Curriculum Painting Senior Secondary NIOS
SENIOR SECONDARY COURSE IN Painting
RATIONALE
Painting is a form of art. It is a powerful way of self-expression providing a sense of fulfillment and achievement. This course is aimed at providing with necessary inputs of practical work and skill to the learner’s familiarity of the theory of art through ages. This will further help in aesthetic development, ability to appreciate and discover beauty of life and integrate it into one’s own personality. Thus, art will make us more sensitive to our Cultural Heritage, environment and develop a creative attitude in day-to-day activities.
COURSE OBJECTIVES
- Develop knowledge and understanding of visual art
- Develop skill, ability and aesthetic attitude
- Acquaint about the development of art and various styles of art expression and their salient features
- Develop understanding about the visual aspects of composition, division of space, rhythm, texture, tonal gradation and expressive value of line
- Work with harmony and contrast of colour using pencils, pastels, water and oil colour, ink etc.
COURSE STRUCTURE
This course in painting for the senior secondary level has been divided into three compulsory modules namely :
- History and Appreciation of Indian art
- History and Appreciation of Indian painting and Sculptures
- Folk Paintings
It also includes one practical paper having three parts.
- Object Drawing
- Painting and Composition
- Folk Art as Motif
COURSE DESCRIPTION
Module – 1 : History and Appreciation of Indian Art
(From 2500 B.C. to 16th Century A.D.)
Approach:The art objects, belonged to Indus Valley Civilization, are the only available earliest evidence of great tradition of India. The nature form of these art works help us to imagine that tradition of Indian art must have begun long before 2500 B.C. Changing condition of politics and religions kept on motivating Indian art through the ages from 4th C. B.C. to 16th C. A.D., leaving a missing link for approximately 1000 yrs from post Indus Valley civilization to Mauryan period. Indian Art under the patronage of Hindu, Muslim, Buddhist and Jain rulers, flourished till 16th C. A.D. to face a new era of art movement after the Mughals became the rulers of India.
Unit 1.1 Art of Indus Valley Civilization
(Harappan and Mohen-jo-daro 2500 B.C. to 1750 B.C.)
Brief introduction and appreciation supported with drawing, maps, and pictures of the following art objects:
| Objects | Collection |
|---|---|
|
Mother Goddess |
National Museum, Delhi |
|
Seal with Bull Design |
National Museum, Delhi |
|
Painted Pottery |
National Museum, Delhi |
|
Jewellery (necklace) |
National Museum, Delhi |
Supportive video programme(s)
- Mother Goddess
- Seal with Bull Design
- Painted Pottery
- Jewellery (necklace)
Unit 1.2 Art of Mauryan to Gupta Period
(4th Century B.C. to 6th Century A.D.)
Brief introduction and appreciation supported with drawing and pictures of the following art objects:
| Objects | Collection |
|---|---|
|
Lion Capital |
Sarnath Museum |
|
Chauri Bearer (Yakshi) |
Patna Museum |
|
Stupa I at Sanchi |
Sanchi, Madhya Pradesh |
|
Lord Mahavira – Jain Tirthankara |
National Museum, U.P. |
|
Seated Buddha (Gandhara Style) |
Sarnath Museum, Madhya Pradesh |
|
Seated Buddha |
Government Museum, Mathura |
Supportive video programme(s)
- Nataraja (Cosmic dance of Lord Shiva)
- Dokra Casting (Tribal Bronze casting)
- Triumph of Labour
Unit 1.6 Indo–Islamic Architecture
(From 12th Century A.D. to 17th Century)
Brief introduction and appreciation supported with drawing and pictures of the following heritages/monuments.
| Pictures | Place |
|---|---|
|
Qutab Minar |
Delhi |
|
Taj Mahal |
Agra |
|
Gol Gumbaz |
Bijapur |
Supportive video programme(s)
- Qutab Minar
- Taj Mahal
- Gol Gumbaz
Module – 2 : History and Appreciation of Indian paintings and Sculptures
(From 16th Century A.D. Pioneers to Contemporary Art Movements)
Approach : The 16th century saw a profound change in the stylistic development of Indian art. Art of miniature painting became very popular in Rajputana and in the court of the Mughals. It also influenced the South Indian painters.
The muslim rulers were great admirers of architecture. They enriched Indian art with superb structures, including one of the wonders of the world, Taj Mahal.
Under the British rule, the character of Indian art underwent a thorough change. Beside the painters like self-taught artist Raja Ravi Verma, many Indian artists followed the realistic style of European art. On the other hand, Abanindranath Tagore and his Bengal school tried to bring back classical Indian style with contemporary themes and Jamini Roy modernised the folk style of India. Amrita Shergil, with her Parsian art education, was the most influential painter in contemporary art scene, while Rabindranath Tagore visualised the most modern aesthetics in his painting. These pioneers inspired the next generation of Indian artists to discover their identity in the filed of international art.
Unit 2.1: Mughal School
(From Akbar to Bahadur Shah II)
Brief introduction and appreciation of the following Miniature Paintings:
| Paintings | Artist | Collection |
|---|---|---|
|
Bird catching at Baran |
Bhag |
National Museum, Delhi |
|
Tanjore Painting |
Unknown |
National Museum, Delhi |
Supportive video programme(s)
- Nizamuddin Awaliya and Amir Khusrau
- Tanjore Painting
Unit 2.5: Company School
Brief introduction and appreciation of the following Paintings:
| Paintings | Artist | Collection |
|---|---|---|
|
A group of Kashmiri Artisans |
Unknown |
National Museum, Delhi |
|
The Bird |
Unknown |
National Museum, Delhi |
Supportive video programme(s)
- A group of Kashmiri Artisans
- The Bird
Unit 2.6: Pioneers of Contemporary Art Movements in India
Brief introduction and appreciation of Paintings in the modern era :
| Paintings | Artist | Collection |
|---|---|---|
|
Ravana and Jatayu |
Raja Ravi Varma |
National Museum, New Delhi |
|
Radhika |
Abanindra Nath Tagore |
National Gallery of Modern Art, New Delhi |
|
Sri Chaitanaya under Garud Stambha |
Nand Lal Bose |
National Gallery of Modern Art, New Delhi |
|
Crucifixion |
Jamini Roy |
National Gallery of Modern Art, New Delhi |
Supportive video programme(s)
- Ravana and Jatayu
- Radhika
- Sri Chaitanaya under Garud Stambha
- Crucifixion
Unit 2.7: Contemporary Arts of India
Brief introduction and appreciation of Paintings in modern era:
| Paintings | Name of the Artist | Collection |
|---|---|---|
|
Women Face |
Rabindranath Tagore |
National Gallery of Modern Art, New Delhi |
|
Adornment of Bride |
Amrita Shergil |
National Gallery of Modern Art, New Delhi |
|
Santhal Family (Sculpture) |
Ram Kinker Baij |
National Gallery of Modern Art, New Delhi |
|
Mother Teresa |
M.F. Hussain |
National Gallery of Modern Art, New Delhi |
|
Thorn Prick |
N.S. Bendre |
National Gallery of Modern Art, New Delhi |
PRACTICAL
Part I : Object Drawing Study hours : 65 Marks : 20
- (1) Object Study
- (2) Nature Study
Approach:
Awareness of Fundamentals of Drawing like space, line, tone, volume, perspective, light, and shade, etc. through simple experimental exercises. Study of two or three simple objects including natural and geometrical be arranged together and composed on a given format either vertically or horizontally.
Simple objects based on geometrical shapes could include, for example, jug, tumbler, basket, plate, bottle, kettle, vase, book, magazine, cup and box etc. of a variety of materials like terracotta, ceramics, cane, glass, paper, wood, plastic, drapery, leather and metal etc. Natural forms locally available like fruits, vegetables, flowers, leaves, twigs, etc. are to be used. Select any two or three on given objects.
Materials to be used: Drawing paper-1/2 imperial size or (15”/11” approximate size); Various grades of pencils (soft lead); eraser; colours- Oil pastels, water colours and ink; various grades of flat / round brushes;
Part II : Painting and Composition Study hours : 65 Marks : 20
- (3) Fundamentals of Painting
- (4) Composition
- (5) Sketching from Life and Memory
Free hand drawing directly from life of Human Figures, Animals, Trees, Building, Interior of a Room, Bus stop, Market Place, Vehicles, etc. Paint on a given topics like e.g. Festival, Fair, Railway station, Man reading a book or newspaper, Playing with your pet, Eating out, Night scene, Rainy day, wedding, Gram Panchayat, Pollution, Library, Mother & Child etc. using imagination and everyday sketches.
Starting with Basic Design and various Experiments to understand variety in forms and overlapping, their simplification, colour wheel, variety in colour, hue, tone and texture, rhythm and continuity in application, concept of far etc. all brought together meaning fully in a composition. (Select any one on given topics).
Materials to be used: Drawing paper-1/2 imperial size or (15”/11” approximate size); Various grades of pencils (soft lead); eraser; colours- Oil pastels, water colour and ink; various grades of flat / round brushes;
SCHEME OF EVALUATION
| Mode of Evaluation | Duration in hours | Marks | Parts |
|---|---|---|---|
|
Theory |
1½ |
30 |
1 |
|
Practical (Three Papers) |
2½ |
|
|
|
Part I : Object Drawing |
|
20 |
1 |
|
? Composition and Drawing |
|
8 |
|
|
? Treatment of Media |
|
8 |
|
|
? Overall impression |
|
4 |
|
|
Part II : Painting and Composition |
2½ |
20 |
1 |
|
? Compositional arrangement including emphasis on the subject expressed |
|
8 |
|
|
? Treatment of media |
|
8 |
|
|
? Overall impression |
|
4 |
|
|
Part III : Folk Art as Motif |
1 |
15 |
1 |
|
? Design and Layout |
|
10 |
|
|
? Overall impression |
|
5 |
|
|
Portfolio Submission |
Self paced |
15 |
|
|
? Complete work |
|
5 |
|
|
? Quality of work |
|
5 |
|
|
? Presentation |
|
5 |
|
|
Total |
7½ |
100 |
4 |