Q. Write a short note on the techniques of Ajnata printings.
Ans: Almost all
the caves of Ajanta belong to the vakataka period. The paintings in cave no 1
are of later date than cave no 9 and 10.Though the subjects of these paintings
are religious there is a keep interest in the common world. The main aim was to
reach the basic principles of Buddhism
through Jataka stories.
Ajanta painters followed the
tradional method of India wall painting. These paintings are basically linear.
Thought the paintings were masters in handling colour.
Q. What do you
know about Ajanta caves?
Ans: Ajanta was
a Buddhist settlement situated near Aurangabad in Maharashtra. It was
discovered by some British soldiers. Some 29 caves have been cut from a
horsehoeshaped hilliside. Paintings have been found in six of these caves.
These caves are two types viz. Chaityas and Viharas. Chaitya was a place of
worship while the Vihara was the dwelling-place of the monks. The walls celling
and the front part of the chaityas and painting. The themes of these art-works
are based on Buddhist scriptures and mainly the stories of Jataka.
The technical methods of Ajnata
paintings is tempera. A rough mud plaster, containing cow dung and animal hair
was first pressed on the rocks. A coat of fine lime plaster was laid over it.
The colour was applied after the ground was completely dry.
Q. What was
the special features of “Kali Ghat paintings”?
Ans: The special
features of “Kali Ghat Paintings” are :
1. Expression through arts is an
interest quality of human beings.
2. Springs onself consciously at a grass roots level from peoples most fundamental
life experience.
3. Locally available materials and
prepare their own colours and brushes. Twigs or bamboo sticks are used as brush
fore fine lines.
Q. Write down the
three main reasons of calling ‘Taj Mahal’ as a very good example of Mughal
Architecture.
Ans: 1. Mughal Emperor Shah Jahan is a well
known figure until today for its building construction activities especially
for Taj Mahal. He got Taj Mahal constructed as a memorial for his beloved wife
Mumtaz Mahal.
2. In this building there are two
tombs. One of his wife Mumtaj and the other of his own.In fact such memorial buildings
constructed over and tombs are called ‘Maqbaras’.
3. This beautiful building is situated
on the bank of Yamuna river in the city of Agra.
Q. Write the
main features of the status of Jain Tirthankar.
Ans: The main
features of the status of Jain tirthankar as given below:
1. Many Jain images were found near
vidisa, which belonged to the early Gupta period.
2. The image of a Jain tirthankar,
Seated on a square pedestal in Vajraparyankasana mudra.
3. The image of Mahavira Swamy, the 24th
Tirthankar, is made in the typical Buddhist and jain style of the kusana
period.
4. Mahavira Swamy laid emphasis on
freeing the human being from the cycle of birth and death.
Q. Write the
characteristics of Mughal Miniature painting.
Ans: The
characteristics of Mughal Miniature painting in the following:
1. Mughal evolution of Miniature
painting was originated in Persia and continued about three centuries in India.
2. Huayun patronized the art of miniature
painting and brought a few Persian artists to India. Notable names were Abbus Samad
and Mir Sayyid Ali.
3. Mughal painting achieved its zenith during
the time of Akbar and Jahangir.
4. Most of the paintings were executed
in tempera technique in which Jahan’s period.
5. The Awadh school developed a style of
its own.
Q. Describe the
painting on the story of Dhola-Maru?
Ans: The love
story of Dhola-Maru is very popular in Rajasthan and is narrate both in Mural
and miniature paintings.
The composition of this painting
is divided into two parts. Dhola and Maru are shown seated under a yellow
canopy with a red curtain in the upper part of the composition. Dhola is
dressed in typical aristocratic attire complete with weapons like sword and
shield facing his lover Maru in Rajasthani contume. The lower part of the
composition show’s Maru earessing her pet camel. Bath the figures are prominent
against a green background dotted with flower motifs. Stylized motifs of three trees
are bringing a unity in the composition.
Q. Why Tanjore
painting is different from other schools of painting?
Ans: Tanjore paintings
are different from any other painting style because of its embellishment over
the basic drawing with precious and semi-precious stone as well as the relief work.
This art originated in
Thanjavoor in Tamil Nadu during 16th C.A.D., but most of the extant
works belong to 19th C.A.D. This style became very popular in the
surrounding regions and spread all over the Deccan. The popular theme have been
Krishna, Radha, Vishnu and Ganesha.
Q. Describe
the themes of Ravi Varma’s paintings.
Ans: Raja Ravi
Verma belonged to the Royal Family of Travancore. He painted in oil and his
work in a late Neo-classical style has a Victorian heaviness. The staginess of
his art is much clearer to us than it was to his contemporaries who considered
him the most outstanding painter in the western academic Style. His paintings
were reproduced in oleographs and distributed widely. His painting are
incompetent portrait painter, his sole contribution perhaps is that he
re-introduced Indian subjects as sacred national ideals and vision. An example of
Raja Ravi Verma’s paintings is Ravana and jatayu based on epic Ramayana.
