INTRODUCTON

Fine Art

Painting Graphics Sculpture Commercial Arts

(049) (050) (051) (052)

The following art terminologies for all the four subjects are prescribed only for reference and
general enrichment.

1. Elements of composition : Point line form, Colour, tone texture and space.
2. Principles of composition : Unity, harmony balance, rhythm, emphasis and
proportion, abstraction and stylization.
3. Drawing & Painting : Terminologies, Foreshortening, Perspective, eyelevel, fixed
point of view, vanishing point, ratio-proportion, sketchig, proportion sketching
drawing, light & shade, painting still life, land scape, anatomy, vertical, horizontal
two & three dimensional, transparent & opaque.
4. Material : Paper, pencil, water, acrylic colours, tempera colours, poster colours, pasted
colours, water proof ink, canvas, hard board.
5. Sculpture : Relief and round sculpture, modeling with clay, terra-cotta, carving in
wood and stone bronze casting.
6. Graphics : Linocut, relief Printing, etching Lithography, Silk Screen Printing Letter
press and offset printing.
7. Applied Art : Book cover design and illustration, cartooning, poster advertisements
for newspaper and magazine etc., photography, computer graphic.

The course in painting/graphics/sculpture/commercial art a Senior Secondary Stage as an

elective subject is aimed to develop aesthetic sense of the students through the
understanding of various important, well known aspects and modes of visual art expression
in India‟s rich cultural heritage from the period of Indus valley to the present time. It
encompasses also a winder range of Practical exercises in making of Graphic Print/in
drawing and painting/in making of various sculptures/in commercial art for developing
their mental faculties of observation, imagination, creation and physical and technical skills.

OBJECTIVES:-
Theory (History of Indian Art)
The objectives of the history of Indian Art for the students is to familiarize them with the
various styles and modes of art expression from different parts of India. This would enrich
their vision and enable them to appreciate and develop an aesthetic sensibility to enjoy the
beauty of nature and life.
The students will also have an opportunity to observe and study the evolution of its
mutations and synthesis with other style and the rise of an altogether new style. The students

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should be made aware of art as a human experience. The teachers should be able to expose
them to the wide range of artistic impressions, the media and the tools used. The history of
Indian art is long one. Hence the students would be acquainted with brief glimpses of the
development of India Visual Art as are required for concept formation. Examples includes in
the course of study are selected because of their aesthetic qualities and are intended purely
as guidelines.

Painting / Graphics / Sculpture / C.A

Class XII (THEORY)
One Theory Paper Time-1 Hour F.M. : 30 Marks
Unitwise weightage

Sl. No. Units Periods Marks.

1. The Rajasthan and Pahari Schools of Miniature 24 pds. 10
Painting (16th A.D. to 19th A.D.)
2. The Mughal and Deccan Schools of Miniature 24 pds. 10
Painting (16th A.D. to 19th A.D.)
3. The Bengal School of Painting and the Modern 24 pds. 10
Trends in Indian Art

***

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Contents …

Introduction … i

Section I

1. The Rajasthan and Pahari Schools of Miniature Paining … 1

2. The Mughal and Deccan Schools of Miniature Painting … 5
3. The Bengal Schools of Painting and The Modern Trends in Indian Art … 8

Section II (Answer of Text Questions)

4. The Rajasthan and Pahari School of Miniature Painting … 14

5. The Mughal and Deccan Schools of Miniature Painting … 24
6. The Bengal Schools of Painting and The Modern Trends in Indian Art … 32
7. Previsous Year Qestion-Papers … 42

***

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SECTION – 1

4
 THE RAJASTHAN & PAHARI SCHOOLS OF MINIATURE PAINTING
(16TH-19TH A.D.)

The Rajasthani school of Art is a natural outcome of a long sequence of art tradition. The
miniatures that comprise the Rajasthani School, found in such profusion in several art
galleries of India and the world, they are not only strangely enough, originate as miniatures.
The pictorial art of Rajasthan shows the Indian genius in its pure form, and appeal intimately
to those who are attracted by the theme of love and devotion. Together with the painting of
the Western Himalayas, Rajasthani pictorial art shows all that is the best and of universal
appeal in the emotional life of the Indian people. Its inspiration is rooted in the people hearts.
Keeping close to their poetry, music and drama, its central theme is love. In the places at
Jaipur and Udaipur, there are well many paintings which show how wonderfully the painter
of this school produced large murals. The Rasalila and the love of Radha and Krishna form a
happy theme. Love is conceived as the means and symbol of all union. The lovers
represented are always Radha and Krishna, typifying the etenal motif of men and women
and revealing in everyday of events, their heavenly image.

The women of these painting are true to the ideals of feminine beauty-large lotus eyes,
flowing tresses, firm breasts, slender waists and rosy hands. The Heart of a Hindu woman
with all its devotion and emotional intensity is fully reflected in these documents.

The artists make use of brilliant colours rendered with tempera effect and display an unusual
understanding of colour harmony. The themes of Rajasthani miniatures are as varied as the
mediaeval Literature of Hindu India, in which the sentiments of love and devotion are
mingled with an exuberant joy of life. An entire world of folk-love stands documented in
these painting of the Rajasthani and Himachal Schools. Their common subject matter is the
cycle of Krishan legends, Sringara or the sentiments of love expressing itself in the erotic
motifs of heroes and heroines, union of Shiva and Parvati, scene from the Ramayana and the
Mahabharta, ballads and romantics poems such as the hammirahatha and Naladamyanti,
seasons (baramasa) portraiture and last but not least the ragamalas.

The different ragas were appropriated to different seasons, connecting certain strains with
certain ideas. According to the exposition of Sir Williannm Jones “the artist was able to recall
the memory of antumnal merriment at the close of the harvest of reviving hilarity on the
revival of blossoms and complete vernal delight in the month of vasants, of languor during
dry heat and refreshment by the first rains which bring a second spring to the Indian Season.
The inventive talent of the Greek never suggested a more charming allegory than the lovely
families of the six ragas, named in the order of seasons – BHAIRAVA MALAVA, SRIRAGA,
HINDOLA OR VASANTA, DIPAKA AND MEGHA-each of whose is wedded to five raginis
or nymphs of harmony presenting wonderfully diversified images for the play of the artist‟s
genius.”

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The Baramasa scences with magnificent representations of the rains and spring, the former
dark with rain-laden clouds and the latter bright with gardens and woods lit up with flowers
in bloom are al typical of the genius and outlook of the Rajasthani Painters, who continued
the tradition of the past, pleasing himself in this presentation of a maza of themes already
executed by numerous predecessors but nevertheless still as fresh as ever in their charm and
inventing depiction over again. It is very rarely that the artist individualized himself and put
his stamp by inscribing his name.

With a long heredity, Rajasthani painting of conservative fashion remained practically

unaffected except for a slight inevitable Mughal influence at a later stage. But the Mughal
paintings which were essentially rich in Persian traditions soon imbibed the charm of Indian
tradition. While the mughal paintings were aristocratic, individualistic strong in their
character of portraiture, being fostered and appreciated only by royalty and noblemen at
court, as they were reflection of their personal glory and vanity, the Rajput paintings were
more in tune with a throbbing, life around, simple, with direct appeals to the peasant and the
common folk, sublime in theme, universal in appeals, deply religious and mystic, truly
interpreters of phases of nature in her various moods in spring and in rain and emotions in
man, bird and beast with a universal love for both the animate and the inanimate, the deer
the dove, the peacock, the monkey, cows and calves, trees and creepers, lovely brooks, shady
bowers, moisture laden clouds showering raindrops with circling cranes, the melodies
personified attracting even the beasts and reptiles to listen to the songs, or the lovers in
separation or in union, in short, themes whose appeal goes direct to the heart of peasant and
nobleman like as has already been remarked, Rajasthani painting and painting from the hilly
region, pahari, closely knit by affinities that make them almost a single major school, show
the least trace of foreign admixture, while Mughal Art betrays it most. The Rajasthani and
Pahari artists exactly followed this procedure and produced some of the loveliest creations
with the brush.

The various sub school of the Rajasthani School can be distinguished by their peculiar
characteristics such as the Mewar, Bundi, Jaipur, Bikaner and Jodhpur. With close affinities
to the central Indian Mandu (Malwa) School, which in turn owes, much to the jain school of
Gujrat. The Mewar School presents an early untainted phase of Rajasthan mode unlike
school like Bikaner and Bundi that absorbed Mughal influence. The same inspiration and
subject matter gave birth to Pahari painting, produce in the beehive to the Sub-Himalayan
states of Jammu, Basholi, Chamba, Nurpur, Kangara, Kullu Mandi, Guler, Garhwal and
Suket. The painting of Garhwal, the southern most region of this group bear a family
resemblance to those of the Kangra School which flourished in the late 18th and early 19th
centuries.

The ever-present theme of Himalayan Art is Krishna at his boyhood pranks and his amours
with Radha. Dance and Music in Sylvan surroundings is a recurrent motif of this school. The
painting of Basohli shows unusual brilliance of colour and animated expression. Rhythm,
spacious composition and brilliant colour harmonies entitle them to a very high place
amongst the Pahari masterpieces. The painting of Kangra exhibit the fine workmanship of
Mughal miniatures. Their tones are subdued and the lines are exquisitely fine and

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melodiuous, especially in the flaming beauty of female figures illustrationg the dedicated
graces of Indian womanhood.

Study of the following painting:-

Title painter Sub School

1. Maru Ragini Sahibdin Mewar

2. Raja Anirudha Singh Hero Utkal Ram Bundi
3. Radha Nihal Chand Kishangarh
4. Bharat meets Rama at Chitrakut Guman Jaipur
5. Chaugan Players Dana Jodhpur
6. Hindola Rag Dana Jodhpur
7. Kite Abu Hamid Bikaner.

Text Questions:-

1. Write an essay on the origin and development of the Rajasthani School of miniature
painting.
2. Describe the main characteristics of Rajasthan School of miniature painting
Or
Why do you like the miniatures of Rajasthani Paintings.
3. Write short notes on salient features of Rajasthani School of Art.
4. Write the names of sub-school of Rajasthani School of Art or Rajpur School of art.
5. Write the names of different Rajasthani Painting (miniatures) and their artist along
with the name of sub school & painting medium,
6. What is miniature painting? Give its details.
7. Write a short note on any one of the following Rajasthani Paintings.
i. Bharat meets Rama at Chitrakut
ii. Radha (Bani-Thani)
iii. Maru Ragini
iv Chaugan Players
v. Krishna Playing Flute & Dancing Gopalas
vi. Raja Anirucha Singh hero.
8. Write an essay on the pahari school of art.
9. Give the Description of following paintings of pahari school:
(a) Krishna with Gopis
(b) Raja Megha

***

7
 THE MUGHAL & DECCAN SCHOOL OF MINIATURE PAINTING
(16TH AD TO 19TH AD)

The Mughal were enlightened patrons of art, under whom architecture, painting, tactile and
carving enjoyed a new flowering. To understand this school in its proper perspective, the
traditions in which it has its roots should be considered. The source of Mughal painting was
Persian. The art of Persia was greatly influenced by Mongolian art. Mughal painting is
distinctive but India. It has the flavour of the Persian but the inborn char, of India tradition.

Babur son of Umar Shekh Mirja the fifthe descendent from Timur, was aware of the great
and remarkable ability of Bihzad, the famous artist of his time, but engaged as he was in the
establishment of his kingdom; he could not devote that attention to art which his son
Humayun could. That painting flourished in his time is clearly seen from the Alwar
manuscript of the Persian version of his memories where the illustrations show the style of
painting during his day.

Akbar, one of the most enlightened rulers in history, encouraged a vital and inetrebting
school of painting. He invited hundreds of painters from all over India, including Gujrat and
Rajasthan, and entrusted them with the work of Sanskrit and Persian literatures. He had the
famous books from these languages translated into others and learn by listening more than
by studies. Akbar was equally at home in all the fine arts, and painting flourished at his
court. The Persian artist that flocked to his court taught the new technique to the Indian
artists and themselves benefited by absorbing the best elements of indigenous traditions,
with the result that a rare blend of a wonderful new school came into existence. The name of
Manohar, Farukchela, Basawan and Madhu to mention a few, were famous during Akbar‟s
day. The story of Mughal painting in India may be said to begin with Khwaja Abdus Samad
of Shiraj who was patronized by Humayun and continued in the time of Akbar.

The illustrated Babar Nama, Akbar Nama, Hamza Nama, Razam Nama and other beautiful
illustrated manuscripts of the period are a great artistic achievement. The Mahabharat, with
which Akbar‟s own copy, under the name of Razam Nama, with 169 pictures, is preserved at
Jaipur. The Hamza Nama, a book of romantic tales for which the emperor had a great
foundness and for which 1375 paintings were executed on cloth; the Ramayana, the Akbar
Nama (life of Akbar by Abul Fazal); the Iyar-I-Danish and others each of which was
illustrated jontly by a number of painters. It was an eclectic school that, Living its inspiration
from Akbar took the best elements of the Rajasthan and Persian schools and imparted a
genuine Indian feeling. As the Mughal gradually became rooted in the soil, so also did the
pictorial art fostered by them developed a truly Indian character and spread all over the
country. It was an art primarily of book illustration land their nobles. While in the Gujrati
and Rajasthani Schools, the same human face was meant to represent, with all the mastery of
like and colour, real living persons endowed with character and individuality.

The Jahangir, an enthusiastic lover of painting and generous patron of the arts, used to pride
himself on his critical powers of appreciation probably this was the greatest period of the

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renaissance of Mughal art. Beauty of line and soft colours melting delicately into one another
mark the paintings executed during his reign. They are mostly connected with episodes from
his own life. The emperor delighted in beautiful portraits of his and had group painted of
himself, his lovely queen and his family. Some of the most beautiful animal and flower
patterns were drawn and painted his day. Portraiture was so passionately fond of animals
and birds, of which many masterpieces were, at has command, painted by Ustad Mansoor,
Abul Hasan and Bishandas amongst several others ranked as very famous painters of his
day.

Jahangir‟s son Shahjahan was, though a Connoisseur, more a builder of great monuments
and a patron of architecture. The art of painting did not receive the same attention: but the
painters, though their work suffered from a certain stiffness, spared no pains in drawing,
selecting colours and putting in the decorative details. Portraits of nobleman and saints and
scenes from court were popular. In the time of Aurgangeb painting suffered a setback as
imperial patronage was withdraw and painters were obliged to full back upon the precarious
patronage of local courts. The subject matter of the latter Mughal painting was confined
mainly to the palace life of Kings and grenades indulging in drink and Music in the
Company of woman.

The art of the Mughals was aristocratic, marked by relism, careful and refined
draughtsmanship and intellectual expression. Its finest products are aesthetic gems which
have elicited the appreciation of the most discriminating art critics in India and aborad, in
addition to being of historical value.

An offshoot of the Mughal School and with the encouragement of the local rulers of the
Deccan States of Golconda and Bijapur, the art of Deccani painting developed its provincial
idiom in the 17th Century. The subjects show great catholicity. The painters were
experimenting with portraits book-illustration, ragamalas and court and seraglio scenes.
Large-scale painting on Canvas was also attempted with success.

Study of following Mughal Paintings:-

Title Painter Period

1. Krishna lifting Mountain Goverdhana Miskin Akbar
2. Jahangir Holding the Picture of Madoma Abul Hussain Jahangir
3. Falcon on a bird‟s nest Ustad Mansur Jahangir
4. Kabir and Raidas Ustad Shahjahen Faquirullah Khan
5. Marriage procession of Dara Shikoh Hazi Mandi Shahjahen

Text Questions:
Q.1 Write an essay on the origin and development of Mughal Art.
Q.2 With a graphical representation show the rise and downfall of Mughal Paintings.
Q.3 Describe the characteristics of Mughal paintings.
Q.4 Who do we like the miniature painting of Mughal School? Give reasons.
Or, Written down the salient features of Mughal Art.

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Q.5 Mention the names of famous painters of the Mughal School with their respective
paintings. What colour medium was used for each of the sees paintings?
Q.6 Write a short note on the following:
a) Dara Shikoh Ki Barat (Marriage Procession of Dara Shikoh)
b) Kabir and Raidas
c) Falcon on Bird-rest
d) Krishna lifting the Mount Goverdhan
e) Jahangir holding the picture of Madona.
Q.7 Write a short note on the Daccan School of Art. Describe different Deccani School.
Q.8 Write a short notes on the following paintings:
a) Raga Hondola and
b) Chand Bibi playing Polo (Chaugan)

***

10
 THE BENGAL SCHOOL AND THE MODERN TRENDS IN INDIAN ART

Before independence in cities like Bombay, Calcutta, Madras, Lahore, Lucknow and later in
Jaipur, where different schools of art were established by the British to train Indian artists on
purely foreign methods. Mr. E.B. Havel was principal of the art school Culcutta in 1896. Mr.
Avaninidranath Tagore was vice principal of this school. He found the western techniques
that he learned from his European teachers Charles L-Palmer and olinto Ghilardi in the late
nineteenth century, rather restrictive. He began to search for inspiration in the traditional
school of painting like the Mughal and Rajpur. While experimenting and assimilating their
techniques and forms. He came in contact with the Japanese Savant Okakura Kakuzo and the
two Japanese painters, yakoyama Taikan and Mishida Shunro, who came to India on
Okakur‟s initiative. The idea was to work together and absorb techniques and approach of
each other‟s art/ The result was the discovery of „wash‟ technique. Abnindranath had found
a novel method a fusion of Indian and Japanese mannerisms to which he responded
spontaneously.

He passed on this new technique to his gifted student at the government art school like
Nandlal Bose, Ishwari Prasad, a descendent of hereditary painter‟s, Patna, Gagendra Nath
Tagore brother of Avanidranath, Ashit Kumar Maldar, Hakim Muhammad Khan and Devi
Pd. Roy Choudhary (Principal of Madras Art School) and Samrendra Nath Gupta (Principal
of Lahore Art School).

The subjects chosen by the Calcutta painter‟s he observes, are taken from Indian history,
romance & epic and from the mythology, religious literature and legends as well as from the
life of the people around them. These artists works are free from European and Japanese
influence.

The Bengal school reached its pax in the late 1920‟s and spread its revivalist approach. Its
affect was amazing, for, the whole country seemed to be surcharged with the new aesthetic
character proclaimed by Bengal School.

The development of various trends and directions, from the mid-nineteenths country till
recent times has been covered in as concise a manner as possible; The landmarks created by
Raja Ravi Verma, the three Tagores, Nandlal Bose , Jamini Roy, Amrita Sher-Gil and others;
the formation of various progressive groups of artists-almost as a movement against the
Bengal School; various stylistic developments, very nearly decade - wise, and more recently,
the trend leading to the cult of „personal‟ or „self‟ expression.

The parameters of thepioneers start with the revival of national artistic aspiration –
represented in the works of Abinindranath tagore and Nandlal Bose, followed by Jamini Ray
and Amrita Sher-Gil, signifying, respectively, attempts at leading „Indianness‟ or an
indigenous flavour and synthesizing the Indian and Western approaches in their work. Their
endeavors were to be national but their ambition was to be international.

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There is great a contribution of India artists to the struggle for national freedom movement.
Awanindra Nath, Ravindranath, Nandlal Bose, and Kanu Desai displayed many exhibitions
for revolution of National movement on the requests of Gandhiji, Nandlal Bose decorated
many seminar Halls of National Congress Adhiveshan in different parts of India.

Evolution of the National Flag:-

The national flag was adopted by the constituent Assembly of India on July 1947. The
National Flag is rectangular in shape. The flag is horizontally divided into three equal part.
The three stripes are of three different colours. The stripe at the top is deep saffron. This
colour has a long tradition behind it. It is a symbol of courage, sacrifice and valuer. It
reminds us of the patriotism of our heroes of the past who laid down their lives in the
struggle for country‟s Independence. It inspires the people of India to inculcate these
qualities in their character. The middle stripe is of white colour. White colour stands for
purity and truth. All religious of the world emphasized these qualities white colour inspires
us to be pure in our thought and action.

The stripe at the bottom is dark green. This colour represents prosperity. This reminds us
that we have to banish poverty from our land and usher an ear of prosperity and plenty. The
flag is referred to as the tricolor (Tiranga) as it is made of three colours.

There is a circular wheel in the centre of the white stripe. It has 24 spokes in it. The „chakra‟
has a great historical significance. It is taken from the Ashoka pillar at Sarnath. It was erected
by Emperor Ashoka is the memory of the first sermon delivered by Lord Buddha at this spot.
The Dharma Chakra signifies by motion and progress. It inspires us to move forward and
yellow the path of righteousness.

First Indian Modern Artists was Ravindra Nath Tagore. He painted from his innerself and
gave meaning to his works through the vitality of this consciousness. His drawings and
paintings, even though they are works of an amateur, are a window to his extraordinary,
personality. Ravindranath does not impress us with his technical/virtuosity but stirs our
souls with images intuitively extracted from his powerful imagination.

During this period, the Indian artist has on the one hand, been clectic, experimenting with
varied mannerisms under the influence of Euro-American art movements, such as cubism,
expressionism, surrealism and abstract. And, on the other, obsessed by a deep desire to
search for roots, International movement like Fauvism, Futurism, Dadaism, Pop and the Op
have not made a noticeable impact; kinetic art has made none. However, there have been
growing trends towards installation happenings or conceptual art since the late 1980s. The
presence of the „past‟ nevertheless, is more visible in India than perhaps, any other country
this is providing a growing importance to the traditional arts.

Amrita Sher Gil was one of the first Indian painters to go to Apris to study at the E Cole de
Beaux Arts between 1929 and 1934, Rabindranath himself was some what conditioned by

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expressionism and Cubism, and around the same time Gagendranath Tagore vaguely
experimented with cubist and juturists style.

An important milestone, in the 1950‟s, was the setting up of the National Gallery of Modern
Art (NGMA) and the Lait Kala Academy two apex institutions for the promotion of
contemporary art. Besides the annual exhibition, the Trionnlal India an international event,
launched in 1968, is organized once in every three years. The main objective of this triennial
has been to poster a better understanding among present day artists and their art of
participating countries.

Stylistically it would be difficult to classify the works of the Indian artists of this period in the
international context, for they neither created their pictorial works in that spirit not could
they be linked with any theoretical perspective. In fact, a rather free approach and a process
of selective assimilation is observed.

Indian artists created an atmosphere or situation which was the product of the imagination,
at time achieved automatically in the process of the works itself or, calculatively designed to
contain the elements of fantasy. Interestingly these influence and developments have created
trends which though multifarious, are yet to be classified.

There is a forceful reaction against the international style and there is much talk about a
return to painting and sculpture in the traditional sense. The two trade, which at first seemed
to contradicts each other, are merging at two aspects of the same problem of creativity. The
present day art scene is symptomatic of new cultural development which also lies behind the
return to order in art as much as in socio-political areas; they constitute an apparent
abandonment of radical philosophical tradition in favour of new conservative approach
evidenced in the remarkable artistic production of this period. Although accepting
internationalism, the Indian artists is becoming conscious of not merging with it.

The Indian artist today recognizes a freedom a freedom to look, in quire and create without
the confusing limits of a commission. He has become a spectacular, philosophically, ethically
and economically. He is seeking a whole new horizon of freedom. A new series of values
seems to be emerging.

Study of the following paintings:

i. Rama vanquishing the pride of the ocean-Raja Ravi Verma.
ii. Jounrey‟s – Avanindranath Tagore.
iii. Sati, Parth Sarthi, Tiller of the said – Nandlal Bose.
iv. Radhika – M.A.R. Chughtal.
v. Three Pujarin, Mother and Child – Jamini Ray.
vi. Magician – Gagendranath Tagore
vii. Woman Face – Ravindranath Tagore
viii. Three Girls – Amrita Sher Gill.
ix. Mother Teresa, Farmers Family – M.F. Hussain
x. Birth of Poetry – K.K. Hebbar.

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xi. Gossip – N.S. Bendra
xii. United – G.R. Santosh
xiii. Diagonal – Tyeb Mehata.

Sculpture:
i) Triumph of Labour – D.P. Ray Chaudhary
ii) Santhal Family – Ramkinkar Baij
iii) Ganesha – Pv.V. Janki Ram
iv) Figure – Sankho Chaudhary
v) Chaturmukhi – Aukka Yada Giri Rao.
vi) Satnding Woman – Dhanraj Bhagat.
vii) The Rider – P.V. Janki Ram.

Graphic Prints:
i) Whirpools – Krishna Redyy.
ii) Children – Somnath Hore .
iii) Devi – etching, integlle – Jyoti Bhatt.
iv) If Walls – Anupam Sud.
v) Man, Woman, and Tree – Laxman Gaud.

TEXT QUESTIONS:
1. Write an essay on the Modern Trends in Indian Art?
2. Write the name of modern and contemporary Indian Artists.
3. Describe the techniques and trends of Indian Arts.
4. Write the short notes on the origin and development of Bengal School of Arts.
5. Write a short note on subject matter of Bengal School of Arts.
6. Write a short note on characteristics of Bengal School of Arts.
7. Describe the rise of Bengal School of Arts.
8. Describe the role of Bengal School of Art in Indian National Movements.
OR, Why is painting of Bengal of Art called Renaissance of Indian Painters?
9. Describe the evolution of Indian National Flag and Sympbolic Significance of its
colours.
10. Describe the painting of „Rama Vanquishing the Pride of the Ocean‟ by a Modern
Artist Raja Ravi Verma.
11. Write an essay on any Modern (Contemporary) Indian Sculpture, induded in your
course of study based on the following points.
Or, Mention the artisti‟s name of each of the following sculptures:-
(a) Standing women (b) Cries Unheared
(c) Ganesha (d) Figure and
(d) Chatturmukhi
OR, Write the sculputure title/name of each of the following artists:-
(a) Dhanraj Bhagat (b) Amar Nath Sehgal
(c) P.V. Jankiram (d) Sankho Chaudhary
(e) Aekka Yada Giri Rao
12. Write a short note on each of the following based on these points:

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 (a) Journey‟s End (b) Radhika
(c) Parthsarthi (d) Diagonal
(e) Birth of Poetry (f) untitled
(g) Mother Teresa
On the basis of the title, name of artist, medium, subject matter and composition.
13. Write a short notes on the following contemporary Indian Graphics:
(a) Whirpool (b) children
(c) Devi (d) Of Wall
(e) Man, Women and Tree
14. Write a brief role on the following paintings:
(a) Maglelan (b) Mother & Child
(c) Woman Face (d) Three Girls
(e) Gossip
15. Write a short notes on each of the following sculptures:
(a) Triumph of Labour (b) Santhal Family

***

15
SECTION - 2

16
 RAJASTHANI & PAHARI SCHOOL OF MINIATURE PAINTING

Ans.1 Rajasthan, the land of Rajas and Rajputanas in the land of „Romance‟ and „Folkfares‟
of „Bhakti‟ and „Love‟ of „Poem‟ and „Music‟ of „Beautiful Landscapes‟ and „Attractive
Natural Scenes and of „Festivals‟ and „Decorative Garments‟. Rajas were the lovers of poems,
music and paintings. That is why the Rajasthani paintings has the depiction of all of theses
things. As this School of Art was developed under the Rajpur Kings, it is also called as
RAJPUT ART of RAJPUT MINIATURES.

Initially Rajasthani style of painting was based on “Bhakti” inspired by the religious
followers of Ramanuja, like Sur, Meera, Ballabhacharya, Tulsi, Behari, Chaitanya
Mahaprabhu‟s poetry. After “Bhakti”, the theme of Rajasthani Paintings became Romance
and then folk dances and folkfares.

Mewar, that was not conquered by the Mughals was the first centre from where Rajasthani
School was developed and then it has spreaded its wings to Jaipur, Jodhpur, Ambar, Kota,
Bundi, Kishnagarh, Bikaner and other places of Rajasthan. Mewar painting were the mixture
of Gujrat and Jain paintings along with original Indian Art and were done is very large
number in Nathdwara. Nathdwara paintings on the love story of Radha & Krishna are very
famous.

Kishnagarh School of paintings developed in Kishangarh, ruled by KISHAN SINGH, eighth

son of Raja Uday Singh and this school was further promoted by Raja Raj Singh, father of
Raja Sawant Singh. During the period of Raja Sawant Singh famout with his pet name Nagri
Das as a poet, this school of Art reached to its climax due to his great love from poem, music
and paintings. „Radha or Bani-Thani‟ was the paintings of his time.

Central theme of Rajasthani paintings is love which conceived as the symbol of Union. The
lovers were always represented as Radha and Krishna. The figure of Krishna stands for over
should and Radha for the human soul.

The Rajasthan School of Paintings has no, of sub-schools, named after their origin places.
These are Mewar School of Art, Kishnagar School of Art. Jodhpur School of Art. Ajmer
School of Art etc. The paintings of these school have effect of their respective folk themes.

Ans.2 The characteristics of Rajasthani School of Art are as such:

1. Colour Scheme: Careful use of bright colours of Red, Yellow, Blue, Brown etc. Is the
main characteristics. Gold & Silver colours are also used in some paitings. White
colour is used directly, without mixing it with any other colour.
2. Nature’s Depiction: Trees, Floral Trees, Mounstains, Lakes and Water Springs are the
parts of nature depicted is Rajasthan Paintings.
3. Depiction of Women: Attractive women with long nose, little longer chin, well
cut lips, long tapering fingers and long hairs in decorative Lahenga-Choli with
transport Chunri are seen in Rajasthani Paintings. These depicted women are
compared with the women of Kangra.

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4. Symbolic Painting: many things are represented as symbols of some other things is
Rajasthani School of Painting. Fro example, Radha and Krishna are represented as
symbol of Soul & God.
5. Linera Beauty: Sharp & thin lines, full of softness, form the rhythmic and graceful
lines used in all the sub-schools of Rajasthani Paintings.
6. Landscape & Seasons Paintings: Beatiful Landscapes of differet seasons are painted
beautifully, Painting of “Barah Masa” is the depiction of twelfth month.
7. Folk Art: The folk dance and the folk dresses are the parts of Rajasthani Paintings.

8. Religious Themes: These themes are generally based on RAMAYANA & BHAGWAT
GEETA and are painted beautifully.
9. Literary Paintings: The themes based on the literary great “Geet Govind”, “Bhagwat
Puran”, Ragmala “Ragas & Raginis” have been beautifully painted in these paintings.
10. Night Scenes: Very attractive night scenes using black, smoke grey,white and yellow
golden colurs are the diagnostic features of Rajasthani paintings. For colouring the
Moon & Stars white colours is used.
11. Garments:
Ladies: Decorative Lehnga – Choli with transparent Chunri.

Males: Attractive Pajama – patka with high turbans and Jahbba are seen in Rajasthani
Paintings.
12. Size: Generally large sized paintings are favoured in Rajasthani School of Art.
Kishnagrh Paintingsare larger in size and are used as “Pichwayr” (Back Curtain) but
in Bikaner School, like that in Kota and Bundi School of paintings, both minia ture and
wall paintings are found.
13. Hunting Scenes: Influenced by Mughal School of Art, Rajasthani Paintings show
depicting of birds and animals in hunting scenes.
14. Festivals: Rajasthani Paintings have also the depiction of local & seasonal festivals,
painted in a beautiful style. These are the features that lead me to like the miniatures
of Rajasthani paintings.
Ans.3 Salient features of Rajasthani School of Art.
a) Theme : Scenes related to any of the religious, social court hunting. Season, rag
Ragini, Nayak & Nayak Head show the diversity in them.
b) Lines : Powerful & rhythmic lines.
c) Colours: Glowing bright colours in deep harmonious contrast.
d) Costumes: Traditional Rajasthani costumes such as Lehnga – choli with transparent
Chunni for ladies and Pajama – Patka with colourful Turbans and Jhabba for gents.
e) Human Faces: Shown from different angles.
f) Female Figures: are shown in detractive costumes with feminine charm in different
modes and moods.
g) Size: Large size paintings, used as “Pichwayi”(Back Curtain) are from Kishangarh
School of art which miniatures are from school of Art from Kota, Bundi & Bikaner.

Ans.4 Sub – School of rajasthani School of Art.

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(i) Mewar School of Art.
(ii) Bndi School of Art.
(iii) Jaipur School of Art.
(iv) Jodhpur School of Art.
(v) kishnagarh School of Art.
(vi) Bikner School of Art.

Ans.5
Sl. Miniatures or Paintings Artist Sub-School Painting Medium
No. of Art
1. Maru Ragini Shibdin Mewar Tempera
(water Colour) on
paper.
2. Raja Abiruddha Singh Hara Utkal Bundi Tempera on paper.
Ram
3. Chaughan Players Dana Jodhpur Tempera on paper.
4. Krishna Playing Fute & Nuruddin Bikaner Tempera on paper.
Dancing Gopalas (alias)
Ruknuddin
5. Rudha (Bani Thani) Nihal Chand Tempera on paper.
Kishangarh
6. Bhara Meet Ram at Chitrakut, Guman Jaipur Tempera on paper.
(a scene from Ramayana)

Ans.6 Any painting done in small size, in any media and on any surface is called miniature
painting.

1. Size: small sized

2. Surface: any surface-palm-leaves (tar-patra/Bhojpatra), a piece of cloth, a piece of
leather, Ivory or Cnvas.
3. Medium: Any medium-Tempera (water-color) Oil, Inks, Acrylic Oil, Etching
Lithograph etc.
4. Scene: Illustration of an story, scene from daily life or a portrait.
5. Schools:
i) The Pala School (11th to 12th Century)
ii) The Western Indian School (11th 10 12th Century) or Jain School of Art.
iii) the Mughal and Deccan School of Art (1560-1850 AD)
iv) Rajput & Pahari School of Art. or Rajasthani and Pahari School of Art. (16th
to 19th Century AD)
Ans.7
(i) Bharat Appeals Rama at Chitrakut or Bharat meets Rama at Chitrakut:
Artist: Guman
School: Jaipur
Medium: Tempera (Water Colour) on paper.
Period: 18th Century

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 Depiction – A scene from Ramayana, when Bharat comes to meet his elder brother
Rma in Chitrakut with his three mothers and Guru Vishwamitra.
Background: green colour in different shades.
Foreground: Ram, Sita & Lakshman standing in front of a hut against a green forest.
Nehind the hut are green banana tree.
Description of Theme:
49 figures in the centre of painting.
At one place, Rama laid himself preposterous to touch the feet of his guru
Vishwamitra while Lakshman was there standing ner by, facing Vishwamitra with
folding hands.
At another place, Rama can be seen meetig his mother.
Colour Combination: Very good.
Inspiration: Mughal paintings.

(ii) Radha (Bani-Thani):

Artist: Nihal Chand
School: Kishnagarh
Medium: Tempera (Water Colour) on paper.
Period: Circa, 1760 AD.
Depiction: The portrait of Bani-Thani,the court dancer Kishangarh as his model for
Radha.
Background: Deep Blue Colour.
Foreground: Radha‟s figure in peach colour.
Lines: Very sharp & thin.
Description of theme: The portrait of Radha is Angular and its shows:
a) Elongated face with high and sloping forehead.
b) Pointed and long nose.
c) Bulging out of well- cut lips.
d) Little longer chin.
e) Long black hairs, flowing down her shoulder to her waist.
f) Long tapering finger of right hand holding the edge of transparent orhni,
decorated with golden motifs.
g) Two pink – white coloured lotus buds in left hand.
h) White beads garlands around her neck.
i) Dress & jewellery of the taste & costumes of the contemporary Rajpur royalty.
Colour Composition: Very good and beautiful.

(iii) Maru Ragini:

Artist: Sahibdin
School: Mewar
Medium: Tempera (Water Colour) on paper.
Period: Circa 18th Century
Depiction: The king with his queen riding on a camel back.
Background: Yellow Green Colour.
Category: A Barah Mas Painging.

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 Description of theme: This miniature shows:
a) Camel – riding couple of king & queen.
b) King holding a flower in his right hand and looking at the queen who sat
behind the king on camel.
c) Two male escourts running along the camel – riding couple.
d) A hunting dog also seen running a head of two scotting males.
e) One male attendant leading the camel.
f) Well – decorated camel.
g) Dress of all the figures coloured in transparent white colour.
h) Deep blue sky.
i) Embossing of Maru Sri ragini on the top of the Painting.

iv) Chaugan Players:

Artist: Dana
School: Jodhpur
Medium: Tempera (water colour) on paper.
Period: Circa 18th Century
Depiction: Two princess playing Polo with their 4 maids.
Background: A flat green background.
Foreground: Light green landscape.
Description of theme: This miniature shows:
a) Two processes sitting on the back of two different horses, facing each other –
on upper section of painting.
b) Four horses with the 4 maids on their back, running in opposite direction while
the maids on those horses face each other like the pricesses.
c) Covering of the ball by all the six polo sticks.
d) Ladies figures – high rounded foreheads, eyes elongated over the temple of
hairs.
e) Skirts of ladies are bell – shaped, spread on the horses back.

(v) Krishna Playing Flute & Dancing Gopalas:

Artist: Nuruddin (Ruknuddin)
School: Bikaner School of Art.
Medium: Tempera (water colour) on paper.
Period: Late 17 century
Depiction: Flute – playing Krishna while Gopalas (Cowherds) dancing on its music
tune.
Background: Dark green coloured trees and dark clouds with lightening in sky.
Lines: Delicate lines with refined drawing.
Description: Flute-Playing Krishna has crown on his head while Gopalas are dancing
in different action. Radha and her confidante are watching and enjoying them from
her pavilion.
Colour Combination: The combination of green, yellow orange, white black and gold
colours is used that looks good.

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(vi) Raja Aniruddha Singh Hara:
Artist: Utkal Ram
School: Bundi School of Art (Rajasthani Paintings)
Medium: Tempera (water colour) on paper.
Period: 18th Century
Depiction: The prince Aniraddha Singh Hara on the back of fast running white horse.
Background: Deep Blue – Black.
Figure: Ek – Chasm (Single Eyed)
Description of theme: The prince is seated on the back of fast running white horse
with horse reins in his left hand. He holds a flower near his chest Prince‟s Cap and
dress is well decorated. The dress of prince is of transparent light coffee colour and
orange pajama. The uplifted front legs and tail of horse shows fastness of running
hour.

Ans.8 The Pahari Schools:

The Pahari schools of Art comprises different Sub-Schools of at falling under the Pahari
regions such as Himachal Pradesh, Jammu area of Jammu & Kashmir State, Garhwal in
Uttranchal state and some adjoining areas of Punjab. Shifting of many Rajasthani artists due
to the fear of Mughals in these areas rules by war-loving Rajput Princes, make them centre of
great artistic activities from the later half of 17 century to the Middle of 19th century.

Characteristics of Pahari School:

1. Linear Beauty: Fines lines are used for displaying rhythm and smoothness of
painting. The finest lines have been used in drawing eyes to make it praiseworthy.
2. Description of Nature: Flowering Tress, Mountains, Rivers & Tanks with flowers and
aquatic birds from the landscape and this landscape have also the rainy sea son with
clouds lightening and rainfall.
3. Female Figures:
Nose: Always inline with the forehead.
Eyes: Long and narrow, love born eyes.
Chin: Sharp.
4. Romantic Scenes: “Krishna in the company of Gopis” is in a grove of bank of a river.
Krishna: Symbol of God.
Heroin: Symbol of Soul.
5. Garments:
For Women: Choli, Lahanga and transparent Chunni.
For Men: Angrakha, Pajama & Turban.
For Krishna: Pitmabar (Yellow)
6. Depiction of Animals & Birds: Deers, Swans, Cranes etc. are the parts of Pahari
Painting.
7. Use of Gold & Silver Colours:
i) in designing ornaments and garments.
ii) in painting sky.
8. Use of Borders:
i) Red borders in distinct one in Pahari miniatures.
ii) Ornamental borders of Mughal style are also used.
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9. Perspective & Colours:
i) Major coloures used are bright ones-Red, Blue & yellow.
ii) Minor colours are pink green, mauve and grey.
The combination of colour is very beautiful. Perspective has not been given much
importance.

10. Painting Theme: Generally Folk in nature.

Sub – Schools of Pahari Art:
1. Basohli:
(a) Character: i) Vigorous and bold in lines.
ii) Strong glowing colours.
iii) Monochrome background.
iv) Lure eyes or love corn eyes.
v) Use of beetle‟s wings for ornaments.
vi) Narrow sky.
vii) Red border
(b) Patronage: of Raja Kripal Pal.
(c) Propogator: artist Devidas
(d) Paintings: i) Series of Rasmanjaro by Devidas (1694 AD)
ii) Series of Gita – Govinda by Manaku (1730 AD)
(e) Region: Bsholi.

2. Guler:
(a) Character: i) Fine lines.
ii) Soft and cool colours.
iii) Naturalistic style influenced by Mughal painting of the
Muhammad Shah Period.
(b) Paintings: i) Portraits of Raja Balwant Singh by Nainsukh.
ii) Portraits of Raja Goverdhan Chand of Guler.
iii) Series of the Bhagavata, the Geta Govinda.
iv) Satsai, Baramasa are other paintings.
(c) Period: Mid of 18th century.
(d) Region: Jasrota & Guler.

3. Kangra:
(a) Characters: i) Delicacy of drawing.
ii) Quality of naturalism.
iii) Strong glowing colours.
iv) Bold lines.
v) Nose almost in the line of forehead in female.
vi) Long and narrow eyes.
vii) Sharp Chin.
(b) Patronage: Maharaja Ranjit Singh of Punjab.
(c) Propagator: Nain Sukh Family.
(d) Period: Last quarter of 18th century and beginning of 19th century.
(e) Region: Kangra, Chamba, Guler, Basholi, Jammu, Garhwal.
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 (f) Paintiing: Portrait of Raja Sansar Chand, a festival in court of Raj Sansar
Chand of Kangra.

4. Kulu – Mandi:
(a) Characters: i) Folk style of painting.
ii) Bold drawing
iii) Dark and dull colours.
(b) Patronage: Rulers of Kulu & mandi.
(c) Propagtor: Rulers of Kulu & mandi.
(d) Period: Last quarter of 18 century.
(e) Region: Kulu & Mandi.
(f) Painting: Krishna lifting the Goverdhan Parwat, Portraits.
Other Sub-School of Pahari School are:
5. Jammu Kashmir
6. Garhwal
7. Punjab.

Ans.9
(a) Krishna with Gpopies:
Artist: Unknown.
Period: 1730 AD.
School: Basohli School of Art.
Medium: Tempera (water colour) on paper.
Depiction: Gopis are shown adoring Krishna.
Background: Charming forest of Vrindavan (Orange Colour)
Foreground: River Yamuna.
Description: Two Gopis are embraced by Krishna while one is reverently touching
his feet and another one is holding a white “Chauri”.
(b) Raga Megha:
Artist: Unknown.
Period: 1785 – 90 AD.
School: Kangra School of Art.
Medium: Tempera (water colour) on paper.
Depiction: Lord Krishan dancing with Radha.
Background: Black and gray clouds with two spiral shaped lightning with four while
swans are flying.
Foreground: A large platform.
Description: Thin lines are used. Three other Gopies are seen with Krishna & Radha.
One is with Dholak. One with Mangira and one with Veena.

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 THE MUGHAL & DECCAN SCHOOL OF MINIATURE PAINTING
(16TH AD TO 19TH AD)

Ans.1 Mughal School of Art is nothing but a combination of Rajasthani Art and Persian Art.
In other words it can be said that Rajasthani Art (India Art) got well refined and polished by
persona Artists with the help of Indian Artists.

Mughal art was originated under the protection of Mughal rulers of Timur dynasty in
Bukhara and Samarkand and Bihzad, known as “Raphaeal of the East” and painter of the
court of Sultan Hussain Mirza, was the best artist of his time Later on he served in the court
of safavid Shah Ismail.

Babar, despite his great liking of paintings did not do anything on painting as he was mostly
in the battle field. Humayun who was pushed out of India by Sher Shah Suri had two
famous artists in his court-Meer Saiyad Ali (of Yabrez) and Khwaja Abdussamad (of Shiraj)
from Bihzar School of Art. „Dastan-E-Amir Hamza‟ is the painting of his life time.

Akbar, son of Humayn, was a great lover of Art and Architecture as well as of Sculpture. He
organized the mughal School of painting, recruited artists from all over India and gave the
Mughal painting its Golden period. About 1400 events were painted during that period
according to Ain-e-Akbari of Abu Fazal. Painters of his time were Bihad, Bhag, Mir Syed Ali,
Khawaja Abdussamad, Miskin, Duat, Kesu, Lal, mansur, Dasvanth etc.

During the period of Jahangir, son of Akbar, the Mughal miniatures reached a very high
level of excellence. Portrait paintings become very popular while a large number of paintings
were also found on birds, animals and flowers. Even some ladies portraits were found.
Famous painters of his time are Ustad Mansoor, Abdul Hassan, Bichitra, Bishan Das, Bal
Chand, Mukhils, Raza, Bhim etc.

Shahjahan, the son of Jahangir, was not a lover of painting as his father was. He was lover
Architecture. The art of painting saw a downfall in the time of Shahjahan because of the
traditional and hackneyed style.

The fanatic Mughal ruler, Aurangzeb was the son of Shahjahan and was such a better enemy
of painting and music that os why most of the artists took the shelter in hills where they
organized a rare new style of painting, now-a-days known as Pahari School of Painting.

In this way the Mughal School of painting saw its end. Bahadur Shah revived the Mughal
painting with a major improvement in painting quality. But this did also not last for a longer
period and soon its downfall started with the death of Bahadur Shah.

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Ans.2
Jahangir

Akbar Shahjahan

Humayun Aurangzeb

Babur Bahadur Shah Zafar

Ans.3 Mughal Painting is the painting (originated, improved and saw the downfall during
the Mughal period itself. Mughal Painting had the combination of Indian Paintings
(Rajasthan Painting) and Persian Painting. The characteristics of Mughal Art.

(a) Face Profile: EK-Chasma (Single-end) face with full or half body-figure. Rarely Ded-
chasma (One and half eyed) face.
(b) Decoration: Decorated wphornamental borders. Some paintings have dominance of
border decoration.
(c) Royal Splendor: Mughal paintings have the figure of the emperors to give them
Royal Splendor.
(d) Historical Scenes: Mughal paintings of Akbar‟s time have the historical scenes.
Example – Kissa-Amir-Hamza
(e) Fine Line Drawing: Beautiful thin and thick lines are used for showing minute
details.
(f) Portrait Painting: Mughal painting are famous for portrait paintings. Even portrait of
saints have also been painted along with emperors.
(g) Garments:
Female Garments: Beautiful and ornamental summer garments with transparent
Chunnis.
Male Garments: Well decorated Angarkhas and churidar pajamas with typical turban
over the head.
(h) Religious Themes: Mughal painting have the religious depictions of the Ramayana,
The Mahabharata, the Nal-Damyanti, The Panchtantra and Arabian and Persian
episodes.
(i) Nature: Beautiful depiction of trees, plants, rivers, mountains along with hunting
scenes and battle scenes.
(j) Ornamental Designs: Beautiful ornamental designs including geometrical and floral
designs on well of palaces, ceiling and floors.
(k) Colours: Careful use of gold & silver colour in Necklaces and foot wears in paintings
with golden border is wonderful. Mostly attractive mineral and natural colours are
used carefully.
(l) Expression of Ideas: The depiction of emperor, peons, servants, boatmen in different
mood, such as sad, restless, happy nervous. Obedient are noteworthy.

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(m) Calligraphy: Birds: Mughal art is also famous for depiction of animals (Elephant
fights, Camel).
(n) Animals & Birds: Mughal art is also famous for depiction of animals (Elephant fights,
Camel Fights etc.) And birds (Falcon on a bird rest).

Ans.4 We like miniature painting of Mughal School of Art due to

(a) Fine portrait are delineation.
(b) Mostly one – eyed face.
(c) Royal splendors with depiction of emperor in most painting.
(d) Mineral and natural colour with necklace and foot wears in gold and silver colour.
(e) Depiction of animals and birds.
(f) Depiction of court scenes, hunting scenes, battle scenes.
(g) Decorative and ornamental garments.
(h) Well-delicate figures and architectural forms.
(i) Presence of religious themes from Ramayana Mahabharata, Panchtantra, Arabic &
Persian episodes.
(j) Border decoration with Arabic Script.
(k) Beautiful calligraphy with Arabic Script.
(l) Use of stripling (pardaz) and delicate shading.
(m) Naturalistic treatment of landscape.

Ans.5 The following is a short list of painters of Mughal School and their paintings:
Painter Paintings
1. Miskin Krishna lifting Mount Goverdhan
2. Jagnath Baber crossing the river Sone over a Bridge of
Boats.
3. Abul Hasan Jahangir holding a picture of Madona
4. Ustad Mansoor Falcon on a bird-Rest.
5. Ustad Faquirullah Khan Kabir and Raidas.
6. Haji Madani Dara Shokoh Ki Barat.

All these paintings were painted by Tempera (water colour) on paper.

Ans.6 (a) Dara Shikoh Ki Barat (Marriage Procession of Dara Shikoh)

Artist: Haji Madani
Period: Circa 1750 AD
School: Oudh Mughal
Medium: Tempera (water colour) on Paper.
Subject Matter: Horizontal Painting. An alert Dara Shikoh riding on a decorated horse
with his father on another decorated horse just behind him is
accompanied by royal people horses and on foot while proceeding
towards Brode‟s House. In painting, the barat‟ (marriage processing) is
seen received by a large joyful gathering of men and women. All the
figures are Ek-Chasm.

27
Composition: Thin and thick lines are beautifully used. White, Red, Green Maroon,
Turquoise blue with a touch of Greyish black colours are used. Gold
Colour is also used for matter of importance. Border is well decorated.

(b) Kabir and Raidas

Artist: Ustad Faquirullah Khan
Period Circa 1640 AD.
School: Shahjahan School
Medium: Tempera (water colour) on Paper.
Subject Matter: Horizontals Painting. The saint Kabir is in meditating mood while
weaving a garment on his loom and saint Ravidas, in the same mood, is
seen sitting close to him.
Composition. Fine thin and thick lines in Blue and Brown colours are used for painting
while fine Light Brown and shades are used for making border.
Point of Appreciation:
(i) Simple and peaceful life of Indian villages are shown.
(ii) Saint Kabir in weaving work shows that „work is worship;
(iii) Colours are also very attractive.

(c) Falcon on Bird - Rest

Artist: Ustan Mansoor
Period: 1618 – 1619 AD. Circa
School: Jahnagir School
Medium: Tempera (water colour) on Paper.
Subject Matter: This painting was painted by Ustad Mansoor on demand of Jahangir
and in memory of the Falcon brought from Persia and mould by cat to
death. The painting shows the falcon sitting on a cushioned bird-rest
and its one of the cruel eyes in seen.
Composition: Fine thin line are used for painting the Falcon which is painted white
against a yellow background with brown details of its folded wings & a
sharp beak. Its round vigilant eye is painted in light brown and yellow
ocher deep colour.
Speciality: Three words:
(i) Jahangir Patashah at top
(ii) Bahari near the Falcon.
(iii) Uttam on the bottom.

(d) Krishna lifting the Mount Goverdhan

Artist: Miskin
Period: 1585-90 AD.
School: Akbar School
Medium: Temper (water colour) on Paper.
Subject Matter: Vertical Painting. Mount Goverdhan is lifted by Lord Krishna on the
little finger of his left hand for providing shelter to the “Brijwsi”, who
are seen gathered with their cattle under the mountain Gverdhan, from
deluge caused by angry Rain God Indra. Figures are ded-Chasm.
28
Composition: Blue colours is used for sky and dark blue colour is used for painting the
mountain. Large sized Lord krishna‟s garments are painted Pitambar
(yellow) with large garland of white flowers on it. On the right side of
Krishna a tree is shown with bright green colour.

(e) Jahangir Holding the Picture of Madona

Artist: Abul Hasan
Period: Circa 1620 AD.
School: Jahangir School
Medium: Tempera (water colour) on Paper.
Subject Matter: Young handsome Jahangir is shown holding the picture of Madona in
his right hand, inicating the love for all religions, even for the Christian
Missionaries. Jehangir is wearing a red turban.
Composition: Elegant border and beautiful calligraphic in Nastaliq script on all slides
of painting. Border highly decorated and is well balanced with flowers.
Ans.7 The Deccani School of Art was developed in the different areas of Deccan, Ahmed
Nagar, Bizapur, Golconda, Hyderabad and Tanjore with an influence of Mughal Style of
painting on already existing early style of Deccani paintings, introduced by several Mughal
painters who migrated to Deccan during the Period of Aurangzeb. From Deccan, the Mughal
style of painting was spread to North.
Characteristics of Deccani Schools:
Colours: Rich and brilliant – Gold, Blue, Orange etc.
Nature: has Persian influence on high horizon, gold sky and landscape.
Drawing: Bold, graceful shadings.
Features: Costumes and Jewellery of ethnic type flora and fauna are prominent.
Painting: Decorative paintings with flower beds.

DECCANI SCHOOLS
(a) Ahmed Nagar School:
Characteristics: (i) Colours and brilliant.
(ii) has Persian influence.
(iii) high horizon, gold sky & good landscape.
(iv) Female costumes of northern style with a long scarf of southern
fashion.
Painting: (i) Hindola Raga
(ii) Burhan Nizam Shah It‟s portrait &
(iii) Malik Ambar.
Period 1590 – 1610 Circa.

(b) Bizapur School:

Characteristics: (i) Colours rich and bright.
(ii) Depiction of Palm trees, animals, men and women.
(iii) Long & slender lady figure in Southern dress with influence of
Lepakshi mural painting.
Painting: Throne of Prosperity.
Period: 1558 – 1627 AD.
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Patronized by: Ali Adil Shah (1558-80 AD) and Ibrahim II (1580-1627 AD)

(c) Golconda School:

Characteristics: (i) Colours – Lavish use of gold colour in architecture, costumes
and Jeweller etc.
(ii) Decorative dress of male (Sherwani) and female.
(iii) Depiction of garden.
Painting: (i) “Lady with the Myna bird”.
(ii) “Chand Bibi Playing Polo (CHAUGHAN)

Period: 1590 AD – 1611 AD.

(d) Hyderabad School:

Characteristics: (i) Colour and bright.
(ii) Ethnic types costumes, jewellery, flora, fauna, landscape.
(iii) Decorative style of painting.
Painting: “Princess in company of Maids”
Period: Third quarter of 18th century.

(e) Tanjore School:

Characteristics: (i) Colours: Bold drawing in pure and brilliant colours with
involvement of techniques of shading.
(ii) Decorative with typical Tanjorian Conical Crown.
Painting: Ram and Sita on Crown, accompanied by his brother and a lady along
with Rishis, countries and Princess in the backgrounds and Hanumana
& Sugriva on foreground.
Period: 18th Century.

Ans.2(a) Raga Hindola

Painting: A Deccani Painting of Ragamala Series
Artist: Unknown
Medium: Tempera (water colour) on Paper.
Period: 1590 – 1595 Circa
School: Ahmadnagar School
Composition: (i) Use of Orange blue, gold, golden yellow and cream colours.
(ii) Bold line drawing.
Depiction: A woman seated on a swing with her lover during holi Festival, marking
the celebration of spring season and festivity.

(b) Chand Bibi Playing Polo (CHAUGHAN)

Painting: A Deccani Painting.
Artist: Unknown
Medium: Tempera (water colour) on Paper.
Period: 18th century.
School: Golkonda School
Composition: Use of Green, Yellow, Brown & Blue colours.
30
Depiction: Chand Bibi Playing Polo with her companions. Two white and two black
horses are seen being used for polo playing. One lady standing in the
middle.
Backgroud: Rocks, huts and trees.
Foregroung: Silvery grey lotus lake with aquatic birds.

***

31
 BENGAL SCHOOL OF PAINTING & MODERN INDIAN ART

Ans.1 After learning the techniques of Art in Europe, Gurudeo Rabindra Nath Tagore had
spread the effects of new experiments. In new style, the artists started painting for his
pleasure and satisfaction and do not care for other‟s likeness. They lay stress on
impressionism in which they gave new and metaphysical shape to their painting objects by
their own typical imagination for having a separate entity.

The colour, compositional contrivance and texture have the specific touch and effect of the
painter or artists since the days of Ravi Verma, Ravindra Nath Tagore and his followers and
even Amrita Shengill, almost every artists of repute began with one kind of representational
or figurative art or other finged with impressionism, expressionism and port-expressionism.

Practice of continuous elimination and simplifications through cubism, abstraction and a

variety of expressionistic trends, the artists reach near non-figurative and totallynon-
figurative levels. There are three new major trends in modern art:

(i) Main Theme: projection of disturbed social unrest and instability with the
predicament of man.
(ii) Throught: Interest in Indian thought and metaphysical, manifested in the so called
“TANTRIK” painting.
(iii) Painting: has symbolic import.
Two other latest trends in paintings are
(a) Vague surrealist approaches and
(b) Fantasy.
The movement of modern painting was originated in Bombay and was flourished in other
parts of India with Chandigarh in Punjab as most powerful centre of Architecture with
purity of form and textural juxtaposition in the 19 th century two factors resulted in the birth
of new concepts for Art. These are invention of Photography and advancement of colour
science of the impressionism.

Ans.2 Abaindranath Tagore, Nandlal Bose, Gangadhar Nath Tagore, Abdur Rahman
Chughatai, Amrita Shergill, Rabindra Nath Tagore, M.F. Hussain, Tyeb Mehta, Satish
Gujrall, Som Nath Hore, N.S. Bendre, D.P. Roy, Shaloz Mukherji, Ramkinkar Vij.

Ans.3 Approach to the painting and the style chosen by a painter depends on his personality
and on the influence of the times. The major techniques of paintings are.
(a) Graffito: The drawing scratches on wall or similar surface by removing the top layer
with a pointed instrument for revealing the different colour beneath it.
(b) Oil Painting: Slow drying Oil paint (Colour Pigments mixed with stickily linseed oil)
mixed with Turpentine oil is used for painting in dark to light shade.
(c) Water Colour: The difficult medium, water colours are applied on paper with a
technique involving lighter shades to darker shades of colour.

32
(d) Wash Painting: This involves the several times washing to the painted places on
paper, followed by applying of same colour to that place for having a natural effect.
(e) Fresco: This technique involves permanent forms of wall painting by applying the
paints to fresh wet plaster. Janta Caves paintings are great master piece.
(f) Mural: Wall sized paintings fixed on a wall in parts.
(g) Etching: It is the linear technique that belongs to the graphic art rather than painting.
(h) Mosaic: It is the laborious technique which involves the tracing the designs on the
wall surface and coloured with glass, marble etc pressed into the cement.
(i) Gauache: This technique involves painting by Gouache, an opaque water colour
mixed with glue and honey.
(j) Tempera Painting: This technique involves the use of powder colours mixed with
fresh eggyolk or glue and diluted with water.
(k) Pastel: In this technique sticks of dry powdered colour (PASTELS) are used by mixing
it with oil gum or wax.
(i) Glass Painting: Synthetic and water proof colours are used for painting on glass.

Ans.4 Bengal School of Art is a milestone in the history of Indian Art as it set the Renaissance
of Indian Painting, spreading it every corner of the country.

It was Mr. E.B. Havell who with Abanindranath Tagore and Gaganendra Nath Thakur
established this school, gully based on Indian traditions. In 1907, Havell and Gangadhar
Thakur started: Indian Society of Oriental Arts “with 30 Birtisheres and 5 Indians working in
it under the Directorship of Lord Kitchner. Later on, in 19087 a painting exhibition was
organized to display the paintings of Abanindranath Tagore, Nand Lal Bose, K. Verkatappa,
Gagnendranath Thakur and Shailendra Nath De. These artists were praised and encouraged
by Mr. Parsi Brown, John Woodruff, Mr. N.C. Mehta and Mr. O.C. Ganguli.

In the mean time Lady Haringhem came to India and got the paintings of Ajanta Copied by
Nand Lal Bose, Asit Kumar Haldhar and K. Venkatappa. She got these paintings publishe
din the: Indian Society London”. Copying of Ajanta paintings wall followed by the copying
of the paintings of Bagh Cave. Ishwari Prasad of Patna School painted several religious
themes in Calcutta.

The Indian painting got their due respect and fame in foreign when Sri Anand Kumar Swami
arranged several exhibitions of these paintings in those countries. Once the Indian paintings
came into lime light, special art Centres were started at Mumbai, Chennai, Delhi, Punjab,
Gujarat, Luknow, Jaipur, Hayderabad etc.

Devi Prasad Roy Chaudhary, Abdur Rehman Chugtai, Yamin Rai, Asit Kumar Haldhar,
Ravi Shankar Rawal, Sharda Charan Ukil and Amrita Shergil made the Bengal School of Art
famous by using different experiments in foreign techniques with Indian tradition in mind
and this led to origin of a new style.

Ans.5 These are the following subject matters used by the painters of Bengal School of Art.

33
(a) Historical Paintings: Themes of paintings were chosen from historical events. „Tishya
Rakshia‟ and „Buddha and Sujata‟ are famous paintings of Abanindranath Tagore
while “Akbar” and “Kunal” of Asit Kumar Haldhar are also famous ones.
(b) Religious Paintings: religious themes – “Mahakali”, “Shiv-Krishna and Gopis” and
may others were painted.
(c) Literary Themes: “Meghdoot” of Ashit Kumar Haldhar was one of the most famous
painting based on literary theme.
(d) Social Life: Daily life of the society is the main theme of painting in this school
“Hardware merchant”, “Beggar”, and “The Last Journey” are the famous paintings.
(e) Birds and Animals: Beautiful and expressive paintings of animals and birds are very
touching. Depiction of Camel in “The Last Journey” gives a wonderful sight.
(f) Landscape Painting: Beautiful landscape paintings with sue natural scene were
painted.

Ans.6 Characteristics of Bengal School of Art:

1. Linear delicacy, rhythm and grace of Ajanta paintings.
2. Full of Indian Traditions, Cosets, cultures.
3. Simple and normal painting – easy to understand.
4. Attractive colour scheme, use of bright and gaudy colour with soft touch. Wash
technique is also used.
5. Impact of Mughal and Rajasthani paintings.
6. Delicate exhibition of light and shade.

Ans.7 Towards the end of 18th century there was decline of Mughal and Rajput School of
painting and the British empire was on its peak in India. The Principal of Madras School of
Art, Mr. E.B. Havell was transferred to Calcutta. Where he met two of great Indian Artists
Abanindra Nath Tagore and Gaganendranath Thakur. These three persons are said to be the
persons behind the rise of Bengal School of Art, ment for regenerating a national style of Art
in Paintings. Later on Nand Lal Bose, Asit Kumar Haldhar, K. Venkatappa, Devi Pd. Roy
Chaudhary, Abdur Rehman Chugtai, Ravi Shankar Rawal and Amrita Shergil did different
experiments by combining foreign techniques with Indian traditions to give this school a
new dimension.

Ans.8 The exponents of the Bengal School, charged with the newly awakened sense of
Nationalism, selected their themes from Indian classics, Mythology and the glorious past to
regenerate the wave of patriotism through out the country and to reestablish the values of
Indian culture. That is why this is called the RENAISSANCE OF INDIAN PAINTING.

Nand Lal Bose’s name is synonym with painter of Indian National Movement and Indian
National Congress as he painted the portraits of National leaders & Swarajya movement and
decorated the congress pandals such as at Haripura (Bengal).

Like Nand Lal Bose, some other painters such as Rabindra Nath Tagore, Asit Kr. Haldhar
painted a number of themes related with fight for Independence. Their paintings of social
unrest of British regime awakened the masses to go for tisgoal. “Swaraj is our birthright”.

34
Ans.9 Painting: The Evolution of Indian National Flag.
Artist: Unknown
Medium: Coloured cloth
Period: 1906-1921-1947.
Description: The painting bears three different kinds of Indian National Flag hoisted
at three different times.
First Flag: Hoisted in 1906has strips of three colours.
Top Strip: Red coloured strip with eight white lotuses embossed on it.
Middle Strip: Yellow strip with word Vande Matram is dark blue colour in Devnagari.
Bottom Strip: Green strip with a white sun on left and white and a white crescent
moon with a star on right side.
Second Flag: Prepared in 1921 by the Congressman under the leadership of Mahatma
Gandhi at All India Congress meeting at Bezwader. (Vijaywada).
Gandhiji added a middle white strip to the originally two coloured top
red and bottom green coloured flag presented by an Andhra Youth.
Red coloured strip: represented Hindus.
White coloured Strip: represented Muslims.
Green coloured strip: represented rest community.

Gandhiji also added the “Charkha” in the middle of white strip, as a symbol of progress.
Third Flag: Hoisted on July 22, 1947 as a flag of free India‟s National Flag and thenadopted
by Constituent Assembly.
Significance of tricolors remain same.
„Charkha‟ in the centre of white strip is repladed by Dharma Chakra of Emperor Ashoka.
Ashoka Chakra has 24 spokes and its cdolour is blue.
Significance of colours of tricolours:
Top Strip – Saffron: Courage & Sacrifice.
Middle Strip – White: Truth & Peace.
Bottom Strip – Green: Faith & Chivalry.
Dharma Chakra in centre of white strip is blue in colour and is meant for work for 24 hours.

Ans.10 Painting Name: Rama vanquishing the Pride of Ocean.

Artist: Raja Ravi Verma.
Period: Mid 19th century.
Medium: Oil on Canvas.
Colour Composition: Brown, Blue, Yellow and Peach Colours.
Line Drawing: Bold Line.
Description: The painting is based on the episode of Valmiki‟s Ramayana where Rama
threatened Varuna (The God of Ocean) while the angry Ocean was preventing the attempts
of Rama and his army for building a bridge to reach Lanka for recovering his wife Sita. The
painting is realistic with Indian mythology but colours are of European effect.

35
 Ans.11
Title Standing Woman Cries Unheard Ganesha Figure Chatturmukhi
Artist Dhanraj Bhagat Amarnath P.V. Jankiram Sankho Aekka Yada Giri Rao
Sehgal Chaudhary
Medium Bronze Bronze Wire, Tin & Wood Stone
Oxidized Copper
Period Modern Period Modern Period Modern Period Modern Period Modern Period
(1970s)
Subject Simplified Three standing Ganeshan in sitting Lady making a Two square platform.
Matter elongated and figures of a pose with left food pose for fashion On the second
“slim figure of a family in down and right one show with arms platform this
woman in relaxed distress raised is folded near the on the back side of sculpture is made
tribhanga posture their hands right knee. One of the head. Rob like with two circular
towards the sky, the right hands hold cylindrical waist. form, one at top and
asking the help the lotus and another at bottom
from God. another Sitar. One of male & female figures
the two left hands are engraved giving
holds Ankush while the name
another one is in Chatturmukhi.
visible.
Composition Cast in Bronze, Cast in Bronze Composed of wires Solid single piece Stones with smooth
beautiful textured soft textured and tins. Colours – of wood standing textures were used.
surface, overall surface Grey, black and vertical. Well
softness brown colours were glazed in light
used. brown wooden
colours.
Ans.12
Title Journey’s End Radhika Parthsarthi Diagonal Birth of Poetry Untitled Mother
Teresa
Artist Abanindranath Md. Abdur Rahman Nand Lal Bose Tyeb Mehta K.K.Hebber Gulam M.F.Hussain
Chugtai Rasool
Santosh
Medium Water Colour & Water Colour (wash) Water Colour Oil on Oil on Convass Acrylic on Water
Tempera & Tempera (wash) & Tempera Convass Convass Colour
Period 1937 AD Modern 1912 AD 1973 AD 1950-1979 AD 1989 AD 1997 AD
Subject Loaded Camel, Painting of a typical Lord Krishna is Combination On the left of Painting of Sitting under
Matter in the Indian Girl standing depicted as Saarthi of both sad, thetrunk Tantra white the Pavillion
foreground, is in a room with her of Arjuna, Right shown by dividing the figure is of a Church,
seen about to head down in both of hand of Krishna is gloomed faces convas in two sitting in Mother
fall. Impression her hands and lotus in Upadesh Mudra of un parts is a hunter Padmasana Teressa is
of Desert has a flowers with left while the left hand individual trying to kill with head seen holding
very mystival hand near the neck holds the riens of and joy, birds. On the shown in a child in he
effect. and right hand is chariot‟s horses. shown by right side of parabola lap, blessing
folded. In the Krishan is seen oscillating trunk is the having him with her
background is a wearing a kundal in heavy limbs. image of multicornere left hand
burning lamp with ear and Garland in Valmiki, coming d star inside which is on
dead insect around. his neck. out from river it. This the head of
Dress: blue Coloured after bath. This parabola is child. She is
Lahnga, a red blouse painting is attached seen in white
and a yellow orange based in his first with a coloured
saree. Sanskrita Sloka. rhombus on saree with
two circles. blue border.
Red, brown and Lines are thin and Image of Krishna Square Bright colour of Light yellow Lines are
yellow orange sharp. Rhythmic has the grace, shaped orange, green and orange bold & sharp
colour for expression. Hairs are dignity and painting in blue colour with coloured and full of
giving the painted grey, black. serenity. Lines are yellow colour light and dark figure on expression.
sunset with & brown. The very sharp, thin and clear, brilliant tone are used. grey colour Light and
wash technique. painting is of wash smooth. Colours – tantalizing background dark tone of
technique. Brown colour is visual. colours can
used for lines light Colours-Pink, be seen.
washes of yellow grayish,
ochre, Naple black, blue.
Yellow, Orange &
Brown are used.

36
Ans.13
Title Whirl Poo Children Devi Of walls Man, Woman & Tree
Artist Krishna Redyy Somnath Hore Jyoti Bhatt Anupam Sud Laxma Goud
Medium Etching Etching & Aquating Etching Lithograph Lithograph
Period 1962 1955-1970 1965-75 1982 Modern
Description The print is Three emaciated with This etching This lithograph The vertical graphic
etched on a zinc bloated stomachs and print shows print depict a lady print has three trees in
plate in which thin ribs are shown Devi as power sitting on a pavilion background white is
water pool was with telling effect of of worship and of the wall on one foreground a lady in
shown with hungry children. the hidden side, while on one saree-blouse and a
tumultuous Their mother is power of side, while the folk man is T-shirt are seen
waves, shown having her kundalini that art is printed on the engaged in falking.
converging at protective and caring can be seen other side of wall. They seen to be south
centre and hand on their resting at the This folk art are Indians. Some
ripples in shoulders. In the lowest end of simple doll – like or flowering plants and
background and foreground a semi the spine coiled childish drawings. small threes are there
foreground. clad child is standing like a female In foreground two is the front of man.
Different shades wearing a necklace. senkant. This leags and a foot is Light blue and green
of blue and Different suitable power can rise visible as a man colours are used.
green colour was tomes of blue grey by “Tantra”. sleeping near the
used to show are used for under Tones of sap wall. Wall is painted
forceful water nourished children green are used in brown colour and
movement. from poor deprived on each side of line of folk art is
society. Devi‟s head. On drawn is white.
the forehead of
Devi is a
brilliant
vermillion
Bindi.

Ans.14 (a) Magician painted by Gaganendranath Tagore by Tempera (water colour) on

paper in early 20th century.

The painting depicts the Magician in full robes and the red flower provides a stable stage to
his domineering image. The queen‟s figure seems to placed behind a screen made of wood
and glass located in the centre. Queen is in Japanese dress.

The painting is well balanced in colour and form which is wonderful play of shades of
brown, off white & red colours

(b) Mother and Child: painted by Jamini Roy, a contemporary (Modern) painter with
Tempera (water colour).

This vertical painting depicts a mother holding her son with her left hand on the left side of
her waist. She is in dancing pose with her right hand blessing he son. Her cup shaped face
has identical eyes. Son has also identical eyes with thick eyebrows. The child is totally naked
while mother is fully covered in saree. On one side a flower plant is seen. Both mother nd
child is well decorated in ornaments. Mostly green, red, yellow ochre colours are used.

(c) Women Face: Painted by Rabindranath Tagore with water colour and inks in 1930-
1940 AD.

37
This almost square painting shows the face of a typical woman with her head covered by her
saree. This extremely simple drawing shows talking lips and unbalanced eyes on the soft
face of woman.
(d) Three Girls: Painted by Amrita Shergil with Oil on canvas in 1935-40 AD.
The painting shows triangularly placed three yound girls under the burden of their uncertain
future and hopelessness accompanied by sadness as their downcast eyes and helplessly
placed hands in their lap indicate. Girl on the left with slightly dark complexion is in light
pink kurta with blue print and light green Dupatta. Girl on the right has pale complexion
and is dressed in salwar kameej and Dupatta, all painted I different shades of red. Third Girl
in centre is dressed in crannies pink dress.
(e) Gossip: Painted by N.S. Bendre with Oil on Canvas in 1955-65 AD.
This vertical painting depicts three village girls gossiping with each other near a pond and
their pitchers are near their feet. The girls are thin and are dressed only in sarees. In
background warm summer colours are used which includes Bold patches of yellow ochre,
off white and grey light green and burnt sienna are used on the ground.

Ans.15 (a) Triumph of Labour: Sculpted by D.P. Roy Chaudhary by using Bronze and
cement in 1953 AD.
The sculpture shows four laborers moving the block of stone with the help of wooden logs in
a hilly area. They are wearing only coin cloth and two of them have covered their hands by
cloth.
(b) Santhal Family: Sculpted by Ram Kiner Vij by using cement and concrete in 1938
Ad.
This is rough textured group of Santhal family with its multiple figures and strong
movements finally contrasted with the state peace of its environment. This sculpture is of the
road which carries with the movement of rod and such animation primitive people, moving
towards the new destination. Everyone is carrying part of their meager belongings in their
hand and on head.

***

38
 Previous Year Question Paper
SET-I
Code No. 68
 Please check that this question paper contains one printing page.
 Code number 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 check that this question paper contains 6 questions.
 Please write down the serial number of the question before attempting it.

COMMERCIAL ART (Theory)

(History of Indian Art)
Maximum Marks: 30
Time allowed: 1 hours

General Instructions:
(i) All the six questions are compulsory, which carry equal marks.
(ii) Answers be written for question no. 1 and 2 in about 100 words each and for question
no. 3 and 4 in about 20 words each.

1. Appeciating any one of the following miniature paintings of the Rajasthani/Pahari

School, based on its (a) Artist‟s name (b) Subject-matter (c) Name of the school and (d)
Composition: 5
(i) Maru Ragini
(ii) Radha (Bani-thani)
(iii) Raja Aniruddha Singh Hara
(iv) Raga Megha
2. Write an essay on the origin and development of the Mughal School of Miniature
Painting. 5
3. Why do you like or dislike „Whirlpool‟-a famous contemporary (Modern) Indian
graphic-print? Give your opinion in short. 5
4. Write a short note on the compositional arrangements of any one of the following
miniature paintings of the Rajasthani/Pahari Schools: 5
(i) Chaugan Players
(ii) Bharat meets Rama at Chitrakuta
(iii) Krishna with Gopis
5. Mention the names of such five artists of the Mughal school of miniature painting
included in you course of study, which you like most. 5
6. Mentioned the title of the apinting/sculpture of each of the following artists, included
in your course of study: 5
(i) M.F. Hussain
(ii) K.K. Hebber
(iii) N.S. Bendre
(iv) D.P. Roy Choudhary
(v) Dhanraj Bhagat

39
 Previous Year Question Paper
SET-II
Code No. 42
 Please check that this question paper contains one printing page.
 Code number 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 check that this question paper contains 6 questions.
 Please write down the serial number of the question before attempting it.

PAINTING (Theory)
(History of Indian Art)
Maximum Marks: 30
Time allowed: 1 hours

General Instructions:
(i) All the six questions are compulsory, which carry equal marks.
(ii) Answers be written for question no. 1 and 2 in about 100 words each and for question
no. 3 and 4 in about 20 words each.

1. Appreciate any Rajasthani miniature included in your course of study, based on its (a)
Title, (b) Name of the artist, (c) Subject-matter and (d) Composition. 5
2. Write an essay on the origin and development of the Mughal School of Miniature
Painting. 5
3. Write a short note on the subject-matter of any one of the following contemporary
Indian sculptures: 5
(a) Cries Un-heard (Amar Nath Sehgal)
(b) Triumph of Labour (D.P. Roy Choudhary)
(c) Santhal Family (Ramkinker Vaij)
4. Why do you like or dislike most any one among all of Rajasthani or Pahari miniatures
included in your course of study? Give you reasons in short. 5
5. Mention the names of any five artists of the Mughal School of Miniature Painting from
your course of study. 5
6. Mentioned the titles of any three graphic-prints and two paintings of the
contemporary Indian Art included in your course of study, which you like most.

40
 Previous Year Question Paper
SET-III (AISSCE – 2007)
Code No. 71
 Please check that this question paper contains one printing page.
 Code number 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 check that this question paper contains 6 questions.
 Please write down the serial number of the question before attempting it.

PAINTING (Theory)
(History of Indian Art)
Maximum Marks: 30
Time allowed: 1 hours

General Instructions:
(i) All the six questions are compulsory, which carry equal marks.
(ii) Answers be written for question no. 1 and 2 in about 100 words each and for question
no. 3 and 4 in about 20 words each.

1. Write an essay on the origin and development of Rajasthani or Pahari School or

Miniature Painting. 5

2. Apprecdiate any Mughal or Deccani miniature painting included in your course of

study, based on its (1) Title and name of artist (b) Subject-matter (c) Media and
technique and (d) Composition. 5

3. How did the Indian artists contribute to the National Freedom Movement? 5

4. Why do you like or dislike the Rajasthani or Pahari miniatures? Give reasons in short.
5

5. Mention the names of any five painters of the Mughal School of Miniature Painting,
included inyour course of study, which you like most. 5

6. Mention the name of the artist of each of the following graphic-prints/sculptures

included in your course of study: 5

(a) Whirlpool (A graphic-print)

(b) Children (A graphic-print)

(c) Triumph of Labour (Asculpture)

(d) Santhal Family (A sculpture)

(e) Cries Un-heard (A sculpture)

***
41