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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, Nayukaand Vijayanagar (Hampi Lepakshi). Islamic architecture; Sultanate and Mughal; Mandu,Delhi,Agra, Fathepur Sikri.
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.
Antiquity of image worship, development of the cult of Vishnu, Shiva and Shakti andvarious 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 Buddhaimage 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 andother 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 understandingart 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). Kashmiriaestheticians.Distinctions and overlap between the scope of Art History, Art Criticism, and Aesthetictheories. Interrelationship between Art History, Anthropology, Archaeology, Cultural Historyand Philology. Development of Art History as a discipline. Connoiseurship and cataloguewww.wineasy.in– The One-Stop Free Online Coaching Portal 3