CBSE Class 11 Fine Arts Syllabus 2021-22

Fine Arts
Code (049-052)
Class XI-XII (2021-22)

A student may offer any one of the following course:
(a) Painting (Code No. 049)
OR
(b) Graphics (Code No. 050)
OR
(c) Sculpture (Code No. 051)
OR
(d) Applied Art-Commercial Art (Code No. 052)

The following art terminologies for all the four subjects are prescribed only for reference and
general enrichment.

1 Six limbs of Indian Painting Sadangas
2 Fundamentals of Visual Arts
Elements Point, line, colour, tone, texture and space.
Principles Unity, harmony, balance, rhythm, emphasis and
proportion,
3 Drawing & Painting and Abstraction and stylization, Foreshortening,
perspective, eye level, fixed point of view,
materials Vanishing point, ratio-proportion, sketching, drawing
light and shade, still- life, land-scape, anatomy,
vertical, horizontal, two and three dimensional,
transparent and opaque Paper (Cartridge,
handmade canvas and Hard- board Handmade,
ect.),
Pencil, water colour, acrylic colour, transparent
4 Media of Composition Collage, Mosaic, Painting, Mural, Fresco, Batik Tie
and Dye.
5 Sculpture Relief and round sculpture, modeling with clay,
terra-cotta, carving in wood, stone, bronze casting,
plaster of Paris and metal welding.
6 Graphics Linocut, relief printing, etching, Lithography, silk
screen printing,.
7 Applied Art – Commercial Art Book cover design and illustration, cartoon, poster,
Advertisements, newspaper and magazine,
animation and printing processes, photography,
computer-graphic, hoarding and T.V, letter press
and offset printing

Portfolio Assessment Method

Introduction: The Art Portfolio will consist of a compilation of all art works, from sketch
to finished product. The submission would include both the original and
improved versions of assigned tasks reflective of gradual improvement.
Step by step development of the work will be assessed in all units.

Components of a Portfolio:
 Schedule of work
 Research Skills
 Resources and materials
 Study of connections with artists / art movements
 Art making skills
 Personal artist statement
 Studies (e. g., composition/techniques-medium)
 Picture of the final work (reflective skills)
 Evaluation of final work (affective skills)
 Any kind of personalized notes in relation to art work

Profile of Learners Growth
Values and Attitudes Rubric
The learner develops the ability to:

 Respect, appreciate and demonstrate an open mind towards the artistic expression of
others
 Appears enthusiastic and willing to study artistic expressions from other cultures or
regions of the world that are very different from own.
 Accept different forms and styles and tries to explore their meaning.
 Be sensitive towards other's creations
 Be ready to research and transfer his/her learning to his / her own art
 Take initiative
 Be responsible for his/her own learning and progress
 Apply theoretical knowledge in practical contexts
 Possess information and communication technology skills
 Be resourceful and organize information effectively
 Listen attentively

PORTFOLIO ASSESSMENT FOR FINE ARTS MAY BE DONE

ON THE BASIS OF FOLLOWING CRITERIA

Creativity: Candidates are required to produce evidence that demonstrates a creative
approach to problem-solving. Evidence should also include 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.

1. Drawing
2. Detailed Study - observation, record, analysis, interpreting a variety of subject
3. Mood reflected
4. Follow-up of the Fundamentals of Visual Arts (Elements and Principles)
5. Message the artist wants to convey

Innovation: The knowledge gained with the help of case study (historical importance, great
artist). How has the above been understood in relation to the topic or the theme
taken up by the student?
Technique: To foster creativity and self-expression (basic understanding of colour concept
and application in relation to colour and texture of the material used by the
student). Size, details, proportion required according to the base used for the
painting medium chosen according to their art stream. Techniques studied from
folk style, contemporary art or traditional art should be used while creating a
new concept.

The learners:
 Discover their potential for creativity, self-expression and visual awareness through
painting.
 Feel confident with the chosen medium as a means of communicating and generating
ideas.
 Develop observation, recording, manipulation and application skills.
 Experiment with a range of media and techniques.
 Relate their work to other artists work and understand the historical context of this
work.
 Understand the basic principles of colour.
 Develop critical awareness.

Execution of Work
 Highlight the method of work giving a historical study of the work.
 Originality in the presentation (paintings, sketches, etc.)
 Demonstrate an understanding of basic colour principles, colour mixing and
representation.
 Employ a variety of traditional and experimental techniques and processes
 Use a variety of media and materials
 Observe, record, analyses, interpret a variety of subjects, including :
– the manufactured environment
– the natural environment
– the human figure
 Present evidence of personal enquiry and self-expression
 Discuss and relate own work to recognize artists work
 Observe colour in other craft and design areas
 Make informed critical judgment on work in progress

Experimentation

A. Progressive Work: Candidates are required to show evidence of research carried out. It
is expected that their skills will demonstrate evidence of process and the exploration of a
wide range of subjects. An accepted standard of achievement using a range of media and
material should be an integral part of the candidate's development.
B. Skills: Sound aesthetic judgment and organizational skills should be demonstrated in the
process of presented by a candidate.
C. Logical organization and collection of creations.
D. Critical evaluation and aesthetic judgment applied

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
 The objective of including the history of Indian Art for the students is to
familiarise 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 range of
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) Practical
The purpose of introducing practical exercises in painting is to help and enable
the students:
- To develop skill of using drawing and painting material (surface, tools and
equipment, 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
express them effectively in drawing and painting.
- To express the different feelings and moods of life and nature in lines, forms
and colours.

PAINTING
(Code No. 049)
CLASS–XI (2021-22)

Theory Maximum marks: 30

Time allowed: 2 hours
Unit wise Weightage

Unit Content Periods Marks
1 (a) Six limbs of Indian Painting & fundamentals of 5
Visual Arts (Elements and Principals)
24
(b) Pre-Historic rock paintings and art of Indus 5
Valley
2 Buddhist, Jain and Hindu Art 24 10
3 Temple Sculptures, Bronzes and Artistic 24 10
aspects of Indo- Islamic architecture
72 30

Unit Content 24
Periods

Unit 1. a. Six Limbs of Indian Painting & Fundamentals of Visual Arts
(Elements and Principles)
b. Pre-historic Rock Paintings and Art of Indus Valley
(2500 B.C to 1500 B.C)
(i) Pre Historic Rock Paintings
Introduction
1. Period and Location
2. Study of method & material and appreciation of following Pre-
historic paintings:
 Wizard's Dance, Bhimbethaka
(ii) (ii) Introduction
1. Period and Location.
2. Extension: In about 1500 miles
 Harappa  & Mohenjo-daro (Now in Pakistan)
 Ropar, Lothal, Rangpur, Alamgirpur, Kali Bangan, Banawali and
Dholavira (in India)
2 Study of method & material and appreciation of following Sculptures
and Terracottas:
(i) Dancing girl (Mohenjo-daro)
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 cms.
Circa 2500 B.C. (Collection: National Museum, New Delhi).
3. Study of method and material and appreciation of the 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 ware:
(ii) Painted earthen-ware (Jar) Mohenjo-daro
(Collection: National Museum, New Delhi).

Unit 2 Buddhist, Jain and Hindu Art 24
(3rd century B.C. to 8th century A.D.) Periods

1. General Introduction to Art during Mauryan, Shunga,
Kushana (Gandhara and Mathura styles) and Gupta period:
2. Study of method & material 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) Bodhisattva head from Taxila (Kushan period-Gandhara style)
Stone, 27.5 x 20 x 15c.m. Circa 2nd Century A.D.
(Collection: National Museum, New Delhi)
(iv) Seated Buddha from Katra Mound, Mathura-(Kushan Period-
Mathura Style) Red-spotted Sand Stone, Circa 3rd Century AD.
(Collection: Govt. Museum, Mathura)
(v)Seated Buddha from Sarnath (Gupta period)
Stone Circa 5th century AD
(Collection: Sarnath Museum U.P.)
(vi)Jain Tirathankara (Gupta period)
Stone, Circa 5th Century A.D.
(Collection: State Museum, Lucknow U.P.)
3. Introduction to Ajanta
Location and period, No. of caves, Chaitya and Vihara, paintings and
sculptures, subject-matter and technique etc.
4. Study of method & material and appreciation of following painting
(i)Padmapani Bodhisattva (Ajanta Cave No. I, Maharashtra)
Mural Painting Circa 5th Century A.D.
Unit 3: Temple Sculpture, Bronzes and artistic aspects of Indo Islamic 24
Architecture Periods

(A) Artistic aspects of Indian Temple sculpture
(6th Century A.D. to 13th Century A.D.)
1. Introduction to Temple Sculpture
(6th Century A.D. to 13th Century A.D.)
2. Study of method & material and appreciation of following Temple-
Sculptures:
(i) Descent of Ganga (Pallava period, Mamallapuram, Tamil Nadu),
granite rock,
Circa 7th Century A.D.
(ii) Ravana Shaking Mount Kailasha (Rashtrakuta period, Ellora,
Maharashtra)
Stone 8th Century A.D.
(iii) Trimurti (Elephanta, Maharashtra)
Stone, Circa 9th Century A.D.
(iv)Lakshmi Narayana (Kandariya Mahadev Temple) (Chandela
period, Khajuraho; Madhya Pradesh)
Stone, Circa 10th Century A.D.
(v) Cymbal Player, Sun Temple (Ganga Dynasty, Konark; Odisha)
Stone, Circa 13th Century A.D.
(vi) 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)12th Century A.D.
(Collection: National Museum, New Delhi.)
(C) Artistic aspects of the Indo-Islamic architecture:
1 Introduction
2 Study and appreciation of following architectures:
(i) Qutab Minar, Delhi
(ii)Taj Mahal, Agra
(iii) Gol Gumbad of Bijapur

Painting (Code no. 049)
CLASS–XI (2021-22)

Practical Maximum Marks: 70

Time allotted: 6 ours (3+3)

Unit wise Weightage
Unit Content Periods Marks
1 Nature and Object Study 50 25
2 Painting Composition 50 25
3 Portfolio Assessment 48 20
Total 148 70

Unit 1 Nature and Object Study 25 Marks
Study of two or three natural and geometric forms in pencil with light 50 Periods.
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 10 Marks
shapes in geometrical and decorative designs and colours to 25 Periods
understand designs as organised visual arrangements.
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 05 Marks
during the session
c) Three selected works of painting composition done during the year 03 Marks
d) Two selected works based any Indian Folk Art (Painting) 02 marks

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.

Note: 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
minimum of two periods at a stretch.