UGC NET Visual Art Syllabus

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UGC NET : Visual Art subject syllabus:

UGC NET PAPER – II and Paper – III (A) [ CORE GROUP ]

Unit — I

General characteristics of Visual art / Fundamentals of visual art : Space, form, size, shape, line, colour, texture, tonal values, perspective, design and aesthetic organization of visual elements in art object ( composition ). The uses of two and three dimensions in visual art. Tactile quality in art. Environment and art. Perceptual and conceptual aspects in art.

Unit — II

Interrelationship of various arts : Rhythm, structure, use of space, visual properties, materials, techniques ( traditional and modern ), ideas, themes ( narrative and non – narrative ) conceptual, abstract elements between performing, cinematic, literary and plastic art.


Unit — III

Traditional and Modem mediums and materials in making visual arts : Painting, sculpture, print – making, mural, graphic design and multimedia art. Inventions, adoptations and development of these mediums and materials from the pre – historic period to present-day all over the world.

Unit — IV

Traditional and Modem techniques, processes and procedures, used in making painting, sculpture, print – making, mural, graphic design and multimedia art, such as modeling, carving, building, casting, different way of handling of colour pigment ( like impasto, glazing, burnishing, drip ), etching, relief, surface printing, fresco buono. fresco secco, etc. Printing processes including computer graphic, etc.

Unit — V

Relevance of the study of the history of world art ( including history of advertising and marketing ) for the students of Visual Arts in general and Art History as an area of specialization.

Unit — VI

Relevance of the study of aesthetic and critical theories of art for the students of Visual Arts ( including students of Applied Arts ) and students of Art History and Art Criticism specialization.


Unit — VII

Study of landmark phases and artists in Western Art History from Pre – Historic times to Contemporary phase from the point of view of ideology, materials, techniques, style, themes, formal and stylistic development.

Unit — VIII

Study of various phases of Indian Art History from Pre – Historic times to 18th century ( including the history of advertisement ) from the point of view of general formal and stylistic features and development of ideology, materials technique and themes.

Unit — IX

Development of modernity in 19th and 20th century. Indian art ( including Applied Arts ) with special reference to various art movements, medium, styles, individual artist’s contributions in different regions of the country. The development of art education from the British Art Schools till the contemporary period.

Unit — X

The significance of the study of Tribal, Folk and Popular arts and craft practices from all over the world for the modem artists ( including Applied Arts ) from the point of form, technique, content and concepts.

UGC NET Paper – III ( B ) [ ELECTIVE / OPTIONAL ]

Elective — I : Art History

1. Indian Sculpture

Formal and stylistic aspects of sculpture in Indus Valley of Mauryan Sunga, Satvahana, Kushana ( Mathura and Gandhara ), Gupta ( Buddhist, Brahmanical and Jain ), Chalukya, Gurjara Pratihara, Pallava, Chola, Rashtrakuta, Hoysala, Kakatiya, Pala-Sena, Orissan, Solanki and Paramara periods.

2. Indian Architecture

Formal and stylistic aspects of architecture in Indus Valley of stupas ( Bharhut, Sanchi, Amaravati, Samath ) of cave temples, ( Bhaja, Karle, Ajanta, Nasik, Lomas Rishi, Kanheri, etc. ), Gupta ( Udayagiri, Deogarh, Nachna, etc. ), Ghalukya ( Badami, Aihole, Pattadakal, etc. ), Pallava ( Mahabalipuram, Kanchipuram, etc. ), Rashtrakuta ( Ellora ), Guijara Pratihara, Saindhava — Maitraka, Chandela ( Khajuraho ), Orissa ( Bhubaneswar, Konarak ), Chola ( Tanjore and Gangaikonda Cholapuram, Darasuram, etc. ), Hoysala ( Belur, Halibid, etc. ), Kakatiya, Kalayan, Chalukvas. Solanki ( Modhera. Rani Ki vav etc. ), Paramara, Nayuka and Vijayanagar ( Hampi Lepakshi ). Islamic architecture; Sultanate and Mughal; Mandu, Delhi, Agra, Fathepur Sikri.

3. Indian Painting

Formal and stylistic aspects of pre – historic, Ajanta, Bagh and later mural tradition, Manuscript painting ( Eastern Indian and Western Indian ), Sultanate ( Mandu ) Chourapanchasika style and other pre – Mughal schools, Mughal ( Akbar to Shahjahan ), Rajasthani ( Mewar, Bundi, Kotah, Bikaneer, Jaipur, Kishangarh, etc. ), Malwa, Pahari ( Basholi, Guler, Kangra ) and Deccani ( Ahmednagar, Bijapur and Golkonda ) schools.

4. Indian Iconography

Antiquity of image worship, development of the cult of Vishnu, Shiva and Shakti and various forms of their iconography, Sapta – matrika, Lakshmi, Surya, Yaksha, Ganesha and Kartikeya. Hindu temple and iconography ( Ashta ) ( Dikpalas, River Goddesses, etc. ), Buddhist narratives ( Jataka tales and life of Buddha ) origin and development of Buddha image and Bodhisatvas ( Avalokiteshwara, Maitreya, Ashtamahabhayatarana, Avalokiteswara, Manjushri Tara and Kubera / Panchika. Iconography of Tirthankaras ( Rishabhanatha, Mahavira, Parshvanatha, Neminatha ), Bahubali, Jaina Yaksha and Yakshi, Ambika, syncretic images, etc. Narratives in Medieval painting ( Gitagovinda, Ramayana, Laurchanda, Ragamala, Rasamanjari, Kalpasutra and Kalakachaiya Katha, etc. ).

5. Aesthetics and Art Critical History

General principles of Indian art, art and beauty, principles of image making ( iconometry and other canons ), six limbs of Indian painting ( shadanga ) and six Chinese canons of painting, theories of Rasa, Dhvani, Alankara, Auchitya and Riti, and their relevance in understanding art making and viewing. Interrelationship of visual and performing art. Classification of painting in Chitrasutra. Concepts of Kshyavridhi, Guna – dosha, Sadrishya, Vartana, Nimnonata, etc. Visible and invisible aspects of art ( Drishyam / Adrishyam ), Rekha ( Line ) and Linear rhythm ( Chanda ) compositional aspects of art, perspective, form and content. Textual sources ( Vishnu dharmottara, Brihatsamhita and other Silpasastra texts ). Kashmiri aestheticians.

Distinctions and overlap between the scope of Art History, Art Criticism, and Aesthetic theories. Interrelationship between Art History, Anthropology, Archaeology, Cultural History and Philology. Development of Art History as a discipline. Connoiseurship and catalogue raissone. Development of formalism ( Wolfflin, Reigl, Roger Fry, Greenberg ), Iconology ( Gombrich and Panofsky ), Visual perception ( Rudolf Amheim ) and New Art History ( Bryson, Hal Foster ). Ananda Coomaraswamy and Stella Kramrisch and their relevance in the Indian Art Historical Studies.

Western approaches to art and aesthetics : Plato, Aristotle, Alberti, Vasari, Bellori, Reynolds, Diderot, Wincklemann, Croce, Tolstoy, etc. Writing by artists and manifestos of modem art movements. Theory of Avant – Garde. Implication of theories of Semiotics, Structuralism, Post – structuralism, Post – modernism and Feminism on Art thinking and writing.


6. European Art ( Landmarks of Architecture Sculpture and Painting )

Pre – historic art ( France and Spain ), Cretan, Greek, Roman, Etruscan, Early Christian, Byzantine, Gothic, Renaissance, Mannerist, Baroque, Neo – Classicism, Romanticism, Realism,. Impressionism, Post-Impressionism, Symbolism, Fauvism, Cubism, Expressionism and different abstract trends. Futurism, Dadaism, Surrealism, Abstract Expressionism, Op, Pop, Mininimal, Neo – figuration and various art developments in Post-modern period ( Italian Trans – avantgarde, German Neo – expressionism, Happening, Installation, Feminist and Gay art.

7. Art and Architecture of Ancient Near East

The art of Egyptian, Mesopotamian, Sumerian Akkadian, Assyrian, Achaemanid, Minoan and Sassanian cultures.

8. Art and Architecture of the Orient

The art Far Eastern ( Chinese and Japanese ), Islamic, Central Asia, Nepal, Tibet. Sri Lanka, Cambodia, Java, Siam and Burma.

9. Modern Indian Art

Company School, Bazar Painting, British Art Schools, Kalighat Painting, Raja Ravi Varma and followers. Neo – Bengal School ( ‘Revivalism’ and early modernists ) : Abanindranath Tagore and disciples, Nandalal Bose, Benode Behari Mukheijee, Ramkinkar Baij, Rabindranath Tagore, Gaganendranath Tagore, Jamini Roy and others. Role of Santiniketan in art education.

Academic / Professional sculptors and painters; Mahatre, Talim, D.P. Roy Choudhuri, Dhurandar, Hemen Majumdar, Thakur Singh, etc. Early modernists : Amrita Shergil, Karmarkar, George Keyt. Art in 1940’s and 50’s : Bengal famine and artists ( Somnath Hore, Chittaprasad, Zainul Abedin, Gobardhan Ash, Sudhir Khastgir ), Progressive art movements in Calcutta, Madras, Bombay and Delhi. International Modernism and artists : F.N. Souza, Pradosh Dasgupta, K.C.S. Panikkar, B.C. Sanyal, Dinkar Kaushik, Nirode Majumdar, Paritosh Sen, M.F. Husain, Akbar Padamsee, Ramkumar and others. Independent Artists : N.S. Bendre, K.K. Hebbar, Shankho Choudhuri, Krishna Reddy, Dhanraj Bhagat, Y.K. Shukla, Piloo Poochkhanwala, V.S. Gaitonde. Santhanraj, Davierwala and others.

Art in 1960’s and 70’s Indigenist trends in painting, sculpture, mural and print – making; K. G. Subramanyam, K. C. S. Panikkar ( Cholamandal artists village ), Reddappa Naidu, S.B. Palsikar, Janaki Ram, Meera Mukherjee, Jyoti Bhatt, J. Swaminathan, Neo-Tantric art, etc. Figurative-Narrative trend since 1960’s; Bikash Bhattacharjee, Ganesh Pyne, A. Ramachandran, R.B. Bhaskaran, Lakshma Goud, Jogan Choudhuri, Bhupen Khakhar, Anjole Ela Menon, Arpita Singh, Gogi Saroj Pal, Arpana Kaur, Vivan Sundaram and others. Trend of Abstraction since 1960’s : Raghav Kaneria, Jairam Patel, P. Barwe, Ram Kumar, L. Munnuswamy, P. V. Kolte, Jagmohar Chopra, Balbir Singh Katt, Nagji Patel.

Development of Installation, Multimedia, Performative, Happening Art : Nalini Malatni, Ved Nayar, Vivan Sundaram and others.


Tribal, Folk and Popular Art ( Including Design and Functional Art )

African, Oceanic, North-West Coast American, Mexican, Indian, South – East Asian Art.

India : Pata painting ( Rajasthan, Bengal, Orissa ), Madhubani, Warii, Pithoro painting. Dokra bronzes, terracotta horses ( Gujarat, U.P., Bengal, M.P., Tamil Nadu ), wood carving ( Kondappalli, Karnataka ( Bhuta ), Bengal, M.P. ), Leather Puppets ( A.P., Karnataka ). Indian traditional and modem design and functional arts : Textiles — Benaras, Kanchipuram. Gujarat Brocade, Baluchari, Dacca Malmal, Paithaini, Katki and textiles of North – Eastern States. Tie and Die fabrics, embroideries ( Phulkari, Chamba Rumal, Kantha ), Metalware ( Bidari, rapousse, enamelling ), jade, beads, jewellery and other.

Elective — II : Drawing and Painting

Knowledge of principal elements, perspective values, fundamentals of paintings. Visual principles, Form, space, illusion, image. Chronology of the development of ideas. Visual reality, conceptual reality. Tradition and the gradual development of the art of combining the elements of ideas of different visual arts specialization.

Media and materials and their use, sketching and drawing. Application of materials, oil painting — Alla Prima and old master process, glazing and scumbling, priming of canvas, different types of oil, brushing etc. Tempera and Gouache and their uses in painting in both traditional and non-traditional art. Wash method on paper and silk, Acrylic, pastel, mixed media, water colour mural and mural techniques — Fresco secco and Buono fresco, Ajanta and different modem media relief and mixed media in mural.

Collage, Encaustic Wax
Supports in Painting ( Canvas, paper, wood, silk, etc. )

Types of paintings, open air paintings, portrait paintings, study of head and full length figures, male and female. Landscape paintings, patronised art. paintings under different art movements, still life, thematic, abstract, etc.

Principles of compositions, reflection of artists personal views, development of concept. Process of creative paintings. Expression of ideas under some aesthetical and philosophical views. Artistic expression during different social and structural changes. Art and Changes.

Application of techniques, colours and colour theory and the application of colour theory in art activities. Colour harmony, traditional application of colour and the application of colour with reasoning.

Colour preparation, texture, technical aspect of pigment. Sources and influences of various traditions. Study and understanding of artistic value, construction of forms, shapes, planes, volume and totality, understanding of two and three dimensional approaches and the purpose.

Relevance of the study of aesthetics in Fine Arts / Visual Arts. The early Philosophical thoughts in Indian Culture. Nature and function of works of art in society. Concepts of Rasa, Sadanga, Dhvani, Alankara, etc., in traditional art. Concept of art and beauty, idea, imagination, intuition form and content, sublime, sympathy, empathy, creativity allegory, myth. Philosophy and aesthetical views of Kant, Hegel, etc.

Pre – historic Indian Painting, Classical Indian Paintings. Mural ( Ajanta, Bagh ) and later Mural traditions. Manuscript Painting, Miniature Painting, Folk and Tribal Paintings.

Company school of paintings, Raja Ravi Verma, Bengal School under Abanindranath and his disciples ( Kshitindra Nath Majumdar, Samarendranath Gupta, K. Venkatappa, Abdul Rahman Chughtai, Ashit Kr. Haider, Nandalal, etc. )

Nandalal and his disciples ( Ramkinkar, Binod Bihari, Dhirendrakrishna Dev Varma, etc. )

Amrita Shergil, Academic Realism, Calcutta Group ( Paritosh Sen, Gobardhan Ash, Nirode Majumdar, Pradosh Dasgupta, Hemanta Mishra, etc. )

Major trends in contemporary Indian Art since, 1947.

Major phases in Western Painting, Greeco – Roman, Byzantine, Gothic, Renaissance ( background of Renaissance, Humanism and the intentions and discoveries of the evolution of personal style of Early Renaissance and High Renaissance ), Baroque and Rococo ( background, conception with some important artists activities ).

Neo – classicism, Romanticism, Neo-Realism, Impressionism Post – impressionism, Cubism, Fauvism, Futurism, Dadaism, Surrealism, Abstract Art, Abstract Expressionism Op, Pop, Neo – figuration, Art in Post – modern time.

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