DEPARTMENT OF VISUAL ARTS

BANGALORE UNIVERSITY

CURRICULUM FOR
BACHELOR OF VISUAL ARTS COURSES
UNDER NEP 3RD & 4TH SEMESTERS
 Appendix A
A7. Model Programme Structure for Bachelor of Visual Arts, BVA Programme in different Streams of Visual Arts.
Sem. Discipline Core (DSC) Discipline Elective (DSE) / Ope Ability Enhancement Compulsory Courses Skill Enhancement Courses (SEC) Total
(Credits) (L+T+P) Elective (OE) (Credits) (L+T+P) (AECC), Languages (Credits) (L+T+P) Skill based (Credits) Credits
Value based (Credits) (L+T+P)
(L+T+P)
I DSC-VA1(6), VA2(4), OE-1 (3) L1-1(3), L2-1(3) SEC-1: Digital Fluency Health & Wellness and Yoga (2) 26
VA3(3) (4 hrs each) (2) (1+0+2) (1+0+2)
II DSC-VA4(6), VA5(4), OE-2 (3) L1-2(3), L2-2(3) Env. Studies (2) Sports/NCC/NSS/R&R(S&G)/ 26
VA6(3) (4 hrs each) (3+0+0) Cultural (2) (0+0+4)
Exit option with Undergraduate Certificate with the completion of courses equivalent to a minimum of 48 credits, followed by 10-12 credit bridge course(s) for two months,
including at-least 6-credit job-specific internship/apprenticeship to acquire job-ready competencies required to enter the job
III DSC-VA7(5), VA8(4), OE-3 (3) L1-3(3), L2-3(3) (4 SEC-2: AI /Financial Sports/NCC/NSS/R&R(S&G)/ 25
VA9(3) hrs. each) Edu. & IA (2) (1+0+2) Cultural (2) (0+0+4)
IV DSC-VA10(5), VA11(4), L1-4(3), L2-4(3) (4 Constitution of India & SEC-2: Financial Edu. & Sports/NCC/NSS/R&R(S&G)/ 25
VA12(3) hrs. each) Human Rights (3) IA /AI (2) (1+0+2) Cultural (2) (0+0+4)
Exit option with Undergraduate Diploma in Visual Arts (with the completion of courses equal to a minimum of 96 credits), followed by 10-12 credit bridge course(s) for two
months, including at-least 6-credit job-specific internship/apprenticeship to acquire job-ready competencies required to enter the job
V DSC-VA13(4), VA14(4), DSE-VA E-1 (3) SEC-3: Relevant SEC (2) Sports/NCC/NSS/R&R(S&G)/ 22
VA15(4), DSE-VA E-2 (3) (1+0+2)/ Internship (2) Cultural (2) (0+0+4)
VI DSC-VA16(4), VA17(4), DSE-VA E-3 (3) SEC-4: Relevant SEC (2) Sports/NCC/NSS/R&R(S&G)/ 22
VA18(4), Res. Methodology-1(3) (1+0+2)/ Internship (2) Cultural (2) (0+0+4)
Exit option with Bachelor of Arts Degree, B.A. in Visual Arts (with the completion of courses equal to 132-140 credits), followed by 10-12 credit bridge course(s) for two
months, including at-least 6-credit job-specific internship/apprenticeship to acquire job-ready competencies required to enter the job
VII DSC-VA19(4), VA20(4), DSE-VA E-4 (3) 22
VA21(4) Res. Methodology-2 (3)
Res. Proposal (4) **
VIII DSE-VA E-5(3), E-6 (3), E-7 Res. Internship (4) 22
(3), E-8 (3) Research Project (6)**
Award of Bachelor of Visual Arts Degree, B.V.A. (with the completion of courses equal to a minimum of 176-180 credits),
**In lieu of the research proposal and project, three additional elective papers/ Internship/ Apprenticeship may be offered.
Model Curriculum
of
BVA
in
Painting
3rd & 4th Semester
 Contents of Courses for Bachelor of visual Arts (BVA)
III SEMESTER– PAINTING DEPARTMENT
Sl Studio/ Marks
No. study hours Duration Internal Submission Total
Title of the Course Total
Per of Exam Marks with Credits
marks
Semester display

DISCIPLINE SPECIFIC CORE - DSC

01 Pictorial Composition - 1(5) 180 - 75 75 150 5

02 Drawing from life -1 (4) 120 - 50 50 100 4

03 History of Indian Genre 3 (3) Exam

45 2 hours 40 100 3
60

OPEN ELECTIVE - OE

04 Visual Art –Painting 3 (3) 90 - 50 50 100 3

OE Paper is to be offered for the Students other than BVA.

Page 1
 Model Curriculum
Program Name BVA in Painting Semester Third Semester

Course Title Pictorial Composition - 1 (practical)

Course Code: DSC-VA7 Total Marks 150

Contact hours 180 Hours Practical No. of Credits 05
Formative Assessment Marks 75 Summative Assessment Marks 75

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Imparting knowledge with Practical Assignments on Indian Traditional Miniature art.

❖ Explore charcoal, pencil and conte in object-based compositions.
❖ Enhancing the skill of using colours and compositional values.’
❖ Perspective outdoor studies that can be transposed onto Indian miniature perspective.
❖ Using art journals to create small sketches and outline of practice. Portrait study from multiple angles.
❖ Creative drawing composition. Sketches in direct colour with brushes.
❖ Study of portraits done by old masters and recreating them through personal interpretations.
❖ Increase patience and philosophical values through art.
❖ Improves emotional intelligence by using colour & forms.
❖ Display and Discussion with mentors.

Course Description:
All that is creatively perceived and expressed on two-dimensional (2D) surface or a picture or design executed
in paints is Painting to begin with. There are many other ways of describing or defining Painting. To begin
with the focus is on the understanding of basic elements of composition like building up of grammar to be
able to use it in the individual capacity in the process of art.

Contents 180 Hrs

Content: Figurative composition with the support of daily sketches (subjective or objective compositions).
Creating contrast images using Monochrome and colour. Paintings with focus on exercises to compose
interiors, exteriors and the like with human, animal, or/and with architectural elements. More emphasis on the
balance of basic visual elements like - space, rhythm, contrasts etc

Page 2
To know the colour theory in advanced level

Scope: In this subject student develop the understanding to relate all the basic painting techniques. This
subject helps the students to solve the compositional problems regarding space arrangements and colour
distributions, proportions etc.

It helps to build a language of visual understanding. It is the initial step of expressing oneself with a deeper
insight, and to answer the urges of expressing oneself in visual media. It aims to search answers and indulge
in humanity’s indisputable need to look beyond surfaces and appearances in order to know and understand.

Guidelines: Collage can be a helpful tool to develop basic understanding of positive- negative planes and the
relation of colours with its neighbouring colour. Gallery visits must be encouraged. An introduction to the
Western, Eastern & Indian Paintings of simple subjects, which will help in understanding different approaches
in art can be introduced.

Learning Objectivities:

*Recapturing the fundamentals of expression with colour affected by the source of light and various
surfaces it falls on, through exercises in Still Life, Life Painting and Outdoors.

*Understanding the 2-D surface and its structural possibilities and its basic relation the desired form and
content. Exercises based on simple compositions using everyday sketches of objects, nature studies, human
figures and animals etc.

*Compositional exercises based on studies of objects and groups in space, on studies of the local scene.
Study in Indian miniature and folk art. Compositional analysis of paintings: exercises in the use of colour
and textural values.

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

References
1 *Pictorial Composition and the Critical Judgment of Pictures by Henry Rankin Poore

Page 3
References
2 * Thinking Straight on Modern Art - Henry Rankin Poore

3 *Oil & Acrylic by Walter Foster Creative Team iv. Mastering Oil Painting by Walter Foster Creative
Team

4 *CREATIVE THINKING: A MODERN ARTIST'S NOTEBOOK. INTRODUCTION

(These articles were all written over a period of years between 1968 and 2010 on scraps of Paper) *

5 Creative Thinking For Dummies By David

Cox* http://www.smashingmagazine.com/tag/usability/http://painting.answers.com/abstract

Page 4
 Model Curriculum
Program Name BVA in Painting Semester Third Semester

Course Title Drawing From Life -1 (practical)

Course Code: DSC-VA8 Total Marks 100

Contact hours 120 Hours Practical No. of Credits 04
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Explore charcoal, pencil and cont in object-based compositions.

Enhancing the skill of using Verities of Black and White Media and compositional values.
❖ Using art journals to create small sketches and outline of practice. Portrait study from multiple angles.
❖ Creative drawing composition. Sketches in direct B/w or Mono colour with brushes.
❖ Study of portraits done by old masters and recreating them through personal interpretations. Increase
patience and philosophical values through art.
❖ Display and Discussion with mentors. *Anatomical Head study of Different age groups, partial study of
face using real /plaster models.
❖ Perspective study of head from 360-degree angle and the parts of the face.
❖ Full figure study, partial study of the body, 360-degree angle perspective study of the model posing in
different postures.
❖ Emphasis is given on the process of drawing, study and experimentation of the medium

Course Description:

This course is focused on Head study, partial study of face using real / plaster models. Perspective study of
head from 360-degree angle and the parts of the face. Second part of the Course is focused on Full figure
study, partial study of the body, 360-degree angle

Perspective study of the model posing in different postures. Both drawing (Pencil, charcoal etc) and painting
(pastels and water colour or any mediums are used as mediums. Emphasis is given on the process of drawing,
study and experimentation of the medium

Contents 120 Hrs

Page 5
A study of the ‘Life study’ from all angles which must be to grasp the total structure of the seated model.
Studies of human face is to be undertaken to understand expression, and modelling keeping in view the light
and shade, colour values, likeness and its contemporary needs.

Linear drawings will be exercised using different media with an understanding of graphic quality. Exercises
in i) Studies of human figures in group, organic forms/landscapes. ii) Drawings of machineries. iii) Study
from Indian classical sculptures- like jewellery and design. iv) Drawings of floral designs from Indian
paintings. It may be exercises in detail, study of jewellery, insects etc.

Scope: Life study is not a reproduction of the sitter but a statement about him or her and about art as such. It
is also a “work of art “in its own right with aesthetic qualities coming from the composition, light, pose, tonal
values, materials used and hand co-ordination.

Drawing helps to promote deeper and keener observations along with rendering skills. It is also a store of
visual, as first-hand rendering information. It is largely to develop finer perception.

Guideline: Introduce the early portraiture and life study from different parts of world & to discuss the need
& purpose of portraiture and life study at different periods in history. Introduction to portraits from the Mughal
period, alongside with that of Rembrandt is encouraging.

An introduction to the drawings of Portraiture and life study, landscape from different periods in the history
of art would prove beneficial e.g. Durer, Rembrandt, Ingres, Mughal, Rajput landscape etc. Designs from
Ajanta, Ellora, Halebeedu, Belur and the like can help in understanding design element. To encourage the use
of studio studies to create complete drawings as a work of art (an introduction).

Learning Objectives:
*Head Study; Construction of the skill: planes and masses of the head, bust from different angles and eye
levels: adding of details and finishing.

*After completing this Course students are capable of drawing portrait of a live model.

*Students can capture the mood of the seated model and transfer it in their painting.

*Students will perfect in drawing in unusual angles and perspectives and projects

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Page 6
 Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

References

*The artists complete guide to Drawing the Head by William L. Maughan

*Drawing the Human Head. by Burne Hogarth
*Action Anatomy by Takashi Iijima
*How to Paint Living Portraits by Roberta Carter Clark 5. Heads, Features and Faces by George Brant
Bridgman.
*Portraits by Vasudeo Kamath (with Demo DVD)
*Masterful Portrait Drawing, 2017.by Mau-Kum-Yim & Irish Him
*Keys to painting better portraits by Poster Caddell.
*Figure study made easy by Aditya Chari.
*The art of drawing & painting portraits: Create realistic heads, faces, & features in pencil, pastel, oil &
acrylic by Collectors Series.

Page 7
 Model Curriculum
Program Name BVA in Painting Semester Third Semester

Course Title History of Indian Genres - 3 (Theory)

Course Code: DSC-VA9 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Understand the Genre (Various Aspects) of the Visual Art in India. Genre consists of various subjects
under one Umbrella
❖ Students will get a comprehensive knowledge about the visual art and its wide scopes.
❖ The paper helps in providing introduction to varied subjects of Indian art which will be studied in
details in next semesters.
❖ Outcome of the course and subject will give a broader idea and understanding about Indian art and its
varied forms.

Course Description:
Define the term genre in connection with Art History. Genre: literally means-varied segments or many
categories. Identifying the categories in Visual Art leads to the study of the same individually. Socio- political,
cultural concepts and influences on art are also considered. Following categories are considered for the study
of Indian Genre in Visual Art.

❖ Study of Representation of formal, pictorial and visual elements;

❖ Study of portraiture.

❖ Iconography; in a broader perspective.

❖ Landscapes and still-lives

❖ Secular themes in Indian miniatures,

❖ Narratives and architectonic sculptures in Indian sculptures.

❖ J J School of Art- and influence of varied genre.

❖ Eclecticism in British Company school and J.J.School of arts

❖ Genres of painting (portrait and landscapes) in twentieth century (individuals and schools)

Page 8
 ❖ Politics of Image in connection social history, before and after independence

❖ Industrial and Technological role within the picture frame.

❖ Popular forms in expression (advertisements, posters, popular media)

Contents 45 Hrs
UNIT:01
1. Study of Representation of formal, pictorial and visual elements.
2. Study of portraiture.
3. Iconography; in a broader perspective.
4. Landscapes and still-lives

UNIT:02
1. Narratives and architectonic sculptures in Indian sculptures
2. Secular themes in Indian miniatures,

UNIT:03
1. J J School of Art- and influence of varied genre.
2. Eclecticism in British Company school and J.J.School of arts

UNIT:04
1. Politics of Image in connection social history, before and after independence
2. Industrial and Technological role within the picture frame.
3. Popular forms in expression (advertisements, posters, popular media)

Learning Objectives:

• Students will understand once the course is completed:

• The importance of genre of Indian Art

• The importance and styles and iconographic aspects of Pictorial images and portraiture, landscape,
Narrative art

• Indian miniature: secular themes and their importance in the making of Indian Art as a whole.

• In the social historical context, the role politics, and its images. Industrial and technological advancements
and its framed artistic structure. Popular culture and media in the traditional and contemporary context:
such as popular prints of Ravi Varma and others.

Page 9
Pedagogy: Lectures, Presentations, Seminars, discussions, and museum/site visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks

Theory Assignments 10%

Tests 20%

Composition related activities like, Quiz, seminar, Team activities 10%

Total 40%

Formative Assessment as per NEP guidelines are compulsory

References
1 Elements of Hindu Iconography-T.A Gopinatha Rao,

2 Company School Painting-Mildred Archer

3 Art and Illusion- E H Gombrich

4 Ways of Seeing ; John Beger

5 Popular Art in India: Marg issues

6 Basham, A.L. (1967). The Wonder that was India. London: Sidgwick & Jackson. pp. 11–14.

7 Kramrisch, Stella. A Survey of Painting in the Deccan (Calcutta and London: The India Society in co-
operation with the Dept. of Archaeology, 1937

8 Kramrisch, Stella (1994). Exploring India's Sacred Art. Motilal Banarsidass. ISBN 978-81-208-
1208-6.

9 Yazdani, Gulam. The Early History of the Deccan, Parts 7–9 (Oxford: 1960).

10 The City Palace Museum, Udaipur: paintings of Mewar court life. by Andrew Topsfield, Pankaj Shah,
Government Museum, Udaipur. Mapin, 1990. ISBN 094414229X

11 Splendour of Rajasthani painting, by Jai Singh Neeraj. Abhinav Publications, 1991. ISBN 81-7017-
267-5.

12 Art and artists of Rajasthan: a study on the art & artists of Mewar with reference to western Indian
school of painting, by Radhakrishna Vashistha. Abhinav Publications, 1995. ISBN 81-7017-284-5.

13 A study of Bundi school of painting, by Jiwan Sodhi. Abhinav Publications, 1999. ISBN 81-7017-
347-7

Page 10
References
14 Court painting at Udaipur: art under the patronage of the Maharanas of Mewar, by

15 Andrew Topsfield, Museum Rietberg. Artibus Asiae Publishers, 2001. ISBN 3-907077-03-2.

16 Rajput Painting, by Ananda K. Coomaraswamy, Publisher B. R. Publishing Corporation,

2003. ISBN 81-7646-376-0.

17 The artists of Nathadwara: the practice of painting in Rajasthan, by Tryna Lyons. Indiana University
Press, 2004. ISBN 0-253-34417-4.

18 Ghosh, P. (2012). The Intelligence of Tradition in Rajput Court Painting. Art Bulletin, 94(4), 650–
652.

19 Dalrymple, William, (2016). [1] The beautiful, magical world of Rajput art.] New York Review of
Books, 26 November 2016.

20 Archer, Mildred. Company Paintings: Indian Paintings of the British Period. London: Victoria and
Albert Museum, 1992. ISBN 0944142303.

21 Welch, Stuart Cary. Room for Wonder: Indian Court Painting during the British Period, 1760–1880.
Exhibition catalogue. New York: American Federation of Arts, 1978. ISBN 0847801764

22 Dalrymple, William, Forgotten Masters: Indian Painting for the East India Company, 2019, Philip
Wilson Publishers Ltd, ISBN 978-1781301012

23 Kossak , Steven (1997). Indian court painting, 16th-19th century.. New York: The Metropolitan
Museum of Art. ISBN 0870997831. (see index: p. 148-152)

24 Pahari Masters: Court Painters of Northern India by B. N. Goswamy and Eberhard Fischer Artibus
Asiae. Supplementum, Vol. 38, Pahari Masters: Court Painters of Northern India (1992), pp. 3–391.

25 Wall Paintings of The Western Himalayas, by Mira Seth. Publications Division. 1976.

26 Garhwal Paintings, by Mukandi Lal. Publications Division. 1982.

27 Punjab Painting - Study in Art and Culture, by R P Srivastava. Abhinav Publications. 1983. ISBN 0-
391-02560-0.

Page 11
 Model Curriculum
Program Name BVA in Painting Semester Third Semester

Course Title Visual Art- Painting-3 (3) (practical)

Course Code: OE-03 Total Marks 100

Contact hours 120 Hours Practical No. of Credits 03
Formative Assessment Marks 50 Summative Assessment Marks 50
OE Paper is to be offered for the Students other than BVA.

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Extension of painting studio works to the Printmaking/ Sculpture/Ceramics/Animation

/Photography/Folk Art/ at the level of concepts, themes and forms. Or any available courses in the
institute.
❖ Students will explore various graphic media including wood and lino cut, etching, screen printing and
lithography
❖ Students will explore various sculptural media including clay, wood, stone, plaster, metal and epoxy.
❖ Students will explore various sculptural media including clay and mixtures of clay, earthen elements,
powders and water. Exercise with 2D and 3D forms.
❖ Understanding of excellent electrical insulation. etc.
❖ Understanding of Digital Soft wares and their tools with relevant themes.
❖ Introduction to different types of cameras, their mechanism and developments, printing, indoor and
outdoor photography, and darkroom practice.
❖ Understanding of –Rooted in traditions, community, expressing identity, community values and
aesthetics. Practice with any Indian folk painting methods and materials as well with contemporary
medium.

Course Description:
This is an Open Elective course offered for other discipline students not for BVA Students.

This course is focused on Head study, partial study of face using real / plaster models. Perspective study of
head from 360-degree angle and the parts of the face. Second part of the Course is focused on Full figure
study, partial study of the body, 360-degree angle. Perspective study of the model posing in different postures.

Contents 45 Hrs

Page 12
A study of the ‘Life study’ from all angles which must be to grasp the total structure of the seated model.
Studies of human face is to be undertaken to understand expression, and modelling keeping in view the light
and shade, colour values, likeness and its contemporary needs.
Scope: Drawing helps to promote deeper and keener observations along with rendering skills. It is also a store
of visual, as first-hand rendering information. It is largely to develop finer perception.
Life study is not a reproduction of the sitter but a statement about him or her and about art as such. It is also
a “work of art “in its own right with aesthetic qualities coming from the composition, light, pose, tonal values,
materials used and hand co-ordination.
Guideline: An introduction to the drawings of Portraiture and life study, landscape from different periods in
the history of art would prove beneficial e.g.Durer, Rembrandt, Ingres, Mughal, Rajput landscape etc. Designs
from Ajanta, Ellora, Halebeedu, Belur and the like can help in understanding design element. To encourage
the use of studio studies to create complete drawings as a work of art (an introduction).
Introduce the early portraiture and life study from different parts of world & to discuss the need & purpose of
portraiture and life study at different periods in history. Introduction to portraits from the Mughal period,
alongside with that of Rembrandt is encouraging.

Learning Objectives:

Both drawing (Pencil, charcoal etc) and painting (pastels and water colour or any mediums are used as
mediums. Emphasis is given on the process of drawing, study, and experimentation of the medium.

Understanding of painting/portrait/landscape/ Folk Art/ media, processes, techniques, and tools. Translating
their artistic vision into two/ three dimensional. Equipping students with the ability to move fluidly between
a wide range of media which will come in useful for their creative work in the final semesters.

*Linear drawings will be exercised using different media with an understanding of graphic quality. Exercises
in i) Studies of human figures in group, organic forms/landscapes. ii) Drawings of machineries.
iii) Study from Indian classical sculptures- like jewellery and design. iv) Drawings of floral designs from
Indian paintings. It may be exercises in detail, study of jewellery, insects etc.

*Head Study; Construction of the skull: planes and masses of the head, bust from different angles and eye
levels: adding of details and finishing.

*After completing this Course students are capable of drawing portrait of a live model.

*Students are capable of capturing the mood of the seated model and transfer it in their painting.

*Students will perfect in drawing in unusual angles and perspectives and projects

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Page 13
 Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

References

1 https://www.printmaker.com/links.html

2 www.info@lightspacetime.art

3 https://www.oberlo.in/blog/free-animation-software

4 https://indianfolkart.org/52-ifa/

5 https://leverageedu.com/blog/traditional-art-forms-of-india/

6 https://en.m.wikipedia.org/wiki/Applied_arts

7 https://en.m.wikipedia.org/wiki/Ceramic

8 https://en.m.wikipedia.org/wiki/Printmaking

9 https://en.m.wikipedia.org/wiki/Photography

10 https://en.m.wikipedia.org/wiki/Indian_art

11 https://en.m.wikipedia.org/wiki/Folk_art

Page 14
 PRACTIAL INTERNAL SUBMISSION
III Semester
50% MARKS

Sl. NUMBER OF
SUBJECT MEDIUM
No. WORKS
1 PICTORIAL COMPOSTIOIN -1(5)
*Drawing Pencil/ Charcoal
*Interior Watercolor/ Acrylic
*Exterior Watercolor/ Acrylic 10 works
*Composition Watercolor/ Pastel/
Acrylic/Digital media
2 DRAWING FROM LIFE -1 (4)
Charcoal/ Watercolor /
Oil Pastel /Dry Pastel /Acrylic/ 10 Works
Digital media.

3 OE-03 ( 3 ) Medium as per course 10 works

4 All course digital works are Mandatory Using any digital software 02 works

Total Works 32

NOTE:

1. For the Internal Submission Students should submit Minimum 32 works.

Students should submit the works which are done in the studio hours.

2. Test will be conducted for all the DSC/OE practical subjects.

3. Cumulative internal assessment is mandatory.

INTERNAL SUBMISSION BASED ON FOLLOWING CRITERIAS:

Involvement & Concept, Creativity,

Technical Skill Practical Test
Punctuality Presentation

20% 20% 40% 20%

NOTE: FROM AECC & SEC COURSES ARE AS PER NEP AND INSTITUTIONS GUIDELINES

Page 15
 Contents of Courses for Bachelor of visual Arts (BVA)
IV SEMESTER– PAINTING DEPARTMENT
Sl Studio/ Marks
No. study Duration Internal Submission Total
Title of the Course Total
hours Per of Exam Marks with Credits
marks
Semester display

DISCIPLINE SPECIFIC CORE - DSC

01 Pictorial Composition - 2(5) 180 - 75 75 150 5

02 Painting from life -2 (4) 120 - 50 50 100 4

Exam
03 Survey of Indian Sculpture -3(3) 45 2 hours 40 100 3
60

Page 16
 Model Curriculum
Program Name BVA in Painting Semester Fourth Semester

Course Title Pictorial Composition - 2 (practical)

Course Code: DSC-VA10 Total Marks 150

Contact hours 180 Hours Practical No. of Credits 05
Formative Assessment Marks 75 Summative Assessment Marks 75

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Imparting knowledge with Practical Assignments on Indian Traditional Miniature art.

❖ Explore charcoal, pencil and conte in object-based compositions.
❖ Enhancing the skill of using colours and compositional values.
❖ Perspective outdoor studies that can be transposed onto Indian miniature perspective.
❖ Using art journals to create small sketches and outline of practice. Portrait study from multiple angles.
❖ Creative drawing composition. Sketches in direct colour with brushes.
❖ Study of portraits done by old masters and recreating them through personal Interpretations.
❖ Increase patience and philosophical values through art.
❖ Improves emotional intelligence by using colour & forms.
❖ Display and Discussion with mentors.

Course Description:
All that is creatively perceived and expressed on two-dimensional (2D) surface or a picture or design executed
in paints is Painting to begin with. There are many other ways of describing or defining Painting. To begin
with the focus is on the understanding of basic elements of composition like building up of grammar to be
able to use it in the individual capacity in the process of art.

Contents 180 Hrs

Figurative composition with the support of daily sketches (subjective or objective compositions). Creating
contrast images using Monochrome and colour. Paintings with focus on exercises to compose interiors,
exteriors and the like with human, animal, or/and with architectural elements. More emphasis on the balance
of basic visual elements like - space, rhythm, contrasts etc

Page 17
To know the colour theory in advanced level
Scope: In this subject student develop the understanding to relate all the basic painting techniques. This
subject helps the students to solve the compositional problems regarding space arrangements and colour
distributions, proportions etc.
It helps to build a language of visual understanding. It is the initial step of expressing oneself with a deeper
insight, and also to answer the urges of expressing oneself in visual media. It aims to search answers and
indulge in humanity’s indisputable need to look beyond surfaces and appearances in order to know and
understand.
Guidelines: Collage can be a helpful tool to develop basic understanding of positive- negative planes and the
relation of colours with its neighbouring colour. Gallery visits must be encouraged. An introduction to the
Western, Eastern & Indian Paintings of simple subjects, which will help in understanding different approaches
in art can be introduced.

Learning Objectives:

❖ Recapturing the fundamentals of expression with colour affected by the source of light and various
surfaces it falls on, through exercises in Still Life, Life Painting and Outdoors.

❖ Understanding the 2-D surface and its structural possibilities and its basic relation the desired form and
content. Exercises based on simple compositions using everyday sketches of objects, nature studies,
human figures and animals etc.

❖ Compositional exercises based on studies of objects and groups in space, on studies of the local scene.
Study in Indian miniature and folk art. Compositional analysis of paintings: exercises in the use of colour
and textural values.

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

References

Page 18
References

1 Pictorial Composition and the Critical Judgment of Pictures by Henry Rankin Poore

2 Thinking Straight on Modern Art - Henry Rankin Poore

3 Oil & Acrylic by Walter Foster Creative Team iv. Mastering Oil Painting by Walter Foster Creative
Team

4 CREATIVE THINKING: A MODERN ARTIST'S NOTEBOOK. INTRODUCTION

(These articles were all written over a period of years between 1968 and 2010 on scraps of Paper)

5 Creative Thinking For Dummies By David Cox

6 Notes of the techniques of paintings by Hilaire Hilder

7 A manual of painting material and technique by Mark David Goattsegen.

8 Oil painting in progress by Mouse Soyer.

9 http://www.smashingmagazine.com/tag/usability/

10 http://painting.answers.com/abstract.

Page 19
 Model Curriculum
Program Name BVA in Painting Semester Fourth Semester

Course Title Painting from Life - 2 (practical)

Course Code: DSC-VA11 Total Marks 100

Contact hours 120 Hours Practical No. of Credits 04
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Head study, partial study of face using real / plaster models. Perspective study of head from 360-degree
angle and the parts of the face Full figure study, partial study of the body, 360-degree angle perspective
study of the model posing in different postures.
❖ Painting pastels and water colour or any mediums are used as medium. Emphasize is given on the process
of Painting, application of colours, layers, Tonal judgements and other technical
❖ study and experimentation of the Medium Suggested Reading John Burger's Ways of Seeing.
Medium: Pencil, Water colour, Pastels, Acrylic, Oil, Mix-media.

Course Description:
In this Course emphasis is given to learn the application of Colours in monochromes including black and
white neutral, grey tones etc. The objective is to learn the modulations of the Head study, partial study of face
using real / plaster models. Second part of the Course is focused on Full figure study, partial study of the body,
360-degree angle perspective study of the model posing in different postures. Emphasize is given on the
process of painting, application of colours, layers, Tonal judgements and other technical study and
experimentation of the medium.

Contents 120 Hrs

A study of the ‘Life study’ from all angles which must be to grasp the total structure of the seated model.
Studies of human face is to be undertaken to understand expression, and modelling keeping in view the light
and shade, colour values, likeness, and its contemporary needs.
Linear drawings will be exercised using different media with an understanding of graphic quality. Exercises
in i) Studies of human figures in group, organic forms/landscapes. ii) Drawings of machineries. iii) Study
from Indian classical sculptures- like jewellery and design. iv) Drawings of floral designs from Indian
paintings. It may be exercises in detail, study of jewellery, insects etc.
Scope: Life study is not a reproduction of the sitter but a statement about him or her and about art as such. It

Page 20
is also a “work of art “ in its own right with aesthetic qualities coming from the composition, light, pose, tonal
values, materials used and hand co-ordination.
Drawing helps to promote deeper and keener observations along with rendering skills. It is also a store of
visual, as first-hand rendering information. It is largely to develop finer perception.
Guideline: Introduce the early portraiture and life study from different parts of world & to discuss the need
& purpose of portraiture and life study at different periods in history. Introduction to portraits from the Mughal
period, alongside with that of Rembrandt is encouraging.
An introduction to the drawings of Portraiture and life study, landscape from different periods in the history
of art would prove beneficial e.g. Durer, Rembrandt, Ingres, Mughal, Rajput landscape etc. Designs from
Ajanta, Ellora, Halebeedu, Belur and the like can help in understanding design element. To encourage the use
of studio studies to create complete drawings as a work of art (an introduction).

Learning Objectives: After completing this Course students are capable of drawing portrait of a live
model.

❖ Students can use colour mediums like water colours, Acrylics and oil colours.

❖ Students can use different techniques practiced and perfected after Completing this course.

❖ Students can capture the mood of the seated model and transfer it in their painting.

❖ Students will perfect in painting in unusual angles and perspectives

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

References

1 The artists complete guide to Drawing the Head by William L. Maughan

2 Drawing the Human Head. by Burne Hogarth 3. Action Anatomy by Takashi Iijima

Page 21
References

3 How to Paint Living Portraits by Roberta Carter Clark 5. Heads, Features and Faces by George Brant
Bridgman.

4 Painting from life exploration in water colour: Exploration in water colour by Douglas Law.

5 Beautiful portrait painting in oils by Chris Saper.

Page 22
 Model Curriculum
Program Name BVA in Painting Semester Fourth Semester

Course Title Survey of Indian Sculpture 3 (Theory)

Course Code: DSC-VA12 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Learning to recognize sculptural, styles of ancient and medieval India

❖ Students will also be introduced to study of iconography, narrative structure of sculpture.
❖ Introduction to Buddhist, Hindu, Jain Iconography, and Iconology
❖ Various schools of sculpture in South, North and western and eastern India in general.

Course Description:
In this course, students are introduced to the survey of Indian sculpture from o the Western Indian sculpture
to Vijayanagara period. Emphasis will be on sculptural styles. The primary intention of this focused course is
to assist immersion in the cultures of the subcontinent.

Indian Sculpture is a vast subject that was developed from Prehistoric period. Origin of classical sculptural
activities may be traced in Indus Valley Civilizations. Followed by the foundations of the early Buddhist art:
Indian art has multidimensional developmental pattern. Sculpture developed with early iconic, iconographic
and symbolic manifestation. Stylistic aspects and trends, experimentation with iconographic details will be
focused in the study of the subject.

Contents 45 Hrs
Unit: 1 -

❖ Indus Valley Sculptures: Seals, terracotta objects, bronze figures

❖ Early Buddhist symbolism in sculptures. Mauryan pillars, Capitals, Sculptures: Yaksha-Yakshi figures.
Sunga period Sculptures from Barhut, Terracotta figurines from Chandraketugarh- iconographic, stylistic,
and technical aspects of sculptures to be studied

❖ Satavahana & Kushana period sculptural activities. Sculptures on the cave temples, early Buddhist
sculpture in Round, Gandhara- Mathura Schools: developments in thematic, stylistic, and iconographic
study.

Unit: 2

Page 23
❖ Hindu Renaissance: Gupta, Vakataka, Kadamba, Vishnukundin, Kalachuri Periods. Study of important
art works with focus on development of iconographic and stylistic aspects.

❖ Sculptural experimentation during Badami Chalukya period.: Badami,Aihole, Mahakuta and Pattadakal
Temples.

Unit: 3

❖ Pallava Style_ Kanchipuram and Mahabalipuram Sculptures

❖ Rashtrakuta – Marvel of Kailasnath temple at Ellora. Iconic sculptural study

❖ Chola Sculptures, Bronze sculptures: technics and development

Unit: 4

❖ Sculptural art in Later Chalukya, Hoysala and contemporary sites: Khajuraho, Bhuvaneshwar etc,.

❖ Late medieval sculptural schools : Vijayanagara period and others.

Learning Objectives:

❖ Learning to recognize sculptural styles of India.

❖ At the end of the classes- students will understand a historical sketch of the development of Indian
sculptures. Various schools, styles and genre. The subject also include narrative sculptures, decorative
elements and portraiture.

Pedagogy: Lectures, Presentations, Seminars, discussions and museum/site visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks

Theory Assignments 10%

Tests 20%

Composition related activities like, Quiz, seminar, Team activities 10%

Total 40%

Formative Assessment as per NEP guidelines are compulsory

References

References

Page 24
1 Adam Hardy (1995). Indian Temple Architecture: Form and Transformation. Abhinav
Publications. ISBN 978-81-7017-312-0.

2 Adam Hardy (2007). The Temple Architecture of India. Wiley. ISBN 978-0470028278.

3 Adam Hardy (2015). Theory and Practice of Temple Architecture in Medieval India: Bhoja's
Samarāṅgaṇasūtradhāra and the Bhojpur Line Drawings. Indira Gandhi National Centre for the Arts.
ISBN 978-93-81406-41-0.

4 Harle, J.C., The Art and Architecture of the Indian Subcontinent, 2nd edn. 1994, Yale University
Press Pelican History of Art, ISBN 0300062176

5 Monica Juneja (2001). Architecture in Medieval India: Forms, Contexts, Histories. Orient
Blackswan. ISBN 978-8178242286.

6 Stella Kramrisch (1976). The Hindu Temple Volume 1. Motilal Banarsidass (Reprinted 1946
Princeton University Press). ISBN 978-81-208-0223-0.

7 Stella Kramrisch (1979). The Hindu Temple Volume 2. Motilal Banarsidass (Reprinted 1946
Princeton University Press). ISBN 978-81-208-0224-7.

8 Michael W. Meister; Madhusudan Dhaky (1986). Encyclopaedia of Indian temple architecture

American Institute of Indian Studies. ISBN 978-0-8122-7992-4.

9 George Michell (1988). The Hindu Temple: An Introduction to Its Meaning and Forms. University
of Chicago Press. ISBN 978-0-226-53230-1.

10 George Michell (2000). Hindu Art and Architecture. Thames & Hudson. ISBN 978-0-500-20337-8.

11 T. A. Gopinatha Rao (1993). Elements of Hindu iconography. Motilal Banarsidass. ISBN 978-81-
208-0878-2.

12 Pia Brancaccio (2013). Helaine Selin (ed.). Encyclopaedia of the History of Science, Technology, and
Medicine in Non-Westen Cultures. Springer Science. doi:10.1007/978-94-007-3934-5_9848- 1.
ISBN 978-94-017-1416-7.

13 James Burgess (1880). The Cave Temples of India. Cambridge University Press (Reprinted
2013). ISBN 978-1-108-05552-9.

14 José Pereira (1977). Monolithic Jinas. Motilal Banarsidass. ISBN 978-81-208-2397-6.

15 Dhavalikar, Madhukar Keshav (2003). Ellora. Oxford University Press, New Delhi. ISBN 0-19-
565458-7. OCLC 47901386.

Page 25
References

16 Berkson, Carmel (1992). Ellora, Concept and Style. Abhinav Publications. ISBN 0-19-565458-7.

17 Susan L. Huntington; John C.. Huntington (2014). The Art of Ancient India: Buddhist, Hindu, Jain.
Motilal Banarsidass. ISBN 978-81-208-3617-4.

18 Damien Keown; Charles S. Prebish (2013). Encyclopedia of Buddhism. Routledge. ISBN 978-1-
136-98588-1.

19 Neubauer, Jutta Jain (1981), The Stepwells of Gujarat: In Art-historical Perspective, Abhinav
Publications, ISBN 9780391022843

20 Kumar, Sehdev (2001), A Thousand Petalled Lotus: Jain Temples of Rajasthan : Architecture &
Iconography, Abhinav Publications, ISBN 9788170173489

21 Jain, Arun Kumar (2009), Faith & Philosophy of Jainism, Gyan Publishing
House, ISBN 9788178357232

22 Alice Boner; Sadāśiva Rath Śarmā (2005). Silpa Prakasa. Brill Academic (Reprinted by Motilal
Banarsidass). ISBN 978-8120820524. Archived from the original on 22 February 2017. Retrieved 9
November 2017.

23 Ananda K Coomaraswamy (1985), History of Indian and Indonesian Art,

Dover, ISBN 9780486250052, archived from the original on 9 August 2019, retrieved 9
November 2017

24 Debala Mitra (1968), Konarak, Archaeological Survey of India

25 Avinash Patra (2011). Origin & Antiquity of the Cult of Lord Jagannath. Oxford University Press.

26 Partha Mitter (1992). Much Maligned Monsters: A History of European Reactions to Indian Art.
University of Chicago Press. ISBN 978-0-226-53239-4.

27 History of Indian Art by Vidya Vachaspati Gerola

28 A Survey of Indian Sculpture by K.S.Sarswati

Page 26
 PRACTIAL INTERNAL SUBMISSION
IV Semester
50% MARKS

Sl. NUMBER OF
SUBJECT MEDIUM
No. WORKS
1 PICTORIAL COMPOSTIOIN -1(5)
*Drawing Pencil/ Charcoal
*Interior Watercolor/ Acrylic
*Exterior Watercolor/ Acrylic 10 works
*Composition Watercolor/ Pastel/
Acrylic/Digital media
2 PAINTING FROM LIFE -1 (4)
Charcoal/ Watercolor /
Oil Pastel /Dry Pastel /Acrylic/ 10 Works
Digital media.

3 All course digital works are Mandatory Using any digital software 02 works

Total Works 22

NOTE:

1. For the Internal Submission Students should submit Minimum 32 works.

Students should submit the works which are done in the studio hours.

2. Test will be conducted for all the DSC/OE practical subjects.

3. Cumulative internal assessment is mandatory.

INTERNAL SUBMISSION BASED ON FOLLOWING CRITERIAS:

Involvement & Punctuality Technical Skill Concept, Creativity, Presentation Practical Test

20% 20% 40% 20%

NOTE: FROM AECC & SEC COURSES ARE AS PER NEP AND INSTITUTIONS GUIDELINES

Page 27
Model Curriculum
of
BVA
in
Applied Art
3rd & 4th Semester

Page 27
 Contents of Courses for Bachelor of visual Arts (BVA)
III SEMESTER– APPLIED ART DEPARTMENT
Sl Studio/ Marks
No. study Interna Submissio
Duration Total
Title of the Course hours Per l n Total
of Exam Credits
Semester Marks with marks
display

DISCIPLINE SPECIFIC CORE - DSC

01 Typography & Visual 180 - 75 75 150 5

Design- 1(5)

02 Illustration 1-(4) 120 - 50 50 100 4

Exam
03 Fundamental of Advertising 45 2 hours 40 100 3
(3) 60

OPEN ELECTIVE - OE

04 Visual Art –Applied art 3

90 - 50 50 100 3
(3)

OE Paper is to be offered for the Students other than BVA.

Page 28
 Model Curriculum
Program Name BVA in Applied Art

Course Title Typography & Visual Design- 1 (practical) Semester Third Semester

Course Code: DSC-VA7 Total Marks 150

Contact hours 180 Hours Practical No. of Credits 05
Formative Assessment Marks 75 Summative Assessment Marks 75

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Imparting knowledge with Practical Assignments on visual Design.

❖ Enhancing the skill of using colours and Design values.
❖ Perspective outdoor studies that can be transposed onto Indian miniature perspective.
❖ Creative drawing composition. Sketches in direct colour with brushes.
❖ Increase patience and philosophical values through Visual art.
❖ Improves emotional intelligence by using colour & forms.

Course Description:
Fundamental elements of visual communication both Traditional and Contemporary design will be
understood. Hand drawn rough visuals, using various instruments along with basic design software tools of
computer. Logo/Visual Icon Design, its development in graphic expressions. Basic Typography construction
of basic letter forms – Type Terminology & design colour, optical and mechanical spacing with type or letter
form for visual message type specification for design. History of typography and type designers to be learn

Contents 180 Hrs

The content and various explorations of the visual signage reflecting the institutional and corporate on the
whole. Furthermore in-depth understanding of design elements such as typography, colour layout, image and
symbol/logo/icon, will be explored. This exploration will be applied to such understandings as
conceptualizing and designing corporate identity, other communication materials. Basic Typography
construction of basic letter forms – Type Terminology & design colour, optical and mechanical spacing with
type or letter form for visual message type specification for design. History of typography and type designers
to be learnt.

Scope: To demonstrate basic learning, understanding and its application in Type Design, Logo Design, Icon

Page 29
Design. Visual relevance encourages students to explore and innovative approaches in type and design
emphasis to study skills for communication in a most effective form.

Guidelines: The curriculum is taught in a highly motivated and supportive environment such as introduction
on history of type, Type designer’s role in visual communication context. Understanding of the application of
art and design, Logos etc., and form of their study an basic skills in Anatomy of Type & its elements, Type
face and construction. Development of ideas and practices.

Learning Objectivities:

❖ Thinking thorough knowledge and Exploration to enhance ability of creative skill.

❖ This Subject encourages the students to apply problems-solutions suitable to various design Industries.
❖ Implementation of creative approach in the form of digital generated image is also part of the study.
❖ The course is supported by adequate theoretical knowledge.

Pedagogy: PPT, Demonstrations, and Advertising Company /Gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Typography & Visual Design Projects 15%

Typography & Visual Design related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

References
1 Applied art hand book- S.k.luthra kareer polytechnic publication June-1996
2 Advertising art & Ideas- Dr. G.M.Rege Ashutosh Prakashan-1972

3 Foundations of Advertising Theory & practice- S.A.Chunawalla & K. C Sethia Himalaya

publishing House Jan-1985

Page 30
 Model Curriculum
Program Name BVA in Applied Art

Course Title Illustration 1 (practical) Semester Third Semester

Course Code: DSC-VA8 Total Marks 100

Contact hours 120 Hours Practical No. of Credits 04
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Studies of human figures.

❖ Anatomical study of Different age groups, partial study of face using real.
❖ Perspective study of head from 360 degree angle and the parts of the face.
❖ Full figure study, partial study of the body, 360 degree angle perspective study of the model Posing in
different postures.
❖ Emphasis is given on the process of drawing, study and experimentation of the medium Studies of
human figures in group, organic forms

Course Description:
Illustration to develop a career as illustrator needs not only to be inventive but logical & persuasive in
implementing visual language information. ‘Digital’ illustration is aimed at providing the students with
adequate knowledge of the basic principles of Illustration & drawing (Pencil, charcoal pastels and water
colour or any mediums) are used as mediums.

Emphasis is given on the process of drawing, study and experimentation of the medium

Contents 180 Hrs

Tabletop photography’s basics, composition, using a product arrangement and other props, digital or analogy
photography (film base) and photo shoot. Re designing a major brand (Product) using variety of similar
brands, emphasis on product proportion, shape, size, colour, label graphic image etc. Considering the creative
process of imagination special emphasis on drawing & ideas in relation to product is to be focused.
Perspective, observation, & visualization technique drawing- rendering in pencil, colour, line, ink, halftone
etc. is needed for the better understanding of the subject. Students can also use digital tools for rendering
digital illustration.

Scope: Traditional and contemporary way of exploring illustration. It is a trending field in the multimedia

Page 31
industry for a better career. The fundamentals of illustrations are developed on each individual skill in a
form of 2D character design.

Guidelines: The project brief look at the comparison of skill, character development, tones, and textures.
The narrative illustration is a visual clue to tell a story in a various traditional or digital form.

Learning Objectivities:

❖ After completing this course students will be able to execute the Illustration concepts using elements
and principles of Illustration/Drawing
❖ Students learn the Illustration design terminologies and its usage.
❖ Students are enabled with observation and analytical skills.
❖ The creative process of imagination special emphasis on drawing & ideas in relation to product is to be
focused.

Pedagogy: Instruction consists of demonstrations and presentations, Practical assignments

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Illustration Projects 15%

Illustration related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

References
1 Applied art hand book- S.k.luthra kareer polytechnic publication June-1996
2 Advertising art & Ideas- Dr. G.M.Rege Ashutosh Prakashan-1972

3 Foundations of Advertising Theory & practice- S.A.Chunawalla & K. C Sethia Himalaya

publishing House Jan-1985

Page 32
 Model Curriculum
Program Name BVA in Applied Art

Course Title Fundamentals of Advertising - 3 (Theory) Semester Third Semester

Course Code: DSC-VA9 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ The objective of this course is to familiarize the students with the basic concepts, tools and techniques of
advertising used in marketing.
❖ Understand the basic concepts of Advertising and Judge the Advertising environment.
❖ Analyse the systematic process of Advertising in the present scenario of marketing Decisions.
❖ Evaluate the Modern Advertising strategies & identify the factors affecting the Advertising system.
❖ Inculcate the recent developments in the field of Advertising, media plans, decisions and Strategies

Course Description:
In this course, students are introduced to the history of advertising, Introduction to Advertising & History of
Indian Advertising.

Contents 45 Hrs
UNIT:01 - History of Advertising
Pre-printing period: prior to 15th century- early printing period: from 15th century to 1840- period of
expansion: from 1840 to 1900-period of consolidation: from 1900 to 1925- period of scientific development:
from 1925 to 1945- period of business & social integration: from 1945 to the present.

UNIT:02 - Introduction to Advertising

Developing effective communication; Communication objectives; Meaning and Definition of Advertising,
Features of Advertising, Advertising - Science, Art or Profession, Key Player in the Advertising Industry
Significance of Advertising, purpose and functions of advertising; Economic, social & ethical aspects of
advertising: Advertising as a communication process, types of advertising: Major Institutions of Advertising
Management

UNIT:03 - History of Indian Advertising

Page 33
Advertising for religion-village economy in India- birth of newspaper & advertising- birth of advertising
agency- emerge of foreign advertising agency- the growth of Indian advertising agency- growth of commercial
art and printing- commercial art influence by the west- scope of creativity in advertising- various organizations
connected with advertising- present & future of advertising in India.

Pedagogy: Lectures, Presentations, Seminars, discussions

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks

Test 20%

Assignments 10%

Theory related activities like, Quiz, seminar, Team activities 10%

Total 40%

Formative Assessment as per NEP guidelines are compulsory

References
1 Advertising art & Ideas- Dr. G. M. Rege Ashutosh Prakashan- 1972
2 Foundations of Advertising Theory & practice- S. A Chunawalla & K. C Sethia Himalaya
publishing House Jan 1985

3 Advertising- C.N. Sontakki- Kalyani publishers 1989

4 Advertising practice and principal- Ruchi Prasad.

5 Advertising and Brand management- Ramana Gupta

Page 34
 Model Curriculum
Program Name BVA in Applied Art

Course Title VISUAL ART- APPLIED ART-3 (Practical) Semester Third Semester

Course Code: OE-03 Total Marks 100

Contact hours 120 Hours Practical No. of Credits 03
Formative Assessment Marks 50 Summative Assessment Marks 50
OE Paper is to be offered for the Students other than BVA.

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Extension of painting studio works to the Printmaking/ Sculpture/Ceramics/Animation/Applied art

/Photography/Folk Art/ at the level of concepts, themes and forms. Or any available courses in the
institute.
❖ Students will explore various graphic media including wood and lino cut, etching, screen printing and
lithography
❖ Students will explore various sculptural media including clay, wood, stone, plaster, metal and epoxy.
❖ Students will explore various sculptural media including clay and mixtures of clay, earthen elements,
powders, and water. Exercise with 2D and 3D forms.
❖ Understanding of excellent electrical insulation. etc.
❖ Understanding of Digital Soft wares and their tools with relevant themes.
❖ Introduction to different types of cameras, their mechanism and developments, printing, indoor and
outdoor photography and darkroom practice.
❖ Understanding of –Rooted in traditions, community, expressing identity, community values and
aesthetics. Practice with any Indian folk painting methods and materials as well with contemporary
medium.

Course Description:
This is an Open Elective course offered for other discipline students not for BVA Students.

Contents 120 Hrs

A study of the ‘Life study’ from all angles which must be to grasp the total structure of the seated model.
Studies of human face is to be undertaken to understand expression, and modelling keeping in view the light
and shade, colour values, likeness, and its contemporary needs.

Page 35
Scope: Drawing helps to promote deeper and keener observations along with rendering skills. It is also a store
of visual, as first-hand rendering information. It is largely to develop finer perception.

Life study is not a reproduction of the sitter but a statement about him or her and about art as such. It is also
a “work of art “in its own right with aesthetic qualities coming from the composition, light, pose, tonal values,
materials used and hand co-ordination.

Guideline: An introduction to the drawings of Portraiture and life study, landscape from different periods in
the history of art would prove beneficial e.g.Durer, Rembrandt, Ingres, Mughal, Rajput landscape etc. Designs
from Ajanta, Ellora, Halebeedu, Belur and the like can help in understanding design element. To encourage
the use of studio studies to create complete drawings as a work of art (an introduction).

Introduce the early portraiture and life study from different parts of world & to discuss the need & purpose of
portraiture and life study at different periods in history. Introduction to portraits from the Mughal period,
alongside with that of Rembrandt is encouraging.

Learning Objectives:

Understanding of Printmaking/ Sculpture/Ceramics/Animation/ Painting / Applied art/ Photography / Folk

Art / Digital Media, processes, techniques, and tools. Translating their artistic vision into two/three-
dimensional form or into the comparatively indirect processes of all DSE course. Equipping students with the
ability to move fluidly between a wide range of media which will come in useful for their creative work in
the final semesters.

Pedagogy: Lectures, Presentations, Seminars, discussions

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 20%

Open Elective Projects 10%

Open Elective activities like, Quiz, seminar, Team activities 10%

Total 40%

Formative Assessment as per NEP guidelines are compulsory

References
1 https://www.printmaker.com/links.html
2 www.info@lightspacetime.art

Page 36
References
3 https://www.oberlo.in/blog/free-animation-software

4 https://indianfolkart.org/52-ifa/

5 https://leverageedu.com/blog/traditional-art-forms-of-india/

6 https://en.m.wikipedia.org/wiki/Applied_arts

7 https://en.m.wikipedia.org/wiki/Ceramic

8 https://en.m.wikipedia.org/wiki/Printmaking

9 https://en.m.wikipedia.org/wiki/Photography

10 https://en.m.wikipedia.org/wiki/Indian_art

11 https://en.m.wikipedia.org/wiki/Folk_art

Page 37
 PRACTIAL INTERNAL SUBMISSION
III Semester
50% MARKS

Sl.
SUBJECT MEDIUM NUMBER OF WORKS
No.

1 Typography & Visual Design C-1(5) Pencil/ Black & White Visual Journal Compulsory
Logo Design/ Visual Icon Stationery Colour works 5 + 5 Nos. Approved
(Business Card, Letterhead and Comprehensive and final prints
Digital/Screen Printing
Envelop)
(Collateral)

2 Illustration-1/(4) Different Rendering Line, Pencil, Monochrome,

Techniques Water Color, Poster Color
Two Different Product
(Domestic/Lifestyle) Rendering Techniques, Black &
White, Photography & Digital
Etc.
One of each Technique

Total Works 25

NOTE:

• For the Internal Submission Students should submit Minimum 25 works.

• Students must produce the works in studio hours.
• Test will be conducted for all the DSC practical subjects.
• End of the semester test will be conducted for the 20% of the internal marks

INTERNAL SUBMISSION BASED ON FOLLOWING CRITERIAS:

Involvement & Punctuality Technical Skill Concept, Creativity, Presentation Practical Test

20% 20% 40% 20%

Page 38
 Contents of Courses for Bachelor of visual Arts (BVA)
IV SEMESTER– APPLIED ART DEPARTMENT
Sl Studio/ Marks
No. study Interna Submissio
Duration Total
Title of the Course hours Per l n Total
of Exam Credits
Semester Marks with marks
display

DISCIPLINE SPECIFIC CORE - DSC

01 Environmental Graphic 180 - 75 75 150 5

Design- 2 (5)

02 Illustration -2 (4) 120 - 50 50 100 4

Exam
03 Fundamentals of Marketing 45 2 hours 40 100 3
-4 (3) 60

Page 39
 Model Curriculum
Program Name BVA in Applied Art

Course Title Environmental Graphic Design- 2 (Practical) Semester Fourth Semester

Course Code: DSC-VA10 Total Marks 150

Contact hours 180 Hours Practical No. of Credits 05
Formative Assessment Marks 75 Summative Assessment Marks 75

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Execute the Environmental design concepts using elements and principles of Design.
❖ Students learn the Environmental design terminologies and its usage.
❖ Students are enabled with observation and analytical skills of Environmental design.
❖ Enhancing the skill of using colours and Environmental Graphic Design values.
❖ Improves emotional intelligence by using colour & forms

Course Description:
This course is an introduction to the Environmental Graphic Design specialty including way finding systems,
architectural graphics, landscaping, signage, exhibit design, and mapped and themed environments. Students
explore the human-cantered experience with signage as it relates to branding, identification and direction
within the built environment. In group and individual projects, students learn strategies in way- finding, sign
design, fabrication techniques and sustainable materials use. Innovations and new technologies will be studied
to advance user interaction in public and private spaces. Upon successful completion of this course, students
demonstrate a greater understanding of communication within the built/branded environment.

Contents 180 Hrs

Environmental graphic design visually connects the society to places to improve their overall experience by
making spaces more memorable, interesting, informative, or easier to navigate. Environmental design is a
broad type of design containing signage, wall mural, museum exhibitions, office branding, public
transportation, retail store interiors, stadium branding, event, and conference spaces. Way finding is a specific
type of environmental graphic design consists of strategic signage, landmarks and visual clues that help people
identify where they are and where they need to go so, they can get their without confusion.

Scope:

Page 40
• The holistic Environmental Graphic Design theory involves creating an atmosphere through the use of
design fundamentals.

• Apply Environmental Graphic Design industry standards to create a user-friendly experience.

• Research and create prototypes of way finding and experiential graphics to test initial assumptions.

• Propose an environmental design plan for a large scale-built environment.

Guidelines: Right building design can organization advance their mission and goals. Our research program
makes us better designers and more valuable adviser to make more strategic decisions about their working
environment and public utility places.

Learning Objectivities:

❖ Students are capable of apply and work in Environmental design for Educational contents, Corporate
Training, HR training and all training process
❖ This Course allow student to deeply observe and study the nature and culture and develop visual
sensibilities, perceptual skills, analytical skills and Representational skills.

Pedagogy: Studio and outdoor work, demonstrations, slide shows / PPT

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Environmental Graphic Design- 2 Projects 15%

Environmental Graphic Design- 2 related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

References
1 Applied art hand book- S.k.luthra kareer polytechnic publication June-1996
2 Advertising art & Ideas- Dr. G.M.Rege Ashutosh Prakashan-1972

3 Foundations of Advertising Theory & practice- S.A.Chunawalla & K. C Sethia Himalaya

publishing House Jan-1985

Page 41
 Model Curriculum
Program Name BVA in Applied Art

Course Title Illustration -2 (Practical) Semester Fourth Semester

Course Code: DSC-VA11 Total Marks 100

Contact hours 120 Hours Practical No. of Credits 04
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Develop a skill for illustration basic croqui and basic sketching.

❖ Lear all the illustration terminologies
❖ Basic Principles and techniques of illustration

Course Description:

The art of illustrating has been around for a long time and since the appearance of digital programs this art
form has diversified itself and helped open the door for new creative jobs in many different areas like the
internet, Television, Publishing, Medicine, Sciences, Newspapers, Theatre, Magazines, Cinema,
Corporations, and Advertising.

Contents 180 Hrs

Advanced techniques for rendering colour, colour separation process, line and halftone methods for different
media constraints. “Creativity” ideas in illustration storyboard for audio video media, book illustration, for
games, transport, airways, seaways etc.

Scope: The Creative Illustration aims to develop student’s capacity to interpret ideas through images,
providing the best creative solutions for the creation of imaginative illustrations. The student will be able to
develop their own personal style by experimenting with different techniques.

Guidelines: Exploring drawing with special emphasis on attributes of various drawing mediums and as the
means of non-personal representation and expression. This will further leads to the exploration of various
tools and materials available. An assignment on various illustration projects has to be completed under the
teacher’s guidelines with regular discussion and display.

Page 42
Learning Objectivities:

❖ After completing this Course students are capable of Illustration

❖ Students are capable of using colour mediums like water colours, Acrylics and oil colours.
❖ Students are enabled with observation and analytical skills of Illustration/ design

Pedagogy: Instruction consists of demonstrations and presentations, Practical assignments

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Illustration -2 Projects 15%

Illustration -2 related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

References
1 Applied art hand book- S.k.luthra kareer polytechnic publication, June-1966
2 Advertising art & Ideas- Dr. G.M. Rege Ashutosh Prakashan-1972

3 Foundations of Advertising Theory & practice- S.A Chunawalla & K.C Sethia Himalaya
publishing House Jan-1985

4 Drawing on the Right Side of the Brain- by Betty Edwards

5 Keys to Drawing- by Bert Dodson

Page 43
 Model Curriculum
Program Name BVA in Applied Art

Course Title Fundamentals Of Marketing-4 (Theory) Semester Fourth Semester

Course Code: DSC-VA12 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Familiarize the students with the basic concepts, tools and techniques of fundamentals of marketing.
❖ Understand the basic concepts of marketing and Judge the Advertising environment.
❖ Analyse the systematic process of Advertising in the present scenario of marketing Decisions.
❖ Evaluate the Modern Marketing, Advertising strategies & identify the factors affecting the Advertising
system.
❖ Inculcate the recent developments in the field of Marketing, Advertising, media plans, decisions and
Strategies

Course Description:

In this course, students are introduced to the fundamentals of marketing, Marketing and Market Research,
Social Marketing, online marketing, direct marketing.

Contents 180 Hrs

Unit: 1 - Introduction to Marketing
Introduction-Nature-Scope-Importance of Marketing: Concepts &Approaches of Marketing: Need-Want-
Demand-Customer Value-Customer Creation; Evolution of marketing, Functions of Marketing- Marketing
Environment: Concept-importance-Micro and Macro Environment. Marketing Management Meaning-
importance.

Unit: 2 - Marketing and Market Research

Marketing and Market Research - The nature & scope of marketing - the nature and scope of market research-
market research & product - market research & production - market research & the market - market research
& marketing policies & methods - market research & channels of distribution - market research & selling
performances - market research & advertising - market research & competition - market research & product
development - motivation research - brand image.

Unit: 3 - Recent Developments in Marketing

Page 44
Social Marketing, online marketing, direct marketing, services marketing, green marketing, Rural marketing:
Consumerism, Search Engine Marketing-Mobile Marketing- Marketing Analytics-Social Media Marketing-
Email Marketing Live Video Streaming Marketing- Network Marketing, any other recent developments in
Marketing.

Learning Objectivities: On successful completion of the course, the Students will be able to

❖ Understand the basic concepts of marketing and asses the marketing environment.
❖ Analyse the consumer behaviour in the present scenario and marketing segmentation.
❖ Discover the new product development & identify the factors affecting the price of a Product in the
present context.
❖ Judge the impact of promotional techniques on the customers & importance of channels of distribution.
Outline the recent developments in the field of marketing

Pedagogy: Lectures, Presentations, Seminars, discussions

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks

Test 20%

Assignments 10%

Theory related activities like, Quiz, seminar, Team activities 10%

Total 40%

Formative Assessment as per NEP guidelines are compulsory

References
1 Advertising- C.N. Sontakki- Kalyani publishers 1989
2 Advertising- B.N.Ahuja & S.S. chhabra – Surjeet Publications -2001

3 Advertising Management- Jaishri-Jethwa Ney & shruti Jain. Published in India by Oxford
university Press-2006

4 Advertising and Marketing Research- ChunaWalla, reddy &Appannaiah- Himalaya publishing

House-2000

5 Advertising Management- B.S.Rathor - Himalaya publishing House-2010

Page 45
 PRACTIAL INTERNAL SUBMISSION
IV Semester
50% MARKS

Sl.
SUBJECT MEDIUM NUMBER OF WORKS
No.

ENVIRONMENTAL GRAPHIC DESIGN: C-2

1. Educational Institution
Visual Journal Compulsory
2. Museums / Stadium Pen & Ink
Research and Project Report
3. Zoological Parks Water Color / Pencil
4. Public Utility Places Poster Color / Digital
Any 3 Projects
5. Urban & Rural Development

ILLUSTRATION-2 C-2

1. Narrative Illustration Pen & Ink

2. Story Board Water Color / Pencil Any 3 Projects
3. Informative Illustration Poster Color / Digital

Total Works 35

NOTE:

• For the Internal Submission Students should submit Minimum 25 works.

• Students must produce the works in studio hours.
• Test will be conducted for all the DSC practical subjects.
• End of the semester test will be conducted for the 20% of the internal marks

INTERNAL SUBMISSION BASED ON FOLLOWING CRITERIAS:

Involvement & Punctuality Technical Skill Concept, Creativity, Presentation Practical Test

20% 20% 40% 20%

Page 46
Model Curriculum
of
BVA
in
Sculpture
3rd & 4th Semester

Page 47
 Contents of Courses for Bachelor of visual Arts (BVA)
III SEMESTER– SCULPTURE DEPARTMENT
Studio/ Marks
Sl study Duration Internal Submission Total
Title of the Course Total
No. hours Per of Exam Marks with Credits
marks
Semester display

DISCIPLINE SPECIFIC CORE - DSC

01 Sculptural Composition C- I (5) 180 - 75 75 150 5

02 Head Study / Portrait C-1(4) 120 - 50 50 100 4

Exam
03 History of Indian Genre 3 (3) 45 2 hours 40 100 3
60

OPEN ELECTIVE - OE

04 Relief Sculpture (3) 90 - 50 50 100 3

05 Sculpture Composition (3) 90 - 50 50 100 3

OE Paper is to be offered for the Students other than BVA.

Page 48
 Model Curriculum
Program Name BVA in Sculpture Semester Third Semester

Course Title Sculpture Composition C- 1 (Practical)

Course Code: DSC-VA7 Total Marks 150

Contact hours 180 Hours Practical No. of Credits 05
Formative Assessment Marks 75 Summative Assessment Marks 75

Course Description:
Sculptural composition deals with the basic three-dimensional elements such as volume, positive-negative
space, depth, relief, movement in different dimension. Students are expected to use figurative or non-
figurative forms, including organic and inorganic forms. Materials are used should basically make meaning
to emphasize the importance of proportion, shape, line, and balance of sculpture

Contents 180 Hrs

Compositions are to be created based on sketches, drawing from the life and the nature around. Understanding
of fundamental of three-dimensional language is focused here, to realise these students are allowed to exercise
in paper, wood, stone, metal, cement, moulding and casting techniques. Designing the basic structure and
armature are also introduced in this semester.

Scope: It is help to student to understand the quality of three dimensions. It also begins the narration of
building story and expression through three dimensional sculptural formats.

Guidelines: Introduction of various media and different kinds of composition created by Indian, western and
far Eastern masters. Folk, Tribal, Traditional, Contemporary sculptors may be taken as an example to
understand the change of 3D language in history.

Page 49
Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

Page 50
 Model Curriculum
Program Name BVA in Sculpture Semester Third Semester

Course Title Head Study / Portrait C-1 (Practical)

Course Code: DSC-VA8 Total Marks 100

Contact hours 120 Hours Practical No. of Credits 04
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Description:
Study of human head is one of the important subject in the sculpture department. It involves the study of the
skull structure in three dimensional and gradually to develop into a portrait. The gender, inner character,
personality and expression are equally focused. It is a pleasurable experience to understand the relationship
between the artist's personality & the model's personality.

Contents 120 Hrs

Introduction to human Anatomy. study of skull and head in various age groups. Emphasis on structure,
proportion, and character of the model. The head study is done basically in clay in a spontaneous method,
later the method of mould making done with pop. This is further casted in various material likes plaster,
cement, fiberglass etc.

Scope: The head study helps to understand the three-dimensional forms and its expression. Later this will be
useful to adopt in a personal need of creative or realistic portraiture practice.

Guideline: Introduction study from Indian traditional sculptures head-study like of Buddha heads from
different period, study of Egyptian, Roman, Greek, Gothic, Renaissance, portrait and study of contemporary
portraiture is to be encouraged.

Note: Daily sketching is part of practical subjects.

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Formative Assessment for Practical

Page 51
 Assessment Occasion/ type Weightage in Marks

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

Page 52
 Model Curriculum
Program Name BVA in Sculpture Semester Third Semester

Course Title History of Indian Genres - 3 (Theory)

Course Code: DSC-VA9 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Understand the Genre (Various Aspects) of the Visual Art in India. Genre consists of various subjects
under one Umbrella
❖ Students will get a comprehensive knowledge about the visual art and its wide scopes.
❖ The paper helps in providing introduction to varied subjects of Indian art which will be studied in
details in next semesters.
❖ Outcome of the course and subject will give a broader idea and understanding about Indian art and its
varied forms.

Course Description:
Define the term genre in connection with Art History. Genre: literally means-varied segments or many
categories. Identifying the categories in Visual Art leads to the study of the same individually. Socio- political,
cultural concepts and influences on art are also considered. Following categories are considered for the study
of Indian Genre in Visual Art.

❖ Study of Representation of formal, pictorial and visual elements;

❖ Study of portraiture.

❖ Iconography; in a broader perspective.

❖ Landscapes and still-lives

❖ Secular themes in Indian miniatures,

❖ Narratives and architectonic sculptures in Indian sculptures.

❖ J J School of Art- and influence of varied genre.

❖ Eclecticism in British Company school and J.J.School of arts

❖ Genres of painting (portrait and landscapes) in twentieth century (individuals and schools)

Page 53
 ❖ Politics of Image in connection social history, before and after independence

❖ Industrial and Technological role within the picture frame.

❖ Popular forms in expression (advertisements, posters, popular media)

Contents 45 Hrs
UNIT:01
1. Study of Representation of formal, pictorial and visual elements.
2. Study of portraiture.
3. Iconography; in a broader perspective.
4. Landscapes and still-lives

UNIT:02
1. Narratives and architectonic sculptures in Indian sculptures
2. Secular themes in Indian miniatures,

UNIT:03
1. J J School of Art- and influence of varied genre.
2. Eclecticism in British Company school and J.J.School of arts

UNIT:04
1. Politics of Image in connection social history, before and after independence
2. Industrial and Technological role within the picture frame.
3. Popular forms in expression (advertisements, posters, popular media)

Learning Objectives:

• Students will understand once the course is completed:

• The importance of genre of Indian Art

• The importance and styles and iconographic aspects of Pictorial images and portraiture, landscape,
Narrative art

• Indian miniature: secular themes and their importance in the making of Indian Art as a whole.

• In the social historical context, the role politics, and its images. Industrial and technological advancements
and its framed artistic structure. Popular culture and media in the traditional and contemporary context:
such as popular prints of Ravi Varma and others.

Page 54
Pedagogy: Lectures, Presentations, Seminars, discussions, and museum/site visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks

Theory Assignments 10%

Tests 20%

Composition related activities like, Quiz, seminar, Team activities 10%

Total 40%

Formative Assessment as per NEP guidelines are compulsory

References
1 Elements of Hindu Iconography-T.A Gopinatha Rao,

2 Company School Painting-Mildred Archer

3 Art and Illusion- E H Gombrich

4 Ways of Seeing ; John Beger

5 Popular Art in India: Marg issues

6 Basham, A.L. (1967). The Wonder that was India. London: Sidgwick & Jackson. pp. 11–14.

7 Kramrisch, Stella. A Survey of Painting in the Deccan (Calcutta and London: The India Society in co-
operation with the Dept. of Archaeology, 1937

8 Kramrisch, Stella (1994). Exploring India's Sacred Art. Motilal Banarsidass. ISBN 978-81-208-
1208-6.

9 Yazdani, Gulam. The Early History of the Deccan, Parts 7–9 (Oxford: 1960).

10 The City Palace Museum, Udaipur: paintings of Mewar court life. by Andrew Topsfield, Pankaj Shah,
Government Museum, Udaipur. Mapin, 1990. ISBN 094414229X

11 Splendour of Rajasthani painting, by Jai Singh Neeraj. Abhinav Publications, 1991. ISBN 81-7017-
267-5.

12 Art and artists of Rajasthan: a study on the art & artists of Mewar with reference to western Indian
school of painting, by Radhakrishna Vashistha. Abhinav Publications, 1995. ISBN 81-7017-284-5.

13 A study of Bundi school of painting, by Jiwan Sodhi. Abhinav Publications, 1999. ISBN 81-7017-
347-7

Page 55
References
14 Court painting at Udaipur: art under the patronage of the Maharanas of Mewar, by

15 Andrew Topsfield, Museum Rietberg. Artibus Asiae Publishers, 2001. ISBN 3-907077-03-2.

16 Rajput Painting, by Ananda K. Coomaraswamy, Publisher B. R. Publishing Corporation,

2003. ISBN 81-7646-376-0.

17 The artists of Nathadwara: the practice of painting in Rajasthan, by Tryna Lyons. Indiana University
Press, 2004. ISBN 0-253-34417-4.

18 Ghosh, P. (2012). The Intelligence of Tradition in Rajput Court Painting. Art Bulletin, 94(4), 650–
652.

19 Dalrymple, William, (2016). [1] The beautiful, magical world of Rajput art.] New York Review of
Books, 26 November 2016.

20 Archer, Mildred. Company Paintings: Indian Paintings of the British Period. London: Victoria and
Albert Museum, 1992. ISBN 0944142303.

21 Welch, Stuart Cary. Room for Wonder: Indian Court Painting during the British Period, 1760–1880.
Exhibition catalogue. New York: American Federation of Arts, 1978. ISBN 0847801764

22 Dalrymple, William, Forgotten Masters: Indian Painting for the East India Company, 2019, Philip
Wilson Publishers Ltd, ISBN 978-1781301012

23 Kossak , Steven (1997). Indian court painting, 16th-19th century.. New York: The Metropolitan
Museum of Art. ISBN 0870997831. (see index: p. 148-152)

24 Pahari Masters: Court Painters of Northern India by B. N. Goswamy and Eberhard Fischer Artibus
Asiae. Supplementum, Vol. 38, Pahari Masters: Court Painters of Northern India (1992), pp. 3–391.

25 Wall Paintings of The Western Himalayas, by Mira Seth. Publications Division. 1976.

26 Garhwal Paintings, by Mukandi Lal. Publications Division. 1982.

27 Punjab Painting - Study in Art and Culture, by R P Srivastava. Abhinav Publications. 1983. ISBN 0-
391-02560-0.

Page 56
 Model Curriculum
Program Name BVA in Sculpture Semester Third Semester

Course Title Relief Sculpture (Practical)

Course Code: OE-3.1 Total Marks 100

Contact hours 90 Hours Practical No. of Credits 03
Formative Assessment Marks 50 Summative Assessment Marks 50
OE Paper is to be offered for the Students other than BVA.

Course Description:
This is an Open Elective course offered for other discipline students not for BVA Students.

Relief sculptures are technically somewhere in-between two dimensional and three-dimensional forms. In this
subject explores aspects of real and illusionary forms and space. Often the relief describes in terms of high
relief and low relief.

Contents 90 Hrs
Exercise in low and high relief. Various techniques and materials to be prescribed.

Guideline: To introduce method and materials to create base slab and relief work. Introduce Indian,
Egyptian, Chinese, Greek, Roman and Contemporary relief works.

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

Page 57
 Model Curriculum
Program Name BVA in Sculpture Semester Third Semester

Course Title Sculpture Composition (Practical)

Course Code: OE-3.2 Total Marks 100

Contact hours 90 Hours Practical No. of Credits 03
Formative Assessment Marks 50 Summative Assessment Marks 50
OE Paper is to be offered for the Students other than BVA.

Course Description:
This is an Open Elective course offered for other discipline students not for BVA Students.
Sculptural composition deals with the basic three-dimensional elements such as volume, positive-negative
space, depth, relief, movement in different dimension. Students are expected to use figurative or non-
figurative forms, including organic and inorganic forms

Contents 90 Hrs
Composition is to be created based on sketches, drawing from the life and nature around. Understanding of
the fundamental of three-dimensional language is focused here, to realise these students are allowed to
exercise in paper, wood, stone, metal, cement moulding and casting techniques.

Guidelines: Introduction to various media and different kinds of composition created by Indian, Western and
Far Eastern masters and Folk, Tribal, Traditional sculptures.

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

Page 58
 PRACTIAL INTERNAL SUBMISSION
III Semester
50% MARKS
Sl. NUMBER OF WORKS
SUBJECT MEDIUM
No.
Sculpture Composition: C-1
1 Sculptural Drawing Any Media completed work : 2
Pencil/ Charcoal/Clay completed drawing : 10
2 Maquette Any Media 5

3 Composition Using any Digital software

2 works with soft copy
Any Media
Head-study/Portrait:C-1 completed work : 2
1 Head-Study Drawing Pencil, Water colour, Charcol
etc completed drawings : 10
2 Head-study/Portrait Using any Digital software
2 works with soft copy
Total Works: 33

NOTE:

1. For the Internal Submission Students should submit Minimum 29 works.

Students should submit the works which are done in the studio hours.

2. Test will be conducted for all the DSC practical subjects.

3. Cumulative internal assessment is mandatory.

INTERNAL SUBMISSION BASED ON FOLLOWING CRITERIAS:

Involvement & Concept, Creativity,

Technical Skill Practical Test
Punctuality Presentation

20% 20% 40% 20%

NOTE: End of the semester test will be conducted for the 20% of the internal marks

Page 59
 Contents of Courses for Bachelor of visual Arts (BVA)
IV SEMESTER– SCUPLTURE DEPARTMENT
Sl Studio/ Marks
No. study Duration Internal Submission Total
Title of the Course Total
hours Per of Exam Marks with Credits
marks
Semester display

DISCIPLINE SPECIFIC CORE - DSC

01 Sculptural Composition C-2 (5) 180 - 75 75 150 5

02 Portrait C-2 (4) 120 - 50 50 100 4

Survey of Indian Sculpture -C4 Exam

03 (3) 45 2 hours 40 100 3
60

Page 60
 Model Curriculum
Program Name BVA in Sculpture Semester Fourth Semester

Course Title Sculptural Composition C-2 (practical)

Course Code: DSC-VA10 Total Marks 150

Contact hours 180 Hours Practical No. of Credits 05
Formative Assessment Marks 75 Summative Assessment Marks 75

Course Description:
Continuing previous semester studies in sculptural composition even in this semester. In this semester more
focuses given on creative skill for both figurative and non-figurative compositions. The use of basic organic
or inorganic structure, forms and materials to build three dimensional visual language.

Contents 180 Hrs

Project and individual work are to be undertaken to exercising the basic elements of sculpture, three
dimensional forms. Individual visual expression is given more importance in such exercises. Students are
expected constantly experiment with variety of materials and techniques.

Scope: Aim of this subject is to encourage the students to explore their concepts as well as equip them for the
commercial sculpture making.

Guidelines: Discuss and grasp the ingredients of visual language which is evolved as modern sculpture after
1960's. Students are asked to study of the works of contemporary Indian and Western and American sculptors.

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

Page 61
 Model Curriculum
Program Name BVA in Sculpture Semester Fourth Semester

Course Title Portrait C-2 (practical)

Course Code: DSC-VA11 Total Marks 100

Contact hours 120 Hours Practical No. of Credits 04
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Description:
‘Portrait’ is an important exercise to understand the human, animal and bird’s anatomy, its inner structure and
various other characteristics. Human form has been the basis of art since the beginning of history, across all
culture.

Contents 120 Hrs

Students are expected to create drawings from various angels of the given model. The process of evolution
from 2D drawings to three-dimensional skeleton using armature is a prime concern here. The subject involves
exercise in clay, making of mould and cast in plaster of Paris, cement, and fiberglass etc.
Scope: There is still a tradition of figurative sculpture being made for public spaces. Apart from the above,
figure studies help to metamorphose figures into abstract human forms that can to be utilize in various
compositions.

Guideline: Example can be taken from various Indian, Gothic, Greek, Roman, Renaissance, Russian, modern
ISMS and contemporary figurative studies and figurative sculptures.

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

Page 62
 Model Curriculum
Program Name BVA in Sculpture Semester Fourth Semester

Course Title Survey of Indian Sculpture 3 (Theory)

Course Code: DSC-VA12 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Learning to recognize sculptural, styles of ancient and medieval India

❖ Students will also be introduced to study of iconography, narrative structure of sculpture.
❖ Introduction to Buddhist, Hindu, Jain Iconography, and Iconology
❖ Various schools of sculpture in South, North and western and eastern India in general.

Course Description:
In this course, students are introduced to the survey of Indian sculpture from o the Western Indian sculpture
to Vijayanagara period. Emphasis will be on sculptural styles. The primary intention of this focused course is
to assist immersion in the cultures of the subcontinent.

Indian Sculpture is a vast subject that was developed from Prehistoric period. Origin of classical sculptural
activities may be traced in Indus Valley Civilizations. Followed by the foundations of the early Buddhist art:
Indian art has multidimensional developmental pattern. Sculpture developed with early iconic, iconographic
and symbolic manifestation. Stylistic aspects and trends, experimentation with iconographic details will be
focused in the study of the subject.

Contents 45 Hrs
Unit: 1 -

❖ Indus Valley Sculptures: Seals, terracotta objects, bronze figures

❖ Early Buddhist symbolism in sculptures. Mauryan pillars, Capitals, Sculptures: Yaksha-Yakshi figures.
Sunga period Sculptures from Barhut, Terracotta figurines from Chandraketugarh- iconographic, stylistic,
and technical aspects of sculptures to be studied

❖ Satavahana & Kushana period sculptural activities. Sculptures on the cave temples, early Buddhist
sculpture in Round, Gandhara- Mathura Schools: developments in thematic, stylistic, and iconographic
study.

Unit: 2

Page 63
❖ Hindu Renaissance: Gupta, Vakataka, Kadamba, Vishnukundin, Kalachuri Periods. Study of important
art works with focus on development of iconographic and stylistic aspects.

❖ Sculptural experimentation during Badami Chalukya period.: Badami,Aihole, Mahakuta and Pattadakal
Temples.

Unit: 3

❖ Pallava Style_ Kanchipuram and Mahabalipuram Sculptures

❖ Rashtrakuta – Marvel of Kailasnath temple at Ellora. Iconic sculptural study

❖ Chola Sculptures, Bronze sculptures: technics and development

Unit: 4

❖ Sculptural art in Later Chalukya, Hoysala and contemporary sites: Khajuraho, Bhuvaneshwar etc,.

❖ Late medieval sculptural schools : Vijayanagara period and others.

Learning Objectives:

❖ Learning to recognize sculptural styles of India.

❖ At the end of the classes- students will understand a historical sketch of the development of Indian
sculptures. Various schools, styles and genre. The subject also include narrative sculptures, decorative
elements and portraiture.

Pedagogy: Lectures, Presentations, Seminars, discussions and museum/site visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks

Theory Assignments 10%

Tests 20%

Composition related activities like, Quiz, seminar, Team activities 10%

Total 40%

Formative Assessment as per NEP guidelines are compulsory

References

References

Page 64
1 Adam Hardy (1995). Indian Temple Architecture: Form and Transformation. Abhinav
Publications. ISBN 978-81-7017-312-0.

2 Adam Hardy (2007). The Temple Architecture of India. Wiley. ISBN 978-0470028278.

3 Adam Hardy (2015). Theory and Practice of Temple Architecture in Medieval India: Bhoja's
Samarāṅgaṇasūtradhāra and the Bhojpur Line Drawings. Indira Gandhi National Centre for the Arts.
ISBN 978-93-81406-41-0.

4 Harle, J.C., The Art and Architecture of the Indian Subcontinent, 2nd edn. 1994, Yale University
Press Pelican History of Art, ISBN 0300062176

5 Monica Juneja (2001). Architecture in Medieval India: Forms, Contexts, Histories. Orient
Blackswan. ISBN 978-8178242286.

6 Stella Kramrisch (1976). The Hindu Temple Volume 1. Motilal Banarsidass (Reprinted 1946
Princeton University Press). ISBN 978-81-208-0223-0.

7 Stella Kramrisch (1979). The Hindu Temple Volume 2. Motilal Banarsidass (Reprinted 1946
Princeton University Press). ISBN 978-81-208-0224-7.

8 Michael W. Meister; Madhusudan Dhaky (1986). Encyclopaedia of Indian temple architecture

American Institute of Indian Studies. ISBN 978-0-8122-7992-4.

9 George Michell (1988). The Hindu Temple: An Introduction to Its Meaning and Forms. University
of Chicago Press. ISBN 978-0-226-53230-1.

10 George Michell (2000). Hindu Art and Architecture. Thames & Hudson. ISBN 978-0-500-20337-8.

11 T. A. Gopinatha Rao (1993). Elements of Hindu iconography. Motilal Banarsidass. ISBN 978-81-
208-0878-2.

12 Pia Brancaccio (2013). Helaine Selin (ed.). Encyclopaedia of the History of Science, Technology, and
Medicine in Non-Westen Cultures. Springer Science. doi:10.1007/978-94-007-3934-5_9848- 1.
ISBN 978-94-017-1416-7.

13 James Burgess (1880). The Cave Temples of India. Cambridge University Press (Reprinted
2013). ISBN 978-1-108-05552-9.

14 José Pereira (1977). Monolithic Jinas. Motilal Banarsidass. ISBN 978-81-208-2397-6.

15 Dhavalikar, Madhukar Keshav (2003). Ellora. Oxford University Press, New Delhi. ISBN 0-19-
565458-7. OCLC 47901386.

Page 65
References

16 Berkson, Carmel (1992). Ellora, Concept and Style. Abhinav Publications. ISBN 0-19-565458-7.

17 Susan L. Huntington; John C.. Huntington (2014). The Art of Ancient India: Buddhist, Hindu, Jain.
Motilal Banarsidass. ISBN 978-81-208-3617-4.

18 Damien Keown; Charles S. Prebish (2013). Encyclopedia of Buddhism. Routledge. ISBN 978-1-
136-98588-1.

19 Neubauer, Jutta Jain (1981), The Stepwells of Gujarat: In Art-historical Perspective, Abhinav
Publications, ISBN 9780391022843

20 Kumar, Sehdev (2001), A Thousand Petalled Lotus: Jain Temples of Rajasthan : Architecture &
Iconography, Abhinav Publications, ISBN 9788170173489

21 Jain, Arun Kumar (2009), Faith & Philosophy of Jainism, Gyan Publishing
House, ISBN 9788178357232

22 Alice Boner; Sadāśiva Rath Śarmā (2005). Silpa Prakasa. Brill Academic (Reprinted by Motilal
Banarsidass). ISBN 978-8120820524. Archived from the original on 22 February 2017. Retrieved 9
November 2017.

23 Ananda K Coomaraswamy (1985), History of Indian and Indonesian Art,

Dover, ISBN 9780486250052, archived from the original on 9 August 2019, retrieved 9
November 2017

24 Debala Mitra (1968), Konarak, Archaeological Survey of India

25 Avinash Patra (2011). Origin & Antiquity of the Cult of Lord Jagannath. Oxford University Press.

26 Partha Mitter (1992). Much Maligned Monsters: A History of European Reactions to Indian Art.
University of Chicago Press. ISBN 978-0-226-53239-4.

27 History of Indian Art by Vidya Vachaspati Gerola

28 A Survey of Indian Sculpture by K.S.Sarswati

Page 66
 PRACTIAL INTERNAL SUBMISSION
IV Semester
50% MARKS

Sl. No. SUBJECT MEDIUM NUMBER OF WORKS

Sculptural Composition: C-2

1 Sculpture Composition:
C-1 Any Media Completed work : 2
2 Sculptural Drawing Pencil/ Charcoal/Digital & Completed drawing : 10
3 Maquette Any Media 5

Using any Digital software

4 Composition 2 works with soft copy

Figure-Study : C-2

4. Full Figure Study Any Media completed work : 2

Pencil/ Charcoal/Digital completed drawing : 10
5 Figure Study Drawing
Using any Digital software
2 works with soft copy

Total Works : 29

NOTE:

1. For the Internal Submission Students should submit Minimum 29 works.

Students should submit the works which are done in the studio hours.

2. Test will be conducted for all the DSC practical subjects.

3. Cumulative internal assessment is mandatory.

INTERNAL SUBMISSION BASED ON FOLLOWING CRITERIAS:

Involvement & Punctuality Technical Skill Concept, Creativity, Presentation Practical Test

20% 20% 40% 20%

NOTE: End of the semester test will be conducted for the 20% of the internal marks.

Page 67
 Model Curriculum
of
BVA
in
Graphic Art (Print Making)
3rd & 4th Semester

Page 68
 Contents of Courses for Bachelor of visual Arts (BVA)

III SEMESTER– DEPARTMENT OF PRINTMAKING/GRAPHIC ART

Studio/ Marks
Sl study Duration Internal Submission Total
Title of the Course Total
No. hours Per of Exam Marks with Credits
marks
Semester display

DISCIPLINE SPECIFIC CORE - DSC

01 Graphic Images C- I (5) 180 - 75 75 150 5

02 Relief printing / Intaglio C-1(4) 120 - 50 50 100 4

Exam
03 History of Indian Genre 3 (3) 45 2 hours 40 100 3
60

OPEN ELECTIVE - OE

04 Wood Cut (3) 90 - 50 50 100 3

05 Dry Point (3) 90 - 50 50 100 3

OE Paper is to be offered for the Students other than BVA.

Page 69
 Model Curriculum
Program Name BVA in Print Making/Graphic Art Semester Third Semester

Course Title Graphic Images: C- 1 (practical)

Course Code: DSC-VA7 Total Marks 150

Contact hours 180 Hours Practical No. of Credits 05
Formative Assessment Marks 75 Summative Assessment Marks 75

Course Description:
The process of printing demands a different approach to the images/visuals as it is to accommodate the
technological intervention. It would not be as in the direct methods of representation like the images generated
with the pencil or paints. Since the technical methods to contribute to the image Graphic art/print making
enables newer approach to the visual world around. For instance, reverse imaging. It develops the
understanding of graphic image making in relation with printmaking techniques. This aspect of print making
promotes and strengthens the visual vocabulary. The subject introduces to the students for creating graphic
layouts and colour composition.

The subject has been equally divided into two semesters [III and IV semesters.]

Contents 180 Hrs

Figurative composition with the support of daily sketches (subjective or objective compositions). Creating
contrast images using Monochrome and colour. Studying forms, colour, lines textures along with tonal
variations. Creating repetitive patterns.

Scope: Graphic Image making supports the subjects of printmaking. In this subject students develop the
understanding to relate all the basic printmaking techniques. This subject helps the students to solve the
compositional problems regarding space arrangements, colour distributions, textural and tonal variations,
proportions etc.

Guidelines: Graphic images are expressive and contrast in nature, to study this unique quality Durer,
Rembrandt, Goya, Degas, Picasso, Etchers, Drawings and Printmaking and paintings can be referred. Students
should work with various materials like water colour, poster colour, acrylic colour, pastels etc. The importance
should be given to study effective graphic images.

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Page 70
 Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

Page 71
 Model Curriculum
Program Name BVA in Print Making/Graphic Art Semester Third Semester

Course Title Relief Printing & Intaglio C-1 (Practical)

Course Code: DSC-VA8 Total Marks 100

Contact hours 120 Hours Practical No. of Credits 04
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Description:

Printmaking is about graphic-representation. The printing technique adopted here in fine arts is to explore the
possibilities of the technology-based imaging without compromising on the artistic essence/aesthetics. It is to
take the advantage of the process and its effect thereafter. It is also to learn to use textures tones lines etc.
accidental and intentional. To explore all the above said there is a need to know firstly the technique and next
its possible experimentation. In the third semester importance should be given to Relief printing (Wood cut
& Linocut) and Intaglio (Etching). The subject has been equally divided in to two semesters [III and IV
semesters]

Contents 120 Hrs

Introduction to figurative compositions and basic techniques of using Method and Materials: Study of various
technique of Relief Printing. Exercises in different types of Mono prints and stencil cuts. Intaglio printmaking
with dry point, metal engraving and line biting. Registration and Edition.

Scope: Basic Printmaking supports the understanding of printmaking with various methods and materials.
The subject helps the students to explore the use of lines, tones, colours, textures, contrasts, motives, patterns,
shapes, forms etc. to generate images with graphic qualities. The main objective of studying this subject is the
blending the graphic images according to the selected printing technique.

Guideline: Basic Printmaking should create the understanding of printing and non-printing surfaces. To get
this basic technical understanding Expressionist wood cuts, Far Eastern wood cuts, old masters Engravings
(Wood and Metal Engravings) can be used as reference material.

Acid biting chart (Grey Scale) can be prepared – Strength and proportion of the acids along with the timings.

Note: Daily sketching is part of practical subjects.

Page 72
Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

Page 73
 Model Curriculum
Program Name BVA in Print Making/Graphic Art Semester Third Semester

Course Title History of Indian Genres - 3 (Theory)

Course Code: DSC-VA9 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Understand the Genre (Various Aspects) of the Visual Art in India. Genre consists of various subjects
under one Umbrella
❖ Students will get a comprehensive knowledge about the visual art and its wide scopes.
❖ The paper helps in providing introduction to varied subjects of Indian art which will be studied in
details in next semesters.
❖ Outcome of the course and subject will give a broader idea and understanding about Indian art and its
varied forms.

Course Description:
Define the term genre in connection with Art History. Genre: literally means-varied segments or many
categories. Identifying the categories in Visual Art leads to the study of the same individually. Socio- political,
cultural concepts and influences on art are also considered. Following categories are considered for the study
of Indian Genre in Visual Art.

❖ Study of Representation of formal, pictorial and visual elements;

❖ Study of portraiture.

❖ Iconography; in a broader perspective.

❖ Landscapes and still-lives

❖ Secular themes in Indian miniatures,

❖ Narratives and architectonic sculptures in Indian sculptures.

❖ J J School of Art- and influence of varied genre.

❖ Eclecticism in British Company school and J.J.School of arts

❖ Genres of painting (portrait and landscapes) in twentieth century (individuals and schools)

Page 74
 ❖ Politics of Image in connection social history, before and after independence

❖ Industrial and Technological role within the picture frame.

❖ Popular forms in expression (advertisements, posters, popular media)

Contents 45 Hrs
UNIT:01
1. Study of Representation of formal, pictorial and visual elements.
2. Study of portraiture.
3. Iconography; in a broader perspective.
4. Landscapes and still-lives

UNIT:02
1. Narratives and architectonic sculptures in Indian sculptures
2. Secular themes in Indian miniatures,

UNIT:03
1. J J School of Art- and influence of varied genre.
2. Eclecticism in British Company school and J.J.School of arts

UNIT:04
1. Politics of Image in connection social history, before and after independence
2. Industrial and Technological role within the picture frame.
3. Popular forms in expression (advertisements, posters, popular media)

Learning Objectives:

• Students will understand once the course is completed:

• The importance of genre of Indian Art

• The importance and styles and iconographic aspects of Pictorial images and portraiture, landscape,
Narrative art

• Indian miniature: secular themes and their importance in the making of Indian Art as a whole.

• In the social historical context, the role politics, and its images. Industrial and technological advancements
and its framed artistic structure. Popular culture and media in the traditional and contemporary context:
such as popular prints of Ravi Varma and others.

Page 75
Pedagogy: Lectures, Presentations, Seminars, discussions, and museum/site visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks

Theory Assignments 10%

Tests 20%

Composition related activities like, Quiz, seminar, Team activities 10%

Total 40%

Formative Assessment as per NEP guidelines are compulsory

References
1 Elements of Hindu Iconography-T.A Gopinatha Rao,

2 Company School Painting-Mildred Archer

3 Art and Illusion- E H Gombrich

4 Ways of Seeing ; John Beger

5 Popular Art in India: Marg issues

6 Basham, A.L. (1967). The Wonder that was India. London: Sidgwick & Jackson. pp. 11–14.

7 Kramrisch, Stella. A Survey of Painting in the Deccan (Calcutta and London: The India Society in co-
operation with the Dept. of Archaeology, 1937

8 Kramrisch, Stella (1994). Exploring India's Sacred Art. Motilal Banarsidass. ISBN 978-81-208-
1208-6.

9 Yazdani, Gulam. The Early History of the Deccan, Parts 7–9 (Oxford: 1960).

10 The City Palace Museum, Udaipur: paintings of Mewar court life. by Andrew Topsfield, Pankaj Shah,
Government Museum, Udaipur. Mapin, 1990. ISBN 094414229X

11 Splendour of Rajasthani painting, by Jai Singh Neeraj. Abhinav Publications, 1991. ISBN 81-7017-
267-5.

12 Art and artists of Rajasthan: a study on the art & artists of Mewar with reference to western Indian
school of painting, by Radhakrishna Vashistha. Abhinav Publications, 1995. ISBN 81-7017-284-5.

13 A study of Bundi school of painting, by Jiwan Sodhi. Abhinav Publications, 1999. ISBN 81-7017-
347-7

Page 76
References
14 Court painting at Udaipur: art under the patronage of the Maharanas of Mewar, by

15 Andrew Topsfield, Museum Rietberg. Artibus Asiae Publishers, 2001. ISBN 3-907077-03-2.

16 Rajput Painting, by Ananda K. Coomaraswamy, Publisher B. R. Publishing Corporation,

2003. ISBN 81-7646-376-0.

17 The artists of Nathadwara: the practice of painting in Rajasthan, by Tryna Lyons. Indiana University
Press, 2004. ISBN 0-253-34417-4.

18 Ghosh, P. (2012). The Intelligence of Tradition in Rajput Court Painting. Art Bulletin, 94(4), 650–
652.

19 Dalrymple, William, (2016). [1] The beautiful, magical world of Rajput art.] New York Review of
Books, 26 November 2016.

20 Archer, Mildred. Company Paintings: Indian Paintings of the British Period. London: Victoria and
Albert Museum, 1992. ISBN 0944142303.

21 Welch, Stuart Cary. Room for Wonder: Indian Court Painting during the British Period, 1760–1880.
Exhibition catalogue. New York: American Federation of Arts, 1978. ISBN 0847801764

22 Dalrymple, William, Forgotten Masters: Indian Painting for the East India Company, 2019, Philip
Wilson Publishers Ltd, ISBN 978-1781301012

23 Kossak , Steven (1997). Indian court painting, 16th-19th century.. New York: The Metropolitan
Museum of Art. ISBN 0870997831. (see index: p. 148-152)

24 Pahari Masters: Court Painters of Northern India by B. N. Goswamy and Eberhard Fischer Artibus
Asiae. Supplementum, Vol. 38, Pahari Masters: Court Painters of Northern India (1992), pp. 3–391.

25 Wall Paintings of The Western Himalayas, by Mira Seth. Publications Division. 1976.

26 Garhwal Paintings, by Mukandi Lal. Publications Division. 1982.

27 Punjab Painting - Study in Art and Culture, by R P Srivastava. Abhinav Publications. 1983. ISBN 0-
391-02560-0.

Page 77
 Model Curriculum
Program Name BVA in Print Making/Graphic Art Semester Third Semester

Course Title Wood cutting (Practical)

Course Code: OE-3.1 Total Marks 100

Contact hours 90 Hours Practical No. of Credits 03
Formative Assessment Marks 50 Summative Assessment Marks 50
OE Paper is to be offered for the Students other than BVA.

Course Description:
This is an Open Elective course offered for other discipline students not for BVA Students.

Wood cut or Lino cut is one of the Basic Printmaking process. Technically wood cut is called Relief Printing.
In this technique print will be pulled mainly from the relief surface of the ‘Master Block’. It is one of the
most widely used oldest printmaking technique, earlier it was also used for cloth printing.

Contents 90 Hrs
Subject introduces the figurative compositions by using intimate surroundings. In this subject importance will
be given to simple and bold drawing skill which will enhance the graphic image quality. During this course
period students are exposed to various technical skills of wood scooping techniques and printing.

Scope: This subject gives the exposure to the students to explore negative and positive space in relation
with tonal variations.

Guideline: Wood cut printing process should create the understanding of printing and nonprinting surfaces.
To explore this basic understanding students are encouraged to study Expressionist wood cut prints and
Japanese woodcut prints as reference materials

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks
Practical Assignments 25%
Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%
Formative Assessment as per NEP guidelines are compulsory

Page 78
 Model Curriculum
Program Name BVA in Print Making/Graphic Art Semester Third Semester

Course Title Dry Point (Practical)

Course Code: OE-3.2 Total Marks 100

Contact hours 90 Hours Practical No. of Credits 03
Formative Assessment Marks 50 Summative Assessment Marks 50
OE Paper is to be offered for the Students other than BVA.

Course Description:
This is an Open Elective course offered for other discipline students not for BVA Students.
Dry point is one of the basic Intaglio printing processes in which only sharp needles or objects are used to
create image on the Master Block and printed. (Acid biting is not used in this technique)

Contents 90 Hrs
Subject introduces the figurative compositions by using intimate surroundings. In this subject importance will
be given to drawing skill with tones and textures. During this course period students are exposed to various
rendering skills using dots and lines.

Guideline: To understand and explore this subjects Old Masters Engravings of Artist like Durer, Daumier,
Toulouse Lautrec, Japanese wood cut prints and Indian Printmakers like Laxma Goud, Anupam sud, can be
used for reference material

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

Page 79
 PRACTIAL INTERNAL SUBMISSION
III Semester
50% MARKS

Sl.
SUBJECT MEDIUM NUMBER OF WORKS
No.
Graphic Image C-1 (5)
1 Drawing Pencil/ Charcoal Monochrome : 5(size: Half imperial)
2 Life Study Watercolor/ Pencil/ Monochrome : 5+Color: 1(size: Half imperial)
3 Still Life / Nature Study Watercolor/Poster Color Color: 2+Monochrome : 5(size: Half imperial)
4 Composition Pastels color Color: 5(size: Half imperial)
pencils/watercolors
Relief /Intaglio: C-1 (4)
1 Relief Wood Cut/Lino cut Monochrome : 5+Color: 2(size: Half imperial)
2 Intaglio Etching Etching : Monochrome : 2(size: A3)
Dry Point. Monochrome : 3(size: A3)

Total Works 35

NOTE:

1. For the Internal Submission Students should submit Minimum 35 works.

Students should submit the works which are done in the studio hours.

2. Test will be conducted for all the DSC practical subjects.

3. Cumulative internal assessment is mandatory.

INTERNAL SUBMISSION BASED ON FOLLOWING CRITERIAS:

Involvement & Concept, Creativity,

Technical Skill Practical Test
Punctuality Presentation

20% 20% 40% 20%

NOTE: End of the semester test will be conducted for the 20% of the internal marks

Page 80
 Contents of Courses for Bachelor of visual Arts (BVA)
IV SEMESTER– PRINTMAKING/GRAPHIC ART
Sl Studio/ Marks
No. study Duration Internal Submission Total
Title of the Course Total
hours Per of Exam Marks with Credits
marks
Semester display

DISCIPLINE SPECIFIC CORE - DSC

01 Graphic Images C-2 (5) 180 - 75 75 150 5

02 Relief printing / Intaglio C-2 120 - 50 50 100 4

(4)
Survey of Indian Sculpture - Exam
03 45 2 hours 40 100 3
C4 (3) 60

Page 81
 Model Curriculum
Program Name BVA in Print Making/Graphic Art Semester Fourth Semester

Course Title Graphic Images: C-2 (practical)

Course Code: DSC-VA10 Total Marks 150

Contact hours 180 Hours Practical No. of Credits 05
Formative Assessment Marks 75 Summative Assessment Marks 75

Course Description:
This practical subject introduces the art of creating layouts of graphic images, colour composition, sense of
spacing and visualization in general. The subject enhances the development of the understanding of graphic
image making, in relation with printmaking methodology. The subject is a continuation from the previous
semester.

Contents 180 Hrs

To come up with figurative compositions, arrived with the aid of preliminary daily sketches, that might range
between subjective and objective compositions. Creating contrast images using Monochrome and colour will
be a part of this exercise. A thorough practical understanding of forms, colour, lines, and textures along with
tonal variations will be an inevitable part of this whole scheme. Creating repetitive patterns would also be a
subject of contemplation in this exercise.

Scope: Graphic Image making supports the subject of basic print making, in this subject student develops an
understanding to relate to all the basic printmaking techniques. It helps the students to solve the compositional
problems rendering space arrangements, colour distributions, textural and tonal variations, proportions, etc.

Guidelines: Graphic images are expressive and contrast in nature, to study this unique quality Durer,
Rembrandt, Goya, Degas, Picasso, Escher, Drawings, Printmaking and Paintings can be referred. Students
should work with various materials like water colour, poster colour, acrylic colour, pastels etc. The importance
should be given to study effective graphic images.

Page 82
Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

Page 83
 Model Curriculum
Program Name BVA in Print Making/Graphic Art Semester Fourth Semester

Course Title Relief Printmaking/Intaglio C-2 (practical)

Course Code: DSC-VA11 Total Marks 100

Contact hours 120 Hours Practical No. of Credits 04
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Description:
It is a continuation from the previous semester as it is an introduction to the basic printmaking techniques.
The practical subject deals with all the basic printing techniques. The subject has been divided into two equal
semesters [III and IV semesters.] In this semester importance should be given to Relief printing and Intaglio
methods.

Contents 120 Hrs

Introduction to figurative compositions and basic techniques of using Method and Materials-study of various
technique of Relief Printing. Study of different types of Mono prints and stencil cuts. Intaglio Print making
with dry point, metal engraving and line biting. Registration and Edition.

Scope: This subject supports the understanding of Printmaking involving varied and various methods and
materials. The subject helps the students to explore ‘the pictorial elements’ so as to be able to understand and
interpret the multi -dimensional quality of the art works, later on to be able to graphically express their art.
Graphic is one such subject wherein such meetings happen. Exercises to blend the images, according to the
chosen printing techniques.

Guideline: Relief / Intaglio techniques should practically create a thorough understanding of printing and
nonprinting surfaces, in various media, in various situations (historically as well as owing to weather
conditions). In order to grasp this basic technical understanding, examples from the Expressionist woodcuts,
Far Eastern woodcuts, Old Masters Engravings (Wood and Metal Engravings) of artists like Durer, Daumier,
Toulouse Lautrec, Pierre Bonnard, Katsushika Hokusai, and their Indian counterpart printmakers like
Somnath Hore, Laxma Goud, Anupam Sud, Krishna Reddy can be used as reference materials.

Page 84
Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

Page 85
 Model Curriculum
Program Name BVA in Print Making/Graphic Art Semester Fourth Semester

Course Title Survey of Indian Sculpture 3 (Theory)

Course Code: DSC-VA12 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Learning to recognize sculptural, styles of ancient and medieval India

❖ Students will also be introduced to study of iconography, narrative structure of sculpture.
❖ Introduction to Buddhist, Hindu, Jain Iconography, and Iconology
❖ Various schools of sculpture in South, North and western and eastern India in general.

Course Description:
In this course, students are introduced to the survey of Indian sculpture from o the Western Indian sculpture
to Vijayanagara period. Emphasis will be on sculptural styles. The primary intention of this focused course is
to assist immersion in the cultures of the subcontinent.

Indian Sculpture is a vast subject that was developed from Prehistoric period. Origin of classical sculptural
activities may be traced in Indus Valley Civilizations. Followed by the foundations of the early Buddhist art:
Indian art has multidimensional developmental pattern. Sculpture developed with early iconic, iconographic
and symbolic manifestation. Stylistic aspects and trends, experimentation with iconographic details will be
focused in the study of the subject.

Contents 45 Hrs
Unit: 1 -

❖ Indus Valley Sculptures: Seals, terracotta objects, bronze figures

❖ Early Buddhist symbolism in sculptures. Mauryan pillars, Capitals, Sculptures: Yaksha-Yakshi figures.
Sunga period Sculptures from Barhut, Terracotta figurines from Chandraketugarh- iconographic, stylistic,
and technical aspects of sculptures to be studied

❖ Satavahana & Kushana period sculptural activities. Sculptures on the cave temples, early Buddhist
sculpture in Round, Gandhara- Mathura Schools: developments in thematic, stylistic, and iconographic
study.

Unit: 2

Page 86
❖ Hindu Renaissance: Gupta, Vakataka, Kadamba, Vishnukundin, Kalachuri Periods. Study of important
art works with focus on development of iconographic and stylistic aspects.

❖ Sculptural experimentation during Badami Chalukya period.: Badami,Aihole, Mahakuta and Pattadakal
Temples.

Unit: 3

❖ Pallava Style_ Kanchipuram and Mahabalipuram Sculptures

❖ Rashtrakuta – Marvel of Kailasnath temple at Ellora. Iconic sculptural study

❖ Chola Sculptures, Bronze sculptures: technics and development

Unit: 4

❖ Sculptural art in Later Chalukya, Hoysala and contemporary sites: Khajuraho, Bhuvaneshwar etc,.

❖ Late medieval sculptural schools : Vijayanagara period and others.

Learning Objectives:

❖ Learning to recognize sculptural styles of India.

❖ At the end of the classes- students will understand a historical sketch of the development of Indian
sculptures. Various schools, styles and genre. The subject also include narrative sculptures, decorative
elements and portraiture.

Pedagogy: Lectures, Presentations, Seminars, discussions and museum/site visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks

Theory Assignments 10%

Tests 20%

Composition related activities like, Quiz, seminar, Team activities 10%

Total 40%

Formative Assessment as per NEP guidelines are compulsory

References

References

Page 87
1 Adam Hardy (1995). Indian Temple Architecture: Form and Transformation. Abhinav
Publications. ISBN 978-81-7017-312-0.

2 Adam Hardy (2007). The Temple Architecture of India. Wiley. ISBN 978-0470028278.

3 Adam Hardy (2015). Theory and Practice of Temple Architecture in Medieval India: Bhoja's
Samarāṅgaṇasūtradhāra and the Bhojpur Line Drawings. Indira Gandhi National Centre for the Arts.
ISBN 978-93-81406-41-0.

4 Harle, J.C., The Art and Architecture of the Indian Subcontinent, 2nd edn. 1994, Yale University
Press Pelican History of Art, ISBN 0300062176

5 Monica Juneja (2001). Architecture in Medieval India: Forms, Contexts, Histories. Orient
Blackswan. ISBN 978-8178242286.

6 Stella Kramrisch (1976). The Hindu Temple Volume 1. Motilal Banarsidass (Reprinted 1946
Princeton University Press). ISBN 978-81-208-0223-0.

7 Stella Kramrisch (1979). The Hindu Temple Volume 2. Motilal Banarsidass (Reprinted 1946
Princeton University Press). ISBN 978-81-208-0224-7.

8 Michael W. Meister; Madhusudan Dhaky (1986). Encyclopaedia of Indian temple architecture

American Institute of Indian Studies. ISBN 978-0-8122-7992-4.

9 George Michell (1988). The Hindu Temple: An Introduction to Its Meaning and Forms. University
of Chicago Press. ISBN 978-0-226-53230-1.

10 George Michell (2000). Hindu Art and Architecture. Thames & Hudson. ISBN 978-0-500-20337-8.

11 T. A. Gopinatha Rao (1993). Elements of Hindu iconography. Motilal Banarsidass. ISBN 978-81-
208-0878-2.

12 Pia Brancaccio (2013). Helaine Selin (ed.). Encyclopaedia of the History of Science, Technology, and
Medicine in Non-Westen Cultures. Springer Science. doi:10.1007/978-94-007-3934-5_9848- 1.
ISBN 978-94-017-1416-7.

13 James Burgess (1880). The Cave Temples of India. Cambridge University Press (Reprinted
2013). ISBN 978-1-108-05552-9.

14 José Pereira (1977). Monolithic Jinas. Motilal Banarsidass. ISBN 978-81-208-2397-6.

15 Dhavalikar, Madhukar Keshav (2003). Ellora. Oxford University Press, New Delhi. ISBN 0-19-
565458-7. OCLC 47901386.

Page 88
References

16 Berkson, Carmel (1992). Ellora, Concept and Style. Abhinav Publications. ISBN 0-19-565458-7.

17 Susan L. Huntington; John C.. Huntington (2014). The Art of Ancient India: Buddhist, Hindu, Jain.
Motilal Banarsidass. ISBN 978-81-208-3617-4.

18 Damien Keown; Charles S. Prebish (2013). Encyclopedia of Buddhism. Routledge. ISBN 978-1-
136-98588-1.

19 Neubauer, Jutta Jain (1981), The Stepwells of Gujarat: In Art-historical Perspective, Abhinav
Publications, ISBN 9780391022843

20 Kumar, Sehdev (2001), A Thousand Petalled Lotus: Jain Temples of Rajasthan : Architecture &
Iconography, Abhinav Publications, ISBN 9788170173489

21 Jain, Arun Kumar (2009), Faith & Philosophy of Jainism, Gyan Publishing
House, ISBN 9788178357232

22 Alice Boner; Sadāśiva Rath Śarmā (2005). Silpa Prakasa. Brill Academic (Reprinted by Motilal
Banarsidass). ISBN 978-8120820524. Archived from the original on 22 February 2017. Retrieved 9
November 2017.

23 Ananda K Coomaraswamy (1985), History of Indian and Indonesian Art,

Dover, ISBN 9780486250052, archived from the original on 9 August 2019, retrieved 9
November 2017

24 Debala Mitra (1968), Konarak, Archaeological Survey of India

25 Avinash Patra (2011). Origin & Antiquity of the Cult of Lord Jagannath. Oxford University Press.

26 Partha Mitter (1992). Much Maligned Monsters: A History of European Reactions to Indian Art.
University of Chicago Press. ISBN 978-0-226-53239-4.

27 History of Indian Art by Vidya Vachaspati Gerola

28 A Survey of Indian Sculpture by K.S.Sarswati

Page 89
 PRACTIAL INTERNAL SUBMISSION
IV Semester
50% MARKS

Sl.
SUBJECT MEDIUM NUMBER OF WORKS
No.
Graphic Image: C-2

1. Drawing Pencil/ Charcoal Monochrome : 5(size: Half imperial)

2. Life Study Water Color/ Pencil Monochrome : 5+ Color: 1(size: Half imperial)
3. Still Life Nature Study Water Color/Poster Color Color: 2+Monochrome :5(size: Half imperial)
4. Composition Pencil, Pastels/color Color: 5(size: Half imperial)
pencils/watercolors

Relief /Intaglio: C-2

1. Relief Wood Cut/Lino cut Monochrome : 5+Color: 2 (size: A3)

2. Intaglio Etching Monochrome : 5 (size: A3)
Monochrome : 3(size: A3)
Dry Point

Total Works : 38

NOTE:

1. For the Internal Submission Students should submit Minimum 38 works.

Students should submit the works which are done in the studio hours.

2. Test will be conducted for all the DSC/OE practical subjects.

3. Cumulative internal assessment is mandatory.

INTERNAL SUBMISSION BASED ON FOLLOWING CRITERIAS:

Involvement & Punctuality Technical Skill Concept, Creativity, Presentation Practical Test

20% 20% 40% 20%

NOTE: End of the semester test will be conducted for the 20% of the internal marks.

Page 90
Model Curriculum
of
BVA
in
Design
3rd & 4th Semester

Page 91
 Model Curriculum
Program Name BVA in Design Programme core ANIMATION AND GAME ART

Course Title Animation Foundation (Practical) Semester Third Semester

Course Code: DSC VA7 No. of Credits 5

Contact hours 150 Hours Duration of SEA/Exam Viva & Jury
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Pre-requisite(s): 1. Art for Animation-I

2. Computer Graphics Fundamentals

Course Outcomes (COs): After the successful completion of the course, the student will be able to:
CO1. Understand the process of animation using various traditional to digital medium

CO2. Understand basic principles of Animation

CO3. Understand Traditional and stop motion Animation Tools and techniques

Content of the Course 1: Animation Foundation C-7 150 Hours

UNIT 1: Understand Animation Techniques

Chapter 1. How does Animation works. The History of Animation in brief.

Chapter 2. Overview on various mediums from traditional to modern 2D-3D digital animation use to create
animation.

Understand Traditional Animation tools and techniques. Understand Stop Motion Animation tools and techniques.

UNIT 2: Understand Basic Principles of Animation

Chapter 1. Overview on basic Principles of Animation. Understand Timing & Spacing through various exercises
like, Human and Animals locomotion

Chapter 2. Understand Ease-in and Ease-out and establish weight in animation through exercises like, Bouncing ball
animation, Pendulum animation, Hummer hitting on a nail.

Understand Squash & Stretch through exercises like Bouncing ball animation. Understand Anticipation through
exercises like, Human / Animal jumping, Punching on a punching bag

Unit 3 :

Chapter 1. Understand Follow Through and Overlapping action through exercises like, animating tail of a jumping
ball, Human hand animation while walking

Chapter 2. Understand “Exaggeration” in Animation through various exercises.

Chapter 3. Using the above animation Skills, Create a small Animation Project

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)
Page 92
 Program Outcomes (POs)
Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Understand the process of animation using various x

traditional to digital medium

Understand basic principles of Animation x

Understand Traditional and stop motion Animation x

Tools and techniques

Pedagogy: Animation Studio, Computer Lab, Practical Demonstrations and Projects

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team activities 10
TOTAL MARKS 50
Formative Assessment as per NEP guidelines are compulsory

References
1 The Animator's Survival Kit: Richard Williams

2 The Illusion of Life: Disney Animation, Ollie Johnston and Frank Thomas

3 Animation Art: From Pencil to Pixel, the world of Cartoon Anime and CGI- Jerry Beck

Page 93
 Model Curriculum
Program Name BVA in Design Programme core ANIMATION AND GAME ART

Course Title Art for Animation-I (Practical) Semester Third Semester

Course Code: DSC VA8 No. of Credits 4

Contact hours 120 Hours Duration of SEA/Exam Jury & Viva
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Pre-requisite(s):

Drawing Fundamentals – I & Drawing Fundamentals – II from 1st& 2nd Semester Foundation Course

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

CO1. Understand Proportion & Structure of human figure

CO2. Understand to simplify the form of human body parts

CO3. Understand posing, balance and line of action

Content of the Course 2: Art for Animation-I C-8 120 Hours

UNIT 1: Object Study 30

Chapter 1. Understand Shapes and Forms from Nature inspiration and also from Man made world
Chapter 2. Understand the Proportion, weight balance, size and scale of the forms
Understand the impact of Light on the quality of the visual, study of different Lights, learning rendering and shading
techniques and projection of Shadows, silhouettes

UNIT 2 : Figurative Drawing and Gesture Study 60

Chapter 1. Revision of perspective principles helping in different visual experience, Fore shortening

Chapter 2. Understand Curves and Line of Action

Chapter 3. Understand Centre of Mass, Body Balance and Weight Shifting

Understand Volume and Solid Drawing - study of Human forms in Blocks

UNIT 3 : Understand Simplification & Silhouette for Animation Character drawing 30 hrs
Chapter 1. Understand Simplification for Animation Character drawing
Chapter 2. Understand Silhouette drawing for character posing
To develop a portfolio of Art work done for Animation

Page 94
Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Understand Proportion & Structure of human figure x

Understand to simplify the form of human body parts x

Understand posing, balance and line of action x

Pedagogy: Animation Studio, Computer Lab, Practical Demonstrations and Projects

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team activities 10
TOTAL MARKS 50
Formative Assessment as per NEP guidelines are compulsory

References
1 Action Anatomy by Takashi Iijima

2 Dynamic Figure Drawing by Burne Hogarth

3 How to Draw the Human Figure: Famous Artists School, Step-by-Step Method by Cortina Famous Schools Staff

4 Drawing and Anatomy by Victor Perat

Page 95
 Model Curriculum
Program Name BVA in Design Programme core ANIMATION AND GAME ART

Course Title Computer Graphics Fundamentals (Practical) Semester Third Semester

Course Code: DSC VA9 No. of Credits 3

Contact hours 90 Hours Duration of SEA/Exam Jury & Viva
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Outcomes (COs): After the successful completion of the course, the student will be able to:
CO1. Understand different types of computer graphics, applications and file formats

CO2. Understand different Colour Models and Colour management among different software & hardware devices.

CO3. Understand Digital Image Editing and compositing tools and techniques

CO4. Understand Vector illustration of Characters and Background for a 2D animation project

Content of the Course 3: Computer graphics Fundamentals 90 Hours

UNIT 1 : Understand different types of computer graphics, applications and file formats 10 Hrs

Chapter 1. Understand Raster Graphics and Vector Graphics. Understand different file formats and applications for
Raster and Vector graphics

Chapter 2. Understand 2D and 3D computer graphics applications.

Chapter 3. Understand how is colours represented in computer graphics. Understand different Colour Models and
Colour Management Models in computer graphics.

Understand applications of Computer Graphics imagery in several sectors like entertainment to Architectural,
engineering, medical, law and defence.

UNIT 2 :Introduction to Digital Image Editing 25hrs.

Chapter 1. Basics of Image Editing and understand different Image Editing features

Understand basics image editing tools and techniques through various exercises like Creating a digital collage, Photo
Retouching and Enhancement, Double Exposure effects

UNIT 3 : Digital Image Compositing and Photo Manipulation 25 hrs.

Chapter 1. Understand digital image compositing through various exercises.

Understand Photo manipulation through various exercises.

UNIT 4 :Vector Illustration Character& Background 30 hrs.

Page 96
Chapter 1. Understand Vector illustration tools and techniques

Chapter 2. Vector Illustration of a 2D Character

Vector Illustration of a 2D Background for a 2D animation film

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Understand different types of computer graphics, x

applications and file formats

Understand different Colour Models and Colour x

management among different software & hardware
devices.

Understand Digital Image Editing and compositing x

tools and techniques

Understand Vector illustration of Characters and x

Background for a 2D animation project

Pedagogy: Computer Lab, Practical Demonstrations and Projects

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team activities 10
TOTAL MARKS 50
Formative Assessment as per NEP guidelines are compulsory

References
1 The Visual Display of Quantitative Information, 2nd edition by Edward R. Tufte (Hardcover – May’2001)

2 Envisioning Information by Edward R. Tufte (Hardcover - May 1990)

3 Visual Explanations: Images and Quantities, Evidence and Narrative by Edward R. Tufte

Page 97
 Model Curriculum
Program Name BVA in Design Programme core ANIMATION AND GAME ART

Course Title 3D CGI Foundation (Practical) Semester Fourth Semester

Course Code: DSC VA10 No. of Credits 5

Contact hours 150 Hours Duration of SEA/Exam Jury & Viva
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Pre-requisite(s): Computer graphics Fundamentals from 3rd Semester

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

CO1. Understand basic 3D Modelling Tools and Techniques

CO2. Modelling 3D hard surface objects and UV layout

CO3. Understand PBR texturing workflow and Preparing Textures in 3D texture painting application.

CO4. Understand CG Lighting setup

CO5. Rendering 3D objects with different materials and surface properties.

Content of the Course 1: 3D CGI Foundation C-10 150 Hours

UNIT 1: 3D Assets development 35 hrs.

Chapter 1. Introduction into 3D Computer Graphics. Exploring the UI and three-dimensional Workspace and
workflow.
Chapter 2. Understand Polygon and surface modelling tools and techniques.
Modelling 3D hard surface objects as per the given reference.

UNIT 2: Shader and Texturing 35 hrs.

Chapter 1. Understand basic Material Properties. Understand Shader and basics Shader attribute and mapping
texture to its attributes.

Chapter 2. Understand UV layout Tools and techniques.

Chapter 3. Understand PBR texturing workflow and Introduction to 3D Texture painting tools and techniques.

Study and texturing different materials like Metals, Wood, Plastic, Glass, etc...

UNIT 3: Lighting and Rendering 35 hrs.

Chapter 1. Introduction to PBR rendering engine.

Chapter 2. Understand real life Light and shadow properties. Understand CG lights and its attributes for PBR

Page 98
 rendering engine.

Chapter 3. Understand 3 points lighting setup and Image Based Lighting.

Chapter 4. Understand Virtual Camera Setup and camera attributes

Understand Render setup and render scene to final output.

UNIT 4: Mini Project; Modelling and rendering 3D CGI still life. 45Hrs.

PROJECT : Modelling and rendering a 3D CGI still life scene

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Understand basic 3D Modelling Tools and Techniques x

Modelling 3D hard surface objects and UV layout x

Understand PBR texturing workflow andPreparing x

Textures in 3D texture painting application.

Understand CG Lighting setup x

Rendering 3D objects with different materials and x

surface properties.

Pedagogy: Computer Lab, Practical Demonstrations and Projects

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team activities 10
TOTAL MARKS 50
Formative Assessment as per NEP guidelines are compulsory

References
1 1. Principles of Form and Design by Wucius Wong John Wiley & Sons, New York

Page 99
 Model Curriculum
Program Name BVA in Design Programme core ANIMATION AND GAME ART

Course Title 2D-3D Digital Animation (Practical) Semester Fourth Semester

Course Code: DSC VA11 No. of Credits 4

Contact hours 120 Hours Duration of SEA/Exam Jury & Viva
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Pre-requisite(s): Animation Foundation from 3rd semester.

Course Outcomes (COs): After the successful completion of the course, the student will be able to:
CO1. Understand tools and techniques to create 2D or 3D animation using 2D or 3D digital animation application
CO2. Animate human’s / animal’s body mechanics and basics locomotion.
CO3. Work on 3D animation layout.
CO4. Understand how to prepare and animate a scene from the given storyboard.

Content of the Course 2: 2D-3D Digital Animation C-11 120 Hours

UNIT 1: Understand Tools and Techniques of 2D digital Animation application 45 Hrs.

Chapter 1. Understand Tools and Techniques of 2D digital Animation application.

Explore basic Principles of animation through various 2D animation exercises.

UNIT 2: Understand Tools and Techniques of 3D digital Animation application 45Hrs.

Chapter 1. Understand Tools and Techniques of 3D digital Animation application.

Explore basic Principles of animation through various 3D animation exercises.

UNIT 3: Animate a scene 30 Hrs.

Plan and animate a scene in 2D / 3D animation as per the given storyboard

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Understand tools and techniques to create 2D or 3D

X
animation using 2D or 3D digital animation application

Animate human’s / animal’s body mechanics and X

Program Outcomes (POs)

Page 100
Course Outcomes (COs) / Program Outcomes
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
(POs)
basics locomotion.

Work on 3D animation layout. X

Understand how to prepare and animate a scene from

X
the given storyboard.

Pedagogy: Computer Lab, Practical Demonstrations and Projects

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team activities 10
TOTAL MARKS 50
Formative Assessment as per NEP guidelines are compulsory

References
1 The Animator's Survival Kit, A Manual of Methods, Principles and Formulas for Classical, Computer, Games, Stop
Motion and Internet Animators, Richard Williams

2 Andrew Loomis - Fun With A Pencil

Page 101
 Model Curriculum
Program Name BVA in Design Programme core ANIMATION AND GAME ART

Course Title Art for Animation – II (Practical) Semester Fourth Semester

Course Code: DSC VA12 No. of Credits 3

Contact hours 90 Hours Duration of SEA/Exam Jury & Viva
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Outcomes (COs): After the successful completion of the course, the student will be able to:
CO1. Understand human / animal anatomy
CO2. Work onDigital painting
CO3. Work on Concept art and visual development process

Content of the Course 3: Art for Animation – II 90 Hours

UNIT 1: Study on Human / Animal Anatomy 25 hrs.

Chapter 1. Human Head Study

Chapter 2. Understand Muscles structure

Animal anatomy study

UNIT 2 :Understand Digital painting Process, Tools & Techniques 25 hrs.

Chapter 1. Understand Tools and Techniques for Digital Painting

Chapter 2. Understand light and shadow, and study simple primitive forms.

Study Still life digital painting

UNIT 3 :Understand the process of Concept Art and Visual Development 20 hrs.
1. Understand Depth and Scale

2. Understand Atmospheric Perspective

3. Understand Composition

Work with Custom Brushes and Custom Shapes

Unit 4: Project 20 Hrs

1. Study Skies, Trees & Foliage

2. Study Different Surface Materials and Textures like Metals, Glass, Rocks & Mountains

3. Study Water

Mini Project; Concept & Sketch, Rough Colour, Adding Detail, Photo Textures, Final Polish

Page 102
Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Understand human / animal anatomy X

Work on Digital painting X

Work on Concept art and visual development process X

Pedagogy: Animation Studio, Practical Demonstrations and Projects

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team activities 10
TOTAL MARKS 50
Formative Assessment as per NEP guidelines are compulsory

References
1 Drawing and Anatomy by Victor Perat

2 Bridgman’s -- Complete Guide to Drawing from Life

3 Andrew Loomis - Fun With A Pencil

Page 103
 Model Curriculum
Program Name BVA in Design Programme core Graphics & Communication Design

Course Title Graphic Design and Communication I (Practical) Semester Third Semester

Course Code: DSC VA7 No. of Credits 5

Contact hours 150 Hours Duration of SEA/Exam Jury & Viva
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Pre-requisite(s): 1.Basic Typography C-3 (4) 2.Digital Media-I C-3(3 )

Course Outcomes (COs): After the successful completion of the course, the student will be able to:
CO1.Define and interpret visual communication through Design.
CO.2. Achieve design solutions in a given context
CO 3. Use simple visual elements in communication successfully.

Content of the Course 1: Graphic Design and Communication I C-7 (4) 150 Hours
UNIT 1: 50 hrs.

Chapter 1 : Introduction to communication. Its importance in society. Verbal and non verbal communication, audio
and visual communication

Chapter 2: The communication formula, the purpose of communication as an adjunct to the study of Applied Art.
Historical and Chronological survey of the evolution of the following media.

Chapter 3: Gestures and sign languages, mudra, pictures, cave paintings, Objects artefacts, Iconography, Signs and
symbols, Script evolution

UNIT 2 : 50 hrs.

Chapter 1: Introduction to Graphic Design: To discuss the visual communication process from the history to present.
Relation between the Society and the Graphic Design. Research and practical exercises on form and text. Understand
Proportion and Scale

Chapter 2: Graphic Design: To find out solutions to the typical design problems. Ex; Book Cover

Chapter 3: Different stages of simplification of design.

UNIT 3 : 50 hrs

1. To design a symbol or a logo with specific objective. Different aspects of Letterform.

2. To take-up design problems in designing visiting cards, Letter Heads, Envelop Design, Greetings Designs
Invitation Cards etc.

Mini research Project

Page 104
Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

CO1.Define and interpret visual communication

X
through Design.

CO.2. Achieve design solutions in a given context X

CO 3. Use simple visual elements in communication

X
successfully.

Pedagogy: Lecture Presentation, Design Studio Practice, Field visits, Projects

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team activities 10
Total 50
Formative Assessment as per NEP guidelines are compulsory

References
1 Graphic Design Thinking (Design Briefs) Paperback – July 27, 2011 by Ellen Lupton (Author), Jennifer Cole
Phillips (Author)

2 Graphic Design Theory: Readings from the Field by Helen Armstrong

3 Graphic Design as Communication by Malcolm Barnard / Rout ledge

4 Design for Communication: Conceptual Graphic Design Basics by Elizabeth Resnick / John Wiley & Son

Page 105
 Model Curriculum
Program Name BVA in Design Programme core Graphics & Communication Design

Course Title Basic Typography (Practical) Semester Third Semester

Course Code: DSC VA8 No. of Credits 4

Contact hours 120 Hours Duration of SEA/Exam Jury & Viva
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Pre-requisite(s): Digital Media-I

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

CO1. Understand and apply the basic principles of typography in their designs
CO.2. Experiment and use expressive styles of Type sets
CO 3. Aesthetically explore the design concepts using typography

Content of the Course 1: Basic Typography C-8 (4) 120 Hours

UNIT 1: 40 hrs.

Chapter 1 : Typography and its power for expressive qualities

Chapter 2: Experiments in typography use.

Chapter 3: To explore the aesthetical aspects of color, form and the expressionistic quality of letter form treating it
almost abstract composition. Copy based Advertisements from Magazines. Understanding of letter Forms, spacing,
words, mechanical and optical spacing, grid system

UNIT 2 : 40 hrs.

Chapter 1: Lettering and Typography:

Chapter 2. Construction of a San – Serif Font
Chapter 3: Construction of Serif Font.

UNIT 3 : 40 hrs.

Chapter 1: Parts of the letter.

Chapter 2: Assignments based on Optical spacing and Mechanical spacingDesign, Greetings Designs Invitation Cards
etc.
Mini research Project : Expressive Typography

Page 106
Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

CO1. Understand and apply the basic principles of

x x
typography in their designs

CO.2. Experiment and use expressive styles of Type

sets

CO 3. Aesthetically explore the design concepts using

x
typography

Pedagogy: Lecture Presentation, Design Studio Practice, Field visits, Projects

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team activities 10
Total 50
Formative Assessment as per NEP guidelines are compulsory

References
1 Type and Typography by Phil Baines, Andrew Haslam / Laurence King Publishing

2 Rookledge's Handbook of Type Designers: A Biographical Directory from the 15th Century by Ron Easton,
Sarah Rookledge, Phil Baines

Page 107
 Model Curriculum
Program Name BVA in Design Programme core Graphics & Communication Design

Course Title Digital Media-I (Practical) Semester Third Semester

Course Code: DSC VA9 No. of Credits 3

Contact hours 90 Hours Duration of SEA/Exam Jury & Viva
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Pre-requisite(s): Basic Computer Knowledge

Course Outcomes (COs): After the successful completion of the course, the student will be able to:
CO1. Use effectively Digital platform, software interface, concept of creating textures, brushes, abstract and
thematic designs
CO2. Able to Create effective typography designs used for raster and vector illustrations and designs required for
Print and Web plat forms
CO3. Visualize the design concepts for different needs using the specified software tools and execute in digital
platforms.
CO4. Able to execute simple projects independently with research and Field experience based.

Content of the Course 1: Digital Media-I 90 Hours

UNIT 1: 30 hrs.

Chapter 1 : Introduction to Digital medium. To introduce the interface, tools and techniques required to integrate the
manual drawing skills, Understanding brushes, Textures and Colour palettes.

Chapter 2: Image manipulation, Bitmap images. Vector images, image size, resolution, Scanning, creating new
images

Chapter 3: Introducing Colour modes and Models – Painting Tools, Brush settings, Selection, Filling, Layers and Text

UNIT 2 : 30 hrs.

Chapter 1: Drawing- Raster v/s Vector, Using Channels and Masking, Manipulating Images ,

Chapter 2. To introduce, Photo Corrections, Colour Corrections etc.

Chapter 3: Typographic Design, to explore the Typo fonts and styles.

UNIT 3 : 30 hrs.

Chapter 1. To Design Labels for different products and needs

Chapter 2. To design Greetings cards Invitation Cards Posters

Chapter 3. Project: To create Story book illustrations for children

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Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

CO1. Use effectively Digital platform, software

interface, concept of creating textures, brushes, abstract x
and thematic designs

CO.2. Able to Create effective typography designs used

for raster and vector illustrations and designs required x
for Print and Web plat forms

CO 3. Visualize the design concepts for different needs

using the specified software tools and execute in digital x
platforms.

CO4. Able to execute simple projects independently

X
with research and Field experience based.

Pedagogy: Lecture Presentation, Design Studio Practice, Field visits, Projects

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team activities 10
Total 50
Formative Assessment as per NEP guidelines are compulsory

References
1 Going Digital: Artist's Guide to Digital Illustration by John Ennis –ISBN 9780823062157

2 2. The Complete Guide to Digital Illustration by Steve Caplin (Author), Adam Banks (Author), Nigel
Holmes (Author)

Page 109
 Model Curriculum
Program Name BVA in Design Programme core Graphics & Communication Design

Course Title Graphic Design and Communication II (Practical) Semester Fourth Semester

Course Code: DSC VA10 No. of Credits 5

Contact hours 150 Hours Duration of SEA/Exam Jury & Viva
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Pre-requisite(s): 1.Basic Typography C-3 (4) 2.Digital Media-I C-3(3 )

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

CO1. Understand the cognitive skills of Graphic Design, Conceptual and ideation process

CO.2. Theory and basic principles of Layout design and theory of Typography

CO 3. Use the knowledge history of reproduction process, print medium in their Design

CO4. Use the knowledge acquired about symbols and signs and visual elements in the ideation process of various
Signage Design and to develop a unique styles

CO5 : Deliver the Graphic Design based assignments such as Signage, Information Signage, Lay out designs for
Commercial Promotional materials etc. for Public Institutions, Corporates and retails Industry

Content of the Course 1: Graphic Design and Communication II –C-10 150 Hours

UNIT 1: 50 hrs.

Chapter 1: To study the Symbols and Electrical and electronic signage design

Chapter 2: To study the Principle of Layout Design and Theory of Typography

Chapter 3: History of reproduction and methods and types,

Chapter 4: Print media and Society – News paper and Magazines, Digital Media and society – Film and Television

UNIT 2 : 50 hrs.

Chapter 1: Introduction to Publication Design, study some case studies

Chapter 2: To study the Press Layout Designing: Study of different spatial arrangements - Collage and contour
drawings for rearrangements of the layouts

Chapter 3: To work on Layout elements in grey scales and Context based Press layouts

UNIT 3 : 50 hrs.

Page 110
Chapter 1: To design posters and other display materials: To design poster and other layout designs for the themes
such as environmental, social issues.

Chapter 2: Commercial aspects of posters : Poster as publicity materials for promoting different commercial and state
activities.

Chapter 3: Mini Project in any relevant topic

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

CO1. Understand the cognitive skills of Graphic

x
Design, Conceptual and ideation process

CO.2. Theory and basic principles of Layout design

x
and theory of Typography

CO 3. Use the knowledge history of reproduction

x
process, print medium in their Design

CO4. Use the knowledge acquired about symbols and

signs and visual elements in the ideation process of x
various Signage Design and to develop a unique styles

CO5 : Deliver the Graphic Design based assignments

such as Signage, Information Signage, Lay out designs
x
for Commercial Promotional materials etc. for Public
Institutions, Corporates and retails Industry

Pedagogy: Lecture Presentation, Design Studio Practice, Field visits, Projects

Formative Assessment for Theory

Assessment Occasion/ type Marks

Assessment Occasion/ type Weightage of marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team activities 10
Total 50 Marks

Formative Assessment as per NEP guidelines are compulsory

References

References
Page 111
1 Graphic Design Theory by Meredith Davis / Thames & Hudson, 2012

2 Graphic Design Theory: Readings from the Field edited by Helen Armstrong

3 Design Studies: Theory and Research in Graphic Design edited by Audrey Bennett

4 Graphic Design as Communication by Malcolm Barnard / Routledge

5 Design for Communication: Conceptual Graphic Design Basics by Elizabeth Resnick / John Wiley & Sons

Page 112
 Model Curriculum
Program Name BVA in Design Programme core Graphics & Communication Design

Course Title Advance Typography C-11 (Practical) Semester Fourth Semester

Course Code: DSC VA11 No. of Credits 4

Contact hours 120 Hours Duration of SEA/Exam Jury & Viva
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Pre-requisite(s): 1.Basic Typography C-3 (4) 2.Digital Media-I C-3(3 )

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

CO1. Design and apply advanced type forms in context based lay outs.

CO.2. Apply knowledge of composition using type as primary visual element

CO 3. Design different concepts for targeted audience able to execute the visibility of the style, shape and content for
all types of Layouts

CO 4: Use the digital medium to execute the final stage of application for printing and for web platform.

Content of the Course 2 : Advance Typography C-11 (4) 120 Hours

UNIT 1: 30 hrs.

Chapter 1: Further exploration and application of typography in design - Type as a communication tool

1. Readability of typefaces 2. Type structure (line length/leading/spacing) 3. Information hierarchy

Chapter 2: Type as a design element: 1. Type choice and relationship to content 2. Scale/color/value of type 3.
Visual qualities of type selection 4. Composition of typographic elements on a page 5. Visual impact

Chapter 3: Application of image in design

A. Kinds of images – line art/graphic/drawing/illustration/photography

B. Reasons for image choice 1. Relationship to message 2. Impact (visual and conceptual) 3. Budget/reproduction
considerations 4. Style

UNIT 2 : 40 hrs.

Chapter 1: Further exploration and application of color in design

A. Black and white B. Grey scale and value C. Spot color D. Full color

Chapter 2: Further exploration and application of image in design

Page 113
A. Kinds of images – line art/graphic/drawing/illustration/photography

B. Reasons for image choice 1. Relationship to message 2. Impact (visual and conceptual) 3. Budget/reproduction
considerations 4. Style

Chapter 3: Further exploration and application of page layout and composition

A. Format options and choice

B. Use of page edge and margins

C. Flat space vs. overlapping space

D. Focal point, balance, and hierarchy E. Image, shape, and negative space

UNIT 3 : 50 hrs

Chapter 1: Exploration of visual hierarchy in design A. Visual weight B. Type contrast C. Groups and space D. Shape
and value

Grids in page layout and composition

PROJECT – magazine page layout and design

Chapter 2: Large format design and working in series PROJECT – information poster and mailer design

Chapter 3: Publication design and information sequence PROJECT – folder brochure A. Multi-panel folded
publication construction B. Automating layout/design functions using InDesign C. Imposition and pagination

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

CO1. Design and apply advanced type forms in context

x
based lay outs.

CO.2. Apply knowledge of composition using type as

x
primary visual element

CO 3. Design different concepts for targeted audience

able to execute the visibility of the style, shape and x x x
content for all types of Layouts

CO 4: Use the digital medium to execute the final stage

x x x
of application for printing and for web platform.

CO1. Design and apply advanced type forms in context

x
based lay outs.

Page 114
Pedagogy: Lecture Presentation, Computer Lab, Design Studio Practice, Field visits, Projects

Formative Assessment for Theory

Assessment Occasion/ type Marks

Assessment Occasion/ type Weightage of marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team activities 10
Total 50

Formative Assessment as per NEP guidelines are compulsory

References
1 Type and Typography by Phil Baines, Andrew Haslam / Laurence King Publishing

2 Rookledge's Handbook of Type Designers: A Biographical Directory from the 15th Century by Ron Easton,
Sarah Rookledge, Phil Baine

3 Graphic Design Theory Edited by Helen Armstrong

Page 115
 Model Curriculum
Program Name BVA in Design Programme core Graphics & Communication Design

Course Title Digital Media-II (Practical) Semester Fourth Semester

Course Code: DSC VA12 No. of Credits 3

Contact hours 90 Hours Duration of SEA/Exam Jury & Viva
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Pre-requisite(s):

1. Graphic Design and Communication II

2. Basic Typography

3. Digital Media-I

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

CO1. Create effective typography designs used for raster and vector illustrations and designs.

CO.2. Use the Digital Medium to explore the Lay out Designs for print media

CO 3. Use the digital Medium in creating Type and Image and can create impactful Designs

CO 4: Use the digital medium to execute Portfolios, blogs and webpages and work in digital marketing platforms

Content of the Course 3: : Digital Media-II C-12 (3) 90 Hours

UNIT 1: 30 hrs.

Chapter 1: Application of the digital methods for Press Layout Designing: To explore of different spatial arrangements
- Collage and contour drawings for rearrangements of the layouts in digital medium. Each student will print the same
for analysis

Chapter 2: To explore Layout elements in grey scales and Context based Press layouts in Digital medium for Print
purpose. To print the same for analysis

Chapter 3: Application of Typography with image in design using digital medium

A. Kinds of images – line art/graphic/drawing/illustration/photography

UNIT 2 : 30 hrs.

Page 116
Chapter 1: Application of Digital medium to explore, Type as a design element:

1. Type choice and relationship to content 2. Scale/color/value of type 3. Visual qualities of type selection 4.
Composition of typographic elements on a page 5. Visual impact

Chapter 2: To apply Digital tools and interface to design posters and other display materials: To design poster and other
layout designs for the themes such as environmental, social issues. Student has to print the assignments in colour and
do the analysis.

Chapter 3: To apply Digital tools and interface to design the Poster in digital medium as publicity materials for
promoting different commercial and state activities. Student has to print the assignments in colour and do the analysis.

UNIT 3 : 30 hrs

Chapter 1: To learn to Design a Portfolio in Digital Platform the Design Elements learnt

Chapter 2: To learn to Design a Students Blog using

Chapter 3: To learn to Design a Web page using the above Design experience

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

CO1. Create effective typography designs used for

x
raster and vector illustrations and designs.

CO.2. Use the Digital Medium to explore the Lay out

x
Designs for print media

CO 3. Use the digital Medium in creating Type and

x
Image and can create impactful Designs

CO 4: Use the digital medium to execute Portfolios,

blogs and webpages and work in digital marketing x
platforms

CO1. Create effective typography designs used for

x
raster and vector illustrations and designs.

Pedagogy: Lecture Presentation, Computer Lab, Design Studio Practice, Field visits, Projects

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15

Page 117
 Formative Assessment for Theory

Assessment Occasion/ type Marks

Design related activities like, Quiz, seminar, writing, Team activities 10

Total 50
Formative Assessment as per NEP guidelines are compulsory

References
1 .Digital Design –A critical Introduction by Dean Bruton and Antony Radford

Page 118
 Model Curriculum
Program Name BVA in Design Programme core INTERIOR & SPATIAL DESIGN

Course Title Form & Space - Furniture Design (Practical) Semester Third Semester

Course Code: DSC VA7 No. of Credits 5

Contact hours 150 Hours Duration of SEA/Exam Jury & Viva
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Pre-requisite(s): Design Fundamentals- I and Drawing Fundamental from 1st& 2nd Semester
Foundation Course.

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

CO1: Sketching ability of a student with respect to Organic and Geometric forms.
CO2: Technical drawing knowledge.
CO3: Surface modulation, transformation and articulation of forms.
CO4: Enclosed and Open spaces – Space defining forms
CO5: Simple furniture design and representation of the same with technical drawing.

Content of the Course 1: Form & Space - Furniture Design 150 Hours

UNIT 1: Forms and Shapes 30 hrs.

Chapter 1. Understand Shapes and Forms

Chapter 2. Understand Proportion and Scale

Understand Shading, Lights and Shadows

UNIT 2 : Technical Drawing knowledge 50 hrs.

Chapter 1. Understand Construction and basic geometric shapes and form.

Chapter 2. Understand Proportion and Scale

Chapter 3. Understand Curves and Line of Action

Chapter 4. Understand Centre of Mass, Body Balance and Weight Shifting

Understand Volume and Solid Drawing

UNIT 3 : Surface modulation, transformation and articulation of forms.

Page 119
Chapter 1. Surface development and understanding

Articulation of shapes and forms. Enclosed and open forms with respect to space.

UNIT 4 : Basics of Furniture design 40 hrs

Chapter 1 . Simple furniture design and representation

Chapter 2. Technical drawing for furniture

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Sketching ability of a student with respect to

X
Organic and Geometric forms.

Technical drawing knowledge. X

Able to deliver Surface modulation,

x
transformation and articulation of forms.

Able to design the Enclosed and Open spaces –

X
Space defining forms

Able to do Simple furniture design and

x
representation of the same with technical drawing.

Pedagogy: Design Studio Practice, Lecture Presentations, Field visits, Design Projects

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team activities 10
Total 50
Formative Assessment as per NEP guidelines are compulsory

References
1 Elements of Design by Gail Greet Hanna Princetown Architectural Press

2 Principles of Form and Design by Wucius Wong

References
Page 120
3 Design Elements : Form and Space – Dennis M Puhalla

4 Times savers standards

Page 121
 Model Curriculum
Program Name BVA in Design Programme core INTERIOR & SPATIAL DESIGN

Course Title Interior Design Materials and Applications I (Practical) Semester Third Sem

Course Code: DSC VA8 No. of Credits 4

Contact hours 120 Hours Duration of SEA/Exam Jury & Viva
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

CO1. Understand the Materials based on Physical and behavioural properties

CO2. Understand the visual quality of materials in terms of its physical aspects

CO3. Understand wood as a material and the varieties of Natural and engineered wood.

CO4. To study and understand the types of wall finishes and Temporary partitions

CO5. Able to execute material board for wood and wall finish and temporary partitions.

Content of the Course 2: Interior Design Materials and Applications I 120 Hours

UNIT 1 : Basics of materials used in Interior design 30 hrs

Chapter 1. Physical, Behavioural properties of materials and tools and technology of its application

Chapter 2. Usage of Materials for construction of floor, ceiling, wall, doors, windows, staircase, built in
furniture, partitions and other interior design components.

Chapter 3. Application of materials for built in furniture, partitions and other interior design components

UNIT 2 : Visual analysis of materials 30 hrs

Chapter 1. Analysing materials in terms of finishes through color, texture, modulations and pattern
evolution.

Studying Material specifications and Workmanship involved in the same.

UNIT 3 : Wood 30 hrs

Chapter 1. Varieties of Natural and Engineered wood

Chapter 2. Application of wood in interiors with respect to their properties and innovation .(Collection and

study of samples to be done for the above mentioned materials)

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UNIT 4 : Partitions and wall finishes 30 hrs

Chapter 1. Typologies of wall partitions used in interior design

Chapter 2. Materials used in Partitions and Wall finishes - Paint, Varnish, Wall Paper, Carpet, Glass, Wood,
and Gypsum Boards etc. (Collection and study of samples to be done for the above-mentioned materials)

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Understand the Materials based on Physical and

X
behavioural properties

Understand the visual quality of materials in terms

X
of its physical aspects

Understand wood as a material and the varieties of

X
Natural and engineered wood.

To study and understand the types of wall finishes

X
and Temporary partitions

Able to execute material board for wood and wall

X
finish and temporary partitions

Pedagogy: Design Studio Practice, Lecture Presentations, Field visits, Design Projects

Formative Assessment for Theory

Assessment Occasion/ type Marks

Total 40 Marks

Formative Assessment as per NEP guidelines are compulsory

References
1 Bindra, S.P. and Arora, S.P. Building Construction: Planning Techniques and Methods of
Construction, 19th ed. Dhanpat Rai Pub., New Delhi, 2000

Page 123
References
2 Moxley, R. Mitchell‟s Elementary Building Construction, Technical Press Ltd.

3 Rangwala, S.C. Building Construction 22nd ed. Charota Pub. House Anand, 2004.

4 Sushil Kumar. T.B. of Building Construction 19th ed. Standard Pub. Delhi, 2003.

5 Chowdary, K.P. Engineering Materials used in India, 7th ed. Oxford and IBH, New Delhi, 1990.

Page 124
 Model Curriculum
Program Name BVA in Design Programme core INTERIOR & SPATIAL DESIGN

Course Title Technical Drawing (Practical) Semester Third Semester

Course Code: DSC VA9 No. of Credits 3

Contact hours 90 Hours Duration of SEA/Exam Jury & Viva
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

CO1. Understand, apply and visualize the orthographic projections – Geometric objects , Furniture’s ,
Enclosed Spaces Design

CO2. Understand apply and visualize the 3D Projections – Isometric and Perspective in the Design work

CO3. Work on Representation of various materials – Chart with basic representations in plan, elevation
and sections –Wood, Glass ,Brick etc.,

CO4. Understand apply and visualize the Scales – Conversions between British and Metric styles,
Reduced, Enlarged Scale representations.

CO5. Understand apply and visualize the Anthropometry and Ergonomics – Standard sizes, and study of
average length, width and height of furniture and other aspects of a space.

CO6. Understand apply and visualize the CAD work space and user interface.Producing basic shapes and
forms.

CO7. Using basic drawing, editing, and viewing tools; organizing drawing objects on layers;
inserting reusable symbols (blocks)

Content of the Course 3: Technical Drawing C-9 90 Hours

UNIT 1 : Introduction to orthographic projections 15 hrs.

Chapter 1. Introduction to Geometric objects

Chapter 2.Furniture drawing basics

Chapter 3.Drafting techniques for closed spaces

Introduction to 3D Projections – Isometric and Perspective

UNIT 2 : Material drafting and representation 15hrs.

Page 125
Chapter 1. Chart with basic representations in plan, elevation and sections
Representation of materials like wood, glass, brick etc.,

UNIT 3 : Introduction to Scales 15 hrs.

Chapter 1. Introduction to Scales

Chapter 2. Conversions between British and Metric styles,
Reduced, Enlarged Scale representations

UNIT 4 : Introduction to Anthropometry and Ergonomics 15 hrs.

Chapter 1. Study of Standard sizes and average dimensions

Understanding basic heights and other aspects of furniture

UNIT 5 : Introduction to CAD work space and user interface 15 hrs

Chapter 1. Basics of CAD Workspace and User interface of CAD workspace

Chapter 2. Understanding of basic shapes and forms in CAD

UNIT 6 : Introduction to CAD work space and user interface 15 hrs

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Understand, apply and visualize the orthographic X

projections – Geometric objects , Furniture’s ,
Enclosed Spaces Design

Understand apply and visualize the 3D Projections X

– Isometric and Perspective in the Design work

Understand apply and visualize the Anthropometry X

and Ergonomics – Standard sizes, and study of
average length, width and height of furniture and
other aspects of a space.

Understand apply and visualize the Scales – X

Conversions between British and Metric styles,
Reduced, Enlarged Scale representations

Understand apply and visualize the CAD work X

space and user interface. Producing basic shapes

Program Outcomes (POs)

Page 126
Course Outcomes (COs) / Program Outcomes
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
(POs)
and forms

Using basic drawing, editing, and viewing tools; X

organizing drawing objects on layers; inserting
reusable symbols (blocks) on CAD

Pedagogy: Computer Lab Practice, Lecture Presentations, Field visits, Design Projects

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team activities 10
Total 50
Formative Assessment as per NEP guidelines are compulsory

References
1 Geometry of Design: Studies in Proportion and Composition by Kimberly Elam Publisher: Princeton
Architectural Press,2001

2 Sacred Geometry: Philosophy and Practice (Art and Imagination) by Robert Lawlor' Publisher:
Thames & Hudson, 1989

3 Joseph D Chiara, Julius Panero, & Martin Zelnick, Time Saver standards for Interior Design & space
planning, 2nd edition, Mc-Graw Hill professional, 2001.

4 Computer Aided Design and Manufacturing By M.M.M. SARCAR, K. MALLIKARJUNA RAO, K.

LALIT NARAYAN

5 Fundamentals of Computer Aided Geometric Design by Josef Hoschek, Dieter Lasser Peters, 1993

6 Handbook of Computer Aided Geometric Design edited by Gerald E. Farin, Josef Hoschek, Myung-
Soo Kim

Page 127
 Model Curriculum
Program Name BVA in Design Programme core INTERIOR & SPATIAL DESIGN

Course Title Design Studio: Space & Planning (Practical) Semester Fourth Semester

Course Code: DSC VA10 No. of Credits 5

Contact hours 150 Hours Duration of SEA/Exam Jury & Viva
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Pre-requisite(s): Basic Understanding of Space planning and furniture design along with Materials
application

Course Outcomes (COs): After the successful completion of the course, the student will be able to:
CO1. Understand Basic Anthropometrics and execute in Design

CO2. Understand the design methodology and able to apply it in Design

CO3. Understand Visual analysis and capable of represent or use it in designed spaces

CO4. Able to Prepare a layout to be plotted; adding text, hatching, and dimensions in CAD

Content of the Course 1: Understand Basic Anthropometrics C-10 150 Hours

UNIT 1: Understand Basic Anthropometrics 30Hrs.

Chapter 1. Study of Average measurements of human body in different postures – its proportion and
graphic representation
Chapter 2. Understanding the basics and application in the design of simple household and furniture
Chapter 3. Defining and understanding the spatial parameter of design
Chapter 4. Basic human functions and their implications for spatial planning.
Chapter 5. Minimum and optimum areas for various functions.
User profile, bubble and circulation diagrams

UNIT 2: Studying the Introduction to design methodology 30 hrs.

Chapter 1. Detailed study of spaces – Living and dining areas

Chapter 2. Detailed study of spaces – Bedrooms and toilet
Chapter 3. Detailed study of spaces – Kitchen
Chapter 4. Study furniture layout, circulation, clearances, lighting and ventilation
Case study methodology and analysis of spaces

UNIT 3: Understand Visual analysis and representation of designed spaces 30 hrs.

Page 128
Chapter 1. Visual analysis of spaces for Comfort and spatial quality
Chapter 2. Analysis of Solid and void relation of spaces
Understanding and study on Positive and Negative spaces

UNIT 4 - CAD - Preparing a layout to be plotted; adding text, hatching, and dimensions in CAD 30 hrs

Chapter 1. Plotting in CAD

Chapter 2. Adding text, Hatch and dimensions in CAD

UNIT 5 - Editing , Construction and Paramedics in CAD 30 hrs

Chapter 1. Advanced editing and construction techniques.

Chapter 2. Parametric constraints to objects.

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Understand Basic Anthropometrics and execute in

X
Design

Understand the design methodology and able to

X
apply it in Design

Understand Visual analysis and capable of

X
represent or use it in designed spaces

Able to Prepare a layout to be plotted; adding

X
text, hatching, and dimensions in CAD

Capable of Editing ,construction and adding

X
parametric constraints in CAD

Pedagogy: Design Studio Practice, Lecture Presentations, Field visits, Design Projects

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team 10
activities
Total 50

Page 129
 Formative Assessment for Theory

Assessment Occasion/ type Marks

Formative Assessment as per NEP guidelines are compulsory

References
1 Joseph D Chiara, Julius Panero, & Martin Zelnick, Time Saver standards for Interior Design & space
planning, 2nd edition,

2 Julius Panero & Martin Zelnick, Human Dimension & Interior Space: A source book of Design
Reference standards,

3 Karlen Mark, Kate Ruggeri & Peter Hahn, Space Planning Basics, Wiley publishers, 2003.

4 The Interior Design, Reference + Specification Book – Chris Grimley + Mimi Love

5 Space Planning Basics – Markkarlen ,Rob Fleming,Wiley

6 Computer Aided Design and Manufacturing By M.M.M. SARCAR, K. MALLIKARJUNA RAO, K.

LALIT NARAYAN

7 Fundamentals of Computer Aided Geometric Design by Josef Hoschek, Dieter Lasser Peters, 1993

Page 130
 Model Curriculum
Program Name BVA in Design Programme core INTERIOR & SPATIAL DESIGN

Course Title Interior Design Materials and Applications II (Practical) Semester Fourth Sem

Course Code: DSC VA11 No. of Credits 4

Contact hours 120 Hours Duration of SEA/Exam Viva &Jury
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Pre-requisite(s): Interior Design Materials and Applications I

Course Outcomes (COs): After the successful completion of the course, the student will be able to:
CO1. Understand the Physical and Behavioural properties of Interior design materials and use them
appropriately in Design
CO2. Understand and work on the Visual quality of materials
CO3. Understand the details of Glass and Glass products as applicable in Interior Design
CO4. Understand the commercial forms of Materials while designing a space and field visits
CO5. Understand the details of Metals and their typologies as required for Design
CO6. Have a knowledge of Adhesives, Asphalt and Bitumen

Content of the Course 2: Interior Design Materials and Applications II – Metal and Glass C- 120
11 Hours

UNIT 1: Understand the Physical and Behavioral properties of Interior design materials 30 Hrs.

Chapter 1. Study the Physical and behavioural properties of Materials

Chapter 2. Tools and technology of its application in the construction of floor, ceiling, wall,
doors, windows, staircase. Study materials based on built in furniture, partitions and other
interior design components
Visual quality of materials : Study of the visual quality of materials based on finishes through color,
texture, modulations and pattern evolution. Explore Material workmanship and specification

UNIT 2: Glass and Glass products 20 Hrs.

Chapter 1. Composition and fabrication of glass

Chapter 2. Classification and types of glass- wired glass, fiberglass, rock wool, laminated
glass, glass concrete blocks
Properties and uses of glass based on the construction and aesthetic aspects of interiors and

architecture

UNIT 3: Commercial forms of Materials 20 Hrs.

Page 131
 Chapter 1. Physical and behavioral properties of Materials

Chapter 2. Tools and technology of its application in built forms.

Chapter 3. Material workmanship and specifications

UNIT 5: Metals and their typologies 30 Hrs.

Chapter 1. Types of metals, properties of metals. Definitions of terms with reference to

properties and uses of metals, various

Chapter 2. methods of working with metals, fixing and joinery in metals. Finishing and
treatment of metals., finishes on metals. Standard specifications of Metals
Chapter 3. Metals in built form activity – horizontal, vertical and inclined surfaces. Metals in
interior environment elements products and furniture forms- doors, windows, jalis, railing, stair etc.
Metals and other materials – form and joinery

UNIT 5: Adhesives, Asphalt and Bitumen 20 Hrs.

Chapter 1. Adhesives - Natural and Synthetic, their varieties, thermoplastic and thermosetting
adhesives, epoxy resin. Method of application, bond strength etc.
Chapter 2. Asphalt and Bitumen – Natural and artificial products, forms of asphalt, emulsion,
cement mastic bituminous felt, their properties and uses.

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Understand the Physical and Behavioural

properties of Interior design materials and use them X
appropriately in Design

Understand and work on the Visual quality of

X
materials

Understand the details of Glass and Glass products

X
as applicable in Interior Design

Understand the commercial forms of Materials

X
while designing a space and field visits

Understand the details of Metals and their

X
typologies as required for Design

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Page 132
Have a knowledge of Adhesives, Asphalt and
X
Bitume

Pedagogy: Design Studio Practice, Lecture Presentations, Field visits, Design Projects

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team 10
activities
Total 50
Formative Assessment as per NEP guidelines are compulsory

References
1 Bindra, S.P. and Arora, S.P. Building Construction: Planning Techniques and Methods of
Construction, 19th ed. Dhanpat

2 Moxley, R. Mitchell‟s Elementary Building Construction, Technical Press Ltd.

3 Rangwala, S.C. Building Construction 22nd ed. Charota Pub. House Anand, 2004.

4 Sushil Kumar. T.B. of Building Construction 19th ed. Standard Pub. Delhi, 2003.

5 Chowdary, K.P. Engineering Materials used in India, 7th ed. Oxford and IBH, New Delhi, 1990.
Rangwala, S.C. Building

Page 133
 Model Curriculum
Program Name BVA in Design Programme core INTERIOR & SPATIAL DESIGN

Course Title Architectural Elements and Services (Practical) Semester Fourth Sem

Course Code: DSC VA12 No. of Credits 3

Contact hours 90 Hours Duration of SEA/Exam Viva &Jury
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Outcomes (COs): After the successful completion of the course, the student will be able to:
CO 1. Understand the Basic styles – Door, Window, Roof, Floor, Staircase and apply in the Design
CO 2. Understanding the load bearing and non-load bearing wall structures while designing the
Interiors
CO 3. Understand and work on the Electrical layouts, Plumbing layouts, Acoustics, Fire and lighting
in Interior design

Content of the Course 3: Architectural Elements and Services C-12 90 Hours

UNIT 1: Basic styles – Door, Window, Roof, Floor, Staircase 40 hrs.

Chapter 1. Presentations and drafting or modeling of few styles of Doors

Chapter 2. Presentations and drafting or modeling of few styles of Windows

Chapter 3. Presentations and drafting or modeling of few styles of Roof and Floor
Presentations and drafting or modeling of few styles of Staircase

UNIT 2 : Load bearing and non-load bearing wall structures 20 hrs.

Chapter 1. Load bearing wall structures

Chapter 2. Non-Load bearing wall structures

Modifications required or planned for an interior space with respect to load bearing and non-load
bearing walls

UNIT 3 : Electrical layouts, Plumbing layouts, Acoustics, Fire and lighting in Interior deign 30 hrs.
Chapter 1 . Basics and details of Electrical Layouts
Chapter 2. Basics and details of Plumbing Layouts
Chapter 2. Basics and details of acoustic layouts
Chapter 3. Basics and details of fire safety and escape layouts
Basics and details of Lighting layout

Page 134
Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Understand the Basic styles – Door, Window,

X
Roof, Floor, Staircase and apply in the Design

Understanding the load bearing and non-load

bearing wall structures while designing the Interiors X

Understand and work on the Electrical layouts,

Plumbing layouts, Acoustics, Fire and lighting in X
Interior deign

Pedagogy: Design Studio Practice, Lecture Presentations, Field visits, Design Projects

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team 10
activities
Total 50
Formative Assessment as per NEP guidelines are compulsory

References
1 Karlen Mark, Space planning Basics, Van Nostrand Reinhold, New York, 1992.

2 Francis D K Ching- Building Construction Illustrated –Wiley

3 Materiality and Interior Construction – Gesimondo. Jim Postell Sustainable living – Green Design ;
Designerbooks

4 Ceramic faults and their remedies – Harry Fraser

5 Designing with Light – The Art, Science and Practice of Architectural Lighting Design – Jason
Livingston

Page 135
 Model Curriculum
Program Name BVA in Design Programme core PRODUCT DESIGN

Course Title Product Design thinking (Practical) Semester Third Semester

Course Code: DSC VA7 No. of Credits 5

Contact hours 150 Hours Duration of SEA/Exam Viva &Jury
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Pre-requisite(s): Models, Mockups and PrototypesC-

Technical Drawing C-3(3)
Course Outcomes (COs): After the successful completion of the course, the student will be able to:
CO1. Students are capable of Design thinking
CO2. Students are capable of designing simple products
CO3. Students can execute a simple Design Process
CO4. Students can work in groups and Collaborate in Teams
CO5. Students are capable of Design Visualization, Sketching etc.
CO6.Students can now execute all the stages of Design Research
CO7. Students will be able to work on the Prototype

Content of Course 1 : Product Design Thinking C-7 150 Hrs

Unit –1 50

Chapter 1: A brief Historical changes and evolution of Product idea. Bahous and modern ideology
.
Chapter 2: Innovations in different parts of the world. Highlights of arts and crafts movements
Chapter 3 : Post-War confidence in design, business, and lifestyle help fuel corporate growth.

Unit – 2 50

Chapter 1 : Introduction to Design Thinking – Resources, Methods

Chapter 2 : Meaning and objectives of research
Chapter 3: Introduction to Fundamentals of the design research and process.

Unit –3 50

Chapter 1: To go through case studies and Examples to understand the Design process,
Chronological studies for analysis of designed objects, systems and environments and their eclectic
evolution through technology change
Chapter 2: Simple exercises in design recreation through mock ups/montages/paste boards using
primary materials such as paper, board, woodetc.

Chapter 3: Simple exercises in design creation through mock ups/montages/paste boards using
primary materials such as paper, board, woodetc.

Page 136
Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Expose students to think like designers with basics x

of material types and design concepts

Enable students to create product concepts with x

modelling materials like POP, Thermocol, PU foam
etc.

Enable students to carry out User research through x

proper understanding of research methodologies

Students should be able to understanding basic of x

CAD based sketching, modelling, assembly and
drawing

Enable student to design principles and how to x

apply them in designing products

Expose students to working on project in x

collaboration with an industry of their choice

Enable students to carry out 3D printing, x

Advanced materials and Sustainability in design

Pedagogy: Lecture presentations, Demonstrations, Design Studio & Workshop assignment based
learning

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team activities 10
Total 50
Formative Assessment as per NEP guidelines are compulsory

References

References
1 Design History: A Student's Handbook by Hazel Conway, Routledge

Page 137
2 Design The Indian Context By By H Kumar Vyas

3 “Design the International Movement with Indian Parallel”. by Prof. H Kumar Vyas

4 Product Design: Fundamentals and Methods by Roozenburg and Eekels

Page 138
 Model Curriculum
Program Name BVA in Design Programme core PRODUCT DESIGN

Course Title Models, Mock-ups and Prototypes (Practical) Semester Third Semester

Course Code: DSC VA8 No. of Credits 4

Contact hours 120 Hours Duration of SEA/Exam Viva &Jury
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Pre-requisite(s): Design Foundation 1 & 2

Course Outcomes (COs): After the successful completion of the course, the student will be able to:
CO1. Enable students to create product concepts with modelling.
CO2. Understanding of the materials like POP, Thermocol, PU foam etc in making 3D Models
CO3. Able to execute the technique learn in making 3D Models
Content of Course 2 : Models, Mock-ups and Prototypes C-8 120 Hrs

Unit –1 Introduction 40

Chapter 1 : Introduction to Hand and Power tools and learning around appropriate and safe use of
tools/machines in construction classrooms
Chapter 2 : To understand the characteristic qualities and usability of Materials in Model making.
Chapter 3: To learn to do simple and basic 3D Models using different Materials Like clay, Plaster,
Wood / wooden sheets/ Metal sheets/ Thermo Foam etc

Unit –2 : Hands on learning 40

Chapter 1 : To integrate with Product Design studio for the 3D scale Modeling of the product
design undertake
Chapter 2 : To work on Scale model and Prototypes of the product Design finalized in Design
Studio

Unit –3 3D Printing 40

Chapter 1 : Introduction to 3D Printing Technology, process and Material

Chapter 2 : Types of 3D Printing Technology
Chapter 3: To design and Demonstrate a 3 D Model to students to have Experience

Page 139
Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Enable students to create product concepts for x

modelling.

Understanding of the materials like POP, x

Thermocol, PU foam etc in making 3D Models

Able to execute the technique learn in making 3D x

Models

Pedagogy: Lecture presentations, Demonstrations, Design Studio & Workshop assignment based learning

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team 10
activities
Total 50
Formative Assessment as per NEP guidelines are compulsory

References
1 1.Professional Modelmaking: A Handbook of Techniques and Materials for Architects and Designers
by Norman Trudeau

2 2. Prototyping and Modelmaking for Product Design – BjarkiHallgri

Page 140
 Model Curriculum
Program Name BVA in Design Programme core PRODUCT DESIGN

Course Title Technical Drawing (Practical) Semester Third Semester

Course Code: DSC VA9 No. of Credits 3

Contact hours 90 Hours Duration of SEA/Exam Viva &Jury
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Pre-requisite(s): Drawing Foundation 1 & 2

Course Outcomes (COs): After the successful completion of the course, the student will be able to:
CO.1 Able to understand the basic Geometry and the principles of Design and implement the same in
the Product Design
CO.2. Manually sketch different tools with understanding of their usage
CO.3. Understand the scale, Units and Proportions of the Products and able to visualize accordingly
CO.4, Able to use the knowledge of drafting skills in 3D Modelling and Rendering
CO.5. Create fully dimensioned sectional and assembly technical drawings of a product component
CO.6 Create an exploded product view with parts and materials listing.
Content of Course 3 : Technical Drawing C-9 90 Hrs

Unit –1 Introduction 30

Chapter 1 : o introduce the basic geometry and the guiding principles

Chapter 2 : To study Line styles and types such as; visible/ hidden/center/ cutting/ plane/
section/phantom
Chapter 3: To introduce different types of projections such as Multiple views and projections

Unit –2 : 30

Chapter 1 : Orthographic projection /Auxiliary projection /Isometric projection /Oblique projection

Chapter 2 : To study Perspective /Section Views /Scale /Showing dimensions /Sizes of drawings
Understanding the AutoCAD work space and user interface using basic drawing, editing, and
viewing tools; organizing drawing objects on layers; inserting reusable symbols (blocks), preparing
a layout to be plotted; adding text, hatching, and dimensions
Chapter 3: Using more advanced editing and construction techniques

Unit –3 30

Chapter 1 : Producing basic shapes and forms

Chapter 2 : Producing basic curved and radiuses forms
Chapter 3: 3D modelling and texture surfacing

Page 141
Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

CO.1 Able to understand the basic Geometry and

the principles of Design and implement the same in X
the Product Design

CO.2. Manually sketch different tools with

X
understanding of their usage

CO.3. Understand the scale, Units and Proportions

X
of the Products and able to visualize accordingly

CO.4, Able to use the knowledge of drafting skills

X
in 3D Modelling and Rendering

CO.5. Create fully dimensioned sectional and

assembly technical drawings of a product X
component

CO.6 Create an exploded product view with parts

X
and materials listing.

Pedagogy: Lecture presentations, Demonstrations, Computer Lab & Workshop assignment based
learning

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team 10
activities
Total 50
Formative Assessment as per NEP guidelines are compulsory

References
1 Computer Aided Design and Manufacturing By M.M.M. SARCAR, K. MALLIKARJUNA RAO, K.
LALIT NARAYAN

2 Fundamentals of Computer Aided Geometric Design by Josef Hoschek, Dieter Lasser Peters, 1993

3 Handbook of Computer Aided Geometric Design edited by Gerald E. Farin, Josef Hoschek, Myung-
Soo Kim

Page 142
References
4 Geometry of Design: Studies in Proportion and Composition by Kimberly Elam, Publisher: Princeton
Architectural Press, 2001

5 Sacred Geometry: Philosophy and Practice (Art and Imagination) by Robert Lawlor, Publisher:
Thames & Hudson, 1989.

Page 143
 Model Curriculum
Program Name BVA in Design Programme core PRODUCT DESIGN

Course Title Design Ideation (Practical) Semester Fourth Semester

Course Code: DSC VA10 No. of Credits 5

Contact hours 150 Hours Duration of SEA/Exam Viva &Jury
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Pre-requisite(s): Materials and Manufacturing Processes

1. Digital Methods
Course Outcomes (COs): After the successful completion of the course, the student will be able to:

CO.1- Develop Product ideas - Imagination, People needs, Identification and analysis of samples of good
and bad design for sensitization to Design quality/processes
CO.2 - Understand the Design process, Chronological studies for analysis of designed
objects/systems/environments and their eclectic evolution through technology change.
CO.3- Understanding of different materials. Choose materials based on product requirements.
Understanding of how these materials are manufactured for mass production

Content of Course 1 : Design Ideation C-10 150 Hrs

Unit –1 Introduction to Research 50

Chapter 1 : Introduction to Design process and Design research Methodology - To discuss to design
as a means to communicate ideas to multiple audiences through application of product semantics -
distinguishing between self‐perception and how others read design artefacts.
Chapter 2 : Identifying and defining the problem - Analysing information- time, cost, safety,
materials, processes, function, appearance, ergonomics
Chapter 3: Synthesis- Evaluating and selecting appropriate solutions - Implementing choices and
evaluation

Unit –2 : 50

Chapter 1 : Product ideas - Imagination, People needs, Identification and analysis of samples of
good and bad design for sensitization to Design quality/processes. - The Product Brief – Defining
the needs, Market trend
Chapter 2 : To go through case studies and Examples to understand the Design process,
Chronological studies for analysis of designed objects/systems/environments and their eclectic
evolution through technology change
Chapter 3: Simple exercises in design creation/recreation through mock ups/montages/paste
boards using primary materials such as paper, board, wood etc.

Unit –3 Design Project 50

Page 144
Chapter 1 : Student will be choosing a product need from the life and shall apply the research to
find useful solutions
Chapter 2 : Student shall develop, design and make the product model using the available facilities
in the workshop / explore the possibilities by collaborating with skilled craftsman.
Chapter 3:To document the complete research process, making the product at different stages and
prepare a Report

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Develop Product ideas - Imagination, People needs,

Identification and analysis of samples of good and
X
bad design for sensitization to Design
quality/processes

Understand the Design process, Chronological

studies for analysis of designed
x
objects/systems/environments and their eclectic
evolution through technology change.

Understanding of different materials. Choose

materials based on product requirements.
x
Understanding of how these materials are
manufactured for mass production

Pedagogy: Lecture presentations, Demonstrations, Design Studio & Workshop assignment based learning

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team 10
activities
Total 50
Formative Assessment as per NEP guidelines are compulsory

References
1 Design Research: Methods and Perspectives edited by BrendaLaurel

2 Product design: fundamentals and methods by N. F. M. Roozenburg, J. Eekels

References
Page 145
3 The Fundamentals of Product Design By Richard Morris

Page 146
 Model Curriculum
Program Name BVA in Design Programme core PRODUCT DESIGN

Course Title Materials and Manufacturing Processes (Practical) Semester Fourth Semester

Course Code: DSC VA11 No. of Credits 4

Contact hours 120 Hours Duration of SEA/Exam Viva &Jury
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Pre-requisite(s): Materials and Manufacturing Processes I

Course Outcomes (COs): After the successful completion of the course, the student will be able to:
CO.1- understanding of structure and properties of different industrial materials and how to use them in the
Product Design
CO.2 - Understand the Evaluation and testing of the quality of engineering materials.
CO.3- Understanding of different materials. To choose materials based on product requirements.
Understanding of how these materials are manufactured for mass production
CO.4- Knowledge and understanding of the most important manufacturing processes.
Content of Course 2 : Materials and Manufacturing Processes C-11 120
Hrs

Unit –1 30

Chapter 1 : Introduction: General information, objectives. What is manufacturing? Product attributes,

interfaces with other courses.
Chapter 2 : Material properties: Nature of materials, stress-strain relationships, hardness, fluid properties,
viscoelastic behaviour of polymers.
Chapter 3: Engineering materials: Metal alloys, ferrous and non-ferrous materials, polymer technology,
thermoplastics, thermo sets, elastomers, ceramics, composite materials

Unit –2 : 30

Chapter 1 : Processes for shapeless materials: Casting fundamentals and processes, casting quality, design
aspects, powder metallurgy, rapid prototyping technologies.
Chapter 2 : Shaping of polymers, rubber and composites: Polymer melts, extrusion, injection moulding,
compression moulding, blow moulding, thermoforming, design aspects, processes for rubber and composites.
Chapter 3 Metal forming: Material behavior in metal forming, influence of temperature, friction and
lubrication, rolling processes, forging processes, extrusion, wire and bar drawing.

Unit –3 30

Chapter 1 : Joining and assembly: Fundamentals of welding, welding processes, weld quality, weldability,
brazing, soldering, adhesive bonding, mechanical assembly, design aspects.
Chapter 2 : Manufacturing (support) systems: Numerical control, industrial robots, group technology,
FMS, production lines, quality control, metrology, measuring instruments, surface measurement
Chapter 3: Summary: Overall overview, guidelines and recommendations, material and manufacturing
process selection, last consultancy.

Unit - 4 30

Page 147
Chapter 1 : Different Devices used in the Manufacture Industry – Belt Drives, Gear drives, Lathe machines
Chapter2 : Introduction to Milling Machine: Principle of milling, types of milling machines. Working of
horizontal and vertical milling machines. Milling processes - plane milling, end milling, slot milling, angular
milling, form milling, straddle milling, and gang milling
Chapter 3: Computer Numerical Control (CNC): Introduction, components of CNC, open loop and closed
loop systems, advantages of CNC, CNC Machining centers and Turning centres. Robots: Robot anatomy,
jointsand links, common robot configurations. Applications of Robots in material handling, processing and
assembly and inspection.

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

understanding of structure and properties of

different industrial materials and how to use them
in the Product Design X X

Understand the Evaluation and testing of the

X
quality of engineering materials.

Understanding of different materials. To choose

materials based on product requirements.
X
Understanding of how these materials are
manufactured for mass production

- Knowledge and understanding of the most

X
important manufacturing processes.

Pedagogy: Lecture presentations, Demonstrations, Design Studio & Workshop assignment based
learning

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team 10
activities
Total 50
Formative Assessment as per NEP guidelines are compulsory

References

Page 148
References
1 Alessi: The Design Factory (Academy Editions)
by Allesandro Mendini, Nonie Niesewand

2 DeGarmo's Materials and Processes in Manufacturing - By E. Paul DeGarmo, J. T. Black, Ronald A.

Kohser

3 Industrial Design
by Raymond Loewy

4 Industrial Design: Materials and Manufacturing Guide By Jim Lesko

Page 149
 Model Curriculum
Program Name BVA in Design Programme core PRODUCT DESIGN

Course Title Digital Methods (Practical) Semester Fourth Semester

Course Code: DSC VA12 No. of Credits 3

Contact hours 90 Hours Duration of SEA/Exam Viva &Jury
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Pre-requisite(s): Manual and Digital Drafting

Course Outcomes (COs): After the successful completion of the course, the student will be able to:
CO.1- Understand the product sketching/ Drawing manually as well as digitally and use it in Product Design
CO.2 - Understand the association of manual and digital product sketching/ drawing and use it in Product
Drawing
CO.3- use technology like Wacom to achieve professional results
CO.4- Able to make good presentation of the Product Design using the Digital Design knowledge
Content of Course 2 : Digital Methods C-12 90 Hrs

Unit –1 30

Chapter 1:Investigative and explorative sketches. To draw mechanical and functional devises
Chapter 2 : Sketching and studying Motor vehicles and their Parts to understand the forms and
their association with the whole.
Chapter 3: Study of Hands and parts of the human body and to understand the importance of
Ergonomics.

Unit –2 : 30

Chapter 1: Understanding the AutoCAD work space and user interface using basic drawing,
editing, and viewing tools;
Chapter 2 : Principles of Interactive Computer Graphics.
Chapter 3: Transformation System

Unit –3 30

Chapter 1 : Wire Frame Modelling

Chapter 2 : 3D modelling and texturing using surface Modelling
Chapter 3: Solid Modelling techniques.

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Page 150
 Program Outcomes (POs)
Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Understand the product sketching/ Drawing

manually as well as digitally and use it in Product x
Design

use technology like Wacom to achieve

x
professional results

Able to make good presentation of the Product

X x
Design using the Digital Design knowledge

Pedagogy: Lecture presentations, Computer Lab ,Demonstrations, assignment based learning

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
Design Projects 15
Design related activities like, Quiz, seminar, writing, Team 10
activities
Total 50
Formative Assessment as per NEP guidelines are compulsory

References
1 Design Sketching by Errik Olofsson & Klara Sjolen

2 Design Rendering Techniques by Dick Powell

3 CAD and Rapid Prototype for Product Design

4 Computer Aided Design and Manufacturing By authors; K.Lalit Narayan,K.Mallikarjun Rao,

M.M.M.Sarkar

Page 151
 Model Curriculum
Program Name BVA in Design

Course Title Drawing for Designers (Theory) Semester Third Semester

Course Code: OE 3.1 No. of Credits 3

Contact hours 52 Hours Duration of SEA/Exam Viva &Jury
Formative Assessment Marks 40 Summative Assessment Marks 60

Syllabus of Course : 1 Drawing for Designers 52 hrs

Unit – 1 14hrs
Chapter 1 : Introduction to drawing techniques, skills, and concepts using various black and white
media. To understand the History of Illustration, Indian, European & Far eastern
Chapter 2 : Emphasis on perspective, construction of the human figure, and principles of shading
as they pertain to the illustration. Study from real life & Out door studies of people, places and
things.
Chapter 3 : To study and practice Elements & Principles of Composition as required for Book &
Magazine / other story based Illustrations. To learn Narrative Elements, Visual representations
simplifications etc
Unit – 2 14hrs
Chapter 1 To study the values and Visual qualities of traditional narrative styles (ex: Miniature Art
) from India

Chapter 2 : . and synthesize the same for Book /magazine /other illustration purpose. To learn the
process, Visual quality and meaning and spirit of the Miniature tradition.

Chapter 3 : To study different mediums & techniques of Illustration, use of mixed media and
alternative materials for image construction. Some materials explored are graphite, paint, paper
collage, cloth, digital collage, transfers, oil bars, duct tape, resin, inks, wax, and more.

UNIT 3 : 14 hrs
Chapter 1 : Understanding of illustration as visual language in projects that involve research and
analysis, focusing on image making, aesthetics, message, audience, and intent with refined use of
media and technique.
Chapter 2 : To ideate / conceptualize a Project Ex: story Book Illustration for Children / Comic
Book etc

Page 152
Pedagogy: Lecture Presentations, Practical assignments. Presentations by students

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 20
One/ two Practical Assignment to be given to the student at the end of the Introduction
to the Chapter and one writing assignment at the end of the Course shall be given to the
student. The same has to be assessed and the Formative Marks shall be arrived to
each student
Design Projects : Students can independently select the Design Topics and work on 10
that
Design related activities like, Quiz, seminar, writing, Team activities 10

Total 40 Marks

Formative Assessment as per NEP guidelines are compulsory

References
1 The Visual Display of Quantitative Information, 2nd edition by Edward R. Tufte (Hardcover - May
2001)
2 Envisioning Information by Edward R. Tufte (Hardcover - May 1990)
3 Visual Explanations: Images and Quantities, Evidence and Narrative by Edward R. Tufte
4 Basic Design Principles and Practice by Kenneth F Bates
5 Principles of Two-Dimensional Design, Wucius Wong, Publisher: Wiley, ISBN-10: 0471289604
ISBN-13: 978-047128960

Page 153
 Model Curriculum
Program Name BVA in Design

Course Title Handicraft Design (Practical) Semester Third Semester

Course Code: OE 3.2 No. of Credits 3

Contact hours 52 Hours Duration of SEA/Exam Viva &Jury
Formative Assessment Marks 50 Summative Assessment Marks 50

Syllabus of Course : Handicraft Design – Practical 52 hrs

UNIT 1 : INTRODUCTION TO CRAFT 14 hrs
Chapter 1 : Introduction to Crafts of India. Channa Pattana Toys, Bamboo and Cane Crafts,
Textile Crafts, Pottery and Terracotta Crafts, Leather Crafts etc
Chapter 2: Case studies of different Craft, Background, Community
Chapter 3: Craft Materials and Techniques and Professions
UNIT 2 : FIELD VISIT 14hrs
Chapter 1 : Understanding the Community, Geography, Culture
Chapter 2: Visiting a Local Craft Community
Chapter 3 : Learning to do Craft Documentation
UNIT 3 : HANDS ON EXPERIENCE OF CRAFT 14 hrs

Chapter 1 : Choose one Craft for Hands on Experience. Study of materials and Techniques.
Completing one craft with details and finishing
Chapter 2 : Documentation of the complete Research process and Final outcome

Pedagogy: Lecture Presentations, Practical assignments. Presentations by students

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 25
One/ two Practical Assignment to be given to the student at the end of the
Introduction to the Chapter and one writing assignment at the end of the Course shall
be given to the student. The same has to be assessed and the Formative Marks
shall be arrived to each student
Design Projects : Students can independently select the Design Topics and work 15

Formative Assessment for Theory

Assessment Occasion/ type Marks

Page 154
on that
Design related activities like, Quiz, seminar, writing, Team activities 10

Total 50 Marks

Formative Assessment as per NEP guidelines are compulsory

References
1 Handmade in India: A Geographic Encyclopedia of Indian Handicrafts by Aditi Ranjan, M. P. Ranjan
2 Arts and Crafts of India (Arts & Crafts) Ilay Cooper (Author) & John Gillow (Author)
3 The Glory of Indian Handicrafts Author: Chattopadhyay, Kamaladevi Publisher: Indian Book, New
Delhi
4 Pedagogy : Lecture Presentation – Practical classes –Demonstrations –Practice

Page 155
Model Curriculum
of
BVA
In
Ceramic
3rd & 4th Semester

Page 181
 Contents of Courses for Bachelor of visual Arts (BVA)
III SEMESTER– CERAMIC DEPARTMENT
Sl Studio/ Marks
Total
No. study Duration Internal Submission
Title of the Course Total Credi
hours Per of Exam Marks with
marks ts
Semester display

DISCIPLINE SPECIFIC CORE - DSC

01 Hand Building and Glaze 180 - 75 75 150 5

Development C-1 (5)

02 Design Project-1 C-1 120 - 50 50 100 4

Exam
03 History of Indian Genre 3(3) 45 2 hours 40 100 3
60

OPEN ELECTIVE - OE

04 Hand Building (3) 90 - 50 50 100 3

05 Relief (3) 90 - 50 50 100 3

OE Paper is to be offered for the Students other than BVA.

Page 182
 Model Curriculum
Program Name BVA in Ceramic

Course Title Hand Building & Glaze Development C-1 (Practical) Semester Third Semester

Course Code: DSC-VA7 Total Marks 150

Contact hours 180 Hours Practical No. of Credits 05
Formative Assessment Marks 75 Summative Assessment Marks 75

Introduction:
Design in ceramics involves plenty of techniques and surfaces; these in turn are further adaptable to many
more applications. Here it focuses to enable students to learn and practice basic hand building techniques.
Hand building is the initial step in understanding the material clay. It builds the relationship between the hand
and the language of form building. As lines in drawing, coils are the building block of a 3dimensional form
in ceramic practice. A slab becomes canvas and engobes the paint with which the plain white body of the clay
is coloured. Glazes, understanding the chemicals, compositions, in making colors, textures, effects etc with
the change in clay body, change int temperature, technique of firing are included in the subject study.

Contents 180 Hrs

Hand Building techniques using terracotta

Pinching- basic pinching, adding shapes, using tools for finishing and making

Coiling- Different types of coiling, Joining coils with slip,

Slab Work- Basic slab development method, through that making 3 dimensional objects,

Usage of Engobes- basic slip engobes, underglaze engobe, onglaze engage,Mocha Diffusion

Glaze development and testing- Low Temperature

Scope: Basic Understanding of the Clay material, its nature, and its endless possibilities. Understanding the
basic forming techniques. The understanding of each chemical material and their individual and collective
reaction in glazes. Innovative experimentation with natural materials in combination with pure chemicals.

Guidelines: Introducing basic hand building techniques, making students understand the possibilities and
limitations of clay as a medium. The basic surface decoration techniques and usage of glazes are also
introduced. Developing and understanding the nature, texture and composition of glazes are part of this study

Page 183
Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

Page 184
 Model Curriculum
Program Name BVA in Ceramic

Course Title Design project-1 (Practical) Semester Third Semester

Course Code: DSC-VA8 Total Marks 100

Contact hours 120 Hours Practical No. of Credits 04
Formative Assessment Marks 50 Summative Assessment Marks 50

Introduction:
Ability to implement the hand building techniques learnt and visualising how the sketches and conceptual
drawings can be replicated in clay. Here one can understand the form, composition and develop their
visualisation and working skills. The organic nature of clay is the sole source of its limitless possibilities. The
ability to capture any texture, pattern, transfers, and stencils, retaining them as manmade fossils. Capturing
patterns, drawings, and designs onto it to last centuries. Converting all drawn images into pottery, relief,
3dimentional and sculptural forms. Exploration of mixtures of forms, design and texture.

Contents 120 Hrs

Textures on tiles- try to get those textures from your sketches in clay

3-dimensional form from the above drawings (geometrical forms) using the techniques learnt above

replicate from your sketches - for instance leaf, insect, flowers in 2d or 3d

Scope: Understanding the characters of textures, 3 dimensional forms and replication of sketches in clay.

Guideline: Students should refer to their drawings and visualise the same in clay. Here we have to
concentrate on the form, size, texture, volume so that it helps them in understanding the material.

Pedagogy: Instruction consists of demonstrations and presentations, Practical assignments

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Formative Assessment for Practical

Page 185
 Assessment Occasion/ type Weightage in Marks

Total 50%

Formative Assessment as per NEP guidelines are compulsory

Note: Daily sketching is part of practical subjects

Page 186
 Model Curriculum
Program Name BVA in Ceramic Semester Third Semester

Course Title History of Indian Genres - 3 (Theory)

Course Code: DSC-VA9 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Understand the Genre (Various Aspects) of the Visual Art in India. Genre consists of various subjects
under one Umbrella
❖ Students will get a comprehensive knowledge about the visual art and its wide scopes.
❖ The paper helps in providing introduction to varied subjects of Indian art which will be studied in
details in next semesters.
❖ Outcome of the course and subject will give a broader idea and understanding about Indian art and its
varied forms.

Course Description:
Define the term genre in connection with Art History. Genre: literally means-varied segments or many
categories. Identifying the categories in Visual Art leads to the study of the same individually. Socio- political,
cultural concepts and influences on art are also considered. Following categories are considered for the study
of Indian Genre in Visual Art.

❖ Study of Representation of formal, pictorial and visual elements;

❖ Study of portraiture.

❖ Iconography; in a broader perspective.

❖ Landscapes and still-lives

❖ Secular themes in Indian miniatures,

❖ Narratives and architectonic sculptures in Indian sculptures.

❖ J J School of Art- and influence of varied genre.

❖ Eclecticism in British Company school and J.J.School of arts

❖ Genres of painting (portrait and landscapes) in twentieth century (individuals and schools)

Page 187
 ❖ Politics of Image in connection social history, before and after independence

❖ Industrial and Technological role within the picture frame.

❖ Popular forms in expression (advertisements, posters, popular media)

Contents 45 Hrs
UNIT:01
1. Study of Representation of formal, pictorial and visual elements.
2. Study of portraiture.
3. Iconography; in a broader perspective.
4. Landscapes and still-lives

UNIT:02
1. Narratives and architectonic sculptures in Indian sculptures
2. Secular themes in Indian miniatures,

UNIT:03
1. J J School of Art- and influence of varied genre.
2. Eclecticism in British Company school and J.J.School of arts

UNIT:04
1. Politics of Image in connection social history, before and after independence
2. Industrial and Technological role within the picture frame.
3. Popular forms in expression (advertisements, posters, popular media)

Learning Objectives:

• Students will understand once the course is completed:

• The importance of genre of Indian Art

• The importance and styles and iconographic aspects of Pictorial images and portraiture, landscape,
Narrative art

• Indian miniature: secular themes and their importance in the making of Indian Art as a whole.

• In the social historical context, the role politics, and its images. Industrial and technological advancements
and its framed artistic structure. Popular culture and media in the traditional and contemporary context:
such as popular prints of Ravi Varma and others.

Page 188
Pedagogy: Lectures, Presentations, Seminars, discussions, and museum/site visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks

Theory Assignments 10%

Tests 20%

Composition related activities like, Quiz, seminar, Team activities 10%

Total 40%

Formative Assessment as per NEP guidelines are compulsory

References
1 Elements of Hindu Iconography-T.A Gopinatha Rao,

2 Company School Painting-Mildred Archer

3 Art and Illusion- E H Gombrich

4 Ways of Seeing ; John Beger

5 Popular Art in India: Marg issues

6 Basham, A.L. (1967). The Wonder that was India. London: Sidgwick & Jackson. pp. 11–14.

7 Kramrisch, Stella. A Survey of Painting in the Deccan (Calcutta and London: The India Society in co-
operation with the Dept. of Archaeology, 1937

8 Kramrisch, Stella (1994). Exploring India's Sacred Art. Motilal Banarsidass. ISBN 978-81-208-
1208-6.

9 Yazdani, Gulam. The Early History of the Deccan, Parts 7–9 (Oxford: 1960).

10 The City Palace Museum, Udaipur: paintings of Mewar court life. by Andrew Topsfield, Pankaj Shah,
Government Museum, Udaipur. Mapin, 1990. ISBN 094414229X

11 Splendour of Rajasthani painting, by Jai Singh Neeraj. Abhinav Publications, 1991. ISBN 81-7017-
267-5.

12 Art and artists of Rajasthan: a study on the art & artists of Mewar with reference to western Indian
school of painting, by Radhakrishna Vashistha. Abhinav Publications, 1995. ISBN 81-7017-284-5.

13 A study of Bundi school of painting, by Jiwan Sodhi. Abhinav Publications, 1999. ISBN 81-7017-
347-7

Page 189
References
14 Court painting at Udaipur: art under the patronage of the Maharanas of Mewar, by

15 Andrew Topsfield, Museum Rietberg. Artibus Asiae Publishers, 2001. ISBN 3-907077-03-2.

16 Rajput Painting, by Ananda K. Coomaraswamy, Publisher B. R. Publishing Corporation,

2003. ISBN 81-7646-376-0.

17 The artists of Nathadwara: the practice of painting in Rajasthan, by Tryna Lyons. Indiana University
Press, 2004. ISBN 0-253-34417-4.

18 Ghosh, P. (2012). The Intelligence of Tradition in Rajput Court Painting. Art Bulletin, 94(4), 650–
652.

19 Dalrymple, William, (2016). [1] The beautiful, magical world of Rajput art.] New York Review of
Books, 26 November 2016.

20 Archer, Mildred. Company Paintings: Indian Paintings of the British Period. London: Victoria and
Albert Museum, 1992. ISBN 0944142303.

21 Welch, Stuart Cary. Room for Wonder: Indian Court Painting during the British Period, 1760–1880.
Exhibition catalogue. New York: American Federation of Arts, 1978. ISBN 0847801764

22 Dalrymple, William, Forgotten Masters: Indian Painting for the East India Company, 2019, Philip
Wilson Publishers Ltd, ISBN 978-1781301012

23 Kossak , Steven (1997). Indian court painting, 16th-19th century.. New York: The Metropolitan
Museum of Art. ISBN 0870997831. (see index: p. 148-152)

24 Pahari Masters: Court Painters of Northern India by B. N. Goswamy and Eberhard Fischer Artibus
Asiae. Supplementum, Vol. 38, Pahari Masters: Court Painters of Northern India (1992), pp. 3–391.

25 Wall Paintings of The Western Himalayas, by Mira Seth. Publications Division. 1976.

26 Garhwal Paintings, by Mukandi Lal. Publications Division. 1982.

27 Punjab Painting - Study in Art and Culture, by R P Srivastava. Abhinav Publications. 1983. ISBN 0-
391-02560-0.

Page 190
 Model Curriculum
Program Name BVA in Ceramic

Course Title Hand Building (Practical) Semester Third Semester

Course Code: OE-03 Total Marks 100

Contact hours 90 Hours Practical No. of Credits 03
Formative Assessment Marks 50 Summative Assessment Marks 50
OE Paper is to be offered for the Students other than BVA.

Course Description:
This is an Open Elective course offered for other discipline students not for BVA Students.

Contents 90 Hrs

Hand Building: Basic hand building pottery technique of coiling and pinching is taught to create pottery
forms.

Note: Classes are conducted according to the studio facility and the availability of the Ceramic materials

Pedagogy: Lectures, Presentations, Seminars, discussions

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks
Practical Assignments 20%
Open Elective Projects 10%
Open Elective activities like, Quiz, seminar, Team activities
10%

Total 40%

Formative Assessment as per NEP guidelines are compulsory

Page 191
 Model Curriculum
Program Name BVA in Ceramic

Course Title Relief (Practical) Semester Third Semester

Course Code: OE-03 Total Marks 100

Contact hours 90 Hours Practical No. of Credits 03
Formative Assessment Marks 50 Summative Assessment Marks 50
OE Paper is to be offered for the Students other than BVA.

Course Description:
This is an Open Elective course offered for other discipline students not for BVA Students.
Contents 90 Hrs

Relief: Making @ dimensional relief through rolling of clay slabs, with application of embossing/ addition
techniques, tile creation is taught.

Note: Classes are conducted according to the studio facility and the availability of the Ceramic materials.

Pedagogy: Lectures, Presentations, Seminars, discussions

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks
Practical Assignments 20%
Open Elective Projects 10%
Open Elective activities like, Quiz, seminar, Team activities
10%

Total 40%

Formative Assessment as per NEP guidelines are compulsory

Page 192
 PRACTIAL INTERNAL SUBMISSION
III Semester
50% MARKS

Sl.
SUBJECT MEDIUM NUMBER OF WORKS
No.

1 HAND BUILDING AND GLAZE

DEVELOPMENT: C-1
Drawing
Drawing-5
Pinching
Pinching-3
Coiling Coiling-3
Terracotta/Ceramics/
Slab Engobes/Glaze
Slab-3
Engobes
Engobes-4
Glaze development and testing-Transparent,
Glaze development and testing-
opaque, semi matte
Transparent, opaque, semi matte-3
Mocha Diffusion
Mocha Diffusion-1

2 DESIGN PROJECT-1:C-1 Terracotta/Ceramics/

Engobes/Glaze
Textured Tiles Textured Tiles-5
3-Dimensional Forms 3-Dimensional Forms-5
Replication Replication-3

Total Works 35

NOTE:

• For the Internal Submission Students should submit Minimum 35 works. Students must produce the
works in studio hours.
• Test will be conducted for all the DSC practical subjects.
• End of the semester test will be conducted for the 20% of the internal marks

INTERNAL SUBMISSION BASED ON FOLLOWING CRITERIAS:

Involvement & Punctuality Technical Skill Concept, Creativity, Presentation Practical Test

20% 20% 40% 20%

NOTE: End of the semester test will be conducted for the 20% of the internal marks

Page 193
 Contents of Courses for Bachelor of visual Arts (BVA)
IV SEMESTER– CERAMIC DEPARTMENT
Sl Studio/ Marks
No. study Interna Submissio
Duration Total
Title of the Course hours Per l n Total
of Exam Credits
Semester Marks with marks
display

DISCIPLINE SPECIFIC CORE - DSC

01 Wheel Throwing-1 and 180 - 75 75 150 5

Surface Decoration-1 (5)

02 Design Project-2 (4) 120 - 50 50 100 4

Exam
03 Survey of Indian Sculpture 45 2 hours 40 100 3
-4 (3) 60

Page 194
 Model Curriculum
Program Name BVA in Ceramic Semester Fourth Semester

Course Title Wheel Throwing-1 and Surface Decoration-1 (Practical)

Course Code: DSC-VA10 Total Marks 150

Contact hours 180 Hours Practical No. of Credits 05
Formative Assessment Marks 75 Summative Assessment Marks 75

Introduction:
It is to understand wheel throwing and the process involved in making ceramic wares on pottery wheel.
Understanding the clay medium with change in the process of construction, from building on a still base to
controlling and interacting with the same medium on a continuously moving base. Exploration of the different
possibilities of the clay surface, carving, engraving, inlay, using tools and other available implements, onto
the surface of pottery, relief and sculptural forms. Understanding the mentioned technical practices in
archaeological finds in history, learning and practicing techniques from the same.

Contents 180 Hrs

Wheel throwing - Introduction - Centering, Lifting, Basic Cylinders, Trimming and Turning, Using tools,
Making clay stamps for surface decoration, engraving, inlay, embossing, stamping, sgraffito.

Scope: Basic understanding of pottery wheel, forming the pot and different surface decoration techniques.
Research on the mentioned technical practices in history their experimentation and application into ones own
work.

Guidelines: Students should be taught the basics of wheel throwing like wedging, centering, pulling, lifting,
etc. The teacher has to demonstrate basic pottery forms and trimming of the wares using the tools. Here we
have to teach them making stamps and introduce basic surface decoration techniques as mentioned under the
content.

Page 195
Pedagogy: Studio and outdoor work, demonstrations, slide shows / PPT

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

Page 196
 Model Curriculum
Program Name BVA in Ceramic

Course Title Design Project-2 (Practical) Semester Fourth Semester

Course Code: DSC-VA11 Total Marks 100

Contact hours 120 Hours Practical No. of Credits 04
Formative Assessment Marks 50 Summative Assessment Marks 50

Introduction:
Extending your hand building skills to make larger forms, which will help in understanding the material, its
strength and possibilities. Learning how the ceramic body can be used both as a surface and a structure and
learning the possibility of the mixation of the two, learning to bring together separate elements into one form.
Learning to see ceramics as a structural material independently and a material that allows both addition and
subtraction of form and elements through the nature of the medium itself.

Contents 120 Hrs

3D forms- using any hand building techniques-(10*10inches)

motifs drawn in the drawing session will be used and replicated in clay- either through stamps created, or
engraving, inlay and embossing (2D and 3D)

Scope: Research on developing techniques and methodology and exploration of individual language and
aesthetic quality of ones own work in global scape.

Improvising clay hand building techniques and adding techniques.

Guideline: Students should utilise the techniques they have learnt and develop a 3D form from their
drawings. Also, make stamps for surface decorations, transfer motifs into clay.

Pedagogy: Instruction consists of demonstrations and presentations, Practical assignments

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Illustration -2 Projects 15%

Formative Assessment for Practical

Page 197
 Assessment Occasion/ type Weightage in Marks

Illustration -2 related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

Page 198
 Model Curriculum
Program Name BVA in Ceramic Semester Fourth Semester

Course Title Survey of Indian Sculpture 3 (Theory)

Course Code: DSC-VA12 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Learning to recognize sculptural, styles of ancient and medieval India

❖ Students will also be introduced to study of iconography, narrative structure of sculpture.
❖ Introduction to Buddhist, Hindu, Jain Iconography, and Iconology
❖ Various schools of sculpture in South, North and western and eastern India in general.

Course Description:
In this course, students are introduced to the survey of Indian sculpture from o the Western Indian sculpture
to Vijayanagara period. Emphasis will be on sculptural styles. The primary intention of this focused course is
to assist immersion in the cultures of the subcontinent.

Indian Sculpture is a vast subject that was developed from Prehistoric period. Origin of classical sculptural
activities may be traced in Indus Valley Civilizations. Followed by the foundations of the early Buddhist art:
Indian art has multidimensional developmental pattern. Sculpture developed with early iconic, iconographic
and symbolic manifestation. Stylistic aspects and trends, experimentation with iconographic details will be
focused in the study of the subject.

Contents 45 Hrs
Unit: 1 -

❖ Indus Valley Sculptures: Seals, terracotta objects, bronze figures

❖ Early Buddhist symbolism in sculptures. Mauryan pillars, Capitals, Sculptures: Yaksha-Yakshi figures.
Sunga period Sculptures from Barhut, Terracotta figurines from Chandraketugarh- iconographic, stylistic,
and technical aspects of sculptures to be studied

❖ Satavahana & Kushana period sculptural activities. Sculptures on the cave temples, early Buddhist
sculpture in Round, Gandhara- Mathura Schools: developments in thematic, stylistic, and iconographic
study.

Unit: 2

Page 199
❖ Hindu Renaissance: Gupta, Vakataka, Kadamba, Vishnukundin, Kalachuri Periods. Study of important
art works with focus on development of iconographic and stylistic aspects.

❖ Sculptural experimentation during Badami Chalukya period.: Badami,Aihole, Mahakuta and Pattadakal
Temples.

Unit: 3

❖ Pallava Style_ Kanchipuram and Mahabalipuram Sculptures

❖ Rashtrakuta – Marvel of Kailasnath temple at Ellora. Iconic sculptural study

❖ Chola Sculptures, Bronze sculptures: technics and development

Unit: 4

❖ Sculptural art in Later Chalukya, Hoysala and contemporary sites: Khajuraho, Bhuvaneshwar etc,.

❖ Late medieval sculptural schools: Vijayanagara period and others.

Learning Objectives:

❖ Learning to recognize sculptural styles of India.

❖ At the end of the classes- students will understand a historical sketch of the development of Indian
sculptures. Various schools, styles, and genre. The subject also includes narrative sculptures, decorative
elements and portraiture.

Pedagogy: Lectures, Presentations, Seminars, discussions and museum/site visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks

Theory Assignments 10%

Tests 20%

Composition related activities like, Quiz, seminar, Team activities 10%

Total 40%

Formative Assessment as per NEP guidelines are compulsory

References

References

Page 200
1 Adam Hardy (1995). Indian Temple Architecture: Form and Transformation. Abhinav
Publications. ISBN 978-81-7017-312-0.

2 Adam Hardy (2007). The Temple Architecture of India. Wiley. ISBN 978-0470028278.

3 Adam Hardy (2015). Theory and Practice of Temple Architecture in Medieval India: Bhoja's
Samarāṅgaṇasūtradhāra and the Bhojpur Line Drawings. Indira Gandhi National Centre for the Arts.
ISBN 978-93-81406-41-0.

4 Harle, J.C., The Art and Architecture of the Indian Subcontinent, 2nd edn. 1994, Yale University
Press Pelican History of Art, ISBN 0300062176

5 Monica Juneja (2001). Architecture in Medieval India: Forms, Contexts, Histories. Orient
Blackswan. ISBN 978-8178242286.

6 Stella Kramrisch (1976). The Hindu Temple Volume 1. Motilal Banarsidass (Reprinted 1946
Princeton University Press). ISBN 978-81-208-0223-0.

7 Stella Kramrisch (1979). The Hindu Temple Volume 2. Motilal Banarsidass (Reprinted 1946
Princeton University Press). ISBN 978-81-208-0224-7.

8 Michael W. Meister; Madhusudan Dhaky (1986). Encyclopaedia of Indian temple architecture

American Institute of Indian Studies. ISBN 978-0-8122-7992-4.

9 George Michell (1988). The Hindu Temple: An Introduction to Its Meaning and Forms. University
of Chicago Press. ISBN 978-0-226-53230-1.

10 George Michell (2000). Hindu Art and Architecture. Thames & Hudson. ISBN 978-0-500-20337-8.

11 T. A. Gopinatha Rao (1993). Elements of Hindu iconography. Motilal Banarsidass. ISBN 978-81-
208-0878-2.

12 Pia Brancaccio (2013). Helaine Selin (ed.). Encyclopaedia of the History of Science, Technology, and
Medicine in Non-Westen Cultures. Springer Science. doi:10.1007/978-94-007-3934-5_9848- 1.
ISBN 978-94-017-1416-7.

13 James Burgess (1880). The Cave Temples of India. Cambridge University Press (Reprinted
2013). ISBN 978-1-108-05552-9.

14 José Pereira (1977). Monolithic Jinas. Motilal Banarsidass. ISBN 978-81-208-2397-6.

15 Dhavalikar, Madhukar Keshav (2003). Ellora. Oxford University Press, New Delhi. ISBN 0-19-
565458-7. OCLC 47901386.

Page 201
References

16 Berkson, Carmel (1992). Ellora, Concept and Style. Abhinav Publications. ISBN 0-19-565458-7.

17 Susan L. Huntington; John C.. Huntington (2014). The Art of Ancient India: Buddhist, Hindu, Jain.
Motilal Banarsidass. ISBN 978-81-208-3617-4.

18 Damien Keown; Charles S. Prebish (2013). Encyclopedia of Buddhism. Routledge. ISBN 978-1-
136-98588-1.

19 Neubauer, Jutta Jain (1981), The Stepwells of Gujarat: In Art-historical Perspective, Abhinav
Publications, ISBN 9780391022843

20 Kumar, Sehdev (2001), A Thousand Petalled Lotus: Jain Temples of Rajasthan : Architecture &
Iconography, Abhinav Publications, ISBN 9788170173489

21 Jain, Arun Kumar (2009), Faith & Philosophy of Jainism, Gyan Publishing
House, ISBN 9788178357232

22 Alice Boner; Sadāśiva Rath Śarmā (2005). Silpa Prakasa. Brill Academic (Reprinted by Motilal
Banarsidass). ISBN 978-8120820524. Archived from the original on 22 February 2017. Retrieved 9
November 2017.

23 Ananda K Coomaraswamy (1985), History of Indian and Indonesian Art,

Dover, ISBN 9780486250052, archived from the original on 9 August 2019, retrieved 9
November 2017

24 Debala Mitra (1968), Konarak, Archaeological Survey of India

25 Avinash Patra (2011). Origin & Antiquity of the Cult of Lord Jagannath. Oxford University Press.

26 Partha Mitter (1992). Much Maligned Monsters: A History of European Reactions to Indian Art.
University of Chicago Press. ISBN 978-0-226-53239-4.

27 History of Indian Art by Vidya Vachaspati Gerola

28 A Survey of Indian Sculpture by K.S.Sarswati

Page 202
 PRACTIAL INTERNAL SUBMISSION
IV Semester
50% MARKS

Sl.
SUBJECT MEDIUM NUMBER OF WORKS
No.

Wheel throwing-1 and Surface Decoration-1: C-2

1 Drawing Drawing-5
2 Cylinders Cylinders: 3
3 Forms from Cylinders Forms from Cylinders: 3
4 Clay stamps Clay stamps: 7
5 Engraving, Inlay, mishima, embossing, stamping Engraving, Inlay, mishima,
embossing, stamping : 7

Design Project-2: C-2

1. 3D forms 3D forms: 4
2. Relief Relief- 3
3. Motifs- 2D and 3D Motifs:
2D-3
3D-3

Total Works 38

NOTE:

• For the Internal Submission Students should submit Minimum 38 works. Students must produce the
works in studio hours.
• Test will be conducted for all the DSC practical subjects.
• End of the semester test will be conducted for the 20% of the internal marks

INTERNAL SUBMISSION BASED ON FOLLOWING CRITERIAS:

Involvement & Punctuality Technical Skill Concept, Creativity, Presentation Practical Test

20% 20% 40% 20%

NOTE: End of the semester test will be conducted for the 20% of the internal marks

Page 203
Model Curriculum
of
BVA
In
Art History
3rd & 4th Semester

Page 204
 Contents of Courses for Bachelor of visual Arts (BVA)
III SEMESTER– HISTORY OF ART
Sl Studio/ Marks
Total
No. study Duration Internal Submission
Title of the Course Total Credi
hours Per of Exam Marks with
marks ts
Semester display

DISCIPLINE SPECIFIC CORE - DSC

Exam
01 Indian Art- I C-1 (3) 45 - 40 100 3
60
Exam
History of Art History –C1 45 - 40 100 3
(3) 60

Exam
Art History and Modes of
02 45 - 40 100 3
Communication (3)
60

Exam
03 History of Indian Genre 3(3) 45 2 hours 40 100 3
60

OPEN ELECTIVE - OE

04 90 - 50 50 100 3

OE Paper is to be offered for the Students other than BVA.

Page 205
 odel Curriculum
Program Name BVA in History of Art Semester Third Semester

Course Title Indian Art- I C-1(Theory)

Course Code: DSC-VA7 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcome (COs): After the successful completion of the course, the student will be able to:
Understand-over all development of Indian Art.

❖ The course aims to introduce the development of image making in context of the them socio-religious
and political situations.

❖ Art as expression, has been part of the creative pursuit.

❖ Various cultural segments –helped in creating the sculpture, architecture and painting.

❖ Art was also part of day today life.

Course Description:

• Indian Art-1 paper aims to introduce the origin and development of the Indian art since the pre historic
period.

• Chronological development of the art historical and stylistic aspects of the Indian Art

• The course gives a formal, stylistic and iconographical aspects of the artistic creations in India.
Architectural developments like the rock cut temples- structural temples are studied with technical and
artistic traits.

• Overall, the course enables the student to get comprehensive knowledge about Indian art.

• Paper aims to introduce the development of Indian art from 3 century BCE to 6th Century CE. Students
have already introduced with Indian art in broader perspective. In specialisation need to concentrate on
the detailed study of Indian art.

Contents 45 Hrs

UNIT:01
• Origin of Indian art: Pre-Historic and Indus Valley Civilization_ Study of various sites and the
contribution.

• Origin and development of early Buddhist art.

• Mauryan pillars, capitals, inscriptions, Yaksha and Yakshi cult, terracotta art.

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UNIT:02
• Symbolic depicts and beginning of the iconographic developments
• Excavation of rock cut temples. Socio- religious aspects of the Rock-Cut temples.
• Buddhist -Chaitya and Vihara concepts- varsha-varsha and rainy season- connected with Vihara
developments.
• Early rock cut excavations in Bihar: Barabara Hill range- early excavation during to Maurya period.

UNIT:03
• Early western Indian rock cut excavations. Nasik, Pitalkhora, Bhaja, Karle, Kanheri, Ajanta, Ellora.
• Study of the formal and architectural details. Sculptural development in these caves.

UNIT:04
• Hindu Cave temples at Udaigiri (Vidisha-Madhya Pradesh), Elephanta, Ellora.
• Study of the ground plans- Pillars, Door frames, ceilings: excavation- issues- and patronage.
• Development of Iconographical specifications in the context of Hindu Sculptures.
• Aspects of religious and socio-political connectivity with the development of the rock-cut temples

Learning Objectives:
• Outcome of the study would be students will be knowing the rich tradition of Indian rock cut
architecture and sculptures within them.
• Study of architectural features, pillar types, bracket figures and formal depictions of the figures and flora
and fauna in the rock cut temples.
• Overall estimate of the early Indian art and architecture will be made understand to the student.

Pedagogy: Lectures, Presentations, Seminars, discussions, and museum/site visits

Formative Assessment for Theory
Assessment Occasion/ type Weightage in Marks
Theory Assignments 10%
Tests 20%
Composition related activities like, Quiz, seminar, Team activities 10%

Total 40%
Formative Assessment as per NEP guidelines are compulsory

References

1. Adam Hardy (1995). Indian Temple Architecture: Form and Transformation. Abhinav Publications. ISBN 978-
81-7017-312-0.

References

Page 207
2. Adam Hardy (2007). The Temple Architecture of India. Wiley. ISBN 978-0470028278.

3. Adam Hardy (2015). Theory and Practice of Temple Architecture in Medieval India: Bhoja's
Samarāṅgaṇasūtradhāra and the Bhojpur Line Drawings. Indira Gandhi National Centre for the Arts. ISBN 978-
93-81406-41-0.

4. Harle, J.C., The Art and Architecture of the Indian Subcontinent, 2nd edn. 1994, Yale University Press Pelican
History of Art, ISBN 0300062176

5. A.K. Coomaraswamy; Michael W. Meister (1995). Essays in Architectural Theory. Indira Gandhi National Centre
for the Arts. ISBN 978-0-19-563805-9.

6. Dehejia, V. (1997). Indian Art. Phaidon: London. ISBN 0-7148-3496-3.

7. Fergusson, James (1880). The Caves Temples of India. W. H. Allen. Retrieved 2 April 2016.

8. Geri Hockfield Malandra (1993). Unfolding A Mandala: The Buddhist Cave Temples at Ellora. State University of
New York Press. ISBN 978-0-7914-1355-5.

9. Owen, Lisa (2012). Carving Devotion in the Jain Caves at Ellora. Brill Academic. ISBN 978-9004206298.

10. Pandit, Suraj (2013). Ellora Caves. Oxford University Press. doi:10.1093/obo/9780195393521-0118.

11. Susan L. Huntington; John C.. Huntington (2014). The Art of Ancient India: Buddhist, Hindu, Jain. Motilal
Banarsidass. ISBN 978-81-208-3617-4.

12. T. A. Gopinatha Rao (1993). Elements of Hindu iconography. Motilal Banarsidass. ISBN 978-81-208-0878-2.

13. James Burgess (1880). The Cave Temples of India. Cambridge University Press (Reprinted 2013). ISBN 978-1-
108-05552-9.

14. Carmel Berkson (1999). Elephanta: the cave of Shiva. Motilal Banarsidass. ISBN 978-81-208-1284-0.

15. "Archaeological Site of Harappa". World Heritage Centre. UNESCO. Retrieved 19 February 2013.

16. Kenoyer, J.M., 1997, Trade and Technology of the Indus Valley: New insights from sand, clay, stones and were
baked at very high temperature. As early as 1826 Harappa, located in west Punjab, attracted the attention of Daya
Ram Sahni, who gets credit for preliminary excavations of Harappa.

17. The Indus Civilization: A Contemporary Perspective by Gregory L. Possehl p.111

Page 208
 Model Curriculum
Program Name BVA in History of Art Semester Third Semester

Course Title History of Art History C-1(Theory)

Course Code: DSC-VA8 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcome (COs): After the successful completion of the course, the student will be able to:
Understand-over all development of Indian Art.

• Art History is an important subject that helps to understand the development of artistic and stylistic
nuances.

• History of art history will trace the origin and development of Art History as discipline

• It will introduce various scholars and schools of thoughts that made art history as discipline of the study.

Course Description:

• History of Art History is the subject that is basic introduction to the art history specialization students.

• The paper aims to introduce various schools- historical perspective of the development of the art history
in Europe and India as well.

• The paper also introduces individual scholars who contributed to the study of art history.

Contents 45 Hrs
UNIT:01
• Tracing the origin and development of art historical studies in Europe.

• Historical and cultural and social background of the development.

UNIT:02
• Important art historians.

Giorgio Vasari, the Tuscan painter, sculptor and author of the Lives of the Most Excellent Painters,
Sculptors, and Architects

• Johann Joachim Winckelmann -Art Criticism with reference to History of Art in Antiquity and
Reflections on the Painting and Sculpture of the Greeks.
• Heinrich Wölfflin - stylistic analysis and His book Renaissance and Baroque emphasising on stylistic

Page 209
 periods differed from one another and study of art based on ideas of nationhood.
• Vienna Schools with reference to Alois Riegl on the art of late antiquity and the revaluation of the
Baroque.
• Erwin Panofsky - study of history of art history with reference to iconography and his distinction
between Renaissance and Baroque art.
• Formalism is the study of art by analyzing and comparing form and style, the way objects are made and
their purely visual or material aspects. In painting, formalism emphasizes compositional elements such as
colour, line, shape, texture, and other perceptual aspects rather than content, meaning, or the historical and
social context. Study of Roger fry and Clive bell’s view of formalism. Clement Greenberg’s study on
"Avant-Garde and Kitsch"
• Study of Sir Ernst Hans Josef Gombrich’s Story of Art and Art & Illusion and ways of seeing by
John Berger.
• Meyer Schapiro’s concept of new art historical methodologies that incorporated an interdisciplinary
approach to the study of works of art. An expert on early Christian, Medieval, and Modern art.

UNIT:03
• Art History as discipline was quite new to Indian studies, but the art history was already part of the
textual and epigraphical sources.
• Beginning of the Documentation of Indian Art by European scholars
• Archaeological explorations by British officers and subject experts –James Berges, J.F. Fleet, Sir, John
Marshal, Henry Cousins, Mortimor Wheeler, Percy Brown, Henrich Zimmer.
UNIT:04
• Ananda Coomarswamy, Stella Kramrisch, Nihar rajan Ray, C. Shivarama Murthy, V.S. Agarwal, Karl
Khandalwala, Moti Chandra, Mulk Raj Anand, B.N.Goswamy, Ratan Parimoo with special reference to
New Art Historical Methodologies.
• The contribution of the above scholars to be understood with their books and scholarly essays.

Learning Objectives:
• The paper aims to provide the basic knowledge about the development of Art History.

• The very first quest that is posed in this context is what is art history?

• Art History as core knowledge of Visual Art caters the subject knowledge about the Indian and western
Art History.

• Study of antiquities, artefacts, art objects, architecture, and painting etc are part of the development of
the subject.

• The paper introduces the art historians who have given shape and form to the subjects both in India and
west.

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• Art history documents history of the ancient, modern and contemporary art practice. Social structure,
iconography and other relevant issues will be covered in this paper with introduction to various scholars
and methods of the study.

Pedagogy: Lectures, Presentations, Seminars, discussions, and museum/site visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks
Theory Assignments 10%
Tests 20%
Composition related activities like, Quiz, seminar, Team activities 10%

Total 40%
Formative Assessment as per NEP guidelines are compulsory

References
• Christopher S. Wood: A History of Art History; ISBN: 9780691156521
• Giorgio Vasari(Julia Conway Bondanella - Translated by, et al.): The Lives of Artists
• 30,000 Years of Art: The Story of Human Creativity Across Time & Space (2nd ed.). London: Phaidon
Press. 2015.
• Adams, Laurie (2007). Art across Time (3rd ed.). Boston: McGraw-Hill.
• Bell, Julian (2010). Mirror of the World: A New History of Art (2nd ed.). London: Thames &
Hudson. ISBN 978-0-500-28754-5.
• Gombrich, E.H. (1990). The Story of Art (15th ed.). Englewood Cliffs, NJ: Prentice-Hall.
• Janson, H.W.; Davies, Penelope J.E. (2007). Janson's History of Art: The Western Tradition (7th ed.).
Upper Saddle River, NJ: Pearson Prentice Hall.
• Grau, Oliver, ed. (2007). MediaArtHistories. Cambridge, MA: MIT-Press.
• La Plante, John D. (1992). Asian Art (3rd ed.). Dubuque, IA: Wm. C. Brown.
• Miller, Mary Ellen (2006). The Art of Mesoamerica: From Olmec to Aztec. World of Art (4th ed.).
London: Thames & Hudson.
• Pierce, James Smith; Janson, H.W. (2004). From Abacus to Zeus: A Handbook of Art History (7th ed.).
Upper Saddle River, NJ: Pearson Prentice Hall.
• Pohl, Frances K. (2002). Framing America: A Social History of American Art. New York: Thames &
Hudson.
• Stokstad, Marilyn (2008). Art History (3rd ed.). Upper Saddle River, NJ: Pearson Education.
• Thomas, Nicholas (1995). Oceanic Art. World of Art. New York: Thames and Hudson.
• Thuillier, Jacques (2002). Histoire de l'art. Paris: Flammarion. ISBN 2-08-012535-4.

Page 211
References
• Wilkins, David G.; Schultz, Bernard; Linduff, Katheryn M. (2008). Art Past, Art Present (6th ed.). Upper
Saddle River, NJ: Pearson Education
• Winckelmann, Johann Joachim (1873) History of ancient art. New York, F. Ungar Pub. Co
• Wittkower, Rudolf (1965) "Imitation, eclecticism, and genius" in Earl R. Wasserman, ed. Aspects of the
Eighteenth Century. Baltimore: Penguin.
• H. Wölfflin. Principles of Art History. The Problem of the Development of Style in Later Art, Translated
from 7th German Edition (1929) into English by M D Hottinger (Dover Publications, New York 1932
and reprints).
• H. Wöllflin. Classic Art. An Introduction to the Italian Renaissance. Translated from the 8th German
Edition (Benno Schwabe & Co, Basle 1948) by Peter and Linda Murray (Phaidon Press, London 1952,
2nd Edn 1953).
• Joan Goldhammer Hart, Heinrich Wölfflin: An Intellectual Biography, Dissertation, UC Berkeley, 1981,
available through University Microfilms.
• Joan G. Hart, "Reinterpreting Wölfflin: Neo-Kantianism and Hermeneutics, in Art Journal, winter 1982,
Vol. 42, no. 4, pp. 292–300.
• Joan Hart, Relire Wölfflin, Louvre Museum Cycle de conferences, 1993, Ecole nationale superieure des
Beaux-Arts publication, 1995.
• Joan Hart, "Some Reflections on Wölfflin and the Vienna School," in Wien und die Entwicklung der
Kunsthistorischen Methode, XXV International Kongress fur Kunstgeschichte Wien, 1983, Hermann
Bohlaus, 1984
• Joan Goldhammer Hart, Heinrich Wölfflin: An Intellectual Biography, Dissertation, UC Berkeley, 1981,
available through University Microfilms.
• Joan G. Hart, "Reinterpreting Wölfflin: Neo-Kantianism and Hermeneutics, in Art Journal, winter 1982,
Vol. 42, no. 4, pp. 292–300.
• Joan Hart, Relire Wölfflin, Louvre Museum Cycle de conferences, 1993, Ecole nationale superieure des
Beaux-Arts publication, 1995.
• Joan Hart, "Some Reflections on Wölfflin and the Vienna School," in Wien und die Entwicklung der
Kunsthistorischen Methode, XXV International Kongress fur Kunstgeschichte Wien, 1983, Hermann
Bohlaus, 1984
• Joan Goldhammer Hart, Heinrich Wölfflin: An Intellectual Biography, Dissertation, UC Berkeley, 1981,
available through University Microfilms.
• Joan G. Hart, "Reinterpreting Wölfflin: Neo-Kantianism and Hermeneutics, in Art Journal, winter 1982,
Vol. 42, no. 4, pp. 292–300.
• Joan Hart, Relire Wölfflin, Louvre Museum Cycle de conferences, 1993, Ecole nationale superieure

Page 212
References
des Beaux-Arts publication, 1995.
• Joan Hart, "Some Reflections on Wölfflin and the Vienna School," in Wien und die Entwicklung der
Kunsthistorischen Methode, XXV International Kongress fur Kunstgeschichte Wien, 1983, Hermann
Bohlaus, 1984
• Joan Goldhammer Hart, Heinrich Wölfflin: An Intellectual Biography, Dissertation, UC Berkeley, 1981,
available through University Microfilms.
• Joan G. Hart, "Reinterpreting Wölfflin: Neo-Kantianism and Hermeneutics, in Art Journal, winter 1982,
Vol. 42, no. 4, pp. 292–300.
• Joan Hart, Relire Wölfflin, Louvre Museum Cycle de conferences, 1993, Ecole nationale superieure des
Beaux-Arts publication, 1995.
• Joan Hart, "Some Reflections on Wölfflin and the Vienna School," in Wien und die Entwicklung der
Kunsthistorischen Methode, XXV International Kongress fur Kunstgeschichte Wien, 1983, Hermann
Bohlaus, 1984
• Ernst Gombrich, "Aims and Limits of Iconology." In Symbolic Images (Studies in the Art of the
Renaissance, 2). London: Phaidon, 1972, pp. 1–25.
• Keith Moxey, "Panofsky's Concept of Iconology and the Problem of Interpretation in the History of Art."
New Literary History, Vol. 17, No. 2: Interpretation and Culture (Winter 1986), pp. 265–274
• Ernst Gombrich, "Aims and Limits of Iconology." In Symbolic Images (Studies in the Art of the
Renaissance, 2). London: Phaidon, 1972, pp. 1–25.
• Keith Moxey, "Panofsky's Concept of Iconology and the Problem of Interpretation in the History of Art."
New Literary History, Vol. 17, No. 2: Interpretation and Culture (Winter 1986), pp. 265–274
• Roelof van Straten, An Introduction to Iconography: Symbols, Allusions and Meaning in the Visual Arts.
Abingdon and New York 1994,

Linello Venturi:

• Cézanne, son art, son oeuvre, Paris: P. Rosenberg, 1936

• History of art criticism, New York: E.P. Dutton, 1936.
• Camille Pissarro: son art, son oeuvre. Paris: P. Rosenberg, 1939.
• Les archives de l'Impressionisme, Paris and New York: Durand-Ruel, 1939
• Art Criticism Now, Baltimore: Johns Hopkins University Press, 1941
• Painting and painters; how to look at a picture, from Giotto to Chagall, 1945
• Marc Chagall, (1500 limited edition), Pierre Matisse Editions, New York, 1945
• Italian painting, 3 vols, 1950–52

Page 213
References
• Piero della Francesca: biographical and critical studies, 1954
• The sixteenth century, from Leonardo to El Greco, 1956
• Chagall: biographical and critical study, 1956
• Four steps toward modern art: Giorgione, Caravaggio, Manet, Cézanne, 1956
• Rouault: biographical and critical study, 1959

Page 214
 Model Curriculum
Program Name BVA in History of Art Semester Third Semester

Course Title Art History and Modes of Communication (Theory)

Course Code: DSC-VA9 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcome (COs): After the successful completion of the course, the student will be able to:
Understand-over all development of Indian Art.

• Understanding the art history through various communications

• Modes of Communications are varied in nature as such open museum, white cube-gallery, archiving
documentation, personal library, visual library etc

• The paper enables the students to explore the varied avenues of art historical studies in contemporary
context.

Course Description:

• Art history as a subject has vast scope to understand. Its multi-dimensional scope of the subjects
provides ample space to explore and ascertain.

• Communication as primordial necessity of the subject needs an approach & methodology.

• The method followed to understand the subject lead to have clarity and also one can reconstruct ideas
into a narrative.

• There are various channels to explore the Art History.

Art History as a subject developed in a vast sphere. Its varied sphere may be studied from

• Archaeological findings, antiquities

• Museums, classical and modern, contemporary as well.

• Achieving, Galleries, Exhibition Space

• Cataloguing, Curatorial knowledge.

• Technological application in the study of art history: digital, video art etc.

• Exploring sites connected to Art History.

Contents 45 Hrs

Page 215
UNIT:01

• Art History as a subject developed in a vast sphere. Its varied sphere may be studied from earliest
frame work to modernist periods:

• Archaeological findings

• Antiquities

• Explored and objects/artefacts

UNIT:02

• Museums, classical and modern, contemporary as well.

• Achieving, Galleries, Exhibition Space

• Students will explore the possibilities of various facets of learning art history: visit to museum and
cataloguing the art works.

• Exploring writings on museums/type of museums/ understanding the inner essence of museum studies.

UNIT:03

• Cataloguing, Curatorial knowledge.

• Technological application in the study of art history: digital, video art etc.

• Exploring and making catalogues: understanding of the nature of catalogue; organizing the museum/art
exhibition as curator/ curatorial experience by exploring possible curatorial understanding.

• Advancement of digital technology: exploring photo documentation-video-archiving with gadgets.

Digital technological recording and understanding

UNIT:04

• Exploring sites connected to Art History.

• As part of communication- visit to historical sites as to get first-hand information.

• Site as an open museum provide wide scope in understanding the subject. Temple as an open museum-
communicates the new visual language to the viewer. Students will experience and write the experience
in this context.

Learning Objectives:
• The paper aims to provide the basic knowledge about the development of Art History through various
communicative methods.

Page 216
• To study the historic rise of Museums in general and Indian Museums in relation to Archaeology.

• The relation between gallery culture and art economy. Technology and its application on Art History.

• Besides, visit to Gallery, Museums and sites connected to art history will bring a direct contact. This
will enable students to have first-hand knowledge.

Pedagogy: Lectures, Presentations, Seminars, discussions, and museum/site visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks
Theory Assignments 10%
Tests 20%
activities like, Quiz, seminar, Team activities 10%

Total 40%
Formative Assessment as per NEP guidelines are compulsory

References

• A companion to Museum Studies

• John Berger; Ways of Seeing ;

• BN Goswami: Conversations -

• Stella kambrish The art of India through the ages-

• - Andre Marlaux: Museum without Walls

• Work of art In the age of Mechanical reproduction: Walter Benjamin

• Douglas Crimp : Museum and it's Ruins-

• Archival Impulse

• Mobile Vision- A synoptic view

• Adrian George : The curator's Handbook-

• Thapti Guha, Kavitha Singh

• Geeta Kapur: Progressive Art, When was Modernism

• : K G Subrahmanyan; Living Traditions

• Lalitkala Contemporary

• Marg issues

Page 217
References
• Christopher S. Wood: A History of Art History; ISBN: 9780691156521

• Giorgio Vasari(Julia Conway Bondanella - Translated by, et al.): The Lives of Artists

• 30,000 Years of Art: The Story of Human Creativity Across Time & Space (2nd ed.). London: Phaidon
Press. 2015.

• Gombrich, E.H. (1990). The Story of Art (15th ed.). Englewood Cliffs, NJ: Prentice-Hall.

• Janson, H.W.; Davies, Penelope J.E. (2007). Janson's History of Art: The Western Tradition (7th ed.).
Upper Saddle River, NJ: Pearson Prentice Hall.

• Stokstad, Marilyn (2008). Art History (3rd ed.). Upper Saddle River, NJ: Pearson Education.

• Thomas, Nicholas (1995). Oceanic Art. World of Art. New York: Thames and

• Winckelmann, Johann Joachim (1873) History of ancient art. New York, F. Ungar Pub. Co

• Wittkower, Rudolf (1965) "Imitation, eclecticism, and genius" in Earl R. Wasserman, ed. Aspects of the
Eighteenth Century. Baltimore: Penguin.

• H. Wölfflin. Principles of Art History. The Problem of the Development of Style in Later Art, Translated
from 7th German Edition (1929) into English by M D Hottinger (Dover Publications, New York 1932
and reprints).

• H. Wöllflin. Classic Art. An Introduction to the Italian Renaissance. Translated from the 8th German
Edition (Benno Schwabe & Co, Basle 1948) by Peter and Linda Murray (Phaidon Press, London 1952,
2nd Edn 1953).

• Joan Goldhammer Hart, Heinrich Wölfflin: An Intellectual Biography, Dissertation, UC Berkeley, 1981,
available through University Microfilms.

• Joan G. Hart, "Reinterpreting Wölfflin: Neo-Kantianism and Hermeneutics, in Art Journal, winter 1982,
Vol. 42, no. 4, pp. 292–300.

• Joan Hart, Relire Wölfflin, Louvre Museum Cycle de conferences, 1993, Ecole nationale superieure des
Beaux-Arts publication, 1995.

• Ernst Gombrich, "Aims and Limits of Iconology." In Symbolic Images (Studies in the Art of the
Renaissance, 2). London: Phaidon, 1972, pp. 1–25.

• Keith Moxey, "Panofsky's Concept of Iconology and the Problem of Interpretation in the History of Art."
New Literary History, Vol. 17, No. 2: Interpretation and Culture (Winter 1986), pp. 265–274

• Ernst Gombrich, "Aims and Limits of Iconology." In Symbolic Images (Studies in the Art of the

Page 218
References
Renaissance, 2). London: Phaidon, 1972, pp. 1–25.

• Keith Moxey, "Panofsky's Concept of Iconology and the Problem of Interpretation in the History of
Art." New Literary History, Vol. 17, No. 2: Interpretation and Culture (Winter 1986), pp. 265–274

• Roelof van Straten, An Introduction to Iconography: Symbols, Allusions and Meaning in the Visual
Arts. Abingdon and New York 1994,

• Linello Venturi: Cézanne, son art, son oeuvre, Paris: P. Rosenberg, 1936

• History of art criticism, New York: E.P. Dutton, 1936.

Page 219
 Model Curriculum
Program Name BVA in History of Art Semester Third Semester

Course Title History of Indian Genres - 3 (Theory)

Course Code: DSC-VA9 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Understand the Genre (Various Aspects) of the Visual Art in India. Genre consists of various subjects
under one Umbrella
❖ Students will get a comprehensive knowledge about the visual art and its wide scopes.
❖ The paper helps in providing introduction to varied subjects of Indian art which will be studied in
details in next semesters.
❖ Outcome of the course and subject will give a broader idea and understanding about Indian art and its
varied forms.

Course Description:
Define the term genre in connection with Art History. Genre: literally means-varied segments or many
categories. Identifying the categories in Visual Art leads to the study of the same individually. Socio- political,
cultural concepts and influences on art are also considered. Following categories are considered for the study
of Indian Genre in Visual Art.

❖ Study of Representation of formal, pictorial and visual elements;

❖ Study of portraiture.

❖ Iconography; in a broader perspective.

❖ Landscapes and still-lives

❖ Secular themes in Indian miniatures,

❖ Narratives and architectonic sculptures in Indian sculptures.

❖ J J School of Art- and influence of varied genre.

❖ Eclecticism in British Company school and J.J.School of arts

❖ Genres of painting (portrait and landscapes) in twentieth century (individuals and schools)

Page 220
 ❖ Politics of Image in connection social history, before and after independence

❖ Industrial and Technological role within the picture frame.

❖ Popular forms in expression (advertisements, posters, popular media)

Contents 45 Hrs
UNIT:01
5. Study of Representation of formal, pictorial and visual elements.
6. Study of portraiture.
7. Iconography; in a broader perspective.
8. Landscapes and still-lives

UNIT:02
3. Narratives and architectonic sculptures in Indian sculptures
4. Secular themes in Indian miniatures,

UNIT:03
3. J J School of Art- and influence of varied genre.
4. Eclecticism in British Company school and J.J.School of arts

UNIT:04
50 Politics of Image in connection social history, before and after independence
51 Industrial and Technological role within the picture frame.
52 Popular forms in expression (advertisements, posters, popular media)

Learning Objectives:

• Students will understand once the course is completed:

• The importance of genre of Indian Art

• The importance and styles and iconographic aspects of Pictorial images and portraiture, landscape,
Narrative art

• Indian miniature: secular themes and their importance in the making of Indian Art as a whole.

• In the social historical context, the role politics, and its images. Industrial and technological advancements
and its framed artistic structure. Popular culture and media in the traditional and contemporary context:
such as popular prints of Ravi Varma and others.

Page 221
Pedagogy: Lectures, Presentations, Seminars, discussions, and museum/site visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks

Theory Assignments 10%

Tests 20%

Composition related activities like, Quiz, seminar, Team activities 10%

Total 40%

Formative Assessment as per NEP guidelines are compulsory

References
1 Elements of Hindu Iconography-T.A Gopinatha Rao,

2 Company School Painting-Mildred Archer

3 Art and Illusion- E H Gombrich

4 Ways of Seeing ; John Beger

5 Popular Art in India: Marg issues

6 Basham, A.L. (1967). The Wonder that was India. London: Sidgwick & Jackson. pp. 11–14.

7 Kramrisch, Stella. A Survey of Painting in the Deccan (Calcutta and London: The India Society in co-
operation with the Dept. of Archaeology, 1937

8 Kramrisch, Stella (1994). Exploring India's Sacred Art. Motilal Banarsidass. ISBN 978-81-208-
1208-6.

9 Yazdani, Gulam. The Early History of the Deccan, Parts 7–9 (Oxford: 1960).

10 The City Palace Museum, Udaipur: paintings of Mewar court life. by Andrew Topsfield, Pankaj Shah,
Government Museum, Udaipur. Mapin, 1990. ISBN 094414229X

11 Splendour of Rajasthani painting, by Jai Singh Neeraj. Abhinav Publications, 1991. ISBN 81-7017-
267-5.

12 Art and artists of Rajasthan: a study on the art & artists of Mewar with reference to western Indian
school of painting, by Radhakrishna Vashistha. Abhinav Publications, 1995. ISBN 81-7017-284-5.

13 A study of Bundi school of painting, by Jiwan Sodhi. Abhinav Publications, 1999. ISBN 81-7017-
347-7

Page 222
References
14 Court painting at Udaipur: art under the patronage of the Maharanas of Mewar, by

15 Andrew Topsfield, Museum Rietberg. Artibus Asiae Publishers, 2001. ISBN 3-907077-03-2.

16 Rajput Painting, by Ananda K. Coomaraswamy, Publisher B. R. Publishing Corporation,

2003. ISBN 81-7646-376-0.

17 The artists of Nathadwara: the practice of painting in Rajasthan, by Tryna Lyons. Indiana University
Press, 2004. ISBN 0-253-34417-4.

18 Ghosh, P. (2012). The Intelligence of Tradition in Rajput Court Painting. Art Bulletin, 94(4), 650–
652.

19 Dalrymple, William, (2016). [1] The beautiful, magical world of Rajput art.] New York Review of
Books, 26 November 2016.

20 Archer, Mildred. Company Paintings: Indian Paintings of the British Period. London: Victoria and
Albert Museum, 1992. ISBN 0944142303.

21 Welch, Stuart Cary. Room for Wonder: Indian Court Painting during the British Period, 1760–1880.
Exhibition catalogue. New York: American Federation of Arts, 1978. ISBN 0847801764

22 Dalrymple, William, Forgotten Masters: Indian Painting for the East India Company, 2019, Philip
Wilson Publishers Ltd, ISBN 978-1781301012

23 Kossak , Steven (1997). Indian court painting, 16th-19th century.. New York: The Metropolitan
Museum of Art. ISBN 0870997831. (see index: p. 148-152)

24 Pahari Masters: Court Painters of Northern India by B. N. Goswamy and Eberhard Fischer Artibus
Asiae. Supplementum, Vol. 38, Pahari Masters: Court Painters of Northern India (1992), pp. 3–391.

25 Wall Paintings of The Western Himalayas, by Mira Seth. Publications Division. 1976.

26 Garhwal Paintings, by Mukandi Lal. Publications Division. 1982.

27 Punjab Painting - Study in Art and Culture, by R P Srivastava. Abhinav Publications. 1983. ISBN 0-
391-02560-0.

Page 223
 Contents of Courses for Bachelor of visual Arts (BVA)
IV SEMESTER– History of Art
Sl Studio/ Marks
No. study Duration Internal Submission Total
Title of the Course Total
hours Per of Exam Marks with Credits
marks
Semester display

DISCIPLINE SPECIFIC CORE - DSC

Exam
01 Indian Art-II (3) 45 2 hours 40 100 3
60
Exam
02 Western Art-1 (3) 45 2 hours 40 100 3
60
Exam
02 Survey of Asian Art (3) 45 2 hours 40 100 3
60
Exam
03 Survey of Indian Sculpture 45 2 hours 40 100 3
(3) 60

Page 224
 Model Curriculum
Program Name BVA in History of Art Semester Fourth Semester

Course Title Indian Art-II (Theory)

Course Code: DSC-VA10 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Learning to recognize sculptural, styles of ancient and medieval India

❖ Students will also be introduced to study of iconography, narrative structure of sculpture and
architecture.

❖ Introduction to Various styles of temple architecture

❖ Various schools of sculpture and architecture in South, North and western and eastern India in general.

Course Description:

• Special Reference to Temple Architecture (700 CE-1600 CE)

• The paper aims to introduce the temple styles and types of temples and experimentation that took place
in this period in almost all regions of India.
• Development of structural temples, technological aspects and various temples in larger part of India will
be addressed.

Contents 45 Hrs
Unit: 1 –

• Structural temples : introduction to temple styles: Dravida, Nagara(Varients) Kalinga, Phamsana,

(Kadamba Nagara), Bhumija and Shekhari styles

• Study of basic elements of the temples such as details of the plan, elevation and pillar, walls, basements
etc,.

Unit-II

• Badami Chalukyas: Experimentations on achievements in the temple styles and plans- construction of the
temples. Introduction of Sandhara, Jalandra and other unique features. Examples from Badami, Aihole,
Mahakuta and Pattadakal:

• Pallava Architecture at Mahabalipuram and Kanchipuram

Page 225
Unit-III

• Rashtrakuta and PandyaRock-cut temples

• Emergence of grand ornate styles, constructions of high towered temples.

• Chola, Later Chalukya, Chandela, Gurjara-Pratihara, Kalinga and Hoysala and Kakatiya temples

Unit-IV

• Islamic invasion and beginning of Vijayanagara school.

• Study of regional schools of architecture along with Islamic structures at Bijapur

• Daulatabad, Delhi, Agra, Ahmedabad

Learning Objectives:

❖ Learning to recognize architectural styles of India.

❖ At the end of the classes- students will understand a historical sketch of the development of Indian
architecture, that developed in various periods.

❖ Style and technical aspects will also made known.

Pedagogy: Lectures, Presentations, Seminars, discussions and museum/site visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks
Theory Assignments 10%
Tests 20%

Composition related activities like, Quiz, seminar, Team activities 10%

Total 40%
Formative Assessment as per NEP guidelines are compulsory

References

1 Adam Hardy (1995). Indian Temple Architecture: Form and Transformation. Abhinav
Publications. ISBN 978-81-7017-312-0.

2 Adam Hardy (2007). The Temple Architecture of India. Wiley. ISBN 978-0470028278.

3 Adam Hardy (2015). Theory and Practice of Temple Architecture in Medieval India: Bhoja's
Samarāṅgaṇasūtradhāra and the Bhojpur Line Drawings. Indira Gandhi National Centre for the Arts.
ISBN 978-93-81406-41-0.

Page 226
References

4 Harle, J.C., The Art and Architecture of the Indian Subcontinent, 2nd edn. 1994, Yale University
Press Pelican History of Art, ISBN 0300062176

5 Monica Juneja (2001). Architecture in Medieval India: Forms, Contexts, Histories. Orient
Blackswan. ISBN 978-8178242286.

6 Stella Kramrisch (1976). The Hindu Temple Volume 1. Motilal Banarsidass (Reprinted 1946
Princeton University Press). ISBN 978-81-208-0223-0.

7 Stella Kramrisch (1979). The Hindu Temple Volume 2. Motilal Banarsidass (Reprinted 1946
Princeton University Press). ISBN 978-81-208-0224-7.

8 Michael W. Meister; Madhusudan Dhaky (1986). Encyclopaedia of Indian temple architecture

American Institute of Indian Studies. ISBN 978-0-8122-7992-4.

9 George Michell (1988). The Hindu Temple: An Introduction to Its Meaning and Forms. University
of Chicago Press. ISBN 978-0-226-53230-1.

10 George Michell (2000). Hindu Art and Architecture. Thames & Hudson. ISBN 978-0-500-20337-8.

11 T. A. Gopinatha Rao (1993). Elements of Hindu iconography. Motilal Banarsidass. ISBN 978-81-
208-0878-2.

12 Pia Brancaccio (2013). Helaine Selin (ed.). Encyclopaedia of the History of Science, Technology, and
Medicine in Non-Westen Cultures. Springer Science. doi:10.1007/978-94-007-3934-5_9848- 1.
ISBN 978-94-017-1416-7.

13 James Burgess (1880). The Cave Temples of India. Cambridge University Press (Reprinted
2013). ISBN 978-1-108-05552-9.

14 José Pereira (1977). Monolithic Jinas. Motilal Banarsidass. ISBN 978-81-208-2397-6.

15 Dhavalikar, Madhukar Keshav (2003). Ellora. Oxford University Press, New Delhi. ISBN 0-19-
565458-7. OCLC 47901386.

16 Berkson, Carmel (1992). Ellora, Concept and Style. Abhinav Publications. ISBN 0-19-565458-7.

17 Susan L. Huntington; John C.. Huntington (2014). The Art of Ancient India: Buddhist, Hindu, Jain.
Motilal Banarsidass. ISBN 978-81-208-3617-4.

18 Damien Keown; Charles S. Prebish (2013). Encyclopedia of Buddhism. Routledge. ISBN 978-1-
136-98588-1.

19 Neubauer, Jutta Jain (1981), The Stepwells of Gujarat: In Art-historical Perspective, Abhinav
Publications, ISBN 9780391022843

Page 227
References

20 Kumar, Sehdev (2001), A Thousand Petalled Lotus: Jain Temples of Rajasthan : Architecture &
Iconography, Abhinav Publications, ISBN 9788170173489

21 Jain, Arun Kumar (2009), Faith & Philosophy of Jainism, Gyan Publishing
House, ISBN 9788178357232

22 Alice Boner; Sadāśiva Rath Śarmā (2005). Silpa Prakasa. Brill Academic (Reprinted by Motilal
Banarsidass). ISBN 978-8120820524. Archived from the original on 22 February 2017. Retrieved 9
November 2017.

23 Ananda K Coomaraswamy (1985), History of Indian and Indonesian Art,

Dover, ISBN 9780486250052, archived from the original on 9 August 2019, retrieved 9
November 2017

24 Debala Mitra (1968), Konarak, Archaeological Survey of India

25 Avinash Patra (2011). Origin & Antiquity of the Cult of Lord Jagannath. Oxford University Press.

26 Partha Mitter (1992). Much Maligned Monsters: A History of European Reactions to Indian Art.
University of Chicago Press. ISBN 978-0-226-53239-4.

27 History of Indian Art by Vidya Vachaspati Gerola

28 A Survey of Indian Sculpture by K.S.Sarswati

Page 228
 Model Curriculum
Program Name BVA in History of Art Semester Fourth Semester

Course Title Western Art-1 (Theory)

Course Code: DSC-VA11 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Students will explore the European art through the civilizations

❖ Study of various art objects, sculptures and paintings will be introduced
❖ Study of Geco-Roman art and other developments through Renaissance will be addressed.

Course Description:

(800 BCE TO 1400 CE)

• Western Art-European Art, usually associated with beginning of the Greco- Roman Art

• . Greek civilization and introduction to humanistic styles and adaptation of refined sculptural and
architectural and pottery styles with rise of the society.

• Greek culture supported by the rich epical culture of Homer, gradually adopted the humanistic style in
the art and architecture. The Greeks developed a high quality essence of the aesthetic values.

• From the beginning of the 800 BCE a steady development of the culture may be seen in Europe. Further
when Romans took over the reins of the politics, their ideologies were based on utopian concept and
physical beauty.

• Thus, looking at the European art in linear and chronological sequence- the art and architecture-both
religious and civil and public have developed along with. In the semester student will study the:

Contents 45 Hrs
Unit: 1 –
• Greek Art- origin and Development: Pottery, Sculpture and Architecture

• Roman Art: Portraiture, Public sculptures, Murals, Architecture

Page 229
Unit-II
• Early Christian Art- Symbolic depictions, murals, early basilicas. Paganism. Establishment of Churches
and early Iconic representation.

• Development of Early Basilicas and churches. Symbolic depictions.

Unit-III
• Byzantine art: Mosaics, Churches

• Gothic Art: Churches, Stained Glass. Paintings:

• Art and architecture of the period will be introduced with examples.

Unit-IV
• Beginning of Renaissance. Art.

• Early renaissance art and search for humanism

• Artists and their experimentations in New Style Renaissance

• Scientific development and foundations for Humanistic art

Learning Objectives:

• At the end of the semester, student will have a broader perspective of the development of European art
and its genre.

• There can be certain exercise in comparative study of Indian art with European art.

Pedagogy: Lectures, Presentations, Seminars, discussions and museum/site visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks
Theory Assignments 10%
Tests 20%

Composition related activities like, Quiz, seminar, Team activities 10%

Total 40%
Formative Assessment as per NEP guidelines are compulsory

References

• Betancourt, Philip P. Introduction to Aegean Art. Philadelphia: INSTAP Academic Press, 2007.

• Burn, Lucilla. Hellenistic Art: From Alexander the Great to Augustus. Los Angeles: J. Paul Getty

Page 230
References
Museum, 2004.

• Coldstream, J. N. Geometric Greece: 900-700 BC. 2nd ed. London: Routledge, 2003.

• Jenkins, Ian, Celeste Farge, and Victoria Turner. Defining Beauty: The Body In Ancient Greek Art.
London: British Museum, 2015.

• Langdon, Susan Helen. Art and Identity In Dark Age Greece, 1100--700 B.C.E. Cambridge: Cambridge
University Press, 2008.

• Ling, Roger. Making Classical Art: Process & Practice. Stroud, Gloucestershire: Tempus, 2000.

• Moon, Warren G. Ancient Greek Art and Iconography. Madison: University of Wisconsin Press, 1983.

• Pedley, John Griffiths. Greek Art and Archaeology. 5th ed. Upper Saddle River, N.J.: Prentice Hall,
2012.

• Plantzos, Dimitris. Hellenistic Engraved Gems. Oxford: Clarendon Press, 1999.

• Pollitt, J. J. Art In the Hellenistic Age. Cambridge: Cambridge University Press, 1986.

• --. Art and Experience In Classical Greece. Cambridge: Cambridge University Press, 1972.

• Smith, Tyler Jo, and Dimitris Plantzos. A Companion to Greek Art. Somerset: Wiley, 2012.

• Stewart, Andrew F. Classical Greece and the Birth of Western Art. Cambridge: Cambridge University
Press, 2008.

• Yatromanolakis, Dimitrios. Epigraphy of Art: Ancient Greek Vase-Inscriptions and Vase-Paintings.

Oxford: Archaeopress, 2016.

ROMAN ART:

• Andreae, Bernard. The Art of Rome. New York: H. N. Abrams, 1977.

• Beard, Mary, and John Henderson. Classical Art: From Greece to Rome. Oxford: Oxford University
Press, 2001.

• Bianchi Bandinelli, Ranuccio. Rome, the Center of Power: 500 B.C. to A.D. 200. New York: G.
Braziller, 1970.

• Borg, Barbara. A Companion to Roman Art. Chichester, West Sussex: John Wiley & Sons, 2015.

• Brilliant, Richard. Roman Art From the Republic to Constantine. Newton Abbot, Devon: Phaidon Press,
1974.

• D’Ambra, Eve. Art and Identity in the Roman World. London: Weidenfeld & Nicolson, 1998.

• --. Roman Art. Cambridge: Cambridge University Press, 1998.

Page 231
References
• Kleiner, Fred S. A History of Roman Art. Belmont, CA: Thomson/Wadsworth, 2007.

• Ramage, Nancy H. Roman Art: Romulus to Constantine. 6th ed. Upper Saddle River, NJ : Pearson,
2015.

• Stewart, Peter. Roman Art. Oxford: Oxford University Press, 2004.

• Syndicus, Eduard. Early Christian Art. 1st ed. New York: Hawthorn Books, 1962.

• Tuck, Steven L. A History of Roman Art. Malden: Wiley Blackwell, 2015.

• Zanker, Paul. Roman Art. Los Angeles: J. Paul Getty Museum, 2010.

Early Christian & Byzantine Art

• Balch, David L., Roman Domestic Art & Early House Churches (Wissenschaftliche Untersuchungen
zum Neuen Testament Series), 2008, Mohr Siebeck, ISBN 3161493834, 9783161493836

• Beckwith, John (1979). Early Christian and Byzantine Art (2nd ed.). Yale University
Press. ISBN 0140560335

• Finney, Paul Corby, The Invisible God: The Earliest Christians on Art, Oxford University Press,
1997, ISBN 0195113810, 9780195113815

• Grig, Lucy, "Portraits, Pontiffs and the Christianization of Fourth-Century Rome", Papers of the British
School at Rome, Vol. 72, (2004), pp. 203–230, JSTOR

• Honour, Hugh; Fleming, J. (2005). The Visual Arts: A History (Seventh ed.). Upper Saddle River, NJ:
Pearson Prentice Hall. ISBN 0-13-193507-0.

• Jensen, Robin Margaret (2000). Understanding Early Christian Art. Routledge. ISBN 0415204542.
Archived from the original on 25 December 2013.

• van der Meer, F., Early Christian Art, 1967, Faber and Faber

• Syndicus, Eduard (1962). Early Christian Art. London: Burns & Oates. OCLC 333082.

• "Early Christian art". In Encyclopædia Britannica Online.

• Weitzmann, Kurt (1979). Age of spirituality : late antique and early Christian art, third to seventh
century. New York: Metropolitan Museum of Art.

Byzantine Art:

• lloa, Emmanuel (2013). "Visual Studies in Byzantium". Journal of Visual Culture. 12 (1):
3‒29. doi:10.1177/1470412912468704. S2CID 191395643.

• Beckwith, John (1979). Early Christian and Byzantine Art (2nd ed.). Penguin History of Art. ISBN 978-

Page 232
References
0140560336.

• Cormack, Robin (2000). Byzantine Art. Oxford: Oxford University Press. ISBN 978-0-19-284211-4.

• Cormack, Robin (1985). Writing in Gold, Byzantine Society and its Icons. London: George
Philip. ISBN 978-054001085-1.

• Eastmond, Antony (2013). The Glory of Byzantium and Early Christendom. London: Phaidon Press.
ISBN 978-0714848105.

• Evans, Helen C., ed. (2004). Byzantium, Faith and Power (1261‒1557). Metropolitan Museum of Art/Yale
University Press. ISBN 978-1588391148.

• Evans, Helen C. & Wixom, William D. (1997). The Glory of Byzantium: Art and Culture of the Middle
Byzantine Era, A.D. 843‒1261. New York: The Metropolitan Museum of Art. OCLC 853250638.

• Hurst, Ellen (8 August 2014). "A Beginner's Guide to Byzantine Art". Smarthistory. Retrieved 20
April 2016.

• James, Elizabeth (2007). Art and Text in Byzantine Culture (1 ed.). Cambridge: Cambridge University
Press. ISBN 978-0-521-83409-4.

• Karahan, Anne (2015). "Patristics and Byzantine Meta-Images. Molding Belief in the Divine from Written
to Painted Theology". In Harrison, Carol; Bitton-Ashkelony, Brouria; De Bruyn, Théodore (eds.).
Patristic Studies in the Twenty-First Century. Turnhout: Brepols Publishers. pp. 551– 576. ISBN
978-2-503-55919-3.

• Karahan, Anne (2010). Byzantine Holy Images – Transcendence and Immanence. The Theological
Background of the Iconography and Aesthetics of the Chora Church (Orientalia Lovaniensia Analecta
No. 176). Leuven-Paris-Walpole, MA: Peeters Publishers. ISBN 978-90-429-2080-4.

• Karahan, Anne (2016). "Byzantine Visual Culture. Conditions of "Right" Belief and some Platonic
Outlooks"". Numen: International Review for the History of Religions. Leiden: Koninklijke Brill NV.
63 (2–3): 210–244. doi:10.1163/15685276-12341421. ISSN 0029-5973.

GOTHIC ART

• Huyghe, René, ed. (1963). Larousse Encyclopedia of Byzantine and Medieval Art. Hamlyn. ISBN 978-0-
600-02357-9.

• Icher, Francois (1998). Building the Great Cathedrals. Abrams Books. ISBN 978-0-8109-4017-8.

• Simson, Otto Georg (1988). The Gothic cathedral: origins of Gothic architecture and the medieval
concept of order. ISBN 978-0-691-09959-0.

• Glaser, Stephanie, "The Gothic Cathedral and Medievalism," in: Falling into Medievalism, ed. Anne

Page 233
References
Lair and Richard Utz. Special Issue of UNIversitas: The University of Northern Iowa Journal of Research,
Scholarship, and Creative Activity, 2.1 (2006). (on the Gothic revival of the 19th century and the
depictions of Gothic cathedrals in the Arts)

• Moore, Charles (1890). Development & Character of Gothic Architecture. Macmillan and
Co. ISBN 978-1-4102-0763-0.

• Rudolph, Conrad ed., A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, 2nd
ed. (2016)

• Swaan, Wim (1982). Art and Architecture of the Late Middle Ages. Omega Books. ISBN 978-0-907853-
35-0.

Page 234
 Model Curriculum
Program Name BVA in History of Art Semester Fourth Semester

Course Title Survey of Asian Art (Theory)

Course Code: DSC-VA12 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Learning to recognize art and architecture of Asian countries

❖ Chinese, Japanese, Indonesian, Srilankan, Nepalese and Burmees art will be seen in introductory level
❖ Student will understand the oriental culture through the paper
❖ A comparison will also be possible with Indian art.

Course Description:
• Asian Art paper gives overview of the various regional development in Visual Art.
• It covers the art history of Central east and South east Asia and West Asia.
• The paper aims to provide an art historical outlook about the art historical development of the various art
and architecture, and paintings as well.
• It focus on socio-religious, political and economic strata of the regions and their reflections on the on
visual art.
Contents 45 Hrs
Unit: 1
• Chinese Art: early Art Activities, Song Dynasty, Pottery-Ceramics Chinese Calligraphy, Sculptures,
Paintings:

• Tibetan Art: Buddhist establishments; Thangka paintings and other religious arts.

Unit-II
• South Asian Art: Includes ancient Afghan, Pakistan region : Buddhist Art. Ancient painting: Mandalas
etc. Sculpture: Architecture-Stupa etc.

• Japanese Art: Art works produced in Japan, Architecture, Paintings and Print making: wood block
printing such Ukio-e prints and tradition with important artists.

Page 235
Unit-III
• Bhutanese Art: Buddhist Thanka art and establishment of the Buddhist monasteries. Nepalese Art:
Katmandu as center of art and architecture. Early Indian connection. Influence/extension of Indian art in
Nepal. Paintings.

• Cambodian Art. God King concept, Architecture at Angkor-Wat and Thom. Sculpture-narratives.

Unit-IV
• Javanese Art: Buddhist and Hindu art activities.

• Stupa at Borobudur and Chengu temples at Parmbanan etc. Salient features of all artistic development to
be studies.

Learning Objectives:

❖ Learning to recognize Art and architecture of oriental countries/far and south east Asian countries

❖ Indian influence; greater Indian concept/spread of Buddhism

❖ Development of regional styles and culture in various countries mentioned above will be addressed

Pedagogy: Lectures, Presentations, Seminars, discussions and museum/site visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks
Theory Assignments 10%
Tests 20%

activities like, Quiz, seminar, Team activities 10%

Total 40%
Formative Assessment as per NEP guidelines are compulsory

References

• Barnhart, Richard M., et al. Three Thousand Years of Chinese Painting. Wadsworth Atheneum Museum of Art:
2002. ISBN 0-300-09447-7.

• Chi, Lillian, et al. A Dictionary of Chinese Ceramics. Sun Tree Publishing: 2003. ISBN 981-04-6023-6.

• Clunas, Craig. Art in China. Oxford University Press: 1997. ISBN 0-19-284207-2.

• Fong, Wen (1973). Sung and Yuan paintings. New York: The Metropolitan Museum of Art. ISBN 978-
0870990847.

• Gesterkamp, Lennert. The Heavenly Court: Daoist Temple Painting in China, 1200–1400. Brill 2011. ISBN 978-
90-04-18490-9.

Page 236
References
• Gowers, David, et al. Chinese Jade from the Neolithic to the Qing. Art Media Resources: 2002. ISBN 1-58886-
033-7.

• Harper, Prudence Oliver. China: Dawn Of A Golden Age (200–750 AD). Yale University Press: 2004. ISBN 0-
300-10487-1.

• Koon, Yeewan (2014). A Defiant Brush: Su Renshan and the Politics of Painting in Early 19th-Century
Guangdong (PDF). Hong Kong: Hong Kong University Press. ISBN 978-988-8139-61-3.

• Leidy, Denise Patry; Strahan, Donna (2010). Wisdom embodied: Chinese Buddhist and Daoist sculpture in the
Metropolitan Museum of Art. New York: The Metropolitan Museum of Art. ISBN 9781588393999.

• Little, Stephen, et al. Taoism and the Arts of China. University of California Press: 2000. ISBN 0-520-22784-0.

• Mascarelli, Gloria, and Robert Mascarelli. The Ceramics of China: 5000 BC to 1900 AD. Schiffer Publishing:
2003. ISBN 0-7643-1843-8.

• Sturman, Peter Charles. Mi Fu: Style and the Art of Calligraphy in Northern Song China. Yale University Press:
2004. ISBN 0-300-10487-1.

• Sullivan, Michael. The Arts of China. Fourth edition. University of California Press: 2000. ISBN 0-520-21877-9.

• Tregear, Mary. Chinese Art. Thames & Hudson: 1997. ISBN 0-500-20299-0.

• Valenstein, S. (1998). A handbook of Chinese ceramics, Metropolitan Museum of Art, New

York. ISBN 9780870995149 .

• Watt, James C.Y.; et al. (2004). China: dawn of a golden age, 200–750 AD. New York: The Metropolitan
Museum of Art. ISBN 978-1588391261.

• Wang, Jianjiang, and Wynn, Keaton. Bie-Modern: Works and Commentary. China Social Science Press: 2018

• Watson, William. The Arts of China to AD 900. Yale University Press: 1995. ISBN 0-300-05989-2.

• S. Diglio, Urban Development and Historic Heritage Protection in Shanghai, in Fabio Maniscalco ed., "Web
Journal on Cultural Patrimony", 1, 2006

• Marks, Andreas (2010). Japanese Woodblock Prints: Artist, Publishers and Masterworks 1680-1900. North
Clarendon, VT: Tuttle Publishing. ISBN 9784805310557.

• Momoyama, Japanese art in the age of grandeur. New York: The Metropolitan Museum of Art.
1975. ISBN 9780870991257.

• Murase Miyeko (2000). Bridge of dreams: the Mary Griggs Burke collection of Japanese art. New York: The
Metropolitan Museum of Art. ISBN 978-0870999413.

• Sato Yasuhiro (2020). The World of Ito Jakuchu: Classical Japanese Painter of All Things Great and Small in
Nature. Tokyo: Japan Publishing Industry Foundation for Culture. ISBN 978-4-86658-135-4.

• Takashina Shuji (2018). The Japanese Sense of Beauty. Tokyo: Japan Publishing Industry Foundation for

Page 237
References
Culture. ISBN 978-4-86658-020-3.

• Tsuji Nobuo (2019). History of Art in Japan. New York, NY: Columbia University Press. ISBN 9784130870603.

• Earle, Joe (1999). Splendors of Meiji : treasures of imperial Japan : masterpieces from the Khalili Collection. St.
Petersburg, Fla.: Broughton International Inc. ISBN 1874780137. OCLC 42476594.

• Impey, Oliver, in Battie, David, ed., Sotheby's Concise Encyclopedia of Porcelain, 71-74, 1990, Conran Octopus.
ISBN 1850292515

• Kaempfer, H. M. and W. O. G. Sickinghe The Fascinating World of the Japanese Artist. A Collection of Essays on
Japanese Art by Members of the Society for Japanese Arts and Crafts, The Hague, Society for Japanese Arts and
Crafts, 1971. ISBN 0-87093-156-3

• Kossak, Steven M., Singer, Jane Casey, (eds.), Sacred Visions: Early Paintings from Central Tibet (exhibition
catalogue), Metropolitan Museum of Art, 1998 (fully available online as PDF).

• Lipton, Barbara and Ragnubs, Nima Dorjee. Treasures of Tibetan Art: Collections of the Jacques Marchais Museum
of Tibetan Art. Oxford University Press, New York. 1996.

• Rhie, Marylin and Thurman, Robert (eds.):Wisdom And Compassion: The Sacred Art of Tibet, 1991, Harry N.
Abrams, New York (with three institutions), ISBN 0810925265.

• Giuseppe Tucci, Tibetan Painted Scrolls. 3 volumes, Rome, 1949

• Hugo E. Kreijer, Tibetan Paintings. The Jucker Collection. 2001, ISBN 978-1570628658

• Huntington, John C., Bangdel, Dina, The Circle of Bliss: Buddhist Meditational Art, 2003, Serindia Publications,
ISBN 1932476016, 9781932476019

• Per Kværne, The Bon Religion of Tibet: The Iconography of a Living Tradition. Serindia, London 1995. ISBN 0-
906026-35-0

• David P. Jackson, History of Tibetan Painting; The Great Tibetan Painters and Their Traditions, 1995,
ISBN 3700122241

• Martin Willson, Martin Brauen, Deities of Tibetan Buddhism: The Zurich Paintings of the "Icons Worthwhile to
See". Wisdom Pubn. 2000, ISBN 9780861710980

• Robert N. Linrothe, Paradise and Plumage: Chinese Connections in Tibetan Arhat Painting. Serindia Publications
2004, ISBN 978-1932476071

• David P. Jackson, Patron and Painter: Situ Panchen and the Revival of the Encampment Style. Rubin Museum of
Art 2009, ISBN 978-0977213146

• Jacinta Boon Nee Loh, Decision From Indecision: Conservation of Thangka Significance, Perspectives and
Approaches, in Journal of Conservation and Museum Studies, Institute of Archaeology, University College London,
vol. 8, 2002-11-01

Page 238
 Model Curriculum
Program Name BVA in History of Art Semester Fourth Semester

Course Title Survey of Indian Sculpture 3 (Theory)

Course Code: DSC-VA12 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Learning to recognize sculptural, styles of ancient and medieval India

❖ Students will also be introduced to study of iconography, narrative structure of sculpture.
❖ Introduction to Buddhist, Hindu, Jain Iconography, and Iconology
❖ Various schools of sculpture in South, North and western and eastern India in general.

Course Description:
In this course, students are introduced to the survey of Indian sculpture from o the Western Indian sculpture
to Vijayanagara period. Emphasis will be on sculptural styles. The primary intention of this focused course is
to assist immersion in the cultures of the subcontinent.

Indian Sculpture is a vast subject that was developed from Prehistoric period. Origin of classical sculptural
activities may be traced in Indus Valley Civilizations. Followed by the foundations of the early Buddhist art:
Indian art has multidimensional developmental pattern. Sculpture developed with early iconic, iconographic
and symbolic manifestation. Stylistic aspects and trends, experimentation with iconographic details will be
focused in the study of the subject.

Contents 45 Hrs
Unit: 1 -

❖ Indus Valley Sculptures: Seals, terracotta objects, bronze figures

❖ Early Buddhist symbolism in sculptures. Mauryan pillars, Capitals, Sculptures: Yaksha-Yakshi figures.
Sunga period Sculptures from Barhut, Terracotta figurines from Chandraketugarh- iconographic, stylistic,
and technical aspects of sculptures to be studied

❖ Satavahana & Kushana period sculptural activities. Sculptures on the cave temples, early Buddhist
sculpture in Round, Gandhara- Mathura Schools: developments in thematic, stylistic, and iconographic
study.

Unit: 2

Page 239
❖ Hindu Renaissance: Gupta, Vakataka, Kadamba, Vishnukundin, Kalachuri Periods. Study of important
art works with focus on development of iconographic and stylistic aspects.

❖ Sculptural experimentation during Badami Chalukya period.: Badami,Aihole, Mahakuta and Pattadakal
Temples.

Unit: 3

❖ Pallava Style_ Kanchipuram and Mahabalipuram Sculptures

❖ Rashtrakuta – Marvel of Kailasnath temple at Ellora. Iconic sculptural study

❖ Chola Sculptures, Bronze sculptures: technics and development

Unit: 4

❖ Sculptural art in Later Chalukya, Hoysala and contemporary sites: Khajuraho, Bhuvaneshwar etc,.

❖ Late medieval sculptural schools: Vijayanagara period and others.

Learning Objectives:

❖ Learning to recognize sculptural styles of India.

❖ At the end of the classes- students will understand a historical sketch of the development of Indian
sculptures. Various schools, styles, and genre. The subject also includes narrative sculptures, decorative
elements and portraiture.

Pedagogy: Lectures, Presentations, Seminars, discussions and museum/site visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks

Theory Assignments 10%

Tests 20%

Composition related activities like, Quiz, seminar, Team activities 10%

Total 40%

Formative Assessment as per NEP guidelines are compulsory

References

References

Page 240
1 Adam Hardy (1995). Indian Temple Architecture: Form and Transformation. Abhinav
Publications. ISBN 978-81-7017-312-0.

2 Adam Hardy (2007). The Temple Architecture of India. Wiley. ISBN 978-0470028278.

3 Adam Hardy (2015). Theory and Practice of Temple Architecture in Medieval India: Bhoja's
Samarāṅgaṇasūtradhāra and the Bhojpur Line Drawings. Indira Gandhi National Centre for the Arts.
ISBN 978-93-81406-41-0.

4 Harle, J.C., The Art and Architecture of the Indian Subcontinent, 2nd edn. 1994, Yale University
Press Pelican History of Art, ISBN 0300062176

5 Monica Juneja (2001). Architecture in Medieval India: Forms, Contexts, Histories. Orient
Blackswan. ISBN 978-8178242286.

6 Stella Kramrisch (1976). The Hindu Temple Volume 1. Motilal Banarsidass (Reprinted 1946
Princeton University Press). ISBN 978-81-208-0223-0.

7 Stella Kramrisch (1979). The Hindu Temple Volume 2. Motilal Banarsidass (Reprinted 1946
Princeton University Press). ISBN 978-81-208-0224-7.

8 Michael W. Meister; Madhusudan Dhaky (1986). Encyclopaedia of Indian temple architecture

American Institute of Indian Studies. ISBN 978-0-8122-7992-4.

9 George Michell (1988). The Hindu Temple: An Introduction to Its Meaning and Forms. University
of Chicago Press. ISBN 978-0-226-53230-1.

10 George Michell (2000). Hindu Art and Architecture. Thames & Hudson. ISBN 978-0-500-20337-8.

11 T. A. Gopinatha Rao (1993). Elements of Hindu iconography. Motilal Banarsidass. ISBN 978-81-
208-0878-2.

12 Pia Brancaccio (2013). Helaine Selin (ed.). Encyclopaedia of the History of Science, Technology, and
Medicine in Non-Westen Cultures. Springer Science. doi:10.1007/978-94-007-3934-5_9848- 1.
ISBN 978-94-017-1416-7.

13 James Burgess (1880). The Cave Temples of India. Cambridge University Press (Reprinted
2013). ISBN 978-1-108-05552-9.

14 José Pereira (1977). Monolithic Jinas. Motilal Banarsidass. ISBN 978-81-208-2397-6.

15 Dhavalikar, Madhukar Keshav (2003). Ellora. Oxford University Press, New Delhi. ISBN 0-19-
565458-7. OCLC 47901386.

Page 241
References

16 Berkson, Carmel (1992). Ellora, Concept and Style. Abhinav Publications. ISBN 0-19-565458-7.

17 Susan L. Huntington; John C.. Huntington (2014). The Art of Ancient India: Buddhist, Hindu, Jain.
Motilal Banarsidass. ISBN 978-81-208-3617-4.

18 Damien Keown; Charles S. Prebish (2013). Encyclopedia of Buddhism. Routledge. ISBN 978-1-
136-98588-1.

19 Neubauer, Jutta Jain (1981), The Stepwells of Gujarat: In Art-historical Perspective, Abhinav
Publications, ISBN 9780391022843

20 Kumar, Sehdev (2001), A Thousand Petalled Lotus: Jain Temples of Rajasthan : Architecture &
Iconography, Abhinav Publications, ISBN 9788170173489

21 Jain, Arun Kumar (2009), Faith & Philosophy of Jainism, Gyan Publishing
House, ISBN 9788178357232

22 Alice Boner; Sadāśiva Rath Śarmā (2005). Silpa Prakasa. Brill Academic (Reprinted by Motilal
Banarsidass). ISBN 978-8120820524. Archived from the original on 22 February 2017. Retrieved 9
November 2017.

23 Ananda K Coomaraswamy (1985), History of Indian and Indonesian Art,

Dover, ISBN 9780486250052, archived from the original on 9 August 2019, retrieved 9
November 2017

24 Debala Mitra (1968), Konarak, Archaeological Survey of India

25 Avinash Patra (2011). Origin & Antiquity of the Cult of Lord Jagannath. Oxford University Press.

26 Partha Mitter (1992). Much Maligned Monsters: A History of European Reactions to Indian Art.
University of Chicago Press. ISBN 978-0-226-53239-4.

27 History of Indian Art by Vidya Vachaspati Gerola

28 A Survey of Indian Sculpture by K.S.Sarswati

Page 242
 Model Curriculum
Program Name BVA -Design Semester Fourth Semester

Course Title Art appreciation (Theory)

Course Code: OE 4.1 No. of Credits 3

Contact hours 52 Hours Duration of SEA/Exam 2 hrs
Formative Assessment Marks 40 Summative Assessment Marks 60

Syllabus of Course : 1 Drawing for Designers 52 hrs

UNIT 1 : Introduction to Art Appreciation 14hrs
Chapter 1 : Introduction to Art as a phenomenon to articulation, creation and communication of visual
experiences, ideas and thoughts
Chapter 2 : Hands on practice on simple art forms in different mediums and techniques
Chapter 3 : Introduction to other forms of experience such as Sonic Art/ Sound Art, Light and Video Art
etc.
UNIT 2 : Art & New Media 14hrs
Chapter 1 To discuss Art and its association to other visual mediums like Art and theater and
Architecture
Chapter 2 : To discuss the association of Art Cinema, and Animation,
Chapter 3: Arts and Crafts of India – Hands on practice on any Craft
UNIT 3 : 14 hrs
Chapter 1 : To discuss, relation between the Art and the society
Chapter 2 : Art as Regional and global cultural phenomenon.
Chapter 3 : Art Gallery or Art Museum visit and to submit a Documentation

Pedagogy: Lecture Presentations, assignments. Presentations by students

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 20
One/ two Practical Assignment to be given to the student at the end of
the Introduction to the Chapter and one writing assignment at the end of

the Course shall be given to the student. The same has to be assessed and
the Formative Marks shall be arrived to each student

Page 243
Design Projects : Students can independently select the Design Topics and 10
work on that
Design related activities like, Quiz, seminar, writing, Team activities 10

Total 40 Marks

Formative Assessment as per NEP guidelines are compulsory

References
1 Preble, Preble & Frank . Prebles' Artforms with MyArtsLab . Edition: 11th . Publisher: Pearson/Prentice Hall .
Year: 2014. ISBN: 9780205989331 Edition/Copyright: 11TH Published Date: 2014 - Print version

CBCS Question Paper Pattern for UG Semester

DSC, DSEC &OEC

Paper Code: OE 4.1 Paper Title: ART APPRECIATION

Duration of Exam 2 Hours Max Marks 60

Instruction: Answer all the sections

Section-A
Answer all the questions Q1=10 / Q2=10 20 Marks
Q.1 …………………………………………………………………………………………..
OR

Q2 ………………………………………………………………………………………………

Section-B
Answer all the Questions Q3=10 / Q4=10 20 Marks

Q3. …………………………………………………………………………………..

Q 4 …………………………………………………………………………………………

Section-C
Answer all the questions Q5=10 / Q6=10 20 Marks

Page 244
Q5) Match the Following

Q6) short Notes

Model Curriculum
Program Name BVA -Design Semester Fourth Semester

Course Title Photography (Theory& Practical )

Course Code: OE 4.2 No. of Credits 3

Contact hours 52 Hours Duration of SEA/Exam 2 hrs
Formative Assessment Marks 40 Summative Assessment Marks 60

Syllabus of Course : Photography 52 hrs

UNIT 1 : Introduction 14 hrs

Chapter 1 : Introduction to Photography – History and evolution. To discuss some of the best
photographers and their works
Chapter 2 : Characteristics of light , Spectrum, Color Temprature. Camera - structure and function of
camera. Exposure – focusing, aperture, shutter speed. Depth of field
Chapter 3 : Types of cameras ,Lenses and their function ,Types of lenses and their use. Characteristics of
lens, lens speed, covering power and other features.
UNIT 2 : Art & New Media 14hrs
Chapter 1 : Lighting techniques ,Kinds or lights indoor and outdoor - Electronic flash and artificial lights,
Light meters, Different kinds or lilt 'I' lor B& \V and colour photography.
Chapter 2 : Types of Films and film speeds,Photography Paper - developing and printing Accessories used
in photography
Chapter 3 : Digital photography, optical system, power system, memory storage, resolution.
UNIT 3 : 14 hrs

Page 245
Chapter 1 : Understanding exposure and controls, Flash and lighting. Transferring images to PC file
formats, managing digital pictures. To create a port folio on different themes using the above knowledge.
Chapter 2 : To understand the basic principles of Art photography, Commercial photography, journal
photography and exercis
Chapter 3 : Photography Project by Student in their interested topic

Pedagogy: Lecture Presentations, assignments. Presentations by students

Formative Assessment for Theory

Assessment Occasion/ type Marks

Practical Assignments 20
One/ two Practical Assignment to be given to the student at the end of
the Introduction to the Chapter and one writing assignment at the end of
the Course shall be given to the student. The same has to be assessed and
the Formative Marks shall be arrived to each student
Design Projects : Students can independently select the Design Topics and 10
work on that
Design related activities like, Quiz, seminar, writing, Team activities 10

Total 40 Marks

Formative Assessment as per NEP guidelines are compulsory

References
1 Preble, Preble & Frank . Prebles' Artforms with MyArtsLab . Edition: 11th . Publisher: Pearson/Prentice Hall .
Year: 2014. ISBN: 9780205989331 Edition/Copyright: 11TH Published Date: 2014 - Print version

CBCS Question Paper Pattern for UG Semester

DSC, DSEC &OEC

Paper Code: OE 4.2 Paper Title: Photography

Duration of Exam 2 Hours Max Marks 60

Instruction: Answer all the sections

Section-A
Answer all the questions Q1=10 / Q2=10 20 Marks
Q.1 …………………………………………………………………………………………..

Page 246
 OR

Q2 ………………………………………………………………………………………………

Section-B
Answer all the Questions Q3=10 / Q4=10 20 Marks

Q3. …………………………………………………………………………………..

Q 4 …………………………………………………………………………………………

Section-C
Answer all the questions Q5=10 / Q6=10 20 Marks

Q5) Match the Following

Q6) short Notes

Page 247
 Model Curriculum
of
BVA
In
Traditional Sculpture
3rd & 4th Semester

Page 248
 Contents of Courses for Bachelor of visual Arts (BVA)

III SEMESTER– TRADITIONAL SCULPTURE - SHILA SHILPA/

VARNA SHILPA/ LOHA SHILPA/ RATHA SHILPA
Sl Studio/ Marks
No. study Duration Internal Submission Total
Title of the Course Total
hours Per of Exam Marks with Credits
marks
Semester display

DISCIPLINE SPECIFIC CORE - DSC

01 Prayogika Shilpa - 3(5) 180 - 75 75 150 5

02 Shilpa shatsriya Rekha Chitra -3

120 - 50 50 100 4
(4)

Exam
03 Pratima Lakshana 3 (3) 45 2 hours 40 100 3
60

OPEN ELECTIVE - OE
Exam
04 Temple styles of Karnataka (3) 45 2 hours 40 100 3
60

OE Paper is to be offered for the Students other than BVA.

Page 249
Program Outcomes: By the end of the program the students will be able to:

PO1- Knowledge-Based; Complete in-depth knowledge in their specific fields either in

Iconography or Temple Architecture

PO2- scholarly Profession; Theoretical knowledge is analyzed and applied in their highly
skilled profession

PO3- Adapted to Modern Techniques; Proficiency in handling modern tools and using a
new technique in traditional sculpting and Temple construction. Mastery of sculpting wood,
and stone and exploring various materials as well.

PO4- Develop Effective Communication; Communicate effectively in Kannada and English.

PO5- Software application: Students learn 2D &3D software.

PO6- Self-employability; Students are encouraged to work under experts from the beginning
of the course so that they can learn the trade and also be able to support themselves by earning.

PO7-Renovation Work-They aid in Restoring and renovating ruined temples and other
monuments.

PO8-Temple Construction; Independently conceptualize, design and construct temples in

different styles.

PO9-Research Work; Provide an opportunity to engage themselves in a Research field on

related subjects.

PO10- Respecting Cultural Heritage; Understand the cultural significance of traditional art,
its evolution and purposes. Participate in the process of bringing awareness about the rich
cultural past.

Discipline and respect traditional values.

Learn-Work Model is introduced to help students to apply their theoretical knowledge

in the fieldwork. Continuous theory and practical classes are conducted in Gurukul for 15 to
20 days a month and remaining days students work under expert Shilpi’s Assessment:

Page 250
 Model Curriculum
Program Name BVA in Traditional Sculpture - Shila Shilpa/ Varna Shilpa/ Loha Shilpa/ Ratha Shilpa

Course Title Prayogika Shilpa - 3 (Practical) Semester Third Semester

Course Code: DSC-VA7 Total Marks 150

Contact hours 180 Hours Practical No. of Credits 05
Formative Assessment Marks 75 Summative Assessment Marks 75

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Classification of Pratima or Icons.

❖ Understanding the concept of scale and measurement in Indian Traditional art.
❖ Understanding the meaning of various shlokas of various forms of Lord Shiva and transforming them
into 3-dimensional form.
❖ Understanding the meaning of various expressions and postures in traditional art.
❖ Creating images in thalalmana krama – Uttama Dashatala, Madhyama dashathala & Kanishta
Dashathala.
❖ Increase patience and philosophical values through art.

Course Description:
To create 3D models of Lord Shiva both in Sakala (image) and Nishkala (linga) form. These images and their
constituent parts are drawn systematically in specified Thalakrama as per the rules prescribed in the ancient
texts of Shilpa Shatra.

Once the students develop the knowledge of image-creation, he/she can develop a model in the chosen
material such as stone/ painting/ metal/ wood using relevant tool.

Contents 180 Hrs

1. Creating 3D models/ Painting of Five different parts of Shiva Lingas with Peethas as per thalamana
krama in chosen material.

2. Learning to make 3D models/ painting of image of Lord Shiva in Uttama Dasha Tala (Purushamana) -
Front, Side & Back

3. Creating 3D models/paintings of Lord Shiva in Stanaka Posture - Chandrashekara Murthy, Hariharadha

Murthy

Page 251
4. Creating 3D models/paintings of Lord Shiva in Asana Posture - Sukhasana Murthy, Dakshinamurthy.

5. Creating 3D models/paintings of Bhikshatana Murthy, Ardhanarishwara Murthy, Lingodhbhava Murthy.

Guidelines: Temple visits must be encouraged. An introduction to the Western, Eastern & Indian art will
help in understanding different approaches to art.

Learning Objectivities:

❖ Learn to handle chosen material (stone/ painting/ metal/ wood)

❖ To create images of Shiva and Shivalinga as per Thalamana krama.
❖ Creating images of parivara devata or subordinatdeities of Shiva.
❖ Creating images as the description given in Dhyanashloka.
❖ Learn-Work Model -is introduced to help students to apply their theoretical knowledge in the fieldwork.
(Continuous theory and practical classes are conducted in Gurukul for 15 to 20 days a month and
remaining days students work under expert Shilpi’s)

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

CO1 – Drawing different types of Shivalingas x x x x x x x x

CO2- Drawing Various forms and attribures of x x x x x x x x

Shiva as per Talamana krama

CO3 – Drawing subsidiary dieties of Shiva x x x x x x x x

CO4 – Drawing different postures x x x x x x x x

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

Page 252
References
1 Kashyapa Shilpashastra by Dr.G.Jnananda
2 Brahmiyachitrakarma Shastra by Dr.G.Jnananda

3 Pratima Lakshana by Dr.G.Jnanananda

4 Manasra by P.K.Acharya

Page 253
 Model Curriculum
Program Name BVA in Traditional Sculpture - Shila Shilpa/ Varna Shilpa/ Loha Shilpa/ Ratha Shilpa

Course Title Shilpa Shastriya Rekha Chitra - 3 (Practical) Semester Third Semester

Course Code: DSC-VA8 Total Marks 100

Contact hours 120 Hours Practical No. of Credits 04
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Drawing different kinds of Shivalinga with Peetha.

❖ Drawing images in Uttama Madhyama and Kanishta Dashamana Thala krama.
❖ Understanding the meaning of various shlokas of various forms of Lord Shiva and transforming them
into pictorial form.
❖ Drawing Sthanaka postures of Chandra Shekhara Murthi / Harihara Murthi
❖ Drawing Asana Murthi of Sukhanasa Murthi / Dakshina Murthi
❖ Developing drawings for various Bhangis such as Sama bhanga, Athibhanga Abhanga, Sukhasana,
padmasana Lalitasna etc

Course Description:
To create drawings of Lord Shiva both in Sakala (image) and Nishkala (linga) form . These images and their
constituent parts are drawn systematically in specified Thalakrama as per the rules prescribed in the ancient
texts of Shilpa Shatra

Contents 120 Hrs

Five different Kinds of Shiva Lingas with Peethas

Uttama Dasha Tala (Purushamana) - Front, Side & Back

Stanaka Posture - Chandrashekara Murthy, Hariharadha Murthy

Asana Posture - Sukhasana Murthy, Dakshinamurthy.

Bhikshatana Murthy, Ardhanarishwara Murthy, Lingodhbhava Murthy.

Scope: Drawings helps to promote deeper knowledge on traditional art. The fundamental characteristics of
symbolic representation, system of measurement, aesthetics etc are learnt.

Guideline: studying sculptures found in the temples and cave temples of Ajanta, Ellora, Halebeedu, Belur
and the like can help in understanding design element.

Page 254
Learning Objectivities:

❖ Improve drawing skills

❖ Learn to draw images of Shiva and Shivalinga as per Thalamana krama.
❖ Creating images of parivara devata or subordinatdeities of Shiva.
❖ Drawing images in different postures according to thalamana and as per the description given in
Dhyanashloka.

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program
Outcomes (POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Making 3D models/Painting of Shivlinga with x x x x x x x x

pitha in a chosen media (Stone/ Painting/ Metal/
Wood)

Making 3D models/Painting of Various forms x x x x x x x x

and attribures of Shiva as per Talamana krama

Making 3D models/Painting of subsidiary x x x x x x x x

dieties of Shiva

Making 3D models/Painting of different x x x x x x x x

postures such as Bhanga, abhanga, shayana etc.

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

References
1 Sri Kashyapa Shilpa Shastra (Uttara) – Dr. G. Jnananada

References

Page 255
2 Saligrama Shastra

3 Shri Brahmiya Chitrakarma Shastra

4 Vastu Sutra Upaniashad. The Essence of Form in Sacred Art - Boner-

5 Agamas such as Kamika, Karana, makuta, Atri Samhita, Marichi Vimanarchana Kalapam, Satvata
Smhita, Kaumara Tantra, Padma Samhita etc.

6 Manasara – P.K.Acharya

Page 256
 Model Curriculum
Program Name BVA in Traditional Sculpture - Shila Shilpa/ Varna Shilpa/ Loha Shilpa/ Ratha Shilpa

Course Title Pratima Lakshana-3 (Theory) Semester Third Semester

Course Code: DSC-VA9 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 04
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Learning to recognize architectural, sculptural and painting styles of Shilpa shastra.

❖ Introduction to basic principles of Hindu Iconography such as Thalamana krama, concept of scale and
proportion etc.
❖ Classification of pratimas such as Nishkala, sakala and kalakala.
❖ Learn various forms of Lord Shiva based on mythological stories and the underlying meaning of various
forms (rupa),emotionss (bhava), postures (bhangi) and weapons (aayudha) of Lord Shiva.

Course Description:
In this course, students are introduced to Nishkala, Sakala and Kalakal forma of Lord Shiva. Study of
Shivalingas as classified in Agama Shastras. Emphasis will be on understanding hidden meaning and
symbolism in Shilpa Shastra.

Contents 45 Hrs
Unit:1
Fundamental Principles of ShilpaShastra.
1. Classification of Pratima
2. Classification of Shivalinga.
3. Detail Study of Saligrama

Unit: 2
Lilavataras of Shiva with Dhyanashloka. – Chandra Shekhara Murty, Pasupata Murty, Harihara Murty,
Dakshina Murthy etc.

Unit: 3
Subordinate gods of Lord Shiva -Dwarapalas
Unit: 4
Subordinate gods of Lord Shiva -Veerabhadra & Nandi

Page 257
Learning Objectivities:

❖ Rules to be followed in making Shivalinga and its constituent parts to specifies specifications.
❖ Studying various forms of Lord Shiva and drawing according to thalamana krama
❖ Insights into making and materials
❖ Detailed study with measurements of Head, Torso, Sleeves, legs and also Front and backside views in
Uttama, madhyama and kanishta Dashathala.

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Fundamental principles of Shilpa Shastra x x x x x x

To Understand the underlying meaning of various x x x x x x

forms (rupa),emotions (bhava), postures (bhangi)
and weapons (aayudha) of Lord Shiva.

To study different tyoes of Shiva Linga x x x x x x

Study puranic stories of Lord Shiva x x x x x x

Learning dhyanashlokas of Lord Shiva. x x x x x x

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Pedagogy: Lectures, Presentations, Seminars, discussions, and museum/site visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks

Theory Assignments 25%

Tests 15%

Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

References
1 Sri Kashyapa Shilpa Shastra (Uttara) – Dr. G. Jnananada
2 Saligrama Shastra

Page 258
References
3 Shri Brahmiya Chitrakarma Shastra

4 Vastu Sutra Upaniashad. The Essence of Form in Sacred Art - Boner-

5 Agamas such as Kamika, Karana, makuta, Atri Samhita, Marichi Vimanarchana Kalapam, Satvata
Smhita, Kaumara Tantra, Padma Samhita etc.

6 Manasara – P.K.Acharya

Page 259
 Model Curriculum
Program Name BVA in Traditional Sculpture - Shila Shilpa/ Varna Shilpa/ Loha Shilpa/ Ratha Shilpa

Course Title Temple styles of Karnataka (Theory) Semester Third Semester

Course Code: OE -03 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60
OE Paper is to be offered for the Students other than BVA.

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Students can identify three main styles in Temple Architecture such as – Northern Nagara, Southern
Dravida and Vesara or Karnata Dravid that is found in Karnataka and part of Maharastra and Andhra
Pradesh.
❖ Students can track the development of temple architecture in Karnataka during various dynasties that ruled
Karnataka such as Chalukya, rastrakuta, Hoysala, Vijayanagara etc.
❖ Staudents will know the difference between cave temples (Guhantara Devalaya) and structural temples
(Nirmita Devalaya) built in Early Chalukyan and Rashtrakuta periods.
❖ Students will explore various sculptural media including clay and mixtures of clay, earthen elements,
powders and water. Exercise with 2D and 3D forms.
❖ Students are able to identify distinct features of Karnata Dravida architectural style and its evolution as
Hoysala architectural style developed from 6th century to 14th century.

Course Description:

This is an Open Elective course offered for other discipline students not for BVA Students.
Temples Styles of Karnataka is an open elective course offered by traditional Sculpture and Temple
Architecture program in Bachelor of Visual Arts.

Contents 45 Hrs
1. To study different traditions of Temple Architecture – Northern Naagara, Southern Dravida & Karnata
Dravida (Vesara).
2. Fundamental principles of Indian Architecture
3. Rock cut caves-structural temples
4. Origin of Temple architecture in Karnataka – Badami, Pattadakal, Aihole
5. Evolution of Temple Architecture during Rashtrakuta, Chalukyan (Kalyani) and Hoysal period.

6. Development of Karnata Dravia or Vesara Temples in Karnataka.

7. Characteristics of Karnata Dravida (Vesara) Temple Architecture

Page 260
Learning Objectivities:

❖ The main objective of this course is to help the students to recognise and appreciate the rich cultural
heritage of Karnataka. This will help them to identify different architectural styles prevail in India such
as Nagara, Dravida , Karnata Dravida, Phansan etc.
❖ Most of Kannadigas are not aware of the vast contribution of early rulers of Karantaka sucha as Chalukyas,
rastrakutas, Hoysala in the field of Temple Architecture. Hence the origin and devolution of Karnata
Dravida or Vesara architecture and its characteristic features are introduced in this course

Pedagogy: Lectures, Presentations, Seminars, discussions and museum/site visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks

Theory Assignments 25%

Tests 15%

Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

References
1 Shilpa Darsha – Dr.G.Jnanada
2 Temples of Karnataka by Dr.K.M.Suresh

3 Architecture with architecture. Later medieval temples of Karnataka,100-1300 AD by Gerard

Foekema

4 Temple Architecture and Art of the Early Chalukyas. Badami, Mahakuta, Aihole Pattadakal by
George Michell

Page 261
 PRACTIAL INTERNAL SUBMISSION
III Semester
50% MARKS

Sl. NUMBER OF
SUBJECT MEDIUM
No. WORKS
1 PRAYOGIKA SHILPA -3(5)
*3D Model/Paintings of Shiv Ling Stone/Painting/Metal/Wood
* 3D Model/ Painting of Shiva in Uttama
Dasha tala 02 works
*3D Model/ Painting of Veerabhadra/
Vrishabha
2 SHILPA SHASTRIYA REKHA
CHITRA -3 (4)
*Drawings of Shiv Ling Charcoal/ Watercolor / 06 Works
*Drawings of Shiva in Uttama Dasha tala Oil Pastel /Dry Pastel /Acrylic/
*Draings of Veerabhadra/ Vrishabha Digital media.

3 All course digital works are Mandatory Using any digital software 02 works

Total Works 10

NOTE:

1. For the Internal Submission Students should submit Minimum 10 works.

Students should submit the works which are done in the studio hours.

2. Test will be conducted for all the DSC/OE practical subjects.

3. Cumulative internal assessment is mandatory.

INTERNAL SUBMISSION BASED ON FOLLOWING CRITERIAS:

Involvement & Punctuality Technical Skill Concept, Creativity, Presentation Practical Test

20% 20% 40% 20%

NOTE: FROM AECC & SEC COURSES ARE AS PER NEP AND INSTITUTIONS GUIDELINES

Page 262
 Contents of Courses for Bachelor of visual Arts (BVA)

IV SEMESTER– TRADITIONAL SCULPTURE - SHILA SHILPA/

VARNA SHILPA/ LOHA SHILPA/ RATHA SHILPA
Sl Studio/ Marks
No. study Duration Internal Submission Total
Title of the Course Total
hours Per of Exam Marks with Credits
marks
Semester display

DISCIPLINE SPECIFIC CORE - DSC

01 Prayogika Shilpa – 4 (5) 180 - 75 75 150 5

02 Shilpa shatsriya Rekha Chitra -4

120 - 50 50 100 4
(4)

Exam
03 Pratima Lakshana 4 (3) 45 2 hours 40 100 3
60

Page 263
 Model Curriculum
Program Name BVA in Traditional Sculpture - Shila Shilpa/ Varna Shilpa/ Loha Shilpa/ Ratha Shilpa

Course Title Prayogika Shilpa - 4 (Practical) Semester Fourth Semester

Course Code: DSC-VA10 Total Marks 150

Contact hours 180 Hours Practical No. of Credits 05
Formative Assessment Marks 75 Summative Assessment Marks 75

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Classification of Pratima or Icons.

❖ Understanding the concept of scale and measurement in Indian Traditional art.
❖ Understanding the meaning of various shlokas of various forms of Lord Shiva and transforming them
into 3-dimensional form.
❖ Understanding the meaning of various expressions and postures in traditional art.
❖ Creating images in thalalmana krama – Uttama Dashatala, Madhyama dashathala & Kanishta
Dashathala.
❖ Increase patience and philosophical values through art.

Course Description:
To create 3D models of Lord Shiva both in Sakala (image) and Nishkala (linga) form . These images and their
constituent parts are drawn systematically in specified Thalakrama as per the rules prescribed in the ancient
texts of Shilpa Shatra.

Once the students develop the knowledge of image-creation, he/she can develop a model in the chosen
material such as stone/ painting/ metal/ wood using relevant tool

Contents 180 Hrs

1. Creating 3D models/ Painting of Vaishnava icons as per thalamana krama in chosen material.
2. Learning to make 3D models/ painting of image of Vyuha Murthies Tala mana (Purushamana) - Front,
Side & Back
3. Creating 3D models/paintings of Chaturvimshati Murties
4. Creating 3D models/paintings of Dashavatahra
5. Creating 3D models/paintings of Subsidary dieties.

Guidelines: Temple visits must be encouraged. Iconagraphy found in the temples of Hoysala and

Chalukyan style can be compared

Page 264
Learning Objectivities:

❖ Learn to handle the chosen material to create images (stone/ painting/ metal/ wood)
❖ To create images of Shiva and Shivalinga as per Thalamana krama.
❖ Creating images of parivara devata or subordinate deities of Shiva.
❖ Creating images as the description given in Dhyanashloka.
❖ Learn-Work Model -is introduced to help students to apply their theoretical knowledge in the fieldwork.
(Continuous theory and practical classes are conducted in Gurukul for 15 to 20 days a month and
remaining days students work under expert Shilpi’s)

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Making 3D models/Painting of Shivlinga with pitha in x x x x x x x x

a selected material (Stone/ Painting/ Metal/ Wood)

Making 3D models/Painting of one of the Dashavatara x x x x x x x x

Murties in selected material (Stone/ Painting/ Metal/
Wood)

Making 3D models/Painting of one of the Vyuha murtis x x x x x x x x

in selected material (Stone/ Painting/ Metal/ Wood)

Making 3D models/Painting of one of the x x x x x x x x

chaturvimshati Murties

Making 3D models/Painting of Subordinate dieties in a x x x x x x x x

chosen material (Stone/ Painting/ Metal/ Wood)

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

Page 265
References
1 Brahmoiya Chitrakarma Shastra by Dr.G.Jnanananda
2 Kashyapa Shilpa Shastra by Dr.G.Jnanananda

3 Pancharatra Agama

4 Vaikhanasa Agama

Page 266
 Model Curriculum
Program Name BVA in Traditional Sculpture - Shila Shilpa/ Varna Shilpa/ Loha Shilpa/ Ratha Shilpa

Course Title Shilpa Shastriya Rekha Chitra - 4 (Practical) Semester Third Semester

Course Code: DSC-VA11 Total Marks 100

Contact hours 120 Hours Practical No. of Credits 04
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Classification of Vaishnava Pratima or Icons.

❖ Understanding the concept of scale and measurement in Indian Traditional art.
❖ Understanding the meaning of shlokas of various forms of Lord Vishnu and transforming them into
pictorial form.
❖ Understanding the meaning of various bhava and postures of Vaishnava images.
❖ Drawing images in thalalmana krama – Vyuha Murtis, Chaturvimshati Murtis

Course Description:
To create drawings of Vaishnava Pratimas with rwfwrwnce to Vaishnava. These images and their constituent
parts are drawn systematically in specified Thalakrama as per the rules prescribed in the ancient texts of Shilpa
Shatra

Contents 120 Hrs

Drawing Vaishnava icons as per thalamana krama

Drawings of Vyuha Murthies Tala mana (Purushamana) - Front, Side & Back

Drawings Chaturvimshati Murties

Drawings of Dashavaatara Murties

Learning Objectivities:

❖ Improve drawing skills

❖ Learn to draw images of Shiva and Shivalinga as per Thalamana krama.
❖ Creating images of parivara devata or subordinatdeities of Shiva.
❖ Drawing images in different postures according to thalamana and as per the description given in
Dhyanashloka.

Page 267
Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Drawing different types of Vaishnava icons x x x x x x

Drawing Various forms and attributes of Vishnu as per x x x x x x

Talamana krama

Drawing subsidiary Vyuhamurtis x x x x x x

Drawing different postures Chaturvimshati Murties x x x x x x

Drawing different types of Shivalingas x x x x x x

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

References
1 Brahmoiya Chitrakarma Shastra by Dr.G.Jnanananda
2 Kashyapa Shilpa Shastra by Dr.G.Jnanananda

3 Pancharatra Agama

4 Vaikhanasa Agama

Page 268
 Model Curriculum
Program Name BVA in Traditional Sculpture - Shila Shilpa/ Varna Shilpa/ Loha Shilpa/ Ratha Shilpa

Course Title Pratima Lakshana-4 (Theory) Semester Third Semester

Course Code: DSC-VA12 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 04
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Learning to recognize architectural, sculptural and painting styles of Shilpa shastra.

❖ Introduction to basic principles of Hindu Iconography such as Thalamana krama, concept of scale and
proportion etc.
❖ Classification of Vaishnava pratimas.
❖ Learn various forms of Lord Vishnu based on mythological stories and the underlying meaning of
various forms (rupa), emotions (bhava), postures (bhangi) and weapons (aayudha) of Lord Shiva.

Course Description:
In this course, students are introduced Vaishnava Pratimas. Study of Vaishnava Pratimas with reference to
Vaishnava Samhitas. Emphasis will be on understanding hidden meaning and symbolism in Shilpa Shastra.

Contents 45 Hrs
Unit:1
1. Form and attributes of Adimurthy
2. Form and attributes of Vyuha Murthies.

Unit: 2

Study of Chaturvimshati Murties

Unit: 3

Dashavatara Murties of Lord Vishnu

Unit: 4

Subordinate dieties of Vishnu

Page 269
Learning Objectivities:

❖ Rules to be followed in making Vaishnava Pratimas and its attributes.

❖ Studying various forms of Vishnu such as Vyuha Murtis, Chaurvimshati Murties, Dashavathara murtis
and drawing according to thalamana krama
❖ Detailed study with measurements of Head, Torso, Sleeves, legs and also Front and backside views in
Uttama, madhyama and kanishta Dashathala.

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Fundamental principles of Shilpa Shastra x x x x x x x x

To Understand the underlying meaning of various forms x x x x x x x x

(rupa),emotions (bhava), postures (bhangi) and weapons
(aayudha) of Lord Shiva.

To study different tyoes of Shiva Linga x x x x x x x x

Study puranic stories of Lord Shiva x x x x x x x x

Learning dhyanashlokas of Lord Shiva. x x x x x x x x

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Pedagogy: Lectures, Presentations, Seminars, discussions and museum/site visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks

Theory Assignments 25%

Tests 15%

Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

References
1 Brahmoiya Chitrakarma Shastra by Dr.G.Jnanananda
2 Kashyapa Shilpa Shastra by Dr.G.Jnanananda

3 Pancharatra Agama

Page 270
References
4 Vaikhanasa Agama

Page 271
 PRACTIAL INTERNAL SUBMISSION
IV Semester
50% MARKS

Sl. NUMBER OF
SUBJECT MEDIUM
No. WORKS
1 PRAYOGIKA SHILPA -4(5)
Image of Lord Vishnu Stone/Painting/Metal/Wood
02 works

2 SHILPA SHASTRIYA REKHA

CHITRA -4 (4)
Various images of Lord Vishnu in Charcoal/ Watercolor / 06 Works
Thalamana krama Oil Pastel /Dry Pastel /Acrylic/
Digital media.

3 All course digital works are Mandatory Using any digital software 02 works

Total Works 10

NOTE:

1. For the Internal Submission Students should submit Minimum 10 works.

Students should submit the works which are done in the studio hours.

2. Test will be conducted for all the DSC/OE practical subjects.

3. Cumulative internal assessment is mandatory.

INTERNAL SUBMISSION BASED ON FOLLOWING CRITERIAS:

Involvement & Punctuality Technical Skill Concept, Creativity, Presentation Practical Test

20% 20% 40% 20%

NOTE: FROM AECC & SEC COURSES ARE AS PER NEP AND INSTITUTIONS GUIDELINES

Page 272
 Contents of Courses for Bachelor of visual Arts (BVA)

III SEMESTER– TEMPLE ARCHITECTURE - STRUCTURE / GOPURA

SHILPA
Sl Studio/ Marks
No. study Duration Internal Submission Total
Title of the Course Total
hours Per of Exam Marks with Credits
marks
Semester display

DISCIPLINE SPECIFIC CORE - DSC

01 Studio Practice - 1(5) 180 - 75 75 150 5

02 Architectural Drawing -1(4) 120 - 50 50 100 4

Exam
03 Prasada Lakshana - 1 (3) 45 2 hours 40 100 3
60

OPEN ELECTIVE - OE
Exam
04 Temple styles of Karnataka (3) 45 2 hours 40 100 3
60

OE Paper is to be offered for the Students other than BVA.

Page 273
 Model Curriculum
Program Name BVA in Temple Architecture - Structure / Gopura Shilpa

Course Title Studio Practice - 1 (Practical) Semester Third Semester

Course Code: DSC-VA7 Total Marks 150

Contact hours 180 Hours Practical No. of Credits 05
Formative Assessment Marks 75 Summative Assessment Marks 75

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Identify different parts of Temple.

❖ Understanding the concept of scale and measurement in Indian Traditional art.
❖ Understanding the meaning of various shlokas Vastu Shastra and transforming them into 3-dimensional
forms.
❖ Making 3dimensional Models of Upapita and Adhistana as per the specifications given in Shilpa Shastra
texts.

Course Description:
Traditional methods of finding direction by Shanku Sthapane, soil testing is taught. In practical classes.

3D models of Upapita and Adhistana are curved in given materials (stone/ wood/POP/Brick) as per the
specifications of Shilpa Shastra.

Contents 180 Hrs

1. Making 3dimensional models of Yjna Mantapa and Yajna Kunda in different shapes of equal area.

2. Making 3dimensional models of Upapita and Adhistana.

Guidelines: Temple visits must be encouraged.

Learning Objectivities:

❖ Learn to handle chosen material (stone/ POP/ wood)

❖ Making 3dimensional Models Yjna Mantapa and Yajna Kunda in different shapes of equal area.
❖ Making 3Dimensional models of Upapita and Adhistana with decoration in a givenMateriall .
❖ Creating images as the description given in Dhyanashloka.
❖ Learn-Work Model -is introduced to help students to apply their theoretical knowledge in the fieldwork.
(Continuous theory and practical classes are conducted in Gurukul for 15 to 20 days a month and
remaining days students work under expert Shilpi’s)

Page 274
Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Course Outcomes (COs) / Program Program Outcomes (POs)

Outcomes (POs) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Traditional methods of finding direction x x x x x x x x

by Shanku Sthapane, soil testing are
taught. In practical classes.

Making 3D models of Adhistana and Upapita x x x x x x x x

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

References
1 Sri Kashyapa Shilpa Shastra (Purvardha) – Dr. G. Jnananada

2 Prasada lakshanam

3 Devalaya Vastu by M.Prabhakar

4 Glimpses of Indian Engineering and Technology by R.P. Kulkarni

Page 275
 Model Curriculum
Program Name BVA in Temple Architecture - Structure / Gopura Shilpa

Course Title Architectural Drawing 1 (Practical) Semester Third Semester

Course Code: DSC-VA8 Total Marks 100

Contact hours 120 Hours Practical No. of Credits 04
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Draw different types of YjnaKundas and Yjna Mantaps as per the specifications given in Kashyapa
Shilpa Shastra.
❖ Temple plans are drawn by calculating Ayadi Ganita and proportional measurements.
❖ Calculate the height and projection of plinth based on the width of the temple (Manasutra).

Course Description:
Identify different parts of the temple and equate them with the limbs of God.

Determining the basic dimension of the structure called Manasutra by Ayadi Ganita and drawing plan of the
temple. Designing and drawing Upapita and ADhistana.and with suitable decorative carvings.

Contents 120 Hrs

1. Drawing different types of Yajna Kunda.

2. Drawing Yajna Mantapa as per the specifications given in the Kashyapa Shilpa Shastra.

3. Drawing plan of a Temple by calculating the length-width-height ratio.

4. Drawing different types of Upapita

5. Drawing different types of Adhistana

Scope: Drawings helps to promote deeper knowledge on traditional art. The fundamental characteristics of
symbolic representation, system of measurement, aesthetics etc are learnt.

Guideline: studying sculptures found in the temples and cave temples of Ajanta, Ellora, Halebeedu, Belur
and the like can help in understanding design element.

Learning Objectivities:

❖ Improve drawing skills

❖ Drawing Yajna Mantapa and Yajna Kunda.

❖ Drawing Temple plan and plinth

Page 276
Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Drawing different types of Yajna Kunda & Yajna x x x x x x x x

Mantapa.

Drawing a temple plan x x x x x x x x

Drawing Upapita x x x x x x x x

Drawing Adhistana x x x x x x x x

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

References
1 Sri Kashyapa Shilpa Shastra (Purvardha) – Dr. G. Jnananada
2 Mansara By P.K.Acharaya

3 Devalaya Vastu by M.Prabhakar

4 Bharatha Khandada devalayagalu by Vidwan Asuri Shrinivasa Ayengar & Vidwan Tirupati
Shrinivasa Aiyengar

5 Alaya Darshana By Dr. G. Jnanananda

6 Prasada lakshanam

7 Glimpses of Indian Engineering and Technology by R.P. Kulkarni antrasamuchchaya

Page 277
 Model Curriculum
Program Name BVA in Temple Architecture - Structure / Gopura Shilpa

Course Title Prasada Lakshana 1(Practical) Semester Third Semester

Course Code: DSC-VA9 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ In this course, students are introduced to fundamental principles of temple architecture, different parts of
temple structures and their nomenclature.
❖ Students are able to deduce the proportional measurements of temple parts as described in Shilpa
Shastras.

Course Description:
Symbolic representation of Temple as the physical body of Parama Purusha and the proportional
measurements of different parts of the Temple as his limbs. Origin of Temple Architecture from Yajna Vedis.

Methods of determining the dimension for the sacred structure through Ayadi ganita

Traditional techniques of finding North, Testing Soil, levelling and laying a foundation are taught.

Calculating proportional measurements of different parts of the Temple and drawing plan and Elevation.

Contents 45 Hrs
Unit: 1
Fundamental Principles of Shilpa Shastra.
01.Form & Meaning of temple
02. Measurement in Shilpa Shastra
03.Ayadi Ganita Calculations
Unit: 2
04 Definition and Application of Vastu Purusha Mandalas
05 Bhoomi pariksha
Unit: 3
06 Shankhu Sthapane
07 Bunadi Lakshana

Unit: 4

Page 278
08 Upapita Lakshana
09 Bunadi lakshana
Learning Objectivities:

❖ Identify different parts of Temple.

❖ Origin of Temple Architecture from Yajna Vedis
❖ Construction of yajna Vedis and different types of Yajna Vedis.
❖ Understanding the concept of scale and measurement in Indian Traditional art.
❖ Understanding the meaning of various shlokas Vastu Shastra and transforming them into 3-dimensional
forms.
❖ Use of Ayadi Ganita in temple Architecture and Calculations of Ayadi ganita.
❖ Importance of Vastupurusha Mandala.
❖ Traditional methods of finding North (Shankhu Stapane) testing soil (Bhupariksha) and laying
foundation (Bunadi lakshana)
❖ Calculating Height and width ratio and various parts of the Temple
❖ Learning of different types of Upapita and Adhisthana.

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Fundamental principles of Shilpa Shastra x x x x x x

To Understand the symbolic meaning Girbhgriha x x x x x x

To study various parts of temple and its proportion x x x x x x

Origin of Temple Architetcure from Vedic alters x x x x x x

Designing of Upapita and Adhistana x x x x x x

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks

Theory Assignments 10%

Tests 20%

Page 279
 Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks

Composition related activities like, Quiz, seminar, Team activities 10%

Total 40%

Formative Assessment as per NEP guidelines are compulsory

References
1 Sri Kashyapa Shilpa Shastra (Purvardha) – Dr. G. Jnananada
2 Mansara By P.K.Acharaya

3 Devalaya Vastu by M.Prabhakar

4 Bharatha Khandada devalayagalu by Vidwan Asuri Shrinivasa Ayengar & Vidwan Tirupati
Shrinivasa Aiyengar

5 Alaya Darshana By Dr. G. Jnanananda

6 Prasada lakshanam

7 Glimpses of Indian Engineering and Technology by R.P. Kulkarni

8 Tantrasamuchchaya

Page 280
 Model Curriculum
Program Name BVA in Temple Architecture - Structure / Gopura Shilpa

Course Title Temple styles of Karnataka (Theory) Semester Third Semester

Course Code: OE -03 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60
OE Paper is to be offered for the Students other than BVA.

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Students can identify three main styles in Temple Architecture such as – Northern Nagara, Southern
Dravida and Vesara or Karnata Dravid that is found in Karnataka and part of Maharastra and Andhra
Pradesh.
❖ Students can track the development of temple architecture in Karnataka during various dynasties that ruled
Karnataka such as Chalukya, rastrakuta, Hoysala, Vijayanagara etc.
❖ Students will know the difference between cave temples (Guhantara Devalaya) and structural temples
(Nirmita Devalaya) built in Early Chalukyan and Rashtrakuta periods.
❖ Students will explore various sculptural media including clay and mixtures of clay, earthen elements,
powders, and water. Exercise with 2D and 3D forms.
❖ Students are able to identify distinct features of Karnata Dravida architectural style and its evolution as
Hoysala architectural style developed from 6th century to 14th century.

Course Description:

This is an Open Elective course offered for other discipline students not for BVA Students.

Temples Styles of Karnataka is an open elective course offered by traditional Sculpture and Temple
Architecture program in Bachelor of Visual Arts.

Contents 45 Hrs
1. To study different traditions of Temple Architecture – Northern Naagara, Southern Dravida & Karnata
Dravida (Vesara).
2. Fundamental principles of Indian Architecture
3. Rock cut caves-structural temples
4. Origin of Temple architecture in Karnataka – Badami, Pattadakal, Aihole
5. Evolution of Temple Architecture during Rashtrakuta, Chalukyan (Kalyani) and Hoysal period.

6. Development of Karnata Dravia or Vesara Temples in Karnataka.

7. Characteristics of Karnata Dravida (Vesara) Temple Architecture

Page 281
Learning Objectivities:

❖ The main objective of this course is to help the students to recognise and appreciate the rich cultural
heritage of Karnataka. This will help them to identify different architectural styles prevail in India such
as Nagara, Dravida , Karnata Dravida, Phansan etc.
❖ Most of Kannadigas are not aware of the vast contribution of early rulers of Karantaka sucha as Chalukyas,
rastrakutas, Hoysala in the field of Temple Architecture. Hence the origin and devolution of Karnata
Dravida or Vesara architecture and its characteristic features are introduced in this course

Pedagogy: Lectures, Presentations, Seminars, discussions, and museum/site visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks

Theory Assignments 25%

Tests 15%

Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

References
1 Shilpa Darsha – Dr.G.Jnanada
2 Temples of Karnataka by Dr.K.M.Suresh

3 Architecture with architecture. Later medieval temples of Karnataka,100-1300 AD by Gerard

Foekema

4 Temple Architecture and Art of the Early Chalukyas. Badami, Mahakuta, Aihole Pattadakal by
George Michell

Page 282
 PRACTIAL INTERNAL SUBMISSION
III Semester
50% MARKS

Sl. NUMBER OF
SUBJECT MEDIUM
No. WORKS
1 STUDIO PRACTICE -1(5)
*Yjna Mantapa
*Upapita POP/Wood/Stone/Brick 02 works
*Adhistana
2 Architectural Drawing -1 (4)
*Drawing of Yajna / Mantapa Charcoal/ Watercolor /
*Temple plan Oil Pastel /Dry Pastel /Acrylic/ 06 Works
*Upapita Digital media.
*Adhistana

3 All course digital works are Mandatory Using any digital software 02 works

Total Works 10

NOTE:

1. For the Internal Submission Students should submit Minimum 10 works.

Students should submit the works which are done in the studio hours.

2. Test will be conducted for all the DSC/OE practical subjects.

3. Cumulative internal assessment is mandatory.

INTERNAL SUBMISSION BASED ON FOLLOWING CRITERIAS:

Involvement & Punctuality Technical Skill Concept, Creativity, Presentation Practical Test

20% 20% 40% 20%

NOTE: FROM AECC & SEC COURSES ARE AS PER NEP AND INSTITUTIONS GUIDELINES

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 Contents of Courses for Bachelor of visual Arts (BVA)

IV SEMESTER– TEMPLE ARCHITECTURE - STRUCTURE / GOPURA

SHILPA
Sl Studio/ Marks
No. study Duration Internal Submission Total
Title of the Course Total
hours Per of Exam Marks with Credits
marks
Semester display

DISCIPLINE SPECIFIC CORE - DSC

01 Studio Practice - 2(5) 180 - 75 75 150 5

02 Architectural Drawing -2(4) 120 - 50 50 100 4

Exam
03 Prasada Lakshana - 2 (3) 45 2 hours 40 100 3
60

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 Model Curriculum
Program Name BVA in Temple Architecture - Structure / Gopura Shilpa

Course Title Studio Practice - 2 (Practical) Semester Fourth Semester

Course Code: DSC-VA10 Total Marks 150

Contact hours 180 Hours Practical No. of Credits 05
Formative Assessment Marks 75 Summative Assessment Marks 75

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Identify various decorative components of wall (Jhanga) such as Sthambha, Pnjara, Devakosta,
Vritaspatita etc
❖ Designing temple wall with these components.
❖ Comparing the architectural pattern of walls in different temple styles of Nagara, dravida and Karnata
Dravida (Vesara)

Course Description:
Calculating Temple height based on its width.

Designing of Temple upto roof level and decorating it with various architectural elments.

Datil study of Kudya stambha, panjara, devakoshta, Vrittaspatita etc

Detail study of Somasutra, Door frame.

Contents 180 Hrs

1. Detailed study of different types of Stambha through 3D model

2. Detailed study of Panjara, devakosta, Vrittaspatita through 3D model

3. Detailed study of Door Frame and Somasutra. through 3D model

4. Detailed study of roof/ Chadya through 3D model

Guidelines: Temple visits must be encouraged. Architectural decoration found in the temples of Hoysala
and Chalukyan style can be compared.

Learning Objectivities:

❖ Calculating Temple height based on its width.

❖ Designing of Temple upto roof level and decorating it with various architectural elements.

❖ Detailing of Kudya stambha, panjara, devakoshta, Vrittaspatita etc

❖ Detailing of Somasutra, Door frame .

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Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Making 3d model of Temple elevation upto roof x x x x x x x x

level

Detail study of architectural components in the x x x x x x x x

wall

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

References
1 Sri Kashyapa Shilpa Shastra (Purvardha) – Dr. G. Jnananada
2 Mansara By P.K.Acharaya

3 Devalaya Vastu by M.Prabhakar

4 Bharatha Khandada devalayagalu by Vidwan Asuri Shrinivasa Ayengar & Vidwan Tirupati
Shrinivasa Aiyengar

5 Alaya Darshana By Dr. G. Jnanananda

6 Prasada lakshanam

7 Glimpses of Indian Engineering and Technology by R.P. Kulkarni

Page 286
 Model Curriculum
Program Name BVA in Temple Architecture - Structure / Gopura Shilpa

Course Title Architectural Drawing 2 (Practical) Semester Fourth Semester

Course Code: DSC-VA8 Total Marks 100

Contact hours 120 Hours Practical No. of Credits 04
Formative Assessment Marks 50 Summative Assessment Marks 50

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Design and draw a detail plan of the temple and corresponding front and side views with all the
architectural components

Course Description:
Detailed drawing of various decorative components of the wall (Jhanga) such as Sthambha, Pnjara,
Devakosta, Vritaspatita etc

Drawing Temple elevation upto roof level.

Contents 120 Hrs

1. Detailed drawing of different types of Stambha

2. Detailed drawing of Panjara, devakosta, Vrittaspatita

3. Detailed drawing of Door Frame and Somasutra.

4. Detailed drawing of roof/ Chadya.

Learning Objectivities:

❖ Calculating Temple height based on its width.

❖ Designing of Temple upto roof level and decorating it with various architectural elements.
❖ Detailing of Kudya stambha, panjara, devakoshta, Vrittaspatita etc
❖ Detailing of Somasutra, Door frame.

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Drawing Temple elevation upto roof level x x x x x x

Program Outcomes (POs)

Page 287
Course Outcomes (COs) / Program Outcomes
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
(POs)
Detail study of architectural components upto Roof x x x x x x
Level

Drawing various architectural elements in detail x x x x x x

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Practical

Assessment Occasion/ type Weightage in Marks

Practical Assignments 25%

Pictorial Composition Projects 15%

Pictorial Composition related activities like, Quiz, seminar, Team activities 10%

Total 50%

Formative Assessment as per NEP guidelines are compulsory

References
1 Sri Kashyapa Shilpa Shastra (Purvardha) – Dr. G. Jnananada
2 Mansara By P.K.Acharaya

3 Devalaya Vastu by M.Prabhakar

4 Bharatha Khandada devalayagalu by Vidwan Asuri Shrinivasa Ayengar & Vidwan Tirupati
Shrinivasa Aiyengar

5 Alaya Darshana By Dr. G. Jnanananda

6 Prasada lakshanam

7 Glimpses of Indian Engineering and Technology by R.P. Kulkarni

8 Tantrasamuchchaya

Page 288
 Model Curriculum
Program Name BVA in Temple Architecture - Structure / Gopura Shilpa

Course Title Prasada Lakshana 2(Practical) Semester Fourth Semester

Course Code: DSC-VA9 Total Marks 100

Contact hours 45 Hours Practical No. of Credits 03
Formative Assessment Marks 40 Summative Assessment Marks 60

Course Outcomes (COs): After the successful completion of the course, the student will be able to:

❖ Identify various decorative components of wall (Jhanga) such as Sthambha, Pnjara, Devakosta,
Vritaspatita etc
❖ Designing temple wall with these components.
❖ Comparing the architectural pattern of walls in different temple styles of Nagara, dravida and Karnata
Dravida (Vesara)

Course Description:
Calculating Temple height based on its width.

Designing of Temple upto roof level and decorating it with various architectural elments.

Datil study of Kudya stambha, panjara, devakoshta, Vrittaspatita etc

Detail study of Somasutra, Door frame.

Contents 45 Hrs
Unit: 1
1. Pada Lakshana
2. Nala Lakshana

Unit: 2
3. Detail study of Devakosta
4. Detail study of Pnjara & Vritta sphatita

Unit: 3
5. Dwara lakhana

Unit: 4
6. Drawing Temple elevation with all the above architectural elements

Page 289
Learning Objectivities:

❖ Detail Study of various components of temple wall

❖ Calculating measurements for Kudya stambha, Pnajara, Devakosta, Vrittaspatita with textual refernce.

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program Outcomes (POs 1-15)

Program Outcomes (POs)

Course Outcomes (COs) / Program Outcomes
(POs)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Designing and Decorating Temple wall x x x x x x x x

Studying each component in detail x x x x x x x x

Comparing wall decoration in different x x x x x x x x

architectural style

Pedagogy: Studio and outdoor work, demonstrations, slide shows and museum/gallery visits

Formative Assessment for Theory

Assessment Occasion/ type Weightage in Marks

Theory Assignments 10%

Tests 20%

Composition related activities like, Quiz, seminar, Team activities 10%

Total 40%

Formative Assessment as per NEP guidelines are compulsory

References
1 Sri Kashyapa Shilpa Shastra (Purvardha) – Dr. G. Jnananada
2 Mansara By P.K.Acharaya

3 Devalaya Vastu by M.Prabhakar

4 Bharatha Khandada devalayagalu by Vidwan Asuri Shrinivasa Ayengar & Vidwan Tirupati
Shrinivasa Aiyengar

5 Alaya Darshana By Dr. G. Jnanananda

6 Prasada lakshanam

7 Glimpses of Indian Engineering and Technology by R.P. Kulkarni

8 Tantrasamuchchaya

Page 290
 PRACTIAL INTERNAL SUBMISSION
IV Semester
50% MARKS

Sl. NUMBER OF
SUBJECT MEDIUM
No. WORKS
1 STUDIO PRACTICE 2 (5)
*Devakosta/ Panjara, POP/Wood/Stone/Brick
*Vrittaspatita / Kumbhalataha
*Door Frame 02 works

2 Architectural Drawing 2 (4)

*Devakosta/ Panjara, Charcoal/ Watercolor /
*Vrittaspatita / Kumbhalataha Oil Pastel /Dry Pastel /Acrylic/ 06 Works
*Door Frame Digital media.

3 All course digital works are Mandatory Using any digital software 02 works

Total Works 10

NOTE:

1. For the Internal Submission Students should submit Minimum 10 works.

Students should submit the works which are done in the studio hours.

2. Test will be conducted for all the DSC/OE practical subjects.

3. Cumulative internal assessment is mandatory.

INTERNAL SUBMISSION BASED ON FOLLOWING CRITERIAS:

Involvement & Punctuality Technical Skill Concept, Creativity, Presentation Practical Test

20% 20% 40% 20%

NOTE: FROM AECC & SEC COURSES ARE AS PER NEP AND INSTITUTIONS GUIDELINES

Page 291
 MODEL QUESTION PAPER

BVA-VISUAL ART: ALL SEMESTER THEORY PAPER

EXAMINATIONS
Instructions to the Question Paper setters:

1. Kindly choose questions from all the units & Chapters of the syllabus given

2. Make sure the words and sentences are properly framed and the clarity of the
question written is clearly understandable by the student

3. Give equal weightage to all the Chapter while framing the question

4. Do not frame the questions on subject area which is not included in the syllabus.

5. Frame the questions in such a way that, the questions shall be answerable in the given
Examination duration.

6. Use the words such as; Define, Explain with suitable example, discuss briefly about,
Justify, write a brief note etc., when it is necessary in question

7. Do not frame double question in a single question like;

What is …………? Who ……………….? For questions below 3 marks

8. Observe the below model question paper. It is only a Model question paper. You can
modify the type of questions as per the subject you are supposed to set a Question paper,
without deviating too much from the distribution and weightage of the marks

Page 292
 Model Question Paper (Theory)

Institute / University Name

Programme BVA in XXX Month/Year OCTOBER-2022

Course Code: Course Title:

Duration of Exam 2 Hours Max Marks 60 Marks

Instruction: Answer all the sections

Section-A
Give short answer for Any Ten Question. (Each question carries 2 marks) (10X02 =20)

Section-B
Define /Write Short Answers to Any Four of the following questions given below (4X5=20)

a).
b).
c).
d).
e).
f).

Section-C
Write a brief essay on Any Two question given below (2X10=20)

i.
ii.
iii.

Page 293