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73 Sculpture

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Series &RQPS SET-4

- 
Q.P. Code 73
 .  -   - 
Roll No. -    
Candidates must write the Q.P. Code
on the title page of the answer-book.

=       -     11  


=       -  9   
= -        -    -  -   
=         , -       
=  -     15        -     10.15
    10.15   10.30     -     
   -       
= Please check that this question paper contains 11 printed pages.
= Please check that this question paper contains 9 questions.
= Q.P. Code given on the right hand side of the question paper should be
written on the title page of the answer-book by the candidate.
= Please write down the serial number of the question in the answer-
book before attempting it.
= 15 minute time has been allotted to read this question paper. The question
paper will be distributed at 10.15 a.m. From 10.15 a.m. to 10.30 a.m., the
candidates will read the question paper only and will not write any
answer on the answer-book during this period.

 () (   )


SCULPTURE (Theory)
(HISTORY OF INDIAN ART)

{ZYm©[aV g‘¶ : 2 KÊQ>o A{YH$V‘ A§H$ : 30


Time allowed : 2 hours Maximum Marks : 30

732 253 Page 1 P.T.O.


  

l  – 
     (   1   )
l  – 
     (   2   )
l  – 
       (   6   )

 – 
( )
1.           
(A)          1
(i)      (ii)      
(iii)      (iv)     
(B)  (A) :   -           
 (R) :             
       1
(i) (A)  (R)    (R), (A)     
(ii) (A)  (R)   ,  (R), (A)      
(iii) (A)   ,  (R)   
(iv) (A)  ,  (R)   
(C)   -            “ 
”          ? 1
(i)    (ii)    
(iii)    (iv)   
732 Page 2
General Instructions :
l Section-A
Attempt all questions. (Each question will carry 1 mark)
l Section-B
Attempt all questions. (Each question will carry 2 marks)
l Section-C
Attempt any two questions. (Each question will carry 6 marks)

SECTION-A
(Multiple Choice Questions)
1. Select the right answer from the given options :
(A) Bengal school of art is also known as 1
(i) Renaissance school of art (ii) Innovative school of art
(iii) Cultural school of art (iv) Reformed school of art
(B) Assertion (A) : In Bikaner sub-school of miniature paintings, there
is abundance of elements of Mughal art.
Reason (R) : This influence of Mughal art is because the painters of
the Mughal court migrated and also came to Bikaner. 1
(i) Both (A) and (R) are true and (R) is the correct explanation of (A).
(ii) Both (A) and (R) are true but (R) is not the correct explanation
of (A).
(iii) (A) is true but (R) is false.
(iv) (A) is false but (R) is true.
(C) Sculpture is a three-dimensional art made of various materials.
What medium was used to make “Triumph of Labour” ? 1
(i) Cement and Wood (ii) Bronze and Wood
(iii) Wood and Wax (iv) Bronze and Cement

732 Page 3 P.T.O.


(D)              ? 1

(i)      


(ii)     
(iii)        
(iv)        
(E)  -           ? 1

(i)  (ii) 


(iii)  (iv)   
(F)                 ? 1

(i)  (ii)  


(iii)  (iv) 
(G) “  ”           ? 1

(i)  (ii) 


(iii) : (iv) 
(H)  (A) : “  ”         - 
 
 (R) :          -, - 
 -       1

(i) (A)  (R)     (R), (A)     
(ii) (A)  (R)   ,  (R), (A)      
(iii) (A)   ,  (R)   
(iv) (A)  ,  (R)   
732 Page 4
(D) The wheel in the center of Indian National Flag is taken from : 1
(i) Ashoka pillar of Sanchi
(ii) The Ashoka pillar of Sarnath
(iii) The shaft of Ashoka pillar in Sopara
(iv) The abacus of dharma pillar in Sanchi
(E) Kangra style of miniature painting was an apex of its excellence in
the reign of which king ? 1
(i) Akbar (ii) Nainsukh
(iii) Sansar Chand (iv) Sawai Jai Singh
(F) Which Mughal emperor’s court painters migrated to other provincial
courts and states ? 1
(i) Akbar (ii) Aurangzeb
(iii) Shah Jahan (iv) Babar
(G) How many women were shown in the painting of “Chaugan Players”,
Rajasthani School ? 1
(i) Seven (ii) Five
(iii) Six (iv) Eight
(H) Assertion (A) : “Krishna on swing” is the painting based on love and
devotion belonging to Kangra sub-school.
Reason (R) : Love was one of the principal theme of Kangra
miniature which included love stories of Sasi – Punnu, Heer –
Ranjha and Sohani – Mahiwal. 1
(i) Both (A) and (R) are true and (R) is the correct explanation of (A).
(ii) Both (A) and (R) are true but (R) is not the correct explanation
of (A).
(iii) (A) is true but (R) is false.
(iv) (A) is false but (R) is true.

732 Page 5 P.T.O.


 – 

(    )

     100     


2.                      
 
                ( ) 2

(a)   



(b)    

3. (a)                   
                ,
            2

(b)                   
               
  -       

4.                   
          2

(a) 

(b) 
732 Page 6
SECTION-B
(Short Answer Type Questions)
Answer for these questions is expected in around 100 words.
2. Love is an integral part of life. This is the emotion that reinforces the
feelings of security and concern for other beings.
Appropriately Name the artist and admin the painting given below in
which the above sentiments have been expressed. (any one) 2
(a) Krishna on Swing
OR
(b) Falcon on a bird rest.

3. (a) This painting displays a wonderful combination of Sufism and great


devotion towards music. Identify and name the painting from your
course belonging to Deccan school. 2
Describe it on the basis of compositional arrangement (in short),
include the name of sub-school and medium.
OR
(b) This painting from the Deccan school depicts women playing polo
(Chaugan) in a vast playground. Name the painting and describe its
artistic features in your own words, include the name of sub-school
and medium.

4. From your course of study, identify and appreciate the emotions which are
dominant in the artwork made by the artist mentioned below with special
reference to the application of colours and technique. 2
(a) Manaku
OR
(b) Nainsukh

732 Page 7 P.T.O.


5. (a)       ,           

            2

l             

l                



(b)                   

-                

l             

l        

6. (a)                

   2

l     

l        



(b) “ ”              

732 Page 8
5. (a) The artist represents great empathy and fascination for rural poor

and authentic India. The whole painting showcases an actual village

household, where the women are sitting and grinding haldi in a

traditional way. 2

l Name the painting and the artist from your syllabus.

l Explain the artistic features of the painting apart from the ones

mentioned above.

OR

(b) Anupam Sud portrays feminine subjects depicting women’s emotions

and exploring her psyche. In this case, the faceless figure of a woman

represents deep feelings.

l Name the artwork and what feelings it convey ?

l Describe the overall composition in brief.

6. (a) This splendid sculpture from your course of study, depicts on

inspiring example of team work of Four labourers. 2

l Name the sculpture and the sculptor.

l Write any two other features of one’s sculpture.

OR

(b) Identify and name the artist and mention the emotions revealed in

the sculpture “Cries Unheard”.

732 Page 9 P.T.O.


 – 
(    )

           


    200     

7.    ..           
       :
 ?     6

(i)   


(ii)    
(iii) -  
         

8.                   : 6

(a)               
  
(b) ...           

9.      -        


               : 6

l     


l    
l -       
__________

732 Page 10
SECTION-C
(Long Answer Type Questions)

Attempt any two questions from the given options.

Answer for these questions is expected in around 200 words.


7. What artistic understanding can you derive from the sculpture made by
P.V. Jankiram from your course ? Appreciate and write detailed essay on
the following parameters : 6
(i) Name of the sculpture
(ii) Medium and compositional arrangement
(iii) Subject-matter and message represented in the sculpture

8. Support the statements by appreciating the paintings from your syllabus,


made by these artists : 6
(a) Abanindranath Tagore has successfully showcased the reflection of
human life through this piece of artwork.
(b) M.A.R. Chugtai created a beautiful representation of Krishna’s
beloved.

9. The three dimensionality of this sculpture is complemented. It is


showcasing a tribal family who is migrate. Describe the sculpture from
your syllabus considering the following : 6
l Name the sculpture and the sculptor (Artist).
l Medium and compositional arrangement.
l Subject-matter and message represented by the sculptor.
__________

732 Page 11 P.T.O.


732 253 Page 12

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