Painting Syllabus Code No. 049 for Class -XI 11th CBSE Board 2023-24
(A) PAINTING (Code No. 049)
Introduction
The course in Painting at Senior Secondary stage as an elective subject is aimed to develop aesthetic sense of the students through the understanding of various important well known aspects and modes of visual art expression in India’s rich cultural heritage from the period of Indus valley to the present time. It also encompasses practical exercises in drawing and painting to develop their mental faculties of observation, imagination, creation and physical skills required for its expressions.
Objectives
A) Theory (History of Indian Art)
The objective of including the history of Indian Art for the students is to familiarize them with the various styles and modes of art expressions from different parts of India. This would enrich their vision and enable them to appreciate and develop an aesthetic sensibility to enjoy the beauty of nature and life. The students will also have an opportunity to observe and study the evolution of its mutations and synthesis with other style and the rise of an altogether new style. The students should be made aware of art as a human experience. The teachers should be able to expose them to the wide rangeof artistic impressions, the media and the tools used. The history of Indian art is a long one. Hence the students would be acquainted with brief glimpses of the development of Indian visual art as are required for concept formation. Examples included in the course of study are selected because of their aesthetic qualities and are intended purely as guidelines.
B)Â Practicals
The purpose of introducing practical exercises in painting is to help and enablethe Students:
- To develop skill of using drawing and painting material (surface, tools andequipment, etc.) effectively.
- To sharpen their observation skills through study of common objects and various geometrical and non-geometrical forms found in life and nature.
- To develop their skills to draw and paint these observations.
- To develop an understanding of painting-composition (The use of the elements and the principles of painting-composition).
- To create the forms and the colour schemes in imagination with an ability to expressthem effectively in drawing and painting.
- To express the different feelings and moods of life and nature in lines, forms and colours.
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CLASS–XI (THEORY) (2023-24)
(Code No. 049)
One Theory Paper                                                       30 Marks
Unit wise Weightage                                                    Time: 2 Hours
| Units | Periods | Marks | |
| History of Indian Art | |||
| 1. | Pre-Historic rock paintings and art of Indus Valley | 24 | 10 |
| 2. | Buddhist, Jain and Hindu Art | 24 | 10 |
| 3. | Temple Sculptures, Bronzes and Artistic aspects of Indo-Islamic architecture | 24 | 10 |
| 72 | 30 |
| Unit | Content | 24 Periods |
| 1. | A. Pre-Historic Rock-Paintings Introduction 1) Period and Location 2) Study and appreciation of following Pre-historic paintings: i. Wizard’s Dance, Bhimbethaka | |
| B. Introduction 1) Period and Location. 2) Extension: In about 1500 miles. i. Harappa &Mohenjo-daro (Now in Pakistan) ii. Ropar, Lothal, Rangpur, Alamgirpur, Kali Bangan,Banawali and Dholavira (in India) | ||
| 2. | Study and appreciation of following: Sculptures and Terra cottas: i. Dancing girl (Mohenjodaro)Bronze, 10.5 x 5 x 2.5 cm. Circa 2500 B.C. (Collection: National Museum, New Delhi). ii. Male Torso(Harappa) Red lime Stone, 9.2 x 5.8 x 3 cms. Circa 2500 B.C. (Collection: National Museum, New Delhi) iii. Mother Goddess (Mohenjo-daro) terracotta, 22 x 8 x 5 cCirca2500 B.C. (Collection: National Museum, New Delhi). | |
| 3. | Study and appreciation of following Seal: i. Bull (Mohenjo-daro) Stone (Steatite), 2.5 x 2.5 x 1.4 cm. Circa 2500 B.C.(Collection: National Museum, New Delhi).Decoration on earthen wares: Painted earthen-ware (Jar)Mohenjo-daro (Collection: National Museum, New Delhi). | |
| Unit 2 | Buddhist, Jain and Hindu Art (3rd century B.C. to 8th century A.D.) | 24 Periods |
| 1. | General Introduction to Art during Mauryan, Shunga, Kushana(Gandhara and Mathura styles) and Gupta period: | |
| 2. | Study and appreciation of following Sculptures: | |
| i. Lion Capital from Sarnath (Mauryan period) Polished sandstone, Circa 3rd Century B.C. (Collection: Sarnath Museum, U.P.) | ||
| ii. Chauri Bearer from Didar Ganj (Yakshi) (Mauryan period) Polished sandstone Circa 3rd Century B.C.(Collection: Patna Museum, Bihar) | ||
| iii. Seated Buddha from Katra Mound, Mathura-(Kushan PeriodMathura Style) Red-spotted Sand Stone, Circa 3rd Century AD. (Collection: Govt. Museum, Mathura) | ||
| iv. Jain Tirathankara (Gupta period) Stone Circa 5th Century A.D. (Collection: State Museum, Lucknow U.P.) | ||
| 3. | Introduction to Ajanta Location Period, No of caves, Chaitya and Vihara, paintings and sculptures,subject matter and technique etc. | |
| Unit 3 | Temple Sculpture, Bronzes and artistic aspects of Indo Islamic Architecture | 24 Periods |
| (A) | Artistic aspects of Indian Temple sculpture (6th Century A.D. to 13thCentury A.D.) 1) Introduction to Temple Sculpture (6th Century A.D. to 13th Century A.D.) 2) Study and appreciation of following Temple-Sculptures: i. Descent of Ganga (Pallava period, Mahabalipuram,Tamil Nadu), granite rock Circa 7 th Century A.D. | |
| ii. Trimuti (Elephanta, Maharashtra) Stone Circa 9th Century A.D. | ||
| iii. Lakshmi Narayana (Kandariya Mahadev Temple)(Chandela period, Khajuraho, Madhya Pradesh) Stone Circa 10th Century A.D. | ||
| iv. Cymbal Player, Sun Temple (Ganga Dynasty,Konark, Orrisa) Stone Circa 13th Century A.D. | ||
| v. Mother and Child (Vimal-Shah Temple, Solanki Dynasty, Dilwara, Mount Abu; Rajasthan) white marble, Circa 13th Century A.D. | ||
| (B) | Bronzes : | |
| 1. Introduction to Indian Bronzes. | ||
| 2. Method of casting (solid and hollow) | ||
| 3. Study and appreciation of following South Indian Bronze: i. Nataraj (Chola period Thanjavur Distt.,Tamil Nadu)12thCentury A.D. (Collection : National Museum, New Delhi) | ||
| (C) | Artistic aspects of the indo-Islamic architecture: 1. Introduction 2. Study and appreciation of following architecture: i. Qutub Minar, Delhi ii. Gol Gumbad of Bijapur |
CLASS–XI (2023-24)
(PRACTICAL)
One Practical Paper                                              70 Marks
  Unit wise Weight                                             Time: 6 Hours (3+3)
| Units | Content | Periods | Marks |
| 1 | Nature and Object Study | 50 | 25 |
| 2 | Painting Composition | 50 | 25 |
| 3 | Portfolio Assessment | 48 | 20 |
| 148 | 70 |
Unit 1: Nature and Object Study                                                               25 Marks 50 Periods
Study of two or three natural and geometric forms in pencil with light and shade from a fixed point of view. Natural forms like plants, vegetables, fruits and flowers, etc., are to be used. Geometrical forms of objects like cubes, cones, prisms, cylinders and spheres should be used.
Unit 2: Painting Composition                                                                      25 Marks 50 Periods
(i) Simple exercises of basic design in variation of geometric and rhythmic shapes in geometrical and decorative designs and colours to understand designs as organized visual arrangements.
Periods 10 Marks 25
(ii) Sketches from life and nature 15 Marks 25 Periods
Unit 3: Portfolio Assessment 20 Marks 48 Periods
(a) Record of the entire years’ performance from sketch to finished product. 10 Marks
(b) Five selected nature and object study exercises in any media done during sessionincluding the minimum of two still life exercises. 05 Marks.
(c) One selected work of paintings composition done during the year 03 Marks
(d) Two selected works of paintings done during the year 02 Marks
Note:
These selected works prepared during the course by the candidates and certified by
the school authorities as the work done in the school will be placed before the examiners for assessment.
1. The candidates should be given one hour-break after first three hours.
2. The time-table to be so framed as to allow the students to work continuously for minimumof two periods at a stretch.