M. A. (Fine Arts) part-i (Semster I & II) for 2011-12 & 2012-13 sessions publication bureau punjabi university, patiala

(Excluding Postage)

Studies leading to the M.A. degree in Fine Arts shall consist of two parts in each year :

(A) History and Theory

(B) Practical

Both parts shall carry the same weightage.
M.A. PART-I

SEMESTER-I

Part A : History and Theory

Paper I : Art and Cultural History of India

(Painting and Sculpture upto 1850 A D)

Paper II : Aesthetics and Principles of Art Appreciation

Paper III : One of the following two options;

Creative Composition

or

Miniature Painting

Portrait Painting from Life

or

Print making (Graphics)

1. The examination in each of the papers will consist of two

(A) Written Paper 80 marks; Duration : 3 hours

(B) Slide Test 20 marks; Duration : 45 minutes

2. In the written paper the candidates shall be asked to answer two questions each from both the sections, carrying 12 marks each (aggregating 48 marks), and 16 short-answer type questions spread over the two sections and carrying 2 marks each (aggregating 32 marks)

3. The slide test carrying 20 marks shall consist of: identification of 5 works of art carrying 5 marks (from the slides seen during the Semester) and critical analysis of two objects carrying 10 marks; 5 marks allocated on the basis of attendance throughout the Semester. The works of art will relate to the contents of the paper.
Instructions for Paper setters

The question paper will consist of three sections: A, B and C. In sections A and B, four questions each will be set, carrying 12 marks each, of which the candidates will have to attempt two questions. Section C will consist of 16 short-answer type questions, each carrying two marks, spread over the two sections equally.

In the written paper, candidates will be required to attempt

Pre Historic Paintings Bhimbetka, Pachhmarhi, Singhampur, Raigarh; Jogimara; Ajanta, Bagh, Badami and Ellora; Buddhist Manuscript Painting (Pala School); Jain Manuscript Painting (Western School).

Mughal School of Painting; Rajasthani Painting; Pahari School of Painting; Company Painting; Sikh Painting.

1. Archer W.G. : Paintings of the Sikhs; Her Majesty's Stationary Office, London, 1966.

2. Aryan K.C. : Punjab Painting, Published by Punjabi University, Patiala, 1975.

3. Barrett Douglas & : Painting of India, Treasures of Asia

Basil Gray Series, Lausanne, 1963.

4. Brown Percy : Indian Painting, Harnam Publications New Delhi, 1982.

5. Chawla Sant Singh : A History of Indian Sculpture - Bharti

& Aagya Kaur Murti Kala Da Itihas, Punjab State University book board, Chandigarh, 1974.

6. Coomaraswamy : History of Indian and Indonesian Art, Ist

A.K. Edition Munshi Ram Manohar Lal, New Delhi, 1972.

7. Deva Krishan : Temples of North India, Published by National Book Trust, India.

8. Goetz Hermann : India : Five Thousand Years of Indian Art, IInd Edition Methuen Publications, London, 1964.

9. Goswamy B.N. : Painters of the Sikh Court; A study based on twenty documents, Aryan Books International, New Delhi, 1999.

10. Havell E.B. : Indian Sculpture and Painting : With an explanation of their motives and ideals; Cosmo Publications, New Delhi, 1980.

11. Kramrisch Stella : The Hindu Temple; 2 Vols. Calcutta, 1946.

12. Rawson Phillip.S. : Indian Painting; Paris and New York Publications, 1961.

13. Ray Niharranjan : Mauryan and Sunga Art, Indian Studies, Calcultta, 1945.

14. Rowland Benjamin : The Art and Architecture of India (Buddhist, Hindu, Jain), Edited by Nikolaus Pevsner, Penguin Books, England, 1959.

15. Saraswati S.K. : A Survey of Indian Sculpture, Calcutta Publications, 1957.

16. Smith Vincent.A. : A History of Fine Art in India and Ceylon, IIIrd Edition, Published by D.B. Taraporevala sons and Co. Pvt. Ltd., Bombay, 1969.

17. Zimmer Heinrich : The Art of Indian Asia; It's mythology and transformations, Pantheon Books, New York, 1955.

18. Yazdani Gulam : Ajanta, Oxford University Press, London, 1946.

1. The examination in each of the papers will consist of two

(A) Written Paper 80 marks; Duration : 3 hours

(B) Slide Test 20 marks; Duration : 45 minutes

2. In the written paper the candidates shall be asked to answer two questions each from both the sections, carrying 12 marks each (aggregating 48 marks), and 16 short-answer type questions spread over the two sections and carrying 2 marks each (aggregating 32 marks)

3. The slide test carrying 20 marks shall consist of: identification of 5 works of art carrying 5 marks (from the slides seen during the Semester) and critical analysis of two objects carrying 10 marks; 5 marks allocated on the basis of attendance throughout the Semester. The works of art will relate to the contents of the paper.

Instructions for Paper setters

The question paper will consist of three sections: A, B and C. In sections A and B, four questions each will be set, carrying 12 marks each, of which the candidates will have to attempt two questions. Section C will consist of 16 short-answer type questions, each carrying two marks, spread over the two sections equally.

In the written paper, candidates will be required to attempt

Definition of Art and its Intrinsic values; Inter-relation

Indian Concept of Beauty; Beauty is a state of mind; Theory of Rasa and Bhava; Nature of Aesthetic Experience; Creative Process; Expression; Art and Intuition.

1. Anand Mulk Raj : Hindu View of Art, Arnold -Heinlmann, New Delhi, 1987.

2. Bullough E. : Aesthetics, edited by E Wilkinson, London, 1957.

3. Coomaraswamy : The Dance of Siva - Fourteen Indian

Anand K. Essays, Munshi Ram Manohar Lal, 1997.

4. Coomaraswamy : The Transformation of Nature in Art,

Anand K. Dover Publications, New York, 1934

5. Croce Benedetto : Aesthetics, London, Mac Millan Ltd., 1934.

6. Hariyanna : Art Experience, published by Kavyalya,1954, Mysore.

7. Kapila Vatsayana : Indian Aesthetics and Art, Activity Institute of Advance study Shimla, 1968.

8. Kramrisch Stella : The Vishnu Dharmotra-Purana, A treatise on Indian Painting, the Calcutta review, 3rd ser. 10, No. 2 February 1924.

9. Ray Niharranjan : Idea and Image in Indian Art, Munshi Ram Manohar Lal, New Delhi, 1972.

10. Ray Niharranjan : An approach to Indian Art, published by Punjab University, Chandigarh, 1974.

11. Read Herbert : The Meaning of Art; Faber and Faber, London, 1931.

12. Mukherjee R.K. : Flowering of Indian Art, The growth and spread of a civilisation, Bombay, Asia Publishing House, 1964.

13. Mukherjee R.K. : The Social Function of Art, Hind Kitab Ltd., Bombay, 1951.

14. Kanti Chandra : Comparative Aesthetics, 2 Vols. Chowkhamba Sanskrit series, Varanasi, 1972.

Paper III (Option - I) : CREATIVE COMPOSITION

Scheme of Examination

1. Examination in each of the papers will consist of two parts :

(A) Creative Composition 80 marks; the time allocated will be 4 days, each of the duration of 6 hours (with half an hour break for lunch.)

(B) Session work submission 20 marks

(The Lecturer/ College concerned shall submit the awards for part B.)

2. Candidates will be required to choose one topic out of atleast five topics given by the examiner and work on canvas, no less than 30" × 40" in size. The candidates will be given a choice of medium. A sketch will need to be submitted in the stipulated time period and shall carry the countersignature of the examiner.

3. The session work to be submitted shall consist of three original compositions; a sketchbook containing 50 sketches of human figures, animals birds and sketches from nature etc. Five colour sketches on quarter sheet. These works shall carry 15 marks. 5 marks are allotted for the attendance during the semester.

Instructions for Paper setters:

Not less than five topics will be set out of which the candidate may select any one of his/her choice. The size required should not be less than 30'' x 40''; the choice of the medium will be left to the candidates. While evaluating, the examiner will judge on the basis of the competence, technical skill, artistic rendering, composition, colour, texture, qualities of line and form.

The candidates will be given atleast five topics and will be required to attempt one. Special emphasis needs to be laid on technical and artistic rendering, composition, colour, texture, qualities of line and form the submission of the works at the end of the session shall be along the lines indicated in paragraph 3 above. Extra work related to the work done during the semester, and experimentation, will be appreciated.

Working with different materials and techniques on paper and canvas, composition shall extend to the human figure, birds, animals, creative landscapes, still life objects, etc.

Work with mixed media and installation, enhancing the work done during the semester.

The candidate will submit five compositions copy works during the semester.

Sketch book containing fifty original sketches of human figure, trees, birds and animals etc.

Five color sketches -size not less than quarter sheet.

Size : Half imperial (five works). These works must be attested by the lecturer who is teaching M.A. (Fine Arts) Practical classes.

1. Archer W.G. : Indian Painting in the Punjab Hills, London, 1952.

2. Archer W.G. : Indian Painting, London, 1956.

3. Archer W.G. : Kangra Painting, 1952.

4. Geeti Sen : Image and Imagination Five Contemporary Artists in India, Mapin Publishing Pvt.Ltd., Ahmedabad.

5. Goetz H. : Five Fhousands Years of Indian Art, Bombay, 1958.

6. Kimm Stevens : Acrylic Painting (The Bignner's Guide), Bison Book Ltd., Kimbolton House 117A Fulhan Road, London.

7. P.W. Jamuszczak : Techniques of the World's Great Painters, Phaidon, 1981.

8. S.K. Bhattacharrya : The Story of India Arts, Delhi. 1966.
PAPER-III (Opt. II) : MINIATURE PAINTING

Scheme of Examination

1. Examination in each of the papers will consist of two parts :

(A) Creative Composition 80 marks; the time allocated
will be 4 days, each of the duration of 6 hours (with half an hour break for lunch.)

(B) Session work 20 marks

submission

(The Lecturer/ College concerned shall submit the awards for part B.)

2. Candidates will be required to choose one topic out of atleast five topics given by the examiner and work on paper of the average size10'' × 8'' . The candidates will be given a choice of medium. A sketch will need to be submitted in the stipulated time period and shall carry the countersignature of the examiner.

3. The session work to be submitted shall consist of two copy works and three creative compositions, a sketchbook containing 50 sketches of the human figure, birds, animals, landscaper. etc. five colour sketches on paper. These works shall carry 15 marks. 5 marks are allotted for the attendance during the semester.

While evaluating, the examiner will judge on the basis of the competence, technical skill, artistic rendering, composition, colour, texture, qualities of line and form.

Special emphasis needs to be laid on technical and artistic rendering, composition, colour, texture, qualities of line and form.

The submission of the works at the end of the session shall be along the lines indicated in paragraph 3 above. Extra work related to the work done during the semester, and experimentation, will be appreciated.

Syllabus and Courses of readings

Section-A

1. Materials and methods on paper.

I. Copy work

II. Creative Composition

Composition shall extend to :

The human figure, birds, animals, landscapes. etc.

2. 1. Materials

Wasli, Brushes, Pigments, Burnishing material.

2. Processes

Gouache (opaque water colour)

Size :- Candidate will be required to work on paper, of the average size 8×12"

Section-B

1. Work with mixed media and installation, enhancing the work done during the semester.

2. The candidate will submit five compositions ( two copy works and three original ) during the semester.

3. Sketch book containing fifty original sketches of human figure, trees, birds and animals etc.

4. Five color sketches -size not less than 8"x10".

Size :- 8"x10" approx. (five works). These works must be attested by the lecturer who is teaching M.A. (Fine Arts) Practical classes.

1. Chitra Lakshana (Silparatana) Sir, Ashutosh Mukherjee, Museum Patna, 1926-28.

2. A.K. : Technique and Theory of Indian Painting,

Coommaraswamy "Technical Studies in the field of Fine Arts", 1934.

3. Dr. B.N. : Pahari Painting : The family as the basis of style monograph in Marg Bombay Sept. 1968

4. Dr. B.N. Goswamy : The Techniques of Pahari Painting

5. Moti Chandra : Techniques of Mughal Paintings U.P. Historicl Research society, 1957.

6. Patricia Monahan : Painting in Gouache (Studio vista beginners Villers House 41/47 Strand London W.C. 2N SJE

7. Sumahendra : Miniature Painting, Technique, Rooprang Publications. Jaipur, 1990.

1. Examination in each of the papers will consist of two parts :

(A) Portrait Painting 80 marks; the time allocated will be 4 days each of the duration of 6 hours (with half an hour break for lunch.)

(B) Session work 20 marks

submission

(The Lecturer/ College concerned shall submit the awards for part B.)

2. Candidates will be required to execute the Portrait, on canvas, no less than 18'' × 24'' in size. The candidates will be given a choice of medium. A sketch will need to be submitted in the stipulated time period and shall carry the countersignature of the examiner.

3. The session work to be submitted shall consist of: five portraits from life; a sketchbook containing 50 sketches; not less than four anatomical charts- comprising of muscles and bones of full figure to be done on imperial size sheets. These works shall carry 15 marks. 5 marks are allotted for the attendance during the semester.

The candidates should be provided with a model. The required size of the canvas should not be less than 18'' × 24''; the choice

The candidates will be asked to paint from a model. Special emphasis needs to be laid on technical and artistic rendering, composition, colour, texture, qualities of line and form. The submission of the works at the end of the session shall be along the lines indicated in paragraph 3 above. Extra work related to the work done during the semester, and experimentation, will be appreciated.

Study of anatomical details of the human head, muscles and tendons; study of the face, skull, individual parts of the head (eyes, nose, ears, etc), facial features of male and female figures from different angles; experimenting drawing bust on textured papers and canvas. Study of various expressions, moods and subtle lines in the face of a child and an aged person.

Make use of mixed media/ textured sheets to enhance the work done during the semester.

The candidate will submit five portraits during the semester.

Sketch book containing fifty original sketches of heads and busts; facial expression etc.

Anatomy Chart: Four sketches of skull from different angles of half imperial size.

Size :- Half imperial (five works). These works must be attested by the lecturer who is teaching M.A. (Fine Arts) Practical classes.

1. Andrew Loomis : Drawing

2. Andrew Loomis : Figure Drawing for All

3. Archarekar M.R. : Rup Darshani

4. Archarekar M.R. : Female Nude

5. Doust L.A. : How to sketch from Life

6. George Bridgeman : Complete Life Drawing

7. Helen Oslen : Painting Portraits

8. William Dorge : Oil Painting Portraits

9. Van Dav Pol J.B. : Human Figure

10. Victor Pararad : Anatomy and Drawing

Paper IV (Option II) : PRINT MAKING (GRAPHICS)

Scheme of Examination

1. Examination in each of the papers will consist of two parts:

(A) Portrait Painting 80 marks; the time allocated will be 4 days each of the duration of 6 hours (with half an hour break for lunch.)

(B) Session work 20 marks

submission

(The Lecturer/ College concerned shall submit the awards for part B.)

2. The candidates are required to work on one topic out of at least five topics given by the examiner on Linoleum, card board, wood or screen no less than 10'' × 15'' in size. The candidates are given a choice of medium. A sketch will need to be submitted in stipulated time period and shall carry the countersignature of the examiner.

3. The session work to be submitted shall consist of five print blocks or screen designs; a sketchbook containing 50 sketches, coloured or black and white. The size of sketch not less than quarter sheet. These works shall carry 15 marks. 5 marks are allocated for the attendance during the semester.

Not less than five topics will be set out of which the candidate may select any one of his/her choice. The size should not be less than 10'' × 15'' the choice of the medium to the candidates. While evaluating, the examiner will judge on the basis of the competence, technical skill, artistic rendering, composition, colour, texture, qualities of line and form.

The candidates will be given at least five topics and will be required to attempt one. The candidate must print at least 5 identical print copies from each plate or block.

The submission of the works at the end of the session shall be along the lines indicated in paragraph 3 above. Extra work related to the work done during the semester, and experimentation, will be appreciated.

Syllabus and courses of readings

Section-A

Print making (Graphics) in advanced Relief medium, using Linoleum, cardboard, wood blocks. Use minimum two or more colours for printing.

Screen Printing : advanced study in stencil.Use two or more colours.

Composition shall extend to the - human figure, birds, animals, creative landscapes, still life objects, etc.

Make use of mixed media/ textured sheets to enhance the work done during the semester.

The candidate will submit five identical prints copy from each plate or block during the semester.

Sketch book containing fifty original sketches of human figures, birds, animals and from nature ect.Five color sketches -size not less than quarter sheet.

Size/Print Area :- Not less then 10''x15'' (five works). These works must be attested by the lecturer who is teaching M.A. (Fine Arts) Practical classes.

Recommended Reading

1. Ashit Paul : Wood cut prints of 19th century, Seaugls Books Calcutta 1983.

2. Bradbury : The Art of Graphic Design, Goeffrcy

Thompson Cumberlege Oxford Univertiy Press, 1970.

3. David L. Oravez : Wood cut step by step lessons in designing, cutting, printing in wood blocks, Watson Guptill publication inc. New York.

4. Erich Rhein : The Art of the Print Making, Van Nostsand Reinhold Newyork, 1976.

5. Frity Eichemburg : The Art of the Print, Thems and Hudson, London, 1976.

6. Rabin Capon : Graphic Technique, Northwood Publication Ltd., London, 1976.

7. Richard Holls : Graphic Design : A Concise History, Thames and Hudson, London 1976.

SEMESTER-II

Scheme of Studies

Studies shall consist of two parts in each Semester :

(A) History and Theory

(B) Practical

Both parts shall carry the same weightage.
Part A : History and Theory

Paper I : Art and Cultural History of India

(Painting and Sculpture upto 1850 A D)

Paper II : Aesthetics and Principles of Art Appreciation

Paper III : One of the following two options;

Creative Composition

or

Miniature Painting

Portrait Painting from Life

or

Print making (Graphics)

1. The examination in each of the papers will consist of two

(A) Written Paper : 80 marks; Duration : 3 hours

(B) Slide Test : 20 marks; Duration : 45 minutes

2. In the written paper the candidates shall be asked to answer two questions each from both the sections, carrying 12 marks each (aggregating 48 marks), and 16 short answer type questions spread over the two sections and carrying 2 marks each (aggregating 32 marks).

3. The slide test carrying 20 marks shall consist of: identification of 5 works of art carrying 5 marks (from the slides seen during the Semester) and critical analysis of two objects carrying 10 marks; 5 marks allocated on the basis of attendance throughout the Semester. The works of art will relate to the contents of the paper.

Instructions for Paper setters

The question paper will consist of three sections: A, B and C. In sections A and B, four questions each will be set, carrying 12 marks each, of which the candidates will have to attempt two questions. Section C will consist of 16 short-answer type questions, each carrying two marks, spread over the two sections equally.

In the written paper, candidates will be required to attempt

Indus Valley Civilization; Mauryan; Sungha (Bharut, Bodhgaya, Sanchi, Amravati); Kushana (Mathura, Gandhara); The Classical Age of the Guptas; Terracotta and Ivory carvings of Early India.

Pala, Sena; South Indian Temple sculptures upto 1850 AD, Pallava; Rashtrakutas; Aihole; Hoysala; Chalukyas; Chandellas and South Indian Bronzes.

1. Archer, W.G. : Paintings of the Sikhs; Her Majesty's Stationary Office, London, 1966.

2. Aryan, K.C. : Punjab Painting, Published by Punjabi University, Patiala, 1975.

3. Barrett Douglas & : Painting of India, Treasures of Asia

Basil Gray Series, Lausanne, 1963.

4. Brown Percy : Indian Painting, Harnam Publications New Delhi, 1982.

5. Chawla Sant Singh : A History of Indian Sculpture - Bharti

& Aagya Kaur Murti Kala Da Itihas, Punjab State University book board, Chandigarh, 1974.

6. Coomaraswamy, : History of Indian and Indonesian Art, Ist

A.K. Edition Munshi Ram Manohar Lal, New Delhi, 1972.

7. Deva Krishan : Temples of North India, Published by National Book Trust, India.

8. Goetz Hermann : India : Five Thousand Years of Indian Art, IInd Edition Methuen Publications, London, 1964.

9. Goswamy B.N. : Painters of the Sikh Court; A study based on twenty documents, Aryan Books International, New Delhi, 1999.

10. Havell E.B. : Indian Sculpture and Painting : With an explanation of their motives and ideals; Cosmo Publications, New Delhi, 1980.

11. Kramrisch Stella : The Hindu Temple; 2 Vols. Calcutta, 1946.

12. Rawson Phillip.S. : Indian Painting; Paris and New York Publications, 1961.

13. Ray Niharranjan : Mauryan and Sunga Art, Indian Studies, Calcultta, 1945.

14. Rowland Benjamin : The Art and Architecture of India (Buddhist, Hindu, Jain), Edited by Nikolaus Pevsner, Penguin Books, England, 1959.

15. Saraswati S.K. : A Survey of Indian Sculpture, Calcutta Publications, 1957.

16. Smith Vincent.A. : A History of Fine Art in India and Ceylon, IIIrd Edition, Published by D.B. Taraporevala sons and Co. Pvt. Ltd., Bombay, 1969.

17. Zimmer Heinrich : The Art of Indian Asia; It's mythology and transformations, Pantheon Books, New York, 1955.

18. Yazdani Gulam : Ajanta, Oxford University Press, London, 1946.

2. Aryan K.C. : Punjab Painting, Published by Punjabi University, Patiala, 1975.

3. Barrett Douglas & : Painting of India, Treasures of Asia

Basil Gray Series, Lausanne, 1963.

4. Brown Percy : Indian Painting, Harnam Publications New Delhi, 1982.

5. Chawla Sant Singh : A History of Indian Sculpture - Bharti

& Aagya Kaur Murti Kala Da Itihas, Punjab State University book board, Chandigarh, 1974.

6. Coomaraswamy : History of Indian and Indonesian Art, Ist

A.K. Edition Munshi Ram Manohar Lal, New Delhi, 1972.

7. Deva Krishan : Temples of North India, Published by National Book Trust, India.

8. Goetz Hermann : India : Five Thousand Years of Indian Art, IInd Edition Methuen Publications, London, 1964.

9. Goswamy B.N. : Painters of the Sikh Court; A study based on twenty documents, Aryan Books International, New Delhi, 1999.

10. Havell E.B. : Indian Sculpture and Painting : With an explanation of their motives and ideals; Cosmo Publications, New Delhi, 1980.

11. Kramrisch Stella : The Hindu Temple; 2 Vols. Calcutta, 1946.

12. Rawson Phillip.S. : Indian Painting; Paris and New York Publications, 1961.

13. Ray Niharranjan : Mauryan and Sunga Art, Indian Studies, Calcultta, 1945.

14. Rowland Benjamin : The Art and Architecture of India (Buddhist, Hindu, Jain), Edited by Nikolaus Pevsner, Penguin Books, England, 1959.

15. Saraswati S.K. : A Survey of Indian Sculpture, Calcutta Publications, 1957.

16. Smith Vincent.A. : A History of Fine Art in India and Ceylon, IIIrd Edition, Published by D.B. Taraporevala sons and Co. Pvt. Ltd., Bombay, 1969.

17. Zimmer Heinrich : The Art of Indian Asia; It's mythology and transformations, Pantheon Books, New York, 1955.

18. Yazdani Gulam : Ajanta, Oxford University Press, London, 1946.

Note : There is a provision in the Syllabus for an option to Paper I, consisting of History of European Art from Prehistoric times to early Renaissance. However, at present, neither the University Department nor any affiliated college is offering this option. It may be introduced at a later date.
Paper II : AESTHETICS AND PRINCIPLES OF

ART APPRECIATION

Scheme of Examination

1. The examination in each of the papers will consist of two

(A) Written Paper : 80 marks; Duration : 3 hours

(B) Slide Test : 20 marks; Duration : 45 minutes

2. In the written paper the candidates shall be asked to answer two questions each from both the sections, carrying 12 marks each (aggregating 48 marks), and 16 short-answer type questions spread over the two sections and carrying 2 marks each (aggregating 32 marks)

3. The slide test carrying 20 marks shall consist of: identification of 5 works of art carrying 5 marks (from the slides seen during the Semester) and critical analysis of two objects carrying 10 marks; 5 marks allocated on the basis of attendance throughout the Semester. The works of art will relate to the contents of the paper.

Instructions for Paper setters

The question paper will consist of three sections: A, B and C. In sections A and B, four questions each will be set, carrying 12 marks each, of which the candidates will have to attempt two questions. Section C will consist of 16 short-answer type questions, each carrying two marks, spread over the two sections equally.

In the written paper, candidates will be required to attempt

Imagination in Art, Art and Conscious, Art and Unconscious, Art and Religion, Art and Culture, Art and Society.

Art and Nature, Art and Symbolism, Taste and Tradition, Art and Emotion, Art and Illusion, Concept of Folk Art.

1. Anand Mulk Raj : Hindu View of Art, Arnold -Heinlmann, New Delhi, 1987.

2. Bullough, E. : Aesthetics, edited by E Wilkinson, London, 1957.

3. Coomaraswamy : The Dance of Siva - Fourteen Indian

Anand K. Essays, Munshi Ram Manohar Lal, 1997.

4. Coomaraswamy : The Transformation of Nature in Art,

Anand K. Dover Publications, New York, 1934

5. Croce Benedetto : Aesthetics, London, Mac Millan Ltd., 1934.

6. Hariyanna : Art Experience, published by Kavyalya,1954, Mysore.

7. Kapila Vatsayana : Indian Aesthetics and Art, Activity Institute of Advance study Shimla, 1968.

8. Kramrisch Stella : The Vishnu Dharmotra-Purana, A treatise on Indian Painting, the Calcutta review, 3rd ser. 10, No. 2 February 1924.

9. Ray Niharranjan : Idea and Image in Indian Art, Munshi Ram Manohar Lal, New Delhi, 1972.

10. Ray Niharranjan : An approach to Indian Art, published by Punjab University, Chandigarh, 1974.

11. Read Herbert : The Meaning of Art; Faber and Faber, London, 1931.

12. Mukherjee, R.K. : Flowering of Indian Art, The growth and spread of a civilisation, Bombay, Asia Publishing House, 1964.

13. Mukherjee, R.K. : The Social Function of Art, Hind Kitab Ltd., Bombay, 1951.

14. Kanti, Chandra : Comparative Aesthetics, 2 Vols. Chowkhamba Sanskrit series, Varanasi, 1972.
Paper III (Option - I) : CREATIVE COMPOSITION

Scheme of Examination

1. Examination in each of the papers will consist of two parts :

(A) Creative Composition 80 marks; the time allocated will be 4 days, each of the duration of 6 hours (with half an hour break for lunch.)

(B) Session work 20 marks

submission

(The Lecturer/ College concerned shall submit the awards for part B.)

2. Candidates will be required to choose one topic out of atleast five topics given by the examiner and work on canvas, no less than 30'' × 40'' in size. The candidates will be given a choice of medium. A sketch will need to be submitted in the stipulated time period and shall carry the countersignature of the examiner.

3. The session work to be submitted shall consist of three original compositions; a sketchbook containing 50 sketches of human figures, animals birds and sketches from nature etc. Five colour sketches on quarter sheet. These works shall carry 15 marks. 5 marks are allotted for the attendance during the semester.

Not less than five topics will be set out of which the candidate may select any one of his/her choice. The size required should not be less than 30'' x 40''; the choice of the medium will be left to the candidates. While evaluating, the examiner will judge on the basis of the competence, technical skill, artistic rendering, composition, colour, texture, qualities of line and form.

The candidates will be given atleast five topics and will be required to attempt one. Special emphasis needs to be laid on technical and artistic rendering, composition, colour, texture, qualities of line and form. The submission of the works at the end of the session shall be along the lines indicated in paragraph 3 above. Extra work related to the work done during the semester, and experimentation, will be appreciated.

Working with different materials and techniques on paper and canvas, composition shall extend to-the human figure, birds, animals, creative landscapes, still life objects, etc.

Work with mixed media and installation, enhancing the work done during the semester.

The candidate will submit five compositions during the semester.

Sketch book containing fifty original sketches of human figure, trees, birds and animals etc.

Five color sketches -size not less than quarter sheet.

Size :- Half imperial (five works). These works must be attested by the lecturer who is teaching M.A. (Fine Arts) Practical classes.

1. Rattan H.C. : Perspective : Still Life Painting in Oil and Watercolours

2. William Mann : Art of Shading; Chaeman Hall, London.

3. Polak and Quitter : The Teaching of Drawing

1. Examination in each of the papers will consist of two parts :

(A) Creative Composition 80 marks; the time allocated
will be 4 days, each of the duration of 6 hours (with half an hour break for lunch.)

(B) Session work 20 marks

submission

(The Lecturer/ College concerned shall submit the awards for part B.)

2. Candidates will be required to choose one topic out of atleast five topics given by the examiner and work on paper of the average size 10'' × 8'' . The candidates will be given a choice of medium. A sketch will need to be submitted in the stipulated time

period and shall carry the countersignature of the examiner.

3. The session work to be submitted shall consist of two copy works and three creative compositions, a sketchbook containing 50 sketches of the human figure, birds, animals, landscaper etc. five colour sketches on paper. These works shall carry 15 marks. 5 marks are allotted for the attendance during the semester.
Instructions for Paper setters

While evaluating, the examiner will judge on the basis of the competence, technical skill, artistic rendering, composition, colour, texture, qualities of line and form.

Special emphasis needs to be laid on technical and artistic rendering, composition, colour, texture, qualities of line and form. The submission of the works at the end of the session shall be along the lines indicated in paragraph 3 above. Extra work related to the work done during the semester, and experimentation, will be appreciated.

1. Materials and methods on paper.

1. Copy work

2. Creative Composition

Composition shall extend to:-

The human figure, birds, animals, landscaper. etc.

2. 1. Materials

Wasli, Brushes, Pigments, Burnishing material.

2. Processes

Gouache (opaque water colour)

Size :- Candidate will be required to work on paper, of the average size 10" × 8".

Section-B

1. Work with mixed media and installation, enhancing the work done during the semester.

2. The candidate will submit five compositions ( two copy works and three original ) during the semester.

3. Sketch book containing fifty original sketches of human figure, trees, birds and animals etc.

4. Five color sketches -size not less than 8"x10".

Size :- 8"x10" approx. (five works). These works must be attested by the lecturer who is teaching M.A. (Fine Arts) Practical classes.

1. Chitra Lakshana (Silparatana) Sir, Ashutosh Mukherjee, Museum Patna, 1926-28.

2. A.K. : Technique and Theory of Indian Painting,

Coommaraswamy "Technical Studies in the field of Fine Arts", 1934.

3. Dr. B.N. : Pahari Painting : The family as the basis of style monograph in Marg Bombay Sept. 1968

4. Dr. B.N. Goswamy : The Techniques of Pahari Painting

5. Moti Chandra : Techniques of Mughal Paintings U.P. Historicl Research society, 1957.

6. Patricia Monahan : Painting in Gouache (Studio vista beginners Villers House 41/47 Strand London W.C. 2N SJE

7. Sumahendra : Miniature Painting, Technique, Rooprang Publications. Jaipur, 1990.

1. Examination in each of the papers will consist of two parts :

(A) Portrait Painting 80 marks; the time allocated will be 4 days each of the duration of 6 hours (with half an hour break for lunch.)

(B) Session work 20 marks

submission

(The Lecturer/ College concerned shall submit the awards for part B.)

2. Candidates will be required to execute the Portrait, on canvas, no less than 18'' × 24'' in size. The candidates will be given a choice of medium. A sketch will need to be submitted in the stipulated time period and shall carry the countersignature of the examiner.

3. The session work to be submitted shall consist of: five portraits from life; a sketchbook containing 50 sketches; not less than four anatomical charts- comprising of muscles and bones of full figure to be done on imperial size sheets. These works shall carry 15 marks. 5 marks are allotted for the attendance during the semester.

The candidates should be provided with a model. The required size of the canvas should not be less than 18'' × 24''; the choice of the medium will be left to the candidates. While evaluating, the examiner will judge on the basis of the competence, technical skill, artistic rendering, composition, colour, texture, qualities of line and form.

The candidates will be asked to paint from a model. Special emphasis needs to be laid on technical and artistic rendering, composition, colour, texture, qualities of line and form.The submission of the works at the end of the session shall be along the lines indicated in paragraph 3 above. Extra work related to the work done during the semester, and experimentation, will be appreciated.

Study of anatomical details of the human head, muscles and tendons; study of the face, skull, individual parts of the head (eyes, nose, ears, etc), facial features of male and female figures from different angles; experimenting drawing bust on textured papers and canvas. Study of various expressions, moods and subtle lines in the face of a child and an aged person.

Make use of mixed media/ textured sheets to enhance the work done during the semester.

The candidate will submit five portraits during the semester.

Sketch book containing fifty original sketches of heads and busts; facial expression etc.

Anatomy Chart : Four sketches of skull from different angles of half imperial size.

Size :- Half imperial (five works). These works must be attested by the lecturer who is teaching M.A. (Fine Arts) Practical classes.

1. Andrew Loomis : Drawing

2. Andrew Loomis : Figure Drawing for All

3. Archarekar M.R. : Rup Darshani

4. Archarekar M.R. : Female Nude

5. Doust L.A. : How to sketch from Life

6. George Bridgeman : Complete Life Drawing

7. Helen Oslen : Painting Portraits

8. William Dorge : Oil Painting Portraits

9. Van Dav Pol J.B. : Human Figure

10. Victor Pararad : Anatomy and Drawing

Paper IV (Option II) : PRINT MAKING (GRAPHICS)

Scheme of Examination

1. Examination in each of the papers will consist of two parts:

(A) Portrait Painting 80 marks; the time allocated will be 4 days each of the duration of 6 hours (with half an hour break for lunch.)

(B) Session work 20 marks

submission

(The Lecturer/ College concerned shall submit the awards for part B.)

2. The candidates are required to work on one topic out of atleast five topics given by the examiner on Linoleum, card board, wood or screen no less than 10'' × 15'' in size.

The candidates are given a choice of medium. A sketch will need to be submitted in stipulated time period and shall carry the countersignature of the examiner.

3. The session work to be submitted shall consist of five print blocks or screen designs; a sketchbook containing 50 sketches, coloured or black and white. The size of sketch not less than quarter sheet. These works shall carry 15 marks. 5 marks are allocated for the attendance during the semester.

Instructions for Paper setters

Not less than five topics will be set out of which the candidate may select any one of his/her choice. The size should not be less than 10'' × 15'' the choice of the medium to the candidates. While evaluating, the examiner will judge on the basis of the competence, technical skill, artistic rendering, composition, colour, texture, qualities of line and form.

The candidates will be given atleast five topics and will be required to attempt one. The candidate must print atleast 5 identical print copies from each plate or block.

The submission of the works at the end of the session shall be along the lines indicated in paragraph 3 above. Extra work related to the work done during the semester, and experimentation, will be appreciated.

Syllabus and courses of readings

Section-A

Print making (Graphics) in advanced Relief medium,

Make use of mixed media/ textured sheets to enhance the work done during the semester.

The candidate will submit five identical prints copy from each block or plate during the semester.

Sketch book containing fifty original sketches of human figures, birds, animals and from nature ect. Five color sketches -size not less than quarter sheet.

Size/Print Area Not less then 10''x15'' (five works). These works must be attested by the lecturer who is teaching M.A. (Fine Arts) Practical classes.Recommended Reading

1. Ashit Paul : Wood cut prints of 19th century, Seaugls Books Calcutta 1983.

2. Bradbury : The Art of Graphic Design, Goeffrcy

Thompson Cumberlege Oxford Univertiy Press, 1970.

3. David L. Oravez : Wood cut step by step lessons in designing, cutting, printing in wood blocks, Wtson Guptill publication inc. New York.

4. Erich Rhein : The Art of the Print Making, Van Nostsand Reinhold Newyork, 1976.

5. Frity Eichemburg : The Art of the Print, Thems and Hudson, London, 1976.

6. Rabin Capon : Graphic Technique, Northwood Publication Ltd., London, 1976.