NATIONAL MUSEUM INSTITUTE

OF HISTORY OF ART, CONSERVATION AND MUSEOLOGY

(Deemed to be University under Ministry of Culture, Govt. of India)
National Museum, Janpath, New Delhi- 110011
Phone No. 011-23012106, 23014483, 23792249
Fax No. 23012988, Website: www.nmi.gov.in

COURSES :M.A. (History of Art)

Students are required to complete thirteen courses out of the nine are core and nine elective courses
offered.Core courses are compulsory.

Semester I (All Core Courses)

Introduction to the History of Indian Art

Introduction to Museology
Introduction to Conservation Science
Research Methodology

Semester II (Core and Elective Courses)

Early Indian Art(core)

Greco-Roman Art(elective)
Sculpture and Architecture of India (8th 14th Century C.E.) (core)
Indian Painting(core)
Art of South and Southeast Asia(elective)

Semester III (Core and Elective Courses)

Indian Architecture (High Medieval Period)(core)

Renaissance to Baroque Art(elective)
Modern Western Art(elective)
Modern Indian Art(core)

Semester IV (All Elective Courses)

Comparative Aesthetics and Art Historical Methodology

Folk and Tribal Art
Buddhist Art of Central Asia
Art of ChinaandJapan
Art Management
Semester I
Introduction to the History of Indian Art
The foundation course aims to acquaint students briefly about the major landmarks in Indian art
history and traces the significant developments in Indian art and architecture. Selective and
significant sites and schools of art and architecture are introduced in this course. The main aim of the
course is to familiarize the students about Indian art history from ancient Indian art up to modern
Indian art. The course includes a survey of art and architecture of Indus Valley Civilisation,
Mauryan, Sunga-Satvahana, Kushana and Gupta art from the ancient period. Indian temple
architecture and Islamic architecture is also studied. An introduction to Indian miniature painting is
given through the study of Mughal and RajasthaniSchool of painting. The course also covers a
survey of modern Indian art.

Select Bibliography:
Agrawal, V.S. Indian Art. Varanasi: Prithvi Prakashan, 1965.
Barrett, D. & B. Gray. Indian Painting. Geneva: dart Albert Skira, 1978.
Brown, P. Indian Architecture Buddhist and Hindu Period. Bombay: Taraporevala Sons and
Company, 1976.
Chaitanya, K. A History of Indian Painting : The Modern Period. New Delhi: Abhinav Publications,
1994.
Chandra, P. The Sculpture of India : 3000 B.C.- 1300 A.D. Harvard: HarvardUniversity Press, 1985.
Dalmia, Y. The Making of Modern Indian Art. New Delhi: OxfordUniversity Press, 2001.
Dahejia, Vidya. Indian Art. London:Phaidon Press, 1997
Deva, K. Khajuraho. New Delhi: Archeological Survey of India, 1987.
Gupta, S.P. and S.P. Asthana. Elements of Indian Art. New Delhi: D.K. Printworld, 2002.
Harle, J.C. The Art and Architecture of the Indian Subcontinent. London: Penguin Books, 1990.
Huntington, S.L. The Art of Ancient India. New York: Weatherhill Publication, 1985.
Koch, E. Mughal Architecture: An Outline of Its History and Development (1526-1858). Munich:
PrestelPublications, 1991.
Kramrisch, S. The Art of India through the ages. London: Phaidon Press, 1954.
Merklinger, E.S. Sultanate Architecture of Pre-MughalIndia. New Delhi: MunshiramManoharlal,
2005.
Mitra, D. Bhubaneshwar. New Delhi: Archeological Survey of India, 1984.
Mitra, D. Konark. New Delhi: Archeological Survey of India,1986.
Mitter, Partha, An Introduction Indian Art. New Delhi: OxfordUniversity Publication, 2007. Nath, R.
History of Sultanate Architecture. New Delhi: Abhinav Publications, 1978.
Sharma, R.S. & K.M. Shrimali (ed.) A Comprehensive History of India, Vol. IV, Part II. New Delhi:
Manohar, 2008.
Sarkar, H. and B.N. Mishra. Nagarjunkonda. New Delhi: Archeological Survey of India, 1987.
Sharma, D.P. and M. Sharma. Panaroma of Harappan Civilization. New Delhi: Kaveri Books, 2003.
Singh, Upinder. A History of Ancient and Early Medieval India: from the Stone Age to the Twelfth
century. New Delhi:Pearson Longman, 2008.
Sinha, Gayatri. Indian Art: An Overview. Delhi:Rupa Publication, 2003.
Sivaramamurti, C. Indian Painting. New Delhi: The National Book Trust, 1996.
Srinivasan, K.R. Temples of South India. New Delhi: National Book Trust, 1972.
Introduction to Museology

The Foundation Course deals with the fundamentals of the role and function of the museum, from
its historical beginnings to the present and examines the philosophy of museums and their form,
character and purpose. Familiarizing the students with the meaning and features of Museums,
Museology and Museography, the course also covers the emerging trends in Museology, Eco-
Museums, Tangible and Intangible Heritage. Topics to be covered under this course include :
Introduction to Museology (Definition of Museum, Museology and Museography, Spectrum of
Heritage and Cultural Studies), History and Theory of Museums (Growth and Expansion of
Museums: World Context, Indian Context, Objectives of Museums), Primary Functions of Museum
(Collection, Conservation, Documentation, Exhibition, Education, Research), Antiquarian Laws,
Legislations and Policies( World Context: UNESCO Convention, 1970, Indian Context: Antiquity
and Art Treasure Act, 1972 and National Art Treasure Act with reference to all previous acts, Indian
Cultural Policy), Paradigms and Prospects (Conventional Museology and New Developments,
Concept of Tangible and Intangible Cultural Heritage, New Museology).

Select Bibliography:
Agarwal Usha, Directory of Museums in India, New Delhi, SundeepPrakashan, 2000
Alexander, E., Museums in Motion, an Introduction to the History and Function of Museums.
Alexander, Edward P., Museum Masters: Their Museums and Their Influence, Altamira Press,
USA, 1995.
Ambrose, T. and Paine, C., Museum Basics, Nashville, Tenn: American Association for State and
Local History, 1979, ICOM.
Basa, K K, Rehan, Mohammad,Gupta, Ravindra K., Museology: A Comprehensive Bibligraphy and
Webliography, Indra Gandhi Rashtriya Manav Sangrahalaya, Serials Publication, New Delhi,2007.
Burcaw, Ellis G., Introduction to Museum Works, Altamira, 1997.
Edson, G., and Dean, D., Handbook of Museum, New York, Routledge, 1994.
Journal of Indian Museum, vol. xxxix, Museum Association of India, 1983.
Stone, Peter G &Molyneaux, Brain L., The Presented Past: Heritage, Museum and Education,
One World Archaeology Series, Routledge, London, 1994.
Van Mensch, P., Museology and Museums, ICOM News, Paris: UNESCO, 1988, Vol.41, No.3.
Wittlin, A.S., Museums: In Search of Usable Future, Cambridge, Mass: MIT press, 1970.
Introduction to Conservation Science

Museum collection and heritage sites form a significant part of Indias rich cultural heritage. With
the passage of time and due to various internal and external factors, these cultural relics undergo a
variety of deterioration, necessitating their conservation. Though a specialized science, all
professionals - Museologists, Art historians, etc. can contribute to conservation. The foundation
course covers the basics of preventive and curative conservation and how these are implemented in
case of various types of materials. The coursecovers the following topics:
a) Types of Cultural property.
b) Deterioration of Cultural property- factors of deterioration including Light and its role in
deterioration and control; Humidity, its effect on cultural property and its measurement and
control; Air pollution, its sources, effects and control measures; Bio-deterioration, its various
agencies, monitoring and eradication.
c) Conservation and its types- Preventive and Curative; Methodology for implementation of
Preventive Conservation; Curative Conservation and its implementation.
d) National and International Institutions and organizations devoted to conservation.
e) Ethics of Conservation.

Select Bibliography:
Agrawal, O.P. Care and Preservation of Museum Objects. Lucknow: NRLC,1977.
Agrawal, O.P. Preservation of Art Objects and Library Materials .New Delhi: National Book Trust,
1993.
Jain Kamal K. and Manjari Agrawal. Introduction to Conservation.NewDdelhi: National Museum
Institute, 2009.
Plenderleith H.J. and A.E.A.Werner.The Conservation of Antiquities and Works of Art. London :
OxfordUniversity Press,1971.
Thomson, G. Museum Environment .London : Butterworth- Heinemann, 1986.
Kuhn, Hermann. Conservation Restoration of Works of Art and Antiquities. London :Butterworths-
Heinemann, 1986.
Stolow, Nathan. Conservation and Exhibition: Packing, Transport,Storage, and Environmental
Considerations. London: Butterworth-Heinemann,1987.
Cronyn, J. M. and W. Robinson .The Elements of Archaeological Conservation,. London: Routledge
1990.
Research Methodology

This course considers the different ways in which research techniques become instrumental in the
understanding of social phenomena. The goal of this course is to acquaint and engage students of
History of Art, Conservation, and Museology in discussing the links between theory, methods, and
techniques. This is also to emphasize the fact that research is a continuous activity and techniques are
not be merely to be used as technical devices of data collection. Their importance lies in
contextualizing them in theoretical and methodological grounds in relation to a given situation.
Along with teaching and methodological reviews of selected research trends, the students are allotted
specific areas of field work. They are encouraged to choose a research problem, prepare a research
design, conduct a short field work and write a report.

Select Bibliography:
Brewer, J.D. Ethnography: A practice guide. Buckingham: Open University Press,2000.
Behar, Ruth & Deborah A. Gordon (ed.) Women writing Culture. Berkeley: University of California
Press, 1995.
Cliford, James and George Marcus (eds.). Writing Culture: The Poetics and Politics of Ethnography.
Berkeley: University of California Press, 1986.
Emerson, Robert M. (et. al.) Writing Ethnographic Field Notes. Chicago: Chicago Publication, 1995.
Geertz, Clifford. Thick Description: Toward an Interpretive Theory of Culture, The Interpretation of
Cultures. New York: Basic Books, 2001.
Malinowski, Bronislaw. Introduction: Argonauts of the Western Pacific. New York: E.P. Dutton,
1961.
Bernard, H. Russell. Research Methods in Anthropology: Qualitative and Quantitative Approaches.
Lanham: M D Altamira Press, 2006.
Creswell, John W. Research Design: Qualitative, Quantitative and Mixed Method Approaches,
Thousand Oaks. New Delhi: Sage Publication Private Limited, 2003.
Semester II
Early Indian Art
The course begins with an in-depth study of the art and architecture of the Indus Valley Civilization.
It focuses on Mauryan art (court art and folk art), the art of Bharhut, Sanchi, Amaravati and
Nagarjunkonda. It includes the study of the rock-cut caves of western India: Bhaja, Bedsa, Karle. It
deals with the two schools of art of the Kushana period, namely, Gandhara and Mathura. The course
covers the salient features of Gupta architecture and sculpture (stone & terracotta).

Select Bibliography:
Agrawal, V.S. Gupta Art. Varanasi: Prithvi Prakashan,1965.
Agrawal, V.S. Indian Art. Varanasi: Prithvi Prakashan,1965.
Asthana, S.P. Mathura Kala. New Delhi: NationalMuseum Publication, 1999.
Barua, B.M. Bharhut(Parts 1-3). New Delhi: Indo-logical Book Corporation, 1979.
Buswell, R.E. Encyclopedia of Buddhism Vol. 1-2. USA: Macmillan Reference, 2004.
Dehejia, V. (ed.) The Unseen Presence: Buddha and Sanchi. Mumbai: Marg Publications, 1996.
Dhavalikar, M.K. Satvahana Art. New Delhi: Sharma Publishing, 2004.
Gupta, S.P. and S.P Asthana. Elements of Indian Art. New Delhi: D.K. Printworld, 2002.
Huntington, S.L. The Art of Ancient India. New York: Weatherhill Publication, 1985.
Joshi, N.P. Mathura Sculptures. New Delhi: Sandeep Prakashan, 2004.
Kenoyer, J.M. Ancient Cities of the Indus Valley Civilization. New York: OxfordUniversity Press,
1998.
Kramrisch, S. The Art of India through the ages. London: Phaidon Press, 1954.
Marshall, J. and A. Foucher. Monuments of Sanchi. Delhi:Swati Publications, 1983.
Misra, R.N. Ancient Artists and Art Activity. Simla: Indian Institute of Advance Studies, 1975.
Mitra, D. Buddhist Monuments. Kolkata: Sahitya Sansad,1980.
Nagach, B.L., K.M. Suresh, D.P. Sharma and Dulari Qureshi, Encyclopedia of Indian Architecture
(Vol I- IV). New Delhi:Bhartiye Kala Prakashan, 2008.
Sharma, D.P. Harappan Seals, Sealings and Copper Tablets. New Delhi:
NationalMuseumPublication , 2000.
Sharma, R.C. The Splendour of Mathura Art and Museum.New Delhi: DK Printworld, 1994.
Sinha, S and B. R Mani: Origins of Civilisation. Delhi:Bhartiye Kala Prakashan, 2001.
Thapar, R. Asoka and the decline of the Mauryas. UK: OxfordUniversity Press, 1961.
Greco-Roman Art
The course begins with Bronze Age Greek Art: The frescoes from Crete, Mycenae and Thera and the
palaces of Mycenae and Crete. The course deals with ancient Greek pottery: Proto Geometric, black
figure painting, red figure painting etc. The evolution and relevance of Greek theatre is also studied.
It goes on to discuss sculpture: Hellenic, Hellenistic and Kouros and Kore of the Archaic period. The
course takes into account the three orders of temples: Doric, Ionic and Corinthian and major temples
like the Parthenon, Zeus temple of Olympia and many more. The course includes Imperial Roman
monuments and religious architecture, portraits in sculpture, Roman painting and mosaic from villas
and public places.

Select Bibliography:
Bintliff, John. The Complete Archaeology of Greece.USA: Wiley-Blackwell Publication, 2012.
Boardman, J. Greek Art. London: Thames and Hudson, 1964.
----. The Art and Architecture of AncientGreece. London: Thames and Hudson, 1967.
Brilliant, R. Art of the Ancient Greeks. New York: McGraw Hill Book, 1973.
Carpenter, T.H. Art and Myth in Ancient Greece. London: Thames and Hudson, 1991.
Charbonneaux, J.Martin, and F. R. Villard, Classical Greek Art. London: Thames and Hudson, 1972.
Demargne, P. AgeanArt : The Origins of Greek Art. London: Thames & Hudson, 1964.
Elsner, Jas. Imperial Rome and Christian Triumph: The Art of the Roman Empire AD 100-450 -
Oxford History of Art.New York: OxfordUniversity Press, 1998.
Fullerton, M.D. 2000 Greek Art. Cambridge: CambridgeUniversity Press,1982.
Hampe, R & E. Simon Birth of Greek Art from the Mycenean to the Archaic Period. London:
Thames and Hudson, 1981.
Havelock, C.M. Hellenistic Art. London: Phaidon Press, 1972.
Higgins, R. Minoan and Mycenean Art. London: Thames and Hudson, 1967.
Holscher, Tonio. The language of images in Roman art. Cambridge: CambridgeUniversity Press,
2004.
Jenkins, Ian. Greek Architecture and its Sculptures. London: BritishMuseum Press, 2006.
Kleiner, Fred S. A History of Roman Art. Belmont: Thompson Wadsworth, 2007.
Lawrence, A.W. Greek Architecture (revised by R.Tomlinson). New Haven: YaleUniversity Press
Pelican History of Art, 1996.
Matz, F. Crete and Early Greece : Art of the World Series. London: Metheun, 1962.
Pedley, J.G. Greek Art and Archaeology. U.K: Lawrence King Publishing, 1993.
Pollitt, J.J. Art in the Hellenistic Age. London: CambridgeUniversity Press, 1987.
Richter, G.M.A. A Handbook of Greek Art. London: Phaidon Press, 1959.
Robertson, M. A History of Greek Art (Vols. 1-2).Cambridge: Cambridge University Press, 1975.
Schroder, R.V. Masterpieces of Greek Art. London: Studio Books, 1975.
Sculpture and Architecture of India (8th 14th Century C.E.)
This course is an in-depth study of sculpture and architecture of India from the eighth through the
end of the fourteenth century C.E. The case studies of four or five representative regional styles of
north Indian temples such as the temples of Kashmir (Martand and Pandrethan), Kalinga style as
seen in the temples of Orissa (Parasuramesvara and Muktesvara, Lingaraj and Konarak), the styles
and sub-styles prevalent in central India (Pratihara, Chandela, Kalachuri and Paramara) and Jain and
Brahmanical temples of Gujarat and Rajasthan (Osian and Dilwara) will be taken. The ritual aspects
such as vastupurusha mandala, grid consecration and placements will be studied. From south India,
the case studies of rock-cut and structural temples created during the reigns of Western Chalukyas,
Pallavas, Rashtrakutas, Cholas and Hoysalas will be taken into account. An in-depth study will be
made into iconography and iconology of stone and bronze sculptures.

Select Bibliography:

1. Balasubrahmanyam, S.R. Early Chola Temples (A.D. 907 985). New Delhi: Orient
Longman Limited, 1971.
2. Barrett, D. & B Gray. Painting of India. Lausanne: Skira, 1963.
3. Beck, Elisabeth. Pallava Rock Architecture and Sculpture. Madras: East West Books, 2006.
4. Bhattacharya, B.C. The Jaina Iconography. Delhi: Motilal Banarsidass, 1974.
5. Bhattacharya, Benoytosh. The Indian Buddhist Iconography: mainly based on the
Sadhanamala and other cognate tantric texts of rituals. New Delhi: Asian Education
Services, 1993.
6. Boner, Alice. Principles of Compositions in Hindu Sculpture: CaveTemple Period. New
Delhi: MotillalBanarsidass, 1990
7. Boner, Alice and SadashivaRath Sharma. ShilpaPrakasha. New Delhi: Indira Gandhi
National Centre for the Arts and MotilalBanarsidass Publishers, 2005.
8. Coomaraswamy, Ananda K. Symbolism of Indian Architecture. Jaipur: Historical Research
Documentation Programme, 1983.
9. Dehejia, Vidya. The Sensuous and the Sacred: Chola Bronzes from South India. Ahmedabad:
Mapin Publication, 2002.
10. Dehejia, Vidya. Yogini Cult and Temples: a Tantric Tradition. New Delhi: NationalMuseum,
1986.
11. Desai, Devangana. Erotic Sculpture of India: a Social Cultural Study. New Delhi:
MunshiramManoharlal, 1985.
12. Desai, Devangana. The Religious Imagery of Khajuraho. Mumbai: Franco-Indian Research,
1996.
13. Desai, Kalpana. Iconography of Vishnu in North India, up to the Medieval Period. New
Delhi: Abhinav Publication, 1973.
14. Desai, Vishakha N. and Darielle Mason (eds) Gods, Guardians and Lovers: TempleSculpture
from North India, A.D. 700-1200. Ahmedabad: The Asia Society Galleries New York in
association with Mapin Publishing Pvt. Ltd., 1993.
15. Deva, Krishna. Temples of India, Vols. 1 -2. New Delhi: Archaeological Survey of India,
1995.
16. Donaldson, Thomas E. Hindu Temple Art of Orissa, Vols. 1-III, Studies in Southeast Asian
Culture, Vol. XII, ed. Janice Stargardt. Leiden: E.J. Brill, 1985.
17. Eck, Diana L. Darsan: Seeing the Divine Image in India. Pennsylvania: Anima Books, 1981.
18. Filliozat, Pierre Sylvain, and VasundharaFilliozat. H. Hampi- Vijayanagar: The Temple of
Vithala. New Delhi: SitaramBhartia Institute of Scientific Research, 1988.
19. Filliozat, Vasundhara, and George Michell. Splendors of the Vijayanagara Empire, Hampi.
Bombay: Marg Publications, 1981.
20. Gollings, John, Fritz, John M. and Michell, George. City of Victory, Vijayanagara: The
medieval Hindu capital of southern India. New York: Aperture, 1991.
21. Kramrisch, Stella, The Hindu Temple, Vols. 1-2. Delhi: Motilal Banarsidass, 1976.
22. Meister, M.W. & M.A. Dhaky, eds., Encyclopedia of IndianTempleArchitecture.(EITA) Vol.
1, Parts 1,2,3,4 (Text and Plates). Delhi: A.I.I.S,1983-86.
23. Meister, M.W. & M.A. Dhaky, (eds) Encyclopedia of IndianTempleArchitecture. Vol. II,
Parts 1,2,3 (Texts and Plates). Delhi: A.I.I.S, 1991.
24. Michell, George. The Vijayanagara Courtly Style: Incorporation and synthesis in the royal
architecture of southern India, 15th-17th centuries. New Delhi: American Institute of Indian
Studies, 1992.
25. Mishra, R.N. Silpa in Indian Tradition. New Delhi: Aryan Books International, 2009.
26. Nagaswamy, R. Facets of South Indian Art and Architecture. New Delhi: Aryan Books
International, 2003.
27. Nagaswamy, R. Masterpieces of Early South Indian Bronzes. Chennai: TamilArtsAcademy,
2006.
28. Nagaswamy, R. Timeless Delight: South Indian Bronzes in the Collection of the Sarabhai
Foundation. Ahmedabad: Sarabhai Foundation, 2006.
29. Pal, P. (ed.) Jain Art from India. London: Los AngelesCountyMuseum& Thames and
Hudson, 1995.
30. Rabe, Michael. The Great Penance at Mamallapuram: Deciphering a Visual Text. Chennai:
Institute of Asian Studies, 2001.
31. Sengupta, Gautam &Gangopadhyay Kaushik (eds) Archaeology in India: Ideas, Individuals
& Institution. New Delhi: MunshiramManoharlal, 2009.
32. Settar, S. The HoysalaTemples, Vols. I and II. Bangalore: Kala Yatra Publications, 1992.
33. Soundararajan, K.V.CaveTemples of the Deccan. New Delhi: ASI, 1981.
34. Tartakov, Gary. The DurgaTemple at Aihole: A Historiographical Study. New Delhi:
OxfordUniversity Press, 1998.
35. Venkataraman, B. Rajarajesvaram: The Pinnacle of Chola Art. Madras: Mudgala Trust,
1985.
Indian Painting
The course includes an in-depth study of ancient and medieval Indian painting styles. The ancient
period deals with the Buddhist mural paintings of Ajanta and Bagh. The course covers the study of
Western Indian (Jaina) manuscript painting and Eastern Indian (Pala) painting. The course includes
the study of Mughal paintings, Rajasthani paintings with special emphasis on the significant schools
like Mewar, Bundi, Kota, Kishangarh, Bikaner, Jaipur and their particular style. Other than this, the
course takes into consideration Pahari miniature paintings with a special emphasis on the Basholi,
Guler and KangraSchools. Malwa and Deccan Painting are also included. The course also covers
Indian aesthetics as seen in painting such as sadanga or the six-limbs of Indian painting, text-image
relation in consonance with canonical injunctions of Chitrasutra.

Select Bibliography:
Agrawal, Rashmi Kala. Early Indian Miniature Paintings: C. 1000- 1550. Delhi: Sundeep Prakashan,
2006.
Anand Krishna. Malwa Painting. Banaras: Banaras Hindu University, 1963.
Archer, W.G. Indian Miniatures. New York: New York Graphic Society, 1960.
Barrett, D. & B Gray. Indian Painting. Geneva: dart Albert Skira, 1978.
Beach, M.C. Early Mughal Painting. Boston: HarvardUniversity Press, 1987.
Beach, M.C. Rajput Painting in Bundi and Kotah. Ascona: ArtibusAsiae Publishers, 1974.23
Chakravarty, Anjan. Indian Miniature Painting, Delhi: Roli Books, 2005
Chandra, P. The Tuti-nama of the Cleveland Museum of Art and the Origins of Mughal Painting.
Graz: AkademischeDruck-u Verlagsanstalt, 1976.
Coomaraswamy, Ananda K. Introduction to Indian Art. New Delhi:MunshiramManoharlal
Publishers, 1996.
Cummins, Joan. Indian Painting: From Cave Temples to the Colonial Period. USA: MFA
Publication, 2006
Das, A.K. Mughal Painting during Jahangirs Time. Calcutta: The Asiatic Society, 1978.
Dickinson, E. & K. Khandalavala. Kishangarh Painting. New Delhi: LalitKalaAcademy , 1959.
Doshi, S. Masterpieces of Jain Painting. Bombay: Marg Publications, 1985.
Ebeling, K. Ragamala Painting. Basel: Ravi Kumar Lila Kala Basilius Press AG, 1973.
Falk, T. & E. Smart. Indian Painting. London: Colnaghi, 1978.
Ghosh, A. Ajanta Murals. New Delhi: Archeological Survey of India, 1966.
Goswamy, B.N. The Word is Sacred, Sacred is the Word: The Indian Manuscript Tradition. New
Delhi: Niyogi Books, 2007.
Khandalawala, K. Pahari Miniature Painting. Bombay: The New Book Company, 1958.
Leach, L.Y. Mughal and other paintings from the Chester Beatty Library. London: Scorpion
Cavendish, 1995.
Nawab, S.M. The Oldest Rajasthani Paintings from Jain Bhandars. Ahemadabad: Sarabhai Manilal
Nawab Publication, 1959.24
Okada, Amina. Indian Miniatures of the Mughal Court. New York: H.N. Abrams Inc., 1992.
Pal, P. Ragamala Paintings in the Museum of Fine Arts. Boston: Museum of Fine Arts, 1967.
Pande, Anupa. The Buddhist Cave Paintings of Bagh. New Delhi: Aryan Books International, 2002.
Randhawa, M.S. Basohli Painting. New Delhi: Publications Divisions, Government of India, 1959.
Seth, Mira. Indian Painting: The Great Mural Tradition. USA: HaryN Abrams Publication, 2006.
Shah, P. Shri Vishnudharmottara. Ahemadabad: The New Order Book Company, 1990.
Sharma, Mahesh and Padma Kaimal. Indian Painting: Themes, History and Interpretations Essays
in the Honor of B.N.Goswami, New Delhi: Mapin Publication, 2013
Topsfield, A. Indian Paintings from Oxford Collections. Oxford: AshmoleanMuseum, 1994.
Welch, S.C. Imperial Mughal Painting. New York:GeorgeBraziller, 1977.
Art of South and Southeast Asia

The course surveys developments in the art and architecture of the region with particular emphasis
on the Hindu Buddhist art and architecture of Sri Lanka, Myanmar, Thailand, Indonesia and
Cambodia. From Sri Lanka, promulgation of Theravada Buddhism, Buddhist sculptures and
monastic ruins from Anuradhapura (1 st century BCE) and Polonnaruwa (early 11th century C.E.) are
studied. From Myanmar, Theravada Buddhism and Buddhist art and architecture from 5th to 13th
century C.E is taught. The course traces the development of Buddhist art in Thailand (from 5th-16th
century C.E.) during the Dvaravati period, Khmer occupation of North-east Thailand, Sukhothai
period and Ayuthaya period. In Indonesia, the course surveys the Hindu-Buddhist art and
architecture of Sri Vijaya and Mataram kingdom (7th to 12th century C.E.), Majapahit kingdom
(13th-15th century C.E.), Singhasari kingdom (13th century C.E.) in Central and East Java. In
Cambodia, the course surveys the Khmer art and architecture from Pre- Angkorian period and
Angkorian period (9th to 13th century C.E).

Select Bibliography:
Coedes, George. The Indianized States of South East Asia, Honolulu: East and WestCenter Press,
1987.
Cohen, Joan Lebold and Bela Kalman. Angkor Monuments of the God Kings. London: Thames and
Hudson, 1975.
Dumarcay, Jacques. Borobudur.Oxford: OxfordUniversity Press, 1978.
Fontein, Jan. (ed.) The Sculptures of Indonesia. Paris: Harry N. Abrams,1990.
G.H. Luce. Old Burma: Early Pagan, Volumes 3. New York: LocustValley,1970.

Guillon, Emmanuel. Cham Art. London: Thames and Hudson, 2001.

Hall, D.G.E. A History of South East Asia. London: Macmillan and Company Limited, 1964.
Holt, Claire. Art of Indonesia: Continuities and Change. Philadelphia :Cornell University Institute
for the Study of Human Issues, 1967.
Jessup, Helen Ibbitson and Thierry Zerphir. Sculpture of Angkor and Ancient Cambodia: Millennium
of Glory. London: Thames and Hudson, 1997.
Kempers, Bernet A.J. Ancient Indonesian Art. Cambridge: HarvardUniversity Press, 1959.
Kinnay, A.R. Worshipping Shiva and Buddha The TempleArt of East Java. USA: University of
Hawaii Press, 2003.
Le May, Reginald. Buddhist Art in South East Asia: The Indian Influence on the Art of Thailand.
Delhi: Aryan BooksInternational, 2004.
Louis, Frederic. The Temples and Sculpture of South East Asia. London: Thames and Hudson, 1965.
Majumdar, R.C. Ancient Indian Colonies in the Far East, 2 volumes. Delhi :Gyan Publishing House,
1971.
Majumdar, R.C. Campa History and Culture of an AncientIndianColonialKingdom in the Far East ,
2nd-16th century.Delhi : Gian Publishing House, 1985.
Majumdar, R.C. India and Southeast Asia. Delhi: B.K Publishing Corporation, 1979.
Majumdar, R.C. Kambuja- Desa: An Ancient Hindu Colony in Cambodia. Philadelphia: Institute for
the Study of HumanIssues,1980.
Maud ,Gelson-Girard (et al.) Art of South East Asia. Paris: Harry N. Abrams, 1994.
Miksic, John. Borobudur: A Golden Tales of the Buddha Bamboo. Delhi: Motilal Banarsidas, 1990.
Paul, Pagan. Art and Architecture of Old Burma .New York: Kiscadale Publications, 1989.
Rawson, Philip. Art of South East Asia. New York: Frederick A. Praeger Publishers, 1967.
Stratton, Carol and Robert Mcnair Scott. The Art of Sukhothai. Oxford: OxfordUniversity Press,
1981.
Van, Beek. Art of Thailand. London: Thames and Hudson, 1991.
Vittorio,Roveda. Sacred Angkor: The Carved Reliefs of Angkor Wat. Thailand: River Books, 2002.
Voute, Caesar and Mark Long. Borobudur, Pyramid of the Cosmic Buddha. Delhi: D.K.
PrintworldPvt.Ltd, 2008.
Woodward, Hirama W. and Luis Gomez. Barabudur: History and Significance of a
BuddhistMonument, Group of Buddhist Studies. Berkeley: University of California, andInstitute of
Buddhist Studies, 1981.
Semester III
Indian Architecture (High Medieval Period)
The course is an in-depth study of Islamic monuments from the twelfth to the nineteenth century.
Particular emphasis is given to the architectural traditions that prevailed under the Indian Sultanate
(Delhi, Jaunpur, Bihar, Bengal, Gujarat, Malwa and Deccan) and during the Mughal rule. The
monuments are studied in detail with relation to their cultural, political, economic and aesthetic
context. Islamic architecture from the eighteenth to the mid nineteenth century, with a special
reference to Delhi, Awadh and Srirangapatna is also discussed.

Select Bibliography:
Asher, Catherine. Architecture of Mughal India. Cambridge: CambridgeUniversity Press,1992.
Bianca, Maria Alfieri. Islamic Architecture of the Indian Subcontinent. London: Laurence King Pub.,
2000.
Brown, Percy. Indian Architecture: Islamic Period. Bombay: Db Taraporevala Sons & Company Pvt
Ltd, 1958.
Ettinghausen, R.and O. Grabar. The Art and Architecture of Islam: 650 1250.New Haven and
London: RobertHillenbrandUniversity,1994.
Grabar, O. The Formation of Islamic Art. New Haven, and London: YaleUniversity Press,1978.
Juneja, Monica. Architecture in Medieval India: Forms, Contexts, Histories. Delhi: Permanent Black
,2001.
Koch, Ebba. Mughal Architecture: An Outline of Its History and Development (1526-1858).
.Mnchen, Federal Republic of Germany : Prestel ,1991.
Koch, Ebba. Mughal Art and Imperial Ideology: Collected Essays. New Delhi: OxfordUniversity
Press, 2001.
Kumar, Sunil. The Emergence of the Delhi Sultanate 1192- 1286. Delhi: Permanent Black, 2007.
Kumar, Sunil. The Present in Delhis Pasts. Delhi: Gyan Publishing House, 2002.
Kumari, Savita. Tomb of Delhi- Sultanate Period. Delhi: Bharatiya Kala Prakashan, 2006.
Lambah, Abha Narain and Alka Patel (eds.) The Architecture of the Indian Sultanates. Mumbai:
Marg Publication, 2006.
Merklinger, Elizabeth Schotten. Sultanate architecture of Pre Mughal India. Delhi:
MunshiramManoharlal Publishers Pvt. Ltd, 2005.
Michell, George and Zebrowski. Mark. Architecture and Art of the Deccan Sultanates. Cambridge:
CambridgeUniversity Press, 1999.
Michell, George (ed.) Vijayanagara: Splendour in Ruin. Ahmedabad: Mapin Publishing, 2008.
Nath, R. History of Sultanate Architecture. Delhi: Abhinav Publications, 1978.
Schimmel, Annemarie. Islam in India and Pakistan. Leiden: E.J.Brill, 1982.
Sharma, P. K. Indo Islamic architecture Delhi and Agra. Delhi: Creative Offset, 2003.
Shokoohy, Mehrdad. Bhadresvar: The Oldest Islamic Monuments in India. Leiden&New York: Brill
Academic Publishers, 1988.
Tillotson,G.H.R.The Tradition of Indian Architecture: Continuity, Change, and the Politics of Style
since 1850. New Haven: YaleUniversity Press, 1989.
Tillotson,G.H.R...................... Mughal India. Delhi: 1991.
Renaissance to Baroque Art
The course offers a survey of painting and sculpture in Europe from the Renaissance to Baroque
period, ca. 1400-1700 C.E., with special reference to Italy. It takes into account important individual
artists and cities that were major centers of artistic production. The course addresses important
questions related to the art of this period like the status of the artist, the role of patrons, and the wider
client base for different types of art. Religious and theological issues are central to the course, since
the challenge of the Reformation to the power and dominance of the Roman Catholic Church had a
profound impact on the art of the period.

Select Bibliography:
Boucher, Bruce. Italian Baroque Sculpture. London: Thames & Hudson, 1998.
Bruce Boucher ed. Earth and Fire: Italian Terracotta Sculpture from Donatello to Canova.
London&New Haven: YaleUniversity Press, 2002.
Bruce Cole. Italian Art 1250-1550: The Relation ofRenaissance Art to Life and Society. New York:
Westview Press, 1987.
Hartt, Frederick and David G. Wilkins. History of Italian Renaissance Art: Painting, Sculpture,
Architecture. NewJersey: Prentice Hall, 2006.
Vasari, Giorgio. Lives of the Artists. Tr. Julia Conaway Bondanella and Peter Bondanella. Oxford:
OxfordUniversity Press, 1991.
Hennessy, John Pope. Italian High Renaissance & Baroque Sculpture: an Introduction to Italian
Sculpture. London: Phaidon Press Ltd,1996.
Rowland ,Ingrid D. The Culture of the High Renaissance: Ancients and Moderns in Sixteenth
Century Rome. Cambridge: CambridgeUniversity Press, 2001.
Jacob Burckhardt. The Civilization of the Renaissance in Italy. London: Phaidon, 1950.
Lubbock, Jules. Storytelling in Christian Art from Giotto to Donatello. London:YaleUniversity
Press, 2006.
Martin, John R. Baroque. London: Harper & Row, 1977.
Murray, Linda. The High Renaissance & Mannerism: Italy, the North & Spain 1500-1600. London:
Thames & Hudson,1967.
William, Robert. Art, Theory, and Culture in Sixteenth Century Italy : From Techne to Metatechne.
Cambridge and New York: CambridgeUniversity Press, 1997.
Roman, Jennifer Montagu. Baroque Sculpture: The Industry of Art. London&New Haven:
YaleUniversity Press, 1989.
Pater, Walter. The Renaissance: Studies in Art and Poetry. Oxford: OxfordUniversity Press, 1998.
Welch, Eyelyn. Art and Society in Italy 1350-1500. Oxford: OxfordUniversity Press, 1997.
Modern Western Art

The course begins with the definition of the term Modern. It offers a survey of modern western art
from the eighteenth to the mid twentieth century through a critical appreciation of the works of
important artists. It includes key movements such as Rococo, Neo-Classicism, Romanticism,
Realism, Impressionism, Post-Impressionism, Symbolism, Fauvism, Cubism, Expressionism and
different abstract trends. It takes into account Futurism, Dadaism, Surrealism, Abstract,
Expressionism, Op and Pop Art.

Select Bibliography:
Arnason, H. H. A History of Modern Art: Painting- Sculpture and Architecture. London: Thames and
Hudson, 1975.
Bar, Alfred H. Cubism and Abstract Art. New York: The Museum of Modern Art, 1936.
Bietoletti, Silvestra. Neoclassicism & Romanticism. New York: Sterling Publishing Co., 2005.
Brodskaia, The Fauves (Art of Century Collection). USA: Parkstone Press, 2011
Britt, Davis. Impressionism to Post-Modernism. London: Thames and Hudson, 1989.
House, John & Mary Anne Stevens. Bowness, Alan. Post Impressionism- Cross-Currents in Levey,
Michael. Rococo to Revolution- Major Trends in Eighteenth Century Painting. London: Thames and
Hudson,1990.
Pool, Phoebe. Impressionism. London: Thames and Hudson, 1991.
European Painting. London: RoyalAcademy of Art, 1979.
Penrose, Roland. Picasso- His Life and Work. New York: Harper & Brothers Publishers, 1959.
Redgrave, Richard, Samuel Redgrave. A Century of British Painters. New York: CornellUniversity
Press, 1981.
Rewald, John. Post Impressionism from Van Gogh to Gaugin. New York: The Museum of Modern
Art, 1936.
Sarane, Alexandrian. Surrealist Art. London: Thames and Hudson, 1985.
Sypher, Wylie. Rococo to Cubism in Art and Literature. NewYork: Vintage Books, 1975.
Modern Indian Art

The course is based on in-depth study of CompanySchool, BritishArtSchools, Kalighat Paintings

along with Raja Ravi Varmas academic realism. Further, the Orientalism of the BengalSchool as a
testimony to nationalism, showing the transformation of modern art in India, is studied along with
the role of Shantiniketan in art education. At the same time, the works of academic and professional
sculptors and painters are studied. The role of early modernists, art in 1940s and 1950s Bengal
Famine Artists, Progressive art movements in Calcutta, Madras, Bombay and Delhiare studied in-
depth. An assessment of art in 1960s 70s is based on figurative narrative trends, trends in
abstraction, indigenous trends in painting, sculpture, mural and printmaking. Apart from this, the
course also studies the development of Installation, Multimedia and Performative arts.

Select Bibliography:
Archer, Mildred. Company Paintings: Indian Paintings of the British Period. Ahmadabad: Mapin
Publishing House, 1993.
Archer, Mildred and Thomas Daniell. Early Views of India: the Picturesque Journeys of Thomas and
William Daniell 1786-1794 the Complete Aquatints.London: Thames and Hudson, 1980.
Bartholomew, R.L. (ed.) Nandlal Bose. New Delhi: LalitKalaAcademy, 1985
Brown, Rebecca M. Art for a Modern India, 1947-1980. USA: Duke University Press, 2009.
Bhattacharya, Sunil. Trends in modern Indian art.NewDelhi: M.D. Publication,1994.
Chaitanya, Krishna. History of Indian Painting- The Modern Period. New Delhi:Abhinav
Publications, 1994.
Dalmia, Yashodhara. Contemporary Indian Art: Other Realities. Mumbai: Marg Publication, 2002.
------ .The Making of Modern Indian Art :The Progressives. New York: OxfordUniversity Press,
2001.
------. Amrita Sher-Gil - A Life. India: Penguin Viking, 2006.
Dalmia, Yashodhara and Salima Hashmi. Memory, Metaphor, Mutations -Contemporary Art of India
and Pakistan. New York: OxfordUniversity Press, 2007.
Geeta. Amrita Sher Gil : A Painted Life. Delhi: Rupa& Company, 2002.
James, Josef (ed.) Cholamandala: An Artists Village. Delhi: OxfordUniversity Press, 2004.
Mago, Pran Nath. Contemporary Art of India, A Perspective.New Delhi: National Book Trust, 2001
1947.London:Reaktion Books,2007.
Mitter, Partha. Indian Art New York: OxfordUniversityPress, 2001.
-------. The Triumph of Modernism: Indias artists and the avant-garde, 1922-Sinha, Gayatri ed. Art
and Visual Culture in India: 1857- 2007 .Mumbai: Marg , 2009.
------. Art and nationalism in Colonial India, 1850- 1922: Occidental Orientations.New York:
CambridgeUniversity Press, 1994.
Neumayer, Erwin & Christine Schelberger. Popular Indian Art - Raja Ravi Varma and the Printed
Gods of India. NewYork: OxfordUniversity Press, 2003
Kapur, Geeta. When Was Modernism- Essays onContemporary Cultural Practice in India .Delhi: ----
-------. Contemporary Indian Artists .Delhi: Tulika Publishers,1986.
Panikkar, Shivaji K. (ed.) Twentieth century Indian sculpture: The last two decades. Mumbai: Marg
Publication, 2000.
Parimoo, Ratan. Rabindranath Tagore, Collection of Essays. New Delhi: LalitKalaAcademy,
Seid, Betty. New Narratives -Contemporary Art from India .Ahmadabad: Mapin, 2007
Sinha, Gayatri. Indian Art, an Overview.Delhi: Rupa& Company, 2003.Tulika Publishers,2000.
Semester IV
Comparative Aesthetics and Art Historical Methodology
The course discusses the principles and elements of Indian and Western approaches to art. It focuses
on the basic premises, key concepts, definite principles and techniques that help comprehend art
history as a discipline. In the first section, the principles and elements of Indian art as expounded in
the Chitrasutra of the Vishnudharmottara Purana, Natyasastra (Chapter 1 to 6), Dhvanyaloka
(Chapter 1) are studied. Theories of rasa, dhvaniand alankaraare introduced. The second section of
the course will study the principal aesthetic ideas of Plato, Aristotle, Thomas Aquinas, Kant, Hegel
and Croce. The last section of the course encompasses the art historical methodology through the
writings of Giorgio Vasari, Heinrich Wolfflin, Roger Fry, Erwin Panofsky, Ernst Hans Gombrich
and investigates the issues of art connoisseurship, representation, formalism, iconology. The
concepts of Avant-Garde, Semiotics, Structuralism, Post-Structuralism, Post-modernism and
Feminism are also introduced.

Select Bibliography:
Alexandrakis, Aphrodite, Nicholas J. Moutafakis(eds.) Neoplatonism and Western Aesthetics.USA:
StateUniversity of New York Press, 2002.
Coomaraswamy, Ananda K. The Dance of Siva. New Delhi: MunshiramManoharlal, 1991.
De, S.K. Sanskrit Poetics as a Study of Aesthetic. Los Angeles: University of California Press, 1963.
Eric, Fernie. Art History and its Methods: a critical anthology. New York: Phaidon Press Limited,
1995.
Fry, Roger. Reflections on British Painting. New York: The Macmillan Company, 1934.
Gnoli, Raniero. The Aesthetic Experience according toAbhinavagupta. Varanasi: The Chowkhamba
Sanskrit Series, 1968.
Gombrich, E.H. Ideals and Idols- Essays on Values in History and in Art. Oxford: Phaidon, 1979.
Goswamy, B.N. Essence of Indian Art. San Francisco: AsianArt Museum, 1986.
Heinrich, Wolfflin. Principles of Art History. New York: Dover Publications, 1940.
Holt, David Kenneth. The Search for Aesthetic Meaning in the Visual Arts: The Need for the
Aesthetic Tradition in Contemporary Art Theory and Education. USA: ABC-CLIO, 2011.
Pande, Anupa. Abhinavabharati. Allahabad: RakaPrakashan, 1997.
-------. Historical and Cultural Study of the Natyashastra. Jodhpur: KusumanjaliPrakashan, 1991
Pandey, K.C. Comparative Aesthetics, 2 Volumes. Varanasi: The Chowkhamba Sanskrit Series,
1956.
Panofsky, Erwin. Idea- A Concept in Art Theory. Tr. Joseph J.S. Peake. Columbia: University of
South Carolina Press,1968.
--------. Meaning in The Visual Arts. New York:Doubleday& Company, 1955.
Ray, Nihararanjan. An Approach to Indian Art. Chandigarh: Publication Bureau PunjabUniversity,
1974.
Osborne, Harold. Aesthetics and Art Theory- An historical introduction. London: Longmans, 1968.
Sontag, Susan. Against Interpretation and Other Essays. London: Picador, 2011.
Sivaramamurti,C. Citrasutra of Vishnudharmottara. Delhi: Kanak Publication, 1978.
Vasari, Giorgio. Lives of the Artists. Tr. Julia Conaway Bondanella and Peter Bondanella. Oxford:
Oxford UniversityPress, 1991.
Tiwari, Maruti Nandan and Kamal Giri (ed.) Indian Art and Aesthetics- Endeavors in Interpretation.
New Delhi: Aryan Books International, 2004.
Folk and Tribal Art
The course is a study of the folk and tribal arts of India. It is structured around painting and sculpture
in metal, wood and stone. The folk and tribal arts of various regions of India i.e. north, central, east,
northeast, west and south is studied in depth. The course takes into account the socio-cultural aspects
and religious milieu that led to the creation of art in these regions. Analogical methods, semantics of
form to encourage comparisons with Pre- Columbian, Native American, Inuit, Australian and
African art are used as part of the study.

Select Bibliography:
Aryan, S. A Catalogue of Indian Folk and Tribal Art in the collection of Home of Folk Art, Museum
of Folk, Tribal and Neglected Art. Gurgaon: Ethnographic Arts Publications,1990.
Bhandari, N.K. Cultural Heritage of India. New Delhi: Aavishkar Publication, 2007.
Caruana, Walley. Aboriginal Art. London: Thames and Hudson, 2012.
Dhamija, Jasleen. Indian Folk Arts and Crafts. Delhi:NationalBookTrust, 1990.
Gupta,CharuSmita. Indian Folk and Tribal Paintings. New Delhi: Roli Books, 2008.
Hessel, Ingo and Dieter Hessel. Inuit Art.Canada:Douglas and McIntyre, 2003.
Jaitly,Jaya. Crafting Nature. New Delhi: Wisdom Tree, 2007.
Living Craft Traditions of India.NewDelhi:NCERT, 2009.
Jaitly, Jaya. Craft Traditions of India. New Delhi: LustrePress, 1990.
------.Visvakarmas Children: Stories of IndiaS Crafts People. New Delhi: CambridgeUniversity
Press, 2000.
Jain, Jyotindra (ed.) Indias Popular Culture : Iconic Spaces and Fluid Images. London: Marg
Publications, 2007.
Kumar, Pramod. Folk Icons and Rituals in Tribal Life. New Delhi: Abhinav Publications, 1984.
Mathur, Kamlesh. Crafts and Craftsmen. Jaipur: Pointer Publication, 2004.
Pinney, Christopher. The Coming of Photography in India. Oxford: OxfordUniversity Press, 2008.
Singh,R.Naturalistic Vision of Tribal Art. Delhi: Vedam Books, 1999.
Trivedi, S.D. and Atul Jairath. Myths and Legends in Indian Art .Delhi: Agam Kala Prakashan, 2009.
Tribal Arts and Crafts of India: Our Cultural Fabric .NewDelhi:Ministry of Education and Culture
Govt. of India ,1982.
Buddhist Art of Central Asia
The course is an in-depth study of Western Central Asia from the 1 st century BCE to 7th century CE.
It begins with an overview of geographical and religious history (gods and goddesses of Central Asia
before the advent of Buddhism in Central Asia). The course includes the Bactrian school of art - its
impact on Southern Uzbekistan, terracotta art from Bactria, Buddhist sculptures from DalverzinTepe,
Wall paintings at BalalykTepe, AdzhinaTepe, Varaksha palace and Pendzhikent (Samarkand) with a
special focus on influences of India and Persia. The course includes a study of the Art of
Afghanistan: Bamiyan wall paintings, sculptures from Fondukistan, Hadda, Paitava, Shotorak etc.
The course covers the Northern and Southern Silk Routes (4th to 12th century C.E): paintings of
Miran and Khotan, wall paintings of Kucha-Kizil, Turfan wall paintings and selected paintings from
Dunhuang (pre-Tang and Tang period).

Select Bibliography:
Andrews, F.H..Wall Paintings from the Ancient Shrines in Central Asia recovered by Sir Aurel------
Descriptive Catalogue of Antiquities recovered by Sir Aurel Stein during his explorations in Central
Asia, Kansu and Eastern Iran. Delhi: Manager Publication, 1935.
Bagchi, P.C. India and Central Asia. Calcutta: SaraswatiPrakashan, 1981.
Bannerjee, P. New Light on Central Asian Art and Iconography. New Delhi: AbhaPrakashan, 1992.
-------. Central Asian Art New Revelations from Xinjiang. New Delhi: Abha Prakashan, 2001.
Barua. D.K. Buddhist Art of Central Asia. Calcutta: International Institute of Pali and Prakrit Studies,
1981.
Baumer, C. Southern Silk Road: in the footsteps of Sir Aurel Stein and Svenn Hedin. Bangkok:
Orchid Press, 2000.
Bhattacharya, Chaya. Art of Central Asia in the Collection of National Museum with Special
Reference to Wooden Objects from the Northern Silk Route. Delhi: Agam Kala Prakashan, 1977.
Bussagli, Mario. Paintings of Central Asia. Geneva: dArt Albert Skira, 1963.
Chandra, Lokesh. Buddhist Paintings of Tun-Huang in the National Museum, New Delhi. New
Delhi: Niyogi Publication, 2012.
Frumkin, Gregoire. Archaeology in Soviet Central Asia. Leiden: E.J.Brill, 1970.
London: BritishMuseum Catalogue, 1990.
Stein. Thailand: SDIPublication, 1988.
Harmatta ,Janos ed. History of Civilization of Central Asia, Vol. II. Paris: UNESCO, 1994.
Edgar, Knobloch. Beyond the Oxus, Archeology, Art and Architecture of Central Asia. London: Benn
Limited., 1972.
Klimburg-Salter, Deborah. The Kingdom of Bamiyan, Buddhist Art and Culture of Hindukush,
Rome, Naples: Instituto Univarsitario Orientale and Instituto Italiano per il Medio edEstremoOriente,
1989.
Klimburg-Salter, Deborah. The Silk Route and Diamond Path, Esoteric Buddhist Art on the Trans-
Himalaya Trade Route. USA :University of California,1982.
Litvinsky, B.A. ed. History of Civilization of Central Asia, Vol. III, The Crossroads of Civilization,
AD 250-750. Paris: UNESCO, 1996
Mukherjee, B.N. India in Early Central Asia, A Survey Of Indian Scripts, Languages, and Literature
in Central Asia of the First Millennium AD. New Delhi: Harman Publishers, 1996.
Rice, Tamara Talbot. Ancient Arts of Central Asia. London: Thames and Hudson, 1965.
Rowland, Benjamin. The Wall Paintings of India, Central Asia ,Ceylon, Comparative Study, Volume
II. Delhi: Alfa Publications, 1985.
Stein, Sir Aurel. Ancient Khotan: Detailed Report of Archaeological Explorations in Chinese
Turkestan,2 volumes set. Oxford: Clarendon Press, 1927.
-----. Serindia, 4 Volumes set. Oxford: Clarendon Press, 1921.
----- On Ancient Central Asian Tracks. London: Macmillan, 1933.
Tucker, Jonathan. The Silk Route Art History. London: Philip Wilson Publishers, 2003.
Whitfield, R. & A.FarrerCaves of the Thousand Buddhas: Chinese Art from the Silk Route. Waley,
Arthur. A Catalogue of Paintings recovered from Tunhuang by Sir Aurel Stein. London:
BritishMuseum Publication, 1931.
Whitfield, Susan. The Silk Road Trade Travel War and Faith. London: British Library Publication,
2004.
Whitfield, R.andA.Farrer. Caves of the Thousand Buddhas, Chinese Art from the Silk Route. London:
BritishMuseum Publication, 1990.
Whitfield, R. The Art of Central Asia: The Stein Collectionin the BritishMuseum, Vols. 1-3. Tokyo:
Kodansha International, 1985.
Art of China and Japan

The course is divided into two parts Art of China and Art of Japan. The art of China covers the
following topics: Bronze Age (18th to 11th century B.C.E.); Terracotta army from Qin period (3rd
century BCE); Influence of Confucianism, Taoism and Buddhism on the art and life of the Chinese
people; Expansion of Buddhist art and sculpture from the 3 rd to 13th century C.E.; the art of
Dunhuang; Landscape paintings (selected works of famous artists); Chan Buddhism and Chan art.
The course on the art of Japan includes: Archaic period (pre-Buddhist art) and Shinto; Introduction
of Buddhism and Buddhist sculpture and painting from Asuka period to the Kamakura period (645-
1185 C.E.); Shinto and Buddhist amalgamation and art during the Heian period and Kamakura
period (794-1185 CE); Zen Buddhism and Zen art during the Muromachi period (1392-1573 C.E.);
Scroll Painting or Emakimono during Heian and Kamakura period; Momoyama period (1573-1615
C.E.); Screen Painting and Ukiyo-e prints from Edo period (1615-1868 C.E.).

Select Bibliography:
Addiss. Art of Zen Painting and Calligraphy. New York: Harry N. Abrams, 1988.
Akiyama, T. Japanese Painting. New York : Rizzoli Publications, 1961.
Baker, Joan Stanley. Japanese Art. London : Thames and Hudson, 1984.
Faulkner, Rupert (ed.) Masterpieces of Japanese Prints- The European Collection. Tokyo : Stephen,
Theodore , De Barry Wm. (ed.) Sources of Japanese Traditions, 2 Volumes. New York
:ColumbiaUniversity Press, 1958.
Gabriell, Fahr-Becker (ed.) Art of East Asia, 2 Volumes. Cologne: Koneman Publications, 1998.
Hisaki, Mori. Sculptures of the Kamakura Period. New York : Heibonsha and John Weatherhill,
1988.
Ichitaro, Kondo. Japanese Genre Painting Lively Art of Renaissance. New York: Heibonsha and
John Weatherhill, 1998.
Ienaga,Saburo. Japanese Art A Cultural Appreciation. New York: Heibonsha and John Weatherhill
Publication, 1976.
Ishida, Mosaku. Japanese Buddhist Prints. Tokyo: Kodansha International,1967.
Kidder, Edward J. Art of Japan. London : Thames and Hudson, 1985.
Koboyashi, Tadashi. Ukiyo-e An Introduction to Japanese Woodblock Prints. Tokyo : Kodansha
International, 1992.
Lee, Sherman. A History of Far Eastern Art. London : Thames and Hudson, 1988.
Munsterberg, Hugo. The Arts of Japan- An Illustrated History. Tokyo : Charles E. Tuttle
Corporation, 1977.
Paine, Robert and Alexander Soper. Art and Architecture of Japan. London : Penguin Books, 1960.
Qin, Lixuen. The Wonder of Chinese Bronzes. Beijing : Foreign Language Press, 1980.
Rene, Grousset.Civilization of the East AnIndepth Study of Asiatic Arts and Cultures from the
Earliest Times to the Dawn of Modern Era. (trans. By Catherine Alison Philips). New Delhi: Aryan
Books International, 1995.
Sickman, Laurence and Alexander Soper. Art and Architecture of China. London: Penguin Books,
1968.
Sawa, T. Art in Japanese Esoteric Buddhism. New York :Heibonsha and John Weatherhill, 1976.
Sullivan, Michael. The Arts of China. Los Angeles :University of California Press, 1977.
Swan, Peter C. Chinese Monumental Art. London: Thames and Hudson, 1963.
------. Chinese Painting. Paris : Pierre Tisne, 1958.
Swann, Peter T. A Concise History of Japanese Art .New York : Kodansha International Limited,
1979.
Tanabe, Willa. Paintings of the Lotus Sutra. New York : John Weatherhill, 1998.
Tregear, Mary. Chinese Art. London: Thames and Hudson, 1995.
Watson,W.The Arts of Dynastic China. London : Thames and Hudson, 1981.
Yashiro, Yukio. 2000 Years of Japanese Art. London: Harry N. Abrams, 1958.
Arts Management
The Department of History of Art proposes to introduce a new course on Art Management (visual
art) in the upcoming Board of Studies. The course aims at imparting practical training to students to
negotiate the real world challenges in the field of art history. The course would be offered in the
fourth semester alongside the course on Modern Indian Art with an intention of providing better job
opportunities for students on completion of their M.A (History of Art) programme.

The course curriculum will focus on the theories and practices behind strategic planning and
decision-making in art organizations today. It aims at imparting training to the students on
developing concrete strategies and plans for managing arts organizations, including business plans,
fund-raising, human resources, facilities, and program development. The course would have four
units to be covered in 16 lectures (2 hours each). The units would broadly be on Theories and
Practices of Art Management, Art and Cultural Policy, Art Marketing, Finance and Accounting and
Art Law.

Select Bibliography:
Chong, Derrick. Arts Management (Mastering Management in the Creative and Cultural Industries).
New York: Routeldge, 2010.

Frey, Bruno S. Arts and Economics: Analysis and Cultural Policy. Berlin: Springer-Verlag, 2000.

Heilbrun, James and Charles M. Gray, (ed.). The Economics of Art and Culture. Cambridge:
CambridgeUniversity Press, 2001.