91精品

Course Credit: 4

Course Teacher: Prof. Bulbon Osman

E-mail: bulbonosman@gmail.com

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

Preamble of the courses

Bangladesh is an agricultural country 70% of the population lives in villages. So to know the people of Bangladesh we must study the folk art & culture of the country. At the same time, several ethnic groups have distinct cultures, so we must take account of them, which has enriched the total culture of Bangladesh.

Specific Objectives: 

• To know the total cultural pattern of Bangladesh
• Folklore is one of the main items
• Pottery is one of the main artifacts of Folk art in Bangladesh. Students will go to their respective village or potter center.
• In the city we find decorated rickshaws and paintings at the back, truck paintings are another item of artistic interest.
• Housing in the village has its special pattern. Students should study the planning and form of mud-built or thatched houses.
• Women folk pass their time by decorating quilts or Kantha which is rich in color and pattern of stitching, Students can study their artistic minds and thoughts.

Course Description/Contents:

• Evaluation of folk life and culture.
• Evaluate the scope of the subject i.e. art & culture of Bangladesh.
• Historical references of Bangladesh should be included to know the total perspective of the subject.
• Students can compare the plainland ethnic groups and those who live on the hillside.
• The mainland People and the ethnic groups and how they interact with students should also study those factors.

Other Description:

Definition and scope of the Subject.The philological information of the subject. Total historical perspective of the subject.

Outcomes of the Learning: Students will able to:

• Absorbing the subject
• Can analyze 
• Can Interpret
• Can Discuss
• Can Present
• Can Compare
• Can Motivate for further learning
• Can do higher inquiry
• Can conduct research-work
• Can apply in academic and professional life  

Instructional Strategies: 

• Lectures
• Multimedia Presentation
• Discussions
• Group Performance
• Internet
• Google

Assessment:

• In-Course tutorials
• Assignments
• Viva-Voce
• Presentation
• By an in-course teacher and an external examiner

References: 

• Social History of art- Arnold Hauser
• Folk Art of Bengal- Ajit K mukherjee
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Encyclopedia of World Art- Thames & Hudson, London

Course Credit: 4

Course Teacher: Sabrina Shahnaz

E-mail: Sabrina.art.du@gmail.com

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction of the Course: 

This course is designed for Students to learn more about the modern and contemporary art of Bangladesh and to develop their skills for closer looking and inspire to read as much as necessary about native art and culture.

Specific Objectives: 

• Learn early Bangladeshi fundamental components of art to see and analyze legendary artists鈥� artwork more deeply.
• How to compare and contrast contemporary and modern artworks.
• Research on how native art impacts influential modern artists of Bangladesh.
• Modern art helps to understand the periodical art evolution  of Bangladesh
• Learn how academic art schools are established here in Bangladesh.

Course Contents:

• Mahesharpasa School of Art
• Artist Sashi Vusan
• Shilpacharya Zainul Academy
• East Pakistan School of Art
• Starting of Academic Art Education
• Bangladesh Shilpakala Academy
• Artist Quamrul Hasan 
• Artist SM Sultan
• Artist Safiuddin Ahmed
• Artist Mohamed Kibria 
• Other working Artists
• Higher studies
• Exhibitions
• Galleries 
• Artists groups
• Awards
• Study at home & abroad.

Learning Outcomes:    

Upon successful completion of the course, students will be able to:

• Define the terms of Modern Art in Bangladesh and explain Bangladeshi artist鈥檚 artworks. 
• Identify the key art movements of the Bangladeshi modern art eras (before and after the liberation war of Bangladesh).
• List the principal artists from each movement, and accurately identify seminal works of art by those artists.
• Compare and contrast several important artworks and identify just what makes these particular works modern and, most importantly, what makes these works true achievements that allowed for future developments in the arts.
• Build a presentable and accurate timeline of the progression of Bangladeshi modern art movements.

Instructional Strategies: 

• Lectures
• Visit museums and galleries.
• Multimedia presentation 
• Discussions  
• Readings on related topics for this course.  

Assessment:

• Assignment submitted with more analytical information.
• In-Course tutorials
• presentation 
• Viva individuals
• The course final will be assessed by the course teacher (internal examiner) and a second examiner (external).

References:

• Series of Books from Shilpakala Academy
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Course Credit: 4

Course Teacher: Dr. Masuda Khatun Jui

E-mail: masuda.hiart@du.ac.bd

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

Contemporary Art Trends: Occidental is a Course where Students get ideas to understand the political and social history of Postmodern Europe and America.

Specific Objectives: 

• Contemporary Art Trends: Occidental helps us to get ideas about post-modern art trends.
• It helps us gain a better understanding of visual Narratives.

Course Description/Contents:

• Modern & Contemporary visual artists
• Art of the 21^st Century
• Contemporary Realist Artist
• American Realism
• Virtual Art
• Museum of Computer Art
• The Victory and Albert Museum London.

Learning Outcomes:

• Political and social history of post-modern Europe
• Research and write on art. art Criticism etc.
• Better understanding of post-modern art trends.

Instructional Strategies:

• Lectures
• Multimedia Presentations
• Discussions
• Museum Visits   

Assessment:

• In-Course tutorials.
• Assignments (more focus on analytical manner)
• Viva individuals
• Presentation 
• Course final will be assessed by the course teacher (internal examiner) and a second examiner (external) 

References:

• The  Story of Art
• The Lives of the Artists
• Art Through the Ages
• History of Art.

Course Credit: 4

Course Teacher: Md. Aktaruzzaman

E-mail: 

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

Aesthetics is a course that gives the students a comprehensive understanding of beauty the most essential component of Philosophy, which has also a valued importance for total art & literature,

Specific Objectives:

• Learn what the basics of Aesthetics are.
• Learn what the beauty is.
• Learn how the sense of beauty plays an active role in understanding the aesthetic value of artwork.
• Learn the history of aesthetics, its definition, branches, and the field of service.
• Discusses how the aesthetic sense is fostered in 2D and 3D artwork.
• Learn about the organizational categories of Basics of Aesthetic values to make and create.
• Discusses how the spirit of Aesthetic values works.
• Learn the significance of aesthetic values and each aspect of their relation in a contextual way.
• Discusses how an achievement flowed with a successful use of aesthetic values creating artwork and a better understanding of their highest scopes.
• Learn about the outcomes of artists as their core knowledge to amply usefulness to Aesthetic values of Visual Art and as well as the total impact on artworks.

Course Contents:

• Evaluation & Definition Aesthetics
• History of Aesthetics as a discipline
• Sublime, beautiful, ridiculous, ugly, fine, lovely, awful, hideous, exquisite, superb, gross, foul, joyful, melancholy, serene, witty, vulgar, humble,
• Eastern & western Aesthetics
• Religious and philosophical influence on art.

Other Description:

Introduction, History of aesthetics, Ancient aesthetics, Indian aesthetics, Chinese aesthetics, African aesthetics, Islamic aesthetics, Western medieval aesthetics, Modern aesthetics, Post-modern aesthetics and psychoanalysis, Aesthetic Concepts, Aesthetic Value, Aesthetic Attitudes, Aesthetic judgment, Intentions, Definitions of Art, Expression, Representation, Art Objects, Philosophical Aesthetics, Dickie, Sclafani, Roblin, Sheppard, Joseph Addison, Immanuel Kant, Jerome Stolnitz, Edward Bullough, George Dickie, Kapila Vatsyayan, "Classical Indian architecture, sculpture, painting, literature (k膩vya), music, and dancing鈥�, Special spiritual or philosophical states, 'Satyam Shivam Sundaram', 'Srabana', 'Manana', 'Sadhana', Asramas, 'Daksha' and 'Mahana', 'Bhava', N膩tyash膩stra, Sharang, Confucius鈥檚 "li", Mozi, Gu Kaizhi,

Learning Outcomes:

Students will be able to

• Understand
• Analyze
• Interpret
• Discuss
• Present
• Compare
• Motivate to learn more advances on that lesson/Motivate to acquire more knowledge on the subject-matter.
• Do higher inquiry
• Conduct research
• Apply in their academic and professional life.

Instructional Strategies:

• Lectures
• Multimedia Presentations
• Discussions
• Individual Presentations
• Group work
• Internet
• Google

Assessment:

• In-Course tutorials.
• Assignments
• Viva voce
• Presentation
• The course final will be assessed by an internal (course teacher) and an external examiner.

References:

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• Ab艙`vksKi ivq, AvU漏, KjKvZv t cyb冒, 1989|
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• A鈥�jvK gy鈥�Lvcva篓vq, wP脦`k漏b, KjKvZv: i脛b鈥�mb 赂脽, 1394|
• Aveyj gbmyi, wk铆x `k漏K mgv鈥�jvPK, XvKv: gy鲁aviv, 1987|
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• A Dictionary of Art Terms and Techniques Ralph Mayer, New York, Thomas Y. Crowell Company,
• Jack Burnham, The Structure Of Art, New York Braziller, 1971. Warner Haffmann, Painting in the Twentieth Century, London, Lund Humphries, New York, Praeger,
• Michele Cone, The Roots and Routes of Art in the 20^th Century, New York, Horizon Press, 1975.
• Minroe C. Beardsley, Aesthetics From Classical Greece To The Present: A Short History, The University of Alabama Press, Reprint of the 1966 ed. pub. by The Macmillan Co., New York.
• Benedetto Coroce, A History of Aesthetic (London, 1982; New York, 1957).
• Benedetto Croce, Aesthetics as Science of Expression and General Linguistic, Part II (Trans Douglas Ainsie, 2^nd ed. London 22.
• Katherine gilbert and Kuhn, A History of Aesthetics (New York, 1939; Bloomingtion, 1954).
• Karl Aschenbrenner and Arnold Isenurg, eds., Aesthetics Theories : Studies in the Philosophy of Art (Englewood Cliffs, N.J., 1965.
• Alexwnder Sesonke, ed., What is Art? Aesthetics Theory from Plato to Tolostoy (New York, 1965).
• Rene Wellek, A History of Modern Criticism, Vols. I & II (Yele U., 1955).
• Lionello Ventury, History of Art Criticism, trns. Charles Mariott (New York, 1939)
• Elizabeth Gilmore, Holt, ed., Literary Sources of Art History (Princetonr U., 1947).
• Ranjan K. Ghosh, Aesthetics Theory and Art, Ajanta Publications, Delhi, first pub1979. frist pub. 1956.
• Ananda K Coomaraswami, Chritian and Oriental Phiosophy of Art, Dover Publication, Inc., New York,
• A. Zis Foundations of Marxist Aesthetics, (Translated from the Russian by Katherine Jujdelson,
• Progress Publishers, Moscow, First printing, 1977.
• Melvin Rader, A Modern Book of Esthetics, New York, Chicago, Sanfrancisco, Dallas, Montreal,

• Toronto London, Sydney: Fifth Edition, Holt, Renehart and Winston, 1930.
• Robert C. Burkhart, Spontaneous and Deliberate Ways of Learning, Pennsylvania: International textbook company, 1962.
• Stephen C. Pepper, The Basis of Criticism in the Arts, Cambridge, Massachusetts: Harvard University Press, 1965.
• Curt J. Ducasse, Art the Critics and You, New York: Hafner Publishing Company, 1948.
• Herbert Read, The Meaning of art, London: Faber and Faber Limited, 1972.
• Herbert Read, Education Through Art, New York: Pantheon Books, 1956.
• Melvin Rader, A Modern Book of Esthetics, New York, Chicago, Sanfrancisco, Dallas, Montreal,
• Toronto London, Sydney: Fifth Edition, Holt, Renehart and Winston, 1930.
• Robert C. Burkhart, Spontaneous and Deliberate Ways of Learning, Pennsylvania: International textbook company, 1962.
• Nikos Stangos (Edited), Concept of Modern Art: From Fauvism to Post Modernism, London: Thames & Hudson Ltd, 2001.
• Stephen C. Pepper, The Basis of Criticism in the Arts, Cambridge, Massachusetts: Harvard University Press, 1965.

• Giorgio Vasari, the lives of the artists, 1568.
• Giovanni Bellori,the idea of the painter, the sculptor and the architect chosen from the higher natural
• beauties of nature, 1672.
• Heinrich Wolfflin, principles of art history, 1915.
• Paul Franki, principles of architectural history, 1914.
• Henri Focillon, the world of forms, 1934.
• Erwin Panofshky, the history of art as a humanistic discipline, 1940.
• Alfred H. Baff, chart of modern art, 1936.
• Arnold Hauser, the scope a limitations of sociology of art, 1959.
• William Fagg, studying primitive art, 1973.
• T.J. Clark, the conditions of artistic creation, 1974.
• Olu Oguibe, in the heart of darkness, 1993.
• Hyun, Marie Sue. " The Art of Dream Healing." DK Publishing, 1998. New York, New York.
• Griselda Pollock, Feminist interventions in the history of Art, 1988.

Course Credit: 4

Course Teacher: Sanjoy Chakraborty

E-mail: art.sanjoy@gmail.com

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

Museum Studies is a course about museum history, museum activities, art object preservation and conservation etc.

Specific Objectives:

• Investigate how various aspects of museum work include Administration, Collections Management, Exhibition Development, Education, Community Development, Tourism, and Fundraising.
• Increase in-depth understanding of approaches to the documentation, interpretation, presentation and preservation of curated materials in museums.
• To increase the number of museum professionals with formal training at the graduate level.
• Give proper knowledge about museum management, museum education, collection management, exhibition design, conservation, curatorship, and the methods of archiving and historical preservation.

Course Description/Contents:

• Definition, Conception of museums.
• Birth of museology, Insufficient support, Tourism as a vehicle for success.
• Museum media as a mode of communication, and Artefacts as primary sources.
• Art Conservation, Art History, Criticism and Conservation, Historic Preservation and Conservation, Library and Information Science.
• Museology By a conceptual approach (museum, heritage, institution, society, ethics, museal), by theoretical and practical considerations (museology, museography), by its functions (object, collection, musealisation), through its players (professionals, public), by the activities which ensue from it (preservation, research, communication, education, exhibition, mediation, management, architecture).
• Museum Management, Museum planning, and Exhibition design.
• Types-Archaeology museums, Art museums, Encyclopedic museums, Historic house museums, History museums, Living history museums, Maritime museums, Military and war museums, Mobile museums, Natural history museums, Open-air museums, Pop-up museums, Science museums, Specialized museums, Virtual museums, Zoological parks and botanic gardens.
• Types of exhibitions, History, Preservation issues, Environmental concerns of the exhibition space, Length of the exhibition, Individual cases, Display methods, Security, Types of galleries, Galleries in museums, Contemporary art gallery, Vanity galleries, Visual art not shown in a gallery.
• Notable art museums, online museums, Museums with major web presences, and Online art collections.
• Leadership in Museums, Critical Views on Educational Leadership, Preservation and Management of Collections, Prerequisite, Issues and Philosophy of Collections Seminar in Museum Education, Social Issues and Museums, Planning for People in Exhibits, Community-based Museum Model, Seminar in Museum Exhibition, Public Engagement in Science, Public Engagement in Art, Introduction to Learning Sciences for Museum Practitioners, Directed Fieldwork in Audience Research.

Learning Outcomes:

Students will be able to

• Demonstrate research skills that focus on objects or things preserved in Museum collections.
• Role of museums in the field of cultural development of a society and a nation.
• Critical awareness of how museums communicate complex ideas to a general audience.
• Understand the nature and work performed in Museums in a paper or presentation that directly evaluates key aspects of Museum operations, such as collection management, development, museum education, visitor services, etc.
• Consideration of the role of museums in the education of the local community.

Instructional Strategies:

• Lectures
• Multimedia Presentations
• Discussions
• Museum Visits
• Exhibition Visits

Assessment:

• In-Course tutorials.
• Assignments (more focus on analytical manner)
• Viva individuals
• Presentation
• Course final will be assessed by the course teacher (internal examiner) and a second examiner (external)

References:

• Fundamentals of Museology, by Mohan Lal Nigam, NavahindPrakashan, 1966
• Introduction to Museology: The European Approach, By I. Maroevic
• Post Critical Museology: Theory and Practice in the Art Museum By Andrew Dewdney, David Dibosa, Victoria Walsh
• A Companion to Museum Studies, edited by Sharon Macdonald
• Museum Studies: An Anthology of Contexts, edited by Bettina MessiasCarbonell
• A Bibliography of Museum Studies, by Simon J. Knell
• Studies in Museum and Museology in India, by Deva Prasad Ghosh
• Managing Conservation in Museums, By Suzanne Keene
• Care of Collections, edited by Simon Knell
• New Museum Theory and Practice: An Introduction, edited by Janet Marstine

New Museum Theory and Practice: An Introduction, by Janet Marstine

Course Credit: 8

Course Teacher: Supervisor    

Marks: 200

Credit: 8

Contact Hours: 120

Marks distribution: 100%

(Written 50% + Viva 25% + Presentation 25%)

Introduction to the Course:

In this course, students propose their topics of interest with the help of faculties. The academic committee then approves the title and a supervisor to work as a guide. Throughout this course, the students embark on a comprehensive exploration of diverse subjects guided by their dedicated supervisor. This course aims to foster critical thinking, collaborative writing, and intellectual growth as you engage with a range of topics under the expert guidance of the mentor. This course allows the researchers to delve into stimulating discussions, cultivate analytical skills, and develop a deeper understanding of their chosen field. The supervisor plays a pivotal role in shaping the academic experience, providing valuable insights, and supporting academic endeavors.

Learning Outcomes:

• Students will be able to analyze and study art from their surroundings.
• Understand about the nature of research work.
• Critical awareness of the local and international art world.

Instructional Strategies:

• Lectures
• Multimedia Presentations
• Discussions
• Museum Visits
• Field visit
• Archive visit

Assessment:

• Presentation
• Viva individuals
• The final Paper will be examined by two teachers, one internal examiner, and an external examiner.

Course Credit: 2

Course from                    : MFA 1^st Part

Marks                             : 50

Credit                             : 2

Exam conducted by         : Exam Committee.

Course Credit: 4

Course: ARTH 651

Course Title: ART AND SOCIETY

Course from: MFA 2^nd  Part

Course Teacher: Prof. Bulbon Osman

E-mail: bulbonosman@gmail.com

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Three Assignments 15% + Three Class Tests 10%)

Introduction to the Course:

Art and society is obviously shows two faces of a coin mankind started his life with bare hand. Evolution has turned mankind to homosapiens means wise man. It was possible when man started creating tools and art was started at that point. So art and society is closely related. In a way we can call this discipline as sociology of art. The entire syllabus is based on this notion. Even we can change the name of the paper as Sociology of Art.

Specific Objectives: 

• To learn the concepts of society with its different forms
• To learn Literate and non-Literate society
• To know the evolution of man and his tools
• The starting point would be anthropology of Art.
• To Learn how art is related to social conditions.
• An artist is not an abstract man thou he paints abstract paintings . these abstract paintings are also reflects conditions of social development . Division of labour has freed man from all doings, institutions has developed for a single man or woman. 

Course Description/Contents:

• Definition of society and development of different typs of society.
• Western and Eastern society visa-vis Western and Eastern art.
• Socio-cultural development and evolution of society.
• Impact of religion on modern scientific society.
• Colonialism & rise of Capitalism.
• Impact of socialistic thought in 19^th , 20^th and 21^st centuries.
• Impact of social contract and structural theory on art and society.
• Theories of classical and modern aesthetics.   

Other points of Description:

Definition of Sociology or Social History of Art. The traditional approach to Art History. Art as modern psycho-therapy. How society determines subject matter of art. How aesthetics can control art.

Learning Outcomes:

Students will understand the following:

• Realization of relation of Art & Society
• Can analyze art-works in relation to society
• Interpretation will be easier
• Easier to Discussion
• Easier to presentation
• Easier to compare
• Easier to motivate people and art-observer
• Student can do higher inquiry
• One can conduct research work
• Can apply in the academic and professional career

Instructional Strategies:

• Lectures
• Multimedia Presentations
• Discussion
• Individual presentation
• Group presentation
• Internet
• Google

Assessment:

• In-Course tutorials.
• Assignments 
• Viva Voce
• Presentation 
• Course final will be assessed by the in course teacher and one external examiner

References: 

• Social History of Art- A Hauser
• The meaning of Art- Herbert Read
• Art & Society- Herbert Read
• The necessity of Art- Ernst Fischer
• Success & Failure of Picasso John Berger
• mgvR we脕vb mgx每b- W. G. 鈥燢. bvRgyj Kwig
• Rqby鈥�ji wR脕vmv- 鈥爀vinvbDw脧b Lvb Rvnv陆xi
• wk铆, wk铆x I mgvR- eyjeb Imgvb
•  wek^wk鈥∶璱 BwZnvm- (1g L脹) eyjeb Imgvb

Course Credit: 4

Course: ARTH 652

Course Title: ART CRITICISM AND PHILOSOPHY OF ART

Course from: MFA 1^st Part

Course Teacher: Dr. Sk. Manir Uddin

E-mail: juelmanir@gmail.com

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

Art Criticism and Philosophy of Art is a course that gives the students a comprehensive understanding of Art Criticism and Philosophy of Art the most essential understanding to test and criticize visual art, which has also a valued importance for total art & literature.

Specific Objectives:

• Learn what the basics of Art Criticism are.
• Learn the Philosophy of Art.
• Learn how the Philosophy of Art plays an active role in understanding the aesthetic value of artwork.
• Learn how the Philosophy of Artworks criticizes artwork.
• Learn the history of Art Criticism and Philosophy of Art as a discipline of knowledge,
• Discusses how the Philosophy of Art encourages an artist.
• Learn about the organizational categories of Basics of Art Criticism values to make and create.
• Discusses how the spirit of Philosophy of Art values work.
• Learn the significance of Art Criticism and Philosophy of Art and each aspect of their relation in a contextual way.
• Discusses how an achievement flowed with a good understanding of Art Criticism and Philosophy of Art values creating artwork and a better way of their highest scopes.
• Learn about the outcomes of art criticism as their core knowledge to amply usefulness to Art Criticism and Philosophy of Art values of Visual Art as well as the total impact on art works and society.

Course Contents:

• Evaluation & Definition Art Criticism
• Evaluation & Definition Philosophy of Art
• History of Art Criticism as a discipline
• History of Philosophy of Art as a discipline
• Eastern & western Philosophy of Art

Other Description:

Definition, The traditional form of art criticism, biographical, sociological art criticism, Evolutionary aesthetics, Aesthetics and information, Applied aesthetics, Aesthetic ethics, Truth as beauty, mathematics, analytic philosophy, and physics, Computational inference of aesthetics, Factors involved in aesthetic judgment, Are different art forms beautiful, disgusting, or boring in the same way? Aesthetics and the philosophy of art, What is "art"? What should we judge when we judge art? What should art be like? The value of art, Aesthetic universals, Criticism, Art Criticism in Bangladesh.

Learning Outcomes:

Students will be able to

• Understand
• Analyze
• Interpret
• Discuss
• Present
• Compare
• Motivate to learn more advances on that lesson/Motivate to acquire more knowledge on the subject matter.
• Do higher inquiry
• Conduct research
• Apply in their academic and professional life.

Instructional Strategies:

• Lectures
• Multimedia Presentations
• Discussions
• Individual Presentations
• Group work
• Internet
• Google

Assessment:

• In-Course tutorials.
• Assignments
• Viva voce
• Presentation
• The course final will be assessed by an internal (course teacher) and an external examiner.

References:

• A露q Kzgvi 藛g鈥∶巕, fviZ wk鈥∶璱 K_v, KwjKvZv: mvwnZ篓鈥�jvK, AM脰nvqY, 1389|
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• Aebx鈥篳陋bv_ VvKzi, ev鈥�Mk娄ix wk铆 c脰e脺vejx, KjKvZvt i茠cv A篓v脹 鈥燢v陇煤vbx, 1988|
• Ab艙`vksKi ivq, AvU漏, KjKvZv t cyb冒, 1989|
• Ai忙Y gy鈥�Lvcva篓vq, wk铆Kjv, b鈥篳bZ脣隆-wR脕vmv, KjKvZv: cy炉鈥楰 wecYx, b鈥�f陇^i 1994|
• ARqKzgvi 鈥燦vl, wjI Uj贸q, b鈥篳bZ脣隆-wR脕vmv, Zi忙Y gy鈥�Lvcva篓vq (m陇煤v.), KjKvZv: cy炉鈥楰 wecYx, b鈥�f陇^i 1994|

• A鈥�jvK gy鈥�Lvcva篓vq, wP脦`k漏b, KjKvZv: i脛b鈥�mb 赂脽, 1394|
• Aveyj gbmyi, wk铆x `k漏K mgv鈥�jvPK, XvKv: gy鲁aviv, 1987|
• AvY漏梅 wdkvi, w` 鈥燽鈥�mwmwU Ae AvU漏, kwdKzj Bmjvg Ab~w`Z, XvKv: msN c脰Kvkb, 1997|
• Aveyj 鈥爂v鈥�gb, Aci茠c K_v, XvKv: c篓vwcivm, 2001|
• AvPvh漏 my鈥�i鈥篳陋bv_ `vk 赂脽, 鈥爉艩鈥篳h漏Z脣隆, KjKvZv: wPivqZ c脰Kvkb, 1992|
• Avng` iwdK, iex鈥篳陋bv鈥�_i wP脦wk铆, XvKvt evsjv鈥�`k wk铆Kjv GKv鈥�Wgx, 1996|
• Avb漏梅 wdkvi, 鈥燽鈥�mwmwU Ae AvU漏, kwdKzj Bmjvg (Ab~w`Z), XvKv: msN c脰Kvkb, 鈥燿e陋鈥渜vwi, 1997|

• Ge鈥�Y 鈥燤vjvg mvgv`, 脭wk铆 wePvi I wk铆e炉鈥� 碌q脮, wk铆Kjv, Avj-gvngy` (m陇煤v.) XvKv: evsjv鈥�`k wk铆Kjv GKv鈥�Wgx, 1389-1394|

• Kexi 鈥燩艩ayix, Qwe myi K_v, XvKv: AvMvgx c脰Kvkbx, 1995|

• wP拧脥vgwY Ki, wk铆x I i茠cKjv, KjKvZv: cw冒ge陆 evsjv GKv鈥�Wgx, 1996|
• wP`vb鈥篳 `vk 赂脽, eB bq Qwe, KjKvZv: Avb鈥篳 cvewjkvm漏 c脰vB鈥�fU wjwg鈥�UW, 1991|

• W.Av茫ym mv脣vi, c脰K鈥�Z wk鈥∶璱 炉^i茠c m脺vb, XvKv: evsjv鈥�`k wk铆Kjv GKv鈥�Wgx, 2003|
• W. myaxi Kzgvi b鈥篳x, bxwZwe`篓v, KwjKvZv: cw冒ge陆 ivR篓 cy炉脥K cl漏`, 1991|
• W. mvab Kzgvi f脝vPvh漏 (Abyw`Z), wk铆Z脣隆 (鈥爀wb鈥�W鈥∶唙 鈥犅祐鈥�P)|
• W. myaxi Kzgvi b鈥篳x, b鈥篳bZ脣隆, KjKvZv: cw冒ge陆 ivR篓 cy炉鈥擪 cl漏`, 1984|

• Ai忙Y gy鈥�Lvcva篓vq (m陇煤v.), b鈥篳bZ脣隆 wR脕vmv, KjKvZv: cy炉鈥擪 wecwY, b鈥�f陇^i, 1994|

• 鈥燻Iqvb wgRvb, Awfb艙 氓忙鈥�Y KweZv I wP脦Kjv,  XvKvt evsjv GKv鈥�Wgx, 1997|
• 鈥燻exc脰mv` P鈥∶唙cva篓vq, i茠c, im I my鈥篳i (b鈥篳bZ鈥∶嬄�i f~wgKv), KwjKvZv: Fw脳-Bw脹qv, 1989|

• wb陇搂漏jKzgvi 鈥燦vl, fviZ wk铆, KwjKvZv: dvg漏v 鈥燢GjGg c脰vB鈥�fU wjwg鈥�UW, 1995|

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• wbg漏vj篓 bvM, wk铆鈥�PZbv, KjKvZv: `xcvqb, 2000|

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• gZjye Avjx, wk铆x I wk铆Kjv,  XvKv: evsjv GKv鈥�Wgx, 1994|
• gZjye Avjx, wk铆Kjv c脰m鈥÷�, XvKv : 1978|
• gvngy`yj 鈥爊v鈥�mb m陇煤vw`Z, `鈥瀔篓i茠c, XvKv: `鈥瀔篓i茠c evwl漏K msKjb, 1410|

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• iweb cvj, g篓vw路g 鈥�MvwK漏脮, b鈥篳bZ脣隆-wR脕vmv, Zi忙Y gy鈥�Lvcva篓vq (m陇煤v.), KjKvZv: cy炉鈥楰 wecYx, b鈥�f陇^i 1994|

• we鈥�bv`wenvix gy鈥�Lvcva篓vq, wP脦K_v, KjKvZv: Ai忙Yv c脰Kvkbx, 1984|
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• k陋x mybxwZKzgvi P鈥∶唙cva篓vq, ms炉鈥光��wZ wk铆 BwZnvm, KwjKvZv: wR脕vmv, 1976|
• k陋xhy鲁 w露wZ鈥篳陋bv_ VvKzi Z脣隆wbwa, AvU漏 I mvwnZ篓, KwjKvZv: Avw` e陋v镁mgvR, 1329|
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• msKjb I web篓vm: m鈥篳xcb f脝vPvh漏, Qwei ivRbxwZ ivR鈥癰wZK Qwe, 1830-1970, KjKvZv: `xcvqb, 1990|
• my鈥�eva 鈥燦vl, wk铆fvebv, KjKvZv: cw冒ge陆 evsjv GKv鈥�Wwg, 1996|
• 藛mq` gbRyi忙j Bmjvg, b鈥篳bZ脣隆, XvKv: evsjv GKv鈥�Wgx, 1985|
• 鈥爉vgbv_ 鈥爊vi, Avgvi wP脦fvebv, KjKvZv: wmMvj eyK&m&, 1992|
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• 鈥爇vfb 鈥爉vg I AwbK AvPvh漏, (m陇煤vw`Z). evsjv wk铆mgv鈥�jvPbvi aviv|
• A Dictionary of Art Terms and Techniques Ralph Mayer, New York, Thomas Y. Crowell Company,
• Jack Burnham, The Structure Of Art, New York Braziller, 1971. Warner Haffmann, Painting in the Twentieth Century, London, Lund Humphries, New York, Preager,
• Michele Cone, The Roots and Routes of Art in the 20^th Century, New York, Horizon Press, 1975.
• Minroe C. Beadrdsley, Aesthetics From Classical Greece To The Present : A Short History, The University of Alabama Press, Reprint of the 1966 ed. pub. by The Macmillan Co., New York.
• Benedetto Coroce, A History of Aesthetic (London, 1982; New York, 1957).
• Benedetto Croce, Aesthetics as Science of Expression and General Linguistic, Part II (Trans Douglas Ainsie, 2^nd ed. London 22.
• Katherine gilbert and Kuhn, A History of Aesthetics (New York, 1939; Bloomingtion, 1954).
• Karl Aschenbrenner and Arnold Isenurg, eds., Aesthetics Theories : Studies in the Philosophy of Art (Englewood Cliffs, N.J., 1965.
• Alexwnder Sesonke, ed., What is Art? Aesthetics Theory from Plato to Tolostoy (New York, 1965).
• Rene Wellek, A History of Modern Criticism, Vols. I & II (Yele U., 1955).
• Lionello Ventury, History of Art Criticism, trns. Charles Mariott (New York, 1939)
• Elizabeth Gilmore, Holt, ed., Literary Sources of Art History (Princetonr U., 1947).
• Ranjan K. Ghosh, Aesthetics Theory and Art, Ajanta Publications, Delhi, first pub1979. frist pub. 1956.
• Ananda K Coomaraswami, Chritian and Oriental Phiosophy of Art, Dover Publication, Inc., New York,
• A. Zis Foundations of Marxist Aesthetics, (Translated from the Russian by Katherine Jujdelson,
• Progress Publishers, Moscow, First printing, 1977.
• Melvin Rader, A Modern Book of Esthetics, New York, Chicago, Sanfrancisco, Dallas, Montreal,

• Toronto London, Sydney: Fifth Edition, Holt, Renehart and Winston, 1930.
• Robert C. Burkhart, Spontaneous and Deliberate Ways of Learning, Pennsylvania: International textbook company, 1962.
• Stephen C. Pepper, The Basis of Criticism in the Arts, Cambridge, Massachusetts: Harvard University Press, 1965.
• Curt J. Ducasse, Art the Critics and You, New York: Hafner Publishing Company, 1948.
• Herbert Read, The Meaning of art, London: Faber and Faber Limited, 1972.
• Herbert Read, Education Through Art, New York: Pantheon Books, 1956.
• Melvin Rader, A Modern Book of Esthetics, New York, Chicago, Sanfrancisco, Dallas, Montreal,
• Toronto London, Sydney: Fifth Edition, Holt, Renehart and Winston, 1930.
• Robert C. Burkhart, Spontaneous and Deliberate Ways of Learning, Pennsylvania: International textbook company, 1962.
• Nikos Stangos (Edited), Concept of Modern Art: From Fauvism to Post Modernism, London: Thames & Hudson Ltd, 2001.
• Stephen C. Pepper, The Basis of Criticism in the Arts, Cambridge, Massachusetts: Harvard University Press, 1965.

• Giorgio Vasari, the lives of the artists, 1568.
• Giovanni Bellori,the idea of the painter, the sculptor and the architect chosen from the higher natural
• beauties of nature, 1672.
• Heinrich Wolfflin, principles of art history, 1915.
• Paul Franki, principles of architectural history, 1914.
• Henri Focillon, the world of forms, 1934.
• Erwin Panofshky, the history of art as a humanistic discipline, 1940.
• Alfred H. Baff, chart of modern art, 1936.
• Arnold Hauser, the scope a limitations of sociology of art, 1959.
• William Fagg, studying primitive art, 1973.
• T.J. Clark, the conditions of artistic creation, 1974.
• Olu Oguibe, in the heart of darkness, 1993.
• Hyun, Marie Sue. " The Art of Dream Healing." DK Publishing, 1998. New York, New York.
• Griselda Pollock, Feminist interventions in the history of Art, 1988.

Course Credit: 4

Course: ARTH 653

Course Title: CONTEMPORARY ART TRENDS: ORIENTAL

Course from: MFA 1^st Part

Course Teacher: Masuda Khatun Jui

E-mail: masudajuidu@gmail.com

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction to the Course:

Contemporary art 鈥渞efers to a body of objects accepted as art and labeled contemporary about which one can pose questions of identity, meaning and consequences鈥�. 鈥淐ontemporary art is part of a cultural dialogue that concerns larger contextual frameworks such as personal and cultural identity, family, community and nationality鈥�.

Specific Objectives: 

To explore contemporary art practice in Asian countries.

Course Description/Contents:

• What is contemporary art?
• Relationship among ideas of contemporary, modern,  postmodern, and Globalization.
• contemporary art in the Western world(in brief).
• Contemporary Art in Asian counties(India, China, Japan, Bangladesh, Russia, Indonesia, Pakistan, Fhilipines and other countries)
• Asian nationalism and modern Asian art
• Concept of tradition, role of tradition in contemporary art.
• Asian Avant-garde.
• Art exhibition and art market.
• Globalization in Asian art .

Learning Outcomes:

Student will get so know the diversity of contemporary Asian art.Student will also get the knowledge of 鈥榙ynamic combination of materials,method,concepts and subjects that continue the challenging of boundaries鈥�,

Instructional Strategies: 

• Lectures
• Multimedia Presentation
• Visiting Exhibition.
• Discussion (if possible then abroad)

Assessment:

• In-Course tutorials.
• Assignments (more focus on analytical manner)
• Viva individuals
• Presentation 
• Course final will be assessed by course teacher (internal examiner) and a second examiner (external) 

References: 

• .Melissa Chiu and Benjamin Genocchio-Contemporary Asian Art
• John Clark-Modern Asian Art
• Peter R. Kalb-Charting the contemporary

Course Credit: 4

Course: ARTH 654

Course Title: CONTEMPORARY ART TRENDS: ARAB WORLD

Course from: MFA 1^st Part

Course Teacher: Sabrina Shahnaz

E-mail: sabrina.art.du@gmail.com

Marks: 100

Credit: 4

Contact Hours: 60

Marks distribution: 100%

(Written exam 75% + Two Assignments 15% + Two Class Tests 10%)

Introduction of the Course: 

This course is designed for Students to learn more about the modern and contemporary art of the Arabian World which has enhanced its traditional majesty day by day with the touch of modern art technique.

Specific Objectives: 

• Learn Arabian fundamental components of art to see and analyze legendary Arabian artists鈥� artwork more deeply.
• How to compare and contrast contemporary and modern artworks from the different territories of the Arab World.
• Research on Arabian Art World to make a conventional form in contemporary and modern art of Bangladesh.
• Modern art helps to understand the periodical art evolution of Islamic Art.

Course Contents: 

• Maghreb Art
• Mathaf: Arab Museum of Art
• Doha, Qatar, Sharjah, and Palestinian Contemporary Art
• Libyan Contemporary Art
• Lebanese Contemporary Art
• Iranian Contemporary Art
• Contemporary Art in Dubai
• Moroccan Contemporary Art & Moroccan Tea Culture.

  Learning Outcomes:    

Students obtain knowledge about-

• How Western Art has a direct effect on Modern Arabian Art and Culture.
• They will understand the major changes in Arabian Art techniques.
• In which particular art side they emphasized in the modern period. 
• How to relate Modern and ethnic art in Arabian present social situation. 

Instructional Strategies: 

• Lectures
• Multimedia Presentation ( documentary and docu fiction on Contemporary  Arabian Art )
• Discussions  
• Readings on related topics for this course.  

Assessment:

• Assignment submitted with more analytical information.
• In-Course tutorials
• Presentation 
• Viva individuals
• The course final will be assessed by the course teacher (internal examiner) and a second examiner (external).

References:

• History of Arab People  - Albert Hourany

The Arabian Horse -  Hans Joachim Nagel

Course Credit: 8

Course                 : ARTH 655

Course Title         : SEMINAR

Course from          : MFA 2^nd part

Course Teacher     : Supervisor 

Marks                   : 200

Credit                   : 8

Contact Hours       : 120

Marks distribution : 100%

(Written 50% + Viva 25% + Presentation 25%)

Introduction to the Course:

In this course students proposed their topics with the help of faculties. And the academic committee finally approved the title and Supervisor. Each seminar paper guided by one Supervisor to complete. 

Learning Outcomes:

• Students will be able to analyze and study art from their surroundings.
• Understand about the nature of research work.
• Critical awareness of local and international art world.

Instructional Strategies:

• Lectures
• Multimedia Presentations
• Discussions
• Museum Visits
• Field visit
• Archive visit

Assessment:

• Presentation
• Viva individuals
• Final Paper will be examined by two teacher one (internal examiner) and the other examiner (external)

Course Credit: 8

Course                 : ARTH 656

Course Title         : DESERTRATION

Course from          : MFA 2^nd Part

Course Teacher     : Supervisor 

Marks                   : 200

Credit                   : 8

Contact Hours       : 120

Marks distribution : 100%

(Written 75% + Viva 25% )

Introduction to the Course:

In this course students proposed their topic with the help of faculties. And the academic committee finally approved the title and Supervisor. Each dissertation paper guided by one Supervisor to complete. 

Learning Outcomes:

• Students will be able to analyze and study art from their surroundings.
• Understand about the nature of research work.
• Critical awareness of local and international art world.

Instructional Strategies:

• Lectures
• Multimedia Presentations
• Discussions
• Museum Visits
• Field visit
• Archive visit

Assessment:

• Viva individuals
• Final Paper will be examined by two teacher one (internal examiner) and the other examiner (external)

Course Credit: 2

Course: ARTH 657

Course Title: VIVA

Course from: MFA 2^nd  Part

Marks: 50

Credit: 2

Exam conducted by: Exam Committee.