Undergraduate Program

Course Credit: 4

Course Teacher: Md. Aktaruzzaman 

E-mail: azaman.sinbad33@gmail.com

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction of the Course:

This is the course where students acquire appropriate knowledge on how Bangladeshi Art and Culture developed with the participation of rational people and the proper history of  Folk and Ethnic Art of  Bangladesh.

Specific Objectives:

• Find out the sources of Folk Art in Bangladesh.
• Research how Folk Art related itself to primitive art here in Bangladesh
•  How native Art materials are collected from the nature and religious aspects.
•  Learn how primitive Art Technique impacts our Modern Art and Architectural style. 

Course Description/Contents:

• History: Definition, The kingdoms of Anga, Vanga, Harikel etc.
• Nanda Empire, Gupta Empire, Sena Empire
• Medieval Bengal: Sultanate of Bengal, Hindu Raj, etc.
• Modern Bengal: British East India Company, Bengal Renaissance etc.
• Independence Movement 
• Partition of Bengal
• East Pakistan
• Geography of Bangladesh
• Culture: Definition, Folk Dance, Bangla Language, etc.
• Music: Gombhira, Flute Tabla etc.

Learning Outcomes:  

• Students will gain knowledge about
• How Folk Art bigheartedly influences Bangladeshi Modern Art society.
• How art grew up in informal fallacy in the villages.
• Use of ornamental Folk art rules in Modern Art and Architecture.
• Proper history of early Bangladeshi art and culture. 

Instructional Strategies:

• Lectures
• Visit Ancient Architectural places in Bangladesh.
• Multimedia Presentation 
• Discussions 
• Readings on related topics for this course.  

Assessment:

• Assignment submitted with more analytical information.
• In-Course tutorials
• presentation 
• Viva individuals
• The course final will be assessed by the course teacher (internal examiner) and a second examiner (external).

References:

• evsjv‡`‡ki mv¯‹…wZK HwZn¨- G †K Gg kvnbvIqvR
• evsjv‡`‡ki BwZnvm- W. gyn¤§` Ave`yi iwng, W. Ave`yj gwgb †PŠayix, W. G we Gg gvngy`, W. wmivRyj Bmjvg
• evsjv‡`k Ges evOvwji BwZnvm I ms¯‹…wZ- †gvt kvnRvnvb wgqv †gvt †`jIqvi †nv‡mb Lvb
• cvnvocyi, gnv¯’vbMo I gqbvgwZ- ggZvRyi ingvb Zid`vi
• evOvwji BwZnvm- bxnvi iÄi ivq (Avw` ce©)
• evsjv‡`‡ki †eŠ× cÖZœZË¡: cÖvPxb wenvi- kvgxgv bvmwib|
• cÖvPxb evsjvi †eŠ× wenvi- Avjx Bgvg
• evsjvq cÖvPxb mf¨Zv I cyivKxwZ©- L›`Kvi gvngy`yj nvmvb
• †jvK wk‡íi fze‡b- †Zvdv‡qj Avng`
• evsjvi cÖvPxb wkí- †Zvdv‡qj Avng`
• evsjvi BwZnvm- gynv¤§` Bgvg-Dj nK
• †jvKwkí - †Zvdv‡qj Avng`
• evsjvi †jvK-ms¯‹…wZ-IqvwKj Avn‡g`
• evsjvi †jvKwkí- W. cÖ‡`¨vZ †Nvl
• evsjv‡`‡ki cyivKxwZ©- myKzgvi wek^vm

Course Credit: 4

Course Teacher: Dr. Sk. Manir Uddin

E-mail: juelmanir@gmail.com

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Three Assignments 15% + Three Class Tests 10%)

Introduction to the Course:

This course is designed to provide comprehensive understanding to the students on Prehistoric Art as a part of prehistoric culture and the main domain of world art.

Specific Objectives:

• Learn how nature and geography play a vital role to develop Prehistoric civilization and its Art.
• Discusses how the old cultural landscape of Prehistoric world fostered the sense of aesthetics of art.
• Learn about the organizational sprit of Prehistoric society and the unique role for their culture.
• Learn the significance of the Prehistoric era and each aspect of their living in order to achieve a better understanding of their going ahead.
• Learn about the achievements of their art and culture and as well as the total impact on civilizations

Course Contents:

• History of the Earth
• Origin of Life
• Human evolution
• History of Civilization
• Prehistoric Culture
• Prehistoric Painting
• Prehistoric Sculpture
• Prehistoric Architecture
• Prehistoric Technology
•  History of discovery: Age, Subjects, Themes and Patterns, Theories and Interpretations
• Locations: Southern Africa, Horn of Africa, North Africa, Australia, Europe, North America, South America, Southeast Asia, East Asia.
• Geographical, political, social and cultural background of Prehistoric Civilization
• TimeLine.

Other Descriptions:

Paleolithic Art: Stone Age, Venus figurines, Venus of Laussel, Dame de Brassempouy, Venus von Galgenberg, Vĕstonická venuše, Venus of Willendorf, Archaeological sites in France, Abri de la Madeleine, Carnac and Menhirs, Chauvet, Lascaux, Megaliths in France, Prehistoric Iberia, Altamira, Megaliths in Spain, Prehistoric Art in Italy, Prehistory of Malta, Ggantija, Hagar Qim, Mnajdra, Skorba, Tarxien, Prehistoric Art in Portugal, Megaliths, Chamber Tombs, Entrance graves, Gallery graves, Passage graves, Dolmens, Menhirs, Petroglyphs, Stone Circles, Avebury, Boscawen-Un, Castelerigg, Hurlers, Merry Maidens, Nine Ladies, Ring of Brodgar, Stanton Drew, Stonehenge, Standing Stones, Tombs in Ireland, Newgrange, Knowth, Creevykeel, Hill of Tara, Dolmens in Ireland, Poulnabrone, Prehistoric Scotland, Brochs, Dunadd, Maeshowe, Ring of Brodgar, Skara Brae, Standing Stones of Stenness. Mesolithic Art: Kamennaya Mogila, Gobustan, Zaraut-Kamar, Shakhti, Bhimbetka. Neolithic Art: Wayland's Smithy, West Kennet Long Barrow, Silbury Hill, Uffington White Horse, Neolithic artefacts, Catalhoyuk.

Learning Outcomes:

Students will be able to

• Understand
• Analyze
• Interpret
• Discuss
• Present
• Compare
• Motivate to learn more advances on that lesson/Motivate to acquire more knowledge on the subject-matter.
• Do higher inquiry
• Conduct research
• Apply in their academic and professional life.

Instructional Strategies:

• Lectures
• Multimedia Presentations
• Discussions
• Individual Presentations
• Group work
• Internet
• Google

Assessment:

• In-Course tutorials.
• Assignments
• Viva voce
• Presentation
• Course final will be assessed by internal (course teacher) and a external examiner.

References: 

• A‡kvK wgÎ, cwðg BI‡iv‡ci wPÎKjv, KjKvZv: Avb›` cvewjkvm© cÖvB‡fU wjwg‡UW, 1991|
• Agj `vk ¸ß, gvby‡li wVKvbv, KjKvZv: ivLvj †mb cÖKvkbx, 1390|
• A‡kvK wgÎ, BD‡iv‡ci fv¯‹h©, KjKvZv: Avb›` cvewjkvm© cÖvB‡fU wjwg‡UW, 1992|

• Avãyj nvwg` b~iæb bvnvi †eMg, gvby‡li BwZnvm (cÖvPxb hyM), XvKv: AvMvgx cÖKvkbx, 1985|

• G. †K. Gg. kvnbvIqvR, wek¦mf¨Zv: cÖvPxb hyM, XvKv: cÖZxK cÖKvkbv ms¯’v, 1996|
• G †K Gg kvnbvIqvR, cÖvPxb c„w_ex, XvKv: cÖZxK, 1995|
• G¨vM&wbm G‡jb, BD‡iv‡ci wPÎKjv, fvlvš—i :KvRj e‡›`vcva¨vq, XvKv: RvZxq MÖš’ cÖKvkb, 1995|

• Kvgvj Avng`, wkíKjvi BwZnvm, XvKvt evsjv GKv‡Wgx, 1994|
• K…ò jvj `vk, wkí I wkíx, (cÖ_g LÛ) KjKvZv: cwðge½ ivR¨ cy¯ÍK cl©`, 1990|
• K…ò jvj `vk, wkí I wkíx, (Z…Zxq LÛ) KjKvZv: cwðge½ ivR¨ cy¯ÍK cl©`, 1983|

• wR.wf. †c­Lvbf, wkí I mgvR, AvdRvjyj evmvi Abyw`Z, XvKv: evsjv GKv‡Wgx, 1986|

• W. `x‡bk P›`ª miKvi, mvs¯‹…wZK BwZnv‡mi cÖm½ (cÖ_g LÛ), KwjKvZv: mvwnZ¨‡jvK, 1389|
• W. iwdKyj Avjg, cvðvZ¨ wk‡íi BwZnvm, evsjv GKv‡Wgx, XvKv, 1994|

• b~iæY bvnvi †eMg, gvby‡li BwZnvm: AvaywbK hyM, XvKv: AvMvgx cÖKvkbx, 1989|

• wdI`i K‡ivfwKb, c„w_exi BwZnvm: cªvPxb hyM, g‡¯‹v: cÖMwZ cÖKvkb, 1986|

• eyjeb Imgvb, wkí, wkíx I mgvR, XvKv: iæ‡cb cÖKvkb, 1989|

• †ieZx eg©b, mgvR I mf¨Zvi µgweKvk, XvKv: Av‡bvqvi DÏxb, RyivBb, dwi`vev`, 1952|
• iZb jvj PµeZx©, mf¨Zvi cUf~wg,  XvKvt evsjv GKv‡Wgx, 1988|
• iwdKzj Avjg, wek¦ mf¨Zv I wkíKjv,  XvKvt evsjv GKv‡Wgx, 2001|

• kªx K…òjvj `vm, wkí I wkíx, wØZxq LÛ, KjKvZv: cwðge½ ivR¨ cy¯ÍK cl©`, b‡f¤^i 1982|

• wmMgyÛ d«‡qW, †Uv‡Ug I Uvey, KwjKvZv: myeY©‡iLv, 1993|

• T Walter Wallbank & Alastaer M. Taylor, Civilization past and Present, 4^th Edition, vol I. Foresman & Company, U.S.A, 1960.
• E. H. Gombrich, The Stoty Of Art, Phaidon, London, 1968.
• Jack A. Hobbs & Robert L. Dancan, Art In Civilization, Bloomsbury Books, London, 1992.
• Gardners, Art Through the Ages, 7^th Edition, Hacourt Brace Jovanovich Publushers, New York, 1976.
• Edward Lucie-Smith, Art and Civilization, Harry N. Abrams Inc. Publ.
• Michael Wood, Art Of the Western World, Summit Books, New York, 1989.
• Sir Lawrence Gowing (ed) A History of Art, Burns & Nobles Books, New York, 1989.

• Janson, H. W. The History of Art, Harry N. Abrams, New York, 1986.
• E.H. Gombrich, in search of cultural history, 1967.
• Nikolaus Pevsner, an outline of European architecture, 1943.
• Erwin Panofshky, the history of art as a humanistic discipline, 1940.
• Montverdi, Mario. The Book of Art. Volume 1: The Origins of Western Art. Grolier 1967. Milan, Italy.
• William Fagg, studying primitive art, 1973.

Course Credit: 4

Course Teacher: Shobuj Sultan Anmon

E-mail: anmon@du.ac.bd

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

 Ancient Egyptian Art is a course to give students of art history a brief introduction to one of the oldest civilizations on earth The Egyptian Civilization and its art. 

Specific Objectives: 

 1. Learn how nature and geography play a vital role in developing Egyptian civilization. 2. Explore how Egyptian society and their beliefs develop according to their experiences.  3. Learn about the pyramidal organization of Egyptian society and the unique role of the ruler in the culture. 4. Learn the significance to the ancient Egyptians of each aspect of the process of mummification to achieve a better understanding of their concept of the afterlife. 5. Learn about the achievements of art and architectural development of Egyptian civilization and its impact on other civilizations. 

Course Description/Contents: 

1. History of Civilization  2. Geographical, political, social, and cultural history of Ancient Egypt 3. Art of Ancient Egypt: Painting,  Sculpture, Architecture and others 4. Egyptian Mythology   5. TimeLine: Pre-Dynastic Period, Early Dynastic, Old Kingdom, Middle Kingdom, New Kingdom 6. Egyptian Architecture: Mastabas, Obelisks in Egypt, Pylon, Pyramidion,  Pyramids of Egypt: Abu Rawash, Pyramid of Amenemhat I, Bent Pyramid, Black Pyramid of Amenemhat III, Pyramid of Djedkare Isesi, Pyramid of Djoser, Giza pyramid complex, Great Pyramid of Giza, Hawara Pyramid of Amenemhat III, Pyramid of Henutsen, Pyramid of Iput I, Khafre's Pyramid, Pyramid of Khuit II, Lepsius I Pyramid, Meidum Pyramid, Menkaure's Pyramid, Pyramids of Merenre Nemtyemsaf I, Pyramid of Neferhetepes, Pyramid of Neferirkare.  Egyptian Temples: Abu Simbel, Abydos, Temple of Debod, Deir el-Bahari, Dendera Temple, Temple of Dendur, Edfu Temple, Esna Temple, Funerary Temple of Khafra, Funerary Temple of Menkaura, Funerary Temple of Sahure, Great Temple of Aten,

Kalabsha, Karnak temple complex, Temple of Amun Ra, Temple of Aten, Temple of Khonsu, Temple of Menthu, Temple of Mut, Temple of Ptah.  7. Archaeological sites in Egypt: Abu Mena, Abu Rawash, Abusir, Abydos, Amarna  Antinopolis, Athribis, Avaris, Beni Hassan, Bubastis, Coptos, Dashur, Deir el-Bahari, Deir el-Medina, El-Lahun, Gebel el-Silsila, Giz. 8. Ancient Egyptian sculptures: Reliefs, Sarcophagi, Statues, Statuettes, Wood carving, Egyptian sculpture by subject, Block statues, Sitting couples 9. Other: Egyptian deities, Statues with Egyptian shrine and divine image, Ushabti, Ancient Egyptian stelae, Funerary steles, Slab stelai, Palermo stone, Rosetta stone, Serekh steles, Shen ring steles, Amarna art, Treasures of Tutankhamun, Ancient Egyptian ivory, Ancient Egyptian Jewellery, Ancient Egyptian pottery, Paintings from Egypt, Tomb of Rekhmire, Sarenput II, Tomb of Sennedjem, Tomb of Amenemhêt, Tomb of Horemhab, Tomb of Menna, Tomb of Nakht, Tomb of Nebamun, Tomb of Nebamun and Ipuki, Tomb of Nefertari, Tomb of Userhêt, Fayum mummy portraits, Kingdom of Kush, 

Learning Outcomes:

Students will be able to

• Analyze the formal, technical, and stylistic characteristics of Egyptian Art.
• Talk about Egyptian art, architecture, and its development.
• Compare Egyptian civilization with others.
• Realize the various achievements of humans by Egyptian civilization and its development. 

Instructional Strategies: 

• Lectures
• Multimedia Presentations
• Discussions

Assessment:

• In-Course tutorials.
• Assignments (more focus on analytical manner)
• Viva individuals
• Presentation 
• Course final will be assessed by the course teacher (internal examiner) and a second examiner (external) 

References: 

Egyptian Art (World of Art)  by Bill Manley

2. Egyptian Art by Cyril Aldred

3. Atlas of Egyptian art by Émile Prisse d'Avennes

4. The art and architecture of ancient Egypt by William Stevenson Smith

5. E. H. Gombrich, The Stoty Of Art, Phaidon, London, 1968.

6. Gardners Art Through the Ages, 7th Edition, Harcourt Brace Jovanovich Publishers, New York, 1976.

7. A Dictionary of Art Terms --- Reginald Hagger, London, George Rainbird, Ltd., 1962.

8. A Dictionary of Art Terms and Techniques Ralph Mayer, New York, Thomas Y. Crowell Company, 1969, London, 1970.

9. Encyclopedia Of World Art, 15 volumes, Mc Graw Hill, New York, 1959-68.

Course Credit: 4

Course Teacher     : Mst. Taslima Begum

E-mail: 

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Three Assignments 15% + Three Class Tests 10%)

Introduction to the Course:

Art of the Ancient Near East is a course where students get the idea to understand a great variety of forms and styles, reflecting the many peoples, cities Kingdoms, and empires that flourished in the region over thousands of years.

Specific Objectives:

• The Mesopotamians bodice their societies around mighty ricers, which enabled them to develop agriculture and therefore establish permanent settlements.
• Art of the Ancient near East is a topic that helps students have a better understanding of the world.
• It helps students understand the economic and political commonalities and differences among cultures, environments.

Course Description/Contents:

• Jericho Catal  Hayek
• Art of summer
• The city-state and the ziggurat Sculpture.
• Akkadian painting
• Akkadian  Sculpture
• Art of Babylonia
• Architecture Relief Sculpture
• Neo-Baloyloria
• Achaemenid Persia.

Learning Outcomes:

Students will be able to

• How art of the Ancient Near East can be effective in communicating ideas.
• Research and write on art. art criticism etc.

Instructional Strategies: 

• Lectures
• Multimedia Presentations
• Discussions

Assessment:

• In-Course tutorials.
• Assignments (more focus on analytical manner)
• Viva individuals
• Presentation 
• Course final will be assessed by the course teacher (internal examiner) and a second examiner (external) 

References: 

• Gardner's Art through the ages.
• History of Art: H.W. Jonson
• Living with art: Rita Gilbert civilization past and present.   

Course Credit: 4

Course Teacher: Masuda Khatun Jui

E-mail: masudajuidu@gmail.com

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Three Assignments 15% + Three Class Tests 10%)

Introduction to the Course:

Indus Valley civilization is part of the history of the ancient world. In the first year, students get acquainted with the history of early age through the study of this subject.

Specific Objectives:

 By exploring various aspects of Indus Valley civilization and Art, students will get an idea of how this civilization formed, developed, and came to an end.

Course Description/Contents:

• Urban Revolution
• The Helmand Civilization
• Early Indus Culture(neo-lithic)
• Extent, Population, Society, State
• Agriculture and Subsistence
• Craft Production
• The cities and Towns
• Trade
• Culture: Writing, Art, Religion
• Script, Seal, Pottery, Sculpture, Town Planning
• Indus Civilization and Rigveda
• The end of Indus Civilization

Learning Outcomes:

Students will get to know how people of the Indus Valley civilization formed a society and created art, architecture, artifacts, etc. By knowing this students can get the characteristics of this culture and civilization and they can also find out what necessity, matter, or condition gave shape to the characteristics of this culture and civilization.

Instructional Strategies:

• Lectures
• Multimedia Presentation
• Discussions

Assessment:

• In-Course tutorials.
• Assignments (more focus on analytical manner)
• Viva individuals
• Presentation 
• Course final will be assessed by the course teacher (internal examiner) and a second examiner (external) 

References: 

• Irfan Habib: the Indus Civilization.
• Mortimer Wheeler: The Indus Civilization

Course Credit: 4

Course Teacher: Pallab Saha

E-mail: pallabsaha@du.ac.bd

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

 Ancient Greek Art is part of the history of art of the ancient world. In the first year, students get acquainted with the history of ancient periods through the study of this subject.

Specific Objectives:

 By exploring the various aspects of Ancient Greek art, Students will get the idea of how this art developed.

Course Description/Contents: 

• Geography, people, and state
• Aegean culture
• Vase Painting
• Doric, Ionic, Corinthian order and architecture
• Geometric, Orientalizing, Archaic, and Classical Sculpture
• Pre-Hellenistic  Sculpture
• Hellenistic sculpture
• Philosophy, myth, religion
• Cult, Politics, and Imperialism
• Wall painting and coins

Learning Outcomes:

The art and architecture of the ancient and medieval ages are more or less patronized by religious institutions and governing powers. Learning of Greek art will provide two things

• How governing power and religion give shape to art.
• How much proficiency in Greek art was earned during ancient Greek civilization.

Instructional Strategies:

• Lectures
• Multimedia Projections
• Discussion

Assessment:

• In-Course tutorials.
• Assignments (more focus on analytical manner)
• Viva individuals
• Presentation 
• Course final will be assessed by the course teacher (internal examiner) and a second examiner (external) 

References: 

• H.W Jonson-History of art. Robin Osborne –Archaic and classical Greek art.
• Hellene Garndner –Art through the ages.

Course Credit: 4

Course Teacher: Shobuj Sultan Anmon

E-mail: anmon@du.ac.bd

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

Ancient Roman Art refers to the visual arts made in Ancient Rome. The Art of Ancient Rome played a Foundational role in the history of Western Art.

Specific Objectives: 

• It helps to understand ancient Classical Art.
• One of Rome's most important Contributions to the world is Architecture.

Course Description/Contents:

• The Etruscan  Art Architecture, Painting, Sculpture
• The Romans: the Republican period.
• The Early Empire
• The late Empire

Learning Outcomes:

Students will be able to

• Research and write on art, art criticism, etc.
• A better understanding of civilization.

Instructional Strategies: 

• Lectures
• Multimedia presentations
• Discussions
• Exhibitions visit

Assessment:

• In-Course tutorials.
• Assignments (more focus on analytical manner)
• Viva individuals
• Presentation 
• Course final will be assessed by the course teacher (internal examiner) and a second examiner (external) 

References: 

• Civilization Past and Present
• Art through the ages: Gardner
• Living with art: Rita Gilbert
• History of Art: H. W. Jonson 

Course Credit: 4

Course Teacher: Sabrina Shahnaz

E-mail: sabrina.art.du@gmail.com

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction of the Course:

In this course, students develop an understanding of the history and usage of painting. It also gives an idea about visual arts and explores artistic creativity.

Specific Objectives: 

• How to identify the basic of visual elements
• How to identify the fundamental composition of visual art
• Form aesthetic experiences. An awareness of the historical and social purposes

Communication techniques

• How to identify the relationship between the fine arts, the visual of painting.   How to create artwork exploring arts, applied arts as components of the arts.
• Learn Compositional techniques, artistic purposes, and multiple disciplines.  About the permittivity of art surface and various sources of art elements.  
• Course Contents:   Common bases for drawing
• Common Drawing: Media chalk, Charcoal, crayon, pencil, water color, etc. Bases for painting, airbrush
• Canvas, body painting, fresco, etc.
• Tools and Methods: action painting, aerosol, Painting
• Architectural structures, canvas, cloth, Comics, etc.

Learning Outcomes:    

• Students will demonstrate an effective knowledge of visual vocabulary appropriate for careers in the fine arts, architecture and visual studies.
• They will recognize and understand major monuments, artists, methods, and theories.
• Students will use innovative theoretical Sources to reveal their creations. 

Instructional Strategies: 

• Oral Explanation
• Discussion
• Lectures
• Collaborative Studio Art Projects 
• Multimedia PresentationSmall Group Work    Readings on related topics for this course.
• Exhibition Visits  

Assessment:

• Presentation
• In-Course tutorials
• Information.    The course final will be
• Viva individuals
• Assessed by the course teacher (internal examiner) and a second examiner (external).

References:

• The Artist's Handbook – Ralph Mayer
• wk‡íi DcKiY I e¨envi c×wZ, Avãym mvËvi
• cvjhy‡Mi wPÎKjv, Gm †K ¯^i¯^wZ
• The Oxford Dictionary of Art
• Artists, Ian Chilver 

Course Credit: 2

Course: ARTH 159

Course Title: VIVA

Course from: BFA 1^st year

Marks: 50

Credit: 2

Exam conducted by: Exam Committee.

Course Credit: 4

Course: ARTH 251

Course Title: BASIC ELEMENTS OF VISUAL ART

Course from: BFA 2^nd  Year

Course Teacher: Dr. Sk. Manir Uddin

E-mail: juelmanir@gmail.com

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

Basic Elements of Visual Art is a course that gives the students a comprehensive understanding of the basic elements, those which are the most important for visual art.

Specific Objectives:

• Learn what the basics of visual art are.
• Learn the elements of visual art in total.
• Learn how the elements play an active role in creating an aesthetic value in one’s Artwork.
• Discusses how the Basic Elements fostered 2D and 3D Artwork.
• Learn about the organizational categories of Basic Elements to make and create.
• Discusses how the spirit of Basic Elements works.
• Learn the significance of Basic Elements and each aspect of their relation in a contextual way.
• Discusses how an achievement flowed with the successful use of Basic Elements creating artwork and a better understanding of their scopes.
• Learn about the outcomes of artists as their core knowledge to amply usefulness to Basic Elements of Visual Art and as well as the total impact on their works.

Course Contents:

• Evaluation & Definition of Basic Elements
• History base analysis of Basic Elements
• Form, Line, Color, Space, Texture, Value, Shape
• Design elements: Color, Attributes, Line, Shape, Texture, Space
• Principles of design: Unity/harmony, Methods, Balance, Types, Hierarchy
• Scale/proportion
• Dominance/Emphasis
• Similarity and contrast
• Similar environment

Other Description:

Genres, Media, and Styles, Skill and Craft, Value Judgment, Purpose of art, Design, Design in everyday life, Non-motivated functions of art,  Motivated functions of art, Controversial art,  Art Theories,  Classification disputes, Class and values. Composition, Line, Golden Sections, Eastern Six points, Western four Points.

Learning Outcomes:

Students will be able to

• Understand
• Analyze
• Interpret
• Discuss
• Present
• Compare
• Motivate to learn more advances on that lesson/Motivate to acquire more knowledge on the subject-matter.
• Do higher inquiry
• Conduct research
• Apply in their academic and professional life.

Instructional Strategies:

• Lectures
• Multimedia Presentations
• Discussions
• Individual Presentations
• Group work
• Internet
• Google

Assessment:

• In-Course tutorials.

• Assignments
• Viva voce
• Presentation
• The course final will be assessed by an internal (course teacher) and an external examiner.

References:

• Aãym mvËvi, wk‡íi DcKiY I e¨envi c×wZ, Kb‡U‡¤úvivix Kb‡mÞ, XvKv 1989|
• Max Doerner, The Materials of the Artist and their use in painting with notes on the Technique of old Masters, Rev. Edn. Harcourt. Brace and Co., New York, 1949.
• Hillairre Hiller, Notes On the Techniques Painting. Faber and Faber Ltd. London.
• William Zorach, The Mathods and Material of Sculpture.
• A Dictionary of Art Terms and Techniques Ralph Mayer, New York, Thomas Y. Crowell Company, 1969, London, 1970.
• A Dictionary of Art Terms --- Reginald Hagger, London, George Rainbird, Ltd., 1962.
• William Zorach, wood Carving.
• Robinson R., Poetry, Paintings and Ideas 1885-1914.London: Macmillan, 1985.

Course Credit: 4

Course: ARTH 252

Course Title: EARLY CHRISTIAN & BYZANTINE ART

Course from: BFA 2^nd   year

Course Teacher: Pallab Saha

E-mail: pallabsaha@du.ac.bd

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Three Assignments 15% + Three Class Tests 10%)

Introduction to the Course:

Early Christian art and Byzantine art were produced by Christians or under Christian patronage from the earliest period.

Specific Objectives:

• The lesson covers the development of Early Christian Art.
• Christian works are distinguished from pagan only by subject not by style.

Course Description/Contents: 

• The catacombs
• Early Christian Architecture
• Mosaic and painting
• The Illuminated Manuscript
• Sculpture and Craft art
•  Byzantine Art Architecture, Painting, and Sculpture.

Learning Outcomes:

• Research and write on art, art criticism, etc.
• A better understanding of society and Surroundings.

Instructional Strategies: 

• Lectures
• Multimedia Presentations
• Discussions
• Exhibitions visits

Assessment:

• • In-Course tutorials.
  • Assignments (more focus on analytical manner)
  • Viva individuals
  • Presentation 
  • Course final will be assessed by the course teacher (internal examiner) and a second examiner (external) 

References: 

• The Story of Art
• History of Art: H. W. Jonson
• Art Through the Ages: Graders
• Dictionary of Art and Artist
• Living with art: Rita Gilbert.

Course Credit: 4

Course: ARTH 253

Course Title: EARLY MEDIEVAL & GOTHIC ART

Course from: BFA 2^nd  year

Course Teacher: Shobuj Sultan Anmon

E-mail: anmon@du.ac.bd

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

Early Medieval & Gothic Art is a course to understand the basis and aesthetics of the European Middle Ages art.  Specific Objectives: 

• Discuss the origin of Early Medieval and Gothic Art.
• Define ‘Romanesque’ and ‘Gothic’ in terms of art and architecture.
• Describe the relationship between medieval art and religion.

Course Description/Contents: 

• History of Civilization
• Geographical, political, social, and cultural history of the European Middle Ages.
• Art of Romanesque: Characteristics, Background, Painting,  Sculpture, Architecture and Others
• Late Romanesque Painting, Sculpture, Manuscripts, Wall painting, Stained glass, and other visual arts.
• Gothic Art: Painting, Frescoes, Stained glass, Manuscripts, Altarpiece and Panel Painting, Sculpture, Gothic Artists, Gothic Scripts/Blackletter, The Ten Virgins, Dance Macabre.

Learning Outcomes:

Students will be able to

• Learn about the technical and stylistic characteristics of Early Medieval and Gothic Art.
• About European Middle Ages Art and Architecture.
• Religious Reflection of art.

Instructional Strategies: 

• Lectures
• Multimedia Presentations
• Discussions

Assessment:

• In-Course tutorials.
• Assignments (more focus on analytical manner)
• Viva individuals
• Presentation
• Course final will be assessed by the course teacher (internal examiner) and a second examiner (external) 

References: 

• Janson, H.W. The History of Art, Harry Abrams, New York, 1986.
• E. H. Gombrich, The Stoty Of Art, Phaidon, London, 1968.
• Gardners, Art Through the Ages, 7th Edition, Harcourt Brace Jovanovich Publishers, New York, 1976.
• A Dictionary of Art Terms --- Reginald Hagger, London, George Rainbird, Ltd., 1962.
• A Dictionary of Art Terms and Techniques Ralph Mayer, New York, Thomas Y. Crowell Company, 1969, London, 1970.
• Encyclopedia Of World Art, 15 volumes, Mc Graw Hill, New York, 1959-68.

Course Credit: 4

Course: ARTH 254

Course Title: EARLY MEDIEVAL & GOTHIC ART

Course from: BFA 2^nd year

Course Teacher: Md. Aktaruzzaman 

E-mail: azaman.sinbad33@gmail.com

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

In the course Early Medieval & Gothic Art students get an idea about European art of the Middle Ages; they also came to know about how Christianity as a religion plays a vital role in the field of European art and society. 

Specific Objectives:

• How artists prevented the unrealistic and elongated gothic art style and involved themselves in realistic art.  
• Learn about paintings, Sculptures, and architecture of this period from a variety of perspectives.

Course Description/Contents:      

Early Medieval: Major periods and styles. Romanesque: Characteristics, Background, Sculpture, Metal, enamel, and ivorywork, Architectural sculpture, Sources and style, Subject matter, Late Romanesque sculpture, Painting, Manuscript illumination, Wall painting, Other visual arts, Embroidery, Stained glass. Gothic Art: Origins, Etymology, Painting, Frescoes, Stained glass, Manuscripts and printmaking, Altarpiece and panel painting, Sculpture, Monumental sculpture, Portable sculpture, Gothic artists, International Gothic, Blackletter ( known as Gothic script), The Ten Virgins, Danse Macabre.

Learning Outcomes:   

• To familiarize students with the principal works of art during the fifteenth and sixteenth centuries across Western Europe.
• To present a historical understanding of these objects in their local and cultural contexts.
• To develop the ability of critical analysis of historical monuments.
• To gain knowledge of terminology, stylistic classifications, methods, and theories employed in art and architectural History.
•  To critically analyze primary and secondary source materials.

Instructional Strategies:

• Lectures
• Visit exhibitions with interrelated art styles.
• Multimedia Presentation 
• Discussions  
• Readings on related topics for this course.  

Assessment:

• Assignment submitted with more analytical information.
• In-Course tutorials
• presentation 
• Viva individuals
• The course final will be assessed by the course teacher (internal examiner) and a second examiner (external).

References:

• History of Art  - H. W. Janson Story of Art  - E.H. Gombrich
• History of  Western Art  -  Laurie Schneider Adams
• AZ of Arts & Artists – David Piper 

Course Credit: 4

Course: ARTH 255

Course Title: MANNERISM & BAROQUE ART

Course from: BFA 2^nd year

Course Teacher     : Pallab Saha

E-mail: pallabsaha@du.ac.bd

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

Mannerism & Baroque Art is a Course where students get ideas to understand a reaction to the Renaissance.

Specific Objectives: 

Mannerism & Baroque Art study also help students to get ideas about the rejection of the scientific theories so popular with Renaissance artists and of Compositions based on mathematical principles.

Course Description/Contents:

• Mannerism is a term few art historians agree about
• Architecture
• Painting
• Sculpture
• Baroque Art: Architecture painting sculpture Spain, Flanders Holland   

Learning Outcomes:

• How mannerism and Baroque Art can be effective in communicating ideas
• Research and write on art, art criticism, etc.

Instructional Strategies:

• Lectures
• Multimedia Presentations
• Discussions

Assessment:

• • In-Course tutorials.
  • Assignments (more focus on analytical manner)
  • Viva individuals
  • Presentation 
  • Course final will be assessed by the course teacher (internal examiner) and a second examiner (external) 

References: 

• Art Through the Ages
• History of Art: H.W. Janson 
• Living with Art: Rita Gilbert
• Dictionary of Art and Artist
• Mannerism and Baroque art

Course Credit: 4

Course: ARTH 256

Course Title: CHINESE ART

Course from: BFA 2^nd year

Course Teacher: Shobuj Sultan Anmon

E-mail:  anmon@du.ac.bd

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

The course will focus on the Chinese Visual Arts through Chinese culture.  Specific Objectives: 

• • Discuss the origin of Chinese Art.
  • Understanding and appreciation of the basis and aesthetics of Chinese Ink Painting and Calligraphy.
  • Describe the Buddhist influence on art.
  • Learn about the achievements of art and architectural development of Chinese civilization and its impact on other civilizations. 

Course Description/Contents: 

• History of Civilization
• Geographical, political, Social, and cultural history of China.
• Chinese Art : Painting,  Sculpture, Architecture and others
• Buddhism and Buddhist Art
• TimeLine: Neolithic Period, Shang Dynasty, Zhou Dynasty, Qin Dynasty, Han Dynasty, Northern and Southern Dynasty, Sui Dynasty, Tang Dynasty, Five Dynasty, Liao Dynasty, Song Dynasty, Yuan Dynasty, Ming Dynasty, Qing Dynasty.

Learning Outcomes:

Students will be able to

• Analyze the formal, technical, and stylistic characteristics of Chinese Art.
• Talk about Chinese art, architecture, and its development.
• Compare China's civilization with others.

 Instructional Strategies: 

• • Lectures
  • Multimedia Presentations
  • Discussions

Assessment:

• • In-Course tutorials.
  • Assignments (more focus on analytical manner)
  • Viva individuals
  • Presentation
  • The course final will be assessed by the course teacher (internal examiner) and a second examiner (external).

References: 

• Chinese Art (World of Art)  by Mary Tregear
• Judith and Arthur Hart Burling, Chinese Art, The Studio Publications, INC, Thomas Y. Crowell Company, New York.
• Gardners, Art Through the Ages, 7th Edition, Harcourt Brace Jovanovich Publishers, New York, 1976.
• A Dictionary of Art Terms --- Reginald Hagger, London, George Rainbird, Ltd., 1962.
• A Dictionary of Art Terms and Techniques Ralph Mayer, New York, Thomas Y. Crowell Company, 1969, London, 1970.
• Encyclopedia Of World Art, 15 volumes, Mc Graw Hill, New York, 1959-68.
• The Encyclopedia of Visual Art, Volume 2, Encyclopedia Britannica International Ltd., London.

Course Credit: 4

Course                 : ARTH 257

Course Title: AFRICAN ART

Course from: BFA 2^nd year

Course Teacher: Dr. Sk. Manir Uddin

E-mail: juelmanir@gmail.com

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

This course is designed to provide a comprehensive understanding to the students of African Art and Culture.

Specific Objectives:

• Learn how nature and geography played a vital role in developing African Art and Culture.
• Learn how the old cultural landscape of Africa fostered the sense of aesthetics of art.
• Learn about the cultural background of African people and society.
• Learn about the African beliefs and practices and beliefs.
• Learn the significance of the African Crafts.
• Learn the significance of the African Arts and Crafts.

Course Contents:

• • History of Africa
  • Geographical, political, social and cultural history of Africa
  • Art of Africa: Painting, Sculpture, Architecture and others
  • African Mythology
  • TimeLine

Other Descriptions:

Native Arts of Africa: Akan, Adinkra, Adire, Asanti, Baule, Bedu, Benin, Gelede, Ife, Igbo, Ndebele, Nok, Yoruba, And Zulu. Present Africa. Guggenheim Museum’s Exhibition: Africa: Art of a Continent: “Regional Map of Africa”, “Pre-Colonial Map of Africa”, “The Berlin Conference”, “Decolonization of Africa”, “Ethnic Groups in Africa”, “African Art: Aesthetics and Meaning”, “African Masks and Masquerades”. African Artists and Aesthetics, Saharan Rock Art, Southern African Rock Art, Nok Art, Igbo-Ukwu, Ife, Benin, Textiles and Personal Arts I, Textiles and Personal Arts II, Architecture: 20th Century African Art, African Artists and Aesthetics, Egypt, Sudan, Inland Niger Delta, Nok Terracottas (500 B.C. - 200 A.D.), Ife (from ca. 350 B.C.), Western North Africa (The Maghrib), Guinea Coast, Eastern and Southern Africa, African Christianity in Kongo, African Influences in Modern Art, African Lost-Wax Casting, African Lost-Wax Casting: Bronze, Copper, and Brass, African Lost-Wax Casting: The Tada Figure, African Rock Art, African Rock Art of the Central Zone, African Rock Art of the Northern Zone, African Rock Art of the Southern Zone, African Rock Art: Game Pass, African Rock Art: Tassili-n-Ajjer, African Rock Art: The Coldstream Stone, Afro-Portuguese Ivories, The Age of Iron in West Africa, Ana Nzinga: Queen of Ndongo, Apollo 11 (ca. 25,500–23,500 B.C.) and Wonderwerk (ca. 8000 B.C.) Cave Stones, Art, and the Fulani/Fulbe People, Art of the Asante Kingdom, Arts of Power Associations in West Africa, Arts of the San People in Nomansland, Asante Royal Funerary Arts, Asante Textile Arts, The Bamana Ségou State, Benin, Divination and Senufo Sculpture in West Africa, Dona Beatriz: Kongo Prophet,

The Empires of Western Sudan, The Empires of Western Sudan: Ghana Empire, The Empires of Western Sudan: Mali Empire, The Empires of Western Sudan: Songhai Empire, Ethiopia's Enduring Cultural Heritage, Exchange of Art and Ideas: The Benin, Owo, and Ijebu Kingdoms, Foundations of Aksumite Civilization and Its Christian Legacy (1st–7th century), The Fulani/Fulbe People, Gold in Asante Courtly Arts, Great Zimbabwe (11th–15th century), Harry Burton (1879–1940): The Pharaoh's Photographer, Idia: The First Queen Mother of Benin, Ife (from ca. 350 B.C.), Ife Pre-Pavement and Pavement Era (800–1000 A.D.), Ife Terracottas (1000–1400 A.D.), Igbo-Ukwu (ca. 9th century), Inland Niger Delta, Ivory and Boxwood Carvings, 1450–1800, Kingdoms of Madagascar: Malagasy Funerary Arts,

Kingdoms of Madagascar: Malagasy Textile Arts, Kingdoms of Madagascar: Maroserana and Merina, Kingdoms of the Savanna: The Kuba Kingdom, Kingdoms of the Savanna: The Luba and Lunda Empires, Kongo Ivories, Lydenburg Heads (ca. 500), The Magic of Signs and Patterns in North African Art, Mapungubwe (ca. 1050–1270), The Monumental Stelae of Aksum (3rd–4th century), Nok Terracottas (500 B.C.–200 A.D.), Origins and Empire: The Benin, Owo, and Ijebu Kingdoms, Political African Women of the Sixteenth, Seventeenth, and Eighteenth Centuries, Portraits of African Leadership, Portraits of African Leadership: Living Rulers, Portraits of African Leadership: Memorials, Portraits of African Leadership: Royal Ancestors, The Portuguese in Africa, 1415–1600, San, Senufo Arts and Poro Initiation in Northern Côte d'Ivoire, Senufo Sculpture from West Africa, Trade and the Spread of Islam in Africa, Trade Relations among European and African Nations, The Trans-Saharan Gold Trade (7th–14th century), The Transatlantic Slave Trade, Tutankhamun's Funeral, Tutsi Basketry, African Sculptural Art, The Indigenous Sculptural Arts of South Africa in Perspective, Interpreting African Sculpture, Two Unusual Wood Sculptures from Ghana, Modern Sculptures from Zimbabwe, Miniature Sculptures from Africa, Baule, Senufo, Guro/Kono, Dan/Gunye ge, Lobi/Bateba, Asante/Akuaba, Ewe/Venavi, Yoruba/Ibeji, Yoruba/Eshu, Luba-Hemba, [Ba]Kongo, Songye, Modern African Art, African Sculpture: Wooden Mask, Mali, Standing Female Figure, Burkina Faso, Wooden Mask, Liberia/Guinea, Wooden Door, Ivory Coast, Mask with Iron and Wood, Ivory Coast, Gold Shield, Ivory Coast, Wooden Mask, Nigeria, Ivory Figure, Nigeria, Wooden Mask with antelope skin, Nigeria, Wooden Mask, Nigeria, Standing Male Figure, Nigeria, Female Bust, Nigeria, Alligator Head, Nigeria, Wooden Mask with feathers, Gabon, Wooden Figure, Gabon, Standing Male Figure 1, with nails, Zaire, Standing Male Figure 2, with blades, Zaire, Wooden Staff, Zaire, Wooden Mask with raffia, Zaire, Wooden Mask, Zaire, Wooden Mask with beads, Zaire, Wooden Mask, Zaire, Wooden Stool, Zaire, Seated Female Figure, Zaire, Wooden Doll, Botswana, African Textiles.

Learning Outcomes:

Students will be able to

• Understand
• Analyze
• Interpret
• Discuss
• Present
• Compare

• Motivate to learn more advance on that lesson. / Motivate to acquire more knowledge on the subject matter.
• Do higher inquiry
• Conduct research
• Apply in their academic and professional life.

Instructional Strategies:

• Lectures
• Multimedia Presentations
• Discussions
• Individual Presentations
• Group work
• Spot visit
• Museum study

Assessment:

• • In-Course tutorials.
  • Assignments
  • Viva voce
  • Presentation
  • Course final will be assessed by an internal (course teacher) and an external examiner

References: 

• wmMgyÛ d«‡qW, †Uv‡Ug I Uvey, KwjKvZv: myeY©‡iLv, 1993|

• Edward Lucie-Smith, Art and Civilization, Harry N. Abrams Inc. Publ.
• Sir Lawrence Gowing (ed) A History of Art, Burns & Nobles Books, New York, 1989.
• E.H.Gombrich, The Story of Art, Phaidon, London, 1968.
• Janson, H. W. The History of Art, Harry N. Abrams, New York, 1986.

Course Credit: 4

Course: ARTH 258

Course Title: MATERIAL OF VISUAL ART: HISTORY AND USAGE OF PRINTMAKING

Course from: BFA 2^nd year

Course Teacher: Md. Aktaruzzaman

E-mail: azaman.sinbad33@gmail.com

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction of the Course: 

In this course, students get an idea about the method and materials of Print Making Midea, the history of printmaking, and its practice until today.

Specific Objectives:

Students will learn how to use-  

• Printmaking media and processes such as etching, relief, and woodcut and  Learn and practice safe and responsible use of art media, and lithography.  
• Explore and develop personal concepts in equipment, and studio space. 
• Experiment with expressive prints using art elements including line, value, texture, space, shape, form, and depth.  
• Develop and utilize specialized vocabulary in relationship to printmaking and visual art.  
• Adapt learned skills to students’ artistic endeavors as they prepare for advanced coursework.

Description/Contents: 

• Introduction to printmaking technique.
• History of printmaking.
• Engraving printer, Laser printer, Solid ink print on Thermal printer)  
• Intaglio (print making)
• Etching
• Embossing (paper)  
• Lithography
• Offset printing
• Monotype   
• Relief
• Printing press
• Plano graphic Printing
• Relief etching
• Linocut
• Wood engraving
• Woodcut
• Screen-printing.

Learning Outcomes:   

To familiarize students with the

• principal works of art during the fifteenth and sixteenth centuries across Western  To present a historical understanding of these objects in their local
• Europe.   To develop the ability to critical analysis of cultural contexts.  
• To gain knowledge of terminology, and stylistic.
• historical monuments.  classifications, methods, and theories employed in art and architecture To critically analyze primary and secondary source materials.
• History. 

Instructional Strategies:  

• Lectures.
• Multimedia presentation.
• Printmaking studio.   
• Discussions.
• Readings on said topic.
• Related topics for this course.  

Assessment:

 Assignment submitted

• Presentation
• In-Course tutorials
• With more analytical information.   
• The course final will be
• Viva individuals
• Assessed by the course teacher (internal examiner) and a second examiner (external).

References:

• wk‡íi DcKiY I e¨envi c×wZ- Avãym mvËvi
• eUZjvi Qvcv I Qwe- myKzgvi †mb

Course Credit: 2

Course: ARTH 259

Course Title: VIVA

Course from: BFA 2^nd year

Marks: 50

Credit: 2

Exam conducted by: Exam Committee.

Course Credit: 4

Course: ARTH 351

Course Title: FOLK ART AND PRIMITIVE ART

Course from: BFA 3^rd  year

Course Teacher: Sanjoy Chakraborty

E-mail: art.sanjoy@gmail.com

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

The course will discuss what is Folk art and what is Primitive art of different ethnic groups. Folk Art and Primitive Art is a course where students get ideas to understand and communicate the visual culture of folk and primitive art from all around the globe.

Specific Objectives:

• Understand the difference between folk and primitive art and practice site by site.
• Understand the diversity of world culture.
• Examine the relation between culture and society.
• It helps us gain a better understanding of visual narratives.
• Know the complex information and knowledge that exist in ancient society.

Course Description/Contents:

• Definition (Primitive Art, Popular art, Outsider art, Traditional art, Tribal art, Naïve art, Indigenous peoples. Primitivism,Primitive culture
• Geographical and cultural background of different ancient societies
• Folk Art and Culture
• Primitive Art and Culture
• Folk and Primitive Art of Africa
• Folk and Primitive Art of China
• Folk and Primitive Art of Russia
• Folk and Primitive art of India (Madhubani painting, Warli painting, Kalamkari, Gond Paintings, Pattachitra Painting, Thanjavur Dancing Dolls, Dashavatara – Wooden Kondapalli Doll, Chow Mask etc.)
• Folk and Primitive art of Bangladesh(Nakshi Kantha, Sokher Hari, Clay dolls, etc.)
• Mingei (Japanese folk art movement)
• American Folk Art Museum, Pre-Colombian tribal art of Amerika, Red Indian Art.
• Mask from different cultures.

Learning Outcomes:

Students will be able to

• Understand, communicate, and talk about folk and primitive art of the world.
• Understand the messages, complex data, beliefs, and ideas that exist in primitive society.
• Read human attitude according to visual culture.
• A better understanding of society and culture.
• Understand how culture plays avital role in human life.

Instructional Strategies:

• Lectures
• Multimedia Presentations
• Discussions
• Museum Visits

Assessment:

• In-Course tutorials.
• Assignments (more focus on analytical manner)
• Field study
• Viva individuals
• Course final will be assessed by the course teacher (internal examiner) and a second examiner (external)

References:

• †Zvdv‡qj Avng`, †jvKwk‡íi fye‡b,  XvKvt evsjv GKv‡Wgx, 1994|
• †Zvdv‡qj Avng`, Avgv‡`i cÖvPxb wkí,  XvKvt evsjv GKv‡Wgx, wØZxq cÖKvk 1992|
• dwi`v Rvgvb, AvaywbK wPÎKjvq †jvKwk‡íi cÖfve,  XvKvt evsjv GKv‡Wgx, 1998|
• eªZx›`ªbv_ gy‡Lvcva¨vq, †jvKwkí ebvg ÒD”PÕÕ gvMx©q wkí, KjKvZv: †jvKms¯‹…wZ I Avw`evwm ms¯‹…wZ †K›`ª, 1999|
• wmMgyÛ d«‡qW, †Uv‡Ug I Uvey, KwjKvZv: myeY©‡iLv, 1993|
• †Zvdv‡qj Avng`, †jvKwkí, evsjv GKv‡Wgx, XvKv, 1985|
• E. H. Gombrich, The Stoty Of Art, Phaidon, London, 1968.
• Rafiqul Alam, Folk – Painting In Bangladesh, Bangla Academy, Dhaka, 2001
• Gardners, Art Through the Ages, 7^th Edition, Harcourt Brace Jovanovich Publishers, New York, 1976.
• A Dictionary of Art Terms --- Reginald Hagger, London, George Rainbird, Ltd., 1962.
• A Dictionary of Art Terms and Techniques Ralph Mayer, New York, Thomas Y. Crowell Company, 1969, London, 1970.
• Ajit Mukherjee, Folk Art of Bengal, University of Calcutta, 1939.
• P. Ghosh, Kalighat Pats, Annals and Apraisals, 1373 B.S.
• Binay Ghosh, Pashchim Banger Sanshriti, 1957.
• G.S. Dutta, The Idigeneous Painters of Bengal. JISOA, Vol. I.
• Benoy Ghose, Traditional Arts & Crafts of West Bengal, Calcutta: papyrus, 1981.
• William Fagg, studying primitive art, 1973.

Course Credit: 4

Course: ARTH 352

Course Title: WESTERN ART: 18th CENTURY

Course from: BFA 3^rd year

Course Teacher: Shobuj Sultan Anmon

E-mail:  anmon@du.ac.bd

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

This course explores the history of the artistic developments of the 18th century in Western Europe and the United States.

Specific Objectives:  

• This course will focus on the characteristics and particularities of style and movements during the 18th Century giving students the necessary skills to learn how to read and look at artworks.
• Learn the philosophical ideas and other innovations of the period that had influenced the visual art of that period.

Course Description/Contents:  

1. Political and social history of 18th century Europe 2. Definition of Rococo 3. Art and Culture and other 4. Rococo Art succeeded Baroque Art in Europe. It was most popular in France and is generally associated with the reign of King Louis XV (1715-1774). It is a light, elaborate, and decorative style of art. Quintessentially Rococo artists include Jean-Honore Fragonard, François Boucher, Jean-Antoine Watteau, and Giovanni Battista Tiepolo. Rococo was eventually replaced by Neoclassicism, which was the signature visual style of Napoleon in France and of the American Revolution.ITALIAN ARTISTS: Rosalba Carriera, Francesco Solimena, Daniele Crespi, Giovanni Battista Piazzetta, Sebastiano Ricci, Marco Ricci, Giovanni Battista Tiepolo, Pietro Longhi, Canaletto, Bernardo Bellotto, Giovanni Battista Piranesi, Giovanni Paolo Pannini,Antonio Canova,Sculpture:Antonio Bonazza, Pietro Bracci, Antonio Corradini, Filippo Della Valle, Giovan Battista Foggini, Giuseppe Mazzuoli, Camillo Rusconi, Nicola Salvi, Giuseppe Sanmartino, Giacomo Serpotta, Luigi Vanvitelli, Antonio Canova,DUTCH ARTISTS:Martin van Meytens, Abraham van Strij, Jacob van Strij,Jan van Huysum,GERMAN ARTISTS:Andreas Schlüter, Georg Raphael Donner, Johann Baptist Straub, Cosmas Damian Asam, Egid Quirin Asam, Anton Raphael Mengs, AUSTRIAN ARTISTS:Paul Troger, Martin Johann Schmidt, Franz Anton Maulbertsch, Anton von Maron, Franz Xaver Messerschmidt, Paul Troger, Johann Georg Platzer, Franz Anton

Maulbertsch, Anton von Maron, Franz Xaver Messerschmidt, Johann Baptist Lampi the Elder, SWEDISH ARTISTS: Alexander Roslin,Carl Gustav Pilo,Johan Tobias Sergel,SWISS ARTISTS:Étienne Liotard, John Henry Fuseli, Jacques-Laurent Agasse, Angelika Kauffmann, Jean-Éienne Liotard, Johann Heinrich Füssli, ENGLISH ARTISTS:Sir James Thornhill, William Hogarth, Allan Ramsay, George Romney, George Stubbs, John Robert Cozens, Samuel Scott, Thomas Gainsborough, Joseph Wright of Derby, Richard Wilson, Joseph Wilton, John Bacon, Thomas Banks, John Bushnell, Thomas Jones, Joseph Nollekens, John Michael Rysbrack, Joseph Highmore, Sir Joshua Reynolds, Paul Sandby, Sir Henry Raeburn, Sir Thomas Lawrence,William Blake, John Flaxman, Sir James Thornhill, George Romney, George Stubbs, Samuel Scott, John Robert Cozens, Thomas Gainsborough, Joseph Wright of Derby, Richard Wilson, Thomas Jones, Thomas Girtin, Joseph Highmore, Sir Joshua Reynolds, Sir Henry Raeburn, Sir Thomas Lawrence, William Blake, IRISH ARTISTS: James Barry, SCOTTISH ARTISTS: Gavin Hamilton, Robert and James Adam, FRENCH ARTISTS:Nicolas de Largillière, Antoine Coypel, Hyancinthe Rigaud, Alexandre-François Desportes, Nicolas Lancret, François Lemoyne, Jean-Louis Lemoyne, Jean-Baptiste Lemoyne II, Claude Gillot, Charles-Joseph Natoire, Jean-François de Troy, Antoine Watteau,François Boucher,Jean-Baptiste-Siméon Chardin,Jean-Baptiste Greuze, Maurice Quentin de La Tour, Jean-Honoré Fragonard,Gabriel-François Doyen, Marie-LouiseÉlisabeth Vigée-Lebrun, Jean-Marc Nattier, François-Hubert Drouais, Jean-Germain Drouais, Louis Lagrenée, Jean-Baptiste Pigalle, Jean Restout, Pierre Subleyras, Edmé Bouchardon, Étienne-Maurice Falconet, Philip Jacques de Loutherbourg, Louis-François Roubiliac, Clodion, Jean-Antoine Houdon, Augustin Pajou, François-André Vincent, JeanJacques-François Lebarbier, Joseph-Marie Vien, Jacques-Louis David,Anne-Louis Girodet de Roucy-Trioson, Nicolas de Largillière, Antoine Coypel, Hyacinthe Rigaud, François Desportes, François Lemoyne, Antoine Watteau, François Boucher, Jean-Baptiste Siméon Chardin, Jean-Baptiste Greuze,

Learning Outcomes:

Students will be able to

• • Analyze the formal, technical, and stylistic characteristics of 18th-century art.
  • Understand how artistic production responds, shapes, and informs the mentality of a period.
  • Learn how the roles of art and artists have changed through time.

 Instructional Strategies: 

• • Lectures
  • Multimedia
  • Discussions

Assessment:

• • In-Course tutorials.
  • Assignments (more focus on analytical manner)
  • Viva individuals
  • Presentation 
  • Course final will be assessed by the course teacher (internal examiner) and a second examiner (external) 

References: 

• Kalnein W. G. and Levy M., Art and Architcture of the Eighteenth Century in France, Harmondsworth: Penguine Books Ltd., 1961.
• Levy M., Rococo to Revolution: Major Trends in Eighteenth-Century Painting, New York, Oxford University Press, 1974.
• Wakefield D., French Eighteenth Century Painting, London and Bedford: The Gordon Fraser Gallery Ltd., 1984.
• E. H. Gombrich, The Stoty Of Art, Phaidon, London, 1968.
• Gardners, Art Through the Ages, 7th Edition, Harcourt Brace Jovanovich Publishers, New York, 1976.
• A Dictionary of Art Terms --- Reginald Hagger, London, George Rainbird, Ltd., 1962.
• A Dictionary of Art Terms and Techniques Ralph Mayer, New York, Thomas Y. Crowell Company, 1969, London, 1970.
• Encyclopedia Of World Art, Mc Graw Hill, New York, 1959-68.

Course Credit: 4

Course Teacher: Pallab Saha

E-mail: pallabsaha@du.ac.bd

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

South Asian Art: Maurya to Gupta, is a course where students get ideas to understand the visual representation of South Asian art.

Specific Objectives:

• Investigate how civilizations flourished in South Asia. 
• How religion plays a vital role in the civilization of ancient India.
• It helps us gain a better understanding of South Asian visual narratives.
• South Asian Art: Maurya to Gupta, also helps us to get ideas of complex information which lies in the society of South Asia.
• To get a better understanding of the society where the students are living in.

Course Description/Contents:

• Geographical, social, and political history of South Asia.
• Vedic Philosophy and literature
• Political and cultural history of 16 MahaJanapada.(The Indian campaign of Alexander the Great, Bimbisara, Ajatasatru, Shishunaga, Nanda Dynasty )
• Art and Culture of Maurya(Chanakya and Chandragupta Maurya, Chandragupta Maurya, Bindusara, Ashoka the Great, Mauryanringstone, Mauryan Sculpture, Mauryan Architecture, Buddhist stupas during the Mauryan period)
• Art and Culture of Kusan (KujulaKadphises, VimaTakto, VimaKadphises, Kanishka, Vāsishka, Huvishka, Vasudeva I, Kanishka II, Vashishka, Kanishka, Vasudeva II, Vasudeva III, Vasudeva IV, Chhu, Shaka I, Kipunada, Head of a Kushan prince (Khalchayan palace, Uzbekistan). A Buddhist devotee in Kushan dress, Mathura, 2nd century, Sculpture of a spear-throwing foreign soldier, Offerings found in Bodh Gaya under the "Enlightenment Throne of the Buddha", with a decorated coin of the Kushan emperor Huvishka, TheQila Mubarak fort at Bathinda, India was built by Kanishka, Kushan worshipper with Zeus/Serapis/Ohrmazd, Bactria, 3rd century CE, Kushan worshipper with Pharro, Bactria, 3rd century CE, Kushan worshipper with Shiva/Oesho, Bactria, 3rd century CE, Mahasena on a coin of Huvishka, Kushan Carnelian seal, An early Mahayana Buddhist triad, The "Kanishka casket", with the Buddha surrounded by Brahma and Indra, Maitreya, with Kushandevotees, Buddha triad and kneeling Kushan devotee couple. 3rd century, Butkarastupa, Krishna temple in Mathura, Mathura)
• Art and Culture of Sungha (Pusyamitra Sunga, Agnimitra, Vasujyeshtha, Vasumitra, Andhraka, Pulindaka, Ghosha, Vajramitra, Bhagabhadra, Devabhuti, Balustrade-holding Yaksa, Yaksa reliefs. Bharhut, Sunga royal family, Amourous royal couple, Bronze coin of the Sunga period, Eastern India. 2nd–1st century BCE, Vedika pillar with Greek warrior. Bharhut, A relief from Bharhut, Sunga Yakshi2nd–1st century BCE.Sunga masculine figurine (molded plate). 2nd–1st century BCE.Sunga woman with child. 2nd–1st century BCE.SungaYaksa. 2nd–1st century BCE.Sunga fecundity deity. 2nd–1st century BCE.Sunga fecundity deity. 2nd–1st century BCE.)
• Art and Culture of Gupta (Srigupta, Ghatotkacha, Chandragupta I, Nishamusgupta, Samudragupta, Ramagupta, Chandragupta II, Kumaragupta I, Skandagupta, Purugupta, Kumaragupta II, Budhagupta, NarasimhaguptaBaladityaKumaraguptaIII, Vishnugupta, Vainyagupta, Bhanugupta, Ajanta, Ellora)

Learning Outcomes:

Students will be able to

• Understand, communicate, and talk about South Asian art.
• Understand the messages, complex data, beliefs, and ideas that exist in South Asian society.
• Read human attitude according to visual culture.
• Better understanding of society and surroundings. 

Instructional Strategies:

• Lectures
• Multimedia Presentations
• Discussions
• Museum Visits

Assessment:

In-Course tutorials.

Assignments (more focus on analytical manner)

Viva individuals

Course final will be assessed by the course teacher (internal examiner) and a second examiner (external)

References:

• Indian Art (Oxford History Of Art) 1st Edition, By ParthaMitter
• The Cave Temples Of India By James Fergusson
• A History Of Fine Arts In India And The West, By Edith Tomory
• Indian Miniatures Of The Mughal Court, By Amina Okada
• A Dictionary Of Art Terms --- Reginald Hagger, London, George Rainbird, Ltd., 1962.
• A.K. Coomerawami, History Of Indian And Indonesian Art., 1927.
• Stella Kramrisch, The Art Of India, Phaidon, 1954.
• Sir John Marshall, The Buddhist Art Of Gandhara, 1960.
• Buddhism, In Its ConnexionWith Brahmanism And Hinduism, And In Its Contrast With Christianity, By Sir MonierMonier-Williams, K.C.I.E.
• The Iconography Of Nepalese Buddhism By Min Bahadur Shakya
• The Indian Buddhist Iconography, Mainly Based On The Sadhanamala And Cognate Tantric Texts Of Rituals, By Benoytosh Bhattacharyya
• A Concise History Of Indian Art,  By Roy C. Craven
• The Archaeological Heritage Of Bangladesh, By AkmZakariah
• Sculptures In Bangladesh : An Inventory Of Select Hindu, Buddhist And Jain Stone And Bronze Images In Museums And Collections Of Bangladesh (Up To The 13 Century) By EnamulHaque
• Bengal Sculptures : Hindu Iconography Upto C 1250 A D, By EnamulHaque
• Iconography Of Buddhist And Brahmanical Sculptures In Dacca Museum, By NaliniKantaBhattasali
• Cultural Survey Of Bangladesh: Art And Crafts (Volume 8) Hardcover – 2007, By Lala Rukh Selim (Editor)

Course Credit: 4

Course: ARTH 354

Course Title: SOUTH ASIAN ART: PALA TO PRE MUGHAL

Course from: BFA 3^rd year

Course Teacher: Dr. Sk Manir Uddin

E-mail:  juelmanir@gmail.com

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

This is a course to give students of art history a brief introduction about the social, cultural and economic aspects of the history of Bengal during the Pala to Pre Mughal and how it shaped the art during that period.

Specific Objectives: 

• Discuss the origin of the Post-Gupta Bengal.
• Understanding and appreciation of the basis and aesthetics of the Pala Dynasty, Sena Kingdom, and Sultanate era.
• Describe the religious reflection of art
• Learn about the achievements of art and architectural development of Bengal.

 Course Description/Contents: 

• Geographical, political, and social history of Bengal.
• History of Pala era.
• Art of Pala: Painting, sculpture and architecture
• History and art of the Sena kingdom 
• Art and cultural history of the Sultanate era

 Learning Outcomes:

• Students will be able to analyze the formal, technical, and stylistic characteristics of artworks.
• Analysis and discussion will encourage the students to critically question the notion and nature of art.
• Middle Ages Art and Architecture of Bengal 
• Religious Reflection of Art.

 Instructional Strategies: 

• • Lectures
  • Multimedia Presentations
  • Discussions

Assessment:

• • In-Course tutorials.
  • Assignments (more focus on analytical manner)
  • Viva individuals
  • Presentation 
  • Course final will be assessed by the course teacher (internal examiner) and a second examiner (external) 

References: 

 R.C. Majumder, History of Bengal, Volume-1,2, The University of Dhaka,1943-2006. 6. K.M. Shamsul Alam, Sculptural Art of Bangladesh, Dhaka, 1985. 7. D. P. Ghosh, Medieval Indian Painting -------Eastern School, New Delhi, 1980. 8. E. H. Gombrich, The Stoty Of Art, Phaidon, London, 1968. 9. Gardners, Art Through the Ages, 7th Edition, Harcourt Brace Jovanovich Publishers, New York, 1976. 10. A Dictionary of Art Terms --- Reginald Hagger, London, George Rainbird, Ltd., 1962. 11. A Dictionary of Art Terms and Techniques Ralph Mayer, New York, Thomas Y. Crowell Company, 1969, London, 1970. 12. Encyclopedia Of World Art, Mc Graw Hill, New York, 1959-68.

Course Credit: 4

Course: ARTH 355 

Course Title: KOREAN ART

Course from: BFA 3^rd year

Course Teacher: Shobuj Sultan Anmon

E-mail:  anmon@du.ac.bd

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

This course is designed to provide a comprehensive understanding to the students of Korean Art and Culture.

Specific Objectives:

• Learn how nature and geography play a vital role in developing Korean Art and Culture.
• Discusses how the old cultural landscape of Korea fostered the sense of aesthetics of art.
• Learn about the cultural background of Korean people.
• Learn about the Korean society.
• Learn about Korean beliefs and practices.
• Learn the significance of the Korean Crafts.
• Learn the significance of the Korean Arts.

Course Contents:

• • History of Korea
  • Geographical, political, social and cultural history of Korea
  • Art of Korea: Painting, Sculpture, Architecture and others
  • Korean Mythology
  • TimeLine

Other Descriptions:

Korean Neolithic art, Bronze Age art, Iron Age art, Three Kingdoms art, Goguryeo, Aekje, Silla, Gaya, Unified Silla art, Goryeo Dynasty art, Joseon Dynasty art, Calligraphy and printing, Ceramics and sculpture, Architecture and interior design, Performing arts, Tea ceremony.

Learning Outcomes:

Students will be able to

• Understand
• Analyze
• Interpret
• Discuss
• Present
• Compare
• Motivate to learn more advance on that lesson. / Motivate to acquire more knowledge on the subject matter.
• Do higher inquiry
• Conduct research
• Apply in their academic and professional life.

Instructional Strategies:

• Lectures
• Multimedia Presentations
• Discussions
• Individual Presentations
• Group work
• Spot visit
• Museum study

Assessment:

• In-Course tutorials.
•  Assignments
• Viva voce
• Presentation
• Course final will be assessed by an internal (course teacher) and an external examiner

References: 

• ˆmq` Av‡bvqvi †nv‡mb, cÖvPxb Pxb mf¨Zv, XvKv: evsjv GKv‡Wgx, 1985|

• D.P. Ghosh, Medieval Painting --- Eastern School, Calcutta, 1939.
• S.K. Saraswati, Indian Art at the Cross-Roads, Calcutta, 1973.
• Seiroku Noma, The Arts of Japan ( Late medieval to modern).
• John Clark, Modern Asian Art.

Course Credit: 4

Course: ARTH 356

Course Title: Latin American Art

Course from: BFA 3^rd year

Course Teacher: Pallab Saha

E-mail:  pallabsaha@du.ac.bd

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction of the Course: 

In this course, we can learn a chronological and thematic survey of the major themes and developments in the history of Latin American art and traces the evolution of visual culture over approximately four millennia.

Specific Objectives: 

• Latin American fundamental components of art to see and analyze legendary Latin American artists’ artwork more deeply.
• How to compare and contrast of Ancient and Contemporary artworks from different territories of Mesoamerica. 
• Modern art helps to understand the periodical art evolution of Islamic Art.
• Introduces the art and architecture of ancient, colonial, and modern Latin America.
• Latin American narratives, musical forms, philosophical arguments, and visual representations from a multiplicity of perspectives.
• The modern Latin American humanities after the foundational period of national formation.

 Course Description/Contents:

• North America: Blackfoot, Comanche, Navajo, Nootka, etc.
• Northwest Coast: Sioux, Pomo, etc.
• Southwest: Tsimshian, Yurok
• Mesoamerica: Pre-Columbian, Aztec, Maya, Inca, etc.

 Learning Outcomes: 

Upon successful completion of this course, the student will be able to:

• Identify major monuments and works of art from Latin America, recalling such information as the name of the artist or culture, date or period, medium, location, and title.
• Construct a visual analysis of a single artwork or a small group of works through the identification of visual form, thematic content, and historical context.
• Discuss major movements in Latin American art and identify their characteristics.
• Recognize stylistic developments and trace influences between different Latin American cultures and over periods.
• Explain the relationship between artworks from Latin America and the cultural, social, economic, and political contexts in which they functioned and were produced.
• Discuss critical themes relating to the definition of Latin American art and its relationship to “Western” art history.

 Instructional Strategies: 

• Lecture.
• Multimedia Presentation 
• Discussions. 
• Readings on related topics for this course.  

Assessment:

• Assignment submitted with more analytical information.
• In-Course tutorials
• presentation 
• Viva individuals
• The course final will be assessed by the course teacher (internal examiner) and a second examiner (external).

References:

• Modern Latin American Art – Jamens A Findlay
• Latin American and Caribbean Artists of the Modern Era – Steve Shipp

Course Credit: 4

Course: ARTH 357

Course Title: ART OF SRI LANKA & OTHER NEIGHBORING COUNTRIES

Course from: BFA 3^rd year

Course Teacher: Mst. Taslima Begum

E-mail: 

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

 Introduction of the Course: 

 In this course, we can learn a chronological and thematic survey of the major themes and developments in the history of Sri Lankan art and other neighboring countries.

Specific Objectives: 

• Sri Lankan fundamental components of art to see and analyze their legendary artist’s artwork more deeply.
• How to compare and contrast of Ancient and Contemporary artworks from different territories of Sri Lanka. 
• Modern art helps to understand the periodical art evolution of Sri Lankan Art.
• Introduces the art and architecture of ancient and modern Sri Lanka.
• Sri Lankan narratives, musical forms, philosophical arguments, and visual representations from a multiplicity of perspectives.

 Course Description/Contents:

• Art in Southeast Asia
• Sri Lanka: Introduction, Early & Middle Historical Periods: 250 BC- 1250 AD
• Late Historical Periods: 1250-1800 AD  
• Art of Dambadeniya, Yapahuva and Kotte
• The Central Kandyan Tradition
• The Southern School 
• Early Twentieth-century Buddhist Painting
• Art of Cambodia, Indonesia, Nepal, Mongolia, etc.

 Learning Outcomes: 

Upon successful completion of this course, the student will be able to:

• Identify major monuments and works of art from Sri Lanka, recalling such information as the name of the artist or culture, date or period, medium, location, and title.
• Construct a visual analysis of a single artwork or a small group of works through the identification of visual form, thematic content, and historical context.
• Discuss major movements in Sri Lankan art and identify their characteristics.
• Recognize stylistic developments and trace influences between different Sri Lankan cultures and over periods.
• Explain the relationship between artworks from Sri Lanka and the cultural, social, economic, and political contexts in which they functioned and were produced.
• Discuss critical themes relating to the definition of Sri Lankan art and its relationship to “Western” art history.

 Instructional Strategies:

• Lecture.
• Multimedia Presentation 
• Discussions. 
• Readings on related topics for this course.  

Assessment:

• Assignment submission.  
• In-Course tutorials
• presentation 
• Viva individuals
• The course final will be assessed by the course teacher (internal examiner) and a second examiner (external).

References:

Buddhist Art in India and Sri Lanka -  U.K. Dabral

Course Credit: 4

Course: ARTH 358

Course Title: MATERIAL OF PLASTIC ART: HISTORY AND USAGE OF SCULPTURE

Course from: BFA 3^rd year

Course Teacher: Md. Akteruzzaman

E-mail: 

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

This course, Material of Plastic Art: History and Usage of Sculpture will provide the basic knowledge of the materials and techniques used in making three-dimensional artworks and the history of these practices.

Specific Objectives:

• Understand the history of making sculptures since the dawn of mankind.
• Know about the materials used in sculpture.
• Learn the chronological development of the materials and methods of making sculptures in various geographical and cultural areas.
• Most importantly this course will give a basic knowledge to understand some of the important techniques of making sculpture.
• Give an idea to understand the language of sculpture.

Course Description/Contents:

• Introduction to sculpture.
• Language of sculpture.
• Relation between structure and material. The advantages and limitations of various materials.
• Material and technique of sculpture: Use of material and technique and its chronological development in different geographical areas and cultures.

• Prehistoric period.
• Ancient civilizations.
• Different traditions.
• Materials used in ancient sculptures of Bangladesh.

• Study of materials and techniques used in sculpture.

• Clay
• Modeling    
• Terracotta
• Wood
• Carving
• Stone
• Carving
• Metal
• Casting     
• Welding

• Materials and techniques used in Modern sculpture (19^th century onwards).

Learning Outcomes:

• This course will enhance the familiarity with the materials and techniques of sculpture.
• Know the character of the material and how it influences the making of a sculpture.
• Learn the language of plastic art and how it is different from two-dimensional artwork.
• Get the knowledge of the chronological development of the language of sculpture in various areas and cultures.

Instructional Strategies: 

• Lectures
• Presentations
• Firsthand visual experience of the materials and techniques
• Visit exhibitions and museums

Assessment:

• In-Course tutorials.
• Assignments (more focus on analytical manner)
• Viva individuals
• Presentation 
• Course final will be assessed by the course teacher (internal examiner) and a second Examiner (external) 

References: 

• Zorach Explain Sculpture                                                 William Zorach
• The Language of Sculpture                                               William Tucker
• Sculpture in Wood                                                             Jack C. Rich
• The Materials of Sculpture                                                Nicholas Penny
• Modern Sculpture: Origin and Evolution                          Jean Selz              

Course Credit: 2

Course: ARTH 359

Course Title: VIVA

Course from: BFA 3^rd year

Marks: 50

Credit: 2

Exam conducted by: Exam Committee.

Course Credit: 4

Course: ARTH 451

Course Title: STUDY OF ICONOGRAPHY

Course from: BFA 4^th Year

Course Teacher: Dr. Masuda Khatun Jui

E-mail: 

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

Iconography is a course where students get ideas to understand and appreciate the visual representation in art.

Specific Objectives:

• Investigate how visual representation is used in art and religion.
• Examine how different cultures interpret images and icons.
• It helps us gain a better understanding of visual depiction.
• Enlighten the learners to get ideas of complex information in art.

Course Description/Contents:

• Iconography as a field of study.
• Erwin Panofsky, Gopinatha Rao, and other scholar
• Foundations of iconography.
• Twentieth-century iconography.
• Iconography in religious art.
• Iconography in Indian religions.
• Christian iconography.
• Secular Western painting.
• Iconography in disciplines other than art history.
• Iconography studies on individual works.
• Eastern iconography in the West.
• Spiritual beliefs of the Indian religio-philosophic mind.
• The relationships of the symbol and the spiritual states.
• Definition of Iconography and Iconology
• Buddhist Iconography
• Hindu iconography

Learning Outcomes:

Students will be able to

• How iconology can be effective in communicating ideas.
• Use Icons to represent messages, complex data, beliefs, and ideas.
• Research and write on art, art criticism, etc.
• Read human attitude according to visual culture.
• Better understanding of society and surroundings. 

Instructional Strategies:

• Lectures
• Multimedia Presentations
• Discussions
• Museum Visits
• Exhibition Visits

Assessment:

• In-Course tutorials.
• Assignments (more focus on analytical manner)
• Viva individuals
• Presentation
• Course final will be assessed by the course teacher (internal examiner) and a second examiner (external)

References:

• Elements Of Hindu Iconography By T. A. Gopinatha Rao
• Studies In Iconology: Humanistic Themes In The Art Of The Renaissance 
  By  Erwin Panofsky And Gerda S. Panofsky
• Meaning In The Visual Arts By  Erwin Panofsky
• Idea: A Concept In Art Theory By Erwin Panofsky
• Renaissance And Renascences In Western Art By  Erwin Panofsky And Lena I. Gedin
• A Dictionary Of Art Terms --- Reginald Hagger, London, George Rainbird, Ltd., 1962.
• A.K. Coomerawami, History Of Indian And Indonesian Art., 1927.
• Stella Kramrisch, The Art Of India, Phaidon, 1954.
• Sir John Marshall, The Buddhist Art Of Gandhara, 1960.
• Genealogy Of The  South Indian Deities By Daniel Jeyaraj
• Buddhism, In Its ConnexionWith Brahmanism And Hinduism, And Its Contrast With Christianity, By Sir MonierMonier-Williams, K.C.I.E.
• The Iconography Of Nepalese Buddhism By Min Bahadur Shakya
• An Introduction To Iconography By  Roelof Van Straten, Patricia De Ma
• Christian Iconography: Or, The History Of Christian Art In The Middle Ages. By The Late Adolphe Napoleon Didron
• Dictionary Of Gods And Goddesses By Michael Jordan
• A Dictionary Of Symbols By J. E. Cirlot Translated From The Spanish By Jack Sage Foreword By Herbert Read
• The Indian Buddhist Iconography, Mainly Based On The Sadhanamala And Cognate Tantric Texts Of Rituals, By Benoytosh Bhattacharyya

Course Credit: 4

Course                 : ARTH 452

Course Title: WESTERN ART: 19^TH –CENTURY

Course from: BFA 4^th  year

Course Teacher: Md. Aktaruzzaman

E-mail: 

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

This course is an introduction to the 19th-century art of the Western world which is mainly Europe and North America.

Specific Objectives: 

• Understand the history of art of the Western world during the 19^th century.
• Know the socio-political background of the art movements of that period and how they shaped the new expressions of visual art.
• Learn the philosophical ideas and other innovations of that period that had influenced the visual art of that period.
• This course will mainly give a thorough knowledge to understand the art of the Western world during the nineteenth century.
• This course will also give an idea of the new methods and techniques which were introduced by the artists to create a new visual language.

Course Description/Contents:

 Introduction to 19th century western art i.e. Romanticism, Realism, Impressionism, and Post-Impressionism.

• Romanticism:

1. Socio-political background.  b. Philosophical views, the influence of literature, the reaction against industrial development.  c. Fascination for nature and its beauty, Art pour l’art, etc.  d. Important painters, sculptors and architects and their works.  e. Development and spread of Romanticism in Europe and North America.

• Realism:

1. Philosophy of this movement.  b. Important artists and their artworks c. Barbizon school.  d. Landscape.

• Impressionism:

1. Main factors in its development.  b. En plein air, theory of light and colour, etc.  c. Painting and of sculpture of important artists. d. Other minor styles related to Impressionism.

• Post-Impressionism:

1. Philosophical views of this art style. b. Artists and their distinct ways of depiction. c. Further developments based on Post-Impressionism.

Learning Outcomes:

• This course will give detailed knowledge about Western art 19^th century.
• Be familiar with the artworks of the individual artists of that period.
• Know the characteristics of the art movements of that period and compare them with the previous art movements.
• Acquire a detailed knowledge of the philosophical ideas behind these art movements.
• Learn about the socio-economic and political atmosphere of that time and how it influenced the art of the 19^th century.

Instructional Strategies: 

• Lectures
• Presentations
• Documentaries
• Videos

Assessment:

• In-Course tutorials.
• Assignments (more focus on analytical approach)
• Viva individuals
• Presentation
• Course final will be assessed by the course teacher (internal examiner) and a    Second examiner (external) 

References: 

• History of Art by H. W. Janson
• The Story of Art by E. H Grombrich
• Romantic Art by William Vaughan
• Encyclopedia of Impressionism by Bernard Denver
• Impressionism: The Painters and the Paintings by Bernard Denver
• A History of Western Art  by Laurie Schneider Adams
• Art Across Time by Laurie Schneider Adams
• Impressionists and Impressionism  by Maria & Godfrey Blunden
• Impressionism by Ed. Martha Kapos
• Post-Impressionism by Bernard Denver
• Van Gogh  by Melissa Mcquilan

Course Credit: 4

Course: ARTH 453

Course Title: WESTERN ART: 20TH CENTURY

Course from: BFA 4^th Year

Course Teacher     : Pallab Saha

E-mail: pallabsaha@du.ac.bd

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

This course Explores the history of the artistic developments of the 20th Century in Europe and the United States.

Specific Objectives: 

• Particular emphasis will be given to the historical, sociological, cultural, and ideological context.
• The study of artists and artworks will be completed by readings of selected texts to understand the aesthetic, cultural, and intellectual concepts of the periods and movements covered by the course.
• Discuss the changing role of the artists as a member of the society.
• Knowing the socio-political and economic background played a vital role in shaping the visual art of the 20^th century.  

 Course Description/Contents: 

• Geographical, political, social and cultural history 
• Definition of modernism. 
• Paintings, sculpture, architecture, photography and other
• EARLY 20th-CENTURY ART:FAUVISM: André Derain, Henri Matisse, EXPRESSIONISM: Emil Nolde, Käthe Kollwitz, Paula Modersohn-Becker, Egon Schiele, Franz Marc, Wassily Kandinsky, Paul Klee, CUBISM: Pablo Picasso, Georges Braque, Fernand Léger, Constantin Brâncuşi, FUTURISM: Umberto Boccioni, SUPREMATISM: Kazimir Malevich, Vladimir Tatlin, Lyobov Popova, DADA: Hugo Ball, Guillaume Apollinaire, Marcel Duchamp, Kurt Schwitters, Hannah Höch, CONSTRUCTIVISM: Aleksandr Rodchenko, El Lissitzky, SOCIALIST REALISM, DE STIJL: Piet Mondriaan, Theo van Doesburg, BAUHAUS, SURREALISM: Max Ernst, Joan Miró, Méret Oppenheim, Salvador Dalí, Alberto Giacometti, Henry Moore, Alexander Calder, Jean Dubuffet, ABSTRACT EXPRESSIONISM: Jackson Pollock, Willem de Kooning, Mark Rothko, Barnett Newman, David Smith, Barbara Hepworth, Louise Nevelson, ASSEMBLAGE: Robert Rauschenberg, POP ART: Andy Warhol, Claes Oldenburg, Roy Lichtenstein, Robert Indiana, Eduardo Paolozzi, MINIMALISM: Donald Judd, Richard Serra, Dan Flavin, Ulrich Rückriem, Frank Stella, CONCEPTUAL ART: Joseph Beuys, EARTHWORKS & SITE SPECIFIC: Robert Smithson, Christo and JeanneClaude,PHOTOGRAPHERS: Alfred Stieglitz, Dorothea Lange, Ansel Adams,ARCHITECTS:

Adolf Loos, Walter Gropius, Le Corbusier, Gerrit Rietveld, Frank Lloyd Wright, Cass Gilbert, Ludwig Mies van der Rohe, Eero Saarinen, Moshe Safdie, Philip Johnson, Zaha Hadid, Frank Gehry, Norman Foster.British Arts and Crafts, 1880-1910. American Arts and Crafts, 1900-1915. European Art Nouveau, 1880-1905. American Art Nouveau, 1890-1910. Wiener Werkstätte, 1903-1933. De Stijl, 1917-1928. Bauhaus, 1919-1933. European Art Deco, 1920-1940. American Art Deco, 1920-1940.Art Nouveau,1890-1914.20th Century Sculpture: Arp, Jean, Balla, Giacomo, Baranoff-Rossine, Wladimir,  Umberto Boccioni, Marcel Duchamp, Jacob Epstein, Max Ernst, Alberto Giacometti, Duane Hanson, Aristide Maillol, Stanley Saitowitz: New England Holocaust Memorial, Boston, 1995, Umberto Boccioni, Giacomo Manzù, Marino Marini, Arturo Martini, Group of Seven: Tom Thomson, A. J. Casson, J. E. H. MacDonald, Arthur Lismer, Lauren S. Harris, A. Y. Jackson, J. E. H. MacDonald, LATER 20th-CENTURY ART: Francis Bacon, Pollock, David Hockney, Frederic Taubes, Jon Schueler, Mark Rothko, Claes Oldenburg and Coosje van Bruggen, Isamu Noguchi, Andy Warhol, James Rosequist, Roy Lichtenstein, Guerilla Girls, Jenny Holzer, Christo and Jeanne-Claude, Nam June Paik, Judy Chicago, Carolee Schneemann, Audrey Flack, Mel Ramos, Adrian Piper, Keith Haring, etc.

 Learning Outcomes:

Students will be able to 1. Talk about the Political and social history of 20th-century Europe 2. Analyze the formal, technical, and stylistic characteristics of the 18th Centuries of art. 3. Understand how artistic production responds, shapes, and informs the mentality of a period. 4. Learn how the roles of art and artists have changed through time.

Instructional Strategies: 

• Lectures
• Multimedia Presentations 
• Discussions

Assessment:

• In-Course tutorials.
• Assignments (more focus on analytical manner)
• Viva individuals
• Presentation 
• Course final will be assessed by the course teacher (internal examiner) and a second examiner (external) 

References: 

• • E. H. Gombrich, The Stoty Of Art, Phaidon, London, 1968.
  • Gardners, Art Through the Ages, 7th Edition, Harcourt Brace Jovanovich Publishers, New York, 1976.
  • David Cottington, Modern Art-A Very Short Introduction, Oxford University Press Inc., New York, 2005.
  • Robert Rose
  • A Dictionary of Art Terms --- Reginald Hagger, London, George Rainbird, Ltd., 1962.
  • A Dictionary of Art Terms and Techniques Ralph Mayer, New York, Thomas Y. Crowell Company, 1969, London, 1970.
  • Encyclopedia Of  World Art, Mc Graw Hill, New York, 1959-68.
  • Warner Hoffmann, Painting in the Twentieth Century, London, Lund Humphries, New York, Praeger, 1960, 2 vols.
  • Maurice Raynal, et.al. History of Modern Painting, Geneva, Skira, 1949-50. 3 vols.
  • Andrew Carnduff Ritchie, Sculpture of the Twentieth Century, New York, MoMA, 1952. E.
  • Guillaume Apollinaire, The Cubist Painters: Aesthetic Meditations 1913.Translated by Lionel Abel. New York : Wittenborn, Schltz.
  • Fry, Cubism. New York: Mc Graw –Hill; London: Thames and Hudson, 1966.
  • Robert Rosenblum, Cubism and Twemtieth Century Art.  New York: Abrams, 1961.
  • Joshua C. Taylor, Futurism, New York, MoMA, 1961. Bernard S Myers, The German Expressionists: A Generation in Revolt. New York: Praeger, 1957.
  • Nikos Stangos (Edited), Concept of Modern Art: From Fauvism to Post Modernism, London: Thames