Registrar through his guide, who examination with the help of the extemal referees . shall sotisfy himself regarding the quality oLtho tbesis, available. three copies (four copies in case of students sub­ .milting synopsis of the tbesis for. the Ph.D. degree in (iii) Ia case ·of a diffeTence of opinion between the :.Ed.ucation ) of. th~ ~ynopsis of. the thesis .atol1g with a ·two external referee.,. the Syndicate shall appoint from 91 90

Candidates intending to work for more than 6 months the list recommended by the Council, a third external upto a maximum period of two years from date of their referee. If the third external referee reports that the completion of 4 years after registration shall be re­ thesis is unsuitable for the award of the degree, no quired to pay the tui lion fees for two terms only. viva- vo ice test of the candidate shall be held and his Candidates who have renewed thei,: Ph.D. regi strati on report sha ll be placed before the Syndicate for fi nal sha ll subm it their thesis within a period of not morc decision. . th an 6 years from the date of the ir original registration.

Dr. RaHlll Parimoo Dean In case the third referee considers that there is a prima­ l facie case for the award of the degree, a viV~lAr oce test of the candidate shall be held at which the internal Painting Department referee and at least one of the referees, who is in favour of tbe award of degree,_sha ll be present. The referees Prof. K. G. Subramany~n, Head of the Dept! . present at the viva-voce test shall report jointly to the Shri Jyo ti Bhatt, Reader Syndicate whether the thesis be accepted for the award Shri Rames h M. Pandya, Lecture,' . of the degree or not and the Syndicate shall decide Shri Feroz N. Katpitia, Lecturer · whether the thesis shall or should not be accepted for Shri Vi nod C. Shah, Lecturer the award of the degree and their decision shall be Sh ri Vinod R. Patel, · Lecturer "final. Provided, however, where no internal referee Shri Gyarsilal Mistry, Lecturer in· Fresco is appointed with the._. help of the external referees Miss Nasreen Ashraf Mohamedi, Lecturer available. Sculpture Department O.Ph.D. 9 Shri Mahendra D. Pandya, Reader and Head of the A work that has been rejected may be resubmitted Department after due revision and subject to the payment of half Shri Raghav R. Kaneri a, Reader in Sculplure of the original fee . A thesis required to be revised , Shri Girish C. Bhatt, Lecturer. ' should be resubmitted within not more than two years, Shri Raj nikanl R. Panehal, Lecturer in Bronze Casting failing which the candidate will be required to go in Shri Krishna Chhatpar, Lecturer in Sculpture for re-registration. The revised thesis be sent to the Miss Kumud G. Patel, Lecturer in Pottery same referees as far as possible. Mrs. Jyotsna Bhatt, Asstt. ( ccturer in Pottery Applied Arts Department O.Ph.D. 10 Shri Jeram Patel, Reader and Head of the Department (j) The maximum time limit for submitting the thesis Shri Narendra K. Soat. Lecturer . for the Ph.D. degree shall be 4 years after the date of Shri M. S. Despande, Lecture · in Process and Block the registration. making Shri Vi nay P. Trivedi , Lecturer ( ij) Candidates who after completing four years from Shri Vasant G. Chitte, Lecturer the dale of their registration, intend to continue their Shri Vasant G. Mistry, Technician work for the ph.D. degree shall be required to renew their registration by paying the necessary tuition fees Graphic Arts Department only. Candidates working for Ph.D. degree for a period of 6 months or a part thereof from the date of Shri Hasmukh R. Palel, Lecturer in Wood Craft their completion of four years after registration, shall Shri Narendra J. Mehta, Lecturer in Photography ·be re.quired io. pay the ·tuition fees for one term only. 92 93

Shri Vinod S. Patel, Lecturer in Grapb..ic Arts Calendar for the Year 1976-77 Shri C. T. Patel, Printer

Arts History and Aesthetics Department The Terms and Vaca tio ns in Ihe Academic Year 1976-77 in the Faculty of Fine Arts wi ll be as under : Dr. Ratan Pari moo, Reader and Head of the Deplt. Shri Vi shnukumar Bhatt, Lecturer .First Term Shri Gulam Sheikh Lecturer Shri Dccpak Kanna l, Archivist. Date of Commencement Date of Conclusion

Administrati,"e Staff Monday, Saturday, 28th June, 1976 161h Oclooer, 1976 Shri R. R. Bhalt, Head Clerk Shri C. N. Pandya, Senior Clerk Mid·year Vacation Shri A. B. Agnihotri, Clerk Shri R. A. Shah, Clerk Smt. N. P. Chokshi, Clerk Monday, Saturd ay, Shri S. T. Parikh, Store Clerk 18th October, 1976 13th No vember, 1976 Shri R . Z. Patel, Technician Shri L. V. Limkar, Library Asst!. Second Term

Monday, Ollicers of the Un;"ersity Thursday, 15th November, 1976 31s1 March, 19 77 Chancellor His Highness Maharaja Fatehsinhrao Gaek\\'ad Year-cnd (Summer ) Vacation

Friday, Saturday, Vi ce Chancellor I st April 1977 18th Junc. 1977 Professor P. J. Madan B.Sc. (fngg. ) ( Edi n.), M.sc. Engg. D.I.C.M. Inst. H.E. (London), M.I.E. ( India ) Applicatio ns for ad mission wi ll be accepted till 19th JUlle, 1976. Thc admission (csts wi ll start lSI July 1976 Pro-Vice-Chancellor Professor S. M. Sethna M. Sc. Ph.D. Address: Registrar Faculty of Fine Arts, Pushpa Baug. Shri K. A. Amin University Road, Baroda-2. Phone: 64510 Dean Dr. Ratan Parimoo LIST OF HOLIDAYS, .,'''·77 The following will be the Holidays, during the year 1976-77 for the students, teachers, vacation and non-vacation employees.

I, Rak'ha BandhaD 9th August, 1976 Monday •I (Nareali Purnima ) • 2. independence Da)' 15th A ugust, 1976 Sunday 3. Gokul, Ashtami 18th August, 1976 Wednesday 4. Parsi Ne~' Year Da)' 27th August, 1976 Friday 5. Ganesh ChMturthi L 28th August, 1976 Saturday 6. Sam"atsari J 7. Ramzan·ld 26th September, 1976 ' Sunday (ld·UI·Fitr. ) 8. Birthday of ') Mahatma Gandhi ~ 2nd October, 1976 Saturday 9. Das""r. J 10. Diwali 22nd October, 1976 Friday 11. Di"..li 24th October, 1976 Sunday (New Vear DMY ) 12. Bhai Bii 25th October, 1976 Monday 13. Birthda)' of Sirdar 31 5t October, 1976 Sunday Vallabhbhai Patel 14. Guru Nanal,s 6th November, KE'!' TO S'I'MB015 1976 Saturday ==- "" ... ," RO .... 05 Birthday, __ MLnOR RO .... OS ]5. @.UI'4''1fRSln Bakri·Jd ( Id·Ul·Azha ) 2nd December, 1976 Thursday INS1ITU1l0MS 16. Christmas 25th December, 1976 Saturday a TO i-CInEMA HOUSES 17. Mahoram ( Asura or 1st January, 1977 Satll rday Nt - HHMiCERIIO hlARKU G - GAHtnU " A6"R 10th Dol' ) " _ " YAYA MAi"IOI R 18. Sir Sayajirao 3rd January, 1977 Monday .'~~~!!:~'''1 -W - Yl OM~"S T . (OLlUI( -; TECH ... 50.- GO'l(RtlMfl'll Diamond Jubilee Da)' lfCtltl ' C"l ".l. J 9. Makllrsankranti 14th January, 1977 Friday KOT"I- \ U niYersity may be granted sectional holiday Oil the (22) Kalabhavaf' ~ fa('u\~y I"'f T,"ch&O ;~~tics (24) Unive~5ity 8oatingClub. C'3) College of Indian. MusIC. Dance day on which the holiday is actually observed. as) San)k.ril Mab.1\idyalaya.