Signature and Name of Invigilator Answer Sheet No. : ...... (To be filled by the Candidate) 1. (Signature) Roll No. (Name) (In figures as per admission card) 2. (Signature) Roll No. (In words) (Name) Test Booklet No. D—7 9 0 7 PAPER—II Time : 1¼ hours]VISUAL ARTS [Maximum Marks : 100 Number of Pages in this Booklet : 24 Number of Questions in this Booklet : 50 Instructions for the Candidates ÂÚUèÿææçÍüØô¢ ·ð¤ çÜ° çÙÎðüàæ 1. Write your roll number in the space provided on the top of this 1. ÂãÜðU ÂëDU ·ð¤ ª¤ÂÚU çÙØÌ SÍæÙ ÂÚU ¥ÂÙæ ÚUôÜU ِÕÚU çÜç¹°Ð page. 2. §â ÂýàÙ-˜æ ×𢠿æâ Õãéçß·¤ËÂèØ ÂýàÙ ãñ¢Ð 2. This paper consists of fifty multiple-choice type of questions. 3. ÂÚUèÿææ ÂýæڐUÖ ãôÙð ÂÚU, ÂýàÙ-ÂéçSÌ·¤æ ¥æ·¤ô Îð Îè ÁæØð»èÐ ÂãÜðU ÂUæ¡¿ ç×ÙÅU 3. At the commencement of examination, the question booklet ¥æ·¤ô ÂýàÙ-ÂéçSÌ·¤æ ¹ôÜÙð ÌÍæ ©â·¤è çِÙçÜç¹Ì Áæ¡¿ ·ð¤ çÜ° çÎØð will be given to you. In the first 5 minutes, you are requested ÁæØð¢»ð çÁâ·¤è Áæ¡¿ ¥æ·¤ô ¥ßàØ ·¤ÚUÙè ãñ Ñ to open the booklet and compulsorily examine it as below : (i) ÂýàÙ-ÂéçSÌ·¤æ ¹ôÜÙð ·ð¤ çÜ° ©â·ð¤ ·¤ßÚU ÂðÁ¤ÂÚU Ü»è ·¤æ»Á ·¤è (i) To have access to the Question Booklet, tear off the paper âèÜ ·¤ô ȤæǸU Üð¢UÐ ¹éÜè ãé§ü Øæ çÕÙæ SÅUè·¤ÚU-âèÜU ·¤è ÂéçSÌ·¤æ seal on the edge of this cover page. Do not accept a Sßè·¤æÚU Ù ·¤Úð¢UÐ booklet without sticker-seal and do not accept an open booklet. (ii) ·¤ßÚU ÂëDU ÂÚU ÀUÂð çÙÎðüàææÙéâæÚU ÂýàÙ-ÂéçSÌ·¤æ ·ð¤ ÂëDU ÌÍæ ÂýàÙô¢ ·¤è (ii) Tally the number of pages and number of questions in ⢁Øæ ·¤ô ¥‘ÀUè ÌÚUã ¿ñ·¤ ·¤ÚU Üð¢U ç·¤ Øð ÂêÚðU ãñ¢UÐ ÎôáÂê‡æü ÂéçSÌ·¤æ the booklet with the information printed on the cover çÁÙ×ð¢ ÂëDU / ÂýàÙ ·¤× ãô¢ Øæ ÎéÕæÚUæ ¥æ »Øð ãô¢ Øæ âèçÚUØÜU ×ð¢ Ù ãô¢ page. Faulty booklets due to pages/questions missing ¥ÍæüÌ ç·¤âè Öè Âý·¤æÚU ·¤è ˜æéçÅUÂê‡æü ÂéçSÌ·¤æ Sßè·¤æÚU Ù ·¤Úð¢U ÌÍæ or duplicate or not in serial order or any other ©âè â×Ø ©âð ÜUõÅUæ·¤ÚU ©â·ð¤ SÍæÙ ÂÚU ÎêâÚUè âãè ÂýàÙ-ÂéçSÌ·¤æ discrepancy should be got replaced immediately by a Üð Üð¢Ð U §â·ð¤ çÜ° ¥æ·¤ô Âæ¡¿ ç×ÙÅU çÎØð ÁæØð¢»ðÐ ©â·ð¤ ÕæÎ Ù correct booklet from the invigilator within the period of Ìô ¥æ·¤è ÂýàÙ-ÂéçSÌ·¤æ ßæÂâ Üè ÁæØð»è ¥õÚU Ù ãè ¥æ·¤ô 5 minutes. Afterwards, neither the question booklet will be replaced nor any extra time will be given. ¥çÌçÚUQ¤ â×Ø çÎØæ ÁæØð»æÐ (iii) After this verification is over, the Serial No. of the booklet (iii) §â Áæ¡¿ ·ð¤ ÕæÎ ÂýàÙ-ÂéçSÌ·¤æ ·¤è R¤× ⢁Øæ ©žæÚU-˜淤 ÂÚU ¥¢ç·¤Ì should be entered in the Answer-sheets and the Serial ·¤Úð¢U ¥UõÚU ©žæÚU-˜淤 ·¤è R¤×¤â¢Øæ §â ÂýàÙ-ÂéçSÌ·¤æ ÂÚU ¥¢ç·¤Ì ·¤ÚU No. of Answer Sheet should be entered on this Booklet. Îð¢Ð 4. Each item has four alternative responses marked (A), (B), (C) 4. ÂýˆØð·¤ ÂýàÙ ·ð¤ çÜ° ¿æÚU ©žæÚU çß·¤Ë (A), (B), (C) ÌÍæ (D) çÎØð »Øð ãñ¢Ð and (D). You have to darken the oval as indicated below on the ¥æ·¤ô âãè ©žæÚU ·ð¤ Îèƒæüßëžæ ·¤ô ÂðÙ âð ÖÚU·¤ÚU ·¤æÜæ ·¤ÚUÙæ ãñ Áñâæ ç·¤ Ùè¿ð correct response against each item. çιæØæ »Øæ ãñÐ ©ÎæãÚU‡æ Ñ Example : A B C D A B C D where (C) is the correct response. ÁÕç·¤ (C) âãè ©žæÚU ãñÐ 5. Your responses to the items are to be indicated in the Answer 5. ÂýàÙô¢ ·ð¤ ©žæÚU ·ð¤ßÜU Âýà٠˜æ I ·ð¤ ¥‹ÎÚU çÎØð »Ø𠩞æÚU-˜淤 ÂÚU ãè ¥¢ç·¤Ì Sheet given inside the Paper I booklet only. If you mark at ·¤ÚUÙð ãñ¢Ð ØçÎ ¥æ ©žæÚU ˜淤 ÂÚU çÎØð »Øð Îèƒæüßëžæ ·ð¤ ¥Üæßæ ç·¤âè ¥‹Ø any place other than in the ovals in the Answer Sheet, it will SÍæÙ ÂÚU ©žæÚU 翋ãæ¢ç·¤Ì ·¤ÚUÌð ãñ, Ìô ©â·¤æ ×êËUØ梷¤Ù Ùãè¢ ãô»æÐ not be evaluated. 6. ¥‹ÎÚU çÎØð »Øð çÙÎðüàæô¢ ·¤ô ŠØæÙÂêßü·¤ Âɸð¢UÐ 6. Read instructions given inside carefully. 7. ·¤“ææ ·¤æ× (Rough Work) §â ÂéçSÌ·¤æ ·ð¤ ¥ç‹Ì× ÂëDU ÂÚU ·¤Úð¢UÐ 7. Rough Work is to be done in the end of this booklet. 8. ØçÎ ¥æ ©žæÚU-ÂéçSÌ·¤æ ÂÚU ¥ÂÙæ Ùæ× Øæ °ðâæ ·¤ô§ü Öè çÙàææÙ çÁââð ¥æ·¤è 8. If you write your name or put any mark on any part of the test Âã¿æÙ ãô â·ð¤, ¤ç·¤âè Öè Öæ» ÂÚU ÎàææüÌð Øæ ¥¢ç·¤Ì ·¤ÚUÌð ãñ¢ Ìô ÂÚUèÿææ ·ð¤ booklet, except for the space allotted for the relevant entries, çÜØð ¥Øô‚Ø ƒæôçáÌ ·¤ÚU çÎØð ÁæØð¢»ðÐ which may disclose your identity, you will render yourself liable to disqualification. 9. ¥æ·¤ô ÂÚUèÿææ â×æ# ãôÙð ¤ÂÚU ©žæÚU-ÂéçSÌ·¤æ çÙÚUèÿæ·¤ ×ãôÎØ ·¤ô ÜUõÅUæÙæ 9. You have to return the test question booklet to the invigilators ¥æßàØ·¤ ãñ ¥õÚU ÂÚUèÿææ â×æç# ·ð¤ ÕæÎ ¥ÂÙð âæÍ ÂÚUèÿææ ÖßÙ âð ÕæãÚU Ù at the end of the examination compulsorily and must not carry Üð·¤ÚU ÁæØð¢Ð it with you outside the Examination Hall. 10. ·ð¤ßÜ ÙèÜð / ·¤æÜð ÕæÜU Œßæ§ZÅU ÂñÙ ·¤æ ãè §SÌð×æÜ ·¤Úð¢UÐ 10. Use only Blue/Black Ball point pen. 11. ç·¤âè Öè Âý·¤æÚU ·¤æ ⢻‡æ·¤ (·ñ¤Ü·é¤ÜðÅUÚU) UØæ Üæ» ÅðUÕÜ ¥æçÎ ·¤æ 11. Use of any calculator or log table etc., is prohibited. ÂýØô» ßçÁüÌ ãñÐ 12. There is NO negative marking. 12. »ÜÌ ©žæÚU ·ð¤ çÜ° ¥¢·¤ Ùãè¢ ·¤æÅðU ÁæØð¢»ðÐ

D—7907 1 P.T.O. VISUAL ARTS PAPER—II

Note : This paper contains fifty (50) multiple-choice questions, each question carrying two (2) marks. Attempt all of them.

1. One of the great contribution of the Egyptian civilization is : (A) Pyramids (B) Temples (C) Statues of humans (D) Miniature paintings

2. The famous painting of Leonardo-da-Vinci is : (A) Mother and child (B) Sunflowers (C) Monalisa (D) Guernica

3. The first Indian school of Art was started at : (A) Mumbai (B) Bangalore (C) Madras (D) Delhi

4. Narrative and semiotics is advocated by : (A) Gombrich (B) Roland Barthes (C) Wittigenstiene (D) Habermas

5. Famous Buddhist site Sannati is located in which state ? (A) Maharashtra (B) Madhya Pradesh (C) Karnataka (D) Andhra Pradesh

6. Basawan was court painter of which King ? (A) Humayun (B) Jahangir (C) Akbar (D) Aurangzeb

7. is known for- (A) Screen Printing (B) Bronze sculpture (C) Stone Carving (D) Plaster Composition

D—7907 2 ÎëàØ ·¤Üæ°´ ÂýàÙ˜æ—II

ÙôÅU Ñ §â ÂýàÙ˜æ ×𢠿æâ (50) ßSÌéçÙD ÂýàÙ ãñ¢Ð ÂýˆØð·¤ ÂýàÙ ·ð¤ Îô (2) ¥¢·¤ ãñ¢Ð âÖè ÂýàÙô¢ ·ð¤ ©žæÚU ÎèçÁ°Ð

1. ç×d ·¤è âØÌæ ·¤æ °·¤ âÕâð ÕǸæ Øæð»ÎæÙ Ñ (A) çÂÚUæ×èÇU (B) ×´çÎÚU (C) ×ÙécØ ·ð¤ çàæË (D) ܃æé 翘æ

2. Üè¥æðÙæÎæðü-Îæ-çߋ¿è ·¤è Âýçâh ·¤Üæ·ë¤çÌ Ñ (A) ×æ¡ ¥æñÚU çàæàæé (B) âêÚUÁ ×é¹è (C) ×æðÙæÜèâæ (D) »éÚUÙè·¤æ

3. ÂýÍ× ÖæÚUÌèØ ·¤Üæ àææÜæ àæéL¤ ·¤è »§ü Ñ (A) ×éÕ§ü (B) Õ´»ÜêÚU (C) ×Îýæâ (D) ç΄è

4. ÙòÚðUÅUèß ¥æñÚU âð×èØæòÅUè€â ·¤æ â×Íü·¤ Ñ (A) »æòÕÚUè¿ (B) ÚUæðÜò‡ÇU ÕæÍü (C) çßÅUè»ðÙSÅUæ§Ù (D) ãòÕÚU×æâ

5. Âýçâh Õæñh SÍæÙ âóæÌè ç·¤â ÚUæ’Ø ×ð´ çSÍÌ ãñ Ñ (A) ×ãæÚUæCþ (B) ×ŠØ ÂýÎðàæ (C) ·¤ÙæüÅU·¤ (D) ¥æ‹Ïý ÂýÎðàæ

6. ÕâæßÙ ç·¤â ÚUæÁæ ·¤æ ÎÚUÕæÚUè 翘淤æÚU Íæ? (A) ãê×æØêÙ (B) Áãæ¡»èÚU (C) ¥·¤ÕÚU (D) ¥æñÚ´U»ÁðÕ

7. ¥×ÚUÙæÍ âðã»Ü 緤⠷ð¤ çÜ° ÂçÚUç¿Ì ãñ? (A) SR¤èÙ çÂý´çÅ´U» (B) ·¤æ´SØ çàæË (C) ˆÍÚU ÌÚUæàæÙæ (D) ŒÜæSÅUÚU ·¤æ¡ÂæðçÁàæÙ

D—7907 3 P.T.O. 8. D.P. Roy Choudhary made : (A) Triumph of Labour (B) Mill call (C) Binodini (D) Wounded series

9. Makrana Marble is harder than : (A) Ambaji marble (B) Chunar sandstone (C) Madras Granite (D) Rajasthan Granite

10. Which of the following is not a graphic artist ? (A) Jagmohan Chopra (B) Dipak Banerjee (C) Laxma Gaud (D) Shankhu Choudhary

11. Paul Gaugin was a well known painter. He has also done : (A) Wood cut (B) Sculptures (C) Calligraphy (D) lithography

12. One of the following has changed the art of poster painting : (A) Edwerd Monet (B) Toulouse Lautrec (C) Renoir (D) Degas

13. The logo of Hindustan Petroleum is designed by : (A) Yashwant Mistry (B) Sudarshan Dheer (C) R.K. Joshi (D) Piyush Pandey

14. An advertisement spread on two pages of magazine is : (A) Half page (B) Centre spread (C) Double spread (D) Full page

15. The black printed image of a letter is : (A) Positive Image (B) Negative Image (C) White Image (D) Black Image

D—7907 4 8. ÇUè.Âè. ÚUæòØ ¿æñÏÚUè Ùð çÙ×æü‡æ ç·¤Øæ Ñ (A) çÅþUÈ¤ ¥æòȤ ÜðÕÚU (B) ×èÜ ·¤æòÜ (C) çßÙæðçÎÙè (D) ßé‡ÇðUÇ÷U âèçÚUÁ÷

9. ×·¤ÚUæ‡ææ â´»×ÚU×ÚU §Ùâð Öè ·¤çÆU‡æ ãæðÌæ ãñ Ñ (A) ¥´ÕæÁè â´»×ÚU×ÚU (B) ¿êÙæÚU ÕæÜê ˆÍÚU (C) ×Îýæâ »ýðÙæ§ÅU (D) ÚUæÁSÍæÙ »ýðÙæ§ÅU

10. çِ٠Ùæ×æð´ ×ð´ âð ·¤æñÙ ÀUæÂæ ç¿˜æ ·¤Üæ·¤æÚU Ùãè´ ãñ? (A) Á»×æðãÙ ¿æðÂýæ (B) Îè·¤ ÕòÙÁèü (C) Üÿ×æ »æñÇU (D) àæ´¹ê ¿æñÏÚUè

11. ÂæòÜ »æð»æ¡ Âýçâh 翘淤æÚU Íð ©âÙð Øð Öè ç·¤Øð ãñ´ Ñ (A) ·¤æD ×éÎý‡æ (B) çàæË (C) ãSÌÜð¹Ù (D) çàæÜæ×éÎý‡æ

12. çِÙçÜç¹Ì ×ð´ âð ç·¤âè °·¤ Ùð Âý™ææ·¤ (ÂæðSÅUÚU) 翘淤æÚUè ×ð´ ÕÎÜæß ÜæØæ Ñ (A) °Ç÷UßÇüU ×æðÙð (B) ÌæðÜê Üæò˜æð (C) ÚðUÙæ¡ (D) Îð»æ

13. çã‹ÎêSÌæÙ ÂðÅþUæðçÜØ× Üæð»æð´ ·ð¤ çÇUÁæ§ÙÚU Ñ (A) Øàæß‹Ì ç×S˜æè (B) âéÎàæüÙ ÏèÚU (C) ¥æÚU.·ð¤. Áæðàæè (D) ÂèØêá Âæ‡ÇðU

14. ˜æè·¤æ ·ð¤ Îæð Âóææð´ ÂÚU Èñ¤Üæ ãé¥æ çߙææÂÙ Ñ (A) ¥æÏæ Âóææ (B) ׊ØßÌèü Âóææ (C) ÎæðãÚUæ Èñ¤Üæ ãéßæ (D) âÂê‡æü Âóææ

15. ·¤æÜð Ú´U» ×ð´ ÀUÂæ ãé¥æ ¥ÿæÚU ·¤æ ×éÎý‡æ Ñ (A) ÂæòçÁçÅUß §×ðÁ (B) çÙ»ðçÅUß §×ðÁ (C) Ããæ§üÅU §×ðÁ (D) ŽÜñ·¤ §×ðÁ

D—7907 5 P.T.O. 16. Assertion (A) : A.K. Coomarswamy was inspired by Indian Temple sculpture. Reason (R) : A.K. Coomarswamy was an art-historian. (A) (A) is correct and (R) is not correct (B) (A) is incorrect and (R) is also incorrect (C) (A) is not correct and (R) is correct (D) (A) is correct and (R) is also correct

17. Assertion (A) : Indian Traditional art is strong. Reason (R) : Indian Traditional art is strong because of its rich traditional background and cultural heritage. (A) (A) is true and (R) is false (B) (R) is true and (A) is false (C) Both (A) and (R) are true (D) Both (A) and (R) are false

18. Assertion (A) : Modern Indian Art is hybrid in its formulation. Reason (R) : Artists were involved only in creating artworks. (A) (A) is correct and (R) is also correct (B) (A) and (R) both are partially correct (C) (A) is correct and (R) is not correct (D) (A) is partially correct and (R) is not correct

19. Assertion (A) : Cubism was a pictorial revolution. Reason (R) : The successive art movements did not follow cubism. (A) (A) is correct and (R) is also correct (B) (A) is not correct and (R) is not correct (C) (A) is correct and (R) is not correct (D) (A) is incorrect and (R) is correct

20. Assertion (A) : Sculpture was considered as art of volume till constructivism. Reason (R) : Constructivists followed the same ideas. (A) (A) is correct and (R) is also correct (B) (A) is not correct and (R) is not correct (C) (A) is correct and (R) is not correct (D) (A) is not correct and (R) is correct

D—7907 6 16. ·¤ÍÙ (A) : °.·ð¤. ·é¤×æÚUSßæ×è ÖæÚUÌèØ ×´çÎÚU çàæË âð ÂýðçÚUÌ ãéßð Íð Ñ ·¤æÚU‡æ (R) : °.·ð¤. ·é¤×æÚUSßæ×è ·¤Üæ §çÌUãæâ·¤æÚU ÍðÐ (A) (A) âˆØ ãñ ¥æñÚU (R) âˆØ Ùãè´ ãñÐ (B) (A) âˆØ Ùãè´ ãñ ¥æñÚU (R) Öè âˆØ Ùãè´ ãñÐ (C) (A) âˆØ Ùãè´ ãñ ¥æñÚU (R) âˆØ ãñÐ (D) (A) âˆØ ãñ ¥æñÚU (R) Öè âˆØ ãñÐ

17. ·¤ÍÙ (A) : ÖæÚUÌèØ ÂæÚ´UÂçÚU·¤ ·¤Üæ Îëɸ ãñÐ ·¤æÚU‡æ (R) : ÖæÚUÌèØ ÂæÚ´UÂçÚU·¤ ·¤Üæ Îëɸ ãñ €Øæð´ ·¤è ©â·ð¤ â×ëh ÂæÚ´UÂæÚUè·¤ ÂëDÖê×è´ ¥æñÚU âæ´S·ë¤Ìè·¤ çßÚUæâÌ ãñÐ (A) (A) âˆØ ãñ ¥æñÚU (R) ¥âˆØ ãñÐ (B) (R) âˆØ ¥æñÚU (A) ¥âˆØ ãñÐ (C) ÎæðÙæð´ (A) ¥æñÚU (R) âˆØ ãñ´Ð (D) ÎæðÙæð´ (A) ¥æñÚU (R) ¥âˆØ ãñ´Ð

18. ·¤ÍÙ (A) : ¥æÏéçÙ·¤ ÖæÚUÌèØ ·¤Üæ ·¤è çÙç×üÌè çןæ SßM¤Â ·¤è ãñÐ ·¤æÚU‡æ (R) : ·¤Üæ·¤æÚU ·ð¤ßÜ ·¤Üæ·ë¤çÌØæ¡ ÕÙæÙð ×ð´ ×àæ»êÜ ÍðÐ (A) (A) âˆØ ãñ ¥æñÚU (R) Öè âˆØ ãñÐ (B) (A) ¥æñÚU (R) ÎæðÙæð´ ãè ¥´àæÌÑ âãè ãñ´Ð (C) (A) âˆØ ãñ ¥æñÚU (R) ¥âˆØ ãñÐ (D) (A) ¥æ´çàæ·¤ âˆØ ãñ ¥æñÚU (R) ¥âˆØ ãñÐ

19. ·¤ÍÙ (A) : ƒæÙßæÎ ÎëcØ ç¿˜æ‡æ ×ð´ R¤æ´çÌ ÍèÐ ·¤æÚU‡æ (R) : ÕæÎ ×ð ¥æ° ·¤Üæ ¥´ÎæðÜÙ Ùð ƒæÙßæÎ ·¤æ ¥ÙéâÚU‡æ Ùãè´ ç·¤ØæÐ (A) (A) âˆØ ãñ ¥æñÚU (R) Öè âˆØ ãñÐ (B) (A) âˆØ Ùãè´ ãñ ¥æñÚU (R) âˆØ Ùãè´ ãñÐ (C) (A) âˆØ ãñ ¥æñÚU (R) âˆØ Ùãè´ ãñÐ (D) (A) ¥âˆØ ãñ ¥æñÚU (R) âˆØ ãñÐ

20. ·¤ÍÙ (A) : ÚU¿Ùæˆ×·¤ ¥æ´ÎæðÜÙ Ì·¤ çàæË ·¤Üæ ·¤æð ¥æ·¤æÚU×æÙ ·¤è ·¤Üæ ×æÙæ »Øæ ÍæÐ ·¤æÚU‡æ (R) : ÚU¿Ùæˆ×·¤ ·¤Üæ·¤æÚUæð´ Ùð §âè çßÏæÙ ·¤æ ¥ÙéâÚU‡æ ç·¤Øæ ãñÐ (A) (A) âˆØ ãñ ¥æñÚU (R) Öè âˆØ ãñÐ (B) (A) âˆØ Ùãè´ ãñ ¥æñÚU (R) âˆØ Ùãè´ ãñÐ (C) (A) âˆØ ãñ ¥æñÚU (R) âˆØ Ùãè´ ãñÐ (D) (A) âˆØ Ùãè´ ãñ ¥æñÚU (R) âˆØ ãñÐ

D—7907 7 P.T.O. 21. 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 and (R) is correct (B) (A) is correct and (R) is also correct (C) (A) is not correct and (R) is partially correct (D) Both (A) and (R) are partially correct

22. Assertion (A) : Raja Ravi Varma oleography prints done with the help of German experts. Reason (R) : Raja Ravi Varma has intention to cater to common people through his work (A) (A) is correct and (R) is also correct (B) (A) is incorrect and (R) is correct (C) (A) and (R) both are incorrect (D) (A) is correct and (R) is incorrect

23. Assertion (A) : Most of the print-makers, along with prints they work in other branch of visual art. Reason (R) : Artist has given more importance to his expression and media. (A) (A) is incorrect and (R) is correct (B) (A) is partially correct and (R) is correct (C) (A) and (R) are both correct (D) (A) is correct and (R) is partially correct

24. Assertion (A) : Offset is normally preferred for a large quantity of multicolour or monocolour printing. Reason (R) : Offset printing process is normally preferred for multicolour printing because it is sharp, speedy, cheap and gives more options for experiments. (A) (A) and (R) both are correct (B) (A) is correct and (R) is not correct (C) (A) is partially correct and (R) is correct (D) (A) and (R) both are incorrect

D—7907 8 21. ·¤ÍÙ (A) : ¥æ·ë¤çÌ çàæË ·ð¤ âÌã ÂÚU ÂæðÌ Áèß ·¤è â´ßðÎÙæ çÙ×æü‡æ ·¤ÚUÌæ ãñÐ

·¤æÚU‡æ (R) : çàæË·¤æÚUæð´ Ùð §âð (ÂæðÌ ·¤æð) °·¤ Ù§ü Ì·¤çÙ·¤ ·ð¤ M¤Â ×ð´ Îð¹æ, Áæð çàæË ÙØð M¤Â âð ÕÙæÙð ×ð´ âãæØ·¤ ãé°Ð

(A) (A) ¥´àæÌæ âˆØ ãñ ¥æñÚU (R) âˆØ ãñÐ

(B) (A) âˆØ ãñ ¥æñÚU (R) Öè âˆØ ãñÐ

(C) (A) âˆØ Ùãè´ ãñ ¥æñÚU (R) ¥æ´çàæ·¤ âˆØ ãñÐ

(D) ÎæðÙæð´ (A) ¥æñÚU (R) ¥´àæÌæ âˆØ ãñ´Ð

22. ·¤ÍÙ (A) : ÚUæÁæ ÚUßè ß×æü ·ð¤ ¥æòÜè¥æð»ýæȤè çÂý‹Å÷Uâ Á×ü٠̙ææð´ ·ð¤ ×ÎÌ âð çÜ° »° ÍðÐ

·¤æÚU‡æ (R) : ¥ÂÙè ·¤Üæ ·¤æð âæ×æ‹Ø ÁÙ Ì·¤ Âãé¡¿æÙð ·¤æ ÚUæÁæ ÚUßè ß×æü ·¤æ ©gðàØ ÚUãæÐ

(A) (A) âˆØ ãñ ¥æñÚU (R) Öè âˆØ ãñÐ

(B) (A) »ÜÌ ãñ ¥æñÚU (R) âˆØ ãñÐ

(C) (A) ¥æñÚU (R) ÎæðÙæð´ »ÜÌ ãñ´Ð

(D) (A) âˆØ ãñ ¥æñÚU (R) »ÜÌ ãñÐ

23. ·¤ÍÙ (A) : ÕãéÌæ´àæ ÀUæÂæ ·¤Üæ·¤æÚUæð´ Ùð ÀUæÂæ ·¤Üæ ·ð¤ çâßæ ÎëàØ ·¤Üæ ·ð¤ ÎêâÚðU çßÖæ»æð´ ×ð´ Öè ·¤æ× ç·¤Øæ ãñÐ

·¤æÚU‡æ (R) : ·¤Üæ·¤æÚUæð´ Ùð ¥çÖÃØç€Ì ¥æñÚU âæÏÙæð´ ·¤æð ’ØæÎæ ×ãˆß çÎØæÐ

(A) (A) âˆØ Ùãè´ ãñ ¥æñÚU (R) âˆØ ãñÐ

(B) (A) ¥´àæÌæ âˆØ ãñ ¥æñÚU (R) âˆØ ãñÐ

(C) (A) ¥æñÚU (R) ÎæðÙæðãè âˆØ ãñÐ

(D) (A) âˆØ ãñ ¥æñÚU (R) ¥´àæÌæ âˆØ ãñÐ

24. ·¤ÍÙ (A) : ÕãéÚ´U»èØ ¥Íßæ °·¤ Ú´U» ×ð´, ’ØæÎæ ⴁØæ ×ð´ ÀUæÂÙð ·ð¤ çÜ° ¥æòȤâðÅU ·¤æð ÕãéÌð·¤ Ââ´Î ç·¤Øæ ÁæÌæ ãñÐ

·¤æÚU‡æ (R) : ÕãéÚ´U»èØ ÀUÂæ§ü ·ð¤ çÜ° ¥æòȤâðÅU Âýæðâðâ ÂÚU ’ØæÎæ Ââ´Î»è ©ÌæÚUè ÁæÌè ãñ €Øæð´ç·¤ §â Âýæðâðâ ×ð´ ÀUÂæ§ü SÂC, ÌðÁ, âSÌè ãæðÌè ãñ ¥æñÚU ÂýØæð» ·¤ÚUÙð ×ð´ Öè ·¤æȤè çß·¤Ë ©ÂÜŽÏ ãæðÌð ãñ´Ð

(A) (A) ¥æñÚU (R) ÎæðÙæð´ âãè ãñ´Ð

(B) (A) âãè ãñ ¥æñÚU (R) »ÜÌ ãñÐ

(C) (A) ¥´àæÌæ âãè ãñ ¥æñÚU (R) âãè ãñÐ

(D) (A) ¥æñÚU (R) ÎæðÙæð´ »ÜÌ ãñ´Ð

D—7907 9 P.T.O. 25. Assertion (A) : Gutenberg’s invention of letter press printing can be seen as the birth of modern graphic designet. Reason (R) : Gutenberg’s invention allowed multiple copies of books to be reproduced relatively inexpensively. (A) (A) and (R) both are correct (B) (A) and (R) both are incorrect (C) (A) is not correct and (R) is correct (D) (A) is correct and (R) is partially correct

26. Select the correct sequence in chronological order. (A) Cubism, Impressionism, Constructivism, Dadaism (B) Impressionism, Cubism, Constructivism, Dadaism (C) Constructivism, Cubism, Impressionism, Dadaism (D) Dadaism, Constructivism, Impressionism, Cubism

27. Select the correct sequence in chronological order. (A) Mughal miniature, Pahadi School, Company school, Bengal School (B) Pahadi School, Mughal miniature, Company School, Bengal School (C) Company School, Mughal miniature, Bangal School, Pahadi School (D) Bengal School, Company School, Mughal miniature, Pahadi School

28. Please arrange according to the chronological order. (A) Giotto, Leonardo-da-Vinci, Massacio, Aniballe Caracci (B) Giotto, Massacio, Leonardo-da-Vinci, Aniballe Caracci (C) Aniballe Caracci, Giotto, Leonardo-da-Vinci, Massacio (D) Massacio, Leonardo-da-Vinci, Giotto, Aniballe Caracci

29. Choose the sequence in chronological order. (A) Revivalist, Progressive, Patta paintings, Abstraction (B) Abstraction, Progressive, Revivalist, Patta paintings (C) Patta paintings, Revivalist, Progressive, Abstraction (D) Patta paintings, Revivalist, Abstraction, Progressive

D—7907 10 25. ·¤ÍÙ (A) : »éÅðUÙÕ»ü ·¤è ÜðÅUÚUÂýðâ çÂý´çÅ´U» ·¤è àææðÏ, ¥æÏéçÙ·¤ »ýæçȤ·¤ çÇUÁæ§çÙ´» ·¤æ Á‹× ·¤ãæ Áæ°»æÐ ·¤æÚU‡æ (R) : »éÅðUÙÕ»üU ·¤è àææðÏ, ç·¤ÌæÕæð´ ·¤æð ÕǸè ⴁØæ×ð´ âSÌð´ ÎÚUæð´ ×ð´ ©ÂÜŽÏ ·¤ÚUÙð ·¤è »é´Áæ§üàæ ¹Ç¸è ·¤ÚU ÎèÐ (A) (A) ¥æñÚU (R) ÎæðÙæð´ âãè ãñ´Ð (B) (A) ¥æñÚU (R) ÎæðÙæð´ »ÜÌ ãñ´Ð (C) (A) »ÜÌ ãñ ¥æñÚU (R) âãè ãñÐ (D) (A) âãè ãñ ¥æñÚU (R) ¥æ´çàæ·¤ âãè ãñÐ

26. ·¤æÜR¤× ·ð¤ ¥ÙéâæÚ R¤× ×ð´ çÜç¹°Ð (A) €ØéçՒ×, §´Âýðàæçْ×, ·¤‹âÅþUç€ÅUçߒ×, ÎæÎæ§ü’×Ð (B) §´Âýðàæçْ×, €ØéçՒ×, ·¤‹âÅþUç€ÅUçߒ×, ÎæÎæ§ü’×Ð (C) ·¤‹âÅþUç€ÅUçߒ×, €ØéçՒ×, §´Âýðàæçْ×, ÎæÎæ§ü’×Ð (D) ÎæÎæ§ü’×, ·¤‹âÅþUç€ÅUçߒ×, §´Âýðàæçْ×, €ØéçՒ×Ð

27. ·¤æÜR¤× ·ð¤ ¥ÙéâæÚ R¤× ×ð´ çÜç¹°Ð (A) ×é»Ü ܃æé翘æ, ÂãæǸè àæñÜè, ·´¤ÂÙè àæñÜè, Õ´»æÜ àæñÜèÐ (B) ÂãæǸè àæñÜè, ×é»Ü ܃æé翘æ, ·´¤ÂÙè àæñÜè, Õ´»æÜ àæñÜèÐ (C) ·´¤ÂÙè àæñÜè, ×é»Ü ܃æé翘æ, Õ´»æÜ àæñÜè, ÂãæǸè àæñÜèÐ (D) Õ´»æÜ àæñÜè, ·´¤ÂÙè àæñÜè, ×é»Ü ܃æé翘æ, ÂãæǸè àæñÜèÐ

28. ·¤æÜR¤× ·ð¤ ¥ÙéâæÚ R¤× ×ð´ çÜç¹°Ð (A) çÁØæð^æð, çÜ¥æðÙæÎæðü-Îæ-çߋâè, ×âæç¿¥æð, ¥æçÙÕæÜð ·¤æÚUæ¿è (B) çÁØæð^æð, ×âæç¿¥æð, çÜ¥æðÙæÎæðü-Îæ-çߋâè, ¥æçÙÕæÜð ·¤æÚUæ¿è (C) ¥æçÙÕæÜð ·¤æÚUæ¿è, çÁØæð^æð, çÜ¥æðÙæÎæðü-Îæ-çߋâè, ×âæç¿¥æð (D) ×âæç¿¥æð, çÜ¥æðÙæÎæðü-Îæ-çߋâè, çÁØæð^æð, ¥æçÙÕæÜð ·¤æÚUæ¿è

29. ·¤æÜR¤× ·ð¤ ¥ÙéâæÚ R¤× ×ð´ çÜç¹°Ð (A) ÂéÙéL¤ˆÍæÙßæÎè, Âý»çÌàæèÜ, Â^æ 翘æ, ¥×éÌüßæÎ (B) ¥×éÌüßæÎ, Âý»çÌàæèÜ, ÂéÙéL¤ˆÍæÙßæÎè, Â^æ 翘æ (C) Â^æ 翘æ, ÂéÙéL¤ˆÍæÙßæÎè, Âý»çÌàæèÜ, ¥×éÌüßæÎ (D) Â^æ 翘æ, ÂéÙéL¤ˆÍæÙßæÎè, ¥×éÌüßæÎ, Âý»çÌàæèÜ

D—7907 11 P.T.O. 30. Put in correct chronological order. (A) Ellora Sculpture, Hoysala Sculpture, , (B) Dhanraj Bhagat, Ramkinkar Baij, Ellora Sculpture, Hoysala Sculpture (C) Ellora Sculpture, Dhanraj Bhagat, Ramkinkar Baij, Hoysala Sculpture (D) Hoysala Sculpture, Ellora Sculpture, Dhanraj Bhagat, Ramkinkar Baij

31. Prepare a chronological order. (A) Sailoz Mukherjee, Mahendra Pandya, Jeram Patel, Nandlal Basu (B) Nandlal Basu, Mahendra Pandya, Sailoz Mukherjee, Jeram Patel (C) Nandlal Basu, Sailoz Mukherjee, Jeram Patel, Mahendra Pandya (D) Sailoz Mukherjee, Nandlal Basu, Mahendra Pandya. Jeram Patel

32. Which one of the following set of material is correct ? (A) Aquatint dust-box, Burnisher, Scraper, Metal Needle (B) Aquatint dust-box, Washout solution, Transfer paper, Scraper (C) Transfer paper, Offset, Terra-cotta, Bronze (D) Aquatint dust-box, PVA, Silver-point, Burnisher

33. Which of the following set of materials is correct ? (A) Squeeze blade, exposing table, camera, Lost wax process (B) Exposing table, Pastle, Geletine, Sand (C) Fibre glass, Printing table, Levigator, Camera (D) River sand, Arabic Gum, Washout solution, Tusche

34. Select the proper order of ‘Ps’ concept. (i) Promotion (ii) Place (iii) Product (iv) Price Code: (A) (iii) (iv) (i) (ii) (B) (ii) (iii) (iv) (i) (C) (i) (ii) (iv) (iii) (D) (iii) (ii) (iv) (i)

D—7907 12 30. ·¤æÜR¤× ·ð¤ ¥ÙéâæÚ R¤× ×ð´ çÜç¹°Ð (A) °ÜæðÚUæ çàæËÂ, ãæðØâæÜæ çàæËÂ, ÚUæ×ç·´¤·¤ÚU ÕñÁ, ÏÙÚUæÁ Ö»ÌÐ

(B) ÏÙÚUæÁ Ö»Ì, ÚUæ×ç·´¤·¤ÚU ÕñÁ, °ÜæðÚUæ çàæËÂ, ãæðØâæÜæ çàæËÂÐ

(C) °ÜæðÚUæ çàæËÂ, ÏÙÚUæÁ Ö»Ì, ÚUæ×ç·´¤·¤ÚU ÕñÁ, ãæðØâæÜæ çàæËÂÐ

(D) ãæðØâæÜæ çàæËÂ, °ÜæðÚUæ çàæËÂ, ÏÙÚUæÁ Ö»Ì, ÚUæ×ç·´¤·¤ÚU ÕñÁÐ

31. ·¤æÜR¤×æÙéâæÚU R¤× ÕÌæ§ü° Ñ

(A) âñÜæðÛæ ×é¹Áèü, ×ãð‹Îý ´ÇKæ, ÁðÚUæ× ÂÅðUÜ, Ù´ÎÜæÜ ÕâéÐ

(B) Ù´ÎÜæÜ Õâé, ×ãð‹Îý ´ÇKæ, âñÜæðÛæ ×é¹Áèü, ÁðÚUæ× ÂÅðUÜÐ (C) Ù´ÎÜæÜ Õâé, âñÜæðÛæ ×é¹Áèü, ÁðÚUæ× ÂÅðUÜ, ×ãð‹Îý ´ÇKæÐ

(D) âñÜæðÛæ ×é¹Áèü, Ù´ÎÜæÜ Õâé, ×ãð‹Îý ´ÇKæ, ÁðÚUæ× ÂÅðUÜÐ

32. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙâæ âæ×»ýè â´¿ âãè ãñ? (A) ¥ò€ßæÅUè‹ÅU ÇUSÅU-Õæò€â, ÕçÙüàæÚU, S·òý¤ÂÚ, ×ðÅUÜ ÙèÇUÜ÷Ð

(B) ¥ò€ßæÅUè‹ÅU ÇUSÅU-Õæò€â, ßæòàæ¥æª¤ÅU âæðÜéàæÙ, ÅþUæ‹âȤÚU ÂðÂÚU, S·òý¤ÂÚÐ

(C) ÅþUæ‹âȤÚU ÂðÂÚU, ¥æòȤâðÅU, ÅðUÚUæ·¤æðÅUæ, Õýæ¡Ûæ

(D) ¥ò€ßæÅUè‹ÅU ÇUSÅU-Õæò€â, Âè ßè °, çâËßÚU-Âæò§ZÅU, ÕçÙüàæÚU

33. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ âæ âæ×»ýè â´¿ âãè ãñ?

(A) çS€ßÛæ ŽÜðÇ÷U, °€SÂæðçÁ´» ÅðUÕÜ, ·ò¤×ðÚUæ, ÜæòSÅU ßñ€â ÂýæðâðâÐ

(B) °€SÂæðçÁ´» ÅðUÕÜ, ÂðSÅUÜ, çÁÜðÅUèÙ, ÚðUçÌÐ (C) Ȥæ§ÕÚU ‚Üæâ, çÂý´çÅ´U» ÅðUÕÜ, Üðçß»ðÅUÚU, ·ò¤×ðÚUæÐ

(D) ÙÎè ·¤è ÚðUÌè, ¥ÚðUÕè·¤ »×, ßæòàæ¥æª¤ÅU âæðÜéàæÙ, ÅéUàæðÐ

34. ÒÂèÓ â´·¤ËÂÙæ ·¤æð R¤× ×ð´ çÜç¹°Ð (i) Âý×æðàæÙ (ii) ŒÜðâ

(iii) ÂýæòÇU€ÅU (iv) Âýæ§üâ ·¤æðǸ Ñ (A) (iii) (iv) (i) (ii) (B) (ii) (iii) (iv) (i) (C) (i) (ii) (iv) (iii) (D) (iii) (ii) (iv) (i)

D—7907 13 P.T.O. 35. Starting from the beginning arrange the communication methods from primitive to modern. (i) Audio (ii) Print (iii) Audio Visual (iv) Non-Verbal Code: (A) (i) (iii) (iv) (ii) (B) (ii) (iv) (i) (iii) (C) (iv) (ii) (i) (iii) (D) (i) (iv) (iii) (ii)

36. Match the following: List-I List-II (a) Bhimbetka (i) Sun temple (b) Jaipur (ii) Erotic sculptures (c) Khajuraho (iii) Prehistoric paintings (d) Konark (iv) Centre of miniature painting Code: (a) (b) (c) (d) (A) (i) (iii) (ii) (iv) (B) (iii) (iv) (ii) (i) (C) (ii) (iv) (iii) (i) (D) (iv) (ii) (iii) (i)

37. Match the following: List-I List-II (a) Village life (i) Gaganendranath Tagore (b) Folk art-Style (ii) Avanindranath Tagore (c) Cubism - Style (iii) (d) Murals (iv) Amrita Shergil Code: (a) (b) (c) (d) (A) (i) (iv) (ii) (iii) (B) (ii) (iii) (i) (iv) (C) (iv) (iii) (i) (ii) (D) (iii) (ii) (iv) (i)

D—7907 14 35. àæéL¤¥æÌ âð àæéL¤ ·¤ÚUÌð ãé°, ¥æçη¤æÜèÙ âð ¥æÏéçÙ·¤ â´Îðàæ-ÃØßãæÚU ·¤æð R¤× ×ð´ çÜç¹°Ð (i) ŸæÃØ (ii) ÀUæ (iii) ²àØ-ŸæÃØ (iv) ¥×æñç¹·¤ ·¤æðǸ Ñ (A) (i) (iii) (iv) (ii) (B) (ii) (iv) (i) (iii) (C) (iv) (ii) (i) (iii) (D) (i) (iv) (iii) (ii)

36. §Ù·¤æð ç×Ü槰 Ñ âê¿è-I âê¿è-II (a) Öè×ÕðÅU·¤æ (i) âêØü ×´çÎÚU (b) ÁØÂêÚU (ii) ·¤æ×çßáØ·¤ çàæË (c) ¹ÁéÚUæãæð (iii) ¥æçη¤æÜè٠翘æ (d) ·¤æð‡ææ·ü¤ (iv) ܃æé翘ææð´ ·¤æ ·ð¤‹Îý ·¤æðǸ Ñ (a) (b) (c) (d) (A) (i) (iii) (ii) (iv) (B) (iii) (iv) (ii) (i) (C) (ii) (iv) (iii) (i) (D) (iv) (ii) (iii) (i)

37. §Ù·¤æð ç×Ü槰 Ñ âê¿è-I âê¿è-II (a) »ýæ×è‡æ ÁèßÙ (i) »»Ùð‹ÎýÙæÍ ÅñU»æðÚU (b) Üæð·¤-·¤Üæ àæñÜè (ii) ¥ßçًÎýÙæÍ ÅñU»æðÚU (c) ƒæÙßæÎ àæñÜè (iii) Áðç×Ùè ÚUæØ (d) ç֞æè翘æ (iv) ¥×ëÌæ àæðÚU»èÜ ·¤æðǸ Ñ (a) (b) (c) (d) (A) (i) (iv) (ii) (iii) (B) (ii) (iii) (i) (iv) (C) (iv) (iii) (i) (ii) (D) (iii) (ii) (iv) (i)

D—7907 15 P.T.O. 38. Match the following: List-I List-II (a) Rajasthani painting (i) Orissa (b) Mughal Painting (ii) Ahmadnagar (c) Patt Painting (iii) Akbar (d) Deccan Painting (iv) Bundi School Code: (a) (b) (c) (d) (A) (i) (iv) (iii) (ii) (B) (iv) (iii) (i) (ii) (C) (ii) (iv) (iii) (i) (D) (i) (ii) (iii) (iv)

39. Match the following: List-I List-II (a) Stella Kramrisch (i) Idea and Images (b) Rudolph Arnheim (ii) Art and Illusion (c) E.H. Gombrich (iii) Indian Sculpture (d) Niharanjan Ray (iv) Visual Thinking Code: (a) (b) (c) (d) (A) (ii) (iii) (iv) (i) (B) (iii) (iv) (i) (ii) (C) (iv) (i) (ii) (iii) (D) (iii) (iv) (ii) (i)

40. Match the correct technical relevant term: List-I List-II (a) Bronze (i) Carving (b) Stone (ii) Patina (c) Clay (iii) Firing (d) Wood (iv) Seasoning Code: (a) (b) (c) (d) (A) (i) (iv) (ii) (iii) (B) (iv) (ii) (i) (iii) (C) (i) (ii) (iii) (iv) (D) (ii) (i) (iii) (iv)

D—7907 16 38. §Ù·¤æð ç×Ü槰 Ñ âê¿è-I âê¿è-II (a) ÚUæÁSÍæÙè 翘æ (i) ©Ç¸èâæ (b) ×é»Ü 翘æ (ii) ¥ã×Î Ù»ÚU (c) Â^ 翘æ (iii) ¥·¤ÕÚU (d) Îçÿæ‡æ 翘æ (iv) Õé´Îè àæñÜè ·¤æðǸ Ñ (a) (b) (c) (d) (A) (i) (iv) (iii) (ii) (B) (iv) (iii) (i) (ii) (C) (ii) (iv) (iii) (i) (D) (i) (ii) (iii) (iv)

39. §Ù·¤æð ç×Ü槰 Ñ âê¿è-I âê¿è-II (a) SÅðUÜæ Rð¤×ÚUèàæ (i) ¥æ§çÇUØæ ¥¡ÇU §×ðÁ (b) L¤ÇUæðËȤ ¥æÙðüã×÷ (ii) ¥æÅüU ¥æñÚU §ÜéÁÙ (c) §ü.°¿. »æðŽÚUè¿ (iii) §´çÇUØÙ S·¤Ë¿ÚU (d) çÙãæÚ´UÁÙ ÚUð (iv) çßÁé¥Ü çÍ´ç·´¤» ·¤æðǸ Ñ (a) (b) (c) (d) (A) (ii) (iii) (iv) (i) (B) (iii) (iv) (i) (ii) (C) (iv) (i) (ii) (iii) (D) (iii) (iv) (ii) (i)

40. ©ÂØéQ¤ Ì·¤Ùè·¤è àæŽÎ âð ç×Ü槰 Ñ âê¿è-I âê¿è-II (a) Õýæ¡Ûæ (i) ـàæè·¤æÚUè (b) ˆÍÚU (ii) ÂòÅUèÙæ (c) ×æÅUè (iii) ȤæØçÚ´U» (d) ·¤æcÅU (iv) çâÛæçÙ´» ·¤æðǸ Ñ (a) (b) (c) (d) (A) (i) (iv) (ii) (iii) (B) (iv) (ii) (i) (iii) (C) (i) (ii) (iii) (iv) (D) (ii) (i) (iii) (iv)

D—7907 17 P.T.O. 41. Match the correct dates: List-I List-II (a) Mohen-jodaro (i) 2nd Century AD (b) Gupta period (ii) 250 BC (c) Asokan Lion pillar (iii) 5th Century AD (d) Kushan period (iv) 2500-1750 BC Code: (a) (b) (c) (d) (A) (i) (iv) (ii) (iii) (B) (iii) (iv) (i) (ii) (C) (iv) (iii) (ii) (i) (D) (iv) (i) (iii) (ii)

42. Match the following: List-I List-II (a) Jagmohan Chopra (i) Paper pulp (b) Paramjeet Singh (ii) Silk Screen (c) Chittaprasad (iii) Lino cut (d) Dattatraya Apte (iv) Wood-cut (v) Collography Code: (a) (b) (c) (d) (A) (i) (iv) (v) (ii) (B) (v) (ii) (iii) (i) (C) (iii) (v) (i) (ii) (D) (v) (iv) (iii) (ii)

43. Select the correct matching- List-I List-II (a) Jagmohan Chopra (i) Mumbai (b) Rini Dhumal (ii) Chennai (c) Paul Koli (iii) Vadodara (d) R.B. Bhaskaran (iv) Delhi Code: (a) (b) (c) (d) (A) (iv) (iii) (ii) (i) (B) (i) (iv) (ii) (iii) (C) (i) (iii) (iv) (ii) (D) (iv) (iii) (i) (ii)

D—7907 18 41. âãè ·¤æÜ âð ç×Ü槰 Ñ âê¿è-I âê¿è-II (a) ×æðãð´ÁæðÎæǸæð (i) §ü.â. ÎêâÚUè àæÌæŽÎè (b) »éŒÌæ ·¤æÜ (ii) §ü.â. Âêßü 250 (c) ¥àææð·¤ SÌ´Ö (iii) §ü.â. Âæ¡¿ßè àæÌæŽÎè (d) ·é¤àææÙ ·¤æÜ (iv) §ü.Âê. 2500-1750 ·¤æðǸ Ñ (a) (b) (c) (d) (A) (i) (iv) (ii) (iii) (B) (iii) (iv) (i) (ii) (C) (iv) (iii) (ii) (i) (D) (iv) (i) (iii) (ii)

42. §Ù·¤æð ç×Ü槰 Ñ âê¿è-I âê¿è-II (a) Á»×æðãÙ ¿æðÂýæ (i) Üé»Îè (b) ÂÚU×ÁèÌ çâ´ã (ii) çâË·¤ SR¤èÙ (c) 翞æÂýâæÎ (iii) çÜÙæð-·¤ÅU (d) Ξææ˜æØ ¥æÂÅðU (iv) ßéÇU-·¤ÅU (v) ·¤æðÜæð»ýæÈ¤è ·¤æðǸ Ñ (a) (b) (c) (d) (A) (i) (iv) (v) (ii) (B) (v) (ii) (iii) (i) (C) (iii) (v) (i) (ii) (D) (v) (iv) (iii) (ii)

43. âãè ç×ÜæÙ ·¤èçÁ°Ð âê¿è-I âê¿è-II (a) Á»×æðãÙ ¿æðÂýæ (i) ×éÕ§ü (b) ÚUèÙè Ïé×æÜ (ii) ¿ðóæ§ü (c) ÂæðÜ ·¤æðÜè (iii) ßÇUæðÎÚUæ (d) ¥æÚU.Õè. ÖæS·¤ÚUÙ (iv) çÎ„è ·¤æðǸ Ñ (a) (b) (c) (d) (A) (iv) (iii) (ii) (i) (B) (i) (iv) (ii) (iii) (C) (i) (iii) (iv) (ii) (D) (iv) (iii) (i) (ii)

D—7907 19 P.T.O. 44. Match the following celebrities with the brands they appear in TVC’s. List-I List-II (a) Amir Khan (i) Reid & Tailor (b) Abhishek Bachchan (ii) Thums Up (c) (iii) Coco cola (d) Akshay kumar (iv) Motorola mobiles Code: (a) (b) (c) (d) (A) (iii) (iv) (i) (ii) (B) (i) (iii) (iv) (ii) (C) (ii) (iv) (i) (iii) (D) (i) (iv) (iii) (ii)

45. Select the correct match of the country where they belong. List-I List-II (a) Johannese Gutenberg (i) Italy (b) Pierre - Simon Fournier (ii) Germany (c) Giambattista Bodoni (iii) England (d) John Baskerville (iv) France Code: (a) (b) (c) (d) (A) (i) (iii) (iv) (ii) (B) (ii) (iv) (i) (iii) (C) (iii) (ii) (i) (iv) (D) (iv) (ii) (i) (iii)

Art institutions in the country offer various courses in the fine arts - such as drawing and painting, applied arts, sculptures, graphics, mural designing etc. Students have multiple options to choose one of the areas of specialization. Streams like computer graphics and animations are new additions in the existing courses. Such options in visual arts help students to explore their own creative potential. In all these courses the fundamental requirement is drawing. Drawing is the basis for all the arts. Training in drawing is a necessity as it helps to visualise the ideas in any medium. These days there is a growing tendency among the students not to pay attention to basic drawings. After joining the art institute, many think that sketching is useless and do not pay any attention despite teacher insisting all the time. It is a very sad situation.

D—7907 20 44. çÁâ ©ˆÂæÎ ·ð¤ çÜ° §‹ãæð´Ùð ×æòÇUçÜ´» ç·¤Øæ ©â·ð¤ âæÍ âãè ·¤Üæ·¤æÚU ·¤æ ¿ØÙ ·¤èçÁ°Ð âê¿è-I âê¿è-II (a) ¥æç×ÚU ¹æÙ (i) ÚUèÇU ¥¡ÇU ÅðUÜÚU (b) ¥çÖá𷤠ՓæÙ (ii) ͐⠥Â÷ (c) ¥ç×ÌæÖ Õ“æÙ (iii) ·¤æð·¤æ ·¤æðÜæ (d) ¥ÿæØ ·é¤×æÚU (iv) ×æðÅUæðÚUæðÜæ ×æðÕæ§üËâ ·¤æðǸ Ñ (a) (b) (c) (d) (A) (iii) (iv) (i) (ii) (B) (i) (iii) (iv) (ii) (C) (ii) (iv) (i) (iii) (D) (i) (iv) (iii) (ii)

45. çِÙçÜç¹Ì ÃØçQ¤ ç·¤â Îðàæ âð ãñ Ñ âê¿è-I âê¿è-II (a) ÁæðãæÙèâ »éÅðUÙÕ»ü (i) §ÅUÜè (b) ÂèØÚðU-âè×æðÙ-ȤæðçÙüØÚU (ii) Á×üÙè (c) çÁØæ´ÕæÅUèSÅUæ ÕæðÇUæðÙè (iii) §´‚Ü´ÇU (d) ÁæòÙ ÕæS·¤ÚUçßÜð (iv) Èý¤æ‹â ·¤æðǸ Ñ (a) (b) (c) (d) (A) (i) (iii) (iv) (ii) (B) (ii) (iv) (i) (iii) (C) (iii) (ii) (i) (iv) (D) (iv) (ii) (i) (iii)

Îðàæ ×ð´ ·¤Üæ â´SÍæ°¡ ÜçÜÌ ·¤Üæ¥æð´ ×ð´ çßçÖóæ ÂæÆKR¤× â´¿æçÜÌ ·¤ÚU ÚUãè ãñ´, Áñâð ç·¤, ÚðU¹æ ·¤Üæ ¥æñÚU Ú´U»·¤Üæ, ©ÂØæðçÁÌ ·¤Üæ, çàæË ·¤Üæ, »ýæçȤ·¤, ç֞æè ç¿˜æ ¥æçÎÐ çßlæçÍüØæð´ ·ð¤ Âæâ çßàæðáÌæ ·ð¤ ÿæð˜ææð´ ×ð´ çß·¤ËÂæð´ ×ð´ âð ç·¤âè °·¤ ·¤æ ¿éÙæß ·¤ÚUÙæ ãæðÌæ ãñÐ ßÌü×æÙ ÂæÆKR¤×æð´ ×ð´ ·¤ŒØêÅUÚU »ýæȤè€â ¥æñÚU °Ùè×ðàæÙ ÙØð ÂæÆKR¤× ¥æñÚU ÁéǸ »° ãñ´Ð §â ÌÚUã ·ð¤ çß·¤Ë çßlæçÍüØæð´ ·¤æð ÿæ×Ìæ ·ð¤ ¥ÙéM¤Â ²àØ ·¤Üæ ×ð´ ¥ÂÙè âÁüÙæˆ×·¤Ìæ ·¤è ¹æðÁ ×ð´ ×ÎÎ ·¤ÚUÌð ãñ´Ð §Ù âÖè ÂæÆKR¤×æð´ ×ð´ ×êÜ ¥æßàØ·¤Ìæ ÚðU¹æ·¤Üæ ·¤è ãñÐ ÚðU¹æ·¤Üæ âÖè ·¤Üæ¥æð´ ·¤è ×êÜ ãñÐ ÚðU¹æ·¤Üæ ×ð´ Âýçàæÿæ‡æ ¥æßàØ·¤ ãñ €Øæð´ç·¤ Øã ç·¤âè Öè ×æŠØ× âð çß¿æÚUæð´ ·ð¤ âÁèß ç¿˜æ‡æ ×ð´ ×ÎÎ ·¤ÚUÌè ãñÐ ¥æÁ·¤Ü çßlæçÍüØæð´ ×ð´ Øã Âýßëçžæ ÕɸÌè Áæ ÚUãè ãñ ç·¤ ßð ÚðU¹æ´·¤Ù ·ð¤ ÂýçÌ ·¤æð§ü ŠØæÙ Ùãè´ ÎðÌðÐ ·¤Üæ â´SÍæÙ ×ð´ Âýßðàæ ÜðÙð ·ð¤ ÕæÎ ¥çÏ·¤æ´àæ çßlæÍèü âæð¿Ìð ãñ´ ç·¤ ÚðU¹æ´·¤Ù Õð·¤æÚU ãñÐ ¥ŠØæ·¤ ·ð¤ ÕÜ ÎðÙð ·ð¤ ÕæßÁêÎ Öè ©â ÂÚU ŠØæÙ Ùãè´ ÎðÌðÐ Øã ÕǸè àææð¿ÙèØ çSÍçÌ ãñÐ

D—7907 21 P.T.O. Art students also face very strange problems. Many believe that smoking, drinking etc. are appetite for creative mind. This notion is very wrong as they are injurious to health. Such habits destroy health than helping in creativity. The only way of creating good work is understanding, visualisation and drawing skill. Students must pay attention to their works and should not divert their minds to addictions. Free and liberal atmosphere in art institutes help to think differently and is also helpful in stregnthening democracy.

46. What is the basic necessity to study fine arts courses ? (A) Drawing (B) Painting (C) Sculpture (D) Applied Arts

47. Which courses in art institutes are new additions ? (A) Computer Graphics (B) Graphic Design (C) Sculpture (D) Photography

48. What is considered as appetite for creative mind by students ? (A) Drawing (B) Smoking and drinking (C) Sadness (D) Visualisation

49. How is the general atmosphere in art institutions ? (A) Liberal (B) Free and liberal (C) Very free (D) None of the above

50. Which aspect needs attention of student ? (A) Painting (B) Sculpture (C) Drawing (D) Animation

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D—7907 22 ·¤Üæ çßlæçÍüØæð´ ·ð¤ âæ×Ùð ÕǸè çß翘æ â×SØæ°´ ¥æÌè ãñÐ ¥çÏ·¤æ´àæ âæð¿Ìð ãñ ç·¤ Ïê×ýÂæÙ, ×lÂæÙ ¥æçÎ âÁüÙæˆ×·¤ ×çSÌc·¤ ·¤è Öê¹ ãñÐ Øã ÏæÚU‡ææ ÕãéÌ »ÜÌ ãñ €Øæð´ç·¤ Øð âÕ SßæS‰Ø ·ð¤ çÜ° ãæçÙ·¤æÚU·¤ ãñÐ °ðâè ¥æÎÌð´ âÁüÙæˆ×·¤Ìæ ×ð´ ×ÎÎ ·¤ÚUÙð ·¤è ¥Âðÿææ SßæS‰Ø ·¤æð ÙC ·¤ÚUÌè ãñÐ ¥‘ÀUè ·ë¤çÌ ·ð¤ âÁüÙ ·¤æ °·¤×æ˜æ ©ÂæØ â×Ûæ, ·¤ËÂÙæàæçQ¤ ¥æñÚU ÚðU¹æ´·¤Ù ·¤æñàæÜ ãñÐ çßlæçÍüØæð´ ·¤æð ¥ÂÙð ·¤æ× ·¤è ÌÚUȤ ŠØæÙ ÎðÙæ ¿æçã° Ù ç·¤ ¥ÂÙð ×çSÌc·¤ ·¤æð ç·¤âè ÜÌ ·ð¤ ÂèÀðU Ùãè´ Ü»æÙæ ¿æçã°Ð ©‹×éQ¤ ¥æñÚU SßÌ´˜æ ßæÌæßÚU‡æ ·¤Üæ â´SÍæÙæð´ ×𴠥ܻ É´U» âð âæð¿Ùð ×ð´ ×ÎÎ ·¤ÚðU»æ ¥æñÚU SßÌ´˜æÌæ ·¤æð ÕÜàææÜè ÕÙæÙð ×ð´ Öè ©ÂØæð»è ãæð»æÐ

46. ÜçÜÌ·¤Üæ ÂæÆKR¤×æ𴠷𤠥ŠØØÙ ·¤è ×êÜ ¥æßàØ·¤Ìæ €Øæ ãñ? (A) ÚðU¹æ·¤Üæ (B) Ú´U»·¤Üæ (C) çàæË ·¤Üæ (D) ©ÂØæðçÁÌ ·¤Üæ

47. ·¤Üæ â´SÍæÙæð´ ×ð´ ·¤æñÙ âð Ù° ÂæÆKR¤× ÁæðǸ𠻰 ãñ´ Ñ (A) ·¤ŒØêÅUÚU »ýæçȤ€â (B) »ýæçȤ·¤ çÇUÁæ§Ù (C) çàæË·¤Üæ (D) ȤæðÅUæð»ýæȤè

48. çßlæçÍüØæð´ mæÚUæ 緤ⷤæð âÁüÙæˆ×·¤ ×çSÌc·¤ ·¤è Öê¹ â×Ûææ ÁæÌæ ãñÐ (A) ÚðU¹æ·¤Üæ (B) Ïê×ýÂæÙ ¥æñÚU ×lÂæÙ (C) ©ÎæâèÙÌæ (D) ·¤ËÂÙæàæçQ¤

49. ·¤Üæ â´SÍæÙæð´ ·¤æ âæ×æ‹Ø ßæÌæßÚU‡æ ·ñ¤âæ ãñ? (A) SßÌ´˜æ (B) ©‹×éQ¤ ¥æñÚU SßÌ´˜æ (C) ¥ˆØ´Ì ×é€Ì (D) ©ÂÚUæðQ¤ ·¤æð§ü Ùãè´

50. çßlæçÍüØæð´ ·¤æ ŠØæÙ ç·¤â Âÿæ ·¤è ¥æðÚU ¹è´¿Ùæ ¥æßàØ·¤ ãñ? (A) 翘淤æÚUè (B) çàæË (C) ÚðU¹æ´·¤Ù (D) ¥òçÙ×ðàæÙ

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D—7907 23 P.T.O. Space For Rough Work

D—7907 24