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.)
3) There will be two open notebook exams, a one-hour midterm, and a two-hour final. You may use the notebook that you have compiled but you may not use the recommended text.
Grading:
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
03) Introductions to Buddhism
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.
05) The early history of Buddhist thought
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;
Week 03
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
09) Mount Meru and the Bhavana systems
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
Readings: (for both 11 & 12)
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:
15) The divisions of Yoga Tantra
A) Kriya
B) Yoga
C) Yogachara
D) Annutara
1) Male
2) Female
3) Nondual
Readings: CoB pp. 422-423
Week 08
16) Tantric transformations and the Vajrasattva meditation
Readings: CoB pp. 208-229
17) The Chakrasamvara Meditations.
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
Instructor: Susan L. Huntington
Office: 226 Hayes Hall
office hours: Generally available after class and by appointment.
Phone: 688-8185
E-mail: huntington.1@osu.edu
course requirements:
Midterm 25% Thursday, February 9, 2006
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.
-
Read the two S. Huntington articles and one by Vidya Dehejia that will be put online for you. Write a paper taking a position on whether you think there was an “aniconic” period in the ancient Buddhist art of India.
-
Read Diana Eck’s book Darsan and write an essay on how this book is relevant to the art we are studying, and how this approach to the creation and use of images is different from other approaches you have studied.
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
To think about: Discussion of the concepts of karma,
samsara, moksa, nirvana, maya, dharma,
and the caste system.
To think about: Polytheistic religions (Hinduism) versus
monotheistic religions (e.g. Judaeo-Christian
tradition) versus non-theistic religions (Buddhism).
part II: period of the early dynasties
4. The Maurya Period
Read: AAI ch. 4; Basham, pp. 49-58
Supplementary reading: S.P. Gupta
To think about: East-West contacts in Indic civilization and
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
To Think About:
Cultural interaction; “influence”
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
To Think About: Was the Gupta period a "classical" period?
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
supplementary readings
(Available in fine arts library, wexner center)
Author title call no.
Allchin, B. and R. The Rise of Civilization in India DS 425 A66
and Pakistan
Asher, F. M. The Art of Eastern India NB 1007
B65 A84
Asher, F.M. and "Maurya Figural Sculpture xerox on file
Spink, W. Reconsidered" (Ars Orientalis 19)
Bachhofer, L. Early Indian Sculpture NB 1002*
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
Coomaraswamy, A.K. La Sculpture de Bharhut DS418 C6612
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)
Huntington, S. "Kings as Gods, Gods as Kings" xerox on file
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
Marshall, John The Monuments of Sanchi, 3 vols DS486 S2 M33 1982
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
Instructor: Susan L. Huntington
Office and Office Hours: 223 Hayes Hall
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
NOTE: THERE WILL BE NO LECTURE ON TUESDAY, APRIL 18, 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). A copy is on Reserve in the Fine Arts Library.
Also on Reserve in the Fine Arts Library:
David Kinsley, Hinduism BL1202 .K48 1993
Diana Eck, Darsan BL1205 .E25 1998
reading assignments:
For readings, see Course Outline and Readings. In addition to readings in the Huntington book.
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, organization, and presentation.
paper #1: Due Thursday, April 20, 2006
Paper must be typed, double-spaced. Length 4-6 pages.
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.
-
Padma Kaimal, “Playful Ambiguity and Political Authority in the Large Relief at Mamallapuram.” Ars Orientalis 24 (1994).
-
Susan L. Huntington, “Kings as Gods, Gods as Kings: Temporality and Eternity in the Art of India.” Ars Orientalis 24 (1994).
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
-
Hindu Rock Cut Architecture of the Deccan
Read: AAI ch. 13
-
Southern Developments Under the Pallavas and Pandyas
Read: AAI ch. 14
-
Early Western Calukya and Related Schools of the Deccan
Read: AAI ch. 15
-
Hindu Rock Cut Architecture of the Western Deccan
Read: AAI ch. 16
Part IV:Later Northern Schools
-
Kasmir and Related Schools
Read: AAI ch. 17
-
Bihar and Bengal under the Pala and Sena Kings
Read: AAI ch. 18
-
Orissa and Related Regions
Read: AAI ch. 19
-
North-Central and Northwestern India under the Rajputs
Read: AAI ch. 20
Part V: Later Schools of the Deccan and South
-
Cola and Related Schools of the Tamil South
Read: AAI ch. 21
-
Later Deccan Schools
Read: AAI ch. 22
-
The Vijayanagar Period
Read: AAI ch. 23
-
The Nayak Period
Read: AAI ch. 24
-
The Kerala Region
Read: AAI ch. 25
Conclusion, Summary, and Looking Ahead
Read AAI Afterword (pp. 617 ff)
1
SYLLABUS FOR HISTORY OF ART 675
ART OF INDIA: CA. 1200 TO CONTEMPORARY
AUTUMN 2007
Professor
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
Course Description
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.
Course Meetings
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.
Course Mechanics
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.
Exams
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).
Academic Misconduct
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
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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)
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COURSE OUTLINE AND LECTURE LIST
(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)
Read: Cummins, Indian Painting, pp. 7-33.
Read: Miller, Phantasies of a Love-Thief
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
Optional Reading: Welch and Crane on “Sultanate Architecture”
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
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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
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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)
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Read: Miller in Hawley, The Divine Consort
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
Read: Section on British from Atlas of the World’s Religions
Read: Cummins, Indian Painting, pp. 203-219
Read: Metcalf, Imperial Architecture
Read: Groseclose, British Sculpture
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WEEK 10
Mon. 11/19 Contemporary Traditions (India, Pakistan, Bangladesh)
Architecture
Painting
Sculpture
Photography/Film/Digital Media
Read: Dalmia, Contemporary Indian Art
Read: Section on Independent India in Atlas of World’s Religions
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
•
History of Art 676
Hindu Iconography - -
Instructor: Susan L. Huntington
Office: 124 Hayes (you may leave a message in 100 Hayes)
Office Hours: By appointment
Requirements:
You are required to know the materials presented in lecture, as well as
the materials covered in the assigned readings.
Exams will be based on information given in lecture and the assigned
readings.
10 addition to the exams, you are required to make a Notebook that
will be turned in for grading. See below for Notebook requirements.
Grading:
Midterm 1
Midterm 2
Final exam
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)
Due to the special nature of this course, which does not emphasize
style (and therefore many of the usual concerns of an art history course), you
will not be tested on broad, chronological trends and developments.
Exams will emphasize recognition of specific iconographic forms and
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)
Readings:
Readings will be assigned in the above two books and in books on reserve
in the Fine Arts Library in the Wexner Center. (See last page.)
,
Pronunciation and Spelling:
For a guide to pronWlciation of Sanskrit, see pp. xix-xxii of Susan L.
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)
Later Florescence (Northern, Southern, Deccan
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)
2. Visnu, including Krsna and other auataras and uyuhas; read
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
Goddesses, chpt. 12)
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
Do'stlaringiz bilan baham: