SUBJECT – PAINTING (CODE 049)

SAMPLE QUESTION PAPER

CLASS XII (2023-24)

One Theory Paper – 2 hrs Total Marks – 30

General Instructions

 Section-A

Attempt all Questions (Each Question will carry 1 mark)

 Section-B

Attempt all Questions (Each Question will carry 2 Marks)

 Section-C

Attempt any two Questions (Each Question will carry 6 Marks)

S.No. SECTION-A Marks

The artworks of Pahari School of Miniature Painting were based on

1. 1
the divine themes of:

i. Ramayana

ii. Rasik Priya

iii. Geet Govind

iv. All the above

2. Assertion (A): Our mentor guides us in understanding the profundity 1

of the Supreme God, as seen in the painting Hazrat Nizamuddin
Auliya and Amir Khusrau.

Reason (R): By obeying our Guru, we can build a peaceful and

prosperous society.

i. Both A and R are true, and R is the correct explanation of A

 ii. Both A and R are true, but R is not the correct explanation of A

iii. A is true but R is false

iv. A is false and R is True

3. The use of painting faces in side profile became the hallmark of: 1

i. Tribal Paintings

ii. Company Paintings

iii. Bengal School of Painting

iv. Miniature Paintings

4. The painting ‘Nand, Yashoda, and Krishna with kinsmen going to 1

Vrindavan’ reflecting the leadership qualities of a youth by voluntarily
taking responsibilities at a crucial moment is painted by Miniature
Artist:

i. Nihalchand

ii. Nuruddin

iii. Nainsukh

iv. Nandlal Bose

5. Assertion (A): The Mughal School of Miniature Painting used 1

decorative borders to enhance the beauty of the paintings.

Reason (R): Artists of Mughal courts used floral motifs and gold to
make their painting look royal and full of grandeur.

i. Both A and R are true, and R is the correct explanation of A

ii. Both A and R are true, but R is not the correct explanation of A

iii. A is true but R is false

iv. A is false and R is True

6. The painting ‘Bani Thani’ is an epitome of elegance showcasing the 1
quality of:

i. Childhood

ii. Womanhood

iii. Fatherhood

iv. Brotherhood

7. The highly realistic painting of Mughal School named ‘Falcon on Bird 1

Rest’ with Devanagari Script was made under the patronage of the
King:

i. Aurangzeb

ii. Jahangir

iii. Akbar

iv. Babur

Influenced by European artists, Amrita Shergill’s contemporary yet

8. deep-rooted values of Indian origin enabled her in expressing 1
injustice, dejection, and pity towards rural Indian women through the
simple use of:
i. Subject matter
ii. Compositional arrangements
iii. All the above
iv. None of the above

SECTION-B
9. Instead of mythological themes in his artwork, a disciple of Abanindranath 2
Tagore showed how men, women and labourers diligently engage in their
routine to achieve victory.

 Who was this sensitive artist and which sculpture from your course
of study reflects this through realistic modeling of muscle movement
and human form and laborers.

 Describe how the strength of unity brings victory as shown in this

sculpture. (OR)

Considered to be one of the greatest painters in the history of Indian art,

he fused European techniques with pure Indian sensibility.
He was the first to print his artworks to make them affordable and easily
available, bringing fine art close to the masses.

 Identify the name of the artist and the Painting, method, and
technique of painting from your syllabus.

 Describe how this realistic painting (adapted from Ramayana)

cautions us from the consequences of ego.

10. ‘Raghukul Reeti Sada Chali Aaye, Praan Jai Par Vachan Na Jaai’ 2

 Which miniature painting from Rajasthan School showcasing strong

bond of brotherhood between Rama and Bharat, re-lives this saying
and how has the artist helped us in elevating our state of life by
imbibing these virtues and family values?

 Give an example through an episode from the present-day scenario

which will help our future generation in character building.

(OR)

During the early 19th century, India was a male dominant society. Dana
showed Women Empowerment, their versatile personality and showcased
them overcoming traditional norms.

 Throw light on the valour shown in the subject matter of Dana‟s

painting from your syllabus.

 How can this Rajasthani painting still help in broadening the mindset
of our society?
11. In this sculpture, the sacred representation of the divine power of ‘Ganesh’ 2
as a leader and an artist are depicted with indigenous character of cave
and temple sculpture.

 Write the material used and its sculptor.

 While critically analyzing this sculpture, identify some

characteristics of a leader and an artist which inspires you?

(OR)

M.F. Hussain painted cinema posters in his early days for living. But his
art style flourished and was later honored by Government of India with
Padma Shree, Padma Bhushan, and Padma Vibhushan for his great
contribution to art.

 Identify the painting made by him from your course and how does it
inspire you?

 Using elements of art as your parameter, explain how this painting

depicts epitome of compassion and care.

12. Evaluate the aesthetic beauty of any one of the following which shows the 2
connection and bond between Royal Figures and Royal Animals:

A) ‘Darashikoh ki Baraat’ from Mughal school

(OR)

B) ‘Chand Bibi Playing Polo’ from Deccan School

13. Our national flag is the identification of our country and its citizens. It 2
narrates thousands of stories of courage and sacrifice, peace and honesty,
chivalry and prosperity, embracing secularism as it proudly flies high in our
independent sky.

 Do you feel we still imbibe these qualities in us?

Explain your point of view.

 How can these values help us in contributing towards the progress

of our country?
 (OR)

Art becomes a powerful medium when it reflects the social issues,

problems related to the women, their sufferings, and traumas due to
malpractices, especially after being a widow.

 Identify the print, printmaker, medium and technique.

 How successful do you think the artist has been in showcasing

these issues and spreading awareness through this print? How can
you contribute in irradicating them from the society?

SECTION-C

14. It is believed that „The Glory of the Mughal Miniature painting rose like 6
rising sun with the dawn of the Mughals and dwindled with the sunset of
the Mughals‟.

 Justify this statement by describing the continuous growth in

Mughal Miniature paintings. (Mention the „Golden Period‟ and the
„Downfall‟).

 Explain in brief, the painting „Krishna Lifting Mount Govardhana‟

15. Throw light on the origin and development of Rajasthani School of 6

Miniature Painting and the aesthetic qualities practiced by its Sub Schools.

Based on aesthetic parameters, elaborate the painting ‘Krishna on Swing’

observed by you.

16. “The Bengal School gave Indian art an identity and acceptance which was 6
lost due to foreign invasions and the British rule. Mass support for artists
work united common people towards our freedom movement.”

How did the origin and development of Bengal School create a benchmark
in the formation of Indian Art. What gave it a distinctive and unique
identity?

Choose and describe any one painting from the Bengal School (from your
syllabus) which depicts a real-life situation consisting of sadness, pain &
agony.

Support your answer through the points mentioned below:

 Origin and Development of Bengal School

 Name of Painting and its Artist

 Medium and Technique of the Painting

 Compositional Arrangement and Subject Matter

 SUBJECT – PAINTING (CODE 049)
MARKING SCHEME
CLASS XII (2023-24)
One Theory Paper – 2 hrs Total Marks – 30

S.No. SECTION-A
1. (iv) 1
2. (i) 1
3. (iv) 1
4. (iii) 1
5. (i) 1
6. (ii) 1
7. (ii) 1
8. (iii) 1
SECTION-B
9. Sculptor and Sculpture – 1 Mark 2
Description of artwork and statement – 1 Mark

Key Points that can be used in the Answer

ARTIST – D.P. ROYCHOWDHURY, TITLE OF SCULPTURE – TRIUMPH OF
LABOUR, DESCRIPTION- THREE DIMENSIONAL, POWERFULLY MODELLED,
REALISTIC REPRESENTATION OF TEAMWORK, UNITY, EFFORTS OF LABORER’S,
WHO ARE POOR, WEARING BARE MINIMUM CLOTHING, WITH CONFIDENT
AND FACIAL EXPRESSION OF DETIRMINATION, PROVING NOTHING IS
IMPOSSIBLE, TRUST OF TEAM.
(OR)

Name of artist and artwork, method, and technique – 1 Mark

Explanation of artwork, description – 1 Mark

Key Points that can be used in the Answer

ARTIST - RAJA RAVI VERMA, PAINTING – RAMA VANQUISHING PRIDE OF THE
OCEAN, OIL PAINTING, REALISM,
DESCRIPTION- VERTICAL COMPOSITION, MYTHOLOGICAL THEMES, CRUSHING
THE EGO OF THE SEA GOD, MESSAGE FOR THE MASSES, LORD RAMA WITH
BOW AND ARROW, GOD’S ANGER SHOWN THROUGH FORCE OF WIND, ,
LIGHTENING, STRONG SEA WAVES, SEA GOD’S CONSORTS BEGGING
FORGIVENESS, PROMOTING INDIAN THEME,
MAKING ART APPROACHABLE TO COMMON PEOPLE, WELL BALANCED
COMPOSITION
10. Name of the painting, explanation of values – 1 Mark 2
Example from present day scenario– 1 Mark

Key Points that can be used in the Answer

PAINTING - BHARAT MEETS RAMA AT CHITRAKUTA, HORIZONTAL PAINTING

SHOWING, RESPECT, KEEPING PROMISE, CARE, LOVE TOWARDS FAMILY,
DEVOTION, EMOTIONAL CONNECT.
ANY EXAMPLE FROM PRESENT DAY LIVING WHICH SHOWCASE STRONG AND
VALUE BASED CHARACTER BUILDING.

(OR)

Name of the Painting, Subject matter – 1 Mark

Justification of the importance of this painting – 1 Mark

Key Points that can be used in the Answer

PAINTING – CHAUGAN PLAYERS, RAJASTHANI SCHOOL,
INSPIRATION – VERTICAL PAINTING, PRINCESS PLAYING WITH OTHER MATES,
CHAUGAN OR GAME OF POLO, CONFIDENT PRINCESS, FREEDOM,
INDIVIDUALITY, EQUAL RIGHTS, LEADERSHIP QUALITIES, MULTITASKING,
DECORATED HORSES, BELL SHAPED GHAGHARA, RAJASTHANI ATTIRE.

11. Name of the Sculptor, Material used -1 Mark 2

Critical Analysis and Characteristics – 1 Mark

Key Points that can be used in the Answer

SCULPTOR- P.V. JANKIRAM, MATERIAL - METAL AND OXIDIZED COPPER.
ANALYSIS - NON-REALISTIC REPRESENTATION, DANCING POSTURE, SHANKH
AND GADA, VEENA, LOTUS, MUSIC, AURA AND DIVINITY, SEMI ABSTRACT. BIG
EARS- PATIENCE TO HEAR, BIG TUMMY- TO KEEP SECRETS NOT GOSSIP, ETC.

(OR)

Name of the Painting, inspirational value – 1 Mark

Explanation of the artwork to depict compassion and care -1 Mark.

Key Points that can be used in the Answer

PAINTING – MOTHER TERESA, OIL PAINTING, HORIZONTAL PAINTING
TEACHING SELFLESSNESS, CARE, PROTECTION, COMPASSION AND CARE,
HELPING PEOPLE IN DIFFERENT PHASES OF LIFE, ILL HEALTH, CONSOLING
HAND, FIGURE LYING ON THE LAP OF MOTHER,
DESCRIPTION BASED ON ELEMENTS OF ART: THE VISUAL COMPONENTS OF
COLOUR- SYMBOLIC- WHITE SAREE WITH BLUE BORDER, POINT, LINE- BOLD,
SHAPE-, SEMI ABSTRACT, SPACE- DEVISION, TEXTURE- ROUGH ETC.
12. Name of Artist, Sub School– 1 Mark 2
Aesthetic Depiction of the Painting -1 Mark

Key Points that can be used in the Answer

ARTIST- HAJI MADNI, PROVINCIAL MUGHAL SCHOOL, SHAHJAHAN PERIOD,
CELEBRATIONS, VERTICAL COMPOSITION, GRANDEUR, ROYALTY, IN BARAAT-
RULERS SHOWN WITH AURA AND OTHER IMPORTANT PEOPLE SEATED ON
WELL DECORATED HORSES, FEMALS ARE COMFORTABLY SITTING ON
ELEPHANTS, IMPORTANCE OF THESE ANIMALS, DIFFERENT GROUPS OF
PEOPLE, MUSIC AND DANCE, FIREWORKS, BRIDE SIDE READY TO WELCOME,
BOTH SIDES DECORATED AND ORNAMENTAL CLOTHING FOR ALL.

(OR)
Name of Artist, Sub School– 1 Mark
Aesthetic Depiction of the Painting-1 Mark

Key Points that can be used in the Answer

ARTIST – UNKNOWN, SUB SCHOOL – GOLKONDA, DECCAN SCHOOL,
VERTICAL COMPOSITION, - CHANDBIBI AS EMPRESS AND HER ROYAL HORSE,
PLAYING THE GAME OF POLO, ALL FOUR DIFFERENTLY COLOURED GALLOPING
HORSES, WELL ORNAMENTED, WITH FEMALE RIDERS, SHOW CONNECTION
BETWEEN THEM AND THEIR MAJESTIC HORSES, SPIRIT OF TEAMWORK, USE
OF NATURE AND BIRDS, WOMEN EMPOWERMENT ETC

13. Explanation of the Qualities we imbibe– 1 Mark 2

Contribution of values in progress of the country -1 Mark

Key Points that can be used in the Answer

QUALITIES THAT WE IMBIBE, INSPIRATION THAT WE GAIN FROM OUR

NATIONAL FLAG, CONTRIBUTION OF MARTYRS IN ITS FORMATION,
SIGNIFICANCE OF ITS COLOURS, ORANGE DEPICTING COURAGE AND
SACRIFICE, WHITE DEPICTING PEACE AND HONESTY, GREEN DEPICTING
PROSPERITY AND CHIVALRY, DHARMA CHAKRA, COMMITMENT AND
CONSTANT PROGRESS, EQUALITY, SECULARISM, ONE INDIA, UNITY IN
DIVERSITY, FORMATION OF RESPONSIBLE TRUE CITIZEN, SERVING OUR
COUNTRY AND HELPING OUR FELLOW CITIZENS SELFLESSLY, KEEPING THE
NATION BEFORE SELF, UPHOLDING THE VALUES THAT WE DERIVE FROM OUR
FLAG AND COUNTRY

(OR)

Name of the Print and Printmaker, Medium & Technique– 1 Marks

Description of the Subject Matter and suggestive views-1 Marks

Key Points that can be used in the Answer

 PRINT – OF WALLS, PRINTMAKER – ANUPAM SUD, MEDIUM – ETCHING AND
PRINT MAKING,
SHOWS THE CONDITION OF A HELPLESS WIDOW IN SOCIETY, POVERTY,
MONOCHROMATIC TONE, HOLLOW FACE DESCRIBING EMPTINESS AND
LONELINESS IN LIFE, HELPLESSNESS, RIGIDNESS OF SOCIETY, WHITE AND
COLOURLESS CLOTHING, LIFELESS BODY LYING ON THE FLOOR, NO HELP,
WALL IN THE BACKGROUND WITH DEPICTION OF FAMILY AS DRAWING, IRONY
OF LIFE, PAIN AND SADNESS, CONTRIBUTING IN ERADICATING THESE
MALPRACTICES, GIVING EQUAL RIGHTS, ACCEPTANCE, REACHING OUT FOR
HELP, SHOWING EMPATHY AND RESPECT, BY GIVING A HOPE THAT LIFE KEEPS
ON GOING AND WE SHOULD MOVE ON WITH TIME.

SECTION-C
14. Origin and Development of Mughal School- 2Marks 6
Major characteristics of time period of Mughal School – 2 Marks
Main features and appreciation of painting -2 Marks

Key Points that can be used in the Answer

BABUR, HUMAYUN, AKBAR, JANANGIR, SHAH JAHAN, AURANGZEB, GOLDEN

TIME PERIOD-AKBAR PERIOD, JAHANGIR PERIOD, DOWN FALL, AURANGZEB.
‘KRISHNA LIFTING MOUNT GOVARDHAN’ ARTIST- MISKIN, PERIOD, AKBAR
PERIOD, BASED ON BHAGWAT PURAN, KRISHNA AS MAIN FIGURE, WEARING
PITAMBAR, MOUNTAIN IN PERSIAN STYLES, MOUNTAIN USED AS UMBRELLA,
VILLAGERS, EK CHASHM, DEDH CHASM, SAVA CHASM, THIN LINES, ANIMALS,
MAXIMUM USE OF BLUE COLOUR, RAIN AND CLOUDS, BLEND OF RAJASTHANI
AND PERSIAN ART.
15. Describing the continuous growth, Origin and Development in Rajasthani 6
Miniature Paintings and Sub Schools. – 3 marks
explaining the painting ‘Krishna on Swing’ – 3 marks

key points that can be used in the answer

ROYAL PATRONAGE, WEALTHY RULERS, VARIED THEMES FROM MUSIC,

NATURE, RELIGIOUS TEXTS AND SCRIPTURES LIKE GEET GOVIND, BARAMASA,
BHAGWAT PURAN ETC., USE OF BRIGHT COLOURS, HIGHLIGHTING VALOR AND
COURAGE, GRACE AND DIGNITY, SUB SCHOOLS INCLUDING MEWAR,
JODHPUR, BIKANER, KISHANGARH, JAIPUR ETC. ARTIST OF THE PAINTING-
NURUDDIN, SUB SCHOOL – BIKANER, KRISHNA REPRESENTED WITH FEMALE
FIGURES, USE OF FOREGROUND AND BACKGROUND, INDOOR AND OUTDOOR,
DEPICTION OF TWO SCENES IN ONE PAINTING, STYLIZED TREES, DECORATIVE
AND WELL-DRESSED FIGURES, KRISHNA SITTING ON THE SWING AND
INTERACTING WITH RADHA, IN LOWER PART KRISHNA INTERACTING WHILE
SITTING ON GROUND WITH MASNAD OR PILLOW, GOPI SHOWN AS A
MESSENGER.)
16. Origin and Development of Bengal School – 2 Marks 6

Name of the Painting and Artist, Medium and technique -2 Marks

Compositional Arrangement & Subject Matter- 2 Marks

Key Points that can be used in the Answer

REVIVAL OF INDIAN ART, ROLE OF E.B. HAVELL AND ABNINDRANATH TAGORE,

NEGATING BRITISH THEMES, CONNECTING INDIANS WITH OUR ART AND
STYLE, USE OF WASH AND TEMPERA, UNITING INDIANS THROUGH ART
TOWARDS FREEDOM STRUGGLE, FORMATION OF COLLEGE OF ART,
PROMOTING INDIAN ESSENCE AND THEMES, ESTABLISHING DISTINCTIVE AND
UNIQUE IDENTITY OF INDIAN ART

PAINTING – JOURNEY’S END, ARTIST ABNINDRANATH TAGORE, MEDIUM-

WASH AND TEMPERA, PAIN, AGONY AND SUFFERING, FIGURE OF A CAMEL,
FINE DELICATE LINES, WASH AND TEMPERA, HUMAN ATROCITIES ON ANIMAL,
SADNESS DEPICTED WITH USE OF COLOURS, BURDEN, HELPLESSNESS OF THE
CAMEL, USE OF EMOTIONS AND EMPATHY.

PAINTING – SHIV AND SATI, ARTIST – NANDLAL BOSE, MEDIUM - WASH AND
TEMPERA, SADNESS, REPRESENTATION OF GODS AS HUMAN FORMS, FINE
AND DELICATE LINES, HALO, MYTHOLOGICAL MONOCHROMATIC TONES AND
USE OF COLOURS TO DEPICT DULLNESS AND LIFELESSNESS, THE FIGURE OF
SATI LYING LIFELESS IN THE LAP OF LORD SHIVA)
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