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UNIVERSITY GRANTS COMMISSION

NATIONAL ELIGIBILITY TEST UGC ( NET )

Subject : VISUAL ARTS Code 79

SYLLABUS AND SAMPLE QUESTIONS

Note:

There will be two question papers, Paper-II and Paper-III (Parts-A & I3). Paper—II will
cover 50 Objective Type Questions (Multiple Choice, Matching Type, True/False, Assertion-
Reasoning Type) carrying 100 marks. Paper—III will have two Parts-A and B; Paper-III (A) will
have 10 short essay type questions (300 words) carrying 16 marks each. In it there will be one
question with internal choice from each unit (i.e., 10 questions. from 10 units; Total marks will be
160) . Paper-III (B) will be compulsory and there will be one question from each of the Electives.
The candidate will attempt only one question (one elective only in 800 words) carrying 40 marks.
Total marks of Paper-III will be 200.

PAPER-II and PAPER-Ill (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 Modern 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 Modern 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.

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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 modern artists (including Applied Arts) from the point of form,
technique, content and concepts.

PAPER-III (B)
( ELECTIVE / OPTIONAL]
Elective—I : Art History

Indian Sculpture

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

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Indian Architecture

Formal and stylistic aspects of architecture in Indus Valley of stupas (Bharhut, Sanchi,
Amaravati, Sarnath) of cave temples, (Bhaja, Karle, Ajanta, Nasik, Lomas Rishi, Kanheri,
etc.), Gupta (Udayagiri, Deogarh, Nachna, etc.), Chalukya (Badami, Aihole, Pattadakal;
etc.), Pallava (Mahabalipuram, Kanchipuram, etc.), Rashtrakuta (Ellora), Gurjara 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 vavi etc.), Paramara, Nayuka
and Vijayanagar (Hampi Lepakshi). Islamic architecture; Sultanate and Mughal; Mandu,
Delhi, Agra, Fathepur Sikri.

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.

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 Kalakacharya Katha, etc.).

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 (Vishnudharmottara. 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

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raissone. Development of formalism (Wolfflin, Reigl, Roger Fry, Greenberg), Iconology

(Gombrich and Panofsky), Visual perception (Rudolf Anaheim) 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 modern art
movements. Theory of Avant-Garde. Implication of theories of Semiotics, Structuralism,
Post-structuralism, Post-modernism and Feminism on Art thinking and writing.

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.)

Art and Architecture of Ancient Near East

The art of Egyptian, Mesopotamian, Sumerian Akkadian, Assyrian, Achaemanid, Minoan

and Sassanian cultures.

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.

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 Mukherjee, 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, Heinen 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 Sergi, 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.

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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 Bhattach.arjee, Ganesh Pyne, A.

Ramachandran, R. B. Bhaskaran, Lakshma Goud, Jogan Choudhuri, Bhupen Khakhar,
Arnjole 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, . Jagmohark. Chopra, Balbir Singh Katt, Nagji Patel.

Development . of Installation, Multimedia, Performative, Happening Art Nalini Malani, 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, Warli, 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 modern 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 Rurnal, 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 modern 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.

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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. Halder, Nandalal, etc.)

Nandalal and his disciples (Ramkinkar, Binod Bihari., Dhirendrakrish.na Dev Varma, etc.)
Amrita Shergil, Academic Realism, Calcutta Group (Paritosh Seri, 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-Realisrn, impressionism Post-impressionism, Cubism,

Fauvism, Futurism, Dadaism, Surrealism, Abstract Art, Abstract Expressionism Op, Pop,
Neo-figuration, Art in Postmodern time.

Elective—III: Applied Art

Importance of Applied Art in Visual Communication in relation to various media, Consumer

and Producer.

Understanding of all the elements of an advertising design/ graphic design such as

typography and calligraphy (Headline, copy), photography, illustration mnemonics, logo and

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symbol, punch line/base line/slogan, etc.

Conventional animation (Cell animation) and Modern animation (Computer animation 2D

and 3D), Application of computer graphics in creating special effects. Its reactions and
response from viewer.

Visualization--Research sources of visualization, collection of information material and

ideas, selection of USP, development of concepts and final decision of selecting the media.

Outdoor advertising—Its importance in communication. Various kinds of media of outdoor

advertising-with its advantage over other media. Advertising ethics and censoring in using
outdoor media.

Advertising campaign—Product (package designing for the surface of container, to start

with), Corporate/Government and Social awareness. Suggestion of media according to the
approach towards the target audience. Name all the media available. Innovation in Media.
New technologies (computer, digital printers, etc.), TV Graphics, Multimedia presentation,
Web-page designing and understanding of all the softwares (pagemaker, corel draw,
photoshop, free-hand, dream weaver, 3D studio, etc.), Internet, its use in advertising
products and services, net marketing.

Organization of advertising agencies : Study of advertising management, setting up studio,

Role and responsibilities of a Graphic designer, Art Director, Visualizer, Creative head,
service department and copywriters. Creative director/creative head and copywriter, their
interaction in developing concepts. Modern studio in present scenario—computer, printers
and scanners, etc.

Interaction with other arts i.e., sculptors, painters, set designers and event management
agencies.

History of advertising from early civilizations. Invention of moveable types. Development

of printing processes: Letterpress, off-set gravure, silk-screen, embossing, thermography,
etc.

Computers and its role in creating new visual effects. Importance of market. research in
advertising. History of Indian advertising and different media. History of printing in India.
Print media vs Electronic Media.

Future of advertising in India. Entry of Multinationals and Indian Advertising. Top grade
Advertising Agencies such as HTA Lintas, Mudra, 0 and M, etc. and their approaches.

Colonial paintings, Raja Ravi Verrna, Bengal School, Abanindranath and his disciples,
Nandlal Bose, Arntita Shergil and his disciples, Academic realism, Progressive Schools,
Major Trends in Contemporary Indian Art.

Major phases in Western Painting, Greeco-Roman, Byzantine, Gothic, Renaissance, Baroque

and Rococo Neo-classicism, Romanticisms, Neo-realism, Impressionism, Post-
impressionism, Cubism; Futurism, Dadaism, Surrealism, Abstraction, Abstract Expression

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Op, Pop, Neo-figuration, Art in Post-modern time.

Elective—IV: Graphic Art (Print-making)

Fundamental of Visual Arts : Line, texture, volumes, space, colour, compositions.

Definition of Graphics—Print-making

Difference with other Art Forms

Brief history of printing

Knowledge of principle elements of print-making—(i) Surface (relief and planography),

(ii) Intaglio, (iii) Stencil (iv) Other mediums—Computer Graphics Paper-making
(Dimensional Prints) Colography/Colagraphy/Chinecolle /Monoprint/Unique Print.

Surface : Relief

Invention

Media-woodcut, wood engraving, woodcut (far Eastern), Lino-cut and Lino etching

Material—Wood and Linoleum

Tools—Chemicals—Inks—Printing Machines
Approach to design—(i) Light to dark, (ii) Reduction method (Dark to light.)

Printing Methods—(i) Single block multicolour printing, (ii) Multiblock multicolour

printing

Surface : Lithography

Media : Invention Lithography, Offset Printing, Oleograph

Material and Equipments—Stone and Plate—Tools Chemical—Inks—Press-Photograph—

Enlargers

Techniques : Grinding, Graining: Image making—Drawing, Photo-transfer, Litho-engraving

(tools or hone pencils), Reverse/Re-reverse technique etc., Etching. Registration, Printing
(Single block multicolour and Multi-block multicolour methods).

Offset Printing : Invention

Direct and Indirect process

Image making : Hand-drawing and Photo-transfer

Material and Equipments : Ink—Chemicals—Press

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Printing Method: Direct and Indirect

Pictorial and formal qualities of Litho and Offset

Intaglio

Invention

Media—Drypoint, Engraving, Mezzotint Etching, Wood Intaglio, Viscosity

Materials—Plates : Metal, Acrylic, Wood and Sunmica, etc., ChemicalsTools—Plate-making

—Image making—Manual and Photo-transfer process.

Approach to design—(i) Light to dark, (ii) Dark to light

Characteristics of Prints in different intaglio techniques

Stencil : Handcut stencil and Silkscreen (Serigraphy)

Handcut stencil—Method and materials

Silkscreen (Serigraphy)—materials (screen) : Silk, Nylon and Polyurithin

Tools : Squeezee, frame, exposing table, printing table

Chemicals—Inks and other equipments

Printing methods : Manual and Mechanical

Other Mediums

Computer Graphics :

Direct printout from printer

Indirect use (Computer-generated images made to transfer on other print-making

mediums)

Paper-making (dimensional print)

Materials

Machines and tools : Beater, tray, etc. Chemicals and colours

Technique

Photograph/Colograph—materials—block-making—printing methods—Intaglio, Relief

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Chinecolle — Technique

Monoprint-Different techniques

Mixed media, multimedia and others

History of printing—Asia and Europe; Manifestation and invention of different media,

Printing as a communicative media—book production in 19th-20th century, influences of
advertising. Print-making atelier/workshops.

Individual artist's contributions—Durer, Rembrandt, Hogarth, Goya, Gaugin, Degas,

Lautrec, Daumiere, German Expressionists (Kathe, Kolwitz, Noide, Heckel, Grosz, Munch,
etc.), Picasso, Pop and figurative artists (Roshcnburg, Lichenstein, Jim Dine), David
Hockney, Krishna Reddy, Peter Dauglish, Stanley Johns.

Japanese woodcuts and Important masters of Ukiyo-E-Schooi—Important masters as—

Hokurai, Hiroshige and Utamaro

Print-making in India

Commercial print-making in mid 19th century-

Print-making in Bengal in early 20th century—Battala Printing and Kalighat

Individual artists: Raja Ravi Verma, Members of Vichitra Club, Mukul Dey, Gaganendranath
Tagore, etc. Santiniketan School, Nandlal Bose, Binod Behari Mukherjee, Ramkinkar,
Biswarup Bose, Ramen Chakraborty, Haren Das, Somnath Hore, Chittaprasad, Jyoti Bhatt,
Kanwal Krishna, Y. K. Shukla, Vasant Parab, Jagmohan Chopra, Paramjeet Singh, Lalita
Lajmi, Naina Dalal, Laxma Goud, R. B. Bhaskaran, Pallani Appan, Sanat Kar, Lalu ' Prasad
Shaw, Arnitabha Banerjee, Debraj Dakoji, Bhupen Khakar, Waman Chincolkar, Paul Koli,
Dipak Banerjee, Jai Jharotia, Prayag Jha, Rini Dhumal, Anupam Sud, Jayant Parikh.

Criteria of judging good quality prints (technically and aesthetically) conventions to identify
the authenticity of prints—signature, editions, Artists' proof, etc. Various issues related to
contemporary print-making (mechanical reproduction, computer graphics, influences of
advertising, pop-painters, print-making atelier and workshops, etc.).

Elective —V : Sculpture

Knowledge of principle elements in the art of sculpture.

Making—Basic concepts, visual concepts, perspective knowhow, Fundamentals of

Sculpture, Figurative and Non-Figurative Sculpture.

Media and materials : (a) Wood; different types of woods—hard and soft in fibres—black
ebony to soft (fur variety) light coloured wood (compressed fibs) . Rough and Smooth
depending on grain i.e. - Ebony, Sheesham, Teek, Haldu, etc.

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Stones : Sculptures took centuries to develop tools and determination to carve stones.
Igneous rocks are volcanic rocks give the sculpture the hardest multicoloured granites and
basalts.

Sedimentary Rocks i.e.. Sand-stones and lime-stones. Formed in layers over the centuries.

Limestone : Softer in cutting but textured.

Metamorphic : Sedimentary and Igneous—when heated and compressed—became harder

but also translucent, sometimes and marble became very very popular since Greek period
and Roman period and continued to produce some of the finest challenging master pieces—
unique of its kind in Renaissance period of in Baroque it was pan—Excellence in use.
Michelangelo's David and Bernini's flowing drapery and Rodin's Kiss and later Dilwara
temple in India are breathtaking examples.

Metals :

Ferrous Non-ferrous

Iron Bronze Gun-Metal Brass Aluminium Aluminium Bronze/Brass

*properties of each metal

Why lead and zink are absent and increase in copper, etc., can be studied in detail? Which of
the following is more suitable for outdoor conditions?

Terra-Cotta :

Different types of clays, varying in porosity too with mixture of fine and rough grog for
better firing possibilities.

Earthern Ware

Stone Ware Wax :

Ceramic and Porcelian and China. Addition of sand, flint, Ball clay, bentonite grog gives
more plasticity and colour variation to work with.

Different types of kilns to be prepared for metal casting moulds and terracotta and ceramic.

For large moulds for metal above ground as well as under ground kilns are prepared. For
ceremic V, high temperature arrangement has to be considered above 1000 °C.

Papier mache- paper pulp mixed with different kinds of fibres and clay bodies for interesting
texturous results.

Plaster of Paris—used as pure medium and also mixed with other medium. Cement,
bricks, sand and pebbles—combination of these.

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Fibre glass and Resin for casting.

Welding and brazing

Light, lazer beams

Iron Rods

Bamboos and ropes

Waste materials like plastic bags, paper and any cans etc.

Re-inforcement material,. i.e., lead pipes, broad pipes, angle irons, binding wires, big and
small nails, wooden stands, revolving and static.

Tools:

Carving Stones, evolved over centuries used as predetermined sequence by most sculptors
an order that has evolved with the tools.

Pitcher used for hacking and chipping of bigger chunks.

Punch—point chisel flattened punch used for sand stones.

Claw—broad flat chisel used to 'flatten ' surfaces cleanly after the punch carving.

Chisel term most commonly used for cutting clearly.

New era chisels have tungston tips to cope easily with hard granites.

Tools have to be tempered to be hard and soft acurately to be dealing with different kinds of
stones.

Variety of hammers have to suit the tools—shapes and weight.

Wood carving tools—various kinds of saws, axes, band-saw, jigsaw, Bowsaw, circular saw,
chain saw, wood carving chisel, wood gauge are necessary.

Sand papers, etc., for surface treatment also follow, for polishing.

Technique used for using the various material mentioned earlier, in the making of the
sculpture could be modelled, constructed caste or welded.

Bronze a) sandcasting
Metals: Brass b) lost wax process
Aluminium cire perdue

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A hand material pattern (shape) in made, keeping in mind the feasibility of the nature,
limitation of casting. Direct hollow image in created' by pressing into layers of specially
prepared sand with tar and jaggery, and later pouring metals into the cavity created by
removing the object.

This technique preferred for flat surfaces and solid castings.

Knowledge of composition of alloys will decide the nature of runners in sand casting.

Lost Wax process—Direct wax shape building is done to create the sculpture with or without
the armative. Adding Runners, and riser, sprus, on top of the surface for pouring of the metal
through the funnel.

Indegenous and Italian process is used for mould making. Indegenous in the local, clay, rice
husks and cowdung moulds.

Italian in the brick dust with plaster of par-is & semi-fired combinations.

Types of moulds

Waste moulds, piece moulds, and mother moulds, rubber moulds in plaster of Paris. Metal
casting with more percentage of bronze is ideal for permanent outdoor placements.

Patina—the colour effect achieved by chemical reactions also seals the surfaces and
preserves it.

Iron Casting :

Cast iron by sand casting

Forged iron rods by heating and beating can have exciting modelled effects

Terra -Cotta—Fired clay—solidshaping, hollow building by coil method—sheet beating

method and wheal building

Hollow castings by using piece moulds

Pure Bees Wax, resin and parafin mixed to serve the purpose. Direct handling of wax can
be cast inside waste or piece moulds for desired thickness for casting.

Papier mache—can be prepared uniformly or non-uniformly by also mixing with various

other materials.

Plaster of Paris—essential for making sculpture Direct process

Moulding
Casting of sculpture

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Cement :

Directly used for constructing sculptures alongwith m rang types of sand and
pebbles.

Casting inside waste or piece moulds.

Ideal for outdoor

Bricks :

Used for structuring independently as well as for reinforcement

Fibre Class Casting : For casting of shapes

Translucent

Light weight is an added asset

Resin Casting—transparency

Welding—Brazing—various possibilites

For small and large sculptures

Lenier and hollowed shapes

Lights—Lazer Beams—Used for illumination

As shapes

Lights juxtaposed

Iron Rods

Used independently and visibly by welding.

As re-inforced material for strength for hidden strength

Waste Materials

Revolving tables

Various heights, breadths

Assemblage of one or more units—using same or different material

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Direct Shape making assemblace on computer

Two D. many sides

Dissecting shapes

Doing calculations for convenience

Sculpturesque pottery

Unconventional/Design/element in

Functional

Non-Functional pottery

Sculpturesque Jewellery

Semi-traditional

Modern

To match with modern dresses

Sculpthresque Industrial Designing

Event management by sculptors i.e., stage—marriage—functions.

Monumental Sculpture, Environment Sculpture—Scope, problems, limitations, the concept

and development

D. P. Roy Chowdhary
Monumental Ram Kinker Vaij
Sculptures Kunhiraman
By Indian M. Dharmani
Sculptures B. S. Katt
Nagji Patel

History of Sculpture—Prehistoric, Egyptian. Greek, Hellenistic, Romanesque, Gothic,

Renaissance, Neoclassical, Indian—Mohenjodaro, Indus Valley, Mauryan, Shunga,
Satvahanas Chalukya, Rashtrakuta, Chola, Kushan, Individualism, Modern Sculpture.

Strong impact of Western Art, Folk Art, Tribal Art, Classical Art and Historical Art on
Indian/modern contemporary Sculpture.

Contemporary sculpture, the importance of form, the impact of industrialisation, science and
technology. New experiments came about such as happening, installation.

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Change in the aesthetics contents of sculpture, new trends in Indian sculpture Trade in the
field of sculpture.

Comparative study about different arts and problems faced by contemprary sculptors.

Indian modern Art, British colonial painting, Bengal School, Raja Ravi Verma, Academic
Realism. Progressive Schools, Emergence of Art as a movement; styles and schools of
Indian art; Problem of Indian contemporary Art.

i.e. : Abanindranath Tagore, Nandalal Bose, Jamini Roy, A. Shergil. Ram Kinker Vaij,
Rabindranath Tagore, Chuktai, Binod, Bihari Mukherjee, Pradosh Dasgupta, Nirod
Majumdar, Sankho Choudhary, N. S. Bendre, Dhanraj Bhagat, progressive artist group
Calcutta and Mumbai, Sudhir Khastgir, Chitta Prasad, Dhurandhar, Thakur Singh, Mahatre.

Major Stylistic Development. in Western paintings and Sculptures; Impressionism,

Expresionism, Cubism, Futurism, Abstract, Surrealism, European, American and
contemporary art. The indegenous material used with local influences—Palsikar. Panikar, J.
Swaminathan, JJankirarn, Satish Gujral, Biren De, Nagji Patel, Meera Mukherjee, Jeram
Patel, Sushen Ghosh, Balbir S. Katt, Ved Nayar, Mahendra Pandya, Raghavv Kaneria. etc.

SAMPLE QUESTIONS
PAPER-II

1. The choreographer who has recently died

(A) Arland Shankar

(B) Ifran
(C) Nusrat Fateh Ali
(D) Nargis

2 . The name of the versatile painter who is also famous for his architectural designs

(A) Uttam Jain

(B) B. V. Doshi
(C) Charles Correa
(D) Satish Gujral

3. The famous Dhrupad Singer of Jaipur Gharana is

(A) Shiv Shankar Mukherjee

(B) Shombla Satle
(C) Rahim Fahimuddin Dagar
(D) Udi Bhavankar

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PAPER-III (A)

1. Give the name of the art colleges which started from the end of 18th Century till today in India.
Write about any one of the art college.

Or

Progressive Movement was going on in India at the time the progressive movement going in
Mumbai was well known. Write on the Progressive Group in Mumbai and why was it well
known.

2. Write in detail about S. B. Palshikar's Portrait Painting as well Creative Painting.

Or

In India how many artist (at least four artist) are using Textiles art for their visual expression
and write one of the artist in detail.

PAPER-III (B)

11. What was the contribution of post-Impressionists Painters to modern art? Write in detail.

Or

Give an idea of the development of Akbari period paintings of the Mughal school and its
various sources.

Or

How many grounds are using in Intaglio process and write each of them how to prepared?

Or

Write on the graphic prints of early twentieth century in India and give important names of
print-maker's with their technique.

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