Area B:
Grabar, A.
Male, E.
Schugg- Wille, G.
Area C:
Ham, F.
Molesworth, H.
Wolfflin, H.
Area D:
Bazin, G.
Clark, K.
Sewter, A.
The Beginnings of Christian Art Thames & Hudson London 1967
Religious Art Noonday New York 1968
Art of the Byzantine World Abrams New York 1969
A History of Italian Renaissance Art Thames &
Hudson London 1970
European Sculpture Thames & Hudson London 1965
Renaissance and Baroque Collins London 1964
Baroque and Rococo Thames & Hudson London 1964
Landscape into Art Penguin Ringwood 1966 Neo-Classicism, Romanticism and Realism Thames
& Hudson London Prescribed Reading:
First year students should Fleming, W.
Holt, E.
Pevsner, N.
purchase or have ready access to the following:
Arts and Ideas New and brief edition Holt Rinehart New York 1974
A Documentary History of Art 3 vols Doubleday Anchor New York 1957
An Outline of European Architecture Penguin Ringwood 1972
Reference:
Available in Education Resource Centre, but not for loan:
Huyghe, R. (ed.) Larousse Encyclopedia of Prehistory and Ancient Art Hamlyn London 1967
Osborne, H. (ed.) Oxford Companion to Art Clarendon Press Oxford 1970
World Encyclopedia of Art 13 vols McGraw-Hill New York 1959
ASSESSMENT
Assessment is progressive and is based upon the following:
• two tutorial presentations of an oral and written nature;
• one research assignment;
• one tutorial test of a visual or written nature;
• a final three-hour examination if required.
Area F—The Arts in Australia from the Beginnings of the Colony to the Present Day.
Early Phases; Late Nineteenth Century Art and the Heidelberg School; Academic Trends; The Rise of 'Modernism'; Contemporary Forms and Themes; Later Develop- ments.
Area G—Art and Ideas in Early China, India and Japan.
Taoist cosmology; Pakua Symbolism; Confucian Concepts; Hindu Vedic Thought and Vedic Art; Buddhism and its Art; Shinto; Nara Buddhism and Zen.
BOOKS
The following lists are for preliminary reading only. Further bibliographical lists for prescribed reading and reference works will be provided by the Department of Fine Arts.
Area E:
Canaday, J.
Haftmann, W.
Hamilton, G.
Novotny, F.
Area F:
Hughes, Robert Smith, Bernard
Serte, Geoffrey
Area G:
Lee, S.
Parrinder, E. G.
Willens, W.
The Art of Australia Penguin 1970
Australian Painting, 1788-1970 O.U.P. Melbourne 1971, revised edition of Australian Painting, 1788-1960 1st published 1962, reprinted 1965 From Deserts the Prophets Come: The Creative Spirit in Australia, 1788-1972 Heinemann Mel- bourne 1973
History of Far Eastern Art Thames & Hudson London 1967
An Introduction to Asian Religions S.P.C.K. Publi- cations 1962
Foundations of Chinese Art Thames & Hudson London 1968
ASSESSMENT
Assessment is progressive and is based on the following:
• two tutorial presentations;
• one research assignment;
• one tutorial test.
Some students may be required to present for a three-hour final examination.
LATER STUDIES
Students are reminded that Fine Arts B is a subject which may serve as an introduction to more detailed study in the third and fourth years of the course. Students considering later research in the Modern Art, Eastern Art and Australian Art areas are strongly advised to enrol in Fine Arts B.
FINE ARTS C 9 points
A three-hour class each week throughout the year.
Prerequisite: A creditable standard achieved in Fine Arts A or Fine Arts B.
Mainstreams of Modern Art Thames & Hudson London 1959
Painting in the Twentieth Century 2 vols Lund Humphries London 1968
Painting and Sculpture in Europe 1880-1900 Penguin Harmondsworth 1967
Painting and Sculpture in Europe 1780-1880 Penguin Harmondsworth 1960
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SYLLABUS
This is an elective subject divided into two sections, both of which are to be taken to fulfil the requirements of the subject. Section 1 consists of a study of the Surrealist movement, its meanings, techniques and its importance. It is a study based upon a critical appraisal of works and relevant texts, in order to give the student a fuller understanding of the movement and its achievements. Section 2 consists of a study of problems and issues in art that are relevant to an understanding of Modern Art and its development.
Section 1:
Area A—Surrealism and its Definitions Area 8—Surrealism and its Manifestos Area C—Surrealism and the Past Area D—Surrealism and Freud Area E—Surrealism and its Influence Section 2:
Areas of study in this section will consist of themes arising from students' previous study and the lecturer's selection for the development of the course.
An Introduction to Surrealism Penns. State Univ.
Press University Park 1965
Surrealism Thames & Hudson London 1965
Literary Origins of Surrealism New York U.P. New York 1966
Surrealism: The Road to the Absolute Unwin London 1972
Surrealism trans. Paul Capon Walker & Co. New York 1962
The Aesthetic Theories of French Artists: From Realism to Surrealism John Hopkins Baltimore 1970
The Surrealist Revolution in France Univ. of Mich- igan Press Ann Arbor 1969
Dada and Surrealist Art Thames & Hudson London 1969
Manifestos of Surrealism Univ. of Michigan Press Ann Arbor 1972 1st edition, 1962
Surrealists and Art Prentice-Hall Englewood Cliffs 1970
An Anthology of French Surrealist Poetry Univ. of London Press London 1966
Surrealism Faber London 1971 1st edition 1936 The Symbolist Movement: A Critical Appraisal
Random House New York 1967
Dada: Paradox, Mystification and Ambiguity in European Literature Pegasus New York 1971 The Dada Painters and Poets Wittenborn-Schultz
New York 1951
The History of Surrealism trans. Richard Howard Penguin Harmondsworth 1973 1st edition 1964 Dada, Art and Anti-Art Harry N. Abrams New York
1965 BOOKS
Preliminary Reading:
Matthews, J. H.
Waldberg, P.
Prescribed:
Area A:
Balakian, A.
Balakian, A.
Duplessis, Y.
Gauss, C. E.
Gershman, H. S.
Rubin, W. S.
Area B:
Breton, A.
Lippard, L. (ed.) Matthews, J. H. (ed.) Read, H. (Sir) (ed.) Area C:
Balakian, A.
Grossman, M. L.
Motherwell, R. (ed.) Nadeau, M.
Richter, H.
183
Area D:
Alquie, F.
Dali, S.
Des Charnes, R.
Freud, S.
Wollheim, R.
Area E:
Breton, A.
Edwards, H.
Rubin, W. S.
Zyla, W. T. (ed.)
The Philosophy of Surrealism Univ. of Michigan Press Ann Arbor 1972
Diary of a Genius trans. Richard Howard Hutchin- son London 1966
The World of Salvador Dali Harper & Row 1962 The Interpretation of Dreams Allen & Unwin
London 1954
Freud Fontana /Collins London 1971
Surrealism and Painting trans. Simon Taylor Mac- donald London 1972 1st edition 1965 Surrealism and its Affinities Art Institute of Chicago
Chicago 1956
Dada, Surrealism and its Heritage Museum of Modern Art New York 1958
From Surrealism to the Absurd Comparative Litera- ture Symposium (3rd) Luddock, Texas 1970.
Interdepartmental Committee on Comparative Literature, Texas Tech. Univ. Press
ASSESSMENT
Assessment is based upon the following:
• two 3,000 word essays, one from each section of the subject;
• two seminar presentations;
• two visual tests.
FINE ARTS D1 12 points
THESIS COURSE
A subject of three hours a week throughout the academic year.
SPECIAL REQUIREMENTS
Students are required to attend seminars, interview or assessment meetings.
Prerequisite: Intending students for this «ourse should have shown an aptitude for research in Fine Arts.
SYLLABUS
The subject aims to allow students the opportunity to research an acceptable topic or area and to present a thesis in support of their work.
Students are required to select an approved topic and to progress with research, unhampered by formal lecture or tutorial commitments; occasional reports and/or interviews are necessary, and students will be required to present for at least one interview assessment with an examining panel.
BOOKS Prescribed:
Students should purchase or have ready access to the following:
La Nauze, J. A. Presentation of Historical Theses M.U.P. 1972 Ryan, P. The Preparation of Manuscripts M.U.P. 1972 Teitelbaum, H. How to Write Theses—A Guide to the Research
Paper Monarch Press New York 1966 ASSESSMENT
Assessment is based on the submission of one 10,000 word thesis, and at least one and no more than three assessment interviews during the year. These will be conducted by the members of an examining panel.
184
An oral examination of some aspects of the thesis will be envisaged as part of the assessment procedure.
Further information is available from the Fine Arts Department.
FINE ARTS D2 12 points
STUDIES IN ASIAN ART AND CULTURE
A one-hour lecture followed by a two-hour seminar/tutorial each week throughout the year.
In this elective subject it is not assumed that students have previously studied aspects of this subject.
SYLLABUS
The subject will develop Asian visual studies with specific reference to Asian literary sources in translation related to a variety of art forms. Artefacts considered throughout the illustrated lecture program will be interpreted from the viewpoint of Asian scholarship in art historical studies, together with Western scholarly investigations of Asian art.
The areas to be presented are treated in the form of both ancient and modern Asian traditional cultural units and the calligraphy, fresco and miniature painting, sculpture, architecture and other associated arts of the Asian continent will be shown.
COURSE OUTLINE AND UNITS OF STUDY Section A—Non-extant Cultures; Western Asia
Area 1—Sumero-Akkadian Art and Culture (Ancient Mesopotamia) Themes:
Sumerian concepts of the universe; Gods and Goddesses—their names and functions;
The Epic of Gilgamesh—The Universal Deluge; Sumerian and Akkadian Kingship; The Emergence of Sumero-Akkadian art forms—Biscuit figurines, Cylinder Seal Motifs, Sculpture, 'Kudurru' stones, the Ziggurat.
Area 2—Ancient Egyptian Art and Culture: Old, Middle and New Kingdoms.
Themes:
Rosetta and Palermo Stones; Narmer Palette and its significance; Ancient Egyptian religico-philosophic concepts—Ma'at, Ankh, Ka, 'Ba bird', the Tomb as a link between the dead and the living. The Pyramid Texts, Cartouche analysis. Gods and Goddesses, Osiris—Set, Isis, Horus, Hathor, Anubis, etc. The Sacred Scarab and the principle of regeneration. The Amarna Revolution and Akhnaton, the Tomb of Tutankhamen, Jewellery—Iconography, Tomb Paintings, Pyramid and the 'Ben' House.
Section B—Extant Cultures of Asia; Western and Eastern Asia Area 1—Islamic Art and Culture
Themes:
Islam—its interpretation, Conquest and Culture Distribution, Muslim time concepts, Muhammad—Seal of the Prophets, Aspects of Islamic Architecture of the Muslim:
Mosque, Minaret, Dome, Qibla, Mihrab, Minbar, Sahn, etc. Relationship of the Prayer Rug to Architecture, Sites of Hajj (Pilgrimage) Ka'aba Mecca, Prophet's Mosque Medina, Royal Patronage—Caliph, Imam, Sultan, Theocratic concepts, Sunnah, Shiah, Sufi components of Umma, (Islamic Community), Calligraphy, Qur'an, and their relevance to the Art and Crafts, Metal and Textiles; Principles of Islamic Ornamentation; Analysis of Indo-Muslim Culture or Islam in Iranian Culture and Aesthetic Influences—Islamic Miniature Painting.
Area 2—Buddhist Art and Culture (Theravada and Mahayana) Themes:
'Oikoumene' of Buddhism; Anicca, Dukkha, Anatta, Concepts; Triratna, Buddha, Dhamma, Sangha, Pali Textual Connotations, Arhat Ideals, Theravada Symbol- 185
Areas 1, 2 and 3 Section B:
Arnold, T. W. (Sir) Boner, S.
Bosworth, C. E.
Brown, P.
Brown, P.
Hallade, M.
Kitagawa, J. M.
Morgan, K.
Parrinder, E. G.
ism—Foot Print, Lotus, Throne, Swastika, Tree, Garland and Mudras, Gandharan Art Forms; Hellenic contact; Ashoka and Kaniska as Patrons of Art; Mahayana Ideals;
Bodhisattva; Fire and Iconography concepts Urna, Ushnisha, Mudras; Evolution of the Buddha Image, Maitreya Forms, Development of Stupa Forms, Votive and Architec- tural Forms, Rock Cliff Figures and Sanctuaries Chaitya and Vihara, Bamiyan- Afghanistan; Ajanta, Ellora, India.
Area 3—Hindu Art and Culture Themes:
Pre-Vedic Art Harappa and Mohenjo / Daro, Vedic Pantheon and Art, Brahma, Vishnu (Varaha, Vamana, Krishna), Siva (Pasupati, Mahadeva, Rudra, Nataraja, Trimurti), Vahanas e.g. Siva—Nandi; Siva-Sakti, Durga, Uma, Parvati Kali. Surya, Ganesh, Tree Worship, Devi and their manifestations in art.
BOOKS
Students should purchase or have ready access to the following texts, keeping in mind a selection of two areas for study from the course.
Archaeology and Society Methuen
The Early Dynastic Period in Egypt Cambridge Fascicule
Frankfort, H. The Art and Architecture of the Ancient Orient in The Pelican History of Art Penguin
Frankfort, H. Ancient Egyptian Religion Harper
Frankfort, H. Intellectual Adventure of Ancient Man—An Essay on the Speculative Thought in the Ancient Neat East Penguin
Egypt of the Pharaohs Oxford 85
Sumerian Mythology—A Study of Spiritual and Literary Achievement in the Third Millenium BC Harper Torchbooks T.B. 1055
The Sumerians U.C.P. 1963
Sumer vol. 1 Golden Press New York 1961 Ancient Near Eastern Texts Related to the Old
Testament Princeton U.P.
Epic of Gilgamesh Penguin Classic
Art and Architecture of Ancient Egypt in The Penguin History of Art
Further specified article reading and bibliographies will be issued by the Fine Arts Department.
Prescribed:
Areas 1 and 2 Section A:
Clarke, G.
Edwards, I. E. S.
Gardiner, A.H.
Kramer, S. N.
Kramer, S. N.
Parrot, A.
Pritchard, J. B.
Sandars, N. K.
Stevenson-Smith, A.
Painting in Is/am: A Study of the Place of Pictorial Art in Muslim Culture Dover 1965
Principles of Composition in Hindu Sculpture E. J.
Brill Leiden
Legacy of /slam O.U.P. 1974
Indian Architecture. The Islamic Period Bombay Taraporevala 1942
Indian Painting in Heritage of India Series Y.M.C.A.
Calcutta
The Gandharan Style and the Evolution of Buddhist Art Thames & Hudson
Religions of the East Westminster The Path of the Buddha Ronald Press
Introduction to Asian Religions S.P.C.K. Publi- cations
186
Rowland, B.
Seckel, D.
2aehner, R. C.
Art and Architecture of India Penguin Lonaon Art of Buddhism in Arts of Mankind Series Hinduism O.U.P. 1962
Further specified article reading and bibliographies will be issued by the Fuie Arts Department.
ASSESSMENT
Assessment in this elective subject is cumulative from the results of two 3,000 word essays chosen from different areas of the course, one visual test plus one oral examination on aspects of the course studied.