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
- Principles of 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 (kāvya), music, and dancing”, Special spiritual or philosophical states, 'Satyam Shivam Sundaram', 'Srabana', 'Manana', 'Sadhana', Asramas, 'Daksha' and 'Mahana', 'Bhava', Nātyashāstra, Sharang, Confucius’s "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:
- AiæY fÆvPvh©, b›`bZ‡Ë¡i m~Î, wkíkv¯¿: †mŠ›`h©`k©b: msMx‡Z my›`‡ii aviYv, KwjKvZv: ejvKv cy¯ÍK wecwY, 1996|
- A¶q Kzgvi ˆg‡Îq, fviZ wk‡íi K_v, KwjKvZv: mvwnZ¨‡jvK, AMÖnvqY, 1389|
- Aebx›`ªbv_ VvKzi, fviZwk‡íi lo½, KwjKvZv: wek¦fviZx MÖš’bwefvM, AMÖnvqY 1396|
- Aebx›`ªbv_ VvKzi, ev‡Mk¦ix wkí cÖeÜvejx, KjKvZvt iƒcv A¨vÛ †Kv¤úvbx, 1988|
- Abœ`vksKi ivq, AvU©, KjKvZv t cybð, 1989|
- AiæY gy‡Lvcva¨vq, wkíKjv, b›`bZË¡-wRÁvmv, KjKvZv: cy¯‘K wecYx, b‡f¤^i 1994|
- ARq Kzgvi †Nvl, wjI Ujóq, b›`bZË¡-wRÁvmv, ZiæY gy‡Lvcva¨vq (m¤úv.), KjKvZv: cy¯‘K wecYx, b‡f¤^i 1994|
- A‡jvK gy‡Lvcva¨vq, wPÎ`k©b, KjKvZv: iÄb‡mb ¸ß, 1394|
- Aveyj gbmyi, wkíx `k©K mgv‡jvPK, XvKv: gy³aviv, 1987|
- AvY©÷ wdkvi, w` †b‡mwmwU Ae AvU©, kwdKzj Bmjvg Ab~w`Z, XvKv: msN cÖKvkb, 1997|
- Aveyj †gv‡gb, Aciƒc K_v, XvKv: c¨vwcivm, 2001|
- AvPvh© my‡i›`ªbv_ `vk ¸ß, †mŠ›`h©ZË¡, KjKvZv: wPivqZ cÖKvkb, 1992|
- Avng` iwdK, iex›`ªbv‡_i wPÎwkí, XvKvt evsjv‡`k wkíKjv GKv‡Wgx, 1996|
- Avb©÷ wdkvi, †b‡mwmwU Ae AvU©, kwdKzj Bmjvg (Ab~w`Z), XvKv: msN cÖKvkb, †deª“qvwi, 1997|
- Ge‡Y †Mvjvg mvgv`, Ôwkí wePvi I wkíe¯‘ µqÕ, wkíKjv, Avj-gvngy` (m¤úv.) XvKv: evsjv‡`k wkíKjv GKv‡Wgx, 1389-1394|
- Kexi †PŠayix, Qwe myi K_v, XvKv: AvMvgx cÖKvkbx, 1995|
- wPšÍvgwY Ki, wkíx I iƒcKjv, KjKvZv: cwðge½ evsjv GKv‡Wgx, 1996|
- wP`vb›` `vk ¸ß, eB bq Qwe, KjKvZv: Avb›` cvewjkvm© cÖvB‡fU wjwg‡UW, 1991|
- W.Avãym mvËvi, cÖK…Z wk‡íi ¯^iƒc mÜvb, XvKv: evsjv‡`k wkíKjv GKv‡Wgx, 2003|
- W. myaxi Kzgvi b›`x, bxwZwe`¨v, KwjKvZv: cwðge½ ivR¨ cy¯ÍK cl©`, 1991|
- W. mvab Kzgvi fÆvPvh© (Abyw`Z), wkíZË¡ (†ewb‡W‡Æv †µv‡P)|
- W. myaxi Kzgvi b›`x, b›`bZË¡, KjKvZv: cwðge½ ivR¨ cy¯—K cl©`, 1984|
- AiæY gy‡Lvcva¨vq (m¤úv.), b›`bZË¡ wRÁvmv, KjKvZv: cy¯—K wecwY, b‡f¤^i, 1994|
- †`Iqvb wgRvb, Awfbœ åæ‡Y KweZv I wPÎKjv, XvKvt evsjv GKv‡Wgx, 1997|
- †`excÖmv` P‡Ævcva¨vq, iƒc, im I my›`i (b›`bZ‡Ë¡i f~wgKv), KwjKvZv: Fw×-BwÛqv, 1989|
- wb¤§©jKzgvi †Nvl, fviZ wkí, KwjKvZv: dvg©v †KGjGg cÖvB‡fU wjwg‡UW, 1995|
- b›`jvj emy, `„wó I m„wó, KwjKvZv: wek¦fviZx MÖš’b wefvM, 1392|
- wbg©vj¨ bvM, wkí‡PZbv, KjKvZv: `xcvqb, 2000|
- c~‡Y©›`y cÎx, Kvwj Kjg gb, KjKvZv: A‡š^lv, 1989|
- †c‡Uv I A¨vwi÷Uj, nx‡ib P‡Uªvcva¨vq, b›`bZË¡ wRÁvmv, AiæY gy‡Lvcva¨vq (m¤úv.), KjKvZv: cy¯ÍK wecwY, b‡f¤^i, 1994|
- dqRyj jwZd †PŠayix m¤úvw`Z, wkí-mvwn‡Z¨ bMœZv †hŠbZv AkxjZv, XvKv: w`e¨ cÖKvk, 1999|
- d‡qRyj AvwRg, PviæKjvi f~wgKv|
- †e‡b‡W‡Æv †µv‡P, wkíZË¡, W±i mvab Kzgvi fÆvPvh© (Abyw`Z), KwjKvZv: iex›`ªfviZx wek¦we`¨vjq, Avlvp 1376|
- eyjeb Imgvb, wkí, wkíx I mgvR, XvKv: iæ‡cb cÖKvkb, 1989|
- gZjye Avjx, wkíx I wkíKjv, XvKv: evsjv GKv‡Wgx, 1994|
- gZjye Avjx, wkíKjv cÖm‡½, XvKv : 1978|
- gvngy`yj †nv‡mb m¤úvw`Z, `„k¨iƒc, XvKv: `„k¨iƒc evwl©K msKjb, 1410|
- hvwgbxKvš— †mb, AvU© I AvwnZvwMœ, KwjKvZv: ¸iæ`vm P‡Ævcva¨vq G¨vÛ mbm&, 1359|
- ivûj mvsK…Z¨vqb, bZzb gvbe mgvR (cÖev` msKjb), KjKvZv: eyKm A¨vÛ wciqwWK¨vjm, 1391|
- iweb cvj, g¨vw·g ‡MvwK©Õ, b›`bZË¡-wRÁvmv, ZiæY gy‡Lvcva¨vq (m¤úv.), KjKvZv: cy¯‘K wecYx, b‡f¤^i 1994|
- we‡bv`wenvix gy‡Lvcva¨vq, wPÎK_v, KjKvZv: AiæYv cÖKvkbx, 1984|
- †ewb‡W‡Æv †µv‡P, wkíZË¡ (W. mvabKzgvi fÆvPvh© Ab~w`Z), KwjKvZv: iex›`ªfviZx wek¦we`¨vjq, 1376|
- kªx Aebx›`ªbv_ VvKzi, ev‡Mk¦ix wkí cÖeÜvejx, KjKvZv; iæcv cÖKvkbx, 1988|
- kªx mybxwZKzgvi P‡Ævcva¨vq, ms¯‹…wZ wkí BwZnvm, KwjKvZv: wRÁvmv, 1976|
- kªxhy³ w¶wZ›`ªbv_ VvKzi ZË¡wbwa, AvU© I mvwnZ¨, KwjKvZv: Avw` eªvþmgvR, 1329|
- kªx mynvm P‡Ævcva¨vq m¤úvw`Z, gvK©mev` I b›`bZË¡, KwjKvZv: cwðge½ ivR¨ cy¯—K cl©`, 1990|
- msKjb I web¨vm: m›`xcb fÆvPvh©, Qwei ivRbxwZ ivR‰bwZK Qwe, 1830-1970, KjKvZv: `xcvqb, 1990|
- my‡eva †Nvl, wkífvebv, KjKvZv: cwðge½ evsjv GKv‡Wwg, 1996|
- ˆmq` gbRyiæj Bmjvg, b›`bZË¡, XvKv: evsjv GKv‡Wgx, 1985|
- †mvgbv_ †nvi, Avgvi wPÎfvebv, KjKvZv: wmMvj eyK&m&, 1992|
- myaxi Kzgvi b›`x, b›`bZË¡, KjKvZv: cwðge½ ivR¨ cy¯—K cl©r, 1996|
- wmZvsï ivq, †mŠ›`h© `k©b: cÖv_wgK cwiPq, KwjKvZv: i_hvÎv, 1394|
- mvabKzgvi fÆvPvh©, wkíZ‡Ë¡i K_v, KjKvZv: mycÖKvk cÖvB‡fU wjwg‡UW, 1960|
- my‡PZv †PŠayix, m½xZ I b›`bZË¡, KjKvZv: Avb›` cvewjkvm© cÖvB‡fU wjwg‡UW, 1988|
- ûgvqyb AvRv`, wkíKjvi wegvbweKiY I Ab¨vb¨ cÖeÜ, XvKv: BDwbfvwm©wU †cÖm wjwg‡UW, 1988|
- nvmbvZ Ave`yj nvB, mevi Rb¨ b›`bZË¡, XvKv: KvMR cÖKvkb, 2004|
- m‡Z¨›`ªbv_ ivq m¤úvw`Z, iex›`ªbv‡_i wPšÍv RMr (wkí wPš—v), KjKvZv: MÖš’vjq cÖvB‡fU wjwg‡UW, 1403|
- Aveyj †gv‡gb, Aciƒc K_v, c¨vwcivm, XvKv, cÖ_g cÖKvk, AvM÷,2001|
- Aebx›`ªbv_ VvKzi, ev‡Mk¦ix wkí cÖeÜvejx, iƒcv, KjKvZv|
- ˆmq` Avjx Avnmvb, wkí‡eva I wkí‰PZb¨, wkíKjv GKv‡Wgx, XvKv|
- wbg©¨j¨ bvM, wkí †PZbv|
- wjI Uj÷q, (Abyev` : w؇R›`ªbv_), wk‡íi ¯^iƒc|
- †kvfb †mvg I AwbK AvPvh©, (m¤úvw`Z). evsjv wkímgv‡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, Praeger,
- Michele Cone, The Roots and Routes of Art in the 20th 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, 2nd 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.