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Class 12 Painting Pre-Board Exam Paper

This document contains a 30 question objective type test on Indian art history, with questions divided into three sections: knowledge/understanding, application based, and higher order skills. The test covers various regional Indian painting styles including Rajasthani, Mughal, Pahari, Deccani, and their associated schools, artists, subjects, and time periods.

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Srijani Mondal
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0% found this document useful (0 votes)
1K views4 pages

Class 12 Painting Pre-Board Exam Paper

This document contains a 30 question objective type test on Indian art history, with questions divided into three sections: knowledge/understanding, application based, and higher order skills. The test covers various regional Indian painting styles including Rajasthani, Mughal, Pahari, Deccani, and their associated schools, artists, subjects, and time periods.

Uploaded by

Srijani Mondal
Copyright
© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
  • Section A: Knowledge/Understanding
  • General Instructions
  • Section C: Higher Order Skills

PAINTING & GRAPHICS\ 1 \ 4

Pre-Board Term - I Examination


PAINTING & GRAPHICS (049, 50)
PB-I-2021-12

Time : 1 hr. M. Marks : 15


OBJECTIVE PAPER
General Instructions:
1. The Question Paper contains three sections: A, B and C.
2. Section A has 12 questions. Attempt any 10 questions. In case more than
desirable number of questions are attempted ,Only first ten will be consid-
ered for evaluation.
3. Section B has 12 questions. Attempt any 10 questions. In case more than
desirable number of questions are attempted ,Only first ten will be consid-
ered for evaluation.
4. Section C has 6 questions. Attempt any 5 questions. In case more than desir-
able number of questions are attempted ,Only first five will be considered
for evaluation.
5. All questions carry equal marks.
6. There is no negative marking.

SECTION - A - KNOWLEDGE/ UNDERSTANDING


(ATTEMPT ANY 10)
In case more than desirable number of questions are attempted ,Only first ten
will be considered for evaluation.
1. Where did the origin of Rajasthani painting style originate?
A). Kishangarh B). Mewar
C). Jaipur D). Jodhpur
2. Name the painter of Rajasthani painting Maru Ragni.
A). Nihalchand B). Nainsukh
C). Sahibdin D). Dana
3. A postal stamp was issued by the Indian government based on which famous Rajasthani
painting?
A).Chaugan player B).Maru Ragini
C).Radha BaniThani D).Krishna on swing
4. What’s the Sub- School of Rajasthani Painting ‘Radha (Bani- Thani)’.
A). Mewar B). Bikaner
C). Chamba D). Kishangarh
PAINTING & GRAPHICS\ 2 \ 4

5. Name the painting of Basohli School of art.


A). Krishna with the Gopis B). Radha Krishna looking at mirror
C). Chaugan Players D). Dancing Shiva
6. Nainsukh is a painter of which Sub school?
A- Kangra B-Guler
C -Basoli D-Garhwal
7. Where is the Pahari School’s Painting ‘Nanda Yashoda and Krishna going to Vrindavan
with Gokul resident ‘ stored?
A). National Museum, New Delhi
B). Dhumimal Art Gallery
C). Lalit Kala Akademi, New Delhi
D). National Museum of Modern Art, New Delhi
8. Who was the author of Ain-i- Akbari?
A- Abdusamad B-Abul Hasan
C-Abul Fazal D-Abul Raza
9. Name the school of Pahari Art.
A. Kota B. Kishangarh
C. Bikaner D. Kangra
10. In which reign was the Mughal painting ‘Kabir and Raidas’ painted?
A). Jahangir B). Akbar
C). Shahjahan D). Provincial Mughal
11. Name the painter of Mughal painting ‘Krishna lifting Mount Govardhana’
A). Nooruddin B). Miskin
C). Nandlal Bose D). Ramgopal Vijayvargiya
12. Which style flourished in Golconda?
A). Deccan style B). Mughal style
C). Pal style D). Jain style
SECTION B-APPLICATION BASED
(ANALYTIC & CALCULATIVE) (ATTEMPT ANY 10)
In case more than desirable number of questions are attempted ,Only first ten will
be considered for evaluation
13. Who is considered as the Father of Mughal Art?
A). Aurangzeb B). Shahjahan
C). Akbar D). Jahangir
14. Name the painter of the Mughal painting ‘Marriage Procession of Dara Shikoh ‘
A). Ustad Mansoor B). Abul Hassan
C). Miskin D). Haji Madni
PAINTING & GRAPHICS\ 3 \ 4

15. Sahibdin was a courtier painter of Mewar, name the painting of your course painted by
him?
A). MaruRagini
B). Radha (BaniThani )
C). Chaugan players
D). Krishna on swing
16. Mention the sub -school of Deccani Painting ‘Chand Bibi playing polo’.
A). Hyderabad B). Golconda
C). Bijapur D). Ahmednagar
17. What is the style used in Kangra Paintings?
A). European style B). Systematic Design
C). Nayak and Nayika Bheda D). Symbolic Design
18. Which subject was painted the most in Basohli style?
A). BarahMasa B). RaagMala
C). Nayikabhed/mughda nayika D). Religious books
19. By what names are the Rajput style paintings also known?
A). Mughal style B). Pahari style
C). Gujarati style D). Rajasthani or Hindu style
20. During which Mughal emperor’s rule, maximum numbers of Portrait paintings were
painted?
A). Akbar B). Jahangir
C). Shahjahan D). Yusuf-Adil Shah
21. Specify the time period of the painting ‘Hazrat Nizamuddin Auliya and Amir Khusro’.
A). 1210-15 AD B). 1750- 70 AD
C). 1915-20 AD D). 680-90 AD
22. Which book describes the ancestors of Akbar?
A). Akbar Nama
B). Babur Nama
C). Shah Nama
D). Ain-i-Akbar
23. Anwar- i -Suhali and Yusuf-Zulekha are the legends of the period of :-
A). Yusuf-Adil Shah B). QuliIntab Shah
C). Aurangzeb D). ShahJahan
24. From where was the subject matter of Rajasthani Painting ‘ Maru Ragni’ taken?
A). Radha Krishna B). King Queen
C). Hunting D). Courtier
PAINTING & GRAPHICS\ 4 \ 4

SECTION C- HIGHER ORDER SKILLS


(ATTEMPT ANY 5)
In case more than desirable number of questions are attempted ,Only first five
will be considered for evaluation
The bird is in white against the yellow background which is contrasted with the
brownishblack feathers of its folded wings. An isolated figure of this bird shown on its
perch in rigid profile is centrally positioned in the composition. Black markings all over
the wings suggest that it is in the likeness of the pet of the ruler. The expression of
cruelty in its eyes is an item of great astonishment to those who have seen it. The sharp
beak and round vigilant eye are painted in shades of deep yellow ochre. A patch of
light blue marks the feather on the back of its neck. A thin string is tide around the neck
and hangs loosely to the ground. Answer any 5 of the following questions based on
above case study.
25. What species of bird is referred to in this painting?
A). Parrot B). Falcon
C). Pigeon D). Sparrow
26. Which Mughal ruler’s pet has been painted in this painting?
A). Shahjahan B). Aurangzeb
C). Jahangir D). Akbar
27. What can be the period of this Paintings?
A). 1605-06 A.D B). 1781-82 A.D
C).1618-19 A.D D). 1650-51 A.D
28. This painting depicts the visual background and elements of which period?
A). Mughal B). Rajasthani
C). Pahari D). Deccan
29. What is the title to this painting?
A). Marriage procession of Dara Shikoh. B). Falcon at the Bird Rest
C). Kabir and Raidas. D). Sultan Abdullah Qutub Shah
30. The feature of making ornate margins around the picture can be seen in which school
of art?
A). Bengal School of Art B). Mughal school of Art
C). Modern Art D). Rajasthani School of Art

Common questions

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Pahari paintings often feature lyrical and romantic themes focusing on divine love stories such as Radha and Krishna, executed with soft colors and nuanced emotional expressions . In contrast, Rajasthani paintings are bolder, with bright colors and intricate detailing representing themes from Hindu epics and folklore, portraying vitality and action . This distinction highlights the regional diversities and thematic emphases of these art forms .

Rajasthani painting is distinguished by its bold use of color and intricate detailing, which often reflect themes such as Hindu deities and scenes from epics like the Ramayana and Mahabharata . In contrast, Mughal paintings tend to be more refined and are known for their realistic portraiture and detailed depictions of court life, while Pahari paintings, particularly Kangra, are noted for their lyrical expressiveness and soft color palettes, focusing on love themes of Radha and Krishna .

During the colonial period, the British influence on Indian paintings, particularly in the Bengal School of Art, included the incorporation of Western techniques such as linear perspective and chiaroscuro (contrast between light and dark) to give depth and realism to the images . Artists like Abanindranath Tagore led a renaissance that blended traditional Indian subjects and styles with these Western techniques .

'Falcon at the Bird Rest' utilizes typical elements of Mughal art such as rich color, attention to detail, and central composition, reflecting the Mughal’s fondness for depicting exquisite birds and nature, which symbolize the empire’s wealth and power . The depiction suggests it was created during a period where there was a strong focus on courtly life and naturalism .

The Mughal emperors significantly influenced the evolution of Mughal Art by integrating Persian art traditions and encouraging the use of detailed naturalism and new techniques like perspective . Emperor Akbar’s reign marked the establishment of the art, and it flourished under Jahangir's patronage, who placed emphasis on realism and portraiture. The variation in themes and techniques under different rulers illustrates the adaptability and dynamic nature of Mughal Art .

Basohli paintings reflect the cultural context of their time by focusing on religious themes such as depictions of Hindu gods and goddesses, which underscore the deep-rooted spirituality and devotional practices in the society . The use of vibrant colors and emotive expressions in the figures also illustrate the distinctive cultural aesthetics valued in the Basohli region .

'Maru Ragni,' a Rajasthani painting, reflects its cultural origins through its subject matter, which is inspired by the intense love stories and court life typified in the desert kingdoms of Rajasthan . The painting often depicts romantic themes that resonate with the region's tradition of bardic storytelling and musical compositions known as 'Ragas,' illustrating cultural narratives central to Rajasthan .

Mughal portraits serve as significant historical records that reflect the political dynamics of the empire by depicting the hierarchy, grandeur, and individuality of the rulers . They illustrate how art was utilized to project the power and legitimacy of the emperors, with an emphasis on realism and detailed representation, setting a precedent for the arts in politically entrenching the ruler’s image .

The Kangra School of Painting employed soft color palettes, finesse in brush strokes, and perspective to enhance scenes of love and divine romance, particularly between Radha and Krishna . These stylistic choices created an ethereal and lyrical quality that resonated with the romantic and spiritual themes central to Kangra paintings, portraying emotion and divinity in visually captivating ways .

Deccani paintings are distinct for their use of vibrant colors and fusion of indigenous styles with Persian influences, characterized by ornate landscapes, floral border decorations, and use of gold leafing . These features set them apart from other schools like Mughal and Pahari, which might emphasize more realistic and detailed portrayal of figures and softer palettes in their art .

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