Coming soon
Aesthetics and Art Theory (Theory)
This course will enable the students to-
- Demonstrate a mastery of the means and methods of art historians.
- Gain an understanding of Aesthetics and its allied theories given by scholars.
- Perform historical and contextual analysis of work of art.
- Develop an understanding of visual analysis and visual literacy.
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Course |
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Learning and teaching strategies |
Assessment Strategies |
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Paper Code |
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VHA 122 |
Aesthetics and art theory |
The students will be able to- CO6: To know the evolution of Indian aesthetics throughout history. CO7:Developknowledge of the theories given by Indian philosophers and its application while visualizing a work of art. CO8:Be able to appreciate and criticize a work of art on the basis of its elements and principals. CO9: Be able to explain therelationship between art, philosophy and aesthetics. CO10:Develop skills to write critically on the theories given by Indian art philosophers.
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Approach in teaching: Interactive Lectures, Discussion, Tutorials, Reading assignments, Demonstration of writing and visualizing. Learning activities for the students: Self-learning assignments, Effective questions, presentation, Giving writing tasks. |
Class test, Semester end examinations, Quiz, Solving problems in tutorials, Assignments, Presentation, Individual and group projects, regular submission. |
CONTENTS
Aesthetic theories, texts, and art practice, shastric concepts and precepts, and their role in the understanding of Indian art are critically examined. The inter-disciplinary nature of Indian art is reviewed by placing art works in their literary contexts. The course includes topics such as: an introduction to the nature of art and aesthetic experience; world-view and artistic expression; aesthetics in a historical perspective; the writings of important thinkers: Bharata's Natyashastra, Prachina and Navina schools of Sanskrit poetics, Dhvani and Rasa in the writings of Anandavardhana and Abhinavagupta; canons of Indian art and their relationship to art practice; poetic metaphors in Indian sculpture and painting; and an introduction to Islamic aesthetics
History of Indian Aesthetics- The Scope, Historical perspective and Evolution of the Dramatic Art, Natyashastra, Its Meaning and Aim.
Rasa: Types of Rasa and their aesthetic experience, Rasa Theory as Aesthetic object, Bharata’s conception of Rasa, Constituents of Rasa and their relation: Vibhava, Anubhava, Vyabhicharibhava; Bhava and Stthayibhavas.
Commentators on the Natyashastra: Bhatta Lollatta’s practical point of view, his theory and Criticism and objections on his theory, Bhatta Shankuka’s Psycho- Epistemic approach to the problem of Aesthetics, Bhatta Nayaka’s theory.
Dhvani: History of Dhvani,
Mahima Bhatta: Introduction, Attitude towards Dhvanikara, Theory of Kashmir Saivism, Theory of Aesthetics, Conceprtion of Rasa as a reflection of a Sthyain
Abhinava Gupta: The Meaning of Rasa, His explanation of the omission of “Sthayin” in Bharata’s definition of Rasa.
Ananda Vardhana : Dhvanyaloka
Shadanga: Six Limbs of Painting by Abanindranath Tagore
Vishnu Dharmottar Purana: Contribution of Chitrasutra of the Vshnu dharmottar purana to Ancient Indian Aesthetics.
Interrelationship of Visual and Performing Art taking examples from illustrative Geet Govind, Sursagar and Rasika Priya
1. Comparative Aesthetics, Prof. Dr. Kanti Chandra Pandey, The Chowkhamba Sanskrit series, Studies Volume II
2. Mukund Lath, ‘Bharata and the finr art of mixing structures’ in Bahuvachana: An occasional of the arts and ideas, K.B. Vaid, J. Swaminathan and Asik Vajpeyi, Bharat Bhawan, Bhopal.
3. Concept of Rasa and the foundations of Indian Aesthetics in Bharata” in Anupa Pande, Historical and Cultural study of the Natyashastra.
