Fine Arts: Six Limbs of Indian Painting

• Fine Arts (2024-25) offers four courses: Painting (Code No.049), Graphics (Code No.050), Sculpture (Code No.051), and Applied Art-Commercial Art (Code No.052).
• Art terminologies are prescribed only for reference and general enrichment across the subjects.

Six Limbs of Indian Painting (Sadangas)

• Fundamentals of Visual Arts include elements like point, line, color, tone, texture, and space.
• Principles involve unity, harmony, balance, rhythm, emphasis, and proportion.
• Drawing & Painting includes abstraction, stylization, foreshortening, perspective, eye level, and fixed/vanishing points.
• Ratio-proportion, sketching, light and shade, still-life, landscape, and anatomy are also part of drawing and painting.
• Materials include paper (cartridge, handmade canvas, hardboard), pencils, water, and acrylic colors.
• Various media of composition are collage, mosaic, painting, mural, fresco, batik, tie, and dye.
• Sculpture involves relief and round forms, with modeling using clay, terra-cotta, and carving in wood and stone.
• Bronze casting, plaster of Paris, and metal welding are techniques used in sculpture.
• Graphics encompass linocut, relief printing, etching, lithography, and silkscreen printing.
• Applied Art - Commercial Art covers book cover design, illustration, cartoons, and posters.
• Advertisements, newspapers, magazines, animation, printing processes, photography, and computer graphics are also covered.
• Hoarding, TV, letter press, and offset printing are included in applied art.
• Portfolio Assessment Method is integral to study.

Portfolio Components

• Schedule of work
• Research skills
• Resources and materials
• Study of connections with artists/art movements
• Art making skills
• Personal artist statement
• Studies (composition/techniques/medium)
• Picture of the final work (reflective skills)
• Evaluation of final work (affective skills)
• Personalized notes related to artwork

Learner Growth Values and Attitudes

• Respect and demonstrate an open mind toward artistic expression.
• Enthusiasm and willingness to study artistic expressions from other cultures.
• Accept different forms and styles, and explore their meaning.
• Sensitivity towards others' creations.
• Readiness to research and transfer learning.
• Taking initiative, being responsible for learning and progress.
• Apply theoretical knowledge.
• Possess information and communication technology skills.
• Be resourceful and organized.
• Listen attentively.

Portfolio Assessment Criteria

• Creativity, demonstrating a creative approach to problem-solving.
• Evidence includes the ability to interpret a given brief and original approaches to produce a solution.
• Sketchbooks, notebooks, and relevant support material should form part of this evidence.
• Drawing, detailed study (observation, record, analysis, interpretation), mood reflection, and follow-up of visual arts fundamentals are included.
• The artist's message must convey.
• Innovation considers knowledge gained from case studies (historical importance or great artists).
• Relation to the topic/theme.
• Technique fosters creativity and self-expression via understanding color concepts, application, and material texture.
• Size, details, proportion and techniques (folk, contemporary, traditional) are factors.
• Learners discover potential, express themselves, and develop visual awareness through painting.
• Confidence with chosen medium is created for effective communication.
• observation, recording, manipulation, and application of skills are vital.
• Experimentation with media and techniques is required.
• Relate work, historical context, and color principles are factors.
• Critical awareness is essential.

Execution of Work

• Highlighting the method and giving a historical study.
• Originality in presentation.
• Demonstrate basic color principles, mixing, and representation.
• Employ traditional and experimental techniques/processes.
• Use a variety of media/materials.
• Includes observation, record, analysis, and interpretation of subjects (manufactured, natural, human).
• Present personal enquiry and self-expression.
• Discuss and relate own work to recognize artists work.
• Observe color in craft/design areas.
• Critical judgment on work in progress.

Experimentation

• Candidates provide evidence of research with process skills that show a standard of achievement.
• Aesthetic judgment and organizational skills demonstrated.
• Logical organization and collection of creations.
• Critical evaluation and aesthetic judgment applied.

Painting Course Introduction

• Develops aesthetic sense through understanding visual art expression modes in India's heritage (Indus Valley to present).
• Practical exercises in drawing and painting enhance observation, imagination, creation, and physical skills.

Objectives: Theory (History of Indian Art)

• To familiarize students with art expression styles from different parts of India for aesthetic sensibility development.
• Students explore evolution, mutations, synthesis, and awareness of art as a human experience.
• Teachers expose students to artistic expressions, media, and tools used.
• Acquaintance with development glimpses.
• Examples selected for aesthetic qualities as guidelines.

Objectives: Practicals

• Develop skill in using drawing and painting materials effectively (surface, tools, equipment).
• Sharpen observation by studying common objects and geometrical/non-geometrical forms.
• Develop skills to draw and paint observations.
• Develop understanding of painting-composition principles and elements.
• Create forms and color schemes in imagination with effective expression through drawing and painting.
• Express different feelings and moods of life and nature in lines, forms, and colors.

Class XI (Theory) (2024-25) Painting

• History of Indian Art
• Total marks is 30, with a time of 2 hours
• Pre-Historic rock paintings and art of Indus Valley (24 Periods, 10 Marks)
• Buddhist, Jain and Hindu Art (24 Periods, 10 Marks)
• Temple Sculptures, Bronzes and Artistic aspects of Indo-Islamic architecture (24 Periods, 10 Marks)
• Total: 72 Periods, 30 Marks

Pre-Historic Rock and Indus Valley Art

• Pre-Historic Rock-Paintings introduction (Period and Location).
• Study and appreciation of Wizard's Dance, Bhimbethaka.
• Introduction (Period and Location, Extension: About 1500 miles).
• Harappa & Mohenjo-daro (Now in Pakistan).
• Ropar, Lothal, Rangpur, Alamgirpur, Kali Bangan, Banawali and Dholavira (in India).
• Study and appreciation of Sculptures and Terra cottas: Dancing girl (Mohenjo-daro), Male Torso (Harappa), Mother Goddess (Mohenjo-daro).
• Study and appreciation of Seal: Bull (Mohenjo-daro), Decoration on earthen wares: Painted earthen-ware (Jar) Mohenjo-daro.

Buddhist, Jain and Hindu Art

• General Introduction to Art during Mauryan, Shunga, Kushana (Gandhara and Mathura styles), and Gupta periods.
• Study and appreciation of Sculptures: Lion Capital from Sarnath, Chauri Bearer from Didar Ganj (Yakshi), Seated Buddha from Katra Mound, Mathura, Jain Tirathankara.
• Introduction to Ajanta Location (Period, No of caves, Chaitya and Vihara, paintings and sculptures, subject matter and technique).

Temple Sculpture and Indo-Islamic Architecture

• Artistic aspects of Indian Temple sculpture (6th Century A.D. to 13th Century A.D.).
• Introduction to Temple Sculpture (6th Century A.D. to 13th Century A.D.).
• Study and appreciation of Temple-Sculptures: Descent of Ganga, Trimuti, Lakshmi Narayana, Cymbal Player, Mother and Child.
• Bronzes: Introduction to Indian Bronzes, Method of casting (solid and hollow).
• Study and appreciation of South Indian Bronze: Nataraj.
• Artistic aspects of the Indo-Islamic architecture: Introduction, Study and appreciation of Qutub Minar, Gol Gumbad of Bijapur.

Class XI (Practical) (2024-25) Painting

• Total 70 Marks
• Nature and Object Study (50 Periods, 25 Marks)
• Painting Composition (50 Periods, 25 Marks)
• Portfolio Assessment (48 Periods, 20 Marks)
• Study of natural/geometric forms in pencil with light/shade from a fixed point of view, using plants, vegetables, fruits, flowers.
• Geometric forms include cubes, cones, prisms, cylinders, spheres.
• Simple exercises in basic design with variations of geometric/rhythmic shapes to understand organized visual arrangements.
• Sketches from life and nature.
• Record of year's performance (sketch to finished product) - 10 Marks
• Five nature/object study exercises in any media including two still life exercises - 05 Marks
• One painting composition work done this year - 03 Marks
• Two painting works done this year - 02 Marks
• Works certified by school authorities as done in school will be placed before examiners.
• Candidates are given one-hour break.

Class XII (Theory) (2024-25) Painting

• Total marks is 30, with a time of 2 hours
• Includes:
• The Rajasthani and Pahari Schools of Miniature Painting ( 24 Periods, 10 Marks)
• The Mughal and Deccan Schools of Miniature Painting (24 Periods, 10 Marks)
• The Bengal School of Painting and Modern Trends in Indian Art (24 Periods, 10 Marks)

Raja and Pahari Miniature Painting

• Introduction to Indian Miniature Schools (Western-Indian, Pala, Rajasthani, Mughal, Central India, Deccan, and Pahari).
• Rajasthani School Characteristics (16th to 19th Century A.D., Origin, Sub-Schools like Mewar, Bundi etc.).
• Rajasthani Paintings includes Maru-Ragini, Chaugan Players, Krishna on swing, Radha (Bani- Thani), Bharat Meets Rama at Chitrakuta.
• Pahari School Characteristics (Origin, Sub-Schools like Basohli, Guler etc.).
• Appreciation of Krishna with Gopis Nand, Yashoda and Krishna with Kinsmen Going to Vrindavana.

Mughal and Deccan Miniature Painting

• Mughal School (16th to 18th Century A.D., Origin, Main features).
• Mughal Paintings (Krishna Lifting Mount Govardhana, Falcon on a Bird-Rest, Kabirand Raidas, Marriage Procession of Dara Shukoh).
• Deccan School (Origin, Features).
• Deccan Paintings (Hazrat Nizamuddin Auliya and Amir Khusro, Chand Bibi Playing Polo) are appreciated.

The Bengal School and Modern Indian Painting

• Bengal School of Painting (early to mid-20th Century, Origins).
• Includes India's National Flag and the Symbolism significance with the forms and the colors.
• Contribution of Indian artists in the struggle for National Freedom Movement.
• Paintings (Journey's End of Abanindranath Tagore, Shiv and Sati- Nandla Bose, Radhika - M.A.R.Chughtai, Meghdoot).
• Modern Trends in Indian Art (Rama Vanquishing the Pride of the Ocean, Mother and Child, Haldi Grinders, Mother Teresa).

Class XII (Practical) (2024-25) Painting

• Total 70 marks.
• Includes, Nature and Object study, Painting Composition, and Portfolio Assessment
• Nature and object exercises like the class XI exercises, however there are up to three objects with foreground and background of varying colors, in pencil from a fixed point of view.
• Imaginative painting is based on subjects from Life and Nature in water and poster colors with color values.
• Includes the record of the entire years perforce with the sketch to finished product.
• Four selected nature and object study exercises.
• Two selected works of painting composition.
• One selected work based on any Indian Folk Art.

Practical Marking Scheme

• Includes Nature and Object Study worth 25 marks, as well as a painting composition also worth 25 marks.
• Portfolio assessment is worth 20 marks
• The questions may contain nature and object study still life pieces, in which you draw and paint given objects in colors of half imperial size.
• Also allows you to create a composition piece from a selection of subjects/medium of your choice. Examiners should be decided before the exam.

Graphics

• Course develops aesthetic through visual art understanding in India's cultural heritage (Indus Valley to present).
• Practical graphic prints exercises are needed for mental growth

Objectives of Theory

• Graphics theory syllabus matches Painting, so objectives are similar.

Objectives of Practical

• Students make simple compositions with print-making techniques and materials.
• Giving exercises instills respect for tools with history, maintenance, and handling.

Class XI (Theory) (2024-25) Graphics

• Syllabus matches painting theory.
• Six Limbs of Indian Painting & Fundamental of Visual Arts and Pre-Historic Rock-Paintings and Art of Indus Valley is worth 10 marks and should be done in 24 hours
• Buddhist, Jain and Hindu Art is worth 10 marks and should be done in 24 hours
• Temple Sculptures, Bronzes and Artistic aspects of Indo- Islamic Architecture is worth 10 marks and should be done in 24 hours

Class XI (Practical) Graphics

• Aims to give a score of 70
• Is split between 100 periods/50 marks for relief printing and 48 periods/20 marks for portfolio assessment
• To make Linocut/Woodcut/Paper-cardboard print on 1/4 Imperial sheet
• Syllabus for Relief Printing (Lonocuts/Woodcuts/Paper-cardboard Prints) has:
  • Printing methods and materials
  • Characteristics of printing inks, solvents, anddyers
  • Registration methods
  • Simple, colour printing techniques
  • Finishing and mounting of the print
• Portfolio assessment which has :
• Entire years performance from sketch to finished product worth 10 marks
• Three selected prints worth 5 marks
• Four selected prints based on Indian Folk Art worth 5 marks

Class XII (Theory) Graphics

• Uses the same syllabus as painting theory

Class XII (Practical) Graphics

• Students make graphic-print with: serigraphy/lithography/etching/engraving.
• The students are expected to opt for any of the available pieces
• Includes units of serigraphy (stencils and silkscreen) lithography and Etching.
• Portfolio assessment has; a record of entire years performance, and 5 selected prints
• The students should submit 2 identical prints for submission.

Sculpture Course

• Develops aesthetic sense in senior-level students by teaching them the visual art expressions of India's rich heritage.
• The course makes them create sculptures for better observation, imagination, creation, and enhance their technical skills.

Sculpture Theory

• Based on the painting syllabus

Sculpture Practicals

• Makes students be able to create assignments and encourages all aspects of design with the problems that volume, weight and rendering can hold depending on the available tools

Class XI Sculpture (Theory)

• Based on paintings

Class XI Sculpture (Practical)

• Modelling should be done with clay, from the themes/ topics of life.
• Includes; Relief Modeling, Round modelling and Portfolio assessment
• modelling should be done with clay and plaster with techniques such as pinching rolling etc.

Class XII Sculpture (Theory)

• Based on the syllabus for painting, and involves areas such as fundamental arts , rajasthani schools, Mughal, and Bengali paintings

Class XII Sculpture (Practical)

• Made from Clay and Plaster.
• Split between *Modeling and portfolio.
• Modelling in Relief, modelling in round and portfolio assessment is included.
• There will be one selected piece based on Indian Folk Art with sculpting techniques
• There should be models of simplified animals, plans in relief, study of textures

Commercial Art

• The goal is to build the aesthetic sense with students and the need to create exercise in commercial art.
• Drawing lettering becomes an assistance so student can link their lives with these practices.
• Theory is the same as painting.
• Focus is in assisting professional competence with drawing, lettering and modern practices.

Class XI (Theory) Commercial Arts

• The same with Painting, and involves a deep dive into a mix of Indian Art

Class XI (Practical) Commercial Arts

• Drawing with still life, from nature, with pen/pencil or monochrome is involved. Study letter.
• Split between: lettering and layout, drawing and portfolio assessment
• A strong emphasis on lettering study with devnagri, roman scripts

Class XII (Theory) Commercial Arts

• The syllabus is the same with painting and has many of the same elements of Mughal, Bengali paintings.

Class XII (Practical) Commercial Arts

• Split between illustration, poster and portfolio
• Emphasize the art of simplification and illustration with a heavy focus on drawing
• Emphasis on lettering, data and colour schemes