Before the arrival of British, the art in India primarily served which of the following purposes?
(A) Realistic Representation
(B) Academic Study and Museum Display
(C) Decoration and Manuscript Illustration
(D) Commercial Art for Export
Correct Answer: (C) Decoration and Manuscript Illustration
View SolutionStep 1: Understanding the Concept:
The question asks what Indian art was mainly made for before British rule began. Before the British came, most art was made for temples, royal courts and rich patrons. It was made to decorate buildings and objects and to illustrate books (manuscripts), not to copy nature exactly or to fill museums.
Step 2: Key Approach:
Recall the main art traditions before the British period: temple murals and sculpture, palm leaf and paper manuscripts (Jain, Buddhist, Rajput, Pahari), and Mughal and Deccani court albums. Match the purpose of these with the four options.
Step 3: Check option (1).
Realistic representation of the world became a major aim only after European academic training reached India through art schools and Company School painting. Earlier Indian art stressed ideal forms, symbols and stories. So option (1) is wrong.
Step 4: Check option (2).
Academic study and museum display came with colonial art schools (Calcutta, Bombay, Madras) and museums, which were set up in the 1800s. So option (2) is wrong.
Step 5: Check option (3).
Temples, palaces and homes were decorated with murals, carvings and painted cloth. Court and temple workshops also illustrated manuscripts such as the Jain Kalpasutra, Rajput Ramayana and Mughal Akbarnama. This is exactly the main purpose of earlier Indian art. So option (3) is TRUE.
Step 6: Check option (4).
Art made mainly for export as a commercial product was linked to Company School paintings made for British buyers in the late 1700s and 1800s. It was not the main purpose of earlier Indian art. So option (4) is wrong.
Final Answer:
Decoration and manuscript illustration (option 3) was the main purpose of art in India before British arrival.
Question 2:
Which of the following art forms were patronized by the Mughals?
(A) Installation
(B) Graphic Art
(C) Bookmaking
(D) Sculpture
Correct Answer: (C) Bookmaking
View SolutionStep 1: Understanding the Concept:
The Mughal emperors were great patrons of the arts. Their royal workshops (karkhanas) made illustrated books, miniature paintings, calligraphy, bookbinding and decorative objects. The question asks which listed form they supported.
Step 2: Key Approach:
Recall the Mughal court workshops. The most famous output was the illustrated manuscript, such as the Hamzanama, Akbarnama, Baburnama and Padshahnama. Making these books (writing, painting, gilding and binding) is bookmaking.
Step 3: Check option (1).
Installation art is a modern idea of the 1900s where a whole space is arranged as an artwork. It did not exist in the Mughal period. So (1) is wrong.
Step 4: Check option (2).
Graphic art in the sense of printmaking and commercial design grew with the printing press and later art schools. Mughal courts did not patronize it as an art form. So (2) is wrong.
Step 5: Check option (3).
Mughal emperors set up royal libraries and workshops where scribes, painters, gilders and binders made books. Bookmaking was a highly valued court art. So (3) is TRUE.
Step 6: Check option (4).
Free standing sculpture of figures was not favoured by the Mughals, because Islamic tradition discouraged the making of human images in the round. Their main building decoration was carved ornament and inlay, not figure sculpture. So (4) is wrong.
Final Answer:
The Mughals patronized bookmaking, so the correct option is (3).
Question 3:
The Mughal Painting 'Madonna and Child' is made in which of the following medium?
(A) Opaque watercolour on paper
(B) Opaque watercolour on cotton
(C) Wash on paper
(D) Oil colour on cotton
Correct Answer: (A) Opaque watercolour on paper
View SolutionStep 1: Understanding the Concept:
Mughal miniature paintings were made with water based colours on paper. The colours were mixed with gum and were opaque, which is called gouache. Mughal artists also copied European pictures that came with Jesuit missionaries at Akbar's court. 'Madonna and Child' is one such Mughal copy of a European theme.
Step 2: Key Approach:
Identify the usual Mughal medium (opaque watercolour on paper) and check whether this painting was an exception.
Step 3: Check option (1).
The Mughal painting 'Madonna and Child' from the Akbar period is described as opaque watercolour on paper. This is the standard Mughal miniature medium. So (1) is TRUE.
Step 4: Check option (2).
Opaque watercolour on cotton was used for large painted cloth such as the Hamzanama pages, and for temple hangings. It is not the medium listed for this painting. So (2) is wrong.
Step 5: Check option (3).
Wash painting on paper is the technique of the Bengal School of the early 1900s. It does not fit a Mughal court miniature. So (3) is wrong.
Step 6: Check option (4).
Oil colour on cotton (canvas) is the medium of European and later academic painting. Mughal court miniatures were not oil paintings. So (4) is wrong.
Final Answer:
The medium of the Mughal painting 'Madonna and Child' is opaque watercolour on paper, which is option (1).
Question 4:
Why did Indian artists begin using figures and stories in their paintings after Indian Rebellion?
(A) Due to increasing demand for figurative work.
(B) Influence of European Realist Art.
(C) To express their concern about social problems.
(D) They were influenced by Ajanta paintings.
Correct Answer: (D) They were influenced by Ajanta paintings.
View SolutionStep 1: Understanding the Question:
We must find why Indian artists began to use figures and stories in their paintings after the Indian Rebellion.
Step 2: Check the options:
Options 1, 2 and 3 give other reasons such as demand, European Realist influence and social concern. The NTA final answer key marks this option as correct.
Step 3: Option 4:
The key accepts that artists were influenced by the Ajanta paintings, which are rich in figures and stories.
Final Answer:
The correct option is 4, as per the NTA final answer key. \[ \boxed{\text{They were influenced by Ajanta paintings.}} \]
Question 5:
India's first nationalist art school, Kala Bhavana, is affiliated with which of the following university?
(A) Visva-Bharati University
(B) Banaras Hindu University, Varanasi
(C) B.R. Ambedkar University
(D) Jamia Millia Islamia University
Correct Answer: (A) Visva-Bharati University
View SolutionStep 1: Understanding the Concept:
Kala Bhavana is the art institute founded in Santiniketan, West Bengal, as part of the university started by Rabindranath Tagore. Nandalal Bose, a leading artist of the Bengal School, became its principal in 1922.
Step 2: Key Approach:
Match the institute with its parent university. Kala Bhavana belongs to the university Tagore founded at Santiniketan.
Step 3: Check option (1).
Visva-Bharati University was founded by Rabindranath Tagore, and Kala Bhavana is its fine arts faculty. So (1) is TRUE.
Step 4: Check option (2).
Banaras Hindu University has its own Faculty of Visual Arts, but that is a different institute. So (2) is wrong.
Step 5: Check option (3).
B.R. Ambedkar University has no link with Kala Bhavana. So (3) is wrong.
Step 6: Check option (4).
Jamia Millia Islamia has its own Faculty of Fine Arts, which is a separate institution. So (4) is wrong.
Final Answer:
Kala Bhavana is part of Visva-Bharati University, option (1).
Question 6:
What was the purpose of Sahibdin's oblique aerial perspective in the 'Yuddha Kanda' of the 'Ramayana'?
(A) Enhance the decorativeness of the scenes.
(B) Incorporate Mughal influence into the composition.
(C) Represent War's Expensive Scale
(D) Employ narrative density.
Correct Answer: (D) Employ narrative density.
View SolutionStep 1: Understanding the Question:
We must state the purpose of the oblique aerial perspective in Sahibdin's Yuddha Kanda of the Ramayana.
Step 2: Check the options:
Decoration, Mughal influence and showing the scale of war are not accepted by the NTA key.
Step 3: Option 4:
The oblique aerial view lets the painter place many figures and events in one scene. This is called narrative density, and the key marks it correct.
Final Answer:
The correct option is 4 (narrative density), as per the NTA final answer key. \[ \boxed{\text{Employ narrative density.}} \]
Question 7:
Identify the work of Mrinalini Mukherjee's from the followings.
(A) Ganesha
(B) The Dog
(C) Flute
(D) Vanshri
Correct Answer: (D) Vanshri
View SolutionStep 1: Understanding the Concept:
Mrinalini Mukherjee (1949-2015) was an Indian sculptor known for large forms made of knotted hemp and natural fibre and later bronze. Her sculptures look like plants and organic shapes.
Step 2: Key Approach:
Recall her titles. Famous works include Vanshri, Palmscape, Yakshi and Basanti.
Step 3: Check option (1).
Ganesha is a common subject for many artists, but it is not a known work of Mrinalini Mukherjee. So (1) is wrong.
Step 4: Check option (2).
The Dog is not a work attributed to her. So (2) is wrong.
Step 5: Check option (3).
Flute is not one of her titles. So (3) is wrong.
Step 6: Check option (4).
Vanshri is one of her well known hemp sculptures. So (4) is TRUE.
Final Answer:
Vanshri is the work of Mrinalini Mukherjee, option (4).
Question 8:
What is the most striking feature shared by Lepakshi murals and Ragamala paintings of Deccan School?
(A) Male Costumes
(B) Women's Hairstyles
(C) Symmetrical architectural domes
(D) Borders' Design
Correct Answer: (B) Women's Hairstyles
View SolutionStep 1: Understanding the Concept:
Lepakshi murals (Andhra Pradesh, Vijayanagara period, 1500s) and Deccani Ragamala paintings (Ahmednagar, Bijapur, Golconda) belong to the same southern region and share some pictorial habits.
Step 2: Key Approach:
Compare the people and features shown in both. A striking common feature is the way women are drawn, especially their hair with a side bun and decorated style.
Step 3: Check option (1).
Male dress differs in the two traditions, since Lepakshi follows temple and Vijayanagara fashion and Deccani painting shows Persian influenced court dress. So (1) is wrong.
Step 4: Check option (2).
In both Lepakshi murals and Deccani Ragamala paintings, women are shown with a large side bun and ornamented hair. This is the notable common trait. So (2) is TRUE.
Step 5: Check option (3).
Symmetrical domes belong to Mughal and Islamic architecture and do not appear as a shared feature of the Lepakshi murals. So (3) is wrong.
Step 6: Check option (4).
Border design differs. Lepakshi murals have temple ceiling patterns, while Ragamala pages have flat coloured borders. So (4) is wrong.
Final Answer:
The shared feature is women's hairstyle, option (2). The options are close, so this answer carries some doubt.
Question 9:
The influence of which of the following European artist can be seen in Amrita Sher-Gil's painting 'Haldi Grinder'?
(A) Michelangelo
(B) Rembrandt
(C) Paul Gauguin
(D) Giotto
Correct Answer: (C) Paul Gauguin
View SolutionStep 1: Understanding the Question:
Amrita Sher-Gil studied in Paris and later settled in India in 1934. Her Indian paintings, such as Haldi Grinder (1940), use flat areas of rich colour, simple bold forms and rural subjects. This style is linked with the influence of the Post-Impressionist painter Paul Gauguin.
Step 2: Key Fact:
The question asks: The influence of which of the following European artist can be seen in Amrita Sher-Gil's painting 'Haldi Grinder'?
We test each option against the fact stated above.
Step 3: Check option 1 (Michelangelo).
Michelangelo was a High Renaissance sculptor and painter, famous for the Sistine Chapel ceiling and heavy muscular figures. Haldi Grinder has flat colour and simple forms, not sculptural muscular anatomy. So option 1 is wrong.
Step 4: Check option 2 (Rembrandt).
Rembrandt was a Dutch Baroque master known for deep shadows and light (chiaroscuro) and for portraits. Sher-Gil's painting has no such dramatic shadow play. So option 2 is wrong.
Step 5: Check option 3 (Paul Gauguin).
Paul Gauguin was a Post-Impressionist who painted rural and native people with flat, strong colour and simplified outlines. Sher-Gil admired this approach and used it for village women and workers. So option 3 is correct.
Step 6: Check option 4 (Giotto).
Giotto was an early Italian painter (around 1300) who started a more natural way of painting religious scenes. Sher-Gil's work is a twentieth century village scene with no link to Giotto's frescoes. So option 4 is wrong.
Final Answer:
The correct choice is option 3, Paul Gauguin.
\[ \boxed{3} \]
Question 10:
Mughal artist Haji Madni, belongs to the period of which of the following emperor?
(A) Dara Shikoh
(B) Babar
(C) Jahangir
(D) Shah Jahan
Correct Answer: (D) Shah Jahan
View SolutionStep 1: Understanding the Question:
Haji Madni is listed among the Mughal court painters of the Shah Jahan period (1628-1658), when portraits and court scenes became very refined and formal. Dara Shikoh was only a prince, and Babur and Jahangir are linked with other artists.
Step 2: Key Fact:
The question asks: Mughal artist Haji Madni, belongs to the period of which of the following emperor?
We test each option against the fact stated above.
Step 3: Check option 1 (Dara Shikoh).
Dara Shikoh was the eldest son of Shah Jahan and never became emperor, so the question's word 'emperor' rules him out. He is a patron of an album, not a ruling emperor. So option 1 is wrong.
Step 4: Check option 2 (Babar).
Babur ruled from 1526 to 1530. He had little time to set up a painting workshop, and the Mughal studio really started under Humayun and Akbar. So option 2 is wrong.
Step 5: Check option 3 (Jahangir).
Jahangir's period (1605-1627) is known for artists such as Ustad Mansur, Abul Hasan and Bishandas, famous for nature and portraits. Haji Madni is not placed in this group. So option 3 is wrong.
Step 6: Check option 4 (Shah Jahan).
Shah Jahan's period saw fine, polished portraits and darbar paintings by artists such as Haji Madni, Payag and Bichitr. So option 4 is the best answer.
Final Answer:
The correct choice is option 4, Shah Jahan.
\[ \boxed{4} \]
Question 11:
Which of the following artist depicted the deplorable condition of the poor in his etchings, linocuts, and lithographs of Bengal Famine?
(A) Ganesh Pyne
(B) G. R. Santosh
(C) Paritosh Sen
(D) Chittoprasad
Correct Answer: (D) Chittoprasad
View SolutionStep 1: Understanding the Question:
Chittaprosad Bhattacharya (Chittoprasad) travelled through Bengal during the famine of 1943 and made sketches, linocuts and lithographs of starving people. His work was published in the book Hungry Bengal.
Step 2: Key Fact:
The question asks: Which of the following artist depicted the deplorable condition of the poor in his etchings, linocuts, and lithographs of Bengal Famine?
We test each option against the fact stated above.
Step 3: Check option 1 (Ganesh Pyne).
Ganesh Pyne is known for dark, dreamlike tempera paintings using myth and memory. He did not make the famine prints. So option 1 is wrong.
Step 4: Check option 2 (G. R. Santosh).
G. R. Santosh is linked with Neo-Tantra style abstraction using symbols of energy. He is not known for famine documentation. So option 2 is wrong.
Step 5: Check option 3 (Paritosh Sen).
Paritosh Sen was a member of the Calcutta Group and painted city life and figures in a Cubist-influenced style. He is not the famine print maker. So option 3 is wrong.
Step 6: Check option 4 (Chittoprasad).
Chittoprasad made direct, emotional prints of the 1943 Bengal famine and the suffering of the poor. So option 4 is correct.
Final Answer:
The correct choice is option 4, Chittoprasad.
\[ \boxed{4} \]
Question 12:
Which project was completed under the supervision of Persian masters, Mir Sayyid Ali and Abd us Samad?
(A) Hamza Nama
(B) Akbarnama
(C) Tuzuk-i-Jahangiri
(D) Jahangirnama
Correct Answer: (A) Hamza Nama
View SolutionStep 1: Understanding the Question:
Akbar invited the Persian masters Mir Sayyid Ali and Abd us Samad to Delhi. They led the large illustrated manuscript Hamzanama (Dastan-e-Amir Hamza), which has about 1400 big paintings on cloth and took many years from about 1562.
Step 2: Key Fact:
The question asks: Which project was completed under the supervision of Persian masters, Mir Sayyid Ali and Abd us Samad?
We test each option against the fact stated above.
Step 3: Check option 1 (Hamza Nama).
Hamza Nama was the first big project of the Mughal workshop under Akbar, supervised first by Mir Sayyid Ali and then by Abd us Samad. So option 1 is correct.
Step 4: Check option 2 (Akbarnama).
Akbarnama is the history of Akbar's reign written by Abul Fazl, and its paintings were done by Indian court artists such as Basawan and Dasavanta later on. So option 2 is wrong.
Step 5: Check option 3 (Tuzuk-i-Jahangiri).
Tuzuk-i-Jahangiri is the memoir of Emperor Jahangir. It belongs to a later reign and is not tied to these two masters. So option 3 is wrong.
Step 6: Check option 4 (Jahangirnama).
Jahangirnama is another name for the same memoir of Jahangir, so it also belongs to Jahangir's time. So option 4 is wrong.
Final Answer:
The correct choice is option 1, Hamza Nama.
\[ \boxed{1} \]
Question 13:
Which of the following painting style is associated to Nathdwara tradition?
(A) Phad scroll painting
(B) Patna Qalam Miniature
(C) Mandana painting
(D) Pichhwais
Correct Answer: (D) Pichhwais
View SolutionStep 1: Understanding the Question:
Nathdwara in Rajasthan has the temple of Shrinathji (Krishna). Large cloth hangings painted behind the deity are called pichhwais, and this style is the signature art of the Nathdwara tradition.
Step 2: Key Fact:
The question asks: Which of the following painting style is associated to Nathdwara tradition?
We test each option against the fact stated above.
Step 3: Check option 1 (Phad scroll painting).
Phad scroll painting is a Rajasthani folk scroll tradition from Bhilwara area telling the stories of Pabuji and Devnarayan. It is not the Nathdwara style. So option 1 is wrong.
Step 4: Check option 2 (Patna Qalam Miniature).
Patna Qalam is a school of Company-style miniature painting from Bihar with everyday subjects. It has no link with Nathdwara. So option 2 is wrong.
Step 5: Check option 3 (Mandana painting).
Mandana is a ritual floor and wall decoration done in Rajasthan and Madhya Pradesh with white lime on red surface. It is not the Nathdwara style. So option 3 is wrong.
Step 6: Check option 4 (Pichhwais).
Pichhwais are cloth hangings painted with scenes of Shrinathji and Krishna festivals, made in Nathdwara. So option 4 is correct.
Final Answer:
The correct choice is option 4, Pichhwais.
\[ \boxed{4} \]
Question 14:
Who painted an early dated set of Ragamala paintings in Mewar ?
(A) Nisardin
(B) Jagat Singh I
(C) Jagannath
(D) Sahibdin
Correct Answer: (A) Nisardin
View SolutionStep 1: Understanding the Question:
The Chawand Ragamala of 1605 is the early dated Ragamala set from Mewar. It was painted by the artist Nisardin (Nisardi) at Chawand during the rule of Rana Amar Singh I.
Step 2: Key Fact:
The question asks: Who painted an early dated set of Ragamala paintings in Mewar ?
We test each option against the fact stated above.
Step 3: Check option 1 (Nisardin).
Nisardin signed and dated the Chawand Ragamala in 1605, so he made the early dated Mewar set. So option 1 is correct.
Step 4: Check option 2 (Jagat Singh I).
Jagat Singh I was a ruler of Mewar (1628-1652) and a great patron of painting. He was a patron, not the painter. So option 2 is wrong.
Step 5: Check option 3 (Jagannath).
Jagannath was a Mewar court painter of the Jagat Singh period, known for a Ramayana manuscript, not the early 1605 Ragamala. So option 3 is wrong.
Step 6: Check option 4 (Sahibdin).
Sahibdin was another Mewar artist who painted a Ragamala in 1628, which is later than the 1605 set. So option 4 is wrong.
Final Answer:
The correct choice is option 1, Nisardin.
\[ \boxed{1} \]
Question 15:
Who was the court poet of Lakshmana Sen of Bengal ?
(A) Jayadeva
(B) Bhanu Datta
(C) Keshav Datta
(D) Nisardin
Correct Answer: (A) Jayadeva
View SolutionStep 1: Understanding the Question:
Jayadeva, the author of the Sanskrit poem Gita Govinda, was a court poet of Lakshmana Sena of Bengal in the 12th century. The Gita Govinda later became a favourite subject for Indian miniature paintings.
Step 2: Key Fact:
The question asks: Who was the court poet of Lakshmana Sen of Bengal ?
We test each option against the fact stated above.
Step 3: Check option 1 (Jayadeva).
Jayadeva wrote the Gita Govinda at the court of Lakshmana Sena. So option 1 is correct.
Step 4: Check option 2 (Bhanu Datta).
Bhanu Datta wrote Rasamanjari, a text on the nayika types, and is linked with Mithila, not with Lakshmana Sena's court. So option 2 is wrong.
Step 5: Check option 3 (Keshav Datta).
Keshav Datta is not named in standard texts as the court poet of Lakshmana Sena, so option 3 is wrong.
Step 6: Check option 4 (Nisardin).
Nisardin was a painter of Mewar, not a poet of Bengal. So option 4 is wrong.
Final Answer:
The correct choice is option 1, Jayadeva.
\[ \boxed{1} \]
Question 16:
The Persian artist Bihzad belongs to which of the following place?
(A) Kabul
(B) Delhi
(C) Herat
(D) Lahore
Correct Answer: (C) Herat
View SolutionStep 1: Understanding the Question:
Kamal ud-Din Bihzad was the greatest Persian miniature painter. He worked at the Timurid court of Herat (in present Afghanistan) and later moved to Tabriz under the Safavids.
Step 2: Key Fact:
The question asks: The Persian artist Bihzad belongs to which of the following place?
We test each option against the fact stated above.
Step 3: Check option 1 (Kabul).
Kabul was a city of Babur and the Mughals, but Bihzad was not based there. So option 1 is wrong.
Step 4: Check option 2 (Delhi).
Delhi was the Mughal and Sultanate capital, and Bihzad never worked there. So option 2 is wrong.
Step 5: Check option 3 (Herat).
Herat was the Timurid centre of art in the 15th century, where Bihzad trained and painted. So option 3 is correct.
Step 6: Check option 4 (Lahore).
Lahore was a Mughal city and has no link with Bihzad. So option 4 is wrong.
Final Answer:
The correct choice is option 3, Herat.
\[ \boxed{3} \]
Question 17:
Which of the following emperor succeeded Babur ?
(A) Shah Jahan
(B) Jahangir
(C) Akbar
(D) Humayun
Correct Answer: (D) Humayun
View SolutionStep 1: Understanding the Question:
Babur founded the Mughal Empire in 1526 and died in 1530. His son Humayun became the next emperor. The order of rule is Babur, Humayun, Akbar, Jahangir, Shah Jahan.
Step 2: Key Fact:
The question asks: Which of the following emperor succeeded Babur ?
We test each option against the fact stated above.
Step 3: Check option 1 (Shah Jahan).
Shah Jahan was the fifth Mughal emperor, ruling from 1628, so he did not follow Babur directly. So option 1 is wrong.
Step 4: Check option 2 (Jahangir).
Jahangir was the fourth emperor, the son of Akbar, so he did not follow Babur. So option 2 is wrong.
Step 5: Check option 3 (Akbar).
Akbar was the third emperor and the son of Humayun, so he came after Humayun and not after Babur. So option 3 is wrong.
Step 6: Check option 4 (Humayun).
Humayun was Babur's eldest son and became emperor in 1530. So option 4 is correct.
Final Answer:
The correct choice is option 4, Humayun.
\[ \boxed{4} \]
Question 18:
Who among the followings, was the most successful artist of the academic realism ?
(A) Abanindranath Tagore
(B) E. B. Havell
(C) Raja Ravi Varma
(D) Nandalal Bose
Correct Answer: (C) Raja Ravi Varma
View SolutionStep 1: Understanding the Question:
Raja Ravi Varma painted in the European academic realist style with oil colours, perspective and lifelike figures. He made portraits and scenes from Indian epics and became the most successful artist of this style in India.
Step 2: Key Fact:
The question asks: Who among the followings, was the most successful artist of the academic realism ?
We test each option against the fact stated above.
Step 3: Check option 1 (Abanindranath Tagore).
Abanindranath Tagore founded the Bengal School and used a soft, wash technique with Indian themes against Western realism. So option 1 is wrong.
Step 4: Check option 2 (E. B. Havell).
E. B. Havell was an art educator and principal of the Calcutta art school who supported Indian styles over Western academic art. He was not a realist painter. So option 2 is wrong.
Step 5: Check option 3 (Raja Ravi Varma).
Raja Ravi Varma used oil painting and realistic portrayal of figures and became famous for it. So option 3 is correct.
Step 6: Check option 4 (Nandalal Bose).
Nandalal Bose was a leading Bengal School artist in the revival movement and used Indian tradition and wash painting. So option 4 is wrong.
Final Answer:
The correct choice is option 3, Raja Ravi Varma.
\[ \boxed{3} \]
Question 19:
What were the striking features of European art that influenced Company painting ?
(A) Folk art
(B) Adapting their traditions
(C) Close Observation
(D) Memory and Rule Books
Correct Answer: (C) Close Observation
View SolutionStep 1: Understanding the Question:
The question asks which feature of European art left a mark on Company painting. Company painting was made by Indian artists for British East India Company officers in the 18th and 19th centuries.
Step 2: Key Fact to Recall:
European painters of that period were trained to observe the real world carefully. They used perspective, shading and accurate detail. Indian artists working for the British picked up this way of seeing, and it shows in Company paintings of birds, plants, monuments and everyday trades.
Step 3: Check option (1).
Folk art is a local, traditional style with flat colours and simple forms. It was not a European feature, and it did not influence Company painting in this way. So option 1 is wrong.
Step 4: Check option (2).
Adapting their traditions describes what Indian artists already did, not a feature of European art. The European side stressed realism, so this option does not name a European feature. So option 2 is wrong.
Step 5: Check option (3).
Close observation is the habit of drawing exactly what is seen, with correct proportion, light and detail. This was the striking feature of European art taken up by Company painters. So option 3 is correct.
Step 6: Check option (4).
Memory and rule books belong to the older Indian method of copying from memory and fixed rules (shastra). European art of the time moved away from this toward observation. So option 4 is wrong.
Final Answer:
The feature of European art that influenced Company painting was close observation, which is option 3.
Question 20:
The 'Hamza Nama' project was completed under the supervision of -
(A) Humayun and Akbar
(B) Babur and Humayun
(C) Ustad Mansur
(D) Daswant
Correct Answer: (A) Humayun and Akbar
View SolutionStep 1: Understanding the Question:
The question asks who supervised the Hamza Nama project. Hamza Nama (Dastan-e-Amir Hamza) is a huge illustrated manuscript of the adventures of Amir Hamza, made in the early Mughal court.
Step 2: Key Fact to Recall:
The project started under Humayun, who brought Mir Sayyid Ali and Abdus Samad from Persia. It was carried on and completed under Akbar, who took a strong personal interest in it. So both emperors are linked with it.
Step 3: Check option (1).
Humayun began the project and Akbar finished it under his supervision, with Mir Sayyid Ali and Abdus Samad as chief artists. This pair of rulers matches the history. So option 1 is correct.
Step 4: Check option (2).
Babur ruled before Humayun and is not linked with this manuscript project. His reign was spent in conquest and writing his memoirs. So option 2 is wrong.
Step 5: Check option (3).
Ustad Mansur was a famous Mughal painter, known for birds and animals under Jahangir. He was an artist, not the royal supervisor of Hamza Nama. So option 3 is wrong.
Step 6: Check option (4).
Daswant was an Akbar-period court painter who worked on the Razmnama and other works. He was an artist, not the royal supervisor. So option 4 is wrong.
Final Answer:
Hamza Nama was completed under the supervision of Humayun and Akbar, which is option 1.
Question 21:
Which school flourished under the patronage of Rao Chattar Sal and Rao Bhao Singh ?
(A) Mewar
(B) Jaipur
(C) Bundi
(D) Bikaner
Correct Answer: (C) Bundi
View SolutionStep 1: Understanding the Question:
The question asks which Rajasthani school of painting grew under two named rulers, Rao Chattar Sal and Rao Bhao Singh.
Step 2: Key Fact to Recall:
Rao Chattar Sal (Chhatrasal) and Rao Bhao Singh ruled Bundi in the 17th century. Their patronage helped the Bundi school grow, with lively hunting scenes, rich colour and Mughal-influenced detail.
Step 3: Check option (1).
Mewar was ruled by the Sisodia Ranas, and its painting grew under rulers such as Jagat Singh. Chattar Sal and Bhao Singh are not Mewar rulers. So option 1 is wrong.
Step 4: Check option (2).
Jaipur (Amber) school grew under rulers such as Sawai Jai Singh and Sawai Pratap Singh. The two named rulers did not rule there. So option 2 is wrong.
Step 5: Check option (3).
Bundi was ruled by Rao Chattar Sal and Rao Bhao Singh, and the Bundi school flourished in their time. So option 3 is correct.
Step 6: Check option (4).
Bikaner school grew under rulers such as Anup Singh with Mughal-trained artists. It is not tied to the two named rulers. So option 4 is wrong.
Final Answer:
The Bundi school flourished under Rao Chattar Sal and Rao Bhao Singh, which is option 3.
Question 22:
'Nujum al-Ulum' manuscript was completed under which of the following Bijapur ruler?
(A) Hussain Nizam Shah I
(B) Muhammad Qutb Shah
(C) Ali Adil Shah I
(D) Sultan Abdullah Qutb Shah
Correct Answer: (C) Ali Adil Shah I
View SolutionStep 1: Understanding the Question:
The question asks which Bijapur ruler's reign saw the completion of the Nujum al-Ulum manuscript. Nujum al-Ulum means 'Stars of the Sciences', an illustrated encyclopedia of sciences and astrology.
Step 2: Key Fact to Recall:
The manuscript was completed in 1570 at Bijapur under Ali Adil Shah I. It is one of the earliest big illustrated Deccani works, with strong Persian, Indian and Turkish touches.
Step 3: Check option (1).
Hussain Nizam Shah I ruled Ahmadnagar, not Bijapur, so he cannot be the answer. So option 1 is wrong.
Step 4: Check option (2).
Muhammad Qutb Shah ruled Golconda, a different Deccan sultanate. The question asks for a Bijapur ruler. So option 2 is wrong.
Step 5: Check option (3).
Ali Adil Shah I ruled Bijapur and the manuscript was completed in his time in 1570. So option 3 is correct.
Step 6: Check option (4).
Sultan Abdullah Qutb Shah also ruled Golconda, not Bijapur. So option 4 is wrong.
Final Answer:
Nujum al-Ulum was completed under Ali Adil Shah I of Bijapur, which is option 3.
Question 23:
Name the notable ruler of the famous Deccan sultanate of Bijapur ?
(A) Amir Khusrau
(B) Hazrat Nizamuddin Auliya
(C) Sultan Abdullah Qutb Shah
(D) Ibrahim II
Correct Answer: (D) Ibrahim II
View SolutionStep 1: Understanding the Question:
The question asks for a notable ruler of the Bijapur sultanate in the Deccan.
Step 2: Key Fact to Recall:
Bijapur was ruled by the Adil Shahi dynasty. Ibrahim Adil Shah II (Ibrahim II) is its best known ruler, famous as a lover of music and the arts and a patron of painters.
Step 3: Check option (1).
Amir Khusrau was a poet and musician of the Delhi Sultanate. He was not a ruler of Bijapur. So option 1 is wrong.
Step 4: Check option (2).
Hazrat Nizamuddin Auliya was a Sufi saint of Delhi, not a ruler. So option 2 is wrong.
Step 5: Check option (3).
Sultan Abdullah Qutb Shah ruled Golconda, a different Deccan sultanate. So option 3 is wrong.
Step 6: Check option (4).
Ibrahim II was a great ruler of Bijapur and a patron of art and music. So option 4 is correct.
Final Answer:
The notable ruler of Bijapur is Ibrahim II, which is option 4.
Question 24:
The book 'Nauras -Nama' is based on which of the following?
(A) Ramayana
(B) Litrature
(C) Music
(D) Theatre
Correct Answer: (C) Music
View SolutionStep 1: Understanding the Question:
The question asks the subject of the book 'Nauras-Nama'. Nauras means nine moods or nine flavours, the same idea as the nine rasas of Indian art.
Step 2: Key Fact to Recall:
Nauras-Nama was written by Ibrahim Adil Shah II of Bijapur. It is a collection of songs in Dakhni, set to ragas and praising Saraswati and Ganesha. So the book rests on music and the nine rasas.
Step 3: Check option (1).
Ramayana is the epic of Rama. Nauras-Nama is not a retelling of this epic. So option 1 is wrong.
Step 4: Check option (2).
Literature is too broad. The book does contain poems, but its basis is music and rasa, so this is not the best answer. So option 2 is wrong.
Step 5: Check option (3).
The songs of Nauras-Nama were composed in ragas and linked to the nine rasas, so the book is based on music. So option 3 is correct.
Step 6: Check option (4).
Theatre is not the base of this book, though rasa theory is shared with drama. So option 4 is wrong.
Final Answer:
Nauras-Nama is based on music, which is option 3.
Question 25:
The original paintings of Gulistan (1567) are attributed to the artists from which of the following place?
(A) Golconda
(B) Persia
(C) Malwa
(D) Bukhara
Correct Answer: (D) Bukhara
View SolutionStep 1: Understanding the Question:
We must name the place the original artists of the Gulistan (1567) paintings came from.
Step 2: Check the options:
Golconda, Persia and Malwa are not accepted by the NTA key.
Step 3: Option 4:
The key marks Bukhara as the place of the artists of the original paintings.
Final Answer:
The correct option is 4 (Bukhara), as per the NTA final answer key. \[ \boxed{\text{Bukhara}} \]
Question 26:
Arrange the following historical events in chronological order. A. Humayun takes refuge in Persia. B. Babur came to India. C. Akbar establishes a flourishing royal atelier. D. Humayun returns to India with Persian artists. Choose the correct answer from the options given below:
(A) A, B, C, D
(B) D, B, C, A
(C) B, A, D, C
(D) C, B, D, A
Correct Answer: (C) B, A, D, C
View SolutionStep 1: Understanding the Question:
We must put four events of early Mughal history in order of time, from earliest to latest.
Step 2: Key Fact to Recall:
Babur came to India and won at Panipat in 1526. Humayun lost his throne to Sher Shah and went to Persia around 1544. He returned in 1555 with Mir Sayyid Ali and Abdus Samad. Akbar then built a large royal atelier.
Step 3: Check option (1).
Option 1 puts A first, but Humayun could not take refuge in Persia before Babur came to India. So it is wrong.
Step 4: Check option (2).
Option 2 puts D first, but Humayun could not return before he went to Persia, and Babur must come first. So it is wrong.
Step 5: Check option (3).
Option 3 gives B, A, D, C. Babur came (1526), Humayun fled to Persia (1544), returned with artists (1555), then Akbar set up the atelier. This is the right order. So option 3 is correct.
Step 6: Check option (4).
Option 4 puts Akbar's atelier first, which is impossible because Akbar ruled after Babur and Humayun. So it is wrong.
Final Answer:
The correct order is B, A, D, C, which is option 3.
Question 27:
Arrange the following Pahari miniature painting in chronological order. A. Krishna steels butter. B. Rama and Sita in the forest. C. Rasamanjari D. Kalia Mardana Choose the correct answer from the options given below:
(A) B, D, C, A
(B) A, B, C, D
(C) C, A, B, D
(D) C, B, D, A
Correct Answer: (C) C, A, B, D
View SolutionStep 1: Understanding the Question:
We must arrange the four Pahari miniature paintings in chronological order.
Step 2: Use the NTA key:
The NTA final answer key gives the order C, A, B, D (Rasamanjari, Krishna steals butter, Rama and Sita in the forest, Kaliya Mardana).
Step 3: Other options:
The other orders are not accepted by the key.
Final Answer:
The chronological order is C, A, B, D, which is option 3 (as per the NTA final answer key). \[ \boxed{\text{C, A, B, D}} \]
Question 28:
Arrange the following paintings in chronological order according to the year of the beginning of their execution.
A. Spies of Hamza attack the City of Kaymar B. Princes of the House of Timur C. Jahangir's Dream D. Tutinama: The Girl and the Parrot
Choose the correct answer from the options given below:
(A) A, B, C, D
(B) D, B, C, A
(C) B, A, D, C
(D) C, B, D, A
Correct Answer: (C) B, A, D, C
View SolutionStep 1: Understand the question:
We must place four Mughal paintings in order of when work on each one began. So we need an approximate start date for every painting.
Step 2: Date each painting:
Princes of the House of Timur was begun in the time of Humayun, around 1550 to 1555, and was finished later under Akbar. The Hamzanama series, which has the scene 'Spies of Hamza attack the City of Kaymar', was started by Akbar around 1562. The Tutinama (Tales of a Parrot), which has the scene 'The Girl and the Parrot', was started a little later, around 1570 to 1580. Jahangir's Dream was painted by Abu'l Hasan in the Jahangir period, around 1618 to 1620.
Step 3: Write the sequence:
From earliest to latest the order is B, A, D, C.
Step 4: Check option 1 (A, B, C, D):
This puts Hamzanama first and Princes of the House of Timur second. But Princes of the House of Timur began earlier, so option 1 is wrong.
Step 5: Check option 2 (D, B, C, A):
This puts Tutinama first and Hamzanama last. Hamzanama was not the last. Jahangir's Dream is clearly the latest, so option 2 is wrong.
Step 6: Check option 3 (B, A, D, C):
This matches the order we found: Humayun-era Princes, then Hamzanama, then Tutinama, then Jahangir's Dream. So option 3 is correct.
Step 7: Check option 4 (C, B, D, A):
This starts with Jahangir's Dream, which is the latest painting, so option 4 is wrong.
Final Answer:
The correct sequence is B, A, D, C, which is option 3.
\[ \boxed{\text{Option 3}} \]
Question 29:
Arrange the following artworks in chronological order according to the year of their execution.
A. Haripura Posters B. City in the Night C. Woman with Child D. Journey's End
Choose the correct answer from the options given below:
(A) D, B, A, C
(B) D, A, C, B
(C) D, C, A, B
(D) D, A, B, C
Correct Answer: (A) D, B, A, C
View SolutionStep 1: Understand the question:
We have to sort four modern Indian artworks by the year they were made.
Step 2: Place Journey's End:
Journey's End was painted by Abanindranath Tagore in 1913, in the early Bengal School period. It is the earliest work, so D comes first. All four options already start with D.
Step 3: Place Haripura Posters:
The Haripura Posters were made by Nandalal Bose for the 1938 Haripura session of the Indian National Congress.
Step 4: Place City in the Night:
City in the Night belongs to the early cubist or Bengal School phase, before the Haripura posters, so B comes before A.
Step 5: Place Woman with Child:
Woman with Child is a later work of the mid twentieth century, so C comes last.
Step 6: Check each option:
Option 1 gives D, B, A, C, which matches our order. Option 2 puts A before B. Option 3 puts C before A and B. Option 4 puts A before B.
Final Answer:
The correct sequence is D, B, A, C, which is option 1.
\[ \boxed{\text{Option 1}} \]
Question 30:
Choose correct facts, associated with the painting 'Ragini Pathamsika of Raga Hindola'.
A. The emperor is sitting in his court. B. The painting has Persian influence. C. Devanagari script is written on top of painting. D. An elephant is depicted in dark colours in the painting.
Choose correct answer from options given below:
(A) B, C and D only
(B) A, B and C only
(C) A, B, C and D
(D) A, C and D only
Correct Answer: (A) B, C and D only
View SolutionStep 1: Understand the question:
We must pick the statements that are true for the Ragamala painting 'Ragini Pathamsika of Raga Hindola'. This is a Rajasthani (Bundi, Chunar Ragamala) work.
Step 2: Check statement A:
The painting shows a heroine in a lyrical, romantic setting linked to the mood of the ragini. It does not show an emperor holding court, so A is false.
Step 3: Check statement B:
The Chunar Ragamala set shows Persian influence in its dress, faces and landscape, so B is true.
Step 4: Check statement C:
Ragamala paintings carry a Devanagari inscription at the top that names the ragini, so C is true.
Step 5: Check statement D:
A dark coloured elephant is shown in the painting, so D is true.
Step 6: Match with the options:
B, C and D are true and A is false. Option 1 (B, C and D only) fits. Options 2, 3 and 4 all contain A, so they are wrong.
Final Answer:
The true statements are B, C and D, which is option 1.
\[ \boxed{\text{Option 1}} \]
Question 31:
Which of the following painted manuscripts are considered under Western Indian School of Painting?
A. Astasahasrika Prajnaparamita B. Nimatnama C. Chaurpanchashika D. Sangrahini Sutra
Choose the correct answer from the options given below:
(A) A, C and D only
(B) A, B and D only
(C) A, B, C and D
(D) B, C and D only
Correct Answer: (D) B, C and D only
View SolutionStep 1: Understanding the Question:
We must pick the manuscripts counted under the Western Indian School of painting.
Step 2: Use the NTA key:
The NTA final answer key marks B, C and D (Nimatnama, Chaurpanchashika and Sangrahini Sutra) as the correct set.
Step 3: Statement A:
Astasahasrika Prajnaparamita is not counted in this set by the key.
Final Answer:
The correct option is 4 (B, C and D only), as per the NTA final answer key. \[ \boxed{\text{B, C and D only}} \]
Question 32:
Which of these artists used printmaking as a medium?
A. Chittoprasad B. Somnath Hore C. S. H. Raza D. Krishna Reddy
Choose the correct answer from the options given below:
(A) A, B and D only
(B) A, B and C only
(C) A, B, C and D
(D) B, C and D only
Correct Answer: (A) A, B and D only
View SolutionStep 1: Understand the question:
We must pick the artists known for printmaking, meaning linocut, woodcut, etching and similar methods.
Step 2: Check Chittoprasad:
Chittoprasad made powerful linocuts and woodcuts, such as those on the Bengal famine, so A is correct.
Step 3: Check Somnath Hore:
Somnath Hore also recorded the famine in prints and later worked in etching and wood-engraving, so B is correct.
Step 4: Check S. H. Raza:
S. H. Raza is known as a painter, famous for the Bindu series in oil and acrylic. He is not a printmaker, so C is wrong.
Step 5: Check Krishna Reddy:
Krishna Reddy was a master printmaker who developed the viscosity printing technique, so D is correct.
Step 6: Match with the options:
A, B and D are correct. Option 1 fits. Options 2, 3 and 4 include C, so they are wrong.
Final Answer:
The printmakers are A, B and D, which is option 1.
\[ \boxed{\text{Option 1}} \]
Question 33:
Name the artists who were part of the Progressive Artist's Group 1946?
A. Francis Newton Souza B. K. H. Ara C. S. A. Bakre D. Tyeb Mehta
Choose the correct answer from the options given below:
(A) A, B and C only
(B) B and C only
(C) A, B and D only
(D) B, C and D only
Correct Answer: (A) A, B and C only
View SolutionStep 1: Understand the question:
The Progressive Artists' Group was formed in Bombay in 1946. We must pick its members from the list.
Step 2: Recall the founders:
The six founding members were F. N. Souza, S. H. Raza, M. F. Husain, K. H. Ara, S. K. Bakre and H. A. Gade.
Step 3: Check A:
Francis Newton Souza was the founder and leader of the group, so A is correct.
Step 4: Check B:
K. H. Ara was a founding member, so B is correct.
Step 5: Check C:
S. K. Bakre (written here as S. A. Bakre) was a founding member, so C is correct.
Step 6: Check D:
Tyeb Mehta came to prominence later and was not one of the 1946 founders, so D is wrong.
Step 7: Match with the options:
A, B and C are right. Option 1 matches. Options 3 and 4 include D, and option 2 leaves out A.
Final Answer:
The group members in the list are A, B and C, which is option 1.
\[ \boxed{\text{Option 1}} \]
Question 34:
Who among the following were associated with the Baroda School ? A. Benode Behari Mukherjee B. K. G. Subramanyan C. Gulam Mohammed Sheikh D. Bhupen Khakar Choose the correct answer from the options given below:
(A) A, B and C only
(B) B and C only
(C) A, B and D only
(D) B, C and D only
Correct Answer: (D) B, C and D only
View SolutionStep 1: Understanding the Concept:
The Baroda School (also called the Baroda Group) grew around the Faculty of Fine Arts of the M. S. University of Baroda after Independence. It stood for narrative, figurative painting that looked at Indian life and also at world art. We must pick which of the four artists belong to this school.
Step 2: Key Formula or Approach:
Decide for each artist, A to D, whether he was linked with the Baroda faculty. Mark each one true or false. Then choose the option that lists exactly the true ones.
Step 3: Check artist (A) Benode Behari Mukherjee.
Benode Behari Mukherjee was a pioneer of Santiniketan. He taught at Kala Bhavana, the art school founded by Rabindranath Tagore, and is known for his murals and Oriental style. He was not part of the Baroda faculty. So (A) is NOT part of the Baroda School.
Step 4: Check artist (B) K. G. Subramanyan.
K. G. Subramanyan studied at Santiniketan but then taught at Baroda from 1951 for many years. He shaped the thinking of the faculty and is counted among its main figures. So (B) IS part of the Baroda School.
Step 5: Check artist (C) Gulam Mohammed Sheikh.
Gulam Mohammed Sheikh studied and later taught at Baroda. He is a leading painter and writer of the narrative group of the school. So (C) IS part of the Baroda School.
Step 6: Check artist (D) Bhupen Khakar.
Bhupen Khakar was linked with Baroda, where he studied art history and criticism and later joined the artist circle there. His story-like, everyday-life paintings belong to the same narrative current. So (D) IS part of the Baroda School.
Step 7: Check option 1 (A, B and C only).
It includes A, who is not from Baroda, and leaves out D, who is. So option 1 is WRONG.
Step 8: Check option 2 (B and C only).
It leaves out D, who belongs to the school. So option 2 is WRONG.
Step 9: Check option 3 (A, B and D only).
It includes A and leaves out C. Both choices are incorrect, so option 3 is WRONG.
Step 10: Check option 4 (B, C and D only).
It contains exactly the three Baroda artists, B, C and D, and leaves out A. So option 4 is CORRECT.
Final Answer:
B, C and D were associated with the Baroda School, which is option 4.
\[ \boxed{4} \]
Question 35:
Match the LIST-I with LIST-II
LIST-I Artist
LIST-II Concept/Theory
A.
Rabindranath Tagore
I.
Created a visual sense of cosmic union of purusha and prakriti of the Tantric philosophy
B.
Francis Newton Souza
II.
Make patterns out of doodles and calligraphy
C.
G. R. Santosh
III.
A mysterious impact with vertical, horizontal and diagonal lines, inspired by Cubist style
D.
Gaganendranath Tagore
IV.
Challenged the traditional sense of beauty and morality
Choose the correct answer from the options given below:
(A) A - II, B - III, C - IV, D - I
(B) A - I, B - II, C - III, D - IV
(C) A - II, B - IV, C - I, D - III
(D) A - III, B - IV, C - I, D - II
Correct Answer: (C) A - II, B - IV, C - I, D - III
View SolutionStep 1: Understanding the Concept: This question tests whether you know the main artistic idea linked with four modern Indian artists. Each artist in LIST-I has one signature concept in LIST-II.
Step 2: Key Formula or Approach: Find the right partner in LIST-II for each item in LIST-I, one pair at a time. Then compare the full set of four pairs with each given option. The option that matches all four pairs is the answer.
Step 3: Match item A. Rabindranath Tagore took up painting late in life. He turned scratches, doodles and cross-outs in his manuscripts into rhythmic patterns and calligraphic forms. So A matches with II (Make patterns out of doodles and calligraphy).
Step 4: Match item B. F. N. Souza was a founder of the Progressive Artists Group. His distorted heads and bold, raw figures shocked viewers and challenged the usual ideas of beauty and morality. So B matches with IV (Challenged the traditional sense of beauty and morality).
Step 5: Match item C. G. R. Santosh drew on Tantra. His paintings use symbols that show the cosmic union of Purusha and Prakriti, the male and female principles. So C matches with I (Created a visual sense of cosmic union of purusha and prakriti of the Tantric philosophy).
Step 6: Match item D. Gaganendranath Tagore is the Bengal artist who took up Cubism. His later pictures use vertical, horizontal and diagonal lines and planes to create a mysterious, glowing effect. So D matches with III (A mysterious impact with vertical, horizontal and diagonal lines, inspired by Cubist style).
Step 7: Check option 1. This option gives B-III, C-IV, D-I, but the correct pairs are B-IV, C-I, D-III. So option 1 is WRONG.
Step 8: Check option 2. This option gives A-I, B-II, C-III, D-IV, but the correct pairs are A-II, B-IV, C-I, D-III. So option 2 is WRONG.
Step 9: Check option 3. Every pair in this option agrees with the pairs found above (A-II, B-IV, C-I, D-III). So option 3 is CORRECT.
Step 10: Check option 4. This option gives A-III, D-II, but the correct pairs are A-II, D-III. So option 4 is WRONG.
Final Answer: The correct matching is A-II, B-IV, C-I, D-III, which is option 3. \[ \boxed{3} \]
Question 36:
Match the LIST-I with LIST-II
LIST-I Meaning/Explanation
LIST-II Limb of art
A.
pertains to looks and appearance
I.
Varnikabhanga
B.
showing resemblance
II.
Bhava
C.
related to expressions
III.
Sadrishya
D.
use of brush and colours
IV.
Roopbheda
Choose the correct answer from the options given below:
(A) A - IV, B - III, C - II, D - I
(B) A - I, B - II, C - III, D - IV
(C) A - III, B - II, C - I, D - IV
(D) A - III, B - IV, C - I, D - II
Correct Answer: (A) A - IV, B - III, C - II, D - I
View SolutionStep 1: Understanding the Concept: The six limbs of Indian painting (Shadanga) are Roopbheda, Pramanani, Bhava, Lavanya Yojanam, Sadrishya and Varnikabhanga. This question asks for the meaning of four of them.
Step 2: Key Formula or Approach: Find the right partner in LIST-II for each item in LIST-I, one pair at a time. Then compare the full set of four pairs with each given option. The option that matches all four pairs is the answer.
Step 3: Match item A. Roopbheda is the limb of art that deals with the forms, looks and appearance of things, the different kinds of visible shape. So A matches with IV (Roopbheda).
Step 4: Match item B. Sadrishya means likeness. It is the limb about showing resemblance of a figure to what it represents. So B matches with III (Sadrishya).
Step 5: Match item C. Bhava is about feelings and emotions. It deals with how expression is shown through the face and body. So C matches with II (Bhava).
Step 6: Match item D. Varnikabhanga is about the handling of colour and brush, which means the way colours are mixed and applied. So D matches with I (Varnikabhanga).
Step 7: Check option 1. Every pair in this option agrees with the pairs found above (A-IV, B-III, C-II, D-I). So option 1 is CORRECT.
Step 8: Check option 2. This option gives A-I, B-II, C-III, D-IV, but the correct pairs are A-IV, B-III, C-II, D-I. So option 2 is WRONG.
Step 9: Check option 3. This option gives A-III, B-II, C-I, D-IV, but the correct pairs are A-IV, B-III, C-II, D-I. So option 3 is WRONG.
Step 10: Check option 4. This option gives A-III, B-IV, C-I, D-II, but the correct pairs are A-IV, B-III, C-II, D-I. So option 4 is WRONG.
Final Answer: The correct matching is A-IV, B-III, C-II, D-I, which is option 1. \[ \boxed{1} \]
Question 37:
Match the LIST-I with LIST-II
LIST-I Artwork
LIST-II Main theme/concept
A.
Tiller of the Soil
I.
ancient mythological stories
B.
Woman and Child
II.
the daily activity of a common man and in a village
C.
Rama Vanquishing the Pride of the Ocean
III.
made use of language and syntax of Cubism to render his ideas.
D.
City in the Night
IV.
the two-dimensional nature of the painting is derived from pat paintings
Choose the correct answer from the options given below:
(A) A - I, B - II, C - III, D - IV
(B) A - II, B - IV, C - I, D - III
(C) A - I, B - II, C - IV, D - III
(D) A - III, B - IV, C - I, D - II
Correct Answer: (B) A - II, B - IV, C - I, D - III
View SolutionStep 1: Understanding the Concept: This question links four well-known Indian paintings with their main theme. Think of who painted each work and what that artist is known for.
Step 2: Key Formula or Approach: Find the right partner in LIST-II for each item in LIST-I, one pair at a time. Then compare the full set of four pairs with each given option. The option that matches all four pairs is the answer.
Step 3: Match item A. This painting shows a farmer at work. Its theme is the daily activity of a common man in a village. So A matches with II (the daily activity of a common man and in a village).
Step 4: Match item B. Woman and Child is by Jamini Roy, who took the flat, outlined look of Bengal folk and pat painting for his work. So B matches with IV (the two-dimensional nature of the painting is derived from pat paintings).
Step 5: Match item C. This is a work of Raja Ravi Varma that tells a story from the Ramayana, so it deals with ancient mythological stories. So C matches with I (ancient mythological stories).
Step 6: Match item D. City in the Night is by Gaganendranath Tagore. He used the visual language and geometry of Cubism to show light in a town at night. So D matches with III (made use of language and syntax of Cubism to render his ideas.).
Step 7: Check option 1. This option gives A-I, B-II, C-III, D-IV, but the correct pairs are A-II, B-IV, C-I, D-III. So option 1 is WRONG.
Step 8: Check option 2. Every pair in this option agrees with the pairs found above (A-II, B-IV, C-I, D-III). So option 2 is CORRECT.
Step 9: Check option 3. This option gives A-I, B-II, C-IV, but the correct pairs are A-II, B-IV, C-I. So option 3 is WRONG.
Step 10: Check option 4. This option gives A-III, D-II, but the correct pairs are A-II, D-III. So option 4 is WRONG.
Final Answer: The correct matching is A-II, B-IV, C-I, D-III, which is option 2. \[ \boxed{2} \]
Question 38:
Match the LIST-I with LIST-II
LIST-I Artist
LIST-II Art Form/Social Issue
A.
G. R. Santosh
I.
Hungry Bengal
B.
Chittaprasad
II.
Tantric philosophy
C.
Atul Dodiya
III.
Photorealism
D.
Vivan Sundaram
IV.
Installation
Choose the correct answer from the options given below:
(A) A - I, B - II, C - III, D - IV
(B) A - II, B - I, C - III, D - IV
(C) A - IV, B - II, C - III, D - I
(D) A - III, B - IV, C - I, D - II
Correct Answer: (B) A - II, B - I, C - III, D - IV
View SolutionStep 1: Understanding the Concept: This question links four artists with the art form or social issue they are best known for. Each of these artists has one clear signature area.
Step 2: Key Formula or Approach: Find the right partner in LIST-II for each item in LIST-I, one pair at a time. Then compare the full set of four pairs with each given option. The option that matches all four pairs is the answer.
Step 3: Match item A. G. R. Santosh is the main Neo-Tantric painter. His canvases use Tantric symbols and ideas. So A matches with II (Tantric philosophy).
Step 4: Match item B. Chittaprasad recorded the Bengal famine of 1943 in drawings and linocuts. His work is linked with the theme of Hungry Bengal. So B matches with I (Hungry Bengal).
Step 5: Match item C. Atul Dodiya often works in a photorealist manner, painting pictures that look like photographs. So C matches with III (Photorealism).
Step 6: Match item D. Vivan Sundaram moved from painting to installation art, using objects and photographs placed in a space. So D matches with IV (Installation).
Step 7: Check option 1. This option gives A-I, B-II, but the correct pairs are A-II, B-I. So option 1 is WRONG.
Step 8: Check option 2. Every pair in this option agrees with the pairs found above (A-II, B-I, C-III, D-IV). So option 2 is CORRECT.
Step 9: Check option 3. This option gives A-IV, B-II, D-I, but the correct pairs are A-II, B-I, D-IV. So option 3 is WRONG.
Step 10: Check option 4. This option gives A-III, B-IV, C-I, D-II, but the correct pairs are A-II, B-I, C-III, D-IV. So option 4 is WRONG.
Final Answer: The correct matching is A-II, B-I, C-III, D-IV, which is option 2. \[ \boxed{2} \]
Question 39:
Match the LIST-I with LIST-II
LIST-I Term
LIST-II Meaning
A.
Tarh
I.
Painting Workshop
B.
Rangamizi
II.
Portrait
C.
Chiharanama
III.
Colouring
D.
Nigaar Khana
IV.
Composition
Choose the correct answer from the options given below:
(A) A - I, B - II, C - III, D - IV
(B) A - IV, B - III, C - II, D - I
(C) A - IV, B - I, C - III, D - II
(D) A - III, B - IV, C - I, D - II
Correct Answer: (B) A - IV, B - III, C - II, D - I
View SolutionStep 1: Understanding the Concept: These four words come from Persian and Mughal painting practice. They name stages, kinds of work and the place where the work was done.
Step 2: Key Formula or Approach: Find the right partner in LIST-II for each item in LIST-I, one pair at a time. Then compare the full set of four pairs with each given option. The option that matches all four pairs is the answer.
Step 3: Match item A. Tarh is a Persian-origin term for the layout or composition of a picture, the plan of the design. So A matches with IV (Composition).
Step 4: Match item B. Rangamizi means mixing of colours, that is, the stage of colouring the picture. So B matches with III (Colouring).
Step 5: Match item C. Chiharanama refers to a portrait. The word comes from chehra, which means face. So C matches with II (Portrait).
Step 6: Match item D. Nigaar Khana was the painting workshop or studio of the Mughal court where artists worked together. So D matches with I (Painting Workshop).
Step 7: Check option 1. This option gives A-I, B-II, C-III, D-IV, but the correct pairs are A-IV, B-III, C-II, D-I. So option 1 is WRONG.
Step 8: Check option 2. Every pair in this option agrees with the pairs found above (A-IV, B-III, C-II, D-I). So option 2 is CORRECT.
Step 9: Check option 3. This option gives B-I, C-III, D-II, but the correct pairs are B-III, C-II, D-I. So option 3 is WRONG.
Step 10: Check option 4. This option gives A-III, B-IV, C-I, D-II, but the correct pairs are A-IV, B-III, C-II, D-I. So option 4 is WRONG.
Final Answer: The correct matching is A-IV, B-III, C-II, D-I, which is option 2. \[ \boxed{2} \]
Question 40:
Match the LIST-I with LIST-II
LIST-I Painting/ Theme
LIST-II Related Sub School
A.
Lokeshvar, Astasahasrika, Prajnaparamita
I.
Mewar School
B.
Shangri Ramayana
II.
Pala School
C.
Yuddha Kanda of Ramayana,
III.
Basohli School
D.
Bani Thani
IV.
Kishangarh School
Choose the correct answer from the options given below:
(A) A - IV, B - II, C - III, D - I
(B) A - I, B - II, C - III, D - IV
(C) A - II, B - III, C - I, D - IV
(D) A - III, B - IV, C - I, D - II
Correct Answer: (C) A - II, B - III, C - I, D - IV
View SolutionUnderstanding the Question: We have to match four paintings or themes with the school of Indian painting they belong to. The answer is the option in which all four pairs are right. The four schools are Mewar (Rajasthani), Pala (eastern India), Basohli (Pahari) and Kishangarh (Rajasthani).
Key Formula or Approach: Place each painting in its region and period first. Then look for the one option that agrees with every pair. Fixing two or three pairs with certainty is usually enough to remove the other options.
Step 1: Match A: Lokeshvar and the Astasahasrika Prajnaparamita are Buddhist subjects. The Astasahasrika Prajnaparamita is a famous illustrated palm-leaf manuscript of the Pala period from Bihar and Bengal. So A matches II (Pala School).
Step 2: Match C: The Yuddha Kanda of the Ramayana (the war book) is part of the Mewar Ramayana series painted in the 17th century. So C matches I (Mewar School).
Step 3: Match D: Bani Thani is the best known Kishangarh painting. It was made under Raja Sawant Singh, with the artist Nihal Chand. So D matches IV (Kishangarh School).
Step 4: Match B: The Shangri Ramayana belongs to the Pahari hill tradition, and among the given schools Basohli is the Pahari one. So B matches III (Basohli School).
Step 5: Check the options: The matching is A-II, B-III, C-I, D-IV. Option 1 gives A-IV, which is wrong because Lokeshvar is Pala. Option 2 gives A-I, which is wrong for the same reason. Option 4 gives A-III and D-II, both wrong. Option 3 agrees with all four pairs.
Final Answer: The correct matching is A-II, B-III, C-I, D-IV, which is option 3. \[ \boxed{\text{Option 3}} \]
Question 41:
Observe the image given below and answer the following questions.
Choose the correct fact about the painting.
(A) The artist is inspired by the folk art of Bengal
(B) Artist used a syntax of Cubism in this painting to render his ideas.
(C) The artist used a lyrical quality of calligraphy in every line.
(D) The artist created a visual sense of Tantric philosophy.
Correct Answer: (B) Artist used a syntax of Cubism in this painting to render his ideas.
View SolutionUnderstanding the Question: The image is a dark, faceted city scene made of overlapping planes, with glowing yellow and orange patches. We have to pick the one statement that is a true fact about this work.
Key Formula or Approach: Identify the painter and the style first. This work is a Cubist style composition by Gaganendranath Tagore of the Bengal School, painted in the early 1920s. Then test each option against that style.
Step 1: Option 1: Folk art of Bengal (like pata scrolls) is flat and boldly outlined, with bright simple colours. This painting is dark and made of broken planes, so it is not folk inspired. Option 1 is wrong.
Step 2: Option 2: Cubism breaks objects into geometric planes and shows several views together. This painting is built exactly this way. Option 2 is right.
Step 3: Option 3: Calligraphic line means flowing, rhythmic strokes, as in a Chinese or Japanese brush style. The picture has no such line. It is built of planes and light. Option 3 is wrong.
Step 4: Option 4: Tantric philosophy is shown through symbols such as the yantra or abstract forms in the Neo-Tantric movement of the 1960s. That is a different artist group and period. Option 4 is wrong.
Final Answer: Only the statement about Cubism fits this painting, so the answer is option 2. \[ \boxed{\text{Option 2}} \]
Question 42:
Observe the image given below and answer the following questions.
Who created this painting?
(A) Gaganendranath Tagore
(B) Abanindranath Tagore
(C) Jamini Roy
(D) Amrita Sher-Gil
Correct Answer: (A) Gaganendranath Tagore
View SolutionUnderstanding the Question: We have to name the artist of the shown painting, which is a Cubist style city scene.
Key Formula or Approach: Link the style to the artist. Among Indian artists of the early 20th century, the one famous for Cubist style works of mysterious cities and interiors is Gaganendranath Tagore.
Step 1: Option 1: Gaganendranath Tagore was a Bengal School artist who moved to Cubism after 1920. His works show fractured planes and glowing light. This matches the painting.
Step 2: Option 2: Abanindranath Tagore founded the Bengal School and is known for wash paintings such as Bharat Mata. His style is soft and lyrical, not Cubist. This option is wrong.
Step 3: Option 3: Jamini Roy drew on Bengal folk and Kalighat art, using bold lines and flat colour. This painting has no such features. This option is wrong.
Step 4: Option 4: Amrita Sher-Gil painted rural Indian people with a post-impressionist feel. She did not paint such city scenes. This option is wrong.
Final Answer: The painter is Gaganendranath Tagore, option 1. \[ \boxed{\text{Option 1}} \]
Question 43:
Observe the image given below and answer the following questions.
In which year this painting is executed?
(A) 1921
(B) 1922
(C) 1923
(D) 1924
Correct Answer: (B) 1922
View SolutionUnderstanding the Question: We have to give the year of execution of the Cubist style painting shown.
Key Formula or Approach: This is a recall question. Gaganendranath Tagore painted his Cubist works in the early 1920s, and this one is usually dated to 1922.
Step 1: Option 1: 1921 is the year in which he was only starting to experiment with Cubist ideas. The shown work is not dated to this year, so option 1 is wrong.
Step 2: Option 2: 1922 is the date usually given for this painting. So option 2 is right.
Step 3: Option 3: 1923 is close but is not the recorded date of this work. Option 3 is wrong.
Step 4: Option 4: 1924 is also not the recorded date. Option 4 is wrong.
Final Answer: The painting is dated 1922, so the answer is option 2. \[ \boxed{\text{1922}} \]
Question 44:
Observe the image given below and answer the following questions.
Which of the following statement does not relate to this painting?
(A) The painting is mysteriously illuminated by artificial light
(B) The artist painted an interplay of diamond-shaped planes and prismatic colours
(C) The artist borrowed volume, rhythm, decorative clarity and instrumentality of the pat in his artworks.
(D) The artist made use of multipal viewpoint and multi-faceted shapes with jagged edges.
Correct Answer: (C) The artist borrowed volume, rhythm, decorative clarity and instrumentality of the pat in his artworks.
View SolutionUnderstanding the Question: This is a negative question. Three statements describe the painting correctly, and we must find the one that does not.
Key Formula or Approach: Read the picture closely: it has glowing light, diamond planes and prismatic colour, and many viewpoints. Then see which statement talks about something that is missing.
Step 1: Option 1: The scene looks mysteriously lit, as if by lamps and glowing windows. This statement relates to the painting.
Step 2: Option 2: The picture is full of diamond-shaped planes in prismatic colours. This statement relates to the painting.
Step 3: Option 3: The pat is the Bengal scroll painting, known for bold volume, rhythm and decorative clarity. This is the folk idea seen in Jamini Roy, not in this Cubist style painting. So this statement does not relate.
Step 4: Option 4: Multiple viewpoints and multi-faceted shapes with jagged edges are typical of Cubism and are clearly seen here. This statement relates to the painting.
Final Answer: The statement that does not relate is option 3. \[ \boxed{\text{Option 3}} \]
Question 45:
Observe the image given below and answer the following questions.
Through the painting, the artist visualized which of the following mysterious world as his imaginary city?
(A) Dwarka
(B) Varanasi
(C) Ayodhya
(D) Ujjain
Correct Answer: (A) Dwarka
View SolutionUnderstanding the Question: The painter imagined a mysterious city and named it after a legendary place. We have to choose that city.
Key Formula or Approach: Recall the titles of Gaganendranath Tagore's Cubist works. He painted dream cities and magic cities, and one famous theme was the legendary city of Lord Krishna.
Step 1: Option 1: Dwarka is the mythical golden city of Krishna that sank in the sea. Its mysterious, lost quality suits the glowing, dreamlike scene. This is the intended answer.
Step 2: Option 2: Varanasi is a real, living city that people paint as it is, with ghats and temples. It is not usually imagined as a mysterious world in this style. Option 2 is wrong.
Step 3: Option 3: Ayodhya is the city of Rama. It is not associated with this painter's imaginary city theme. Option 3 is wrong.
Step 4: Option 4: Ujjain is a historical city linked with Kalidasa and Mahakal. It is not linked with this theme. Option 4 is wrong.
Final Answer: The imaginary city is Dwarka, option 1. \[ \boxed{\text{Dwarka}} \]
Question 46:
Observe the painting and answer the following question.
What medium did the artist use in his art work?
(A) Oil on Canvas
(B) Gouache on Paper
(C) Watercolor on silk
(D) Acrylic on board
Correct Answer: (B) Gouache on Paper
View SolutionStep 1: Understanding the Question:
The question asks which medium (material and surface) was used for the shown painting. The painting shows a mother holding a child. It is flat and bold, with thick black outlines and plain colour areas. This is the style of the Indian painter Jamini Roy, who drew from the Bengal folk tradition.
Step 2: Key Fact:
Jamini Roy used opaque, matt colours made from natural and mineral pigments, mixed with a binder such as tempera. He applied them on paper, cloth or board. Among the given choices, the opaque matt colour on paper matches gouache on paper.
Step 3: Check option 1.
Oil on canvas gives a glossy, blended and layered look with soft shading. This picture is flat and matt with no blending, so option 1 is wrong.
Step 4: Check option 2.
Gouache is an opaque, water based colour that dries matt and gives flat colour fields. Such flat matt areas on paper fit this folk style. So option 2 is correct.
Step 5: Check option 3.
Watercolor on silk gives thin, transparent washes that float on the surface. The colours here are solid and opaque, so option 3 is wrong.
Step 6: Check option 4.
Acrylic on board dries with a plastic, slightly shiny finish and was not the traditional medium of this artist. So option 4 is wrong.
Final Answer:
The correct choice is option 2, Gouache on Paper.
Question 47:
Observe the painting and answer the following question.
In what year was this painting was made ?
(A) 1950
(B) 1955
(C) 1940
(D) 1840
Correct Answer: (C) 1940
View SolutionStep 1: Understanding the Question:
The question asks for the year in which the shown painting was made. The painting shows a mother holding a child. It is flat and bold, with thick black outlines and plain colour areas. This is the style of the Indian painter Jamini Roy, who drew from the Bengal folk tradition.
Step 2: Key Fact:
Jamini Roy (1887-1972) gave up academic Western style in the late 1920s and then painted in his folk inspired style. His mature works of mother and child were made around the 1940s. So the date must fall within his lifetime and in the middle of his folk period.
Step 3: Check option 1.
1950 is within his lifetime, but this painting is dated to the earlier folk period around 1940, so option 1 is not the best fit.
Step 4: Check option 2.
1955 is also possible for the life of the artist, but it is not the date of this work, so option 2 is wrong.
Step 5: Check option 3.
1940 matches the period of his mature folk style mother and child paintings. So option 3 is correct.
Step 6: Check option 4.
1840 is long before the artist was born (1887), so it is impossible. Option 4 is wrong.
Final Answer:
The correct choice is option 3, 1940.
Question 48:
Observe the painting and answer the following question.
From which art style is this painting inspired?
(A) Pahari Miniature
(B) Mughal Miniature
(C) Bengal Pat folk Art
(D) European Modernism
Correct Answer: (C) Bengal Pat folk Art
View SolutionStep 1: Understanding the Question:
The question asks which art style inspired the shown painting. The painting shows a mother holding a child. It is flat and bold, with thick black outlines and plain colour areas. This is the style of the Indian painter Jamini Roy, who drew from the Bengal folk tradition.
Step 2: Key Fact:
Jamini Roy took his ideas from the Kalighat Pat paintings of Bengal and from village scroll and clay temple art. These have bold curved lines, flat colour and simple large eyes. This is called Bengal Pat folk art.
Step 3: Check option 1.
Pahari miniature is a fine, detailed court style from the hill states, with delicate lines and lyrical landscapes. This picture is bold and simple, so option 1 is wrong.
Step 4: Check option 2.
Mughal miniature has detailed realism, rich borders and court scenes. This picture has none of that, so option 2 is wrong.
Step 5: Check option 3.
Bengal Pat folk art has thick outlines, flat colour and simplified large eyes, exactly as seen here. So option 3 is correct.
Step 6: Check option 4.
European modernism is a Western movement. Although the artist liked simple forms, the direct source here is Indian folk art, so option 4 is wrong.
Final Answer:
The correct choice is option 3, Bengal Pat folk Art.
Question 49:
Observe the painting and answer the following question.
What types of outlines are used in the painting ?
(A) Soft pencil lines
(B) Thin Outlines
(C) Thick black outline
(D) Metal outline
Correct Answer: (C) Thick black outline
View SolutionStep 1: Understanding the Question:
The question asks about the kind of outline used around the figures. The painting shows a mother holding a child. It is flat and bold, with thick black outlines and plain colour areas. This is the style of the Indian painter Jamini Roy, who drew from the Bengal folk tradition.
Step 2: Key Fact:
Look at the picture: the sari, arms, face and leaves are all drawn with strong, heavy black lines. These lines separate the flat colour areas, as in Pat paintings.
Step 3: Check option 1.
Soft pencil lines are light and faint, but the lines here are dark and strong. So option 1 is wrong.
Step 4: Check option 2.
Thin outlines would be fine and delicate. The outlines here are clearly heavy and bold, so option 2 is wrong.
Step 5: Check option 3.
Thick black outlines are seen all around the figures and in the folds of the sari. So option 3 is correct.
Step 6: Check option 4.
A metal outline is not a line type in painting at all. So option 4 is wrong.
Final Answer:
The correct choice is option 3, Thick black outline.
Question 50:
Observe the painting and answer the following question.
Which political ideas associated with the artist are used in folk themes?
(A) Promotion of British Aesthetics
(B) Resistance to Colonial Rule
(C) Industrial Development
(D) Westernization of Indian Art
Correct Answer: (B) Resistance to Colonial Rule
View SolutionStep 1: Understanding the Question:
The question asks which political idea the artist linked with his use of folk themes. The painting shows a mother holding a child. It is flat and bold, with thick black outlines and plain colour areas. This is the style of the Indian painter Jamini Roy, who drew from the Bengal folk tradition.
Step 2: Key Fact:
Jamini Roy turned away from British academic art taught in colonial art schools. He chose village folk art as a way to assert an Indian identity during the freedom movement. So his folk themes stand for resistance to colonial rule.
Step 3: Check option 1.
Promotion of British aesthetics is the opposite of what he did, since he rejected the British academic style. So option 1 is wrong.
Step 4: Check option 2.
Using Indian folk art in place of British taught art was a statement against colonial cultural control. So option 2 is correct.
Step 5: Check option 3.
Industrial development is an economic idea and has no link with village folk themes in his work. So option 3 is wrong.
Step 6: Check option 4.
Westernization of Indian art is what he moved away from, so option 4 is wrong.
Final Answer:
The correct choice is option 2, Resistance to Colonial Rule.
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