KSET 2020 Question Paper Visual Arts

Paper : II

Booklet SERIAL No.
Subject : Visual Arts
Subject Code : 41

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(Figures as per admission card)

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Time : 2 Hours Maximum Marks : 200
Number of Pages in this Booklet : 32 Number of Questions in this Booklet : 100
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14. PܮܰvÜ ÊÜáñÜᤠCíXÉàÐ… BÊÜ꣤WÜÙÜ ±ÜÅÍ氱ܣÅPæWÜÙÜÈÉ ¿ÞÊÜâ¨æà Äࣿá ÊÜÂñÝÂÓÜWÜÙÜá question booklet the question in English version shall be taken as
PÜívÜáŸí¨ÜÈÉ, CíXÉàÐ… BÊÜ꣤WÜÙÜÈÉÃÜáÊÜâ¨æà Aí£ÊÜáÊæí¨Üá ±ÜÄWÜ~ÓܸæàPÜá. final.
K – 4120 1 ±Üâ.£.®æãà./P.T.O.

¨ÜêÍÜ PÜÇæWÜÙÜá
±æà±ÜÃ… – II

WÜÊÜá¯Ô : D ±Ü£ÅPæ¿áá ®ÜãÃÜá (100) ÊÜÓÜ᤯ÐÜu ÊÜÞ¨ÜÄ¿á ±ÜÅÍæ°WÜÙÜ®æã°ÙÜWæãíw¨Üáª, ±ÜÅ£Áãí¨Üá ±ÜÅÍæ°¿áã
GÃÜvÜá (2) AíPÜWÜÙÜ®Üá° Öæãí©¨æ. GÇÝÉ ±ÜÅÍæ°WÜÙÜ®Üã° PÜvÝx¿áÊÝX EñܤÄÓܸæàPÜá.
1. ÓÜáÃÜáÚ Ÿpær¿áá ¿ÞÊÜ ÊÜáá¨ÜÅ| ±ÜÅQÅÁá¿áÈÉ 5. ‘PèÉv… Wæàp…’ GíŸáÊÜâ¨Üá CÊÜÃÜ ÎƳPÜê£
ŸÙÜÓÜƳvÜáñܤ¨æ ? (A) GÄP… XÇ…
(A) EŸáº ÊÜáá¨ÜÅ| (ÄÈà´…) (B) ¸æãàbcÁ㯠(Boccioni)
(B) E£Rà|ì ÊÜáá¨ÜÅ| (CípÝÂXÉÁã) (C) A¯àÍ… PܱÜäÃ…
(C) ÓÜÊÜáñÜÆ ÊÜáá¨ÜÅ| (±ÜÉ®æãàWÜŵ) (D) QÅÓæãrà
(D) ÃæàÐæ¾ ÊÜáá¨ÜÅ| (ÓæÄWÜŵ)
6. “¨ÝÃÜá&E£Rà|ì” (ÊÜâv…&CípÝÂXÉÁã)¨Ü
2. IÐÝÃÝËá PÝÃ… ¸ÝÅívÜ á WÜ Ù Ý¨Ü hÝWÝÌÃ… ÓÜ Ê Ü á PÝÈà®Ü Aaæ ã cñÜ á ¤ Ë Pæ ±Ü Å QÅÁá¿á®Ü á °
ÊÜáñÜᤠÇÝÂív… ÃæãàÊÜÃ… D PÜí±Ü¯¿á ÓÝÌÊÜáÂPæR »ÝÃÜñܨÜÈÉ ±ÜÄaÜÀáÔ¨ÜÊÜÃÜá
JÙܱÜqr¨æ
(A) ÓæãàÊÜ兮ݥ… ÖæãàÃæ
(A) BÂÓÜr®… ÊÜÞqì®…
(B) ÓÜ®ÜñÜRÃ…
(B) ¸æíqÉ ÊæãàpÝÃ…Õ
(C) PÜêÐÜ¡ Ãæwx
(C) ÃæãàÇ…Õ&ÃÝ¿å…Õ
(D) gW…ÊæãàÖÜ®… aæãà±ÜÅ
(D) pÝpÝ ÊæãàpÝÃ…Õ

3. B´…Óæ p … ÊÜ á á¨Ü Å |¨Ü È É CÊæ á àgáWÜ Ù Ü á ×àWæ 7. PæÙÜX®ÜÊÜâWÜÙÜá ÃÜaÜ®ÝÊÝ© ÎȳWÜÙÜ
±Üâ®ÜÃÜáñݳ©ÓÜƳvÜáñܤÊæ ÖæÓÜÃÜáWÜÙÝXÊæ.
(A) ÊæãoPÝX i. ÊÜÞÂÇæËa…
(B) Êæáàƺ© PæÙÜWæ ii. aÝÇ…Õì wÓ…±ÜäÂ
(C) ×í¨æ ÊÜááí¨æ iii. Wݸæã
(D) PÜÃÝÃÜáÊÜPÝRX ÓÜÊÜÞ®ÜÊÝX iv. Ãæãàv…aæíPæã

4. ÎÇÝ ÊÜáá¨ÜÅ| BËÐÝRÃÜWæãÚÔ¨ÜÊÜÃÜá PæãàvÜáWÜÙÜá :
(A) AÇæãà¿å…Õ Óæ®æ´æÆxÃ… (A) i, ii ÊÜáñÜᤠiv ÓÜÄ¿ÞXÊæ
(B) hæãÖÝ®… WÜáÂpæ®…ŸW…ì (B) ii, iii ÊÜáñÜᤠiv ÓÜÄ¿ÞXÊæ
(C) XÉÓÜ°Ã… (C) i, ii ÊÜáñÜᤠiii ÓÜÄ¿ÞXÊæ
(D) ¸æígËá®… ÊæÓ…r (D) i, iii ÊÜáñÜᤠiv ÓÜÄ¿ÞXÊæ

Paper II 2 K – 4120

visual arts
Paper – II

Note : This paper contains hundred (100) objective type questions. Each question carries
two (2) marks. All questions are compulsory.
1. Bolting cloth is used in which printing 5. ‘Cloud Gate’ is a public sculpture by
process ? (A) Eric Gill
(A) Relief (B) Boccioni
(B) Intaglio (C) Anish Kapoor
(C) Planography (D) Christo
(D) Serigraphy
6. Contemporary print making process of
2. Luxury car brands Jaguar and Land “Wood-Intaglio” in India is introduced by
Rover owned by the company (A) Somnath Hore
(A) Aston Martin (B) Sanatkar
(B) Bently Motors (C) Krishna Reddy
(C) Rolls-Royce (D) Jagmohan Chopra
(D) TATA Motors
7. Following are the names of constructivist
3. In offset printing images are reproduced sculptors.
(A) Reduced i. Malevich
(B) Upside down ii. Charles Despiau
(C) Reverse iii. Gabo
(D) Exactly the same iv. Rodchenko

4. Lithography was invented by Codes :

(A) Aloys Senefelder (A) i, ii and iv are correct

(B) Johanne Gutenberg (B) ii, iii and iv are correct

(C) Glisner (C) i, ii and iii are correct

(D) Benjamin West (D) i, iii and iv are correct

K – 4120 3 Paper II

8. PÝÇÝ®ÜáPÜÅÊÜá¨ÜÈÉ ŸÃæÀáÄ. 11. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ :
(A) Öæã¿áÕÙæàÍÜÌÃÜ ¨æàÊÜÓݧ®Ü,
±Üqr – I ±Üqr – II
ÖÜí² ËÃÜã±ÝPÜÒ ¨æàÊÜÓݧ®Ü,
ÊæáçÓÜãÃÜá PÝÊÜáPÝÊæáàÍÜÌÄà ¨æàÊÜÓݧ®Ü, a. ±æÉàpæãà i. ‘ÔX°µPÝÂíp… ´ÝÊÜå…ì’
IÖæãÙæ ‘¨ÜáWÝì’ ¨æàÊÜÓݧ®Ü
b. PæÉ$çÊ… ¸æÇ… ii. ‘ıܹÉPÜ ’
(B) IÖæãÙæ ‘¨ÜáWÝì’ ¨æàÊÜÓݧ®Ü,
Öæã¿áÕÙæàÍÜÌÃÜ ¨æàÊÜÓݧ®Ü, c. PæÉÊæáíp… iii. ‘B®… Ô³ÄaÜáÊÜÇ…
ÖÜí² ËÃÜã±ÝPÜÒ ¨æàÊÜÓݧ®Ü, XÅà®…ŸW…ì C®… Bp…ì’
ÊæáçÓÜãÃÜá PÝÊÜáPÝÊæáàÍÜÌÄà ¨æàÊÜÓݧ®Ü d. ÊÝÔÈ iv. ‘ÊÜÞvܯìÓ…r ±æàíqíW…’
(C) ÊæáçÓÜãÃÜá PÝÊÜáPÝÊæáàÍÜÌÄà ¨æàÊÜÓݧ®Ü, Pݯɮ…ÔR
Öæã¿áÕÙæàÍÜÌÃÜ ¨æàÊÜÓݧ®Ü,
ÖÜí² ËÃÜã±ÝPÜÒ ¨æàÊÜÓݧ®Ü, PæãàvÜáWÜÙÜá :
IÖæãÙæ ‘¨ÜáWÝì’ ¨æàÊÜÓݧ®Ü a b c d
(D) ÖÜí² ËÃÜã±ÝPÜÒ ¨æàÊÜÓݧ®Ü, (A) ii iv i iii
Öæã¿áÕÙæàÍÜÌÃÜ ¨æàÊÜÓݧ®Ü,
(B) iii iv i ii
IÖæãÙæ ‘¨ÜáWÝì’ ¨æàÊÜÓݧ®Ü,
ÊæáçÓÜãÃÜá PÝÊÜáPÝÊæáàÍÜÌÄà ¨æàÊÜÓݧ®Ü (C) ii i iv iii

9. PܯÑrà¿áñæ¿áá (Ëá¯ÊÜáÈÓÜí) ®Üã¿ÞP…ì®ÜÈÉ (D) iv i ii iii
D ÊÜÐÜì¨Ü Êæã¨ÜÆ »ÝWܨÜÈÉ BË»ÜìËÔñÜá
i. 1950 12. ±ÜÅ£±Ý¨Ü®æ (A) : AŸ¯àí¨ÜŮݥ… pÝWæãàÃ…ÃÜÊÃ
Ü áÜ
ii. 1960 ¨æàÎà¿á PÜÇæ¿á hÝWÜê£ ÊÜáñÜᤠÊÜåèÆÂÊÜ®Üá°
iii. 1975
ÖÜáoárÖÝQ¨ÜÃÜá.
iv. 1980
PæãàvÜáWÜÙÜá :
ñÜPÜì (R) : BÃ….Ga…. ÃÜÃÜkÞ ñܮܰ hÝÂËá£à¿á
(A) i ÓÜÄ¿ÞX¨æ (B) ii ÓÜÄ¿ÞX¨æ ±ÜÅPæÒà±ÜWÜÙæãí©Wæ ±ÜíaÜ»ÜãñÜWÜÚWæ Jí¨Üá ÖæãÓÜ
(C) iii ÓÜÄ¿ÞX¨æ (D) iv ÓÜÄ¿ÞX¨æ ÓÜíÊݨÜÊÜ®Üá° ÓÜêÑrÔ¨ÜÃÜá.
10. ±Ü Å £±Ý¨Ü ® æ (A) : ±æ à íqíW… ÖÜ Ó Ü ¤ ñÜ í ñÜ Å Pæ R PæãàvÜáWÜÙÜá :
ÓæàÄÃÜáñܤ¨æ. (A) (A) ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝXÊæ
ñÜPÜì (R) : AaæãcñÜá¤ÊÜâ¨Üá (²Åíp…ÊæáàQíW…) (B) (A) ÓÜ ñ Ü Â ÊÝXÊæ PÜ Å ÊÜ á ÊÝX ¯ÃÜ ã ²Ô
E±ÜPÜÃÜ| ÊÜÞ«ÜÂÊÜáWÜÚWæ ÓæàĨݪX¨æ.
PæãàvÜáWÜÙÜá :
ÊÜáá®Ü°væÓÜáÊÜâ¨Üá (R) Wæ AÊÜÍÜ AÆÉ
(A) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ¯gÊÝXÊæ (C) GÃÜvÜã FÖÜ®æWÜÙÜá
(B) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜáÙÝÛXÊæ (D) ÃÜÃÜkÞÃÜÊÜÃÜá ¨æàÎà¿á ±ÜÄPÜƳ®æWÜÚWæ
(C) (A) ÓÜñÜÂÊÝX¨æ B¨ÜÃæ (R) ÓÜáÙÝÛX¨æ
(D) (A) ÓÜáÙÝÛX¨æ B¨ÜÃæ (R) ÓÜñÜÂÊÝX¨æ PæãvÜáWæ ¯àvÜᣤÃÜÈÆÉ

Paper II 4 K – 4120

8. Identify the chronological sequence. 11. Match the following :
(A) Hoysaleshwara temple,
List – I List – II
Hampi Virupaksha temple,
Mysuru Kamakameshwari temple, a. Plato i. ‘Significant Form’
Aihole ‘Durga’ temple
(B) Aihole ‘Durga’ temple, b. Clive Bell ii. ‘Republika’
Hoysaleshwara temple,
Hampi Virupaksha temple, c. Clement iii. ‘On spiritual in Art’
Mysuru Kamakameshwari temple Greenberg
(C) Mysuru Kamakameshwari temple, d. Wasily iv. ‘Modernist
Hoysaleshwara temple, Kanlinsky painting’
Hampi Virupaksha temple,
Aihole ‘Durga’ temple Codes :
(D) Hampi Virupaksha temple,
Hoysaleshwara temple, a b c d
Aihole ‘Durga’ temple, (A) ii iv i iii
Mysuru Kamakameshwari temple
(B) iii iv i ii
9. Minimalism emerged in New York in
(C) ii i iv iii
the early
i. 1950 (D) iv i ii iii
ii. 1960
iii. 1975 12. Assertion (A) : Abanindranath Tagore
iv. 1980
initiated the awareness and value of
Codes : indigenous art.
(A) i is correct (B) ii is correct
(C) iii is correct (D) iv is correct Reason (R) : R. H. Raza with his
geometrical projections created a new
10. Assertion (A) : Painting belongs to hand dialogue for Panchabhutas.
technique.
Reason (R) : Printmaking belongs to Codes :
tools media. (A) (A) and (R) are true
Codes : (B) (A) is true (R) is not necessarily
(A) Both (A) and (R) are true
follow up that evolved
(B) Both (A) and (R) are false
(C) (A) is true but (R) is false (C) Both are assumptions
(D) (A) is false but (R) is true (D) Raza was not contributing to
indigenous concepts

K – 4120 5 Paper II

13. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ : 16. »ÝÃÜñÜ¨Ü ±ÜÅTÝÂñÜ bñÜÅPÝÃÜÃÜ®Üá° AÊÜÃÜ

I. ÎƳPÜÇæ 1. ÔÊæáíp… ÊæáàÃÜáPÜê£WÜÙæãí©Wæ Öæãí©ÔÄ :
±Üqr – I ±Üqr – II
II. ±æàíqíW… 2. BÊæÊÜá|á¡
a. hæËᯠÃÝ¿å… i. PÝÚ
III. PÜáí¸ÝÄPæ 3. ÎÇæ
b. ñæçÁḅ ÊæáÖݤ ii. ÓÜÌ&±ÜÅ£PÜê£
IV. ÓÜÊÜáPÝÈà®Ü ÊÝÓÜá¤ÎƳ 4. Ÿ|¡ c. ÓÜ£àÍ… A®…hÝ°Ç… iii. ñÝÀá ÊÜáñÜᤠÎÍÜá
PæãàvÜáWÜÙÜá : d. Ãܹàí¨ÜŮݥ… iv. Qà£ì¿á ©®ÜWÜÙÜá
I II III IV pÝWæãàÃ…
(A) 3 4 2 1 PæãàvÜáWÜÙÜá :
(B) 1 2 3 4 a b c d
(C) 2 3 4 1 (A) iv iii ii i
(D) 4 2 3 1
(B) ii iv i iii

14. ËÆPÜÒ| (WÜáí²Wæ ÓæàÃܨÜ) Êݨܨæãªí¨Ü®Üá° ÖæQR (C) i ii iii iv
ñæWæÀáÄ. (D) iii i iv ii
(A) ÓÜíXàñÜ ÊÜáñÜᤠ®ÜêñÂÜ ©í¨æãvÜWã Ü w¨Ü WÜávÜWx Ýw®Ü/
hݮܱ¨ Ü Ü PÜÇWæ ÙÜ áÜ ÓÜÌ¿áí±æÅàÄñÜÊݨÜÊâÜ WÜÙáÜ 17. ÓÜêg®ÝñܾPÜ hÝ×àÃÝñÜá ±ÜÅÍÜÔ¤WÜÙÜ ÊÜá®Ü°Oæ¿áÈÉ
(B) ÊÜ Ã Ü Ê æ ä í¨Ü ® Ü á ° ¸æ à vÜ Æ á A¥Ü Ê Ý ±Ü v æ ¨ Ü AíñÝÃÝÑóà¿á PÝ¿áìPÜÅÊÜá
BÎàÊÝì¨ÜPÝRX «Ü®ÜÂÊÝ¨Ü A²ìÓÜÆá (A) ÖÝÇ… B´… ´æàÊÜå…
ñÜ¿ÞÄÔ¨Üáª
(B) PÝ®…Õ Æ¿á®…Õ
(C) ÓÜÊÜáá¨Ý¿á ¿áñÜ°
(C) © ÊÜ®… PÜɸ…
(D) ÓÜíinàPÜêñÜ Ë¨ÜáÂPܤ ÖæàÚPæWÜÚWæ Öæãí¨ÜáÊÜíñæ
(D) BÂv… ÓæãràÃ…Õì
ÃÜã{àPÜêñÜWæãívܨÜáª
18. ¨ÜêÍÜ PÜÇæWÜÙÜÈÉ ÃÜÓÜWÜÙÜ ÓÜíTæÂ
15. ‘ÃÝívܯ¯ ²Ááo’ ¨Ü Îȳ ¿ÞÃÜá ?
(A) BWÜÓærà Ãæãw®… (A) Jí¨Üá ÃÜÓÜ

(B) væãà®ÜÜpæÇæãÉà (B) GÃÜvÜá ÃÜÓÜWÜÙÜá
(C) ÊæáçPæÇ… BíiÇæã (C) ®ÜÊÜ ÃÜÓÜWÜÙÜá
(D) Ÿ¯ì¯ (D) ÃÜÓÜWÜÙæà CÆÉ

Paper II 6 K – 4120

13. Match the following : 16. Match the famous painters of India with
their master pieces :
I. Sculpture 1. Cement
List – I List – II
II. Painting 2. Clay
a. Jemini Roy i. Kali
III. Pottery making 3. Stone b. Tyeb Mehta ii. Self Portrait
IV. Contemporary 4. Colour c. Satish Anjnal iii. Mother and
Architecture child
Codes : d. Rabindranath iv. Days of Glory
Tagore
I II III IV
Codes :
(A) 3 4 2 1
a b c d
(B) 1 2 3 4
(A) iv iii ii i
(C) 2 3 4 1
(B) ii iv i iii
(D) 4 2 3 1
(C) i ii iii iv
14. Pick the odd one out. (D) iii i iv ii
(A) Tribal/folk arts are spontaneous
accompanied with music and dance 17. International event in recognition of
creative advertising awards
(B) Produced to ask for a boon or to
(A) Hall of Fame
thank for the blessing received
(B) Cannes Lions
(C) Community effort
(C) The one Club
(D) Conditioned, to suit codified dictums
(D) Ad Stores

15. Who is the sculptor of ‘Rondanini Pieta’ ?
18. Rasa’s number in Visual Arts
(A) Auguste Rodin
(A) One Rasa
(B) Donatello
(B) Two Rasas
(C) Michel Angelo
(C) Nine Rasas
(D) Bernini
(D) No Rasas

K – 4120 7 Paper II

19. ÓÝí±ÜŨÝÀáPÜ Wæãàvæ bñÜÅWÜÙÜ®Üá° CÈÉ 22. bñÜŨÜÈÉ ŸÙÜÓÜÇÝWÜáÊÜ Ë®ÝÂÓÜ ÊÜáãÇÝíÍÜWÜÙÜá
PÝ|ŸÖÜá¨Üá i. ÓÜÊÜáñæãàÆ®Ü
i. ±ÜÅÓܮܰ PÜêÐÜ¡ÓÝÌËá ¨æàÊÜÓݧ®Ü (ÊæáçÓÜãÃÜá
ii. Æ¿á (ñÝÙÜ)
AÃÜÊÜá®æ ±ÜÄÓÜÃܨÜÈÉ )
iii. Ë®ÝÂÓÜ
ii. Ô¹ ®ÜÜÃÜÔíÖÜÓÝÌËá ¨æàÊÜÓݧ®Ü
iii. ËàÃÜ®ÝÃÝ¿á| ¨æàÊÜÓݧ®Ü, WܨÜWÜ iv. WæÃæ

iv. ¸æàÆãÃÜá aæ®Ü°PæàÍÜÊÜ ¨æàÊÜÓݧ®Ü PæãàvÜáWÜÙÜá :

(A) ii ÊÜáñÜᤠiv GÃÜvÜã ÓÜÄ¿ÞXÊæ (A) i ÊÜáñÜᤠiv ÓÜÄ¿ÞXÊæ

(B) iii ÊÜáñÜᤠiv GÃÜvÜã ÓÜÄ¿ÞXÊæ (B) iii ÊÜáñÜᤠii ÓÜÄ¿ÞXÊæ
(C) i ÊÜáñÜᤠiv GÃÜvÜã ÓÜÄ¿ÞXÊæ (C) iii ÊÜáñÜᤠiv ÓÜÄ¿ÞXÊæ
(D) i ÊÜáñÜᤠii GÃÜvÜã ÓÜÄ¿ÞXÊæ (D) ii ÊÜáñÜᤠiv ÓÜÄ¿ÞXÊæ

20. PÝÇÝ®ÜáPÜÅÊÜá¨ÜÈÉ PæÙÜWæ ÖæÓÜÄst ±æàíoÃ…WÜÙÜ®Üá°
23. ÎàZÅWÜ£¿á bñÜÅWÜÙÜá A¥ÜÊÝ C®Ü°ÐÜár ¨æãvÜx
(bñÜÅPÝÃÜÃÜ®Üá°) ÊÜÂÊÜÓæ§WæãÚÔÄ.
PÜê£WÝX ÓÜ|¡ Áãàg®æWÜÙÜá C¨ÝX¨æ
(A) Pæ.Pæ.Öæ¸ÝºÃ…, Pæ.i. ÓÜáŸÅÖܾ|™,
(A) QÒ±ÜÅ ÓæRa…WÜÙÜá
hæ.GÓ…. SívæÃæãà, AÊÜáêñÝ ÍæXìÇ…
(B) AÊÜáêñÝ ÍæXìÇ…, Pæ.Pæ.Öæ¸ÝºÃ…, (B) vÝÅÀáíW… ÊÜáñÜᤠ±æàíqíW…

Pæ.i. ÓÜáŸÅÖܾ|™, hæ.GÓ…. SívæÃæãà (C) bPÜ~ vÝÅÀáíW…
(C) Pæ.i. ÓÜáŸÅÖܾ|™, Pæ.Pæ.Öæ¸ÝºÃ…, (D) ÓÜíQұܤ ÓæRa…WÜÙÜá
AÊÜáêñÝ ÍæXìÇ…, hæ.GÓ…. SívæÃæãà
(D) hæ . GÓ…. Sívæ à æ ã à, Pæ . i. ÓÜ á ŸÅÖÜ ¾ | ™, 24. PÜ w Êæ á Sbì®Ü hÝ×àÃÝñÜ á ñÜ í ñÜ Å ™, B¨Ü à æ
AÊÜáêñÝ ÍæXìÇ…, Pæ.Pæ.Öæ¸ÝºÃ… B®…Çæç®…®ÜÈÉ ÊÜáñÜᤠÓÝÊÜÞiPÜ ÊÜÞ«ÜÂÊÜáWÜÙÜ
ÊÜ á ãÆPÜ Êæ ç ÃÜ Ç … BWÜ á ÊÜ AÓÝí±Ü Å ¨ÝÀáPÜ
21. »æà¨Ü, ÓÜÊÜáñæãàÆ®Ü, Æ¿á, JñÜᤠWÜ£ÎàÆñæWÜÙÜá Ë«Ý®ÜWÜÙÜ®Üá° ŸÙÜÔ ±ÜÅÍÜÓܤ ±ÜÄOÝÊÜáWÜÙÜ®Üá°
CÊÝXÊæ ÓÝ—ÓÜáÊÜí¥Ü¨Üáª
(A) Ë®ÝÂÓÜ Ô¨ÝœíñÜ (A) PݱæäìÃæp… hÝ×àÃÝñÜá
(B) Ë®ÝÂÓÜ ÓÜíÁãàg®æ (B) ÓÝíÔ§PÜ hÝ×àÃÝñÜá
(C) Ë®ÝÂÓÜ ÊÜáãÇÝíÍÜWÜÙÜá (C) ÊÜááíbñÜ hÝ×àÃÝñÜá
(D) Ë®ÝÂÓÜ ×®æ°Çæ (D) WæÄÆÉ hÝ×àÃÝñÜá

Paper II 8 K – 4120

19. One can find traditional wall paintings in 22. Design elements used in illustration
i. Prasanna Krishnaswamy temple i. Balance
(Mysore Palace Premises)
ii. Rhythm
ii. Sibi Narasimhaswamy temple
iii. Texture
iii. Veeranarayana temple, Gadag
iv. Belur Chennakeshava temple iv. Line

(A) Both ii and iv are correct Codes :
(B) Both iii and iv are correct
(A) i and iv are correct
(C) Both i and iv are correct
(B) iii and ii are correct
(D) Both i and ii are correct
(C) iii and iv are correct
20. Arrange the following painters in (D) ii and iv are correct
chronological order.
(A) K. K. Hebbar, K. G. Subrahmmanya, 23. Quick drawings or small plans for a
J. S. Khandero, Amruta Shergil larger piece is
(B) Amruta Shergil, K. K. Hebbar, (A) Rapid sketches
K. G. Subrahmmanya,
(B) Drawing and painting
J. S. Khandero
(C) Miniature drawing
(C) K. G. Subrahmmanya,
K. K. Hebbar, Amruta Shergil, (D) Thumbnail sketches
J. S. Khandero
(D) J. S. Khandero, K. G. Subrahmmanya, 24. The advertising strategy of low cost
Amruta Shergil, K. K. Hebbar but achieve optimal results using
unconventional methods which go viral
21. Contrast, Balance, Rhythm, Emphasis online and via social media is
movement are
(A) Corporate advertising
(A) Principle of Design
(B) Institutional advertising
(B) Composition of Design
(C) Elements of Design (C) Advanced advertising

(D) Background Design (D) Guerrilla advertising

K – 4120 9 Paper II

25. Aíoá ÊÜ á á¨Ü Å |Pæ R ŸÙÜ Ó Ü Æ ³ v Ü á ÊÜ ZoPÜ W Ü Ù Ü á 29. ÔÇ…R ÊÜáá¨ÜÅ|¨ÜÈÉ ¿ÞÊÜâ¨Üá ÊæáàÇæ¾$ç¿á®Üá°
¿ÞÊÜâÊÜâ ? ´æäàpæãà ÓÜíÊæà¨ÜPÜÊܮݰX ÊÜÞvÜáñܤ¨æ ?
I. gÆÊÜ|ì (A) ±æäpÝÔ¿áí ±ÜÊÜÞìíWÜ®æàp…
II. ÓÜãPÜÒ$¾WÝÅ×àPÝÃÜPÜ (Óæ¯ÕpæçÃÜkáÃ…) (B) ®æçqÅP… BÊÜáÉ
III. AÃæà¹P… WÜÊÜå… (C) ±æäpÝÔ¿áí væçPæãÅÊæáàp…
IV. ÊݯìàÓÜá (ÇÝÂPÜÃ…) (D) Óæãàw¿áí ÖæçvæãÅàPæãÉàÃæçv…

PæãàvÜáWÜÙÜá : 30. ÊÜ á ÃÜ a Ü á c ÊÜ á á¨Ü Å |¨Ü ±Ü Å QÅÁá¿á®Ü á ° BÁáR
(A) I, II ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ ÊÜÞwÄ.
(B) II, III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ I. PæãÃæ¿ááÊÜâ¨Üá
(C) III, IV ÊÜáñÜᤠI ÓÜÄ¿ÞXÊæ II. ¸ÝÉP…®Ü ÊæáàÇæ CípÝÂXÉÁã ÍÝÀá
(D) ÊæáàÈ®ÜÊÜâWÜÙÜÈÉ ¿ÞÊÜâ¨Üã ÓÜÄ¿ÞXÆÉ III. ¸ÝÉP…®Ü ÊæáàÇæ EÃÜáÙÜáÊÜ ÍÝÀá
IV. aÜÊÜáaܨæãí©Wæ £PÜáRÊÜâ¨Üá
26. ±ÜŨÜÍÜì®Ü PÜÇæ
(A) I, II ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
(A) ÎƳPÜê£
(B) II, III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
(B) ´æäpæãàWÜŵ
(C) I, III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
(C) ÊÜáá¨ÜÅ|
(D) I, II ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ
(D) ®ÜêñÜÂ
31. ®ÝÃÜá ŸÆÊÜ—ìñÜ ±ÝÉÔPr …/±ÝÈÊÜáÃ… ñÜ¿ÞÄPæWæ
27. ¨ÜêÍÜ ÓÜíÊÜÖÜ®Ü Ë®ÝÂÓÜ¨Ü E¨æªàÍÜ ±ÜÅÊÜááS ÊÜÓÜá¤WÜÙÜÈÉ Jí¨Üá
(A) ÊÜÞ×£ (A) ÓÜÓÜÂQÒàÃÜ (ÇæàpæP…Õ )
(B) ÊÜá®ÜÃÜíg®æ (B) o±Üìípæç®…
(C) ÊÜÞÃÜÆá A¥ÜÊÝ ÊÜá®ÜÊæäÈÓÜÆá (C) ÍÜá¨Üœ AÃÜWÜá
(D) ±ÜÅ£ÁãàÊÜì®Ü®Üá° £Ú¨ÜáPæãÙÜÛÆá (D) ÓÜíÍæÉàÑñÜ ÃÝÙÜ

28. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ : 32. Ô° W Ü œ ñ æ ±Ü Å QÅÁá ÊÜ á á¨Ü Å |Pæ R ¸ÝÉ P …®Ü ¿ÞÊÜ
a. ±ÜÅWÜ£ÎàÆ ñÜívÜ i. PæãàÆRñݤ ®ÜÊÜáã®æ¿á ÊæáàÇæ¾$ç¿á AWÜñÜÂ˨æ ?
b. PÜÆRñݤ ñÜívÜ ii. ÊÜááíŸÀá (A) ÃÜŸºÃ…
c. ÎȳaÜPÜÅ iii. ñÜËáÙÜá®ÝvÜá (B) ÇæãàÖÜ
d. aæãàÙÜÊÜáívÜÆ iv. ¨æÖÜÈ (C) ÊÜáÃܨÜ
PÜÇÝPÝÃÜÃÜá (D) ÓÜá|¡PÜÆáÉ
PæãàvÜáWÜÙÜá :
33. ‘Amalgamate’ GíŸáÊÜâ¨Üá C¨ÜPRæ Jí¨Üá ÓÜãPܤ
a b c d ÖæÓÜÃÝXÃÜáñܤ¨æ
(A) i iii ii iv (A) ÎÇæ
(B) ii i iv iii (B) PÜíaÜá
(C) iii iv i ii (C) ®ÝÃÜáWÝgá
(D) iv i ii iii (D) 憇̆

Paper II 10 K – 4120

25. What are the components used for gum 29. In silk printing what makes the surface
print ? photosensitive ?
I. Water colour (A) Potassium permanganate
II. Sensitizer (B) Nitric acid
III. Arabic gum (C) Potassium Dichromate
IV. Lacquer (D) Sodium Hydrochloride
Codes :
(A) I, II and III are correct 30. Select the process of woodcut printing.
(B) II, III and IV are correct I. Carving
(C) III, IV and I are correct II. Intaglio ink on Block
(D) None of the above are correct III. Rolling ink on Block
IV. Rubbing with Spoon
26. Performing Art (A) I, II and IV are correct
(A) Sculpture
(B) II, III and IV are correct
(B) Photography
(C) I, III and IV are correct
(C) Printmaking
(D) I, II and III are correct
(D) Dance
31. One of the major materials for Fibre
27. The purpose of visual communication
Reinforced Plastic/Polymer is
design is for
(A) Latex
(A) Information
(B) Turpentine
(B) Entertainment
(C) Shellac
(C) To sell or persuade
(D) Epoxy
(D) To know everyone
32. In the printmaking for viscosity process
28. Match the following :
what type of surface of block is needed ?
a. Progressive Group i. Kolkata
(A) Rubber
b. Calcutta Group ii. Mumbai
(B) Metal
c. Shilpi Chakra iii. Tamil Nadu
(C) Wooden
d. Cholamandala iv. Delhi
(D) Lime stone
Artists
Codes : 33. ‘Amalgamate’ is an appropriate word
a b c d for
(A) i iii ii iv (A) Stone
(B) ii i iv iii (B) Bronze
(C) iii iv i ii (C) Fibre glass
(D) iv i ii iii (D) Wood

K – 4120 11 Paper II

34. ±ÜÅ£±Ý¨Ü®æ (A) : CñÜÃÜ ÊÜáá¨ÜÅ| ±ÜÅQÅÁáWÜÙÜ 38. ÓÜÄ¿Þ¨Ü PÝÇÝ®ÜáPÜÅÊÜá¨ÜÈÉ BÁáR ÊÜÞwÄ.
ñÜ á Æ®æ ¿ áÈÉ ÎÇÝÊÜ á á¨Ü Å |Pæ R Ë±Ü Ä àñÜ (A) £ÅÊÜ á ã£ì, ®Ü o ÃÝg, ®Ü ê ñÝÂíWÜ ® æ ,
ñæàÊÜWæãÚÓÜáËPæ¿á AÊÜÍÜÂPÜñæÀá¨æ. aèÄ«ÝÄ~
ñÜ P Ü ì (R) : HPæ í ¨Ü Ã æ ÓÜ á |¡ PÜ È É ® Ü Êæ á àÇæ ¾ $ ç (B) ®Ü ê ñÝÂíWÜ ® æ , aèÄ«ÝÄ~, £ÅÊÜ á ã£ì,
gÇÝ©Åìà¿áÊÝXÃÜáÊÜâ©ÆÉ (®Ý®… ®ÜoÃÝg
&ÖæçvæãÅìàµÈP…) ÊÜáñÜᤠC¨Üá ivÜáx (XÅàÓ…) Wæ
AÓÜíÊæà¨Ü¯à¿áÊÝXÃÜáñܤ¨æ. (C) ®Ü ê ñÝÂíWÜ ® æ , £ÅÊÜ á ã£ì, aèÄ«ÝÄ~,
®ÜoÃÝg
PæãàvÜáWÜÙÜá :
(A) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜÄ¿ÞXÊæ (D) £ÅÊÜ á ã£ì, ®Ü ê ñÝÂíWÜ ® æ , aèÄ«ÝÄ~,
(B) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ñܱݳXÊæ ®ÜoÃÝg
(C) (A) ÓÜÄ¿ÞX¨æ B¨ÜÃæ (R) ñܱݳX¨æ
(D) (A) ñܱݳX¨æ B¨ÜÃæ (R) ÓÜÄ¿ÞX¨æ 39. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ :
35. »ÝÃÜñܨÜÈÉ ±ÜÅPÜoWæãívÜ Êæã¨ÜÆ ÊÝñÝì±Ü£ÅPæ a. Çæà±ÝQÒ i. ñæÆíWÝ|
C¨ÝXñÜᤙ. b. ÖÜí² ii. ñÜËáÙÜá®ÝvÜá
(A) ×í¨ÜãÓݧ®… pæçÊÜå…Õ
c. AgíñÝ iii. PÜ®ÝìoPÜ
(B) Óæràp…ÕÊÜá®…
(C) ¸æíWÝÇ… WÜÃækáp… d. Ôñܤ®ÜÊÝÓÜÇ… iv. ÊÜáÖÝÃÝÐÜó
(D) ©¯ hÝWÜÅO… Pæãàv…WÜÙÜá :
36. ‘AIDA’ ÓÜãñÜÅ¨Ü ÓÜÄ¿Þ¨Ü PÜÅÊÜÞ®ÜáWÜ£¿á®Üá° a b c d
BÁáR ÊÜÞwÄ. (A) ii i iii iv
(A) PÝ¿áì (Action), ÊÜÞ×£ (Information),
(B) i ii iv iii
¸æàwPæ (Demand), PÜÇæ (Art)
(B) BPÜÐì Ü ~à¿á (Attractive), ÊÜÞ×£±Üä|ì (C) i iii iv ii
(Informative), ®æ à ÃÜ (Direct), (D) iii i ii iv
ÇæPÜRñܱÝÓÜOæ (Audit)
(C) BPÜÐì Ü Oæ (Attraction), £ÚÓÜá (Inform), 40. ®ÝÆáR ÊÜ|ì ±ÜÅQÅÁá ÊÜáá¨ÜÅ| ˫ݮܨÜÈÉ™,
®æàÃÜ (Direct), PÝ¿áì (Action) ±ÜÅñæÂàQÓÜƳor ÊÜ|ìWÜÙÜá
(D) WÜÊÜá®Ü (Attention), BÓÜQ¤ (Interest), (A) RGB ÊÜ|ìWÜÙÜá
Caæf (Desire), PÝ¿áì (Action)
(B) ±ÝÂípæãà®… Ÿ|¡WÜÙÜá
37. ‘© X´…r’, 1921 CÊÜÃÜ PÜê£ (C) CMYK
i. ÊÜá®… Ãæà (D) ŸÖÜá Ÿ|¡WÜÙÜá
ii. BÇ…´æÅv… Óær$çXÉp…Õ
iii. Öæ¯Å ÊÜáqàÓ… 41. PæÙÜX®ÜÊÜâWÜÙÜÈÉ ¿ÞÊÜâ¨Ü®Üá° ÖÜÃÜwÓÜÆá gÆbñÜÅ|
iv. AÇæPÝÕívÜÃ… Bbì±æíPæã «ÜãÙÜá ±æqrWæ¿á®Üá° ŸÙÜÓÜÇÝWÜáñܤ¨æ ?
Pæãàv…WÜÙÜá : (A) ÓÜá|¡¨Ü ÖÜáw
(A) iv ÓÜÄ¿ÞX¨æ (B) ŸáÂoËá®… ÖÜáw
(B) iii ÓÜÄ¿ÞX¨æ
(C) ii ÓÜÄ¿ÞX¨æ (C) ´æÅía… aÝP… ÖÜáw
(D) i ÓÜÄ¿ÞX¨æ (D) ÃÝÔ®… (ÃÝÙÜ) ÖÜáw

Paper II 12 K – 4120

34. Assertion (A) : Excessive dampening 38. Select the correct sequence in
is required in Lithography in relation to chronological order.
other printing processes. (A) Trimurti, Nataraj, Dancing girl,
Reasoning (R) : Because the lime Chauri Bearer
stone surface is non-hydrophilic and
(B) Dancing girl, Chauri Bearer,
non-sensitive to grease.
Trimurti, Nataraj
Codes : (C) Dancing girl, Trimurti,
(A) (A) and (R) both are correct Chauri Bearer, Nataraj
(B) (A) and (R) both are incorrect (D) Trimurti, Dancing girl,
(C) (A) is correct but (R) is incorrect Chauri Bearer, Nataraj
(D) (A) is incorrect but (R) is correct
39. Match the following :
35. The first newspaper published in India
a. Lepakshi i. Telangana
was
(A) Hindustan Times b. Hampi ii. Tamil Nadu
(B) Statesman c. Ajanta iii. Karnataka
(C) Bengal Gazette d. Sittanavasal iv. Maharashtra
(D) Dini Jagron Codes :
a b c d
36. Select the correct sequence of ‘AIDA’
formula. (A) ii i iii iv
(A) Action, Information, Demand, Art (B) i ii iv iii
(B) Attractive, Informative, Direct, (C) i iii iv ii
Audit (D) iii i ii iv
(C) Attraction, Inform, Direct, Action
(D) Attention, Interest, Desire, Action 40. In the four colour process printing
method separated colour are
37. ‘The Gift’, 1921 is a work by (A) RGB colours
i. Man Ray (B) Pantone colours
ii. Alfred Stieglitz (C) CMYK
iii. Henri Matisse (D) Multi colours
iv. Alexander Archipenko
41. Aquatint dust box is used to spread
Codes : which of the following ?
(A) iv is correct (A) Lime powder
(B) iii is correct (B) Butamin powder
(C) ii is correct (C) French-chalk powder
(D) i is correct (D) Rosin dust

K – 4120 13 Paper II

42. PæÙX
Ü ®Ü AíÍÜWÙÜ È
Ü É ÊÜáá¨ÜÅ| PÝ¿áìPæR ÓÜíŸí—st 45. £Å ËËá£à¿á PÜÇÝ ±ÜÅPÝÃÜWÜÙÜá
Jí¨Ü®Üá° ÖæÓÜÄÔÄ. i. ±æàíqíW…
(A) GÃÜPÜÖæã¿ááÂÊÜâ¨Üá ii. ´æäàpæãàWÜŵ
(B) ÊæáàÇæ¾$ç Êæáà騆 bñÜÅ| iii. ÎƳPÜê£
(C) ®æàÁáY iv. ÊÝÓÜá¤ÎƳ
(D) WÜáBÍ… (Gouache) (A) i ÊÜáñÜᤠiii ÓÜÄ¿ÞXÊæ
(B) ii ÊÜáñÜᤠiv ÓÜÄ¿ÞXÊæ
43. CÊÜ â WÜ Ù Ü á PÝ®…Óæ r à ®…q®… ¸ÝÅíPÜ á ÂÔ CÊÜ Ã Ü (C) iii ÊÜáñÜᤠii ÓÜÄ¿ÞXÊæ
PÜê£WÜÙÜá (D) iv ÊÜáñÜᤠiii ÓÜÄ¿ÞXÊæ
i. © Wæàp…Õ B´… ÖæÇ…
ii. BvÜÊÜå… BÂív… DÊ… 46. aæãàÙÜ ÖÜÔbñÜÅWÜÙÜÈÉ (Chola Frescoes)
iii. XpÝÃ… (A) ÓÜá|¡ ÊÜáñÜᤠÊÜáÃÜÙÜá ŸÙÜÓÜƳvÜáñܤÊæ
(B) ÓÜá|¡ ÊÜáñÜᤠÊÜÞŸìÇ… ÖÜáw ŸÙÜÓÆ Ü v
³ áÜ ñܤÊæ
iv. ÓÜRÇ…±ÜcÃ… ´ÝÃ… © ¸æÉ$çív…
(C) WÜÊÜå… AÃæà¹P…®Üá° ÓÜá|¡¨æãí©Wæ
PæãàvÜáWÜÙÜá : ËáÍÜÅWæãÚÓÜÇÝWÜáñܤ¨æ
(A) i ÊÜáñÜᤠii ÓÜÄ¿ÞXÊæ (D) Êæãpær ÇæãàÙæ ÓÜá|¡¨æãí©Wæ
ËáÍÜÅWæãÚÓÜÇÝWÜáñܤ¨æ
(B) ii ÊÜáñÜᤠiii ÓÜÄ¿ÞXÊæ
(C) ii ÊÜáñÜᤠiv ÓÜÄ¿ÞXÊæ 47. Êæ á Óæ ã ±æ ä pæ à Ëá¿á®… ®ÝWÜ Ä PÜ ñ æ W æ Óæ à Ä¨Ü ª
(D) iii ÊÜáñÜᤠiv ÓÜÄ¿ÞXÊæ ÃÝgÂWÜÙÜá CÊÝX¨ÜªÊÜâ :
i. ¸æ¹Çæã௿ᮅ
44. PÜÅÊÜÞ®ÜáWÜ£¿áÈÉ ÊÜÂÊÜÓæ§WæãÚÔÄ. ii. BÂÓæpæP…Õ
iii. ËàÊÜá PÝÂv…´ÜÓæçÓ…
i. ŸêÖÜ ¨ æ à ÍÜ Ì ÃÜ ¨æ à ÊÜ Ó Ý§ ® Ü ¨ Ü È É aæ ã àÙÜ
iv. AÔÄ¿á®…
ÖÜÔbñÜÅ|WÜÙÜá
(A) i ÊÜáñÜᤠii ÓÜÄ¿ÞXÊæ
ii. bñÜ ¤ | ¡ ÊÝÓÜ Ç …®Ü È É ±Ü Æ É Ê Ü & ±ÝívÜ Â (B) i ÊÜáñÜᤠiv ÓÜÄ¿ÞXÊæ
¼£¤bñÜÅWÜÙÜá (C) ii ÊÜáñÜᤠiii ÓÜÄ¿ÞXÊæ
iii. ¼àÊÜå…¸æoR¨ÜÈÉ WÜáÖæ ÊÜ|ìbñÜÅWÜÙÜá (D) ii ÊÜáñÜᤠiv ÓÜÄ¿ÞXÊæ
iv. AgíñݨÜÈÉ ÊÝPÜo&ÍÝñÜÊÝÖÜ®Ü
±æàíqíW…WÜÙÜá 48. Êæ ã ¨Ü Æ á AgíñÝ WÜ á Öæ W Ü Ù Ü á CÊÜ Ã Ü BÚÌPæ
AÊÜ—¿áÈÉ ±æäàÑÓÜƳorÊÜâ
(A) i ii iii iv (A) ÊÜåè¿áì ÃÝgÊÜíÍÜ
(B) iv iii i ii (B) ¸Ý¨ÝËá aÝÆáPÜ ÃÝgÊÜíÍÜ
(C) iii iv ii i (C) ÍÝñÜÊÝÖÜ®Ü ÃÝgÊÜíÍÜ
(D) ÓÜáíWÜ ÃÝgÊÜíÍÜ
(D) ii i iv iii

Paper II 14 K – 4120

42. Name one of these elements related to 45. Three dimensional Art forms are
printmaking. i. Painting
(A) Moulding ii. Photography
(B) Etching iii. Sculpture
(C) Weaving iv. Architecture
(D) Gouache
(A) i and iii are correct
(B) ii and iv are correct
43. Following are the works by constantin
Brancusi (C) iii and ii are correct
(D) iv and iii are correct
i. The Gates of Hell
ii. Adam and Eve
46. In Chola Frescoes
iii. Guitar
(A) Lime and sand are used
iv. Sculpture for the Blind
(B) Lime and marble powder are used
Codes : (C) Gum arabic is mixed with lime
(A) i and ii are correct (D) Egg white is mixed with lime
(B) ii and iii are correct
47. The kingdoms belonged to Mesopotamian
(C) ii and iv are correct
civilization are as follows :
(D) iii and iv are correct i. Babylonian
ii. Aztecs
44. Arrange sequentially.
iii. Vima Khadphasis
i. Chola frescoes at Bhrahadeshwara iv. Assyrian
temple (A) i and ii are correct
ii. Pallava-Pandya murals at Chittanna (B) i and iv are correct
Vasal (C) ii and iii are correct
iii. Cave paintings at Bhimabetka (D) ii and iv are correct
iv. Vakata-Shatavahana paintings at
Ajanta 48. At first Ajanta caves were patronised
during
(A) i ii iii iv
(A) Mauryan dynasty
(B) iv iii i ii (B) Badami Chalukyan dynasty
(C) iii iv ii i (C) Shatavahana dynasty
(D) ii i iv iii (D) Sunga dynasty

K – 4120 15 Paper II

49. ±ÜÅ£±Ý¨Ü®æ (A) : Óèí¨Ü¿áìÊÜâ ÊÜÞ«ÜÂÊÜáWÜÙÜÈÉ 52. ©ÌËËᣠ(GÃÜvÜá B¿ÞÊÜáWÜÙÜ) PÜÇæ
JÙÜWæãÙÜÛƳqr¨æ. (A) ÓÜíXàñÜ
ñÜPì
Ü (R) : Óèí¨Ü¿áìÊÜâ ±æÅàPÜÒP®Ü Ü A¼ÃÜáb¿áÈÉ
ÊÜÂPܤWæãÚÓÜƳvÜáñܤ¨æ. (B) ®ÝoPÜ
(A) (R) ÓÜáÙÝÛX¨æ ÊÜáñÜᤠ(A) ÓÜñÜÂÊÝX¨æ (C) WÝŵP…
(B) (A) ÓÜáÙÝÛX¨æ ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝX¨æ (D) ÊÝÓÜá¤ÎƳ
(C) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜñÜÂÊÝXÊæ
(D) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜáÙÝÛXÊæ 53. D ÖæàÚPæ¿á®Üá° ±ÜÄWÜ~Ô :

50. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ : a. »ÝÃÜ £ à¿á ±Ü Å £Êæ á WÜ Ù Ü ÓÝíPæ à £PÜ ÊÜ á ñÜ á ¤
a. Wæãàvæ ¼£¤ i. ÃÝgÓݧ¯ ŸÖÜÙÜÊÝX ÍæçÈàPÜêñÜ WÜá|ÊÜáorÊÜâ AÊÜâWÜÙÜ
bñÜÅWÜÙÜá ÖÜ Ó Ü ¤ » Ü í XWÜ Ù Ü ±Ü Å ¨Ü Í Ü ì ®Ü Ê Ü â ÎƳ Í ÝÓÜ ÷ ¨Ü
b. ÖÜÓܤ±ÜÅ£ ii. AgíñÝ ¯¿áÊÜ á WÜ Ú WÜ ® Ü á ÓÝÃÜ Ê ÝX CÃÜ á ÊÜ â ¨Ü Ã Ü È É
±æàíqíW…WÜÙÜá AvÜXÃÜáñܤ¨æ.
c. bPÜ~ iii. Ëg¿á±ÜâÃÜ
b. ÎƳÍÝÓÜ÷ ÊÜâ ÎƳWÜÚWæ PæÆÊÜÐærà ÖÜÓܤWÜÙ Ü®Üá°
±æàíqíW…WÜÙÜá
d. væPÜR¯ iv. ÍÜÅÊÜ|¸æÙÜWæãÙÜ EÇæÉàUÓÜáñܤ¨æ.
±æàíqíW…WÜÙÜá (A) a ÊÜáñÜᤠb GÃÜvÜã AÓÜñÜÂWÜÙÝXÊæ
PæãàvÜáWÜÙÜá : (B) a ÊÜáñÜᤠb GÃÜvÜã ÓÜñÜÂWÜÙÝXÊæ
a b c d (C) a AÓÜñÜÂÊÝX¨æ b ÓÜñÜÂÊÝX¨æ
(A) i iii iv ii (D) a ÓÜñÜÂÊÝX¨æ b AÓÜñÜÂÊÝX¨æ
(B) ii iv i iii
(C) iv i ii iii 54. ¿ÞÊÜâ¨Üá Jí¨Üá ÊæáàÇæ¾$ç ÊÜáá¨ÜÅ|
(D) i iv ii iii
±ÜÅQÅÁá¿ÞXÃÜáÊÜâ©ÆÉ ?
51. ±ÜÅ£±Ý¨Ü®æ (A) : wioÇ… ÊÜáá¨ÜÅ| ÊÜÞ«ÜÂÊÜáWÜÙáÜ I. ÎÇÝ ÊÜáá¨ÜÅ|
ÊÜáñÜᤠWÝŵP… ÊÜáá¨ÜÅ| ÊÜÞ«ÜÂÊÜáWÜÙÜá GÃÜvÜã II. J|ÓÜãi
ÊÜ|ì ÊÜÞ«ÜÂÊÜáWÜÚWæ ÓæàĨÜÊÜâWÜÙÝXÊæ.
III. ÓÜÊÜáñÜÆ ÊÜáá¨ÜÅ|
ñÜPÜì (R) : wioÇ… ÊÜáá¨ÜÅ| ÊÜÞ«ÜÂÊÜáWÜÙÜá
QÃÜ | ÊÜ | ì ÊÜ Þ «Ü  ÊÜ á WÜ Ú Wæ ÊÜ á ñÜ á ¤ WÝŵP… IV. ±ÝÈÓÜrÃ… ÎÇæ
ÊÜáá¨ÜÅ| ÊÜÞ«ÜÂÊÜáWÜÙÜá ÃÝÓÝ¿á¯PÜ ÊÜ|ì
ÊÜÞ«ÜÂÊÜáWÜÚWæ ÓæàĨÜÊÜâWÜÙÝXÃÜáñܤÊæ. (A) I ÓÜÄ¿ÞX¨æ
(A) (A) ÊÜáñÜᤠ(R) GÃÜvÜã AÓÜñÜÂWÜÙÝXÊæ (B) III ÓÜÄ¿ÞX¨æ
(B) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜñÜÂWÜÙÝXÊæ (C) II ÓÜÄ¿ÞX¨æ
(C) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) AÓÜñÜÂÊÝX¨æ
(D) ÊæáàÈ®ÜÊÜâWÜÙÜÈÉ GÆÉÊÜä ÓÜÄ¿ÞX¨æ
(D) (R) ÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(A) AÓÜñÜÂÊÝX¨æ

Paper II 16 K – 4120

49. Assertion (A) : Beauty is involved in 52. Two dimensional art
the media. (A) Music
Reason (R) : Beauty is expressed in the
taste of spectator. (B) Drama
(A) (R) is false and (A) is true (C) Graphic
(B) (A) is false and (R) is true (D) Architecture
(C) Both (A) and (R) are true
(D) Both (A) and (R) are false 53. Consider the Statement :

50. Match the following : a. The symbolic and highly stylized
a. Wall mural i. Rajasthani quality of Indian images lies in the
paintings faithful presentations of the hand
b. Manuscript ii. Ajanta postures according to the laws laid
paintings down in the Shilpa Shastra.
c. Miniature iii. Vijayapur
b. The Shilpa Shastra mentions only a
paintings
few Hastas for sculptures.
d. Deccani iv. Shravanabelagola
paintings (A) Both a and b are false
Codes : (B) Both a and b are true
a b c d
(C) a is false b is true
(A) i iii iv ii
(B) ii iv i iii (D) a is true b is false
(C) iv i ii iii
(D) i iv ii iii 54. Which one is not the surface printing
process ?
51. Assertion (A) : Digital print media and I. Lithography
graphic print media both are belongs
II. Dry point
from colour media.
Reason (R) : Digital print media belongs III. Planography
from rays colours media and graphic IV. Polyester Litho
print media belongs from chemical
colour media. (A) I is correct
(A) Both (A) and (R) are false
(B) III is correct
(B) Both (A) and (R) are true
(C) (A) is true and (R) is false (C) II is correct
(D) (R) is true and (A) is false (D) All of the above are correct

K – 4120 17 Paper II

55. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° Öæãí©ÔÄ : 58. C¨Ü®Üá° ±ÜÄWÜ~ÔÄ :
a. ¨ÜêÍÜ »ÝÐæ i. ¨ÜãÃܨÜÍÜì®Ü a. Jí»Üñܤ®æ¿á ÍÜñÜÊÜÞ®Ü¨Ü ±ÜÆÉÊÜ&aæãàÙÜ
b. ÓÝÊÜáã×PÜ ii. ÎÃæãà®ÝÊæá PÜíb®Ü PÝÚ¿á PÜêÐÜ¡ ÓܨÜ gWÜ®æã¾àÖÜ®Ü
ÊÜÞ«ÜÂÊÜáWÜÙÜá AÃÜ Ê Ü á ®æ ÊÜ Ó Ü á ¤ÓÜ í WÜ Å ÖÝÆ¿á¨Ü È É
c. ÊÜáá¨ÜÅ| ÍæçÈ iii. ÍÝÓÜ®Ü (ÎÇÝ ŸÃÜÖÜ) CvÜƳqrÃÜáñܤ¨æ.
d. Ôí«Üã PÜ~Êæ iv. WÝŵP…Õ b. D PÜꣿáá Cwà ÊÜáã£ì¿á®Üá° ÆíŸÊÝX
PæãàvÜáWÜÙÜá : ÓÜËáàQÒÓÜáÊÜíñæ ±æÅàÃæà²ÓÜáñܤ¨æ ÊÜáñÜᤠC¨Üá
a b c d ÃÜÔPÜ®Ü PÜ|¡®Üá° ×w©vÜáñܤ¨æ.
(A) i iii iv ii (A) a ÓÜñÜ , b ÓÜáÙÜáÛ
(B) iv i ii iii (B) a ÓÜáÙÜáÛ , b ÓÜñÜÂ
(C) ii iv i iii (C) a ÓÜñÜ , b ÓÜñÜÂ
(D) ii i iii iv
(D) a ÓÜáÙÜáÛ , b ÓÜáÙÜáÛ
56. ËáÐæÇ… ´ÜäPæã (Michel Foucaut) CÊÜ®Üá°
ŸÃ橨ܪÃÜá 59. ±ÜÅ£±Ý¨Ü®æ (A) : ±æÉàpæãà ñܮܰ "ıܹÉPÜ'¨ÜÈÉ
i. ‘ÊÜÞÂv…®æÓ… BÂív… ÔËÇæçÓ‚æàÍÜ®…’ ±æàíqíW…®Üá° ×àWæÙ©
æ ¨Üª (Jí¨Üá A«Ü¿á®ÜÊÝX).
ii. ‘ Óæ r $ çÈÔr P … A±æ ä ÅàaÜ Ó … oá Cíw¿á®… ñÜPÜì (R) : XÅàP… ±æàíoÃ…WÜÙÜá PÜáí¸ÝÄPæ
Ëá¯ÁáàaÜÃ…Õ ’ (PÜ á í¸ÝÃÜ Ã Ü ñÜ ¿ ÞÄPæ W Ü Ù Ü ) Êæ á àÇæ bñÜ Å
iii. ‘© BvÜìÃ… B´… ¦íW…Õ : B®… BQì¿ÞÆi
ŸÃ橨ܪÃÜá.
B´… © ÖÜãÂÊÜá®… Óæç¿á®ÜÕÓ…’ PæãàvÜáWÜÙÜá :
iv. ‘wԲɮ… BÂív… ±Ü¯Í…’ (A) (A) ÊÜáñÜᤠ(R) GÃÜvÜã AÓÜñÜÂÊÝXÊæ
(A) i ÊÜáñÜᤠiv ÓÜÄ¿ÞX¨æ (B) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜñÜÂÊÝXÊæ ÊÜáñÜá¤
(B) ii ÊÜáñÜᤠiv ÓÜÄ¿ÞX¨ææ (R) ÓÜÄ¿Þ¨Ü ËÊÜÃÜOæ BXÃÜáñܤ¨æ
(C) i, ii ÊÜáñÜᤠiii ÓÜÄ¿ÞX¨ææ (C) (A) ÓÜñÜÂÊÝX¨æ B¨ÜÃæ (R) AÓÜñÜÂÊÝX¨æ
(D) ii ÊÜÞñÜÅ ÓÜÄ¿ÞX¨æ (D) (A) AÓÜñÜÂÊÝX¨æ B¨ÜÃæ (R) ÓÜñÜÂÊÝX¨æ
57. ±ÜÅ£±Ý¨Ü®æ (A) : PÜí±ÜäÂoÃ… ÓÝ´…rÊàæ Ã… Ë®ÝÂÓܨÜ
±ÜÅ£Áãí¨Üá ÊÜáWÜáYÆ®Üá° ¯ÊÜì×ÓÜŸÖÜá¨Üá, B¨ÜÃæ 60. ŸÅÖݾ®Üí¨Ü ÓÜÌÃÜã±ÜÊÜâ
Ë®ÝÂÓÜPÝÃÜÄWæ AÊÜâWÜÙÜ ÊæáàÇæ ¯¿áíñÜÅ| ÓÝ«Ü (A) PÜÇæ¿á C£ÖÝÓÜ
GíŸáÊÜâ¨Üá £Ú©ÃܸæàPÜá. (B) ÊÜ|ì ԨݜíñÜ
ñÜPÜì (R) : C¨æãí¨Üá ÍÜQ¤¿ááñÜ ÓÝ«Ü®ÜÊÝX¨æ. (C) »ÝÃÜ£à¿á Óèí¨Ü¿áìËÞÊÜÞíÓæ
C¨Ü á Ë®ÝÂÓÜ P ÝÃÜ ¯ XíñÜ Öæ a Ü á c Êæ à WÜ Ê ÝX
¯ÊÜ ì ×ÓÜ Ÿ ÆÉ ¨ Ü á , B¨Ü à æ C¨Ü P æ R ÁãàbÓÜ Æ á (D) B®ÜÌÀáPÜ Ô¨ÝœíñÜ
ŸÃÜáÊÜâ©ÆÉ™.
61. »ÝÃÜñܨÜÈÉ ÎÇÝ ÊÜáá¨ÜÅ| ¿ÞÊÝWÜ
PæãàvÜáWÜÙÜá :
±ÝÅÃÜí»ÜÊÝÀáñÜá ?
(A) (A) ñܱݳX¨æ B¨ÜÃæ (R) ÓÜÄ¿ÞX¨æ (A) 1850 – 1860
(B) (A) ÓÜÄ¿ÞX¨æ B¨ÜÃæ (R) ñܱݳX¨æ (B) 1828 – 1830
(C) (A) ÊÜáñÜᤠ(R) ÓÜÄ¿ÞXÆÉ
(C) 1895 – 1905
(D) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜÄ¿ÞXÊæ (D) 1920 – 1930
Paper II 18 K – 4120

55. Match the following : 58. Consider the statement :
a. Visual language i. Television a. 9th Century Pallava-Chola bronze
b. Mass media ii. Headline Kaliya Krishna is presently
c. Typography iii. Inscription housed in the Jaganmohana palace
d. Indus valley iv. Graphics museum.
Codes : b. This picture is impelled to survey
the whole figure vertically which
a b c d
captivates the Rasikas eye.
(A) i iii iv ii
(B) iv i ii iii (A) a true, b false
(C) ii iv i iii (B) a false, b true
(D) ii i iii iv (C) a true, b true
(D) a false, b false
56. Michel Foucaut had authored
i. ‘Madness and Civilization’ 59. Assertion (A) : Plato in his ‘Republika’ had
condemned painting (as a discipline).
ii. ‘Stylistic Approaches to Indian
Miniatures’ Reason (R) : Greek painters had painted
on pottery.
iii. ‘The order of things : An archaeology
of the Human Sciences’ Codes :
iv. ‘Discipline and Punish’ (A) Both (A) and (R) are false
(A) i and iv are correct (B) Both (A) and (R) are true and (R)
(B) ii and iv are correct is the correct explanation
(C) i, ii and iii are correct (C) (A) is true, but (R) is false
(D) only ii is correct (D) (A) is false, but (R) is true

60. Brahmmananda Swarupa
57. Assertion (A) : Computer softwares
can perform every aspects of design, but (A) History of Art
the designers should be aware of how to (B) Colour Theory
control over it. (C) Indian Aesthetics
Reason (R) : It is a powerful tool. It can (D) Applied Theory
perform faster than designer but it can’t
think. 61. When did Lithography printing start in
Codes : India ?
(A) (A) is incorrect but (R) is correct (A) 1850 – 1860
(B) (A) is correct but (R) is incorrect (B) 1828 – 1830
(C) (A) and (R) incorrect (C) 1895 – 1905
(D) Both (A) and (R) correct (D) 1920 – 1930
K – 4120 19 Paper II

62. wÓÝóPÜrÃ…ÃÜ®Üá° BÄÔÄ : 66. Pæॅ PæãàÇ…Ëp…Õ CÊÜÃáÜ KÊÜì ______ BX¨ÜÃ
ª áÜ .
(A) ÖÜÔ bñÜÅÊÜâ J¨æª ñÜíñÜÅ¨Ü ÊæáàÇæ ÖÜÔ¿ÞX¨æ i. gÊÜáì®… Îȳ
(B) ÊÜ|ìWÜÙÜá PÝÒÃÜ ¯Ãæãà«ÜÊÝXÃܸæàPÜá ii. ´æÅía… Îȳ
(C) Aíq®ÜíñÜÖÜ ÓÜíÁãàgPÜWÙ Ü áÜ ŸÙÜÓÆ
Ü v
³ áÜ ñܤ¨æ iii. gÊÜáì®… ÊÜáá¨ÜÅPÜ
(D) »ÝÃÜ£à¿á ÖÜÔ bñÜÅWÜÙÜá ÖæãÙܲÓÜƳor iv. ´æÅía… ÊÜáá¨ÜÅPÜ
Êæ á àÇæ ¾ $ çWÜ Ù Ü ® Ü á ° Öæ ã í©Êæ ¿ Þ¨Ü Ã æ
Cpæ È ¿áÊÜ â WÜ Ù Ü á ¨æ ã ÃÜ W Ý¨Ü Ë®ÝÂÓÜ PæãàvÜáWÜÙÜá :
Öæãí©Êæ (A) i ÊÜáñÜᤠii ÓÜÄ¿ÞXÊææ
(B) i ÊÜáñÜᤠiii ÓÜÄ¿ÞXÊææ
63. ‘ÖݹoÓ…’ CÊÜÄí¨Ü Ԩݜí£àPÜÄÓÜƳor Jí¨Üá
(C) ii ÊÜáñÜᤠiv ÓÜÄ¿ÞXÊææ
±ÜÄPÜƳ®æ¿ÞXñÜᤙ
(D) ii ÊÜáñÜᤠiii ÓÜÄ¿ÞXÊææ
(A) iÇ…Õ wÈàÓ… (Gilles Deluze)
(B) Bío¯Áã WÝÅÊåÜ …ÔR (Antonie Gramsci) 67. ÓÜÄ¿Þ¨Ü PÝÇÝ®ÜáWÜ£¿á®Üá° WÜáÃÜá£ÔÄ :
(C) ²¿áÃ… ¸æãàvÜã (Pierre Bourdieu)
(A) ËÇæÉ®…vÝ´…ì®Ü ‘Ëà®ÜÓ…’, ÇÝÂÓæãRà WÜáÖæ
(D) Xà w¸æã (Guy Debord)
bñÜÅWÜÙÜá, PæàoÇ… ÖÜã¿ááP… Óæp…ÉÊæáíp…,
AgíñÝ WÜáÖæ bñÜÅPÜÇæWÜÙÜá
64. ÓÜ í Áãàg®æ ¿ áÈÉ D Pæ Ù Ü X ®Ü AvÜ P Ü W Ü Ù Ü á
±ÜÅÊÜááSÊÝXÊæ : (B) ÇÝÂÓæãRà WÜáÖæ bñÜÅWÜÙÜá, ËÇæÉ®…vÝ´…ì®Ü
i. ÓÜÊÜáñæãàÆ®Ü ‘ Ëà®Ü Ó … ’ , AgíñÝ WÜ á Öæ bñÜ Å PÜ Ç æ W Ü Ù Ü á ,
ii. «Ü̯ PæàoÇ… ÖÜã¿ááP… Óæp…ÉÊæáíp…
iii. ÓÝÊÜáÃÜÓÜ (C) PæàoÇ… ÖÜã¿ááP… Óæp…ÉÊæáíp…, ÇÝÂÓæãRà
iv. ±ÜÅaÝÃÜ WÜáÖæ bñÜÅWÜÙÜá, ËÇæÉ®…vÝ´…ì®Ü ‘Ëà®ÜÓ…’,
AgíñÝ WÜáÖæ bñÜÅPÜÇæWÜÙÜá
(A) i ÊÜáñÜᤠiii ÓÜÄ¿ÞXÊæ
(B) ii ÊÜáñÜᤠiii ÓÜÄ¿ÞXÊæ (D) ËÇæ É ® …vÝ´…ì®Ü ‘ Ëà®Ü Ó … ’ , AgíñÝ
(C) iv ÊÜáñÜᤠii ÓÜÄ¿ÞXÊææ WÜ á Öæ bñÜÅPÜÇæWÜÙÜá, PæàoÇ… ÖÜã¿ááP…
(D) i ÊÜáñÜᤠii ÓÜÄ¿ÞXÊææ
Óæp…ÉÊáæ íp…, ÇÝÂÓæãRà WÜáÖæ bñÜÅWÜÙÜá

68. "®ÝÀáÁãí©X®Ü ÊÜá®ÜáÐÜÂ' (Man with dog)
65. D ±ÝÅbà®Ü ±ÜâÓܤPܨÜÈÉ 64 PÜÇÝ ±ÜÅPÝÃÜWÜÙÜá
EÇæÉàUÓÜƳqrÊæ CÊÜÃÜ Jí¨Üá ÎƳPÜÇæ
(A) ®ÝoÂÍÝÓÜ÷ (A) ®ÝW…ià ±ÜpæàÇ…
(B) PÝÊÜáÓÜãñÜÅ (B) ÓÝÂíPæãà aè«ÜáÄ
(C) ËÐÜá¡ «ÜÊæãìàñܤÃÜ ±ÜâÃÝ| (C) ËáàÃÝ ÊÜááSiì
(D) ÊÜÞ®ÜÓæãàÇÝÉÓÜ (D) «ÜáÅÊÜ ËáÔ÷

Paper II 20 K – 4120

62. Choose the distractor. 66. Kathe Kollwitz was a
(A) Fresco is a wet on wet technique i. German sculptor
(B) Colours need to be alkali proof ii. French sculptor
iii. German print-maker
(C) Additives like gum are used
iv. French print-maker
(D) Indian frescoes have polished surface
while Italians have rough texture Codes :
(A) i and ii are correct
63. ‘Habitus’ was a concept theorised by (B) i and iii are correct
(A) Gilles Deluze (C) ii and iv are correct
(B) Antonie Gramsci (D) ii and iii are correct
(C) Pierre Bourdieu
(D) Guy Debord 67. Identify the correct chronological
sequence.
64. Following contents are important in (A) ‘Venus’ of Willendorf, Lascaux cave
composition. paintings, Catal Huyuk settlement,
i. Balance Ajanta cave paintings
ii. Sound (B) Lascaux cave paintings, ‘Venus’ of
iii. Harmony Willendorf, Ajanta cave paintings,
Catal Huyuk settlement
iv. Publicity
(A) i and iii are correct (C) Catal Huyuk settlement, Lascaux cave
paintings, ‘Venus’ of Willendorf,
(B) ii and iii are correct
Ajanta cave paintings
(C) iv and ii are correct
(D) ‘Venus’ of Willendorf, Ajanta cave
(D) i and ii are correct
paintings, Catal Huyuk settlement,
Lascaux cave paintings
65. Sixty four Art Forms are mentioned in
the ancient book
68. ‘Man with dog’ is a sculpture by
(A) Natya Shastra (A) Nagji Patel
(B) Kamasutra (B) Sankho Choudhuri
(C) Vishnudharmottara Purana (C) Meera Mukherjee
(D) Manasollasa (D) Dhruva Mistry
K – 4120 21 Paper II

69. ‘Ô³Äp… B´… © Hh…’(pæÕ$çpæY$çÓ…r ) C®… Bp…ì 72. ÓÜÄ¿Þ¨Ü PÝÇÝ®ÜáWÜ£¿á®Üá° WÜáÃÜá£ÔÄ :
×ÓÜrÄ (PÜÇæ¿áÈÉ ¿ááWÜ¨Ü aæàñÜ®Ü) (®ÜÊæäà¨Ü¿á) (A) AŸ¯àí¨ÜŮݥ… pÝWæãàÃ…, ®Üí¨ÜÇÝÇ…
CÊÜÃæãí©Wæ ®Üíoá Öæãí©ÃÜáñܤ¨æ.
¸æãàÓ…, ¹®æãਅ ¹ÖÝÄ ÊÜááSiì,
(A) ±æÉàpæãà
(B) AÄÓÝroÇ… Pæ.i. ÓÜáŸÅÖܾ|®…
(C) ÖæWæÇ… (B) AŸ¯àí¨ÜŮݥ… pÝWæãàÃ…,
(D) ÔWܾív… ´ÝÅ¿å…x Pæ . i. ÓÜ á ŸÅÖÜ ¾ | ®…, ¹®æ ã ਅ ¹ÖÝÄ
ÊÜááSiì, ®Üí¨ÜÇÝÇ… ¸æãàÓ…
70. PÜÅÊÜáÊÝX hæãàwÔÄ :
(C) Pæ.i. ÓÜáŸÅÖܾ|®…, AŸ¯àí¨ÜŮݥ…
(A) gÆÊÜ | ì, ñæ ç ÆÊÜ | ì, HQÅÈP… ÊÜ | ì,
wioÇ… ÊÜ|ì pÝWæãàÃ…, ¹®æãਅ ¹ÖÝÄ ÊÜááSiì,
(B) wioÇ… ÊÜ|ì, ñæçÆÊÜ|ì, HQÅÈP… ÊÜ|ì, ®Üí¨ÜÇÝÇ… ¸æãàÓ…
gÆÊÜ|ì (D) ®Üí¨ÜÇÝÇ… ¸æãàÓ…, AŸ¯àí¨ÜŮݥ…
(C) ñæ ç ÆÊÜ | ì, gÆÊÜ | ì, HQÅÈP… ÊÜ | ì,
pÝWæãàÃ…, ¹®æãਅ ¹ÖÝÄ ÊÜááSiì,
wioÇ… ÊÜ|ì
Pæ.i. ÓÜáŸÅÖܾ|®…
(D) HQÅÈP… ÊÜ | ì, ñæ ç ÆÊÜ | ì, gÆÊÜ | ì,
wioÇ… ÊÜ|ì
73. ÓÜ Ë áàPæ Ò W Ü Ù Ü ÊÜ á ñÜ á ¤ ÓÜ í ¨Ü Í Ü ì ®Ü W Ü Ù Ü ÊÜ á ãÆPÜ

71. PÝÇÝ®Ü á PÜ Å ÊÜ á ¨Ü È É ÓÜ Ä ¿Þ¨Ü ÓÜ Ã Ü ~ ¿á®Ü á ° ÓÜíWÜÅ×ÓÜÇÝ¨Ü ®æàÃÜ ÊÜÞ×£
BÁáRÊÜÞwÄ : (A) ÊÜÞ«ÜÂËáPÜ ¨ÜñݤíÍÜ (ÊÜÞ×£)
(A) AÊÜáÃ…®Ý¥… ÓæÖ…WÜÇ…, ®ÝW…ià ±Üpàæ Ç…, (B) ¨ÝSÈÓÜƳor ¨ÜñݤíÍÜ
×ÃÜ|¿
¾ å… ÃÝ¿å… aè«ÜáÄ, ²Åàñ…±ÝÇ… ÇÝw (C) A—PÜ ÊÜåèÆ嬆 ¨ÜñݤíÍÜ
(B) ®ÝW…ià ±Ü p æ à Ç…, ²Åàñ…±ÝÇ… ÇÝw, (D) ±ÝÅ¥ÜËáPÜ ¨ÜñݤíÍÜ
×ÃÜ|¾¿å… ÃÝ¿å… aè«ÜáÄ, AÊÜáÃ…®Ý¥…
ÓæÖ…WÜÇ…
74. hæç®Ü ÖÜÓܤ±ÜÅ£ bñÜÅWÜÙÜá CÊÜPæR ÓÜíŸí—ÔÊæ
(C) AÊÜáÃ…®Ý¥… ÓæÖ…WÜÇ…, ×ÃÜ|¿
¾ å… ÃÝ¿å… (A) A±ÜÃÝiñܱÜâÅaÜf
aè«Ü á Ä, ²Åàñ…±ÝÇ… ÇÝw, ®ÝW…ià
±ÜpæàÇ… (B) A¼ÇÝÑñÝ¥Üì bíñÝÊÜá~

(D) ×ÃÜ|¿
¾ å… ÃÝ¿å… aè«ÜáÄ, AÊÜáÃ…®Ý¥… ÓæÖ… (C) PÜƳÓÜãñÜÅ
WÜÇ…, ®ÝW…ià ±Üpàæ Ç…, ²Åàñ…±ÝÇ… ÇÝw (D) APܺÅ ®ÝÊÜá

Paper II 22 K – 4120

69. ‘Spirit of the age’ [‘zeitgeist’] in Art 72. Recognize the correct chronological
History is associated with sequence.
(A) Plato (A) Abanindranath Tagore, Nandalal
(B) Aristotle Bose, Binod Bihari Mukherjee,
(C) Hegel K. G. Subramanyan

(D) Sigmund Freud (B) Abanindranath Tagore,
K. G. Subramanyan, Binod Bihari
70. Arrange the following in order. Mukherjee, Nandalal Bose
(A) Water colour, Oil colour, (C) K. G. Subramanyan,
Acrylic colour, Digital colour
Abanindranath Tagore, Binod
(B) Digital colour, Oil colour, Bihari Mukherjee, Nandalal Bose
Acrylic colour, Water colour
(D) Nandalal Bose, Abanindranath
(C) Oil colour, Water colour,
Tagore, Binod Bihari Mukherjee,
Acrylic colour, Digital colour
K. G. Subramanyan
(D) Acrylic colour, Oil colour,
Water colour, Digital colour
73. First hand information collected through
surveys and interviews is called
71. Select the correct sequence in chronological
order. (A) Secondary data
(A) Amarnath Sehgal, Nagji Patel, (B) Recorded data
Hiranmoy Roy Choudhury,
Prithpal Ladi (C) Premium data

(B) Nagji Patel, Prithpal Ladi, Hiranmoy (D) Primary data
Roy Choudhury, Amarnath
Sehgal 74. Jain manuscript paintings dealt with
(C) Amarnath Sehgal, Hiranmoy Roy (A) Aparajitapruchha
Choudhury, Prithpal Ladi,
(B) Abhilashitarta Chintamani
Nagji Patel
(D) Hiranmoy Roy Choudhury, Amarnath (C) Kalpasutra
Sehgal, Nagji Patel, Prithpal Ladi (D) Akbar Nama

K – 4120 23 Paper II

75. PæÙX
Ü ®Ü PÜÇÝPÝÃÜÃ®Ü áÜ ° "CÓÜí' WÜÙã
æ í©Wæ Öæãí©ÔÄ : 78. B«Üá¯PÜ ¿ááÃæãಿᮅ PÜÇæ WÜÊÜá®ÝÖÜìÊÝX
±Üqr – I ±Üqr – II CÊÜâWÜÚí¨Ü ±ÜÅ»ÝËÓÜƳqrñÜᤙ
a. WÜÓæ¤àÊ… PÝÂÈ & i. »ÜËÐܨÝ̨Ü
(A) A®Üá±ÜÊÜå… ÓÜãv…ÃÜÊÜÃÜ ²Åíp…Õ
¸æãàp… (Futurism)
b. ÊÜÞP…ì ÃæãॅPæã ii. A£ÊÝÓܤËPÜÊÝ¨Ü (B) ÆP…ÕÊÜá Wèv…ÃÜÊÜÃÜ ²Åíp…Õ
(Surrealism) (C) BÂíw ÊÝÃ…ÖÝÇ…ÃÜ ²Åíp…Õ
c. Ã毰 ÊÜÞWÜìÃæp… iii. bñܤ ±ÜÅ»ÝÊÜ
(D) g±Ý¯à¿áÃÜ ÊÜáÃܨÜaÜác ²Åíp…Õ
¯ÃÜã±ÜOæÊݨÜ
(Impressionism)
d. Eí¸æÅñã
æ à ¹aæã௠iv. AÊÜáãñÜì 79. ÎÇÝ ÊÜáá¨ÜÅ| ±æäàÓÜrÃ…WÝX ±ÜÅÔ©œ ±Üvæ¨Ü ´æÅía…
A¼ÊÜÂQ¤ÊÝ¨Ü PÜÇÝPÝÃÜ
(Abstract
Expressionism) (A) pæãÆãÓ… ÇæãàpæÅP… (Toulous Lautrec)
PæãàvÜáWÜÙÜá : (B) GvÜÌv…ì ÊÜÞ®æ (Edward Monet)
a b c d
(A) iv i ii iii (C) ²¿áÃ… AWÜ á Óݤ ĮݿáÃ… (Pierre
(B) iii iv ii i Augusta Renoir)
(C) ii i iv iii
(D) ii iii iv i (D) GvÜYÃ… væWÝÓ… (Edgar Degas)
76. »ÝÃÜñܨÜÈÉ ¹ÅqÐÜÄí¨Ü Êæã¨ÜÆá Óݧ²ÓÜƳor PÜÇÝ
ÍÝÇæWÜÙÜá 80. ÃæàÐæ¾Ü ÊÜáá¨ÜÅ| CÊÜÄí¨Ü ŸÙÜÓÜƳqrñÜá¤
i. hæ.hæ. ÓÜãRÇ… B´… Bp…ì
ii. Ô.q.I. i. BÂíwÅ ÊÝÃæãØàÇ…
iii. ÊÜá¨ÝÅÓ… ÓÜãRÇ… B´… Bp…ì BÂív… ii. ÊÝ~g ÊÜáá¨ÜÅPÜÃÜá
PÝÅ´…r
iii. hÝÂPÜÕ®… ±æäÇæãÉàP…
iv. PÜÆRñݤ ÓÜãRÇ… B´… Bp…ì BÂív… PÝÅ´…r
(A) iii ÊÜáñÜᤠiv ÓÜÄ¿ÞXÊæ iv. ×ÃæãàÎWæ
(B) i ÊÜáñÜᤠiii ÓÜÄ¿ÞXÊæ
(A) i ÊÜáñÜᤠiv ÓÜÄ¿ÞXÊæ
(C) i ÊÜáñÜᤠii ÓÜÄ¿ÞXÊæ
(D) ii ÊÜáñÜᤠiv ÓÜÄ¿ÞXÊæ (B) ii ÊÜáñÜᤠiv ÓÜÄ¿ÞXÊæ
77. ±ÜÅ£±Ý¨Ü®æ (A) : ¿ÞÊÜâ¨æà PÜÇæ&PÜÃÜPèÍÜÆ (C) ii ÊÜáñÜᤠiii ÓÜÄ¿ÞXÊæ
ÊÜÞ«ÜÂÊÜá¨ÜÈÉ ¨Üáw¿ááÊÜâ¨Üá ÊÜÞ®ÜÔPÜ ÊÜáñÜᤠ(D) i ÊÜáñÜᤠii ÓÜÄ¿ÞXÊæ
B«Ý£¾PÜ ËPÝÓÜPæR Jí¨Üá ÊÜÞWÜìÊÝX¨æ.
ñÜ P Ü ì (R) : ‘ PÜ Ç Ý ’ GíŸáÊÜ â ¨Ü á ÊÜ á ®Ü Ô Õ ® Ü
ÓÝÌñÜíñÜÅ$ÂPæR ÊÜáñÜᤠ‘ÊæãàPÜÒ’ GíŸáÊÜâ¨Üá Bñܾ®Ü 81. WÜáí²Wæ ÓæàÃܨܪ®Üá° BÁáR ÊÜÞwÄ.
¹vÜáWÜvæWæ ÊÜÞWÜìWÜÙÝXÊæ. (A) «ÜãÚ bñÜÅ (ÍÜáÐÜR ÖÜáw)
PæãàvÜáWÜÙÜá :
(A) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ñܱÜâ³ (B) ÃÜÓÜ bñÜÅ (¯àÄ®æãí©Wæ ÍÜáÐÜR ÖÜáw)
(B) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜÄ (C) ñæãÀáÂÇ… (ÎÅàWÜí«Ü CñÝ©)
(C) (A) ÓÜÄ¿ÞX¨æ, B¨ÜÃæ (R) ñܱݳX¨æ
(D) pæí±ÜÃÜ (bñÜÅPÜÇæ Ë«Ý®Ü)
(D) (A) ñܱݳX¨æ, B¨ÜÃæ (R) ÓÜÄ¿ÞX¨æ
Paper II 24 K – 4120

75. Match the following artists with the 78. Early Modern European Art was
‘ism’s : considerably influenced by
List – I List – II
(A) Anupam Sud’s prints
a. Gustave Calibote i. Futurism
b. Mark Rothko ii. Surrealism (B) Laxma Gaud’s prints
c. Rennie Margrette iii. Impressionism (C) Andy Warhol’s prints
d. Umbretto Bioconi iv. Abstract (D) Japanese woodcut prints
Expressionism
Codes : 79. Renowned French artist known for
a b c d
Lithographic poster
(A) iv i ii iii
(B) iii iv ii i (A) Toulous Lautrec
(C) ii i iv iii (B) Edward Monet
(D) ii iii iv i
(C) Pierre Augusta Renoir
76. British established early Art schools in (D) Edgar Degas
India are
i. J. J. School of Art 80. Serigraphy was exploited by
ii. C.T.I.
i. Andy Warhol
iii. Madras School of Art and Craft
iv. Calcutta School of Art and Craft ii. Commercial Printers
(A) iii and iv are correct iii. Jackson Pollock
(B) i and iii are correct iv. Hiroshige
(C) i and ii are correct
(D) ii and iv are correct (A) i and iv are correct
(B) ii and iv are correct
77. Assertion (A) : Working in any art-craft
media is a way to mental and spiritual (C) ii and iii are correct
development. (D) i and ii are correct
Reason (R) : ‘Kala’ is the way to freedom
of mind and ‘Moksha’ for liberation of
the soul. 81. Choose the odd one.
Codes : (A) Dhuli Chitra (Dry powder)
(A) Both (A) and (R) are wrong (B) Rasa Chitra (Dry powder with water)
(B) Both (A) and (R) are correct
(C) Thoyyil (Sandalwood etc.)
(C) (A) is correct, but (R) is wrong
(D) (A) is wrong, but (R) is correct (D) Tempera (Method of painting)

K – 4120 25 Paper II

82. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ : 85. ¨Ü ê ÍÜ Â PÜ Ç æ W Ü Ù Ü È É Pæ Ù Ü X ®Ü Ԩݜ í ñÜ W Ü Ù Ü á ŸÖÜ Ù Ü
±Üqr – I ±Üqr – II ÊÜááSÂÊÝXÊæ.
a. ÊæáçPæÇ… BíiÇæã i. ÓÜÄ¿áÈÓÜí
i. ±ÜsÜ A«Ü¿á®Ü
b. iPæãÊæáqr ii. Ä®æàÓÜ®…Õ
c. PÝÓܳÅvæàËv… iii. ÊÜÞ®ÜÄÓÜí ii. ÊÜáãÇÝíÍÜWÜÙÜ A«Ü¿á®Ü
µÅàv…Äa…
iii. ÓÜíÁãàg®Ý A«Ü¿á®Ü
d. vÜãÂÃÜÃ… iv. ÃæãÊÜÞ®…qÔÓÜí
iv. ŸávÜPÜoár g®ÜÃÜ ÓÜíÓÜ¢£ A«Ü¿á®Ü
PæãàvÜáWÜÙÜá :
a b c d (A) iv ÊÜáñÜᤠi ÓÜÄ¿ÞXÊæ
(A) ii i iv iii
(B) iii i iv ii (B) iii ÊÜáñÜᤠii ÓÜÄ¿ÞXÊæ
(C) ii iii i iv
(C) ii ÊÜáñÜᤠiv ÓÜÄ¿ÞXÊæ
(D) iv iii ii i
(D) iv ÊÜáñÜᤠiii ÓÜÄ¿ÞXÊæ
83. ÊæáçÓÜãÄ®Ü PÝÊÜáPÝÊæáàÍÜÌÄà ¨æàÊÜÓݧ®Ü¨Ü Óܧ±Ü£
CÊÜÃÝX¨ÜªÃÜá
86. PÜÅÊÜÞ®ÜáWÜ£¿áÈÉ BÁáR ÊÜÞwÄ.
(A) WÜáívÝaÝ¿áì
(B) PæàÍÜÊÜ¿á (A) Ëà®Ü Ó … B´… ËáÇæ ã , © PÜ Ç æ ã Ô¿áí,
(C) ÎƳ Ô¨Ýœí£ Ô¨ÜœÈíWÜ ÓÝÌËá wÓæãRŸÇæãÓ…, A±æäÇæã ¸æÈÌw¿áÃ…
(D) ÊÜáÈÉñÜÊÜá¾ (B) © PÜÇæãÔ¿áí, wÓæãRŸÇæãÓ…, A±æäÇæã
84. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ : ¸æÈÌw¿áÃ…, Ëà®ÜÓ… B´… ËáÇæã
±Üqr – I ±Üqr – II (C) wÓæãRŸÇæãÓ…, A±æäÇæã ¸æÈÌw¿áÃ…,
a. ÓÝÆÃ… gíW… ÊÜáãÂÔ¿áí i. ®ÜÊܨæÖÜÈ Ëà®ÜÓ… B´… ËáÇæã, © PÜÇæãÔ¿áí
b. ²ÃÜÊÜÞÙ… ÊÜáãÂÔ¿áí ii. E¨Ü¿á±ÜâÃ… (D) A±æ ä Çæ ã ¸æ È Ìw¿áÃ…, Ëà®Ü Ó … B´…
B´… Bp…ì
ËáÇæã, © PÜÇæãÔ¿áí, wÓæãRŸÇæãÓ…
c. QÃÜO… ®ÝvÜÃ… iii. ÊÜááíŸÀá
ÊÜáãÂÔ¿áí B´… Bp…ì
87. ‘g±Ý¯àÓ… ÊÝÃ… WÝv…’ ÎƳPêÜ £ ¯ËáìÔ¨ÜÊÃ
Ü áÜ
d. Ôq ±ÝÂÇæÓ… ÊÜáãÂÔ¿áí iv. Öæç¨ÜÃݸݨ…
PæãàvÜáWÜÙÜá : (A) ià®… B±…ì
a b c d (B) GvÜÌvæãì ±ÜÊæäÇæãài
(A) iii i ii iv
(B) iv iii i ii (C) ÊæáçPæàÇ…Hoì®…
(C) i ii iv iii (D) ÊÜáÄ®æã ÊÜáį
(D) ii iv iii i
Paper II 26 K – 4120

82. Match the following : 85. Following principles are very important
List – I List – II in Visual Arts.
a. Michel Angelo i. Surrealism
i. Syllabus study
b. Giocometti ii. Renaissance
c. Casper David iii. Mannerism ii. Fundamentals study
Freidrich iii. Composition study
d. Durer iv. Romanticism
iv. Tribal culture study
Codes :
a b c d (A) iv and i are correct
(A) ii i iv iii
(B) iii i iv ii (B) iii and ii are correct
(C) ii iii i iv (C) ii and iv are correct
(D) iv iii ii i
(D) iv and iii are correct
83. Sthapati of Kamakameshwari temple in
Mysore was 86. Select the correct sequence in
(A) Gundacharya chronological order.
(B) Keshavayya
(A) Venus of Milo, The Colosseum,
(C) Shilpa Siddhanti Siddhalinga
Discobolos, Apollo Belvedere
Swamy
(D) Mallitamma (B) The Colosseum, Discobolos,
Apollo Belvedere, Venus of Milo
84. Match the following :
(C) Discobolos, Apollo Belvedere,
List – I List – II
Venus of Milo, The Colosseum
a. Salar Jung Museum i. New Delhi
b. Piramal Museum ii. Udaipur (D) Apollo Belvedere, Venus of Milo,
of Art The Colosseum, Discobolos
c. Kiran Nadar iii. Mumbai
Museum of Art 87. The sculpture ‘Japnese War God’ is
d. City Palace Museum iv. Hyderabad made by
Codes : (A) Jean Arp
a b c d
(A) iii i ii iv (B) Eduardo Paolozzi
(B) iv iii i ii (C) Michael Ayrton
(C) i ii iv iii
(D) ii iv iii i (D) Marino Marini

K – 4120 27 Paper II

88. Ôðà®… ²ÅíqíW… D ÊÜÓÜá¤WÜÙæãí©Wæ 91. ‘ÖÝÓ…ì 1914’ CÊÜÃÜ ÎƳPÜÇæ
ÊÜÞvÜÇÝWÜáñܤ¨æ (A) ÊÜÞÓæìÇ… vÜaÝÂí±…
I. Ôí¥æqP… ±ÝÈÊÜáÃ… (B) ÃæàÊÜáív… vÜaÝÂí±… – ËÆ®…
II. ´æäàpæãà GÊÜáÆÏ®… (C) væàËv… ÖæàÃ…
III. Ÿpær (D) ÊÜÞqÓ…
IV. ÃÜŸºÃ… ±æäÃÜPæ
92. Pæ Ù Ü X ®Ü ¿ÞÊÜ ÊÜ Ó Ü á ¤ W Ü Ù Ü á È¥æ ã à ÊÜ á á¨Ü Å |Pæ R
(A) I, II ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ E±ÜÁãàXÓÜƳvÜáñܤÊæ ?
(B) I, II ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ I. WÜÊÜå… AÃæà¹P…
(C) I, III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ II. oãÍæ
(D) I, II, III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ III. Ÿ¯ìÍÜÃ…
IV. ÊÝÍ…Lp… ¨ÝÅÊÜ|
89. B«Üá¯PÜ ±ÝÍÝcñÜ PÜÇæ A®æàPÜ ‘CÓÜí’ WÜÙÜ®Üá° (A) I, III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
Öæ ã í©¨Ü ª Ê Ü â . ÓÜ Ä ¿Þ¨Ü PÜ Å ÊÜ Þ ®Ü á WÜ £ ¿á®Ü á ° (B) I, II ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
WÜáÃÜá£ÔÄ.
(C) II, III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
(A) vÝÂvÝÀáÓÜí, PÜã¹ÓÜí, ´èËÓÜí,
(D) I, II ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ
Cí±æÅÍܯÓÜí
(B) Cí±æÅÍܯÓÜí, PÜã¹ÓÜí, ´èËÓÜí, 93. WÝí«ÝÃÜPÜÇæ C¨ÜPæR ÓÜíŸí—Ô¨Üá¨Üá
vÝÂvÝÀáÓÜí (A) XÅàPæãà&ÃæãàÊÜá®… PÜÇæ
(C) ´èËÓÜí, PÜã¹ÓÜí, Cí±æÅÍܯÓÜí,
(B) Cívæãà&±ÜÎì¿á®… PÜÇæ
vÝÂvÝÀáÓÜí
(C) Cívæãà&XÅàP… PÜÇæ
(D) Cí±æ Å ÍÜ ¯ ÓÜ í , ´èËÓÜ í , PÜ ã ¹ÓÜ í ,
vÝÂvÝÀáÓÜí (D) ÊÜá«Ü Hοᮅ PÜÇæ
94. ÎÊÜ ñܮܰ D ÃÜã±Ü¨ÜÈÉ ¹ÆáÉ ÊÜáñÜᤠ¸Ý|
90. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ : ×w©ÃÜáñݤ®æ
a. vÝÅÀáíW… 1. ÇÝíeñÜ (A) Pæãà¨ÜívÜÃÝÊÜá
b. PÜÆÄíW… 2. ¹\ñÜ (B) aÜñÜáËìíΣ ÊÜáã£ì
c. ËÍæÉàÑÓÜáÊÜâ¨Üá 3. ÃÜíiñÝ
(C) aÜí¨ÜÅÊÜåèÚàÍÜÌÃÜ
d. ñæãÙæ¿ááÊÜâ¨Üá 4. «ÜíñÝ
(D) £Å±ÜâÃÝíñÜPÜ
PæãàvÜáWÜÙÜá :
a b c d 95. B«Üá¯PÜ ÊÜáá¨ÜÅ| ÊÜÞ«ÜÂÊÜáWÜÙÜÈÉ Jí¨Üá
(A) 3 1 2 4 (A) B´…Óæp…
(B) 2 3 4 1 (B) ÊÜâv…PÜp…
(C) 4 3 1 2 (C) GbíW…
(D) 1 3 4 2 (D) G®…WæÅàËíW…

Paper II 28 K – 4120

88. Screen printing is done with this 91. ‘Horse’ 1914 is a sculpture by
materials. (A) Marcel Duchamp
I. Synthetic polymer (B) Raymond Duchamp – Villon
II. Photo-Emulsion (C) David Hare
III. Cloth (D) Matisse
IV. Squeegee
92. Which of the following materials are
(A) I, II and III are correct used for Litho printing ?
I. Gum Arabic
(B) I, II and IV are correct
II. Tusche
(C) I, III and IV are correct
III. Burnisher
(D) I, II, III and IV are correct IV. Washout solution
(A) I, III and IV are correct
89. Modern Western Art had many ‘isms’.
(B) I, II and IV are correct
Identify the correct chronological
sequence. (C) II, III and IV are correct
(D) I, II and III are correct
(A) Dadaism, Cubism, Fauvism,
Impressionism
93. Gandhara art relates to
(B) Impressionism, Cubism, Fauvism,
(A) Greco-Roman art
Dadaism
(B) Indo-Persian art
(C) Fauvism, Cubism, Impressionism,
Dadaism (C) Indo-Greek art
(D) Impressionism, Fauvism, Cubism, (D) Central Asian art
Dadaism
94. Shiva holds bow and arrow in the
form of
90. Match the following :
(A) Kodanda Rama
a. Drawing 1. Lānchita
(B) Chaturvimshiti Murthy
b. Colouring 2. Bighita
c. Analysing 3. Ranjita (C) Chandramouleshwara
d. Washing 4. Dhanta (D) Tripuranthaka

Codes : 95. One of the modern medium of
a b c d printing is
(A) 3 1 2 4 (A) Offset
(B) 2 3 4 1 (B) Woodcut
(C) 4 3 1 2 (C) Etching
(D) 1 3 4 2 (D) Engraving

K – 4120 29 Paper II

96. “A¥ÜìÊæíŸáÊÜâ¨Üá Jí¨Üá WÜá|ÊÜáorÊÆ
Ü É, B¨ÜÃæ 99. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ :
ÍÜŸªÊæäí¨ÜÃÜ PÝ¿áì” ×àWæí¨Üá ŸÃæ¨ÜÊÜÃÜá a. Óèí¨Ü¿áì i. bPÜ~WÜÙÜá
(A) ÓÜáÓæà®… Pæ ÇÝÂíWÜÃ…
b. PÝÔríW… ±ÜÅQÅÁá ii. ÊÜáÃÜ
(B) ¸æ®ævæpæã PæãÅàÓ…
c. CíwWæã iii. ÇæãàÖÜ ÎƳPÜê£
(C) AÄÓÝroÇ…
(D) Ga….vÜŸãÉ$™. hÝ®…ÓÜ®… d. ŸÓæãàÈ iv. Óèí¨Ü¿áì
ËáàÊÜÞíÓæ
97. G®…. vÜŸãÉ$Â. A¿áÂÃ… BÂív… ÓÜ®… CÊÜÃÜá
a b c d
µÇÝvæ Ç …µ¿Þ¨Ü È É ±Ü Å ¥Ü Ê Ü á ±Ü ä £ì Óæ à Êæ
hÝ×àÃÝñÜá Hhæ¯Õ¿á®Üá° D ÊÜÐÜì Óݧ²Ô¨ÜÃÜá (A) iv iii ii i
(A) 1861 (B) i ii iii iv
(B) 1869 (C) iii ii iv i
(C) 1898 (D) i ii iv iii
(D) 1925
100. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ :
98. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ :
±Üqr – I ±Üqr – II
a. PæãàPÜ&PæãàÆ i. wÓæç®…x ´ÝÃ…
a. GvÜYÃ… væàWÜÓ… i. ÊæáàÄ ÊæáàW…
væùËíW… ±æÉÍÜÃ…
vÜÇæ®…
b. w ¹àÃ…Õ ii. ¦íP… w´ÜÃæíp…
b. væã®ÝÂpæÇæã ii. © Êæçp… ¸æùv…
(De Beers)
c. XŸqì iii. Èp…É ´æäàqàì®…
c. B±ÜÇ… iii. © Ä¿áÇ… ¦íW…
C¿áÃ…&KÇ…x
(Apple)
vÝ®ÜÕÃ…
d. ¹ GÊÜå… vÜŸãÉ$ iv. væçÊáÜ ív… DÓ…
d. BÂíwÅ¿Þ iv. Wæàp…Õ B´…
(BMW) ´ÝÃæÊÃÜ …
PÝÂÓ…PæÇÝÉ ±ÝÂÃÝvæçÓ…
PæãàvÜáWÜÙÜá : PæãàvÜáWÜÙÜá :
a b c d
a b c d
(A) i iii iv ii (A) i ii iii iv
(B) ii i iii iv (B) ii iii i iv
(C) iv ii i iii (C) i iv ii iii
(D) iii iv ii i (D) iii i iv ii

Paper II 30 K – 4120

96. ‘Meaning is not a quality, but a function 99. Match the following :
of a term’ was written by a. Beauty i. Miniatures
(A) Susanne K. Langer b. Casting process ii. Tree
(B) Benedetto Croce c. Indigo iii. Metal sculpture
(C) Aristotle d. Basoli iv. Aesthetic
(D) H. W. Janson a b c d

97. N.W. Iyer and Son founded the first (A) iv iii ii i
full service advertising agency in (B) i ii iii iv
Philadelphia (C) iii ii iv i
(A) 1861 (D) i ii iv iii
(B) 1869
(C) 1898 100. Match the following :
(D) 1925 List – I List – II
a. Edgar Degas i. Mary
98. Match the following. Magdalen
a. Coca-cola i. Designed for b. Donatello ii. The white
driving pleasure bride
b. De Beers ii. Think different c. Ghiberti iii. Little Fourteen
year-old Dancer
c. Apple iii. The real thing
d. Andrea iv. Gates of
d. BMW iv. Diamond is forever
Cascella Paradise

Codes : Codes :
a b c d a b c d
(A) i iii iv ii (A) i ii iii iv
(B) ii i iii iv (B) ii iii i iv
(C) iv ii i iii (C) i iv ii iii

(D) iii iv ii i (D) iii i iv ii

K – 4120 31 Paper II

bñÜᤠŸÃÜÖÜPÝRX ÓܧÙÜ
Space for Rough Work

Paper II 32 K – 4120