CBSE Class 10 Question Paper 2025 Solution Painting

PAINTING (CODE 049)
MARKING SCHEME
CLASS X (2025-26)
One Theory Paper – 2 hrs Total Marks – 30

S.No. SECTION-A MARKS
1.a) (B) PENCIL COLOUR 1
b) (A) HUE / VALUE / INTENSITY 1
c) (D) FLAT BIG BRUSH 1
d) (B) A PILLAR 1
e) (C) PALETTE 1
f) (B) TEXTURE 1
g) (C) POSTER COLOUR 1
h) (C) CARVED OUT SINGLE ROCK 1
SECTION-B
2. 2
 Definition of balance - 1/2 Mark
 Three types of balance- 1.5 Marks (1/2 mark each)

 BALANCE- ADDING THE FEELING OF STABILITY AND EQUILIBRIUM/
BALANCE IN PAINTING REFERS TO THE DISTRIBUTION OF VISUAL WEIGHT
IN A COMPOSITION, ENSURING HARMONY AND EQUILIBRIUM BETWEEN
ELEMENTS, GUIDING THE VIEWER’S EYE AND CREATING A COHESIVE
WORK OF ART/ BALANCE IS THE ARRANGEMENT OF ART ELEMENTS, (ETC.)
 SYMMETRICAL BALANCE, ASYMMETRICAL BALANCE, RADIAL BALANCE.

(OR)
 Use of Emphasis- 1 Mark
 Rhythm/ movement -1 Mark

EMPHASIS- CREATING EMPHASIS IN ARTWORK INVOLVES DIRECTING THE
VIEWER’S ATTENTION TO A FOCAL POINT, USING DIFFERENT TECHNIQUES TO
ADD VISUAL INTEREST AND MEANING/ IS THE STRESS OR ATTENTION PART IN
ART, (ETC.)

RHYTHM/ MOVEMENT – RHYTHM AND MOVEMENT IN ARTWORK CAN BE
ACHIEVED THROUGH REPETITIVE PATTERNS, SHAPES, OR COLORS, CREATING A
SENSE OF FLOW. THESE ELEMENTS GUIDE THE VIEWER’S EYE, SUGGESTING
MOTION/ MOTION THROUGH THE USE OF VARIOUS ELEMENTS (ETC.)

3. 2
 LION CAPITAL CONVEYS THE MESSAGE OF STRENGTH AND UNITY– 2
MARKS

DESCRIPTION –
THE LION CAPITAL'S FOUR LIONS SYMBOLIZE STRENGTH AND
COURAGE, STANDING BACK-TO-BACK TO REPRESENT UNITY. THE
CIRCULAR BASE WITH DHARMA CHAKRA REINFORCES HARMONY,
WHILE THE STURDY STRUCTURE CONVEYS RESILIENCE AND POWER,
SYMBOL OF PURITY, OVERCOMING ADVERSITY, ETERNITY AND
ENLIGHTENMENT.

(OR)

 DESCRIPTION OF COLOUR/ EXPRESSION IN BODHISATTVA PADAMPANI
– 2 MARKS

DESCRIPTION
THE SOFT COLORS IN BODHISATTVA PADMAPANI CREATE A CALM AND
PEACEFUL MOOD. THE GENTLE EXPRESSION SHOWS KINDNESS AND
WISDOM, WHILE THE GLOWING HALO HIGHLIGHTS HIS DIVINE
PRESENCE, SPREADING COMPASSION AND ENLIGHTENMENT.
BIG INTRICATE PRINCELY CROWN, PEARL NECKLACE, LONG SPIRAL
STRING ‘RIBBON’ TIED ABOVE THE ELBOW, ELEGANT FEATURES, SHARP
NOSE AND CHIN, YET SEMI-CLOSED EYES, DETACHED EXPRESSION,
STANDING IN TRIBHANGA POSE PRINCE SIDDHARTH AS BODHISATTVA
LOOKS.

 DEFINITION OF SPACE – 1 MARK
4.  NEGATIVE AND POSITIVE SPACE- 1MARK 2

DESCRIPTION –
SPACE IS A WORKING AREA WITHIN WHICH WE COMPOSE A PICTURE/
IT IS THE AREA AROUND, ABOVE OR BELOW AN OBJECT OR OBJECTS,
CREATING AND UNDERSTANDING BOTH TWO DIMENSIONAL OR THREE
DIMENSIONAL WORKS OF ART. WITH THREE DIMENSIONAL ART, THE
SPACE AN OBJECT OCCUPIES IS AS IMPORTANT AS THE SPACE AROUND
OBJECTS/ SPACE CAN BE CREATED DIFFERENTLY ON THE SAME PAPER
(CLOSE / FAR).
(ANY OTHER DESCRIPTION CAN ALSO BE CONSIDERED APART FROM THE
ONES MENTIONED.)

NEGATIVE SPACE –
NEGATIVE SPACE IS THE BACKGROUND THAT SURROUNDS IT/
NEGATIVE SPACE REFERS TO THE SPACE AROUND AND BETWEEN THE
SUBJECT MATTER, (ETC.).

POSITIVE SPACE
POSITIVE SPACE IS THE MAIN SUBJECT/ IT REFERS TO THE SPACE OF
SHAPE REPRESENTING THE SUBJECT MATTER (ETC.).

(OR)
 HOW EMOTIONS ARE EXPRESSED THROUGH LINES, INCLUDE 4
EXAMPLES– 2 MARKS (1/2 mark each)

DESCRIPTION- LINES ARE A POWERFUL WAY TO EXPRESS EMOTIONS IN
ART. DIFFERENT TYPES OF LINES CREATE DIFFERENT FEELINGS AND
MOODS:

1. VERTICAL LINES – SHOW STRENGTH, STABILITY, AND POWER.
2. HORIZONTAL LINES – CREATE CALMNESS, PEACE, AND RELAXATION.
3. DIAGONAL LINES – SUGGEST MOVEMENT, TENSION, OR EXCITEMENT.
4. CURVED LINES – GIVE A SENSE OF SOFTNESS, GRACE, AND COMFORT.
5. ZIGZAG LINES – REPRESENT ENERGY, CHAOS, OR NERVOUSNESS.
6. THICK LINES – EXPRESS BOLDNESS AND CONFIDENCE.
7. THIN LINES – SHOW DELICACY, FRAGILITY, OR SADNESS.
8. SPIRAL LINES – SUGGEST CREATIVITY, MYSTERY, OR GROWTH

(ETC.)

5. 2
 FOUR ADVANTAGES OF USING OIL PASTEL COLORS – 2 MARKS (1/2
MARK EACH)

1. VIBRANT COLORS: OIL PASTELS HAVE RICH, VIBRANT COLORS THAT
MAKE OUR ARTWORK STAND OUT.
2. EASY TO USE: OIL PASTELS CAN BE USED ON ANY SURFACE.
3. EASY TO BLEND: OIL PASTELS ARE EASY TO BLEND, ALLOWING US TO
CREATE SMOOTH TRANSITIONS BETWEEN COLORS.
4. NO MESS: UNLIKE WATERCOLORS OR PAINTS, OIL PASTELS DON'T MAKE
A MESS, MAKING THEM PERFECT FOR CLASSROOM USE.
5. QUICK RESULTS: OIL PASTELS DRY QUICKLY, ALLOWING US TO SEE THE
RESULTS OF OUR ARTWORK IMMEDIATELY.
6. EXPRESSIVE: OIL PASTELS ARE GREAT FOR EXPRESSIVE ARTWORK, AS
THEY ALLOW US TO CREATE BOLD, TEXTURED LINES AND COLORS.

7. PORTABLE: OIL PASTELS ARE EASY TO CARRY AND CAN BE USED
ANYWHERE, MAKING THEM PERFECT FOR SKETCHING ON-THE-GO.
8. LAYERING: OIL PASTELS CAN BE LAYERED TO CREATE INTRICATE,
DETAILED DESIGNS, ADDING DEPTH TO OUR ARTWORK.

(ANY OTHER ADVANTAGES OF USING OIL PASTEL CAN ALSO BE CONSIDERED
APART FROM THE ONES MENTIONED.)
OR

 FOUR ADVANTAGES OF USING POSTER COLORS – 2 MARKS (1/2 MARK
EACH)

ADVANTAGES OF USING POSTER COLORS

1. BRIGHT AND VIBRANT: POSTER COLORS ARE HIGHLY PIGMENTED, MAKING
THEM PERFECT FOR CREATING EYE-CATCHING AND VIBRANT ARTWORK.

2. EASY TO MIX: POSTER COLORS CAN BE EASILY MIXED TO CREATE A WIDE
RANGE OF SHADES AND HUES.

3. FAST-DRYING: POSTER COLORS DRY QUICKLY, ALLOWING US TO WORK
RAPIDLY AND MAKE CHANGES WITHOUT WAITING TOO LONG.

4. VERSATILE: POSTER COLORS CAN BE USED ON VARIOUS SURFACES, SUCH AS
PAPER, CARDBOARD, AND EVEN FABRIC.

5. AFFORDABLE: POSTER COLORS ARE RELATIVELY INEXPENSIVE, MAKING THEM
A GREAT CHOICE FOR STUDENTS WORKING ON PROJECTS.

6. EASY TO APPLY: POSTER COLORS COME IN A LIQUID OR POWDER FORM,
MAKING THEM EASY TO APPLY USING A BRUSH, SPONGE, OR EVEN FINGERS.

7. SUITABLE FOR LARGE-SCALE WORK: POSTER COLORS ARE PERFECT FOR
CREATING LARGE-SCALE ARTWORK, SUCH AS POSTERS, BANNERS, AND MURALS.

8. ENCOURAGES CREATIVITY: POSTER COLORS ALLOW US TO EXPRESS OUR
CREATIVITY AND IMAGINATION, MAKING THEM A GREAT MEDIUM FOR ARTISTIC
EXPRESSION.
(ETC.)

6.  MADHUBANI PAINTINGS- BRIEF DESCRIPTION- (112 MARKS), 2
 STATE OF ORIGIN –( ½ MARKS)

MADHUBANI ART, ALSO KNOWN AS MITHILA ART, IS A TRADITIONAL ART FORM
THAT ORIGINATED IN THE MITHILA REGION OF BIHAR, INDIA. IT IS AN INTEGRAL
PART OF OUR CULTURAL DIVERSITY AND HERITAGE.

CHARACTERISTICS:

1. CULTURAL SIGNIFICANCE: MADHUBANI ART IS AN IMPORTANT PART OF
OUR CULTURAL HERITAGE, REFLECTING THE TRADITIONS AND CUSTOMS
OF THE MITHILA REGION.
2. STORYTELLING: MADHUBANI ART IS OFTEN USED TO NARRATE STORIES,
MYTHS, AND LEGENDS.
3. ARTISTIC EXPRESSION: THE ART FORM PROVIDES A UNIQUE MEANS OF
ARTISTIC EXPRESSION, ALLOWING ARTISTS TO CONVEY THEIR THOUGHTS
AND EMOTIONS.
4. BRIGHT COLORS: MADHUBANI ART IS KNOWN FOR ITS VIBRANT AND
BRIGHT COLORS, WHICH ARE OFTEN DERIVED FROM NATURAL SOURCES.
5. SYMBOLISM: THE ART FORM IS RICH IN SYMBOLISM, WITH EACH MOTIF
AND DESIGN ELEMENT HAVING A SPECIFIC MEANING.

IMPORTANCE:

1. EMPOWERMENT: MADHUBANI ART HAS PLAYED A SIGNIFICANT
ROLE IN EMPOWERING WOMEN IN THE MITHILA REGION,
PROVIDING THEM WITH A MEANS OF ECONOMIC
INDEPENDENCE.
2. FREE HAND PATTERNS: MADHUBANI ART IS CHARACTERIZED BY
INTRICATE DESIGNS, MOTIFS, LINES, AND FREE HAND SHAPES.
3. NATURE-INSPIRED: THE ART FORM OFTEN DEPICTS NATURE-
INSPIRED THEMES, SUCH AS FLOWERS, TREES, BIRDS, AND
ANIMALS.

OR

 WARLI PAINTINGS- BRIEF DESCRIPTION- (112 MARKS),
 STATE OF ORIGIN –( ½ MARKS)

WARLI ART IS A TRADITIONAL ART FORM THAT ORIGINATED IN THE TRIBAL
COMMUNITIES OF MAHARASHTRA, INDIA. IT IS AN INTEGRAL PART OF OUR
CULTURAL DIVERSITY AND HERITAGE.

CHARACTERISTICS:

1. GEOMETRIC PATTERNS: THE ART FORM FEATURES INTRICATE
GEOMETRIC PATTERNS, OFTEN DEPICTING EVERYDAY LIFE,
NATURE, AND MYTHOLOGICAL THEMES.
2. STORYTELLING: WARLI ART IS OFTEN USED TO NARRATE
STORIES, MYTHS, AND LEGENDS OF THE TRIBAL
COMMUNITIES.
3. WHITE ON RED: TRADITIONALLY, WARLI ART IS CREATED
USING WHITE RICE PASTE ON A RED OCHRE BACKGROUND,
GIVING IT A DISTINCTIVE LOOK.
4. SIMPLE AND RHYTHMIC: WARLI ART IS CHARACTERIZED BY
SIMPLE, RHYTHMIC, AND REPETITIVE PATTERNS, OFTEN
USING BASIC SHAPES LIKE CIRCLES, SQUARES, AND
TRIANGLES.

IMPORTANCE:

1. CULTURAL SIGNIFICANCE: WARLI ART IS AN IMPORTANT PART OF
THE CULTURAL HERITAGE OF THE WARLI TRIBE, REFLECTING THEIR
TRADITIONS, CUSTOMS, AND WAY OF LIFE.
2. ARTISTIC EXPRESSION: THE ART FORM PROVIDES A UNIQUE MEANS
OF ARTISTIC EXPRESSION, ALLOWING ARTISTS TO CONVEY THEIR
THOUGHTS, EMOTIONS, AND EXPERIENCES.
3. PRESERVATION OF TRADITION: WARLI ART HELPS PRESERVE THE
CULTURAL TRADITIONS AND STORIES OF THE TRIBAL COMMUNITIES,
PASSING THEM DOWN TO FUTURE GENERATIONS.

SECTION- C
7.  TWO PRINCIPLES OF ART- 2 MARKS, (1 MARK EACH)+ OVERALL IMPACT 6
IN ARTWORKS- 1 MARK,

PRINCIPLES OF ART:

THE PRINCIPLES OF ART ARE THE FUNDAMENTAL GUIDELINES THAT ARTISTS USE
TO CREATE VISUALLY APPEALING AND EFFECTIVE ARTWORKS. THESE PRINCIPLES
HELP ARTISTS ORGANIZE AND ARRANGE THE ELEMENTS OF ART TO CONVEY
THEIR MESSAGE, EXPRESS THEIR EMOTIONS, AND ENGAGE THEIR AUDIENCE.

PRINCIPLES OF ART:

1. BALANCE: THE ARRANGEMENT OF VISUAL ELEMENTS TO CREATE A
SENSE OF STABILITY AND HARMONY.
2. PROPORTION: THE RELATIONSHIP BETWEEN THE SIZE AND SCALE OF
DIFFERENT ELEMENTS IN AN ARTWORK.

3. EMPHASIS: THE FOCAL POINT IN AN ARTWORK THAT DRAWS THE
VIEWER'S ATTENTION.
4. MOVEMENT: THE SENSE OF ENERGY AND MOTION CREATED IN AN
ARTWORK.
5. PATTERN: THE REPETITION OF SIMILAR ELEMENTS, SUCH AS SHAPES OR
COLORS, TO CREATE A COHESIVE DESIGN.

6. UNITY: THE SENSE OF ONENESS AND COHERENCE CREATED BY THE
EFFECTIVE USE OF THE ELEMENTS AND PRINCIPLES OF ART.
7. CONTRAST: THE USE OF DIFFERENT ELEMENTS, SUCH AS COLORS,
SHAPES, OR TEXTURES, TO CREATE VISUAL INTEREST AND HIGHLIGHT
IMPORTANT FEATURES.

IMPACT OF PRINCIPLES OF ART ON ART:

1. CREATES VISUAL INTEREST: THE PRINCIPLES OF ART HELP CREATE
VISUAL INTEREST AND ENGAGE THE VIEWER'S ATTENTION.
2. CONVEYS MEANING AND EMOTION: THE EFFECTIVE USE OF THE
PRINCIPLES OF ART HELPS CONVEY THE ARTIST'S MESSAGE, EMOTIONS,
AND INTENTIONS.
3. ESTABLISHES MOOD AND ATMOSPHERE: THE PRINCIPLES OF ART HELP
ESTABLISH THE MOOD AND ATMOSPHERE OF AN ARTWORK, DRAWING
THE VIEWER INTO THE ARTIST'S WORLD.
4. GUIDES THE VIEWER'S EYE: THE PRINCIPLES OF ART GUIDE THE
VIEWER'S EYE THROUGH THE ARTWORK, CREATING A SENSE OF
MOVEMENT AND FLOW.
5. CREATES HARMONY AND BALANCE: THE PRINCIPLES OF ART HELP
CREATE HARMONY AND BALANCE IN AN ARTWORK, MAKING IT VISUALLY
APPEALING AND EFFECTIVE.
AND

 TWO ELEMENTS OF ART- 2 MARKS, (1 MARK EACH) + OVERALL IMPACT
IN ARTWORKS- 1 MARK.

THE ELEMENTS OF ART ARE THE FUNDAMENTAL BUILDING BLOCKS THAT
ARTISTS USE TO CREATE ARTWORKS. THESE ELEMENTS HELP ARTISTS CONVEY
THEIR MESSAGE, EXPRESS THEIR EMOTIONS, AND ENGAGE THEIR AUDIENCE.

ELEMENTS OF ART:

1. POINT/ DOT
2. LINE: A CONTINUOUS MARK MADE ON A SURFACE BY A DRAWING TOOL.
3. SHAPE: A SELF-CONTAINED AREA WITH HEIGHT, WIDTH, AND DEPTH.
4. FORM: A THREE-DIMENSIONAL VOLUME CREATED BY LINES, SHAPES,
AND TEXTURES.
5. VALUE: THE LIGHTNESS OR DARKNESS OF A COLOR OR OBJECT.

6. COLOR: THE PROPERTY OF AN OBJECT THAT IS PERCEIVED BY THE EYE AS
A RESULT OF THE WAY IT REFLECTS OR EMITS LIGHT.
7. TEXTURE: THE SURFACE QUALITY OR "FEEL" OF AN OBJECT OR VISUAL
ELEMENT.
8. SPACE: THE SENSE OF DEPTH, DISTANCE, OR ATMOSPHERE IN AN
ARTWORK.

IMPACT OF ELEMENTS OF ART ON ART:

1. CREATES MOOD AND ATMOSPHERE: THE ELEMENTS OF ART HELP
CREATE THE MOOD AND ATMOSPHERE OF AN ARTWORK, DRAWING THE
VIEWER IN.
2. CONVEYS MEANING AND EMOTION: THE EFFECTIVE USE OF THE
ELEMENTS OF ART HELPS CONVEY THE ARTIST'S MESSAGE, EMOTIONS,
AND INTENTIONS.
3. GUIDES THE VIEWER'S EYE: THE ELEMENTS OF ART GUIDE THE VIEWER'S
EYE THROUGH THE ARTWORK, CREATING A SENSE OF MOVEMENT AND
FLOW.
4. CREATES VISUAL INTEREST: THE ELEMENTS OF ART HELP CREATE VISUAL
INTEREST AND ENGAGE THE VIEWER'S ATTENTION.
5. ESTABLISHES COMPOSITION: THE ELEMENTS OF ART HELP ESTABLISH THE
COMPOSITION OF AN ARTWORK, CREATING A SENSE OF BALANCE AND
HARMONY.

8.  THREE WATERCOLOUR TECHNIQUES- 3 MARKS(1 MARK EACH) 6
 EXPLANATION OF THREE TOOLS- 3 MARKS (1 MARK EACH)

WATERCOLOR TECHNIQUES:

1. WASH: A THIN LAYER OF TRANSPARENT PAINT APPLIED TO THE ENTIRE
SURFACE OR A LARGE AREA.
2. GLAZE: A THIN, TRANSPARENT LAYER OF PAINT APPLIED OVER A
PREVIOUSLY PAINTED AREA TO DEEPEN THE COLOR.
3. DRYBRUSH: A TECHNIQUE WHERE A ALMOST-DRY BRUSH IS DRAGGED
ACROSS THE PAPER TO CREATE ROUGH, TEXTURED STROKES.
4. WET-ON-WET: A TECHNIQUE WHERE WET PAINT IS APPLIED TO WET
PAPER TO CREATE SOFT, BLENDED EDGES.
5. WET-ON-DRY: A TECHNIQUE WHERE WET PAINT IS APPLIED TO DRY
PAPER TO CREATE CRISP, SHARP EDGES.
6. LIFTING: A TECHNIQUE WHERE A DAMP BRUSH IS USED TO GENTLY LIFT
OFF EXCESS PAINT AND CREATE HIGHLIGHTS.
7. MASKING: A TECHNIQUE WHERE A MASKING FLUID IS APPLIED TO AREAS
OF THE PAPER TO PROTECT THEM FROM UNWANTED COLOR.

WATER COLOR TOOLS:
1. WATERCOLOR PAINTS: AVAILABLE IN TWO FORMS: PAN PAINTS (DRY
CAKES) AND TUBE PAINTS (MOIST PAINT).
2. WATERCOLOR BRUSHES: NATURAL OR SYNTHETIC HAIR BRUSHES IN
VARIOUS SHAPES AND SIZES
3. WATERCOLOR PAPER: SPECIAL PAPER DESIGNED FOR WATERCOLOR
PAINTING, USUALLY LABELED AS "HOT PRESS", "COLD PRESS", OR
"ROUGH".

4. PALETTE: A FLAT SURFACE FOR MIXING PAINTS, CAN BE DISPOSABLE OR
REUSABLE.
5. WATER CONTAINER: A CONTAINER FOR RINSING BRUSHES AND MIXING
PAINT.
6. MASKING FLUID: A LIQUID APPLIED TO AREAS OF THE PAPER TO
PROTECT THEM FROM UNWANTED COLOR.
7. TAPE: USED TO CREATE STRAIGHT EDGES OR MASK AREAS OF THE PAPER

1
9.  NAME OF THE LANDMARK AND THE CAVE- 1 MARK ( 2 MARKS EACH) 6
 ARCHITECTURAL AND RELIGIOUS FEATURES- 5 MARKS

KAILASHNATH TEMPLE AT ELLORA (MAHARASHTRA)
ARCHITECTURE:
1. CAVE TEMPLE: THE KAILASHNATH TEMPLE IS A ROCK-CUT CAVE TEMPLE,
CARVED OUT OF A SINGLE BASALT ROCK./MONOLITHIC STRUCTURE THE
KAILASHNATH TEMPLE IS A MONOLITHIC STRUCTURE, CARVED OUT OF A
SINGLE ROCK.
2. PYRAMIDAL STRUCTURE: THE TEMPLE HAS A PYRAMIDAL STRUCTURE,
WITH A SERIES OF DECREASING-SIZED PLATFORMS.
3. COLUMNS AND PILLARS: THE TEMPLE FEATURES INTRICATE CARVINGS
ON COLUMNS AND PILLARS, SHOWCASING SCENES FROM HINDU
MYTHOLOGY.
4. VIMANA: THE TEMPLE'S SANCTUM SANCTORUM (GARBHAGRIHA) IS
TOPPED WITH A VIMANA, A TOWER-LIKE STRUCTURE.

CARVED FROM SINGLE ROCK, LONG COURTYARD. ONE OF THE LARGEST
CAVES, 300 FEET LONG, 175 FEET WIDE 106 FEET DEEP. GOPURAM,
MANDAPA, SHIKHARA, GARBHAGRIHA. CARVED ELEPHANTS ROCK BRIDGE,
NANDI VERTICAL EXCAVATION.

RELIGIOUS FEATURES:
1. DEDICATED TO LORD SHIVA: THE KAILASHNATH TEMPLE IS DEDICATED
TO LORD SHIVA, ONE OF THE PRINCIPAL DEITIES OF HINDUISM.
2. LINGA: THE TEMPLE'S SANCTUM SANCTORUM HOUSES A MASSIVE SHIVA
LINGA, A SYMBOL OF LORD SHIVA.
3. NANDI: A MASSIVE STATUE OF NANDI, LORD SHIVA'S BULL, IS SITUATED
IN FRONT OF THE TEMPLE.

4. HINDU MYTHOLOGICAL SCENES: THE TEMPLE'S WALLS AND PILLARS
FEATURE INTRICATE CARVINGS DEPICTING SCENES FROM HINDU
MYTHOLOGY, INCLUDING THE RAMAYANA AND MAHABHARATA.