Approaches to Islamic Art A survey of major expressions of Islamic art from the inception of Islam to the present, from all parts of the Islamic world. This is not a traditional survey; rather, it focuses on key monuments and important examples of portable and decorative arts: mosques, tombs, palaces, manuscript illumination, calligraphy, metalwork, textiles, ceramics, etc. We will consider their meanings and functions in their respective socio-historical contexts, and we will also analyze the impact of patronage and region. We will try to understand what general principles unify the richness and diversity of Islamic art: what is Islamic about Islamic art? Finally, we will address the issue of contemporary Islamic art. (No prerequisites).

The Good, Bad, and Ugly: Gods, Goddesses, and Demons in Indian Art Indian mythology and epic literature abounds with stories of conflicts between the forces of good and evil. There are multiple forms of Hindu gods and goddesses who battle an array of evil and colorful demonic foes, and each cosmic battle embodies a profound philosophical lesson about relative values and complex moral choices.  We will explore the meanings and myriad creative expressions of this rich terrain through a lively variety of artistic depictions—in mythological literature, painting, sculpture, drama, dance, television, film, graphic novels, and contemporary arts.

Poetry, Piety and Power: Indian Painting 1200-Present This course considers the history, context, style, and significance of a broad spectrum of Indian painting traditions. We will look closely at Jaina and Hindu religious illustrations, the evocative courtly and religious imagery from the Rajput and other regional kingdoms, the extraordinarily refined and naturalistic Mughal imagery, the influence of colonialism, and the development of modern and contemporary works.

The Aesthetics of Asian Art: Is Beauty in the Eye of the Beholder? In this course we will consider select Asian (Indian, Chinese, Japanese) and Islamic artworks in the Middlebury College Museum of Art’s permanent collection to explore the fundamental question: “Is beauty in the eye of the beholder?” Are standards in beauty universal, or are they always relative? We will ask how the act of beholding is entwined with cultural assumptions and conditioning and will address those assumptions through an intensive combination of close looking, critical analysis, and comparative consideration of a diverse range of artworks and aesthetic traditions. Comparisons will be made with select works of Western art in the museum.

Bollywood and Beyond: Topics and Themes in Indian Cinema ‘Bollywood,’ the term given to the Indian film industry juggernaut in Bombay (Mumbai), India, has gained an avid following of millions of viewers worldwide. In this course we will provide a critical consideration of the history and development of this popular Indian film industry. We will focus on such topics as the construction of an Indian national identity, notions of gender, idealized beauty, caste, class, religion, social norms, globalism, modernity, politics, nationalism, and fundamentalism. Films are subtitled and no knowledge of another language is expected. Lectures, discussion, and readings will accompany screenings.

An Introduction to Global Visual Culture This course is an introduction to the visual cultures of the world, with an emphasis on how images, objects, and monuments are made, experienced, exchanged, and used by groups of people with diverse religious, socio-economic, and cultural backgrounds. We will focus on themes that have been taken up by different cultures and adapted over time, such as monumentality, the sacred, embodiment, science, and technology. Through a close study of these themes, we will consider how materials, cultures, and histories are transformed and negotiated through making and viewing works of art. In the process, we will challenge the art historical canon by shedding light on marginalized periods, regions, and artworks.

Imperial Splendor: the Art and Architecture of India's Mughal Empire The Mughal empire, founded by a new dynasty of Muslim rulers, claimed control over much of north India in the 16th century. Under their dominance, new forms of art and architecture flourished.  In this seminar we will critically explore such topics as: the style and symbolism of Mughal art and architecture; the influence of Persian and Indian Rajput visual forms; the biographies and ambitions of the Mughal rulers; the role of women in the Mughal court; and the interactions between Muslim and Hindu visual cultures, as well as the important contributions made by European art.  We will pay special attention to how art and architecture played a central role in imperial self-definition and the construction of a specialized Mughal history, placing those works in their political, social, and cultural contexts.

The Good, The Bad, and The Ugly: Gods, Goddesses, and Demons in Indian Art Indian mythology and epic literature abound with stories of conflicts between the forces of good and evil. There are multiple forms of Hindu gods and goddesses who battle an array of evil and colorful demonic foes, and each cosmic battle embodies a profound philosophical lesson about relative values and complex moral choices. We will explore the meanings and myriad creative expressions of this rich terrain through a lively variety of artistic depictions—in mythological literature, painting, sculpture, drama, dance, television, film, graphic novels, and contemporary arts.3 hr sem.

Arts of Asia This course considers South and East Asian art history from its most ancient origins in India, China, and Japan to the present. This is not a comprehensive survey; rather, it focuses on cross-cultural connections through selected art works, considered individually and in broader contexts. We will chronicle the evolutions of painting, sculpture, architecture, and other media of Asia, focusing especially on painting, sculpture, architecture, and decorative arts. We will pay particular attention to the impact of religious and royal patronage, Buddhism and Hinduism, the Silk Road, Asian aesthetics, and specialized techniques such as ink painting and woodblock printing. Works of art will be studied in terms of style, religious meaning, and social and historical contexts.

Cynthia Packert

Reviews and ratings for Cynthia Packert at Middlebury College.Cynthia Packert teaches Approaches to Islamic Art, The Good, the Bad, & the Ugly, Indian Painting and more.  Explore top rated instructors and find the best for you.Is Cynthia Packert good ? Find out on MiddCourses.

Professor Packert's class is highly lectured based. There is daily readings, but you can most of the time get away with not doing them or skimming them. We had three quizzes which were not too bad if you studied and payed attention in class. 

I did not enjoy this course. I took it to get my distribution requirements, and was unprepared for the depth that I would need to know about Indian Painting. Professor Packert is very enthusiastic, but expects you to have the same enthusiasm. Unless you are extremely intreasted in Indian Painting, do not take his course.

This class was great. There was a range of people in the class. Some people had grown up on Bollywood, some were Religion majors, and some were just going for a distribution requirement. The films were long at times, but incredibly engaging. There were a few essays, but they were graded pretty easy and weren't too long. 