Art from India and China
Code: 106394 ECTS Credits: 6| Degree | Type | Year | Semester |
|---|---|---|---|
| 2500239 Art History | OT | 3 | 1 |
| 2500239 Art History | OT | 4 | 1 |
Contact
- Name:
- Nuria Ribas Valls
- Email:
- nuria.ribas@uab.cat
Use of Languages
- Principal working language:
- catalan (cat)
- Some groups entirely in English:
- No
- Some groups entirely in Catalan:
- Yes
- Some groups entirely in Spanish:
- No
Prerequisites
No previous knowledge of Asian Art is required. However, it is advisable that students possess the ability to read and listen to English sources. Therefore, the vast majority of readings and videos will be provided in English.
Objectives and Contextualisation
- To gain knowledge about the artistic manifestations of India and China.
- To know the specific bibliographic resources of the discipline in order to be able to deepen in specific topics
of Asian Art.
- To acquire a good command of the adequate historic-artistic vocabulary.
Competences
- Art History
- Critically analysing from the acquired knowledge a work of art in its many facets: formal values, iconographic significance, artistic techniques and procedures, elaboration process and reception mechanisms.
- Interpreting a work of art in the context in which it was developed and relating it with other forms of cultural expression.
- Recognising the evolution of the artistic imagery from the antiquity to the contemporary visual culture.
- Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
- Students must be capable of communicating information, ideas, problems and solutions to both specialised and non-specialised audiences.
Learning Outcomes
- Accurately defining and explaining an artistic object with the specific language of art criticism.
- Analysing ideas about an artistic phenomenon in a given cultural context.
- Analysing the creators of an artistic phenomenon in a specific cultural context.
- Analysing the recipients of an artistic phenomenon in a specific cultural context.
- Applying the iconographic knowledge to the reading of artistic imagery.
- Connecting an artistic imagery with other cultural phenomena within its period.
- Distinguishing the elaboration techniques and processes of an artistic object.
- Engaging in debates about historical facts respecting the other participants' opinions.
- Examining an artistic imagery and distinguishing its formal, iconographic and symbolic values.
- Explaining the reception mechanisms of a work of art.
- Identifying the artistic imagery, placing it into its cultural context.
- Reconstructing the artistic outlook of a particular cultural context.
Content
Methodology
The course is divided into theoretical sessions taught by the lecturer. These will be also supported by the compulsory readings. The readings will be discussed on the fixed dates at the beginning of the course within the theoretical sessions. There will also be class seminars and activities via Virtual Campus, among others. The course will also comprehend practical sessions with the possibility of being held outside the classroom space.
Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.
Activities
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| Classes | 40 | 1.6 | 3, 4, 2, 5 |
| Seminar | 20 | 0.8 | 11, 9, 10, 12 |
| Type: Supervised | |||
| Readings and others | 10 | 0.4 | 3, 4, 8, 6 |
| Type: Autonomous | |||
| Autonomous study | 80 | 3.2 | 4, 2, 5, 12 |
Assessment
The evaluation will be carried out using four main evidences:
- One written test at the end of the course (with the possibility of doing a partial in the middle of the semester). 35% of the final grade.
- Active participation in lectures and mandatory readings. 25% of the final grade.
- Two activities of different typology which will have a weight of 20% of the final grade each one.
The final grade is the result of the addition of the grades obtained in all activities. To be able to average with the rest, the average of the two partial written tests will never be made with grades below 4. If a student has failed any of the two partial tests, the student may re-take the corresponding block.
If the student has only done some of the compulsory exercises and he/she has passed them, he/she will get a "not assessable" when the general addition does not reach the pass or a superior grade. On the contrary, the student will get the grade that he/she has obtainet. At the time of each evaluative activity, the lecturer will inform the students (Virtual Campus) of the procedure and the date of the revision of the grading. Only the students who have not passed and have completed the four compulsory activities have the right to a reassessment - the date is set by the Facultie's Academic Management. The maximum grade of this reassessment for students who have failed the two partial tests is 5.
In the event of a student committing any irregularity that may lead to a significant variation in the grade awarded to an assessment activity, the student will be given a zero for this activity, regardless of any disciplinary process that may take place. In the event of several irregularities in assessment activities of the same subject, the student will be given a zero as the final grade for this subject.
In the event that tests or exams cannot be taken onsite, they will be adapted to an online format made available through the UAB's virtualtools (original weighting will be maintained). Homework, activities and class participation will be carried out through forums, wikis and/ordiscussion on Teams, etc. Lecturers will ensurethat students are able to access these virtual tools, or will offer them feasible alternatives.
Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| One or more written test | 35% | 0 | 0 | 2, 11, 5, 7, 9, 6 |
| Participation in seminars and obligatory readings and other activities | 25% | 0 | 0 | 3, 4, 11, 8, 12 |
| Written exercises, individually or in groups, oral presentations | 20% | 0 | 0 | 11, 5, 1, 9, 10 |
Bibliography
Índia
Ahuja, Naman P. 2018. India. Art and Archaeology. Earliest times to the sixth century. Oxford: Ashmolean Museum.
Clunas, Craig; Harrison-Hall, Jessica. 2014. Ming. 50 years that changed China. Londres: The British Museum.
Crill, Rosemary (ed.). The Fabric of India. London: V&A Publishing 2016.
Dalmia, Yashodhara. The Making of Modern Indian Art: the Progressives. (New Delhi, Oxford: Oxford University Press, 2001.
Eaton, Richard M. 2020. India in the Persianate Age: 1000 - 1765. Londres: Penguin.
English, Elizabeth. 2002. Vajrayogini: Her Visualisations, Rituals and Forms. Boston: Wisdom Publications.
Jongeward, David. 2019. Buddhist Art of Gandhara in the Ashmolean Museum. Oxford: Ashmolean Museum.
Shimada, Akira and Willis, Michael. Amaravati: the art of an early Buddhist monument in context. London: British Museum Press 2016.
Sinha, Gayatri (ed.). Art and Visual Culture in India 1857-2007. Mumbai: Marg Publications 2009.
Topsfield, Andrew. 2012. Visions of Mughal India. The Collection of Howard Hodgkin. Oxford: Ashmolean Museum.
Topsfield, Andrew. 2021. Art of India and Beyond. Oxford: Ashmolean Museum.
Topsfield, Andrew (ed.).2014. In the Realms of Gods and Kings. The Art of India Philip Wilson Publishers.
Xina
Bartholomew, T. 2006. Hidden Meanings in Chinese Art. San Francisco: Asian Art Museum.
Cao Yin ed.2016. Tang: Treasures from the Silk Road Capital. Sydney: Art Gallery of New South Wales.
Clunas, Craig.2017. Chinese Painting and Its Audiences. Princeton: Princeton University Press.
Eckfeld, T. 2005. Imperial Tombs in Tang China 618-907: The Politics of Paradise. Londres: Routledge Curzon.
Gasparini, Mariachiara. 2020. Transcending Patterns. Honolulu: University of Hawaii Press.
Huang, Shih-shan. 2012. Picturing the True Form. Cambridge, Mass.: Harvard University Press.
Kuhn, D. ed. 2014. Chinese Silks. New Haven: Yale University Press.
Lee, Hui-shu. 2001. Exquisite Moments: West Lake and Southern Song Art. Nova York: China Institute.
Li, Wendan. 2009. Chinese Writing and Calligraphy. Honolulu: University of Hawaii Press.
Linduff, K. and Yan Sun (eds.) 2004. Gender and Chinese Archaeology. Walnut Creek, Ca.: Altamira Press.
McCausland, S.2014. The Mongol Century: Visual Cultures of Yuan China. Honolulu: University of Hawaii Press.
Pierson, S. 2013. From object to concept: global consumption and the transformation of Ming porcelain. Hong Kong: Hong Kong University Press.
Steinhardt, N. ed. 2002. Chinese Architecture. New Haven: Yale University Press.
Sturman, P. and S. Tai (eds.). 2012. The Artful Recluse: Painting, Poetry and Politics in Seventeenth-Century China. Prestel, Munich, Londres i Nova York: Delmonico Books.
Software
If specific software is required, this will be indicated in due course.