Proposal for the Inclusion of Arts and Sciences 265 in gec categories 2 & 4
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Text John C. Huntington and Dina Bangdel. The Circle of Bliss: Buddhist Meditational Art.Chicago and Columbus, Serindia and The Columbus Museum of Art 2003 Unfortunately, on closed reserve in the Fine Arts Library only Course Description & Objectives: Description: Buddhist art from India, China, and Japan has long graced many western museums throughout the world. More recently, works from the other Buddhist regions of the world have also become popular as well. However, except for a very few specialists, they are primarily admired for their exquisite beauty and exotic or some imagined “mystical” quality. The course will provide both a religious setting and cultural context for several of the major types of Buddhist art. The emphasis of the course work, readings, and assignments will be on providing the student with understanding of the History of Buddhism the evolution of its soteriological methodologies, and the both the historical continuities discrete role that art lays in the religion. Catalog Description: The course will provide both a religious setting and cultural context for several of the major types of Buddhist art. Emphasis will be placed on a holistic understanding of Art in primarily religious context and to a lesser degree, societal, and cultural understanding. The course has three objectives 1. To provide an historical overview, free of discipline based biases, Euro-American cultural condescension, and sectarian viewpoints. 2. To provide a description of the literature of Buddhism and how it informs the arts for the following: A. Shravaka yana (pejoratively known as Hina yana) Methodologies B. Mahayana Methodologies 1) Bodhisattvayana including Madhyamika and Paradise 2) Tantrayana including Yoga Tantra, Carya Yoga Tantra, and Annutata Yoga Tantra C. To illustrate by specific examples how the art connected with of each of these methodologies informs the practice of both the ritual specialist and the laity. Method of Instruction: Primarily, slide-lecture and discussion techniques will be used in the course. Although there will be numerous “no slide” days or days in which the “slides” will consist of didactic graphics. These will usually be posted on the Huntington Archive web site. Invariably, some individuals wish to discuss the ideas in this course in more detail than the usual class format allows. The students are always welcome in my office for further discussion of any topic. Student responsibilities: 1) To compile a keyboarded and printed out notebook of class notes. This is to include any handouts and other materials from the courses and may include other materials from the recommended text, the website and other sources of the student’s choosing. 2) Attendance is also mandatory. Three unexcused absences and there will be a one full point reduction from the earned grade, i.e., A to B and so on. (This is not my first choice, but recent experience has demonstrated that enforcement of attendance is necessary to protect some students from their own lassitudness which resulted in much lowered grades.)
1) Notebook: the notebook will be examined briefly the week before the midterm and the week before the final. It will be graded in the usual manner A-E, and the combined grades will amount to 25% of the course grade or 12.5% for each examination. Failure to turn in an appropriate notebook, i.e., keyboarded and printed will result in two unfortunate situations. a) You will lose the percentage of the grade for the notebook and, b) you will not be permitted to use notes of any kind for the exam. (Bad Idea) 2) The Midterm grade is 35% of the course grade 3) the final is 40% of the course grade. While this may seem rather mechanical, it is not. I reserve the right to adjust any grade in any direction as far as I choose because of whatever circumstances I perceive as pertinent. What does that mean? Generally, it means that I tend to reduce the numerical penalty for poor performance at the midterm and reward significantly improved performance for the final. While there are rare exceptions in which I will change a grade in a negative direction (obviously wild guessing that does net a few correct answers etc.), it is generally to the individual’s benefit when I do make such changes. Fair warning: If you do it right, the notebook is a lot of work (if you do not do it right your grade will almost certainly reflect that). If you do not keep up with it for the entire quarter, starting with week one, you will not succeed in the course. Every year that I have taught this course, some individuals have attempted to skimp, skip, or “cram” the notebook into the last few days before it is due. It does not work! And, the grades of the individuals who try such tactics demonstrate that with great clarity. You MUST designate one or two days each week as “notebook days” or there will be difficulties. Statement of Departmental Policies: Images for Study: The images for this class will be available for online study. Simply go to the Huntington Archive Homepage ( http://huntingtonarchive.osu.edu ) go to “Projects” and under Projects go to Asian Art History Course Support (OSU students only.) Students with disabilities: Any student who feels that he or she may need an accommodation based on the impact of a disability should contact me to discuss your specific needs. I usually rely on the Office of Disability Services to verify the need for accommodation and to help develop accommodation strategies. Students with disabilities who have not previously contacted the Office of Disability Services are encouraged to do so, by looking at their website (http://www.ods.ohio-state.edu) and calling them for an appointment. Academic misconduct: OSU professors are required by their contracts to report suspected cases of academic misconduct to the Committee on Academic Misconduct. (The University’s rules on academic misconduct can be found on the web at http://acs.ohio-state.edu/offices/oaa/procedures/1.0.html) The most common form of misconduct is plagiarism. Remember that any time you use the ideas or the statements of someone else, you must acknowledge that source in a citation. This includes material that you found on the web. The University provides guidelines for research on the web at http://gateway.lib.ohio-state.edu/tutor. Course Syllabus (Based on an 18-lecture quarter. Occasionally scheduling sets up a 17-lecture quarter or other events occur that limit the course to less than 18 lectures. Adjustments will be made on a case-by-case basis) Note: this is a handout heavy course be sure that you get everything! Week 00 (no kidding, this week does not count in the ten weeks) . 01a) Introduction to the course 01b) Geography of Buddhism 01c) Precursors of Buddhism in the Indus Civilization Week 01 02) Upanishadic thought and the Atharvaveda Readings: None
A) Buddhist Presuppositions B) Brief overview of Buddhism Readings: CoB, pp. 19-22 Week 02 04) The life of Siddhartha Gotama and his becoming the Buddha Shakyamuni Readings: CoB, pp. 55-65 JCH "Sowing the Seeds of the Lotus: A Journey to the Great Pilgrimage Sites of Buddhism," part I [Lumbinª and Bodhgayå], in Orientations, vol. 16, no. 11 (Nov. 1985), pp. 46-61; part II [R≈ipatana M®gadåva], in Orientations, vol. 17, no. 2(Feb. 1986), pp. 28-43; part III [Íråvasti and Så∆kåsya], in Orientations, vol. 17, no. 3 (Mar. 1986), pp. 32-46; part IV [Vaißali and Råjag®ha], in Orientations, vol. 17, no. 6 (Jul. 1986), pp. 28-40; part V [Kußinagara, Appendices and Notes], in Orientations, vol. 17, no. 9 (Sept. 1986), pp. 46-58.
A) The Euro-American view B) The Japanese academic view C) Various Sectarian views D) Archaeological evidence (and/or lack thereof) 1) Life Locations 2) Gum Bahal Readings: JCH & Chaya Chandrasekhar “Buddhist Monasteries in Southern Asia,” in William M. Johnston, ed., Encyclopedia of Monasticism: two vols., Chicago and London, Fitzroy and Dearborn publishers, 2000. I:55-66;
06) Ashoka Maurya, his conversion and patronage of Buddhism A) The archaeological Legacy 1) Kalinga inscription 2) Upagupta and the imperial pilgrimage 3) Lumbini Inscription 4) Sarnath and other pillars and the inscriptions B) Mahinda in Sri Lanka C) Chaurmati in Nepal Readings: None 07) Buddhism of the Vaipulya Sutras A) Saddharmapundarika (lotus) B) Vimalakirti Nirdesha C) Lankavatara D) Gandhavyuha Readings: Probably none (its pretty simple stuff) Week 04 08) The great Mahayana Philosophers A) The root text: The Perfection of Wisdom in 8000 verses or the Astasashrika Prajnaparamita Sutra B) The Ten Stages [of bodhisattva attainment] Teaching or Dadhsbhunika sutra C) Nagarjuna’s commentary the Mula madhyama karika D) The Yogachara teachings of Vasubhandu Readings: CoB pp. 119-132
Readings: CoB pp. 66-118 10) Early representations of the Mother of Buddhas and the implications for early Buddhism Readings: JCH Article in Progress (I hope) 11) Yogic imaginings (bhavana) and the notion of heavens (svarga) in popular Buddhism A) History of the conception of heaven in South Asia 1) Dual gods of the Trayastrimsha and Brahmaloka paradises 2) Maitreya’s Tushita paradise 3) Aksobhya’s heaven of Abhirati 4) Amitabha’s Land of Bliss Sulkhavati 5) Vairochana’s None Above Akanishta
JCH "The Iconography and Iconology of Maitreya Images in Gandhara," in Journal of Central Asia, vol. VII:1 (July 1984), pp. 133-179. JCH A Gandhåran Image of Amitåbha's Sukhåvatª, in Annali del 'Istituto oriental di Napoli, vol 40 (New Series, vol. XXX) (1980), pp. 651-672. JCH A Re-examination of a Kani≈ka Period Tetradrachm Coin Type with an Image of M£trago/Maitreya on the Reverse (Göbl 793.1) and a Brief Notice on the Importance of the Inscription Relative to Bactro-Gandhåran Buddhist Iconography of the Period. The Journal of the International Association of Buddhist Studies, vol. 16:2 (1993). Week 06 12) Pureland developments in East Asia Readings: None 13) Midterm (No lecture) Readings: your own notebook Week 07 14) Heaven worlds of the Tantric systems A) Potolaka Avalokiteshvara B) Khadiravani Tara C) Akanishtha of the Adi Buddhas D) Pure-land of the Dakinis E) Copper Mountain of Padmasambhava Readings:
A) Kriya
B) Yoga C) Yogachara D) Annutara 1) Male
2) Female 3) Nondual Readings: CoB pp. 422-423
16) Tantric transformations and the Vajrasattva meditation Readings: CoB pp. 208-229
Readings: CoB pp. 230-251 Week 09 18) The Chakrasamvara Meditations continued Nov. Day before Thanksgiving (No Class) Week 10. 19) The Chakrasamvara Meditations continued 20) Notebook completion and general review. Finals Week: The time and place will be provided by the university scheduling office for each quarter and will announced in class and listed in the actual class syllabus. The final is “open notebook” but I must have reviewed your notebook before you can use it in the exam NO EXCEPTIONS! Readings: review the “Notebook” and “Grading” sections of the introduction to the course Bibliography Your readings in The Circle of Bliss catalog constitute all of the readings for the course. However, the extensive bibliography in that volume is a current as any anywhere. Please refer to it for individual interests. History of Art 671 Susan L. Huntington Winter 2006 Art of India I
Phone: 688-8185 E-mail: huntington.1@osu.edu
final exam 35% Time of regularly scheduled final paper #1 20% Thursday, February 2, 2006 paper #2 20% Thursday, March 9, 2006 N.B. Written materials (essay portions of your exams) and your papers are graded on the quality of writing as well as the content in this course. textbook: Susan L. Huntington, Art of Ancient India (AAI). Copies are available inexpensively on Amazon.com. A copy is on Reserve in the Fine Arts Library. reading assignments: For readings, see Course Outline and Readings. In addition to readings in the Huntington, suggested readings are given for each section of the course. papers: Two short papers are required in this course. Your papers will be graded on the basis of content and argumentation and quality of writing and presentation. paper #1: Due Thursday, February 2, 2006 Paper must be typed, double-spaced. Length 4-6 pages. Choose one of the topics below. Each of the topics requires that you read what earlier authors have said about these issues, that you take a position, and that you present your case. It does not require that you do extensive library research, but you must think about the problems and issues and must formulate your ideas clearly. Scans of the various articles will be put online for you to read. 1. Is the Didarganj "cauri bearer" (AAI fig. 4.12) a work of the Maurya period? References: AAI fig. 4.12 and accompanying text; Asher and Spink article in Ars Orientalis ; Schlumberger, "The Didarganj Chauri Bearer: A Viewpoint" (Lalit Kala). 2. Is the red stone male figure from Harappa (AAI fig. 2.4) a work of the Indus Civilization, the Maurya period, or another period? For full titles and complete references to authors, see pp. 684-685 of Art of Ancient India. Allchin and Allchin, The Birth of Indian Civilization, pp. 305-306 Allchin and Allchin, The Rise of Civilization in India and Pakistan, pp. 204-205 Fairservis, The Roots of Ancient India, pp. 283-285 Gajjar, Ancient Indian Art and the West, p. 47 Guha, J. P., Seals And Statuettes of Kulli, Zhob, Moheno Daro and Harappa, pp. 19-23 Huntington, Art of Ancient India, fig. 2.4 and pp. 14-16; class discussion Piggott, Prehistoric India, pp. 185-186 Sankalia, Prehistoric Art in India, pp. 23-25 Vats, Excavations at Harappa, pp. 74-76 Wheeler, The Indus Civilization, pp. 89-90 Note that the red male figure has often been compared to a sculpture from the Maurya period. See Huntington, Art of Ancient India, p. 52 re. fig. 4.11. For Maurya references that might be of interest to you, see pp. 687-688 of Art of Ancient India. paper #2: Due Thursday, March 9 Paper must be typed, double space. Length 4-6 pages. Choose one.
Course Outline and readings In addition to the content that you are expected to study, I have also given you some issues to think about for many of the sections. introduction: Introduction to Indic culture, its geography, climate, and people. To think about: Reconstructing culture through art and archaeology. What is a culture? Why should we try to "reconstruct" it? How can we reconstruct it? What type of evidence is valid in the reconstruction and analysis of culture? What are the roles of objectivity and the viewpoint of the observer in reconstructing culture? Part I: foundations of indic civilization (Prehistoric & protohistoric periods) 1. Stone Age Painting and Sculpture Read: AAI Intro. and ch. 1 Supplementary reading: Brooks and Wakankar 2. The Harappa (Indus) Civilization Read: AAI ch. 2; also go to Harappa.com Supplementary reading: Allchin To think about: Archaeology: techniques, methods, interpretation 3. The Vedic and Upanisadic Periods Read: AAI ch. 3 Supplementary reading: Keith
samsara, moksa, nirvana, maya, dharma, and the caste system.
monotheistic religions (e.g. Judaeo-Christian tradition) versus non-theistic religions (Buddhism).
Read: AAI ch. 4; Basham, pp. 49-58 Supplementary reading: S.P. Gupta
the question of "influence." 5. The Sunga Period Read: AAI ch. 5 Supplementary reading: Bachhofer; Coomaraswamy 6. Regional Developments of the late first century B.C. through the first century A.D. Read: AAI ch. 6; Huntington, "Early Buddhist Art and the Theory of Aniconism"; Dehejia, "Aniconism and the Multivalence of Emplence"; Huntington, "Aniconism and the Multivalence of Emblems: Another Look." Supplementary reading: Bachhofer; Dehejia, Early Rock Cut Temples; Marshall To Think About: The relic cult in Buddhism and Buddhist Monuments; the issue of aniconism 7. The Saka and Parthian Kingdoms Read: AAI ch. 7 Supplementary reading: Lyons and Ingholt; Rosenfield
8. The Kusana Period Read: AAI ch. 8 Supplementary reading: Lyons and Ingholt; Rosenfield To Think About: The origin of the Buddha image and the theory of aniconism. Review Huntington, "Early Buddhist Art and the Theory of Aniconism"; Dehejia, "Aniconism and the Multivalence of Emblems"; Huntington, "Aniconism and the Multivalence of Emblems: Another Look." 9. Regional Developments of the second and third centuries Read: AAI ch. 9 part iii: dynasties of the middle period 10. The Gupta Period Read: AAI ch. 10 Supplementary reading: Harle; Williams
Does it matter if it is a "classical" period? What is a "classical period"? 11. The Gupta Aftermath Read: AAI ch. 11 Supplementary reading: Asher 12. Buddhist Cave Architecture Read: AAI ch. 12 Supplementary reading: Spink; Weiner; Yazdani
and Pakistan Asher, F. M. The Art of Eastern India NB 1007 B65 A84
Spink, W. Reconsidered" (Ars Orientalis 19)
B3 v. 1-2 Basham, A.L. The Wonder That Was India DS 425 B3 Brooks, R.R. and Stone Age Painting in India N5310 B85 Wakankar, V. Coomaraswamy,A.K. La Sculpture de Bodhgaya NB 1008* B6 C7
Dehejia, Vidya Early Buddhist Rock Temples NA6002 D37 Dehejia, Vidya "Aniconism and the Multivalence xerox on file of Emblems" (Ars Orientalis 21) Dehejia, Vidya Unseen Presence NB 1280 U57 1996 Eck, Diana L. Darsan Gupta, S.P. The Roots of Indian Art N7302 G86 1980 Harappa.com [Visit website] WEB Harle, J.C. Gupta Sculpture NB1002 H33 Huntington, J. “The Origin of the Buddha Image: Early xerox on file Image Traditions and the Concept of Buddhadarshanapunya”, in Studies in Buddhist Art of South Asia, 1985. Huntington, S. Art of Ancient India N7301 H86 1985 Huntington, S. "Early Buddhist Art and the Theory xerox on file of Aniconism" (from Art Journal) Huntington, S. "Aniconism and the Multivalence xerox on file of Emblems: Another Look" (Ars Orientalis 22)
Ars Orientalis 24 Keith, A. B. The Religion and Philosophy BL 1150 K43 of the Veda and Upanisad 1971, v. 1-2 Knox, Robert Amaravati: Buddhist Sculpture NB1008 from the Great Stupa A5K56 1992 Lyons, I., and Ingholt, H. Gandharan Art in Pakistan N7307 P3 L9
Possehl, Gregory, ed. Ancient Cities of the Indus DS 425.A73 Possehl, Gregory Indus Age: The Writing System PK119.P63. 1996 Rosenfield, John The Dynastic Arts of the Kushans N5899 K8 R6 Spink, Walter Ajanta to Ellora NA6002* S6 Weiner, Sheila Ajanta: Its Place in Buddhism N7308 A4W4 Williams, Joanna The Art of Gupta India NA6002 W5 Yazdani, Ghulam Ajanta ND2827* Y3 History of Art 672 Susan L. Huntington Spring2006 Art of India 2
Generally available before and after class and by appointment. Phone: 688-8185 E-mail: huntington.1@osu.edu course requirements: paper #1 20% Thursday, April 20, 2006 Midterm 25% Thursday, April 27, 2006 paper #2 20% Thursday, May 18, 2006 final exam 35% Tuesday, June 6, 2006
David Kinsley, Hinduism BL1202 .K48 1993 Diana Eck, Darsan BL1205 .E25 1998
You will be given the opportunity to examine first-hand three small bronze sculptures from India. Your task is to choose one of the three sculptures and write a detailed description of every aspect of the work. Look at the sculpture from all sides, including the bottom. Can you suggest how the piece was manufactured? The artists used the lost-wax casting method. Can you see how the forms were created in the wax model? What signs of use and age do you see? Are there materials present that were not part of the original manufacture? How does your experience of examining a real sculpture differ from what you are presented with in class and in books through photographs? You will be able to schedule time outside of class to examine the works. Note: Students who have taken my “objects” seminar will serve as guides andmentors to the students who have not. Students who have taken my objects seminar will write a paper that is a set of guidelines for instructing others to examine objects, including the common “errors” people make when examining a work of art for the first time. paper #2: Due Thursday, Thursday, May 18 Paper must be typed, double space. Length 4-6 pages. Readings: Will be available on the Course website.
Write a paper in which you, first, summarize the main issues addressed in these two articles. Using materials in these articles, as well as discussions in class and in the textbook about imagery that may have more than level of meaning, write an essay on whether you believe that scholars are “reading too much into” the sculptures of ancient India or whether there really are multiple levels of reading. Do you think that kings whose images were apparently embedded into images of deities were egoistic and doing this for political, propagandistic reasons? Explain and use specific examples of works of art that we have covered in class, which are in the textbook, and which are discussed in the articles. Course Outline and readings introduction: Read Introduction to Art of Ancient India part iii: dynasties of the middle period 1. The Gupta Period Read: AAI ch. 10 2. The Gupta Aftermath Read: AAI ch. 11 Supplementary reading: Asher 3. Buddhist Cave Architecture Read: AAI ch. 12 Supplementary reading: Spink; Weiner; Yazdani
Read: AAI ch. 13
Read: AAI ch. 14
Read: AAI ch. 15
Read: AAI ch. 16 Part IV:Later Northern Schools
Read: AAI ch. 17
Read: AAI ch. 18
Read: AAI ch. 19
Read: AAI ch. 20 Part V: Later Schools of the Deccan and South
Read: AAI ch. 21
Read: AAI ch. 22
Read: AAI ch. 23
Read: AAI ch. 24
Read: AAI ch. 25 Conclusion, Summary, and Looking Ahead Read AAI Afterword (pp. 617 ff) 1
Dr. Susan L. Huntington Department of History of Art Room 223 Hayes Hall Huntington.1@osu.edu Office Hours: MW 12:30-1:30 and by appointment
This course examines the art of South Asia from ca. 1200 to contemporary times. The course focuses especially on painting and architecture as very little major sculpture was produced during this period. The course emphasizes the interrelationships and dynamics among the Islamic society that becomes a major force in South Asia, beginning around the 12th century, the European Colonial peoples who became a major force in South Asia beginning in the 18th century, and, of course, the indigenous Indic peoples, religions, and artistic traditions. We will see that there are many different ways in which these cultures and their arts interacted. In some cases, there was a total clash of cultures; in others, there were borrowings and influences; in still others, there was a total capitulation to the newly installed powers.
Class meets Mondays and Wednesdays from 1:30 to 3:18 in 211 Hayes Hall. Readings There is no textbook for the course. Readings and suggested readings are listed in the appropriate places on your Lecture Outline (see below) and are posted on CARMEN. Information from the readings will be incorporated into the questions on your exams. I ask not so much that you read for detail and facts, but, rather, for the content and ideas as they relate to the materials we are covering in class. Please let me know if you have any questions about what you should be “getting” from the readings.
This course will use the CARMEN electronic class management system. All lectures will be posted on CARMEN. The course syllabus, readings, assignments, announcements, e-mail and other details of the course will also be managed with CARMEN.
There will be two exams for the course, a midterm and a final. The final will be a midterm of the second half of the course (one hour) and a cumulative final (one hour) Make-up exams will only be given in extreme circumstances. In the case of an illness or emergency, please contact the instructor as soon as possible. Requests for make-up exams must be accompanied by appropriate medical or other documentation. Exams may include slides, terms, maps, and essays, as well as information from your readings. This 2 course emphasizes your understanding and your ability to articulate concepts about the art rather than rote memorization. Course Grading 30% Out-of-class assignent 20% Midterm exam 50% Exam given at time of final 25% for first hour (2nd midterm) 25% second hour (final) Grading Scale A 93% and above, A- 90-92%, B+ 88-89%, B 83-87%, B- 80-82%, C+ 78-79%, C 73- 77%, C- 70-72%, D+ 68-69%, D 60-67%, E 59% and below Students with Special Needs Students who feel they may need accommodation based on a disability should contact the instructor during the first week of classes to discuss their specific needs. We rely on the Office of Disability Services to verify the need for accommodation and to help develop accommodation strategies. Students with disabilities who have not previously contacted the Office of Disability Services should look at the ODS website at http://www.ods.ohiostate. edu and/or contact them by phone to schedule an appointment (292-3307).
OSU instructors are required to report suspected cases of academic misconduct to the Committee on Academic Misconduct. The University’s rules on academic misconduct can be found on the web at http://oaa.osu.edu/procedures/1.0.html Dates to Remember Midterm Examination: Monday 10/22/07 Papers/projects due: Wednesday 11/28/07 Final Exam: Weds. 12/05/0711:30-1:18 Out-of-class Assignment There are three options for your out-of-class assignment. 1. Choose one of the paintings I bring to campus and write what would be the equivalent of a long catalogue entry for the work. Discuss the materials and techniques used in the painting, its condition, its style (including use of space, colors, figure style, and so on), the subject matter, and any other relevant issues. Be sure to bring in comparative works of art to reinforce your suggestion of its style and date. Approx. 10-15 pages. 2. Create a work of art based on one of the techniques and styles we have studied in class. Research the methods, create the work, and write a short explanation of what you have done. Your work can be a copy of an original work or your own 3 creation based on the principles of original works of art. Please ask me to preapprove your project before you begin. 3. Select a topic from the following and write a 12-15 page paper (graduate students 15-18) on the subject. a. Akbar’s religious thought as reflected in the paintings of his court. b. Christian subjects in Mughal art. c. Nature in the art of Jehangir’s time. d. Portraiture in Indian art ca. 1550-the present e. References to India’s pre-Colonial past in late 20th century art f. Other of your choice (please check with me first) 4
(The schedule is approximate; we might not be exactly on schedule throughout the quarter.) WEEK 1 Weds. 09/19 Introduction: The Setting and Background WEEK 2 Mon. 09/24 Introduction: The Setting and Background (cont). Weds. 09/26 Indigenous Painting Schools Ajanta murals (5th century) Pala palm-leaf manuscrips (11th-12th centuries) Jain manuscript paintings (13th-15th centuries) Caurapanchasika (ca. 1550)
WEEK 3
Mon. 10/01 Early Islamic Art in South Asia Read: Sections on Islam from Atlas of the World’s Religions Banbhore Mosque & walled city, ca. 712 (time of Mohammad bin Qasim) Sultanate Period Architecture: Quwwat-ul-Islam Mosque, Delhi, begun 1191 Qutb Minar, Delhi, 1199 (completed ca. 1220) Tomb of Ghiyas-al Din Tughlaq,Tughlaqabad. Delhi, 1325
Sultanate Period Painting: Khamseh of Amir Khusrau Ni’mat Nama, Mandu, ca. 15th-16th century Weds. 10/03 The Mughal Period: Babur (1526-1530) Humayun (1530-1540 and 1555-1556) Akbar (1556-1605) Painting: Tuti Nama 5 Hamza Nama Akbar Nama Histories The Lahore period Hindu topics European influence Portraiture Read: Cummins, Indian Painting, pp. 35-54 Read: Excerpt from Ain-i-Akbari Read: Excerpt on Akbar and Christianity in Traveler’s account Architecture: Fatehpur Sikri Ajmer Fort (1570) Agra Fort Humayun’s Tomb Optional Reading: Lowry, “Humayun’s tomb” WEEK 4
Mon. 10/08 The Mughal Period: Akbar, cont. Weds. 10/10 The Mughal Period: Akbar, cont. WEEK 5 Mon. 10/15 The Mughal Period: Jehangir (1605-1627) Painting: Portraiture Allegorical portraiture Animal paintings Read: Cummins, Indian Painting, pp. 55-67. Read: Excerpt from Tuzuk-i-Jehangiri. Architecture: Tomb of Akbar at Sikandra, finished 1613 Tomb of Itmad-ud-Daula, Agra, blt. 1626 Tomb of Akbar’s horse, Sikandra Weds. 10/17 The Mughal Period: Shah Jehan (1627-1658) Painting: Portraits and equestrian portraits 6 Night scenes Rembrandt copies of Mughal portraits of Shah Jehan Decorative and luxury objects (jade, jewelry, glass, weapons, etc.). Read: Cummins, Indian Painting, pp. 68-74. Architecture: Taj Mahal, Agra Shah Jehanabad (Red Fort), Delhi Jami Masjid, Delhi Shalimar Garden, Lahore, 1637 Optional reading: Wayne Begley, “Taj Mahal” WEEK 6
Mon. 10/22 MIDTERM Weds. 10/24 The Mughal Period: Shah Jehan and Aurengzeb (1658-1707) and Late Mughals Portrait of Aurengzeb Later Mughals Read: Cummins, Indian Painting, pp. 74-79 Architecture: Mosque of Rabi’s Daurani, Aurangabad, fin. 1678 Badshahi Mosque, Lahore, 1674 Moti Masjid, Red Fort, Delhi, 1662 WEEK 7
Mon. 10/29 Rajput Architecture and Painting Painting Schools: Mewar Bundi
Kotah Kishangarh Marwar Jaipur
Jodhpur Malwa
Read: Cummins, Indian Painting, pp. 91-163 Read: Miller, Love Song of the Dark Lord (Gita Govinda) 7
Read: Desai, “New Approaches” Architecture: Palaces Civic Buildings Astronomical structures Weds. 10/31 Rajput Architecture and Painting, cont. WEEK 8 Mon. 11/05 Pahari Architecture and Painting Kangra Fort Basohli
Kulu Mandi, Bilaspur, Nurpur Chamba Guler
Garhwal Kangra
Weds. 11/07 Pahari Architecture and Painting Read: Cummins, Indian Painting, pp. 165-201 WEEK 9
Mon. 11/12 VETERAN’S DAY, NO CLASSES Weds. 11/14 Colonial Period: Portuguese French
British East India Company (1757-1858) British Colonial Period (1858-1947) Architecture Sculpture Painting (Company School and others) Photography Calendar and other mass printing forms
8 WEEK 10 Mon. 11/19 Contemporary Traditions (India, Pakistan, Bangladesh) Architecture Painting Sculpture Photography/Film/Digital Media
Weds. 11/21 Contemporary Traditions (India, Pakistan, Bangladesh, and Diaspora) **THANKSGIVING IS 22ND** WEEK 11
Mon. 11/26 Contemporary Traditions (India, Pakistan, Bangladesh, and Diaspora) Weds. 11/28 Contemporary Traditions (India, Pakistan, Bangladesh, and Diaspora) WEEK 12 FINAL EXAM WEEK Weds. Dec. 05 11:30-1:18 675 final •
Hindu Iconography - -
10 addition to the exams, you are required to make a Notebook that will be turned in for grading. See below for Notebook requirements.
Midterm 1 Midterm 2
Notebook
Exams: 25% 'Thurs. Oct. 28 (test is partly open-Notebook) 25% Mon. Dec. 6, 1-2:00 (test is partiy open-Notebook) 25% Mon. Dec. 6, 2-2:48 (test is open-Notebook) 25% Mon. Dec. 6 (turn in with final)
style (and therefore many of the usual concerns of an art history course), you will not be tested on broad, chronological trends and developments.
understanding of their iconological messages. Understanding of general concepts and variations within the Hindu religion will be important. Exams will consist of both objective (factual) material and essays. During portions of each midterm, and during the final, you will be permitted to use your Notebook (but no other books or papers). lfyou choose to use your Notebook during these exams, the Notebook must be typed and up-to-date (that is, you may not merely use your handwritten class notes). Textbooks: 1. David R. Kinsley, Hinduism (Prentice-Hall) 2. Diana L. Eck, Darsan: Seeing the Divine Image in India (Anima)
in the Fine Arts Library in the Wexner Center. (See last page.) ,
Huntington, Art of Ancient India. For standardized spellings of words, use the Glossary and Index inArt of Ancient India. Course Outline and Readings Part I: Introduction and Background (approx. 2 weeks) 1. Introduction to Indian geography and culture 2. Introduction to Hindtrism (Kinsley, chpt. 1) 3. Central Hindu Beliefs (Kinsley, chpt. 5) 4. Worship in the Hindu Tradition (Kinsley, chpt. 6) 5. ffindu Social Structure (Kinsley, chpt. 7) 6. Dissent in Hindtrism (Kinsley, chpt. 3) 7. ffindtrism and the Arts (Kinsley, chpt. 4; Eck, whole book) 8. Historical overview (Kinsley, chpt. 2) . Origins: Prehistoric period (Stone Age, Indus Civilization, Vedic and Upamsadic periods) Early Traces (Maurya, Sunga, Kusana periods) Later Florescence (Gupta, Calukya, Pallava periods)
regional developments) Late Trends (Krsna revivalism, folk trends, popular culture)
Part II: Analyzing Indian Images (approx. 1 week) 1. images as symbols; multivalent symbolism; slesa (double entendre) 2, attributes and miscellaneous symbols 3. mudras (hand gestures) 4. uahanas ("vehicles") 5. jewelry, hairstyles, and clothing 6. demeanor 7. idealization of body forms and stances Part III: The Major Hindu Deities (approx. 3-4 weeks) READINGS: given below; also look through appropriate sections ofRao 1. Brahma (read Damelou, chpt. 19)
Damelou, chpts. 11-14) 3. Siva (read Damelou, chpts. 15-18) 4. ''The Goddess" (mainly Durga); read Damelou chpts. 20 and 23; Kinsley, Hindu Goddesses, Intro. and chpt. 7 Part IV: Other Hindu deities (approx. 2 weeks) '. ' 5. Ganesa (Danielou, chpt. 24) 6. Karttikeya (Danielou, chpt. 24) (Read appropriate sections of Danielou for the following by using the Index to find the relevant page numbers.) 7. Surya
8. Laksmi (Kinsley, Hindu Goddesses, chpt. 2) 9. Sarasvati (Kinsley, Hindu Goddesses, chpt. 4) 10. Seven Mothers (Saptamatrkas) 11. The Planets (graMs) 12. The Dikpalas 13. The Vedic deities 14. The River Goddesses (Ganga and Yamuna) (Kinsley, Hindu
15. Wealth deities 16. Composite deities 17. Tantric imagery (including sakli cults and non-representational "abstract" art) (Kinsley, Hindu Goddesses, chpts. 8 and 11) 18. Miscellaneous Download 2,52 Mb. Do'stlaringiz bilan baham:
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