Art from India and China
Code: 106394 ECTS Credits: 6| Degree | Type | Year |
|---|---|---|
| 2500239 Art History | OT | 3 |
| 2500239 Art History | OT | 4 |
Contact
- Name:
- Nuria Llorens Moreno
- Email:
- nuria.llorens@uab.cat
Teachers
- Nuria Ribas Valls
Teaching groups languages
You can view this information at the end of this document.
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
Activities and Methodology
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| Classes | 40 | 1.6 | 2, 3, 4, 5 |
| Seminar | 20 | 0.8 | 9, 10, 11, 12 |
| Type: Supervised | |||
| Readings and others | 10 | 0.4 | 3, 4, 6, 8 |
| Type: Autonomous | |||
| Autonomous study | 80 | 3.2 | 2, 4, 5, 12 |
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.
Assessment
Continous Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| One or more written test | 35% | 0 | 0 | 2, 5, 6, 7, 9, 11 |
| Participation in seminars and obligatory readings and other activities | 30% | 0 | 0 | 3, 4, 8, 11, 12 |
| Written exercises, individually or in groups, oral presentations | 35% | 0 | 0 | 1, 5, 9, 10, 11 |
Continuous assessment:
- Exercise 1: 35%
- Exercise 2: 35%
- Activity: 30%
The final grade results from adding the grades obtained in all activities. To pass the course, students must obtain at least 3.5 out of 10 in each activity.
Suppose the student has only done some of the compulsory exercises (activities 1, 2 or 3) and he/she has passed them. In that case, he/she will get a "not assessable" when the general addition does not reach the pass or a superior mark.
On the contrary, the student will get the grade he/she has obtained. At the time of each evaluative activity, the teacher will inform the students (Virtual Campus) of the procedure and the date of the revision of the marking.
Only the students who have not passed and have sat for the four compulsory activities (1, 2, and 3) have the right to a reassessment - the Facultie's Academic Management sets the date. The maximum grade of this reassessment is 5.
Unique assessment:
The exam-based assessment consists of 2 tests:
- Individual project: 40% of the final grade.
- Written test: 60% of the final grade.
Single assessment re-sit process:
Students must have enrolled in all the scheduled unique assessment activities for a second chance. The make-up process is only for students with an average grade of 3.5.
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.
If 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 done through forums, wikis, and/or discussions on Teams. Lecturers will ensure that students can access these virtual tools or will offer them feasible
alternatives.
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.
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.).2016. The Fabric of India. Londres: V&A Publishing.
Dalmia, Yashodhara. 2001. The Making of Modern Indian Art: the Progressives. Nova Delhi, Oxford: Oxford University Press.
Dalrymple, William. 2019. Forgotten Masters :Indian Painting for the East India Company. Londres: The Wallace collection.
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.
Lal, Vinay. 2022. Insurgency and the Artist. The Art of the Freedom Struggle in India. Nova Delhi: Roli Books.
Shimada, Akira and Willis, Michael. 2016. Amaravati: the art of an early Buddhist monument in context. London: British Museum Press.
Sinha, Gayatri (ed.). 2009. Art and Visual Culture in India 1857-2007. Mumbai: Marg Publications.
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.
Fang, Lily. 2023. The history of Chinese ceràmics. Singapur: Springer Nature Singapore.
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.
Lok Man Yan, J. B. 2024. The Four Gods Figurines As Tomb Guardians Their Function, Circulation, and Disappearance in Tang China (618-907 AD). Berlín i Heidelberg: Metzler'sche Verlagsbuchhandlung & Carl Ernst Poeschel GmbH.
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.
Qingzhu Liu i Jing He. 2024. A History of Un-fractured Chinese Civilization in Archaeological Interpretation. Singapur: Springer Verlag Singapore
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.
Language list
| Name | Group | Language | Semester | Turn |
|---|---|---|---|---|
| (PAUL) Classroom practices | 1 | Catalan/Spanish | first semester | morning-mixed |
| (TE) Theory | 1 | Catalan/Spanish | first semester | morning-mixed |