Topic 1

Either (a) In our study of representations of landscape in Chinese painting, we have employed terms such as the monumental and the intimate to distinguish varieties or categories of landscape compositions. In doing so, we have defined the scope of these terms and applied them in analyzing pictures. How useful are these terms when looking at and appraising depictions of landscape in Chinese painting? In your answer refer to specific pictures and relate them to your discussion.
Or

(b) Chinese writers define landscape as pictures of mountains and water (or mountain and rivers). These are undeniably prominent features. Yet, landscape pictures are more than depictions of mountains and water. They symbolize varied and complex relationships between human beings and nature. From your study of landscape pictures from China, how do you discern these relationships? Are they similarly composed in all of the pictures? If there are differences, how would you interpret them? In your answer refer to specific pictures. Pay attention to attitudes to nature, representations of natural features, architecture, human figures, and habitation.

Topic 2
Either

(a) In our survey of images of the Buddha in India, we examined three foundational styles, namely: Mathura, Gandhara, and Sarnath. In dealing with them, we employed two perspectives: (a) the image as an icon (b) the image as a narrative. What do you understand by these terms or designations? Are they adequate or satisfactory in appraising representations of the Buddha? In your answer, refer to representations from these three styles.

Or

(b) Our interest is in the image of the Buddha, in representations of the Buddha in human form. In the Ancient Religions section of the Asian Civilisations Museum (1, Empress Place, Singapore) are displayed Buddha images from a number of locations in Asia.

You are asked to visit this collection and select 3 or 4 images of the Buddha from this section for study. We suggest you focus on images that are preserved fully as figures and not images that survive partially.

In your study describe and analyze the following: (i) posture and presentation of the image (ii) gestures (iii) drapery and the body (iv) treatment of the head, facial features and expression (v) movement (vi) symbolic attributes. From seeing and studying these images do they convey contemplative states and or other impressions?

Topic 3
Either

(a) As you enter the Sri Dhandayuthapani Temple on Tank Road, Singapore (at the junction of River Valley Road and Clemenceau Avenue), you find yourself in a hall containing a number of representations of Siva Nataraja. There are 8 single images; each is raised on a pedestal and set against a pillar. Each of these images is posed in a particular dance position; each image is named with a label. On a wall is placed the largest of the Siva Nataraja images; he is accompanied by deities.

Or

(b) On the exterior walls of Sri Senpaga Vinayagar Temple on Ceylon Road (off Dunman Road) are 8 representations of Shiva Nataraja. They are multi-armed and intensely active. In two of these representations, Shiva Nataraja is accompanied by other divine figures.

You are asked to look at images in one of these temples. Select any three (3) of these images and analyze ways by which movement is represented in them. Pay attention to

(a) the disposition of the limbs, (b) attributes carried in the hands, (c) the position of the head, (d) flexion of the torso and (e) the distribution of jewellery and drapery. Could you suggest the symbolic significance of the images you choose to study?

Topic 4

“The human figure is dramatic in itself. It is also a standard of harmony”. Rodin, A., Cathedrals of France, p 64.

In this citation, Rodin claims for the human figure pre-eminent status in his thoughts and his art. In doing so he may be seen as firmly anchored in the European sculptural tradition. Yet his treatment of the human figure is not orthodox; it is not conventional. He represents the figure in new ways and as displaying fresh physical and emotional attributes; his figures and bodies are modern. A detailed study of four works by Rodin, discuss his treatment of the human figure, saying in what ways it is modern. In your discussion, pay attention to the choice and employment of material, movement, dispositions, and expressiveness of the body.

Topic 5

Our study of Islamic calligraphy is based on two styles, namely: the Kufic and the naskh. The Kufic has particular historical origins and demonstrates stable, formal features. The naskh, on the other hand, is a variable designation pointing to a number of regional interpretations.

From your study of either the kufic or the naskh, what have you understood of its formal characteristic? How is ornament incorporated into the formal scheme?

Topic 6

In The Story of Art, E.H.Gombrich refers to art movements and art styles in nineteenth-century Europe as marking a “permanent revolution”. That is to say, in and following the nineteenth century, histories of art are characterized by continuous change; nothing stays still for very long; change is perennial.

Art styles are seen as emerging quickly, at times simultaneously, and at times successively. The Impressionists and the Post-Impressionists are positioned as inaugurating dramatic revolutions in European art. Keeping in mind the premises, you are asked to consider the following. Either

(a) The Impressionists are regarded as initiating significant departures from prevailing conventions in their practices of painting. What do you understand by the term Impressionists? How do you see their art as provoking new or fresh interests and methods?

From a study of four (4) pictures by one (1) of the Impressionist artists, discuss their content and composition. In your discussion, show how these pictures represent “the new”, and in what ways they may be appreciated as Impressionists?

Or

(b) The term Post-Impressionism encompasses a number of artists with distinct styles and techniques of painting. Yet, the term is useful for collectively (i) pointing to fresh content in painting (ii) directing attention to innovative techniques for producing pictures.

From a study of four (4) pictures by any one (1) of the Post-Impressionist artists, discuss their content and composition. In your discussion, suggest how these pictures represent “the new” and in what ways they may be regarded as Post- Impressionist?

Topic 7

Picasso’s Les Demoiselles d’Avignon (1906-1907) is hailed as a revolutionary work of art. Artists and writers consider it as marking an aggressive break with tradition; some have claimed that it is “the first truly twentieth-century painting”.

How do you esteem this work? In what ways can it be historically appraised as innovative and pointing to fresh directions? In your discussion pay attention to (a) this painting in relation to Picasso’s earlier works (b) the treatment of the human figure in this picture and (c) the treatment of pictorial space in this composition.

Topic 8

In our survey of the art of the Renaissance and the Baroque, we have looked at representations of the human figure as embodying and displaying a range of ideals. From a comparative study of Donatello’s David (1440-1442, AD), Michelangelo’s David, (1501-1504, AD), and Bernini’s David, (1623, AD), could you highlight some of these ideals? Pay attention to (a) conceptions of the nude, its disposition and articulation, and (b) symbolic content in each representation.

Topic 9

Andre Breton, who wrote the Surrealist Manifesto, remarked that beauty in a Surrealist sense is encountered by “the unexpected meeting, on a dissection table, of a sewing machine and an umbrella.” How would you interpret this? How might we now regard beauty as an artistic idea or attribute? How would you relate this to artworks by Surrealist artists? Refer to specific compositions in your discussion