VISUAL ARTS
PAPER-II
Note:
This paper contains fifty (50) multiple-choice questions, each question carrying
two (2) marks_ Attempt all of them.
(A)
(C)
Yellow
(D)
French
(B)
Gennan
(C)
Spanish
(D)
Megenta
American
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Sculptures in J\.fathura were made out of:
(A)
Red Marble
(B)
White Marble
(C)
Chunar Sand stone
(D)
Red Sand StoTif<
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3.
Painter who is known as 'father of cubism':
(A)
Picasso
(B)
Levigator is used for :
Carving Stone
(C)
Bevelling StoTif<
Rhythm is:
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an order
(B)
Braque
(B)
Heating Stone
(D)
Graining Sto""
(C)
a force
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(A)
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6.
(A)
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5.
(C)
Cezanne
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4.
(D)
Vangogh
(D)
a symetry
an energy
Outdoor sculptures should be :
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(A)
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(C)
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Orange
johartrlf<s Gutenberg was:
(A)
8.
(B)
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2.
Green
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Which one is the primary colour :
1.
Fragile
(B)
Tall
PennaTif<nt nature
(D)
Flat
The arrangement of pages in position for printing so that they comes exactly in the
sequence after folding :
(A)
Folding
(B)
Creasing
(C)
Impress
(D)
Imposition
Uthographs
(D)
Monoprints
Raja Ravi Venna's painting's are made into :
(A)
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Off-set
(B)
Oleographs
(C)
IW'14il
(A)
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P.T.O.
14.
(B)
European Painting
(C)
Kalighat Painting
(D)
l\1adhubard Painting
Who was the profounder of theory of perspective ?
l.eonardo da Vinci
ｾＩ＠
Micheal Angelo
(C)
jan Van leyck
(D)
Alberti
Who is target audieru:e :
Who listen radio
ｾＩ＠
Who use TV
(C)
A Consumer
(D)
A reader
(B)
Copper, ZiTif<, Tin
Bronze is alloy of:
(A)
Aluminium, iron, phosphorus
(C)
Copper, Aluminium, l\1agnesium (D)
Copper, Zinc, Iron
'Padmapard Bodhisattva' is in :
(B)
Bag's cave
Udaigiri Cave
(C)
Ajanta Cave
(D)
Sigiri Cave
(C)
Polyvynyle
(D)
Plastic
The Cloth used to hold stencil in silk screen:
Polyurithin
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(A)
(B)
PolytheTif<
Reproduction made from a plate that has been photographed through a screen that
breaks picture into dots :
Quarter tone
(B)
Middle toTif<
(C)
(D)
Half tone
High tone
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(A)
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16.
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(A)
(A)
15.
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(A)
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13.
]l..fudature painting
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(A)
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jamird Roy was inspired from :
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10.
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17.
18.
'Santal family' by Ramkinkar Baij was initially made in which material:
(A)
Clay
(B)
Cement concrete
(C)
Bronze
(D)
Sand stoTif<
Which one of these is 'synthetic colour' :
(A)
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Oil
(B)
Pastel
(C)
'
Acrylic
(D)
Water Colour
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(A)
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P.T.O.
Identify the style which is known as re-birth of classical grandeur.
(A)
Baroque
(D)
Romanticism
(A)
Hand cut picca
(B)
Flat area
(C)
Raised area
(D)
SunKen area
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Intaglio printing is do"" from the :
Assertion (A) : A traditional artist is traditional first and artist later.
(A)
He is an artist not because he has choosen this profession but because
he was hom into it.
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Reason (R) :
Both (A) and (R) true
(B)
(A) is false but (R) is true
(C)
(A) is true (R) is false
(D)
Both (A) and (R) true, but (R) is not correct explanation
Assertion (A) : The word brand is defiTif<d as " a name, tenn, symbol or sign or a
combination of them which is intended to i&ntify the goods or services
of one seller or group of sellers and to differentiate them from those of
competitors."
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22.
(C)
Renaissaru:e
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21.
(B)
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20.
Gothic
Reason (R) :
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19.
A brand mark appears in the fonn of a symbol design or a distinctive
colouring and lettering. It is recognised by sight but is not expressed.
Both (A) and (R) true
(B)
Both (A) and (R) true, but (R) is not correct explanation
(C)
(A) is true but (R) is false
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(R) is true but (A) is false
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(D)
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(A)
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23.
Assertion (A) : Modem art is individualistic in the approach of style
Reason (R) :
Modem art movements are collective in conceptual approach
(A)
Both (A) and (R) true
(B)
Both (A) and (R) false
(C)
(A) only true, (R) is false
(D)
(R) only true, (A) is false
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P.T.O.
Assertion (A) : Original ｰｲｩｮｴｳ｡･､ｯｬｹｾ＠
by the artist. They are numbered
to indicate how many prints there are in the edition
(A)
(A) is correct and (R) is not correct
(B)
(A) is correct and (R) is partially correct
(C)
(A) is correct and (R) is correct
(D)
(A) is not correct and (R) is Correct.
(A)
(A) and (R) both are correct
(B)
(A) is correct (R) is not correct
(C)
(R) is correct, (A) is not correct
(D)
(R) and (A) both are incorrect
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26.
Ramesh Pateria did abstract sculptures and the other above mentioned
sculptors did more figurative than abstract.
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Reason (R) :
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Assertion (A) : Ramesh Pateria, M. Dhannani, Balbir Singh katt - all did abstract
stonf< sculptures.
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25.
J\.fany Print collectors are confused by the tenn 'Original Print' and
'Umited edition Print'. They are not synonymous.
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Reason (R) :
Assertion (A) : Indian art is expression in totslity
Reason (R) :
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24.
The prana or life force expressed in sculptures is accentuated from
within.
Both (A) and (R) false
(B)
Both (A) and (R) true
(C)
(A) only true and (R) false
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(R) only true, (A) false
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(D)
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(A)
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27.
Assertion (A) : Communication word has been derived from Latin word
'Communis'
Reason (R) :
to communicate means to bring people on the same platform.
(A)
Both (A) and (R) true, but (R) is not the correct meaning
(B)
Both (A) and (R) true
(C)
(A) is true but (R) is false
(D)
R is true but A is false.
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P.T.O.
Assertion (A) : Block, Brayer and Baren are used in Relief print making.
Reason (R) :
(A)isnotcorrect(R)iscorrect
(B)
(A) is partially correct (R) is correct
(C)
(A) is correct (R) is not correct
(D)
(A) is correct (R) is correct
(R) is true (A) is False
(C)
Both (A) and (R) true
(D)
Both (A) and (R) false
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(B)
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(A)istrue(R)isfalse
Assertion (A) : In Indigenous metal casting process the moulds have to remain hot
for better flowing of the metal
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In Indigenous and Italian metal casting process the mould have to
cool down before pouring down the metal.
Only (A) is correct
(B)
(A) and (R) both correct
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(D)
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(A)
(C)
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The Indian contemporary art is strong because of technical excelleru:e
as well as cultural heritage.
(A)
Reason (R) :
31.
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Assertion (A) : The Indian contemporary art is strong because of its strong tradition
background and cultural heritage.
Reason (R) :
30.
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(A)
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29.
Technique involves the use of wood or lino and ink is applied on the
raised surface and print is taken on paper by giving pressure.
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28.
(A) and (R) both incorrect
Only (R) is correct
Select the correct sequence in chronological order :
(A)
Cubism, impressionism, constructivism, dadaism
(B)
impressionism, cubism, dadaism, constructivism
(C)
constructivism, cubism, impressionism, dadaism
(D)
dadaism, constructivism, impressionism, cubism
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(C)
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(B)
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(D)
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P.T.O.
Scribes, movable type, lithography, offset
(B)
Movable type, scribes, offset, lithography
(C)
Uthography, offset, movable type, scribes
(D)
Offset, scribes, lithography, movable type
(i)
Sanl<ho 010udhury
(ii)
Prodosh Das Gupta
(iii)
Chintamoni Kar
(iv)
M. Dhannani
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Arrange the order of seniority of these four sculptors :
Code:
(iv), (i), (ii), (lii)
(B)
(iii), (ii), (iv), (i)
(C)
(ii), (iii), (i), (iv)
(D)
(i), (ii), (iii), (iv)
(i)
Uthography
(ii)
Photography
(iii)
Etching
(iv)
Silkscreen
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(C)
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(A)
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Arrange the following in order of their inventions :
Code:
35.
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(A)
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34.
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(A)
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33.
Identify the correct order the way it began :
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32.
(iii), (i), (ii), (iv)
(B)
(iii), (ii), (iv), (i)
(iv), (iii), (i), (ii)
(D)
(iii), (iv), (i), (ii)
Arrange the following in order
(A)
Company school, Mughal miniature, Bengal School, Pahari School
(B)
Palmi S:hool, ]l..fughal J\.finiature, Company school, Bengal school
(C)
Bengal school, Company school, Mughal J\.fudature, Pahari school
(D)
Mughal J\.finiature, Palmi school, Company school, Bengal school
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(B)
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(C)
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(D)
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l!VJ, <.W.ir!F'rt, <J'Wrtlz
l!VJ, ｂｅｔｾＧＪＱＬ＠
<Jii'rtl<:, <.W.irt'N.t
ｾＺｮｺＬ＠
ＧｉｩｬＢｗｾ＠
ｂｅｔｾＬ＠
&VJ,
ＧｉｩｬＢｗｾ＠
&VJ
(i)
$@Tth<t
(ii)
:T&r.x crn ';'?IT
(iii)
','Xffi'f!IIT
.c
om
<.W.JT;w.t,
ｂｅｔｾ＠
ce
' <tV
(iv)
(iv), (i), (ii), (iii)
(ii), (iii), (i), (iv)
(i)
f<¥.JT;w.t
(ii)
'L .;w:r
(iii)
vf<i"
,•
(iv)
fnc;;;; BET'l
.e
w
(iii), (i), (ii), (iv)
(B)
(D)
(iv), (iii), (i), (ii)
(iii), (ii), (iv), (i)
(iii), (iv), (i), (ii)
w
w
(A)
(C)
'
'
"'"'
(iii), (ii), (iv), (i)
(i), (ii), (iii), (iv)
xa
'"
(B)
(D)
m
(A)
(C)
ra
"'"'
(A)
＼ｴＢｾＧｬＭｉｔ＠
(B)
'ltT'ilt ｦｬＧＢ＼ｾＬ＠
ＧＡＺ＼ｾ＠
(C)
＼Ｚｦｱ｣ｾ＠
<E"!!f'lt ｦｬＧＢＡｾＬ＠
(D)
ＧＡＺ＼ｾ＠
D-7905
ｖｐｾＬ＠
ｖｐｾＬ＠
Ｇ｝［Ｚ＼ｾ＠
f'lf'l'l"<or<:,
＼Ｚｦｲ｣ｾ＠
ｦｬＧＢＡｾＬ＠
'l(f!'ilt ｦｬＧＢＡｾ＠
f'!f'llj<or;:, <t·m'lt ｦｬＧＢ＼ｾＬ＠
f'lf'l'l"<or<:, 'ltT'ilt ｦｬＧＢ＼ｾＬ＠
Ｇ｝［Ｚ＼ｾ＠
＼Ｚｦｱ｣ｾ＠
ｦｬＧＢ＼ｾ＠
fqf'p:]-<or<:, 'l(f!'ilt ｦｬＧＢＡｾ＠
<t·m'lt ｦｬＧＢ＼ｾＬ＠
＼Ｚｦｱ｣ｾ＠
ｦｬＧＢ＼ｾ＠
P.T.O.
36.
Select correct chronological order of the followllig stupas :
(i)
Sanchi stupa
(ii)
(iii)
Samath Stupa
(iv)
Bharut stupa
Amravati stupa
(iii), (iv), (i), (ii)
(iv), (i), (iii), (ii)
(A)
(C)
39.
(D)
(iii), (i), (iv), (ii)
Arrange the followllig in order as per the working practice:
Copy
(ii)
Visualization
(iii)
Coru:eptulisation
(iv)
Execution
(A)
(iv), (ii), (iii), (i)
(B)
(i), (iv), (ii), (iii)
(C)
(i), (iii), (ii), (iv)
(D)
(iii), (ii), (iv), (i)
ra
ce
.c
(i)
Which one of the following set is correct :
Needle, engrave, Rocker, Squeeze
(B)
(C)
Wood, Uno, Litho, Unotype
Bolting Ooth, PV A, Bichromate, Five star fihn
(D)
ASA, Bromide, squeeze, Dryer
m
(A)
xa
38.
(i), (ii), (iii), (iv)
This consists of two lists of statements. Candidates has to match an item in one list with
an item related to other.
List-!
.e
37.
(B)
l..ist-11
(a)
(Name of artists)
w
(Movement of Art)
He was a rebel in Tahiti
(i)
Delacroix
He opeTif<d the door of modem Art
(li)
Picasso
(c)
J\.fastered in Cubism
(iii)
Rembrandt
(d)
J\.fastemed in self Portrait
(iv)
Gauguin
w
(b)
w
om
Code:
Code:
(•)
ｾＩ＠
(<)
(d)
(A)
(ii)
(iii)
(lv)
(i)
ｾＩ＠
(i)
(li)
(iii)
(iv)
(C)
(D)
(iii)
(iv)
(li)
(i)
(iv)
(i)
(ii)
(iii)
D-7905
"
f'fklf<.1f<W1 «:yif itT it1<'Htf'fit"
(i)
ntm «YJ
(ii)
(iii)
(iv)
f1H'li'.J «YJ
"l<k"l
"'"'
(A)
(C)
(iii), (iv), (i), (ii)
(iv), (i), (iii), (ii)
(i)
(ii)
(iii)
(iv)
(A)
(C)
itT'lT
mJlt·
i:; W1'1
<JWU'fci «J'l
«YJ
.c
(D)
fW"f'TI.,'f<:
ce
ｩｴｦＺＱＧｊＨ＼ｔＡｆｫｾｈ＠
ｆＡｩｲｷｻｾ＼ｦ＠
0f<1,
ＧｬＢｊ＼ｾＮ＠
ｾＩ＠
(D)
Cit"<:, w<itJJ
ｾＩ＠
xa
cilfc'<!::: W'W.J, "lt<b" ＧｦＡｗｯＴｾＮ＠
(D) "!; 'l;f1 '!" lir'fl.,'J, W<it:if, '01'-H
'H¥1 R"R f'F<"'
.e
(C)
(i), (iv), (ii), (lii)
(iii), (ii), (iv), (i)
ra
(iv), (ii), (iii), (i)
(i), (iii), (ii), (iv)
(A)
w
'&
-;<ft\H
-;<ft\HI
( Ol'iFIT OfiT ;\1\lfl'l )
( <liHI<Iidhf; '!Jlf)
w
w
•
'ft" '!;it" qr;:T
ｾＩ＠
ｾＺ＾ｲ＠
(•)
wffw-'1 itT :J'F'l
(d)
ilW:>r ＼ｉｔｾ＠
"'"'
ｾＩ＠
(C)
(D)
D-7905
•
mft"f<-r il •.r
<JWtf'fit" it"<¥ lt· :;R @rc)
ＨｾＩ＠
(A)
om
(i), (ii), (lii), (iv)
(iii), (i), (iv), (ii)
(B)
m
36.
wn:>r 4 '11ft"<:
(•)
ｾＩ＠
(<)
(ii)
(i)
(iii)
(iv)
(lii)
(ii)
(lv)
(lv)
(iii)
(ii)
(ri)
"'
(i)
(ii)
it<'ViF
f'HTf.,'r
(iii)
(iv)
'"
:1)-;i
(d)
"'
"'
(iv)
(iii)
"
P.T.O.
This consists of two lists of ststements, tenns or symbols. l\1ab:h the items inlisti to the
items of list II.
List-!
List- II
(c)
(d)
(•)
ｾＩ＠
(A)
(ii)
ｾＩ＠
(iv)
(ii)
(iv)
'"' '"'
(D)
(iii)
(iii)
(iii)
(lv)
(ii)
'"'
(d)
(i)
(ii)
(i)
"'
(i)
(ii)
Bharat Dabholkar
Gopi Kukade
(iii)
Code:
(•)
ｾＩ＠
(A)
(iii)
ｾＩ＠
(i)
(ii)
(ii)
(ii)
(lii)
(iii)
(iv)
.e
(C)
(D)
(iv)
Creative Director
Art Director
(<)
(lv)
(d)
(i)
(lv)
(lv)
(lii)
(ii)
(i)
'"'
ra
(d)
J\.fanish Bhatt
Sudarshan Dheer
m
ｾＩ＠
(c)
Graphic DesigTif<r
Ad Person
Film Producer
"'
w
l\1atch the artist with medium they use ;
Artist
Mediwn
ＨｾＩ＠
w
ｾＩ＠
(c)
w
(<)
(rii)
Given below is the list of person in list I, match them with their profession in list II.
List-!
l..ist-11
ＨｾＩ＠
"·
(iv)
Code:
(C)
41.
(iii)
Silk S:reen
Wood intaglio
Etchings
Collagraphs
Dry point
om
ｾＩ＠
(i)
(ii)
.c
Sanat Kar
Anupam Sud
jayant Parikh
Paramjeet singh
ce
ＨｾＩ＠
xa
40.
(d)
Latika Katt
Pritpal Singh ladi
(i)
(ii)
Plastic
Nagji Patel
Radha Krishnan
(iii)
Stone
Fibre glass
Ceramic
(iv)
Code:
(•)
ｾＩ＠
(<)
(A)
(iv)
(ii)
ｾＩ＠
'"'
'"'
(i)
(lv)
(C)
(D)
D-7905
(iii)
(i)
(lv)
"''"'
(rii)
'"'
ｍｾｬ＠
(d)
(iii)
(iii)
(iv)
(ii)
"
nR:if'w Jl
·;oft\H
-;<ft\HI
•
•
it"{
ill:'ff'l fl?:
:.pfir "'flf<: @'
'WfJTW fu(f
fncq; w,t'l
(ri) q;; ｒｦｲ｣ｾｩｬＺｔ＠
(rii) vf<i"
.. .
(lv) it"E'V!F'F
R'W
ｾＩ＠
(•)
(d)
"'
om
ＨｾＩ＠
;;rvzvfz
(C)
(D)
•
(•)
"{(1 W'iti'<t"{
(d)
,yrr ;p·-1\
"'"'·
ｾＩ＠
'"'
fir<"! :ir't1n<:
il if'lit; f'f<H""! ci'fltv'l) '&1
(ri) ill:l.!: 'ff'-1{<!2:{
(rii) uff'rit· f;;:.rq'f<:
(lv) -q;; 'H-1'1
(•)
ｾＩ＠
(iii)
(i)
(ii)
(ii)
(li)
(iii)
(lii)
(lv)
(<)
.e
(C)
(D)
"'
f<Fl'f2:<1 'ff'-1{<!2:{
m
ｾＩ＠
<r'1t>-< "<':
f1?W'l•JT<:
(A)
it 'PI W<: ;;:n;:T flf<il
-;<ft\H I
•
ＨｾＩ＠
(lv)
(lv)
(lv)
(lii)
(d)
"'
"'"'
(ii)
w
it"<'T!itTU itT ir'flr; it1<1 lt· 'fl'J.f<it i1 fwwl
Olii'1101iH
w
ＨｾＩ＠
ｾＩ＠
(•)
w
(ii)
(lv)
(ii)
-'IT<lt ci r:>-IT <:1 <1fw-if il -qit· il ｶｦ＼ｾｷＭｩ＠
ﾷ［ｾＭｦｴｈ＠
"·
(rii)
(lii)
(lii)
(lii)
xa
41.
(d)
.c
(ii)
(iv)
(ii)
(iv)
ｾＩ＠
(<)
ce
(A)
'"'
'"' '"' "'
"'"'
ｾＩ＠
ra
"'"'·
(•)
(d)
"'"'·
(A)
ｾＩ＠
(C)
(D)
D-7905
ＺｉｔＡｬＧ＼ｾ＠
<'lfuitl
(i)
(ii)
(iii)
(iv)
it"i':
f<.t(f <¥-W
'fP:.IT ＧｬｾＨ＠
U'V <:ptrH'l
(•)
ｾＩ＠
(iv)
(<)
(ri)
'"' "' "''"'
'"'
(iii)
(lv)
(i)
(lv)
(rii)
'"'
""""
'<'llftzit"
'VS
'l('.l{
'lJ¥:f<: rc;yn
fn<:f<rit"
(d)
(iii)
(iii)
(iv)
(ii)
"
P.T.O.
(A)
Lalitkala Contemporaries ... Art Gallery
(B)
(C)
Marg ............. journal
(D)
India Gate .................. Delhi
jaya Appaswamy ......... Art History
Viru:ent Van Gogh
(i)
jane Avril dancing
ｾＩ＠
Renoir
(ii)
Mona Usa
(c)
l.eonardo da Viru:i
Toulouse- Lautrec
(iii)
Sunflower
(iv)
Bathers
ｾＩ＠
(<)
(d)
(A)
(iii)
(iv)
(li)
(i)
ｾＩ＠
(ii)
(iv)
(C)
(D)
(iv)
(i)
(iii)
(ii)
(i)
(lii)
"'
(iii)
(ri)
(iv)
ce
(•)
l\1atch the following materials with their technical method :
ＨｾＩ＠
Bronze and Iron
(i)
ｾＩ＠
Stone
(ii)
Modeling
(c)
Chy
(iii)
Bronzing
(d)
Iron
(iv)
(•)
ｾＩ＠
(A)
(iii)
(iv)
ｾＩ＠
(ii)
(i)
(C)
(D)
(iii)
(ii)
(iv)
(iii)
.e
Code:
w
"·
Code:
ra
(d)
.c
ＨｾＩ＠
om
l\1atch the painters with the following paintings :
Weldding
m
"·
Select from the following pairs which are not matching correctly.
xa
43.
(<)
(d)
(li)
(i)
(iii)
(iv)
Curving
(iv)
"' "'
(ii)
w
w
Read the passage below, and answer the questions that follows based on your
understanding of the passage
The growth of abstraction in India was stimulated and confirmed by parallel
movement in the west, but was not an imitation of them. It owes its inspiration at least
in part to the early European pathfinders such as klee and kandinsky rather than to
contemporaneous artists like Abstract Expressionists. The slow emergence of abstraction
in India is perhaps one proof of its independeru:e and authenticity. It was the exhaustion
of the lyrical and sentimental styles of the first half of the century that led artists to
search for something more national and pure; more uru:ormected with national sentiment
and literary coiU1fftions. Abstraction arrived because it was different, because its goals
satisfied a change of aims.
D-7905
c.Wvr
ｾＩ＠
<pi
ｊｔｦＧｅｾ＠
ｾｷＭｲ＠
<5lli'
i':z
'/'ff?T
'
f;;:c;,;:.]"
f<or:if it nrq f<oFFHif <tT fwr)
hm
(c)
fwiT'IT-'iit w f<f"lT
(d)
<I<i dTll:
"'"'
(•)
ｾＩ＠
(<)
(lv)
(lv)
(ii)
ｾＩ＠
(ill)
(ii)
(C)
(D)
(iv)
(i)
:k'l Ｇｊ［＼ｬｦＺｾ＠
;Jlf'<;i::
<IT'flfnn
f'Fl 'l<'TFf{
<:r.Hi
(d)
"'
"' "'
(rii)
(ri)
(iii)
.c
ｾＩ＠
(i)
(ii)
(ill)
(iv)
ce
f'ftii' 'fFl '7':
(ill)
(ii)
(iv)
ra
ＨｾＩ＠
(A)
ＨｾＩ＠
;;,fn '1;4 <irt1
ｾＩ＠
'P.P:
(d)
drt1
ｈｾｖ＠
"'"'
(A)
w
(C)
(D)
'
(•)
ｾＩ＠
(ill)
(ii)
(ill)
(lv)
;:pf<f;:
(<)
(d)
(ii)
(ill)
(iv)
(ii)
"'
"' "'
"'n:r
Tff1fJJT <1ft
w
ｾＩ＠
(lv)
<i'r'f<.f::
(rii) Wf:.t::
(ri)
xa
'
"'
ilfm,l"
.
'
.e
(c)
m
'lt<lf f<:lj ':') "f?l".if <tT iFlit; WE-'IT<tt fn;,;fffi i1 fw;ylj
"-
(li)
(lii)
(iv)
(iv)
3#r :murr w WFif <ET TfTr fi1fitJIJ. •
"1{(1 iJ <W{ftffi it f<!<tTn if,"f W'Ti'-1 it WfFIT'<T<: iJ'IF<frWl f1 ｗｾ＠
iJ'lh: n"'if'..o fwrt 'if 1 <5!':<:
'\!:m if'li'f; f'lq;.;;cr; 'l<: 'lift i.j;il1l '.f 1 <WID i51f\wf<F1 mci f'f'f<EF'JT'l <t'i'ViHl) i1 'l()'t <H'l ?'1<Et <;;q
i1 ;;;q ｾ＼ｅ＠
ｾ＼ＺＧＢＱ＠
w.rt '!;<f 'it,·_gTv:nt :«i1 :rnfbv;; 'N :'l<Ft<tT i:; Wil \lt (f! "l<:il ij iJFifi 1;,·
<g';:f<T f1 ilTH 'ffl'.f?: p;<tt V!iF·:l:ffi ':';If ;rq;ftr;<FIT it :Io/!11 'if 1 p; mci it ::1'.1'1 iJP] iJ ::TirWf<E'
'!;If \TF¥(<fiE $i'lT <tt f'iW'f'lfV; <'lo/'?1 (IT!:J 'H iF'lTiH{ f<Ff.,'f ｾｨＺ＠ V.j!Q V-?T'-1 ah: f'f1!;,;: <lf>} f<E
@:if ij ｦＧ＼ｆｾ＠
"<% :.iT W-?T'-1 W<i'f ah: nlftfe-I<E t;Q:f:>J'f i:; iJ'WQ:f;,;: z(rffi 1iJ" ill:'{if WE Ｂｦｾ＼ｩｲ＠
<P.ff<E
'-l(f f\10'1 '-11, <P.ff<E ｾｩｴ＠
ＴｦＺｩＡ＼ｾ＠
:>r 3:& '!<::zy'-1 kj IT<li:klt :'l?'Fl <tt •.JT 1
ａｴ＾ｾｦＱｩｬ＠
w
<JV.!: t:n&
&;tvw:T
JPI <WrnVUo/
(C)
(D)
"-
<F'TI
om
(A)
D-7905
ｾ＠
P.T.O.
In formulating a personal style the paillter or sculptor though he has a certain
heritage is also open to the influences of his times, he further strives to bring to his work
a personal flavour_ Each artist sets hhnself his own rules and operates in a way that is
sometimes precise and at others spontaneous or exploratory; his work is an art for
those who see rather than read; it aims to be a kind of visual music_
.c
om
Abstract art in India do not exhaust the range or the possibilities_ J\.fany artists
work in mixed media, the resultant work is mostly abstract and many more use a
certain degree of stylisation which makes their imsges ambiguous and tentative_ Today
we in fact judge even frankly realistic works on criteria which are abstract and not for
theirresemblaru:e to reality_ The emphasis on painterly or sculptural values revealed by
abstraction has served to open our eyes to the real and more lasting qualities in works
of art and to this extent the role of abstraction has been very beneficial_ But on the other
hand it has introduced an element of impersonality,m providing what might be
described as a facade behind which the emotions of the artist may be hidden_
(B)
differeru:es of western and Indian art
(C)
Presenting a history and research on Indian art
(D)
Abstract art in India siru:e Independence
xa
The observation of the writer on abstract painter is :
(A)
The Indian artists are too much inclined to the European artists_
(B)
They believe in their heritage and personal style
(C)
w
w
(D)
48.
ra
development of Indian contemporary art
m
(A)
.e
47.
The writer is primary concerned with :
w
46.
ce
The works of the present generation appear to stretch from those which are
mechanistic or technology influeru:ed to those which are organic, spontaneous and
fantastic_
They are more colll1ffted with national sentiment_
That they are not spontaneous or explainatory
The writer strongly believes that :
(A)
Their works are more linked with nature
(B)
The works of the present generation do not possesses the lasting qualities
(C)
Their works are more mechanised and technologicaly influenced
(D)
Their works are not spontaTif<ous
D-7905
20
f'r<: i1 '-F'l <nm '& 1 w'l"<t· <F'1FF<: t.w-i it f<'W: <R'l'i f'l'.f'l <:f'lfffi '& ah: ｾ＠ ![:: i1 :.iT «>t en:
<:m.f?l ':';If <<4 <¥<: f'l('f:if <51'-Ff! iJ'!Rr'-<!r!WFt" '.f 1 iRFP <t1'.\ 'f'lif; f<'T'l; <F'f 'if :.iT 'f.Z'i <Tot <:fJlP-1
itw?l 'if 1 ?'1<'P (')<.J.j 'J;<Ti OFF{ <P 'Y'?-1 .;::Til t1 ':'.f!l
"1{(1 iJ <WI# <F'f f;;w i5N'f! .;mf<f'f!<:d'f if,"f WP?l 'lift <t"<:ffil <Ft <F'TFW:: fqfm 'f!'J.f'l iJ
<ET'.\ <nit 'if, l:fFtt iF ;;,p.j iJlp-lf'p;;
ij iJF:Fi z(rm 'if ｾｨＺ＠
iJ'lo>.j <:f(j;il i1 iF'1FF<: f;;;nt (?: WE
IB;;i'TI;;:hf'l iF :I'-ir:: iH}1 'if f:.ri1 if'Ftt i!Vifif<T'.f iJl:f-"'<'< '1;4 :I'-iT!i:<E <:f'l Ｇｾ＠ 1 iJV:if t"', '.f'Pk,
f'fiTFl ＧＭｉｐｾｦＡ｣ｩ＠
ifX'Tiif..f<T'-if <t"f iFl <nitfz>.ft i1 'f{ <g(l tf :.iT ill:'{if 'if ｾｨＺ＠
if'Ftt ｾ＠
W'< i1 "H @' 'lift
iH}t f<t· if'Ftt ＧＭｎｲｾｦｩ＠
f.i'f'?'-lffi (fl <WID <F'TI ｾ＼Ａ＠
f<xiW!l <5l'.J'f %c"JT::il 'F'-if it if'{T2:'l '<<: W'T
k'i i1 ifX'Tiif..f<T'-if ij 'f!f.<1f'f<E ｾｨＺ＠
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D-7905
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Abstract art is objective narration
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Abstract art ahns to be a ldnd of visual music
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Abstract art is based on personal emotion
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more ambiguous and tentative.
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Abstract art in India is influenced from westem abstract art, but transformed
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Abstract art in India is an independent development and artists had explored
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