Art from India and China
Code: 106394Credits: 6
| Degree programme | Type | Course |
|---|---|---|
| Art History | OP | 3 |
| Art History | OP | 4 |
Contact lecturer
- Name :
- Nuria Ribas Valls
- Email :
- nuria.ribas@uab.cat
Teaching staff
- Nuria Ribas Valls
Group languages
You can consult this information at the end of the document.
Prerequisites
No previous knowledge of Asian Art is required. However, it is advisable that students possess the ability to read and listen to English sources. Therefore, the vast majority of readings and videos will be provided in English.
Objectives
- To gain knowledge about the artistic manifestations of India and China.
- To know the specific bibliographic resources of the discipline in order to be able to deepen in specific topics
of Asian Art.
- To acquire a good command of the adequate historic-artistic vocabulary.
Learning outcomes
- Applying the iconographic knowledge to the reading of artistic imagery.
- Analysing ideas about an artistic phenomenon in a given cultural context.
- Analysing the creators of an artistic phenomenon in a specific cultural context.
- Analysing the recipients of an artistic phenomenon in a specific cultural context.
- Connecting an artistic imagery with other cultural phenomena within its period.
- Reconstructing the artistic outlook of a particular cultural context.
- Identifying the artistic imagery, placing it into its cultural context.
- Accurately defining and explaining an artistic object with the specific language of art criticism.
- Examining an artistic imagery and distinguishing its formal, iconographic and symbolic values.
- Explaining the reception mechanisms of a work of art.
- Engaging in debates about historical facts respecting the other participants' opinions.
- Distinguishing the elaboration techniques and processes of an artistic object.
Contents
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| Autonomous study | 80 | 3.2 | 1, 2, 4, 6 |
| Seminar | 20 | 0.8 | 6, 7, 9, 10 |
| Classes | 40 | 1.6 | 1, 2, 3, 4 |
| Readings and others | 10 | 0.4 | 3, 4, 5, 11 |
This course combines theoretical and practical sessions, as well as occasional debates or seminar sessions, service-based learning activities (SBL), and flipped lessons. At the same time, students are required to complete a series of complementary readings to follow the sessions. If time permits, field trips will be made.
Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Written exercises, individually or in groups, oral presentations | 35% | 0 | 0 | 1, 7, 8, 9, 10 |
| One or more written test | 35% | 0 | 0 | 1, 2, 5, 7, 9, 12 |
| Participation in seminars and obligatory readings and other activities | 30% | 0 | 0 | 3, 4, 6, 7, 11 |
Continuous assessment:
- Two individual exercises: 35%
- Test: 35%
- Activity: 30%
The final grade results from adding the grades obtained in all activities. To pass the course, students must obtain at least 3.5 out of 10 in each activity.
Suppose the student has only done some of the compulsory exercises (activities 1, 2 or 3) and he/she has passed them. In that case, he/she will get a \"not assessable\" when the general addition does not reach the pass or a superior mark.
On the contrary, the student will get the grade he/she has obtained. At the time of each evaluative activity, the teacher will inform the students (Virtual Campus) of the procedure and the date of the revision of the marking.
Only the students who have not passed and have sat for the four compulsory activities (1, 2, and 3) have the right to a reassessment - the Facultie's Academic Management sets the date. The maximum grade of this reassessment is 5.
Unique assessment:
The exam-based assessment consists of 2 tests:
- Individual project: 40% of the final grade.
- Written test: 60% of the final grade.
Single assessment re-sit process:
Students must have enrolled in all the scheduled unique assessment activities for a second chance. The make-up process is only for students with an average grade of 3.5.
Plagiarism
In the event of a student committing any irregularity that may lead to a significant variation in the grade awarded to an assessment activity, the student will be given a zero for this activity, regardless of any disciplinary process that may take place. In the event of multiple irregularities in the assessment activities of the same subject, the student will receive a zero as the final grade for this subject.
If tests or exams cannot be taken onsite, they will be adapted to anonline format made available through the UAB's virtual tools (original weighting will be maintained). Homework, activities, and class participation will be done through forums, wikis, and/or discussions on Teams. Lecturers will ensure that students can access these virtual tools or will offer them feasible alternatives.
Use of AI
This subject entirely prohibits the use of AI technologies in all of its activities. Any submitted work that contains content generated using AI will be considered academic dishonesty; the corresponding grade will be awarded a zero, without the possibility of reassessment. In cases of greater infringement, more serious action may be taken.
Bibliography
Índia
Ahuja, Naman P. 2018. India. Art and Archaeology. Earliest times to the sixth century. Oxford: Ashmolean Museum.
Clunas, Craig; Harrison-Hall, Jessica. 2014. Ming. 50 years that changed China. Londres: The British Museum.
Crill, Rosemary (ed.).2016. The Fabric of India. Londres: V&A Publishing.
Dalmia, Yashodhara. 2001. The Making of Modern Indian Art: the Progressives. Nova Delhi, Oxford: Oxford University Press.
Dalrymple, William. 2019. Forgotten Masters :Indian Painting for the East India Company. Londres: The Wallace collection.
Eaton, Richard M. 2020. India in the Persianate Age: 1000 - 1765. Londres: Penguin.
English, Elizabeth. 2002. Vajrayogini: Her Visualisations, Rituals and Forms. Boston: Wisdom Publications.
Jongeward, David. 2019. Buddhist Art of Gandhara in the Ashmolean Museum. Oxford: Ashmolean Museum.
Lal, Vinay. 2022. Insurgency and the Artist. The Art of the Freedom Struggle in India. Nova Delhi: Roli Books.
Shimada, Akira and Willis, Michael. 2016. Amaravati: the art of an early Buddhist monument in context. London: British Museum Press.
Sinha, Gayatri (ed.). 2009. Art and Visual Culture in India 1857-2007. Mumbai: Marg Publications.
Topsfield, Andrew. 2012. Visions of Mughal India. The Collection of Howard Hodgkin. Oxford: Ashmolean Museum.
Topsfield, Andrew. 2021. Art of India and Beyond. Oxford: Ashmolean Museum.
Topsfield, Andrew (ed.).2014. In the Realms of Gods and Kings. The Art of India Philip Wilson Publishers.
Xina
Bartholomew, T. 2006. Hidden Meanings in Chinese Art. San Francisco: Asian Art Museum.
Cao Yin (ed). 2016. Tang: Treasures from the Silk Road Capital. Sydney: Art Gallery of New South Wales.
Clunas, Craig. 2017. Chinese Painting and Its Audiences. Princeton: Princeton University Press.
DD.AA: 2026. Silla: L'or et le sacré, París: Musée Guimet.
Eckfeld, T. 2005. Imperial Tombs in Tang China 618-907: The Politics of Paradise. Londres: Routledge Curzon.
Fang, Lily. 2023. The history of Chinese ceràmics. Singapur: Springer Nature Singapore.
Gasparini, Mariachiara. 2020. Transcending Patterns. Honolulu: University of Hawaii Press.
Huang, Shih-shan. 2012. Picturing the True Form. Cambridge, Mass.: Harvard University Press.
Kory, Stephan N. 2025. Technicians and Artisans of Heaven-and-Earth. Imperial Memories of Diviners, Physicians, and Craftsmen from Mid Medieval China. Leiden: Brill.
Kuhn, D. ed. 2014. Chinese Silks. New Haven: Yale University Press.
Lee, Hui-shu. 2001. Exquisite Moments: West Lake and Southern Song Art. Nova York: China Institute.
Li, Wendan. 2009. Chinese Writing and Calligraphy. Honolulu: University of Hawaii Press.
Linduff, K. and Yan Sun (eds.) 2004. Gender and Chinese Archaeology. Walnut Creek, Ca.: Altamira Press.
Lok Man Yan, J. B. 2024. The Four Gods Figurines As Tomb Guardians Their Function, Circulation, and Disappearance in Tang China (618-907 AD). Berlín i Heidelberg: Metzler'sche Verlagsbuchhandlung & Carl Ernst Poeschel GmbH.
McCausland, S. 2014. The Mongol Century: Visual Cultures of Yuan China. Honolulu: University of Hawaii Press.
Park,J. P. 2025.The Forger's Creed: Reinventing Art History in Early Modern China. California: University of California Press.
Pierson, S. 2013. From object to concept: global consumption and the transformation of Ming porcelain. Hong Kong: Hong Kong University Press.
Qingzhu Liu i Jing He. 2024. A History of Un-fractured Chinese Civilization in Archaeological Interpretation. Singapur: Springer Verlag Singapore
Steinhardt, N. ed. 2002. Chinese Architecture. New Haven: Yale University Press.
Sturman, P. and S. Tai (eds.). 2012. The Artful Recluse: Painting, Poetry and Politics in Seventeenth-Century China. Prestel, Munich, Londres i Nova York: Delmonico Books.
Software
If specific software is required, this will be indicated in due course.
Course groups and languages
The information provided is provisional until November 30. After this date, you will be able to consult the language of each group through this link. To access the information, you will need to enter the course CODE
| Type of teaching | Group | Language | Semester | Shift |
|---|---|---|---|---|
| (TE) Theory | 1 | Catalan | second semester | morning-mixed |
| (PAUL) Classroom practices | 1 | Catalan | second semester | morning-mixed |