Vide Item No 56 N11072022 Postgraduate Diploma in Indian Aesthetics of Art Sem I II CBCS_1 Syllabus Mumbai University by munotes
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AC – 11/07/2022
Item No. – 5.6 (N)
University of Mumbai
Syllabus for Postgraduate Diploma in Indian Aesthetics of Art
Semester – I & II
(Choice Based Credit System)
(Introduced from the academic year 2023 -24)
Page 4
Date: 30/04/2022 University of Mumbai
Signature: Signature:
(Dr. Sudhir Nikam)
Chairman, Board of Studies Faculty of Dean
O:6815 Title of Course Postgraduate Diploma in Indian Aesthetics
of Art
O:6816 Eligibility Graduates in Arts / Science / Commerce or
equivalent examination
R:9589 Duration of Course
One Year
R: 9590 Intake Capacity
40 Students per batch
R:9591 Scheme of Examination Theory Examination + Internal Evaluation
(60+40)
R:9592 Standards of Passing
The candidate must obtain 40 % of the total
marks in external and internal examination
to pass the course
No. of years/Semesters: One Year -Two Semesters
Level: P.G. / U.G. / Diploma / Certificate
Pattern: Yearly / Semester
Status: New / Revised
To be implemented from Academic
Year : From Academic Year 2023 -2024
Page 5
University of Mumbai
Postgraduate Diploma in Indian Aesthetics of Art
(With effect from the academic year 2023 -2024)
Board of Studies in English
Dr. Sudhir Nikam (Chairperson)
Dr. Rajesh Karankal (Member) Dr. Santosh Rathod (Member)
Dr. Bhagyashree Varma (Member) Dr. Deepa Mishra (Member)
Dr. B. N. Gaikwad (Member) Dr. Dattaguru Joshi (Member)
Dr. Satyawan Hanegave (Member) Dr. Deepa Murdeshwar -Katre (Member)
Syllabus Sub-Committee
Dr. Sangita Vijay Kongre (Convener) Assistant Professor, Department of English, Maharshi
Dayanand College of Arts, Science & Commerce Parel, Mumbai -
Dr. Sushila Vijaykumar (Member): Associate Professor, Karnataka Sangha’s Manjunatha
College of Commerce, Thakurli (E) Thane
Dr.Sonali Rode (Member): Associate Professor, Department of English, Dr. Homi Bhabha
State University, Fort, Mumbai.
Ms. Bhaswati Parasar (Member): Assistant Professor & Head, Rizvi College of Arts, Sci.
and Commerce Bandra (W) Mumbai.
Mr.Somnath R. Deshmukhya (Member): Assistant Professor, Department of English,
PTVA’s M.L. Dahanukar College of Commerce, Vile Parle (E) Mumbai
Ms. Sujata Tiwale (Member): Assistant Professor, Department of English K.M.Agrawal
college of Arts, Commerce and Science College, Ganghare, Kalyan (W)
Mr. Shankar Bhoir (Member): Assistant Professor, Department of English Gokhale’s
Education Society’s Arts, Sci. and Commerce College, Shriwardhan, Riagad
Page 6
Preamble
Introduction:
The Syllabus aims to explore the universality of Indian aesthetic theories. These theories can
be applied to literature of all languages and disciplines and also to all kind of arts. The course
provides an application of Indian theories to movies, theatre, art, architecture and sculpture.
The course is an attempt to enable learners to get an exposure to a range of aesthetic theories
in both the Indian and Western traditions.
It also intends to highlight the pragmatic aspects of these theories by illustrating their
applications in varied art forms. In the process it covers the theoretical frame work of several
world views. While this course would delve into the philosophical foundations of Indian
aesthetic traditions from theoretical and practical dimensions, it would naturally find its
significant corroboration to elements of culture, history, society, language and literature.
Moreover, the comparative conte xt of Western theories would also be represented in the
ambit of this course. Being interdisciplinary in nature, the course also is designed to suit the
aesthetic temperament of learners in the contemporary context.
Keeping in mind learners’ holistic development, the course orients them to apply practical
aspects of the acquired theories. The objective of the course is to instill among learners
critical mental framework which will pave the way for them to engage in the process of art
criticism. Assignm ent is designed in such a way that students can gain practical experience of
field visits related to experience of artistic sensibility and analysis. Therefore, this course will
help academicians, learners, art critics, artists and even lay persons with pr edilections in any
form of art
Objectives of the course:
1. To introduce learners to a range of thematic and theoretical dimensions Indian
aesthetics of Art
2. To give an exposure to learners on various art forms such as painting, sculpture,
architecture, dance and music
Page 7
3. To orient learners to a comparative study of Indian aesthetic theories with respect to
Western theories
4. To develop creative and critical understanding of various aesthetic theories and its
applications
Learning Outcomes of the Course: -
1. The learners would be able to comprehend various aspects related to Indian aesthetics.
2. The learners would develop critical perception towards the various aesthetic forms
such as painting, sculpture, architecture, dance and music.
3. The learners would be able to appreciate various forms of Indian and Western
aesthetic theories.
4. The learners would be able to attain a deeper comprehension of aesthetic theories as
they acquire the knowledge of the mode of application.
Page 8
University of Mumbai
Postgraduate Diploma in Indian Aesthetics of Art
Semester I
Course: Theory
Course Title: Introduction to Indian Aesthetics of Art
Paper: I
(With effect from the academic year 2023 -24)
01 Syllabus as per Choice Based
Credit System
i Name of the Program Postgraduate Diploma in Indian Aesthetics of Art
ii Course Code
iii Course Title Introduction to Indian Aesthetics of Art
iv Course Contents Enclosed a copy of the syllabus
v References and Additional
References Enclosed in the Syllabus
vi Credit Structure (No. of Credits) 04
vii No. of lectures per Unit 15
viii No. of lectures per week 04
ix No. Tutorials per week 01
x Total Marks 100
02 Scheme of Examination Theory Examination + Internal Evaluation (60+40)
03 Special notes, if any No
04 Eligibility, if any Graduate of any stream or Equivalent
05 Fee Structure As per University Structure
06 Special Ordinances / Resolutions
if any No
Page 9
Unit 1:- 10 lectures
History of Indian Aesthetics and its Theories
Classical Indian Aesthetics and its Principles
Unit 2:- 10 lectures
Abhinavagupta – His Yoga & Aesthetic Concerns
Bhava Theory
10 lectures
Form - Rhythm, Harmony, Iconometry, Materiality Line, Colour and
Proportion
Unit 4:- 10 lectures
Anandavardana's Dhvanyaloka, with reference to Abhidha, Lakshana,
Vyanjana and Tatparya.
Evaluation Pattern:
Internal Assessment (40 Marks):
Sr. No. Particulars Marks
1 Classroom Attendance & Participation 10
2. Oral Presentation (10 Minutes with or without PowerPoint) 10
3 Written Assignment 20
Suggested Texts for Internal Assessment and Classroom Discussion:
1. Shakuntala - Kalidasa
2. Mricchakatika – ‘The Little Clay Cart’ - Sudraka
3. Bijak - Kabir
5. Speaking of Shiva - A. K Ramanujan
6. Diwan E Kabir - Rumi
7. Chitrangada - Rabindranath Tagore Semester I– Paper I
Title: - Introduction to Indian Aesthetics of Art
Unit: -3
Page 10
Semester End Examination (60 Marks):
The Semester End Examination for 60 marks will have four questions of 15 marks each (with
internal choice):
Question 1 Objective (15/20) 15 Marks
Question 2 Short Notes (3/5) 15 Marks
Question 3 Short Answer (3/5) 15 Marks
Question 4 Application/Long answer (2/3) 15 Marks
Recommended Readings :-
Barlingay S. S., A Modern Introduction to Indian Aesthetic Theory, Printworld, New Delhi,
2007, Print.
Bhat, G K. Rasa Theory and Allied Problems . Baroda: M.S. University of Baroda, 1984.
Print.
De, S.K. Some problems of Sanskrit poetics. Calcutta: 1959. Print.
Farley P. Richmond and Darius L. Swann, Indian theatre: traditions of performance. Motilal
Banarsidas Publishers, 1990, Print.
Farley Richmond, "India", in The Cambridge Guide to Asian Theatre, ed. James R. Brandon,
Cambridge University Press, 1993 Print.
Freeland, Cynthia, “Art Theory, A Very Short Introduction” Oxford University Press New
Delhi, 2006 Page No. 20
Freeland, Cynthia, “Art Theory, A Very Short Introduction” Oxford University Press New
Delhi, 2006 Page No. 06
Freeland, Cynthia, “Art Theory, A Very Short Introduction” Oxford University Press New
Delhi, 2006 Page No. 21 Evaluation: Semester End Examination Pattern 60 Marks Hours: 02
Page 11
Ghosh Ranjan K. Richmond, Great Indian Thinkers on Art: Creativity, Aesthetic
Communication and Freedom Farley P. Darius L. Swann Phillip B. Zarrilli (1993). Print.
Ghosh, Manomohan, Natyasastra: A Treatise on Hindu Dramaturgy and Histrionics, Asiatic
Society, 1961 Johnson, Jeannie. Why Write Poetry? F. D. Univ. Press, 2007. Print.
Hornby AS, ‘Oxford Advanced Learner’s Dictionary of Current English vii Edition’, Oxford
University Press London, 2005 page No. 24, Print.
Ibid 214 vii Tilak, Raghukul, ‘History of American Literature’ Prakash Book Depot, Bareilly,
2003, page no.57 , Print.
IGNOU, “(MEG -05) Literary Criticism and Theory”,IGNOU 1996 Page No. 46 Print.
Jain Nirmala. Rasa Siddhanta Aur Saundarya Shastra. Delhi: National publishing house,
1967. Krishnamoorthy, K. Tr. Studies in Indian Aesthetics and Criticism. Mysore: 1979.
Print.
K. K Sarma. Rabindranath Tagore’s Aesthetics, Abhinav publications 1988, Print.
K.C.Pandey - Comparative Aesthetics (2vols)
Kapila Vatsyayan, Classical Indian Dance in Literature and the Arts
Kramrish Stella - The Hindu temple I and II (Motilal Banarasidass).
M. H. Abrams, Glossary of Literary Terms, Wadsworth Publishing Company, 2015.
M. Hiriyanna - Essentials of Indian Philosophy.
Mahavira. and Ghosh, A. Jaina art and architecture / edited by A. Ghosh Bharatiya Jnanpith
New Delhi 1974 Print.
Masson and Patwardhan, Shantarasa and Abhinavagupta’s Philosophy of Aesthetics,
Bhandarkar Institute, 2000 Print.
Mohan, G.B. The Response to Poetry: A study in comparative aesthetics. New Delhi: 1968.
Print.
Nandavardhana,K Krishnamoorthy, and Iyengar K. R. Srinivasa. Anandavardana’s
Dhvanyaloka, Or, Theory of Suggestion in Poetry , 1955. Print.
Number of Rasas - Raghavan V.
P.S Sastri. Indian Theory of Aesthetic, Bharatiya Vidya Prakashan, 1989. Print.
Pal Pratapaditya - Buddhist Art: form & Meaning
Prof Roy & Chakraborty, ‘Golden Treasury and Other Poems’ Joy Durga Library,
Calcutta,2004, page no.213 Print.
Page 12
Prof Roy & Chakraborty, ‘Golden Treasury and Other Poems’ Joy Durga Library, Calcutta,
2004, page no.213 -214 Print.
Prof. S.N. Dasgupta, History of Indian Philosophy.
Rabindranath Tagore - Art and Aesthetics
Raghavan, V and Nagendra. Eds. An introduction to Indian poetics. Bombay: 1970. Print.
Raniera Gnoli - Aesthetic Experience According to Abhinavagupta
Ranjan Ghosh, Great Thinkers on Indian Art: Creativity, Aesthetic Communication and
Freedom
S. C. Pandey the Concept of Rasa Indian Institute of Advanced Studies 2009
Seturaman V. S., Studies in Modern Aesthetics, S. K. Nandi Indian Institute of Advanced
Study, 1975 Seturaman V. S., Indian Aesthetics by Golden House New Delhi 2017
Shelden Pollok (trans. Ed.) A Rasa Reader Cambridge Univ. press, 2016
Shrivastav Balram, Nature of Indian Aesthetics, Chaukhamba Orientalia, 1985
Page 13
University of Mumbai
Postgraduate Diploma in Indian Aesthetics of Art
Semester I
Course: Theory
Course Title: Indian Aesthetics and Its Application
Paper: II
(With effect from the academic year 2023 -24)
01 Syllabus as per Choice Based
Credit System
i Name of the Program Postgraduate Diploma in Indian Aesthetics of Art
ii Course Code
iii Course Title Indian Aesthetics and Its Application
iv Course Contents Enclosed a copy of the syllabus
v References and Additional
References Enclosed in the Syllabus
vi Credit Structure (No. of
Credits) 04
vii No. of Learning Hours 60
viii No. Tutorials per week 01
ix Total Marks 100
02 Scheme of Examination Theory Examination + Internal Evaluation (60+40)
03 Special notes, if any No
04 Eligibility, if any Graduate of any stream or Equivalent Certificate
05 Fee Structure As per University Structure
06 Special Ordinances /
Resolutions if any No
Page 14
Unit 1- Nine Rasas 10 lectures
Navrasas
Shringar Rasa
Karuna Rasa and Shanta Rasa
Bhayanak Rasa, Adbhuta Rasa
Veer Rasa, Bibhitsa Rasa, Hasya Rasa, Raudra Rasa
Suggested text Kalidas’ Shakuntala (Analyze the above Rasas in the text)
Unit II: Urban Architecture and Environment 10 lectures
The Need and Importance of Inclusion of Environmental Issues in
Architecture:
Urban Architecture -Features and Adaptability towards Climate
Change
Pioneers of Modern Indian architecture
Sustainable Homes (Region specific)
Suggested text:
Climate Responsive Architecture’ - Arvind Krishan, Simos Yannas, Nick
Baker and S V Szokolay
Manual of Tropical Housing and Building Climatic Design - Koenigsberger
O.H..Ingersoll T.G. et al, , Universities Press
Unit III: Performing Arts - Dance and Drama 10 lectures
Appreciation of Indian Classical Dance forms:
(Theoretical aspects - Basics / Introduction to Dance forms, Origin,
Four
Abhinayas, Pioneers and Repertoire)
Bharat Natyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri
and Mohini Attam
Drama - (Origin, Pioneers and Repertoire )
Classical, Folk and Modern drama
Suggested text-
"Ananda Lal, ed. The Oxford Companion to Indian Theatre." The Free Library 22
December 2004. Print
27 March 2022
Unit IV - Glimpses of Indian Cinema: - 10 lectures Semester I– Paper II
Title: - Indian Aesthetics and its application
Page 15
(Development in Terms of Theme and Technology)
Pre-Independence Cinema
(Suggested Movies: - National / regional languages - King Harishchandra, Sant Tukaram,
Dr.Kotnis ki Amar Kahani , Achhut Kanya)
Post -Independence Cinema
Suggested Movies :-National / regional languages -Do Bigha Zameen, Pather Panchali,
Mother India, Mera Naam Joker
Current Trends in Cinema
(Suggested Movies: - National/ regional languages -, Harishchandrachi Factory Peepli Live
and Bahubali)
Evaluation Pattern:
Internal Assessment (40 Marks):
Sr. No. Particulars Marks
1 Classroom Attendance & Participation 10
2. Oral Presentation (10 Minutes with or without PowerPoint) 10
3 Written Assignment 20
Internal Assignment
Presentation on any one of the forms of Dance or Drama, or Review of a regional Movie.
(Teachers and students must take up any regional Movie)
Semester End Examination (60 Marks):
The Semester End Examination for 60 marks will have four questions of 15 marks each (with
internal choice):
Question 1 Objective (15/20) 15 Marks
Question 2 Short Notes (3/5) 15 Marks
Question 3 Short Answer (3/5) 15 Marks
Question 4 Application/Long answer (2/3) 15 Marks
Recommended Readings :-
A.B Keith. The Sanskrit Drama, Oxford University Press, London. 1954. Print. Evaluation: Semester End Examination Pattern 60 Marks Hours: 02
Page 16
Abhinavagupta – An historical and philosophical study. Kepandy, Varanasi. 1963. Print.
Abhinavagupta’s Dhynyaloka Locana with an anonymous Sanskrit commentary. Ed, Dr. K.K
Krishnamurthy, Meharchand and Lachhadas Publications, New Delhi, 1988. Print.
Anadhavardhana. Dr. K. Kunjunni raja, Sahitya Academy, Delhi, 1995. Print.
Anandavardhan¡carya, Dhvany¡loka, Jagannath Pathak Acharya, Chowkhamba Vidya
Bhavan, Varanasi.
Christopher Bryskti, Govt. Sanskrit College Committee, Natya and Yajna, Trippunithura.
Print.
Contribution to the History of Hindi Drama. Manmohan Ghosh, Culcutta, 1957. Print.
Devy, G.N. ed. Indian Literary Criticism: Theory and Interpretation, Orient Longman, 2002,
Print
Dhvanyaloka of Anandavardhana with the Locana of Abhinavagupta. Translated into
English by H. Hingalls, J.M Masson and M.V. Patwardhan, Harward University Press,
England, 1990. Print.
Dhvanyaloka with Locana, and Balapriya commentaries. Kashi Sanskrit, Varanasi.1940.
Dhvanyaloka with Locana, Kaumudi and Upalocana commentaries. Kuppuswami sastri
research Institute, Madras, 1944.
Dhvanyloka and its critics. Dr. K. Krishnamoorthy Kavyanlal Publishers, Mysore, 1963.
Dhynyaloka of Anandavardhana. Dr. K.K Krishnamoorthy. Karnataka University, Dharvad,
1994.
Essays in Sanskrit Criticism. Dr. K. Krishnamurthy, Karnataka University, Dharwad, 1974.
Print
Faubion Boueers, Theatre in the East. Thomas Nelson & Sons Ltd, London. 1956. Print.
G.H Tharlekar. Studies in Natyasatra . Motilal Banarsi dass, Delhi, 1991. Print.
Page 17
I. Sekhar, Leiden, E,J. Brill, Sanskrit Drama, its Origin and Decline. 1960. Print.
Indian Kavya Literature. A.K Warder, Motilal Banarsidass, Delhi, 1972. Print
Indian Theories of Hermeneutic. Ed. P.C Muraleemadhavan, New Bharathiya Book
Corporation. New Delhi. Print
Ingalls, D and et.al. The Dhvanyaloka of Ānandavardhana with the Locana of
Abhinavagupta. HUP, 1990. Print
K.P Narayana Pisharoti. Natyasastra. Trans., Kerala Sahitya Akademi. Print.
Krishnamoorthy, K. Ed. & Trans. Dhvanyaloka by Ānandavardhana. Delhi, 1982, Print
M.M Kuppuswamy Sastry, High ways & Bye-ways of literary critics. Adayar, Madras. Print
Marian Keeler, Bill Burke. Fundamentals of Integrated Design for Sustainable Building.
Print.
Natyamandapam. M.P Sankunni Nair, Mathrubhumi, Calicut, 1987. Print.
Natyasastra, text with Introduction. English Translation by Dr. N.P Unni, Nag Publishers
Delhi, Print.
Osman Attmann, Green Architecture Advanced Technologies and Materials. McGraw Hill,
2010.
Studies on Some concepts of Alankarasastra. Dr. V. Raghavan, Adayar Library & Research
Centre Adyar, Madras, 1973. Print.
The Science of criticism in India. A.K Warder, Adyar Library and Research Centre, Adyar,
Madras. 1978. Print.
Page 18
University of Mumbai
Postgraduate Diploma in Indian Aesthetics of Art
Semester II
Course: Theory
Course Title: Aesthetics: Indian and Western Philosophical Perspectives
Paper: III
(With effect from the academic year 2023 -24)
01 Syllabus as per Choice Based
Credit System
i Name of the Program Postgraduate Diploma in Indian Aesthetics of Art
ii Course Code
iii Course Title Aesthetics: Indian and Western Philosophical
Perspectives
iv Course Contents Enclosed a copy of the syllabus
v References and Additional
References Enclosed in the Syllabus
vi Credit Structure (No. of
Credits) 04
vii No. of Learning Hours 60
viii No. Tutorials per week 01
ix Total Marks 100
02 Scheme of Examination Theory Examination + Internal Evaluation (60+40)
03 Special notes, if any No
04 Eligibility, if any Graduate of any stream or Equivalent Certificate
05 Fee Structure As per University Structure
06 Special Ordinances /
Resolutions if any No
Page 19
Unit I: Indian concept of Art 10 Lectures
Saundarya Shastra
Definitions of Art in Indian Tradition
Significance of Art and Beauty in Vedas and Upanishadas
Purpose of Art in Indian Tradition
Concept of Satyam, Shivam, Sundaram
Unit II: Aspects of Literature and Indian Aesthetics 10 Lectures
Kavyalaksna (Nature of Literature),
Kavyahetu (Sources of Literature),
Kavya Prayojana (Purpose of Literature),
Kavyabheda (Classification of Literature)
Unit III: Aspects of West ern Aesthetics: - 10 Lectures
The contributions of the ancient Greeks -Socrates, Plato and Aristotle
Medieval Aesthetics - St. Thomas Aquinas, and Leon Alberti
Unit IV: Modern Western Aesthetics 10 Lectures
Contributions of Rene Descartes, Immanuel Kant and George Luckacs
Evaluation Pattern:
Internal Assessment (40 Marks):
Sr. No. Particulars Marks
1 Classroom Attendance & Participation 10
2. Oral Presentation (10 Minutes with or without PowerPoint) 10
3 Written Assignment 20
Suggested Topics for Internal Assessment:
Internal Assignment / Assessment:
Analytical essays on any of the articles of the above philosophers Semester II– Paper III
Title: - Aesthetics: Indian and Western Philosophical Perspectives
Page 20
Semester End Examination (60 Marks):
The Semester End Examination for 60 marks will have four questions of 15 marks each (with
internal choice):
Question 1 Objective (15/20) 15 Marks
Question 2 Short Notes (3/5) 15 Marks
Question 3 Short Answer (3/5) 15 Marks
Question 4 Application/Long answer (2/3) 15 Marks
Recommended Reading: -
Anne Sheppard. Aesthetics: An Introduction to the Philosophy of Art. UK: Oxford
University Press, 1987. Print.
Bernard Bosque. History of Western Aesthetics. Print
K. C. Pandey. Comparative Aesthetics Vol. 1. Chowkhamba: Chowkhamba Sanskrit Series
Office, 1950. English. Print.
K. Krishna Murthy. Dhvanyaloka and its Critics. Mysore: Kavyalaya Publishers, 1963.
English.
Panchapagesha Sastri. The Philosophy of Aesthetic Pleasure. Annamalai, 1940. English.
Print
Peter Lamarque. Philosophy and Fiction: Essays in Literary Aesthetics. Aberdeen University
Press, 1983. English. Print.
R. Gnoli. The Aesthetic Experience According to Abhinavagupta. Chowkhamba:
Chowkhamba Sanskrit Series Office, 1968. English. Print.
S. Kunjunni Raja. Indian Theories of Meaning. Madras: Adyar Library and Research
Centre, 1963. English. Print.
S. P Bhattacharyya. Studies in Indian Poetics. Calcutta, 1964. English. Print. Evaluation: Semester End Examination Pattern 60 Marks Hours: 02
Page 21
University of Mumbai
Postgraduate Diploma in Indian Aesthetics of Art
Semester II
Course: Practical
Course Title: Indian Aesthetics of Art: Project
Paper: IV
(With effect from the academic year 2023 -24)
01 Syllabus as per Choice Based
Credit System
i Name of the Program Postgraduate Diploma in Indian Aesthetics of Art
ii Course Code
iii Course Title Indian Aesthetics of Art: Project
iv Course Contents Enclosed a copy of the syllabus
v References and Additional
References Enclosed in the Syllabus
vi Credit Structure (No. of
Credits) 04
vii No. of Learning Hours 60
viii No. Tutorials per week 01
ix Total Marks 100
02 Scheme of Examination Internal Evaluation (75+25)
03 Special notes, if any No
04 Eligibility, if any Graduate of any stream or Equivalent Certificate
Page 22
05 Fee Structure As per University Structure
06 Special Ordinances /
Resolutions if any No
Project:
The following are only a few suggested texts / films for Project work.
Similar topics keeping the learning and local context may be given to the students in
consultation with their respective guide
Monuments of Historical importance: -
Monuments of Religious importance
Study of sustainable homes of a particular Geographical Region in India
Presentation on any Indian Art forms
Documentary making on a relevant topic
Presentation / Overall Performance/ Active Participation
The learners may be encouraged to use strategies such as interview, online/offline
survey, field visits, collection of documents etc.
Guidelines for reporting and presenting project
The report may be submitted in Print (typewritten) format or in Non-Print (Blog/Vlog
/Web -page/documentary) format
Format of the Print Report:
The full content of the report must be bound together so that the pages cannot be
removed or replaced.
The cover of the report must contain, title, name of the candidate, name of the
Diploma Course, Semester, and Name of the Guide/ Co-Guide and the year of
submission.
Page numbers must be mentioned at the bottom of each page and Margin should be
1.5” on the left and 1” on the remaining 3 sides.
Use separate index sheets for all chapters. Each chapter should begin on a new page.
Report must contain all the necessary documents such as certificate of the guide,
Training Completion Certificate by the Institute/ Organization, Student Declaration
Certificate, Acknowledgements, Table of Contents, Bibliography, Appendix (if any).
Learners should use simple and effective English while writing the report and must
avoid grammatical errors. Semester II– Paper IV
Title: - Indian Aesthetics of Art: Project
Page 23
No aspects of the structure of the report should be omitted.
Guidelines for the instruction and assessment
Learners may be allotted project mentors to guide them through the process.
Learners may be allotted a co-guide in case of availability and necessity.
Learners may be encouraged to take up a project in pair or group (depending on the
context)
Learners may be trained to present final project to improve their presentation skills
A well-planned rubric and additional guidelines may be prepared by the study center
keeping in view the core content, quality of the project and presentation of work.
Evaluation Pattern:
Internal Assessment (100 Marks):
Sr.
No. Particulars Marks
1 Project Field Work (minimum 25 hours)
Report (Up to 5000 words) / Up to 30 pages including images, graphs,
appendix etc.) 75
2 Presentation (with the use of ICT tools) 25
Recommended Reading: -
Abhinavagupta. Abhnavabhārati. Pune: Gaekwar Oriental Series, 1960. Print.
Anand Amaladass, An Introduction to Aesthetics, Madras: Satyanilayam publications, 2000
print.
Ananda Amaladas, Prelude to Aesthetics. London: George Allen and Unwin, 1968 Print.
Ānandavardhana. Dhvanyāloka. Ed. K. Krishnamoorthy. Dharwar: Karnatak UP, 1974. Pri nt.
Bhāmaha. The Kāvyālaßakāra. Ed. Naganatha Sasty. Delhi: Motilal Banarasidass, 1970.
Print.
Bharata. The Natyasashtra: A Treatise on Hindu Dramaturgy and Histrionics. Ed. E.F. Carritt,
The
Theory of Beauty. Methuen & Co Ltd, London, 1962. Print.
Page 24
Ghosh, Manmohan. Calcutta: The Royal Asiatic Society of Bengal, 1950. Print.
Kîemendra, Ācārya. Aucityavicāracarcā. Ed. N. S. Chaudhary. Varanasi: Np, 1961. Print.
Kuntaka. Vakroktijīvitam. Ed. K. Krishnamoorthi. Dharwar: Dharwar UP, 1977. Print.
R.Ravindran Pillai, Outline of Aesthetics. Trivadnrum: MMSBP Publication, University of
Madras, 1971. Print.
Seven Aestheticians, New Delhi: ICPR Print.
Sharma, Shrawan. Kuntaka’s Theory of Vakrokti: A Practical Approach to Kavya. Print.
Sharma, Shrawan; Shrawan Ashima.Indian Poetics: Theory and Practice. New Delhi:
Creative Books, 2019. Print.
Suryakanta, ed. Kîemendra Studies. Poona: Oriental Book Agency, 1954. Print.
Syamala Gupta, Art Beauty and Creativity. Delhi: D.K Print world, 2000 Print.
Vāmana. The Kāvyālaßkārasūtra. Delhi: Motilal Banarsidass, 1994. Print.
Signature: Signature:
(Dr. Sudhir Nikam)
Chairman, Board of Studies Faculty of Dean
Page 25
(Appendix ‘B’)
New ordinances 6815 & 6816 relating to the
Post Graduate Diploma in Indian Aesthetics of Arts.
1. Necessity for starting the
course: With the Digital transformations of the modern society,
there is subsequent changes in the world of art. It is
always important to balance modernity with traditions,
and a diploma in Indian Aesthetics would help to keep
the knowledge of the tradition alive along with the
knowledge of the contemporary aesthetics. It addresses
the process of knowledge production which is a demand
of the NEP 2020. The course is in alignment of the
necessary mandate of the NEP 2020.
Therefore, the learners will be able to appreciate art in a
more comprehensive way.
i. It would harness artistic sensibility a nd creative agility
among learners.
ii. It would bridge the gap between modernity and
traditions.
iii. It would bring communicative competency to develop
verbal and non -verbal skills.
iv. It would enhance cross -cultural sensitivity among
learners
v.It would empower lea rners to face various challenges
related to interpersonal skills as learners would be
exposed to various methods of survey, interview, field
visits, and presentations, documentary and so on.
2. Whether the UGC has
recommended the course: UGC has given guidelines for introduction of career
oriented courses
(https://www.ugc.ac.in/oldpdf/xiplanpdf/revisedcareerori
entedcourses.pdf ). Universities are allowed t o run the
diploma / certificate courses and with due approval of its
governing councils/ statutory council wherever required
(Ref: https://www.ugc.ac.in/faq.aspx ). However, u/s 5(16)
Page 26
under Maharashtra Public Universities Act, 2016 (Mah.
Act No. VI of 2017), Universities are empowered to start
to prescribe the courses of instruction and studies in
choice based credit system for the various examinations
leading to specific degrees, diplomas or certificates in a
stand -alone format or joint format with other State or
national or global universities.
3. Whether all the courses have
commenced from the academic
year 2019 -2020 (2022 -23): The above course recommended by the BoS in English, and
further approved by the statutory bodies is to be
introduced from the Academic Year 202 3-2024.
4. The courses started by the
University are self -financed,
whether adequate number of
eligible permanent faculties
are available?:
The course is purely self -financed. The department/affiliated
colleges interested in its affiliation need to comply with
the norms laid down as above.
5. To give details regarding the
duration of the Course and is it
possible to compress the
course?: The duration of the course is maximum 12 month (two
semesters) with total 60 contact hours consisting of
maximum 4 Credits on completion of total 60 hours per
course.
6. The intake capacity of each
course and no. of admissions
given in the current academic
year: The intake capacity is set to maximum 40 students per
batch.
.
7. Opportunities of Employability
/ Employment available after
undertaking these courses: 1. They can be Art Critic, Art Director, Curator,
Anchor, Travel expert.
2. They can be employed as translators and
interpreters.
3. The multidisciplinary approach would enable to
take up jobs in areas
like visual arts, music and films.
4. They can be Television production coordinator and
Film critic.
Page 27
5. Be employed as Screen writers, Arts journalist,
Editors and Script writer
6. Programme Researcher for Theatres / Broadcasting/
Film / Video and Community art worker.
Signature:
(DrSudhirNikam)
Chairman, Board of Studies