PAPER-II VISUAL ARTS Signature and Name of Invigilator 1. (Signature) __________________________
OMR Sheet No. : ............................................... (To be filled by the Candidate)
(Name) ____________________________ 2. (Signature) __________________________ (Name) ____________________________
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Time : 1 /4 hours] Number of Pages in this Booklet : 16 Instructions for the Candidates 1. Write your roll number in the space provided on the top of this page. 2. This paper consists of fifty multiple-choice type of questions. 3. At the commencement of examination, the question booklet will be given to you. In the first 5 minutes, you are requested to open the booklet and compulsorily examine it as below : (i) To have access to the Question Booklet, tear off the paper seal on the edge of this cover page. Do not accept a booklet without sticker-seal and do not accept an open booklet. (ii) Tally the number of pages and number of questions in the booklet with the information printed on the cover page. Faulty booklets due to pages/questions missing or duplicate or not in serial order or any other discrepancy should be got replaced immediately by a correct booklet from the invigilator within the period of 5 minutes. Afterwards, neither the Question Booklet will be replaced nor any extra time will be given. (iii) After this verification is over, the OMR Sheet Number should be entered on this Test Booklet. 4. Each item has four alternative responses marked (A), (B), (C) and (D). You have to darken the circle as indicated below on the correct response against each item. Example : where (C) is the correct response. 5. Your responses to the items are to be indicated in the OMR Sheet given inside the Paper I Booklet only. If you mark at any place other than in the circle in the OMR Sheet, it will not be evaluated. 6. Read instructions given inside carefully. 7. Rough Work is to be done in the end of this booklet. 8. If you write your Name, Roll Number, Phone Number or put any mark on any part of the OMR Sheet, except for the space allotted for the relevant entries, which may disclose your identity, or use abusive language or employ any other unfair means, you will render yourself liable to disqualification. 9. You have to return the test question booklet and Original OMR Sheet to the invigilators at the end of the examination compulsorily and must not carry it with you outside the Examination Hall. You are, however, allowed to carry duplicate copy of OMR Sheet on conclusion of examination. 10. Use only Blue/Black Ball point pen. 11. Use of any calculator or log table etc., is prohibited. 12. There is no negative marks for incorrect answers.
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Roll No. (In figures as per admission card)
Roll No.________________________________ (In words) [Maximum Marks : 100 Number of Questions in this Booklet : 50
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VISUAL ARTS Paper – II Note : This paper contains fifty (50) objective type questions, each question carrying two (2) marks. Attempt all the questions. 1.
During whose reign Mughal architecture was predominantly influenced by Rajasthani architecture ?
5.
Which was the first newspaper published in India ? (A) Times of India (B) Hindustan Times (C) Bengal Gazette (D) Statesman
6.
In which year the ‘Copyright Act’ came into force ? (A) 1947 (B) 1957 (C) 1952 (D) 1989
7.
Promotion is persuasive communication to sell all, except. (A) Competition (B) Service (C) Product (D) Concept
8.
One advantage, publicity may enjoy over advertising, is (A) Credibility (B) Selectivity (C) Control (D) Simplicity
9.
What is the medium of painting entitled ‘The River’ painted by Probir Gupta ? (A) Iron oxide and Acrylic colours (B) Oil colours (C) Acrylic colours (D) Oil and Acrylic colours
(A) Akbar (B)
Jehangir
(C)
Shahjehan
(D) Aurangzeb
2.
Name one of the following ideals which supported emergence of expressionism : (A) Neoclassicism (B)
Romanticism
(C)
Realism
(D) None of the above
3.
Who said that art is a significant form ? (A) I. A. Richards (B)
Clive Bell
(C)
Collingwood
(D) Suzanne Langer
4.
In which museum bust image of Kushan emperor Kanishka is housed ? (A) National Museum, New Delhi (B)
Indian Museum, Kolkata
(C)
Lahore Museum, Pakistan
(D) Archaeological Museum, Mathura Paper-II
2
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¥ü¿µÖ Ûú»ÖÖ‹Ñ ¯ÖÏ¿®Ö¯Ö¡Ö – II ×®Ö¤ìü¿Ö : ‡ÃÖ ¯ÖÏ¿®Ö¯Ö¡Ö ´Öë ¯Ö“ÖÖÃÖ (50) ²ÖÆãü×¾ÖÛú»¯ÖßµÖ ¯ÖÏ¿®Ö Æïü … ¯ÖÏŸµÖêÛú ¯ÖÏ¿®Ö Ûêú ¤üÖê †ÓÛú Æîü … ÃÖ³Öß ¯ÖÏ¿®ÖÖë Ûêú ˆ¢Ö¸ü ¤ëü … 1.
2.
3.
4.
×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×ÛúÃÖÛêú ¿ÖÖÃÖ®ÖÛúÖ»Ö ´Öë ´ÖãÝÖ»Ö ¾ÖÖßÖãÛú»ÖÖ ¸üÖ•ÖãÖÖ®Öß ¾ÖÖßÖãÛú»ÖÖ ÃÖê ¯ÖÏ²Ö»Ö ºþ¯Ö ÃÖê ¯ÖϳÖÖ×¾ÖŸÖ Æãü‡Ô £Öß ? (A) †Ûú²Ö¸ü (B) •ÖÆüÖÑÝÖ߸ü (C) ¿ÖÖÆü•ÖÆüÖÑ (D) †Öî¸ÓüÝÖ•Öê²ÖÍ
³ÖÖ¸üŸÖ ´Öë ÃÖ¾ÖÔ¯ÖÏ£Ö´Ö ¯ÖÏÛúÖ×¿ÖŸÖ ÃÖ´ÖÖ“ÖÖ¸ü ¯Ö¡Ö ÛúÖî®Ö ÃÖÖ Æîü ? (A) ™üÖ‡´ÃÖ †Öò±ú ‡Ó×›üµÖÖ (B) ØÆü¤ãüßÖÖ®Ö ™üÖ‡´ÃÖ (C) ²ÖÓÝÖÖ»Ö ÝÖ•Ö™ü (D) Ùêü™ËüÃÖ´Öî®Ö
6.
¯ÖÏןÖ×»Ö¯µÖ׬ÖÛúÖ¸ü †×¬Ö×®ÖµÖ´Ö (פü ÛúÖò¯Ö߸üÖ‡™ü ‹êŒ™ü) ×ÛúÃÖ ¾ÖÂÖÔ ÃÖê »ÖÖÝÖæ Æãü†Ö ? (A) (B) (C) (D)
×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×ÛúÃÖ ×ÃÖ¨üÖÓŸÖ ´Öë †×³Ö¾µÖÓ•Ö®ÖÖ¾ÖÖ¤ü Ûêú †³µÖã¤üµÖ ÛúÖê †¾Ö»Ö´²Ö ¯ÖϤüÖ®Ö ×ÛúµÖÖ ? (A) ®Ö¾Ö¿ÖÖá־ÖÖ¤ü (B) þ֓”Óû¤üŸÖÖ¾ÖÖ¤ü (C) µÖ£ÖÖ£ÖÔ¾ÖÖ¤ü (D) ˆ¯ÖµÖãÔŒŸÖ ´Öë ÃÖê ×ÛúÃÖß ®Öê ®ÖÆüà µÖÆü ×ÛúÃÖ®Öê ÛúÆüÖ £ÖÖ ×Ûú Ûú»ÖÖ ‹Ûú ´ÖÆü¢¾Ö¯ÖæÞÖÔ ×¾Ö¬ÖÖ Æîü ? (A) †Ö‡Ô. ‹. ׸ü“Ö›ÔËüÃÖ (B) Œ»ÖÖ‡¾Ö ²Öê»Ö (C) ÛúÖòØ»ÖÝÖ¾Öã›ü (D) ÃÖæ•ÖÌ®Ö »ÖïÝÖ¸ü ÛãúÂÖÖÞÖ ÃÖ´ÖÏÖ™Ëü Ûú×®ÖÂÛú Ûúß †Ö¾ÖõÖ ¯ÖÏןִÖÖ ×ÛúÃÖ ÃÖÓÝÖÏÆüÖ»ÖµÖ ´Öë ¸üÜÖß ÝÖ‡Ô Æîü ? (A) ¸üÖ™ÒüßµÖ ÃÖÓÝÖÏÆüÖ»ÖµÖ, ®Ö‡Ô פü»»Öß (B) ‡Ó×›üµÖ®Ö ´µÖæוִֵÖ, ÛúÖê»ÖÛúÖŸÖÖ (C) »ÖÖÆüÖî¸ü ´µÖæוִֵÖ, ¯ÖÖ×ÛúßÖÖ®Ö (D) ¯Öã¸üÖŸÖ¢¾Ö ÃÖÓÝÖÏÆüÖ»ÖµÖ, ´Ö£Öã¸üÖ
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5.
3
1947 1957 1952 1989
7.
×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×ÛúÃÖÛêú †×ŸÖ׸üŒŸÖ ÃÖ³Öß ÛúÖ ×¾ÖÛÎúµÖ Ûú¸ü®Öê Ûêú ×»Ö‹ ‘¯ÖÏÖê´ÖÖê¿Ö®Ö’ ‹Ûú ¯ÖÏê׸üŸÖ Ûú¸ü®Öê ¾ÖÖ»ÖÖ ÃÖ´¯ÖÏêÂÖÞÖ Æîü ? (A) ï֬ÖÖÔ (B) ÃÖê¾ÖÖ (C) ˆŸ¯ÖÖ¤ü (D) ×¾Ö“ÖÖ¸ü
8.
×¾Ö–ÖÖ¯Ö®Ö Ûúß ŸÖã»Ö®ÖÖ ´Öë ¯ÖÏ“ÖÖ¸ü ÛúÖ ‹Ûú »ÖÖ³Ö ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ŒµÖÖ Æîü ? (A) ÃÖÖÜÖ (B) “ÖµÖ®ÖßµÖŸÖÖ (C) ×®ÖµÖÓ¡ÖÞÖ (D) ÃÖ¸ü»ÖŸÖÖ
9.
¯ÖϾÖ߸ü ÝÖ㯟ÖÖ «üÖ¸üÖ ²Ö®ÖÖ‡Ô ÝÖ‡Ô ‘פü ׸ü¾Ö¸ü’ ¿ÖßÂÖÔÛú ¯Öë×™üÝÖ Ûúß †Ö¬ÖÖ¸ü ÃÖÖ´ÖÝÖÏß ŒµÖÖ Æîü ? (A) †ÖµÖ¸ü®Ö †ÖòŒÃÖÖ‡›ü ŸÖ£ÖÖ ‹ÛÎêú×»ÖÛú (B) ŸÖî»Ö (C) ‹ÛÎêú×»ÖÛú (D) ŸÖî»Ö ŸÖ£ÖÖ ‹ÛÎêú×»ÖÛú Paper-II
10.
14.
Name the painter of “Jallianwala Bagh-Symbol of Urge for Freedom”.
Lothal and Kalibangan both are (A) Situated in Gujarat
(A) F. N. Souza (B) (C)
(B)
Pre Mauryan sites
(C)
Famous for ancient past
K. S. Kulkarni Bimal Das Gupta (D) Harappan site
(D) Pran Nath Mago 15. 11.
Where is located Raza Library known for Indian miniature paintings collection ?
The sculpture ‘Japanese War God’ is made by (A) Pablo Picasso
(A) Shyampur
(B)
Michaelangelo
(B)
Rampur
(C)
Eduardo Paolozzi
(C)
Kanpur
(D) Marino Marini
(D) Bilaspur 16. 12.
Who painted the “Splash Front Page” in ink on newspaper ?
Debiprasad Roy Chaudhury used to teach at (A) Government College of Art & Craft, Calcutta
(A) Satish Gujral (B)
B. B. Mukherjee
(C)
M. F. Hussain
(D) R. N. Chakravorty
13.
Evidence of earliest architecture was found at
(B)
J. J. School of Art, Bombay
(C)
Government College of Art, Madras
(D) College of Art, New Delhi
rock-cut
17.
In offset printing reproduced
(A) Ajanta caves
(A) Reduced
(B)
Lomas hrishi caves
(B)
Upside down
(C)
Kailashnath temple, Ellora
(C)
Reverse
(D) Badami caves Paper-II
images
are
(D) Exactly the same 4
J-79-12
10.
11.
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(A)
‹±ú. ‹®Ö. ÃÖæ•ÖÖ
(B)
Ûêú. ‹ÃÖ. Ûãú»ÖÛúÞÖá
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15.
³ÖÖ¸üŸÖßµÖ »Ö‘Öã-ד֡ÖÖë Ûêú ÃÖÓÝÖÏÆü Ûêú ×»Ö‹ ×¾ÖܵÖÖŸÖ ¸ü•ÖÌÖ »ÖÖ‡²ÖÎê¸üß ÛúÆüÖÑ ×Ã£ÖŸÖ Æîü ?
13.
(A)
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¤êü¾Ö߯ÖÏÃÖÖ¤ü ¸üÖêµÖ “ÖÖî¬Ö¸üß ×ÛúÃÖ ÃÖÓãÖÖ ´Öë †¬µÖÖ¯ÖÛú £Öê ? (A)
ÝÖ¾Ö®ÖÔ´ÖêÞ™ü ÛúÖò»Öê•Ö †Öò±ú †Ö™ËüÃÖÔ ‹Þ›ü ÛÎúÖ°™ü, Ûú»ÖÛú¢ÖÖ
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17.
†Öò±úÃÖê™ü دÖÏØ™üÝÖ ´Öë ”û×¾ÖµÖÖë ÛúÖ ¯Öã®Ö¹ýŸ¯ÖÖ¤ü®Ö ×ÛúÃÖ ºþ¯Ö ´Öë ×ÛúµÖÖ •ÖÖŸÖÖ Æîü ?
(A)
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J-79-12
5
Paper-II
18.
Name one of these elements related to Print Making.
22.
Assertion (A) : Textural surface in figural sculptures creates life sensation. Reason (R) : Sculptors found it a new technique to make sculptures differently. (A) (A) is partially correct, (R) is correct. (B) (A) is correct, (R) is partially correct. (C) (A) is not correct, (R) is partially correct. (D) (A) and (R) both are partially correct.
23.
Assertion (A) : Retail advertising is locally oriented. Reason (R) : Retail advertising helps in selling goods and services directly to the consumers. (A) (A) and (R) both are not correct. (B) (A) is correct, (R) is not correct. (C) (A) is not correct, (R) is correct. (D) (A) and (R) both are correct.
24.
Assertion (A) : Brand is the combination of name, word, symbols or design that identifies one particular product. Reason (R) : Branding helps differentiating one product from other competing products. (A) (A) is correct, (R) is not correct. (B) (A) and (R) both are correct. (C) (A) and (R) both are not correct. (D) (A) is not correct, (R) is correct. J-79-12
(A) Moulding (B)
Etching
(C)
Gouache
(D) Weaving
19.
In the ‘Bull fight’ series Picasso used (A) Offset Lithography (B)
Soft Ground
(C)
Relief Etching
(D) Sugar Lift Etching
20.
The material ‘Asphaltum’ is also known as (A) Resin (B)
French Chalk
(C)
Charcoal
(D) Bitumen
21.
Assertion (A) : Rodin is a Symbolist as well as Impressionist. Reason (R) : As Rodin combines two dominant directions of late 19th century art in his work. (A) (A) is not correct, (R) is partially correct. (B)
(A) is correct, (R) is also correct.
(C)
(A) is correct, (R) is not correct.
(D) (A) is not correct, (R) is also not correct. Paper-II
6
18.
×®Ö´®Ö×»Ö×ÜÖŸÖ ˆ¯ÖÖ¤üÖ®ÖÖë ´Öë ÃÖê دÖÏ™ü ´ÖêØÛúÝÖ ÃÖê ÃÖÓ²ÖÓ×¬ÖŸÖ ˆ¯ÖÖ¤üÖ®Ö ÛúÖê ¯ÖÆü“ÖÖ×®Ö‹ : (A) ´ÖÖêØ»›üÝÖ (B) ‹Ø“ÖÝÖ (C) ÝÖÖˆ“Ö (D) ¾ÖßؾÖÝÖ
19.
‘²Öã»Ö
22.
†×³ÖÛú£Ö®Ö (A) : †ÖÛéúןִÖæ»ÖÛú ´ÖæÙŸÖµÖÖë ´Öë ²Öã®ÖÖ¾Ö™üß ÃÖŸÖÆü •Öß¾ÖÓŸÖŸÖÖ ÛúÖ ÃÖé•Ö®Ö Ûú¸üŸÖß Æîü … ÛúÖ¸üÞÖ (R) : ´ÖæÙŸÖµÖÖë ÛúÖê †»ÖÝÖ ¯ÖÏÛúÖ¸ü ÃÖê ²Ö®ÖÖ®Öê Ûêú ×»Ö‹ ´ÖæÙŸÖÛúÖ¸üÖë ÛúÖê ‹Ûú ®Ö‡Ô ŸÖÛú®ÖßÛú ×´Ö»Öß … (A) (A) †ÖÓ׿ÖÛú ºþ¯Ö ÃÖê ÃÖÆüß Æîü ŸÖ£ÖÖ (R) ÃÖÆüß Æîü … (B) (A) ÃÖÆüß Æîü ŸÖ£ÖÖ (R) ³Öß †ÖÓ׿ÖÛú ºþ¯Ö ÃÖê ÃÖÆüß Æîü … (C) (A) ÝÖ»ÖŸÖ Æîü ŸÖ£ÖÖ (R) †ÖÓ׿ÖÛú ºþ¯Ö ÃÖê ÃÖÆüß Æîü … (D) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë †ÖÓ׿ÖÛú ºþ¯Ö ÃÖê ÃÖÆüß Æïü …
23.
†×³ÖÛú£Ö®Ö (A) : ÜÖã¤ü¸üÖ ×¾Ö–ÖÖ¯Ö®Ö Ã£ÖÖ®ÖßµÖ ˆ®´ÖãÜÖ ÆüÖêŸÖÖ Æîü … ÛúÖ¸üÞÖ (R) : ÜÖã¤ü¸üÖ ×¾Ö–ÖÖ¯Ö®Ö ˆ¯Ö³ÖÖꌟÖÖ†Öë ÛúÖê ¾ÖßÖã†Öë †Öî¸ü ÃÖê¾ÖÖ†Öë ÛúÖê ÃÖ߬Öê ²Öê“Ö®Öê ´Öë ÃÖÆüÖµÖÛú Æîü … (A) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß ®ÖÆüà Æï …ü (B) (A) ÃÖÆüß Æîü, (R) ÃÖÆüß ®ÖÆüà Æîü … (C) (A) ÃÖÆüß ®ÖÆüà Æîü, (R) ÃÖÆüß Æîü … (D) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
24.
†×³ÖÛú£Ö®Ö (A) : ®ÖÖ´Ö, ¿Ö²¤ü, ¯ÖÏŸÖßÛú †£Ö¾ÖÖ ×›ü•ÖÖ‡®Ö – •ÖÖê ×ÛúÃÖß ˆŸ¯ÖÖ¤ü-×¾Ö¿ÖêÂÖ Ûúß ¯ÖÆü“ÖÖ®Ö Ûú¸üÖŸÖê Æïü – ÛúÖ ÃÖÓµÖÖê•Ö®Ö ²ÖÎÖÓ›ü Æîü … ÛúÖ¸üÞÖ (R) : ²ÖÎÖÓ›ü ×ÛúÃÖß ˆŸ¯ÖÖ¤ü Ûúß †®µÖ ˆŸ¯ÖÖ¤üÖë ÃÖê ׳֮®ÖŸÖÖ ¯ÖϤüÙ¿ÖŸÖ Ûú¸ü®Öê ´Öë ÃÖÆüÖµÖŸÖÖ Ûú¸üŸÖÖ Æîü … (A) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü … (B) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … (C) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … (D) (A) ÃÖÆüß ®ÖÆüà Æîü, (R) ÃÖÆüß Æîü …
±úÖ‡™ü’ ×ÃÖ¸üß•Ö ´Öë ׯÖÛúÖÃÖÖê ®Öê ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×ÛúÃÖÛúÖ ¯ÖϵÖÖêÝÖ ×ÛúµÖÖ Æîü ? (A) †Öò±úÃÖê™ü ×»Ö£ÖÖêÝÖÏÖ±úß (B) ÃÖÖò°™ü ÝÖÏÖˆÞ›ü (C) ׸ü»Öß±ú ‹Ø“ÖÝÖ (D) ¿ÖãÝÖ¸ü ×»Ö°™ü ‹Ø“ÖÝÖ
20.
†¿±úÖ»Ö™ü´Ö ®ÖÖ´ÖÛú ÃÖÖ´ÖÝÖÏß ÛúÖê ‡®Ö´Öë ÃÖê ‹Ûú ³Öß ÛúÆüÖ •ÖÖŸÖÖ Æîü : (A) ¸êü×ÃÖ®Ö (B) ±Ïëú“Ö “ÖÖòÛú (C) “ÖÖ¸üÛúÖê»Ö (D) ײ֙ãü´Öê®Ö
21.
†×³ÖÛú£Ö®Ö (A) : ¸üÖê¤üÖÓ ¯ÖÏŸÖßÛú¾ÖÖ¤üß Ûêú ÃÖÖ£Ö – ÃÖÖ£Ö ¯ÖϳÖÖ¾Ö¾ÖÖ¤üß ³Öß Æîü … ÛúÖ¸üÞÖ (R) : ŒµÖÖë×Ûú ¸üÖê¤üÖÓ ÃÖê †¯Ö®Öß ÛéúןֵÖÖë ´Öë ˆ¢Ö¸ü ˆ®®ÖßÃÖ¾Öà ¿ÖŸÖÖ²¤üß Ûêú ¤üÖê ¯ÖÏ²Ö»Ö ¯ÖϾÖé×¢ÖµÖÖë ÛúÖ ÃÖÓµÖÖê•Ö®Ö ×ÛúµÖÖ Æîü … (A) (A) ÝÖ»ÖŸÖ Æîü, (R) †ÖÓ׿ÖÛú ºþ¯Ö ´Öë ÃÖÆüß Æîü … (B) (A) ÃÖÆüß Æîü, (R) ³Öß ÃÖÆüß Æîü … (C) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü … (D) (A) ÝÖ»ÖŸÖ Æîü, (R) ³Öß ÝÖ»ÖŸÖ Æîü …
J-79-12
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Paper-II
25.
Assertion (A) : Monuments erected during the reign of Feroz Shah Tughlaq are strong, gigantic but simple. Reason (R) : Because during his time there was scarcity of artisans and less funding was available due to wrong policies of his predecessor. (A) (A) and (R) both are correct. (B) (A) is correct, (R) is not correct. (C) (A) and (R) both are not correct. (D) (A) is not correct, (R) is correct.
26.
Assertion (A) : Contemporary art is complex in nature. Reason (R) : Since it has grown out of mental environ of contemporary society where every individual has freedom of expression and his own sensibility. (A) (A) is correct, (R) is not correct. (B) (A) and (R) both are not correct. (C) (A) and (R) both are correct. (D) (A) is correct, (R) is partially correct.
27.
Assertion (A) : Etching prints can be made using metal plate or hard surface. Reason (R) : Etching is easily done without any technical support. (A) (A) and (R) both are not correct. (B) (A) is correct, (R) is not correct. (C) (A) is correct, (R) is also correct. (D) (A) is not correct, (R) is correct.
Paper-II
8
28.
Assertion (A) : In India print making movement took place during the end of 20th century. Reason (R) : It was an impact since many notable print makers from U.S.A. worked in India during that time. (A) (A) and (R) both are correct. (B) (A) is not correct, (R) is correct. (C) (A) and (R) both are not correct. (D) (A) is correct, (R) is not correct.
29.
Assertion (A) : Illustration of Hamzanama, in twelve volumes show a dramatic treatment of events, broad handling, bright expressive colours. Reason (R) : Akbar was a man of literary and fine aesthetic taste who admired to depict the adventures of Mir Hamza, an uncle of the Profet. (A) (A) and (R) both are correct. (B) (A) is not correct, (R) is correct. (C) (A) and (R) both are not correct. (D) (A) is correct, (R) is not correct.
30.
Assertion (A) : G. R. Santosh is considered as a Tantric Painter. Reason (R) : Since he hailed from Kashmir and practiced Yoga Tantra. (A) (A) is correct, but (R) is partially correct. (B) (A) and (R) both are correct. (C) (A) is not correct but (R) is correct. (D) (A) and (R) both are not correct. J-79-12
25.
†×³ÖÛú£Ö®Ö (A) : ×±ú¸üÖê•Ö¿ÖÖÆü ŸÖãÝÖ»ÖÛú Ûêú ¿ÖÖÃÖ®ÖÛúÖ»Ö ´Öë ×®ÖÙ´ÖŸÖ Ã´ÖÖ¸üÛú ´Ö•Ö²ÖæŸÖ, ×¾Ö¿ÖÖ»Ö ¯Ö¸ü®ŸÖã ÃÖ¸ü»Ö Æïü … ÛúÖ¸üÞÖ (R) : ŒµÖÖë×Ûú ˆÃÖÛêú ¿ÖÖÃÖ®ÖÛúÖ»Ö ´Öë ÛúÖ¸üßÝÖ¸üÖë Ûúß Ûú´Öß £Öß ŸÖ£ÖÖ ¯Öæ¾ÖÔ-¿ÖÖÃÖÛú Ûúß ÝÖ»ÖŸÖ ®ÖßןֵÖÖë Ûêú ÛúÖ¸üÞÖ †»¯Ö ¬Ö®Ö¸üÖ×¿Ö ˆ¯Ö»Ö²¬Ö £Öß … (A) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … (B) (A) ÃÖÆüß Æîü, (R) ÃÖÆüß ®ÖÆüà Æîü … (C) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … (D) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü …
26.
†×³ÖÛú£Ö®Ö (A) : Ûú»ÖÖ Ûúß ¯ÖÏÛéú×ŸÖ •Ö×™ü»Ö Æîü … ÛúÖ¸üÞÖ (R) : ŒµÖÖë×Ûú Ûú»ÖÖ ÃÖ´ÖÃÖÖ´Ö×µÖÛú ÃÖ´ÖÖ•Ö Ûêú ´ÖÖ®Ö×ÃÖÛú ¯Ö׸ü¾Öê¿Ö ÃÖê ˆŸ¯Ö®®Ö ÆüÖêŸÖß Æîü •ÖÆüÖÑ ¯ÖÏŸµÖêÛú ¾µÖ׌ŸÖ ÛúÖê †×³Ö¾µÖ׌ŸÖ Ûúß Ã¾ÖŸÖÓ¡ÖŸÖÖ ÆüÖêŸÖß Æîü ŸÖ£ÖÖ Æü¸ü Ûúß †¯Ö®Öß ÃÖÓ¾Öê¤ü®Ö¿Ö߻֟ÖÖ ÆüÖêŸÖß Æîü … (A) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü … (B) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … (C) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … (D) (A) ÃÖÆüß Æîü, (R) †ÖÓ׿ÖÛú ºþ¯Ö ´Öë ÃÖÆüß Æîü …
27.
†×³ÖÛú£Ö®Ö (A) : ‹Ø“ÖÝÖ Ø¯ÖÏ™ËüÃÖ ÛúÖê ¬ÖÖŸÖã Ûúß ¯»Öê™ü ÛúÖ ˆ¯ÖµÖÖêÝÖ Ûú¸ü ÛúšüÖê¸ü ÃÖŸÖÆü ¯Ö¸ü ŸÖîµÖÖ¸ü ×ÛúµÖÖ •ÖÖŸÖÖ Æîü … ÛúÖ¸üÞÖ (R) : ‹Ø“ÖÝÖ ÛúÖê ײ֮ÖÖ ×ÛúÃÖß ŸÖÛú®ÖßÛúß ÃÖÆüÖµÖŸÖÖ Ûêú †ÖÃÖÖ®Öß ÃÖê ×ÛúµÖÖ •ÖÖ ÃÖÛúŸÖÖ Æîü … (A) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … (B) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü … (C) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … (D) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü …
J-79-12
9
28.
†×³ÖÛú£Ö®Ö (A) : ³ÖÖ¸üŸÖ ´Öë دÖÏ™ü ´ÖêØÛúÝÖ †ÖÓ¤üÖê»Ö®Ö 20¾Öà ¿ÖŸÖÖ²¤üß ´Öë Æãü†Ö … ÛúÖ¸üÞÖ (R) : ‹êÃÖÖ †´Öê׸üÛúß Ø¯ÖÏ™ü ´ÖêÛúÃÖÔÔ Ûêú ¯ÖϳÖÖ¾Ö Ûêú ÛúÖ¸üÞÖ Æãü†Ö ו֮ÆüÖë®Öê 20¾Öà ¿ÖŸÖÖ²¤üß ´Öë ³ÖÖ¸üŸÖ ´Öë ÛúÖµÖÔ ×ÛúµÖÖ … (A) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … (B) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü … (C) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … (D) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü …
29.
†×³ÖÛú£Ö®Ö (A) : Æü´•ÖÖ®ÖÖ´ÖÖ, •ÖÖê ²ÖÖ¸üÆü ÜÖÞ›üÖë ´Öë Æîü, Ûêú ד֡ÖÖë ´Öë ‘Ö™ü®ÖÖ†Öë, ²ÖÎÖò›ü Æïü›üØ»ÖÝÖ, “Ö™üÛúß»Öê †×³Ö¾µÖÓ•ÖÛú ¸ÓüÝÖÖë ÛúÖ ®ÖÖ™üÛúßµÖ ×®Öºþ¯ÖÞÖ ¯ÖϤüÙ¿ÖŸÖ ÆüÖêŸÖÖ Æîü … ÛúÖ¸üÞÖ (R) : †Ûú²Ö¸ü ÃÖÖ×ÆüןµÖÛú †Öî¸ü ˆŸÛéú™ü Ûú»ÖÖŸ´ÖÛú †×³Ö¹ý×“Ö ¾ÖÖ»Öê ¾µÖ׌ŸÖ £Öê ו֮ÆüÖë®Öê ´Ö߸ü Æü´•ÖÖ, •ÖÖê ¯ÖîÝÖ´²Ö¸ü Ûêú “ÖÖ“ÖÖ £Öê, Ûêú ¸üÖê´ÖÖÓ“ÖÛúÖ¸üß ×“Ö¡ÖÞÖ Ûúß ¯ÖÏ¿ÖÓÃÖÖ Ûúß … (A) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … (B) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü … (C) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … (D) (A) ÃÖÆüß Æïü, (R) ÝÖ»ÖŸÖ Æîü …
30.
†×³ÖÛú£Ö®Ö (A) : •Öß. †Ö¸ü. ÃÖÓŸÖÖêÂÖ ÛúÖê ŸÖÖÓסÖÛú ד֡ÖÛúÖ¸ü ´ÖÖ®ÖÖ •ÖÖŸÖÖ Æîü … ÛúÖ¸üÞÖ (R) : ŒµÖÖë×Ûú ¾Öê ÛúÖ¿´Ö߸ü ÃÖê £Öê ŸÖ£ÖÖ µÖÖêÝÖ-ŸÖÓ¡Ö ÛúÖ †³µÖÖÃÖ Ûú¸üŸÖê £Öê … (A) (A) ÃÖÆüß Æîü, ¯Ö¸ü®ŸÖã (R) †ÖÓ׿ÖÛú ºþ¯Ö ´Öë ÃÖÆüß Æîü … (B) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … (C) (A) ÝÖ»ÖŸÖ Æîü, ¯Ö¸ü®ŸÖã (R) ÃÖÆüß Æîü … (D) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … Paper-II
31.
34.
Select the correct chronological sequence of the artists of Renaissance.
(A) Squeeze, Frame, Exposing table, Printing table
(A) Botticelli, Donato Bramante, Leonardo da Vinci, Masaccio (B)
Masaccio, Botticelli, Donato Bramante, Leonardo da Vinci
(C)
Donato Bramante, Botticelli, Leonardo da Vinci, Masaccio
35.
Select correct chronological sequence of Orissan temples.
(C)
Exposing table, Printing table, Squeeze, Frame
(C)
Frame, Exposing table, Printing table, Squeeze
Select the correct sequence of factors affecting the client – agency relationship. (A) Chemistry, Communication, Conduct, Changes
(A) Parasuramesvara, Vaital Deul, Lingaraj, Sun Temple of Konark (B)
(B)
(D) Squeeze, Frame, Printing table, Exposing table
(D) Donato Bramante, Masaccio, Botticelli, Leonardo da Vinci
32.
Select the correct sequence of material used in silk screen printing.
Vaital Deul, Parasuramesvara, Lingaraj, Sun Temple of Konark
(B)
Chemistry, Conduct, Changes, Communication
(C)
Conduct, Chemistry, Communication, Changes
(D) Communication, Conduct, Changes, Chemistry
Parasuramesvara, Lingaraj, Vaital Deul, Sun Temple of Konark
36.
(D) Lingaraj, Parasuramesvara, Vaital Deul, Sun Temple of Konark
Select the correct sequence in order of maximum perceiving ability. (A) Eye, Ear, Taste, Smell (B)
Smell, Taste, Eye, Ear
(C)
Ear, Smell, Eye, Taste
(D) Eye, Ear, Smell, Taste 33.
Select the correct sequence of techniques in order as invented.
37.
(A) Dry-point, Aquatint, Line Etching, Metal Engraving (B)
Line Etching, Dry-point, Metal Engraving, Aquatint
(C)
Dry-point, Aquatint, Metal Engraving, Line Etching
(D) Dry-point, Metal Engraving, Line Etching, Aquatint Paper-II
10
Select the correct chronological sequence of the artists. (A) Hanson, Matisse, Delacroix, Brancusi (B) Delacroix, Matisse, Brancusi, Hanson (C) Delacroix, Brancusi, Matisse, Hanson (D) Delacroix, Hanson, Matisse, Brancusi J-79-12
31.
32.
33.
¯Öã®Ö•ÖÖÔÝÖ¸üÞÖ ÛúÖ»Ö Ûêú ×®Ö´®Ö×»Ö×ÜÖŸÖ Ûú»ÖÖÛúÖ¸üÖë ÛúÖ ÃÖÆüß ÛúÖ»ÖÛÎú´Ö ¯ÖÆü“ÖÖ×®Ö‹ : (A) ²ÖÖê×¼üÃÖê»Öß, ¤üÖê®ÖÖŸÖÖê ²ÖδÖÖÓŸÖê, ×»ÖµÖÖê®ÖÖ¤üÖì ¤Öü ؾ֓Öß, ´ÖÃÖÖדֵÖÖê (B) ´ÖÃÖÖדֵÖÖê, ²ÖÖê×¼üÃÖê»Öß, ¤üÖê®ÖÖŸÖÖê ²ÖδÖÖÓŸÖê, ×»ÖµÖÖê®ÖÖ¤üÖì ¤Öü ؾ֓Öß (C) ¤üÖê®ÖÖŸÖÖê ²ÖδÖÖÓŸÖê, ²ÖÖê×¼üÃÖê»Öß, ×»ÖµÖÖê®ÖÖ¤üÖì ¤üÖ Ø¾Ö“Öß, ´ÖÃÖÖדֵÖÖê (D) ¤üÖê®ÖÖŸÖÖê ²ÖδÖÖÓŸÖê, ´ÖÃÖÖדֵÖÖê, ²ÖÖê×¼üÃÖê»Öß, ×»ÖµÖÖê®ÖÖ¤üÖì ¤Öü ؾ֓Öß ˆ›ÌüßÃÖÖ Ûêú ×®Ö´®Ö×»Ö×ÜÖŸÖ ´ÖÓפü¸üÖë ÛúÖ ÃÖÆüß ÛúÖ»ÖÛÎú´Ö ¯ÖÆü“ÖÖ×®ÖµÖê : (A) ¯Ö¸ü¿Öã¸üÖ´Ö꿾ָü, ¾ÖîŸÖÖ»Ö ¤êüˆ»Ö, Ø»ÖÝÖ¸üÖ•Ö, ÛúÖêÞÖÖÛÔú ÛúÖ ÃÖæµÖÔ ´ÖÓפü¸ü (B) ¾ÖîŸÖÖ»Ö ¤êüˆ»Ö, ¯Ö¸ü¿Öã¸üÖ´Ö꿾ָü, Ø»ÖÝÖ¸üÖ•Ö, ÛúÖêÞÖÖÛÔú ÛúÖ ÃÖæµÖÔ ´ÖÓפü¸ü (C) ¯Ö¸ü¿Öã¸üÖ´Ö꿾ָü, Ø»ÖÝÖ¸üÖ•Ö, ¾ÖîŸÖÖ»Ö ¤êüˆ»Ö, ÛúÖêÞÖÖÛÔú ÛúÖ ÃÖæµÖÔ ´ÖÓפü¸ü (D) Ø»ÖÝÖ¸üÖ•Ö, ¯Ö¸ü¿Öã¸üÖ´Ö꿾ָü, ¾ÖîŸÖÖ»Ö ¤êüˆ»Ö, ÛúÖêÞÖÖÛÔú ÛúÖ ÃÖæµÖÔ ´ÖÓפü¸ü †Ö×¾ÖÂÛéúŸÖ ×Ûú‹ •ÖÖ®Öê Ûêú ÛÎú´Ö ´Öë ×®Ö´®Ö×»Ö×ÜÖŸÖ ŸÖÛú®ÖßÛúÖë ÛúÖ ÃÖÆüß ÛÎú´Ö ²ÖŸÖ»ÖÖ‡‹ : (A) ›ÒüÖ‡Ô-¯¾ÖÖµÖÓ™ü, ‹Œ¾ÖÖØ™ü™ü, »ÖÖ‡®Ö ‹Ø“ÖÝÖ, ´Öê™ü»Ö ‹®ÝÖÏêؾÖÝÖ (B) »ÖÖ‡®Ö ‹Ø“ÖÝÖ, ›ÒüÖ‡Ô-¯¾ÖÖµÖÓ™ü, ´Öê™ü»Ö ‹®ÝÖÏêؾÖÝÖ, ‹Œ¾ÖÖØ™ü™ü (C) ›ÒüÖ‡Ô-¯¾ÖÖµÖÓ™ü, ‹Œ¾ÖÖØ™ü™ü, ´Öê™ü»Ö ‹®ÝÖÏêؾÖÝÖ, »ÖÖ‡®Ö ‹Ø“ÖÝÖ (D) ›ÒüÖ‡Ô-¯¾ÖÖµÖÓ™ü, ´Öê™ü»Ö ‹®ÝÖÏêؾÖÝÖ, »ÖÖ‡®Ö ‹Ø“ÖÝÖ, ‹Œ¾ÖÖØ™ü™ü
J-79-12
11
34.
×ÃÖ»Ûú ÃÛÎúß®Ö ×¯ÖÏÓØ™üÝÖ ´Öë ¯ÖϵÖãŒŸÖ ÃÖÖ´ÖÝÖÏß ÛúÖ ÃÖÆüß ÛÎú´Ö ²ÖŸÖ»ÖÖ‡‹ : (A) ÃŒ¾Öß•Ö, ±Ïêú´Ö, ‹ŒÃÖ¯ÖÖêØ•ÖÝÖ ™êü²Öã»Ö, دÖÏØ™üÝÖ ™êü²Öã»Ö (B) ‹ŒÃÖ¯ÖÖêØ•ÖÝÖ ™êü²Öã»Ö, دÖÏØ™üÝÖ ™êü²Öã»Ö, ÃŒ¾Öß•Ö, ±Ïêú´Ö (C) ±Ïêú´Ö, ‹ŒÃÖ¯ÖÖêØ•ÖÝÖ ™êü²Öã»Ö, دÖÏØ™üÝÖ ™êü²Öã»Ö, ÃŒ¾Öß•Ö (D) ÃŒ¾Öß•Ö, ±Ïêú´Ö, دÖÏØ™üÝÖ ™êü²Öã»Ö, ‹ŒÃÖ¯ÖÖêØ•ÖÝÖ ™êü²Öã»Ö
35.
ÝÖÏÖÆüÛú - ‹•ÖëÃÖß ÃÖÓ²ÖÓ¬Ö ÛúÖê ¯ÖϳÖÖ×¾ÖŸÖ Ûú¸ü®Öê ¾ÖÖ»Öê ÛúÖ¸üÛú ŸÖ¢¾ÖÖë ´Öë ÃÖ×´´Ö×»ÖŸÖ Æïü : (A) ŸÖÖ»Ö´Öê»Ö, ×¾Ö“ÖÖ¸üÖë ÛúÖ †Ö¤üÖ®Ö-¯ÖϤüÖ®Ö, †Ö“Ö¸üÞÖ, ¾Öî׳֮µÖ (B) ŸÖÖ»Ö´Öê»Ö, †Ö“Ö¸üÞÖ, ¾Öî׳֮µÖ, ×¾Ö“ÖÖ¸üÖë ÛúÖ †Ö¤üÖ®Ö-¯ÖϤüÖ®Ö (C) †Ö“Ö¸üÞÖ, ŸÖÖ»Ö´Öê»Ö, ×¾Ö“ÖÖ¸üÖë ÛúÖ †Ö¤üÖ®Ö¯ÖϤüÖ®Ö, ¾Öî׳֮µÖ (D) ×¾Ö“ÖÖ¸üÖë ÛúÖ †Ö¤üÖ®Ö-¯ÖϤüÖ®Ö, †Ö“Ö¸üÞÖ, ¾Öî׳֮µÖ, ŸÖÖ»Ö´Öê»Ö
36.
†×¬ÖÛúŸÖ´Ö ²ÖÖê¬Ö¯Ö¸üÛú µÖÖêݵ֟ÖÖ Ûêú ÛÎú´Ö ´Öë ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ÃÖÆüß ÛÎú´Ö “Öã×®Ö‹ : (A) †ÖÑÜÖ, ÛúÖ®Ö, þÖÖ¤ü, ÝÖÓ¬Ö (B) ÝÖÓ¬Ö, þÖÖ¤ü, †ÖÑÜÖ, ÛúÖ®Ö (C) ÛúÖ®Ö, ÝÖÓ¬Ö, †ÖÑÜÖ, þÖÖ¤ü (D) †ÖÑÜÖ, ÛúÖ®Ö, ÝÖÓ¬Ö, þÖÖ¤ü
37.
×®Ö´®Ö×»Ö×ÜÖŸÖ Ûú»ÖÖÛúÖ¸üÖë ÛúÖ ÃÖÆüß ÛúÖ»ÖÖ®ÖãÛÎú´Ö ×®Ö´®Ö×»Ö×ÜÖŸÖ ×¾ÖÛú»¯ÖÖë ´Öë ÃÖê “Öã×®Ö‹ : (A) ÆïüÃÖ®Ö, ´ÖÖןÖÃÖ, ›êü»ÖÛÎúÖꇌÃÖ, ²ÖÎÖÑÛãúÃÖß (B) ›êü»ÖÛÎúÖꇌÃÖ, ´ÖÖןÖÃÖ, ²ÖÎÖÑÛãúÃÖß, ÆïüÃÖ®Ö (C) ›êü»ÖÛÎúÖꇌÃÖ, ²ÖÎÖÑÛãúÃÖß, ´ÖÖןÖÃÖ, ÆïüÃÖ®Ö (D) ›êü»ÖÛÎúÖꇌÃÖ, ÆïüÃÖ®Ö, ´ÖÖןÖÃÖ, ²ÖÎÖÑÛãúÃÖß Paper-II
38.
39.
40.
41.
42.
Select the correct sequence of steps. (A) Carving, Maquette, Drawing, Finishing (B) Maquette, Drawing, Carving, Finishing (C) Drawing, Finishing, Carving, Maquette (D) Drawing, Maquette, Carving, Finishing
Match the following their respective sites : (a) Ravan (i) Shaking Mount Kailash (b) Maheshmurti (ii)
sculptures to Lauriyanandan Garh
Kailashnath Temple, Ellora (c) Ganga(iii) Elephanta avataran Caves (d) Mauryan Bull (iv) MahabaliCapital puram Codes : (a) (b) (c) (d) (A) (ii) (iii) (iv) (i) (B) (iii) (iv) (ii) (i) (C) (i) (ii) (iii) (iv) (D) (ii) (iii) (i) (iv)
Select the correct chronological sequence of the paintings. (A) Cave Monastery, Khilari, Brooding, Haldi Grinders (B) Khilari, Cave Monastery, Haldi Grinders, Brooding (C) Brooding, Haldi Grinders, Cave Monastery, Khilari (D) Haldi grinders, Brooding, Khilari, Cave Monastery
43.
Select the correct chronological sequence of the artist who worked on geometrical forms. (A) Om Prakash, B. Khanna, G. R. Santosh, J. Swaminathan (B) G. R. Santosh, Om Prakash, B. Khanna, J. Swaminathan (C) B. Khanna, G. R. Santosh, J. Swaminathan, Om Prakash (D) J. Swaminathan, G. R. Santosh, B. Khanna, Om Prakash
Match the following : (a) Jay Zharotia (i) Kolkata (b) Laxma Goud (ii) Baroda (c) Rini Dhumal (iii) Delhi (d) Sanat Kar (iv) Hyderabad Codes : (a) (b) (c) (d) (A) (i) (iii) (ii) (iv) (B) (iii) (iv) (ii) (i) (C) (iv) (i) (iii) (ii) (D) (ii) (iii) (iv) (i)
44.
Match the following : (a) Jagmohan (i) Aquatint Chopra (b) Prayag Jha (ii) Drawing with print Chillar impression (c) Sanat Kar (iii) Collography (d) Palani Appan (iv) Wood Intaglio Codes : (a) (b) (c) (d) (A) (ii) (iv) (iii) (i) (B) (ii) (iii) (i) (iv) (C) (iii) (i) (iv) (ii) (D) (iv) (i) (ii) (iii) J-79-12
Match the following iconographical attributes to their respective deities : (a) Ushnish (i) Vishnu (b) Chakra (ii) Shiva (c) Trishul (iii) Buddha (d) Kamandala (iv) Bodhisattva Maitreya Codes : (a) (b) (c) (d) (A) (i) (iv) (ii) (iii) (B) (iv) (iii) (ii) (i) (C) (ii) (i) (iii) (iv) (D) (iii) (i) (ii) (iv)
Paper-II
12
38.
×®Ö´®Ö×»Ö×ÜÖŸÖ “Ö¸üÞÖÖë ÛúÖ ÃÖÆüß ÛÎú´Ö ²ÖŸÖ»ÖÖ‡‹ : (A) ÛúÖÚ¾ÖÝÖ, ´ÖîÛêú™ü, ›ÒüÖò‡ÕÝÖ, ×±ú×®ÖØ¿ÖÝÖ (B) ´ÖîÛêú™ü, ›ÒüÖ‡ÕÝÖ, ÛúÖÚ¾ÖÝÖ, ×±ú×®ÖØ¿ÖÝÖ (C) ›ÒüÖ‡ÕÝÖ, ×±ú×®ÖØ¿ÖÝÖ, ÛúÖÚ¾ÖÝÖ, ´ÖîÛêú™ü (D) ›ÒüÖò‡ÕÝÖ, ´ÖîÛêú™ü, ÛúÖÚ¾ÖÝÖ, ×±ú×®ÖØ¿ÖÝÖ
39.
×®Ö´®Ö×»Ö×ÜÖŸÖ ¯ÖëØ™üÝÃÖ ÛúÖ ÃÖÆüß ÛúÖ»ÖÛÎú´Ö ¯ÖÆü“ÖÖ×®Ö‹ : (A) Ûêú¾Ö ´ÖÖê®ÖÖÙü¸üß, ×ÜÖ»ÖÖ›Ìüß, ²ÖÎæØ›üÝÖ, Æü»¤üß ÝÖÏÖ‡Ó›üÃÖÔ (B) ×ÜÖ»ÖÖ›Ìüß, Ûêú¾Ö ´ÖÖê®ÖÖÙü¸üß, Æü»¤üß ÝÖÏÖ‡Ó›üÃÖÔ, ²ÖÎæØ›üÝÖ (C) ²ÖÎæØ›üÝÖ, Æü»¤üß ÝÖÏÖ‡Ó›üÃÖÔ, Ûêú¾Ö ´ÖÖê®ÖÖÙü¸üß ×ÜÖ»ÖÖ›Ìüß (D) Æü»¤üß ÝÖÏÖ‡Ó›üÃÖÔ, ²ÖÎæØ›üÝÖ, ×ÜÖ»ÖÖ›Ìüß, Ûêú¾Ö ´ÖÖê®ÖÖÙü¸üß
40.
41.
42.
(A) (B) (C) (D)
•µÖÖ×´ÖŸÖßµÖ ºþ¯Ö ¯Ö¸ü ÛúÖµÖÔ Ûú¸ü®Öê ¾ÖÖ»Öê ×®Ö´®Ö×»Ö×ÜÖŸÖ Ûú»ÖÖÛúÖ¸üÖë ÛúÖ ÃÖÆüß ÛúÖ»ÖÛÎú´Ö ¯ÖÆü“ÖÖ×®Ö‹ : (A) †Öê´Ö ¯ÖÏÛúÖ¿Ö, ²Öß. ÜÖ®®ÖÖ, •Öß. †Ö¸ü. ÃÖÓŸÖÖêÂÖ, •Öê. þÖÖ´Öß®ÖÖ£Ö®Ö (B) •Öß. †Ö¸ü. ÃÖÓŸÖÖêÂÖ, †Öê´Ö ¯ÖÏÛúÖ¿Ö, ²Öß. ÜÖ®®ÖÖ, •Öê. þÖÖ´Öß®ÖÖ£Ö®Ö (C) ²Öß. ÜÖ®®ÖÖ, •Öß. †Ö¸ü. ÃÖÓŸÖÖêÂÖ, •Öê. þÖÖ´Öß®ÖÖ£Ö®Ö, †Öê´Ö ¯ÖÏÛúÖ¿Ö (D) •Öê. þÖÖ´Öß®ÖÖ£Ö®Ö, •Öß. †Ö¸ü. ÃÖÓŸÖÖêÂÖ, ²Öß. ÜÖ®®ÖÖ, †Öê´Ö ¯ÖÏÛúÖ¿Ö
43.
×®Ö´®Ö×»Ö×ÜÖŸÖ ¤êü¾ÖŸÖÖ†Öë ŸÖ£ÖÖ ˆ®ÖÛêú ¯ÖÏŸÖßÛúÖŸ´ÖÛú »ÖõÖÞÖÖë ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : (a) ˆÂÞÖßÂÖ (i) ×¾ÖÂÞÖã (b) “ÖÛÎú (ii) ×¿Ö¾Ö (c) סֿÖæ»Ö (iii) ²Öã¨ü (d) Ûú´ÖÞ›ü»Ö (iv) ²ÖÖê׬ÖÃÖŸ¾Ö ´Öî¡ÖêµÖ ÛúÖê›ü :
44.
(A) (B) (C) (D) J-79-12
(a) (i) (iv) (ii) (iii)
(b) (iv) (iii) (i) (i)
(c) (ii) (ii) (iii) (ii)
×®Ö´®Ö×»Ö×ÜÖŸÖ ´ÖæÙ¢ÖµÖÖë ŸÖ£ÖÖ ˆ®ÖÛêú ãֻÖÖë ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : (a) Ûîú»ÖÖ¿Ö ¯Ö¾ÖÔŸÖ ÛúÖê (i) »ÖÖî׸üµÖÖ®ÖÓ¤ü®Ö ÝÖœÌü ×Æü»ÖÖŸÖß Æãü‡Ô ¸üÖ¾ÖÞÖ Ûúß ´ÖæÙŸÖ (b) ´ÖÆêü¿Ö´ÖæÙŸÖ (ii) Ûîú»ÖÖ¿Ö®ÖÖ£Ö ´ÖÓפü¸ü, ‹»ÖÖê¸üÖ (c) ÝÖÓÝÖÖ¾ÖŸÖ¸üÞÖ (iii) ‹×»Ö±ïú™üÖ ÝÖã±úÖ‹Ñ (d) ´ÖÖîµÖÔÛúÖ»Öß®Ö ²Öã»Ö (iv) ´ÖÆüÖ²Ö»Ö߯Öã¸ü´Ö Ûîúׯ֙ü»Ö ÛúÖê›ü : (c) (d) (iv) (i) (ii) (i) (iii) (iv) (i) (iv)
(a) (i) (iii) (iv) (ii)
(b) (iii) (iv) (i) (iii)
(c) (d) (ii) (iv) (ii) (i) (iii) (ii) (iv) (i)
×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : (a) •ÖÝÖ´ÖÖêÆü®Ö “ÖÖê¯Ö›ÌüÖ (i) ‹Œ¾ÖÖØ™ü™ü (b) ¯ÖϵÖÖÝÖ —ÖÖ ×“Ö»»Ö¸ü (ii) ›ÒüÖ‡ÓÝÖ ×¾Ö£Ö Ø¯ÖÏ™ü ‡Ó¯ÖÏê¿Ö®Ö (c) ÃÖ®ÖŸÖ Ûú¸ü (iii) ÛúÖò»ÖÖêÝÖÏÖ±úß (d) ¯Ö»ÖÖ®Öß †¯¯Ö®Ö (iv) ¾Öã›ü ‡Ó™êü×ݻֵÖÖê ÛúÖê›ü : (A) (B) (C) (D)
13
(b) (iii) (iv) (ii) (iii)
×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : (a) •ÖµÖ —Ö¸üÖê×™üµÖÖ (i) ÛúÖê»ÖÛúÖŸÖÖ (b) »Öõ´ÖÖ ÝÖÖî›Ìü (ii) ²Ö›ÌüÖî¤üÖ (c) ׸ü®Öß ¬Öæ´Ö»Ö (iii) פü»»Öß (d) ÃÖ®ÖŸÖ Ûú¸ü (iv) Æîü¤ü¸üÖ²ÖÖ¤ü ÛúÖê›ü : (A) (B) (C) (D)
(d) (iii) (i) (iv) (iv)
(a) (ii) (iii) (i) (ii)
(a) (ii) (ii) (iii) (iv)
(b) (iv) (iii) (i) (i)
(c) (iii) (i) (iv) (ii)
(d) (i) (iv) (ii) (iii) Paper-II
45.
46.
47.
Match the material with sculpture mediums. (a) Carving (i) Clay (b) Modelling (ii) Brass (c) Casting (iii) Scrap metal (d) Assemblage (iv) Stone Codes : (a) (b) (c) (d) (A) (iv) (ii) (iii) (i) (B) (ii) (i) (iii) (iv) (C) (iv) (i) (ii) (iii) (D) (i) (ii) (iii) (iv)
48.
Match the following artists with their relevant creative works : (a) Prodosh Das (i) Bird in Space Gupta (b) Edgar Degas (ii) The Bull (c) Constantin (iii) Little Brancusi fourteen year old Dancer (d) Raghav (iv) In Bondage Kaneria Codes : (a) (b) (c) (d) (A) (iv) (i) (ii) (iii) (B) (iv) (iii) (i) (ii) (C) (ii) (iii) (iv) (i) (D) (ii) (i) (iv) (iii) Match the following : (a) Donate Eyes (i) Amitabh Bachchan (b) End Polio Now (ii) Aishwarya Rai (c) Be a Vegetarian (iii) Amir Khan (d) Atithi Devo (iv) Maneka Bhav Gandhi Codes : (a) (b) (c) (d) (A) (ii) (i) (iv) (iii) (B) (i) (iv) (iii) (ii) (C) (iii) (ii) (iv) (i) (D) (iv) (iii) (i) (ii)
Paper-II
14
Match the following : (a) Maximum Point (i) Size (b) Entangled (ii) Interlaced Initial (c) Unit of (iii) Resolution (d) Pictorial (iv) /Illustrated Text Codes : (a) (b) (c) (d) (A) (i) (iv) (iii) (ii) (B) (iii) (ii) (iv) (i) (C) (i) (iii) (ii) (iv) (D) (ii) (i) (iv) (iii)
Cypher 72 point Pictogram DPI
49.
Match the following terms with painting medium : (a) Light to dark (i) Oil Painting (b) Dark to light (ii) Water colour painting (c) Pasting (iii) Graphic (d) Etching (iv) Collage Codes : (a) (b) (c) (d) (A) (ii) (i) (iv) (iii) (B) (ii) (iv) (iii) (i) (C) (ii) (iii) (iv) (i) (D) (i) (ii) (iii) (iv)
50.
Match the following artists with their places : (a) Asit Kumar (i) Delhi Haldar (b) B. C. Sanyal (ii) Baroda (c) Ravindra (iii) Lucknow Nath Tagore (d) N. S. Bendre (iv) Shantiniketan Codes : (a) (b) (c) (d) (A) (i) (iii) (ii) (iv) (B) (iii) (i) (iv) (ii) (C) (iv) (ii) (i) (iii) (D) (ii) (iv) (iii) (i) J-79-12
45.
×®Ö´®Ö×»Ö×ÜÖŸÖ ÃÖÖ´Ö×ÝÖϵÖÖë ŸÖ£ÖÖ ÃÛú»¯Ö“Ö¸ü ´Öß×›üµÖ´ÃÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : (a) ÛúÖÚ¾ÖÝÖ (i) Œ»Öê (b) ´ÖÖò›üØ»ÖÝÖ (ii) ¯ÖßŸÖ»Ö (c) ÛúÖØÙüÝÖ (iii) ÃÛÎîú¯Ö ´Öê™ü»Ö (d) ‹ÃÖê´²Ö»Öê•Ö (iv) ¯ÖŸ£Ö¸ü ÛúÖê›ü : (A) (B) (C) (D)
46.
(a) (b) (c) (d) (iv) (ii) (iii) (i) (ii) (i) (iii) (iv) (iv) (i) (ii) (iii) (i) (ii) (iii) (iv) 49.
(a) (b) (c) (d) (iv) (i) (ii) (iii) (iv) (iii) (i) (ii) (ii) (iii) (iv) (i) (ii) (i) (iv) (iii)
(A) (B) (C) (D) J-79-12
(b) (i) (iv) (ii) (iii)
(c) (iv) (iii) (iv) (i)
50.
(d) (iii) (ii) (i) (ii)
(b) (iv) (ii) (iii) (i)
(c) (iii) (iv) (ii) (iv)
(d) (ii) (i) (iv) (iii)
(a) (b) (c) (d) (ii) (i) (iv) (iii) (ii) (iv) (iii) (i) (ii) (iii) (iv) (i) (i) (ii) (iii) (iv)
×®Ö´®Ö×»Ö×ÜÖŸÖ Ûú»ÖÖÛúÖ¸üÖë ŸÖ£ÖÖ ˆ®ÖÃÖê ÃÖÓ²ÖÓ×¬ÖŸÖ Ã£ÖÖ®ÖÖë ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : (a) †×ÃÖŸÖ Ûãú´ÖÖ¸ü (i) פü»»Öß Æü»Ö¤ü¸ü (b) ²Öß. ÃÖß. ÃÖÖ®µÖÖ»Ö (ii) ²Ö›ÌüÖî¤üÖ (c) ¸ü¾Öß®¦ü®ÖÖ£Ö ™îüÝÖÖê¸ü (iii) »ÖÜÖ®Ö‰ú (d) ‹®Ö. ‹ÃÖ. ²Öë¦êü (iv) ¿ÖÖÓןÖ×®ÖÛêúŸÖ®Ö ÛúÖê›ü : (A) (B) (C) (D)
15
(a) (i) (iii) (i) (ii)
×®Ö´®Ö×»Ö×ÜÖŸÖ ¯Ö¤üÖë ŸÖ£ÖÖ ¯ÖëØ™üÝÖ ´Öß×›üµÖ´ÃÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : (a) Æü»Ûêú ÃÖê ÝÖÖœÌêü Ûúß (i) ŸÖî»Ö ד֡ÖÞÖ †Öê¸ü (b) ÝÖÖœÌêü ÃÖê Æü»Ûêú Ûúß (ii) •Ö»Ö ¸ÓüÝÖ ×“Ö¡ÖÞÖ †Öê¸ü (c) ד֯ÖÛúÖ®ÖÖ (iii) ÝÖÏÖ×±úÛú (d) ‹Ø“ÖÝÖ (iv) ÛúÖê»ÖÖ•Ö ÛúÖê›ü : (A) (B) (C) (D)
×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : (a) †ÖÑÜÖë ¤üÖ®Ö Ûú¸ëü (i) †×´ÖŸÖÖ³Ö ²Ö““Ö®Ö (b) †²Ö ¯ÖÖê×»ÖµÖÖê ÛúÖ (ii) ‹ê¿¾ÖµÖÖÔ ¸üÖµÖ †ÓŸÖ Ûú¸ëü (c) ¿ÖÖÛúÖÆüÖ¸üß ²Ö®Öë (iii) †Ö×´Ö¸ü ÜÖÖ®Ö (d) †×ŸÖ×£Ö ¤êü¾ÖÖê ³Ö¾Ö (iv) ´Öê®ÖÛúÖ ÝÖÖÓ¬Öß ÛúÖê›ü : (a) (ii) (i) (iii) (iv)
×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : (a) †×¬ÖÛúŸÖ´Ö ¯¾ÖÖ‡Ó™ü (i) ÝÖæœÌü»ÖêÜÖ ÃÖÖ‡•Ö (b) •Ö×™ü»Ö ÃÖÓÝÖã×´±úŸÖ (ii) 72 ¯¾ÖÖ‡Ó™ü †Ö¤ËüµÖÖõÖ¸ü (c) ¸êü•ÖÖ껵Öæ¿Ö®Ö Ûúß ‡ÛúÖ‡Ô (iii) ׯ֌™üÖêÝÖÏÖ´Ö (d) ÃÖ×“Ö¡Ö ¯ÖÖšü¶ ÃÖÖ´ÖÝÖÏß (iv) ›üß ¯Öß †Ö‡Ô ÛúÖê›ü : (A) (B) (C) (D)
×®Ö´®Ö×»Ö×ÜÖŸÖ Ûú»ÖÖÛúÖ¸üÖë ÛúÖê ˆ®ÖÛúß ÃÖé•Ö®ÖÖŸ´ÖÛú ÛéúןֵÖÖë ÃÖê ÃÖã´Öê×»ÖŸÖ Ûúßו֋ : (a) ¯ÖϤüÖêÂÖ ¤üÖÃÖ ÝÖã¯ŸÖ (i) ²Ö›Ôü ‡®Ö ïÖêÃÖ (b) ‹›ËüÝÖ¸ü ›êüÝÖÖ (ii) פü ²Öã»Ö (c) ÛúÖÑÙüÖÓ×™ü®Ö (iii) ×»Ö™Ëü»Ö ±úÖê™üá®Ö ²ÖÎÖÑÛãúÃÖß ‡µÖ¸ü †Öê»›ü ›üÖÓÃÖ¸ü (d) ¸üÖ‘Ö¾Ö Ûú®Öê׸üµÖÖ (iv) ‡Ó ²ÖÖÑ›êü•Ö ÛúÖê›ü : (A) (B) (C) (D)
47.
48.
(a) (i) (iii) (iv) (ii)
(b) (iii) (i) (ii) (iv)
(c) (ii) (iv) (i) (iii)
(d) (iv) (ii) (iii) (i) Paper-II
Space For Rough Work
Paper-II
16
J-79-12
