Painting (332)
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1. Answer any one of the following questions in about 40-60 words.
(a) ‘Indian sculpture was mostly meant for temple ornamentation’, justify in brief.
Ans- The Sculpture in the Indian subcontinent, partly because of the climate of the Indian subcontinent making the long-term survival of organic materials difficult, essentially consiste in sculpture of stone, metal or terracotta. It is clear there was a great deal of painting, and sculpture in wood and ivory, during these periods, but there are only a few survivals. The main Indian religions had all, after hesitant starts, developed the use of religious sculpture by around the start of the Common Era, and the use of stone was becoming increasingly widespread. The first known sculpture in the Indian subcontinent is from the Indus Valley civilization, and a more widespread tradition of small terracotta figures, mostly either of women or animals, which predates it.
2. Answer any one of the following questions in about 40 to 60 words.
(b) Describe the standing posture of ‘Nataraja’.
Ans-
Explanation:
He is surrounded by a ring of flames, standing on a lotus pedestal, lifting his left leg (or in rare cases, the right leg) and balancing / trampling upon a demon shown as a dwarf (Apasmara or Muyalaka) who symbolizes ignorance.
The classical form of the depiction appears in stone reliefs, as at the Ellora Caves and the Badami Caves, by around the 6th century. Around the 10th century, it emerged in Tamil Nadu in its mature and best known expression in Chola bronzes, of various heights typically less than four feet, some over. The Nataraja reliefs have been identified in historic artwork from many parts of South Asia, in southeast Asia such as in Bali, Cambodia, and in central Asia.
3. Answer any one of the following questions in about 40 to 60 words.
(b) Write the medium and size of Nataraja Culture.
Ans- The image of Shiva as Nataraja was especially popular in the Chola period, when craftsmen produced large quantities of the figure sculpture in bronze and, measuring up to 1.4 metres in height, they were often carried in religious processions and festivals to represent the god. Early examples can be identified by the straightened sides of the ring of fire, as mentioned above, but also by the absence of Ganga and the fact the individual flames have only three points. In later sculptures Shiva also wears a bell around his standing leg. The figure of Shiva Nataraja has become perhaps the most widespread icon of Hinduism, and the bronze sculptures are still produced today in parts of southern India and especially around Chidambaram where ancient legend tells that Shiva once performed his dance of creation and destruction in a grove of tillai trees.
4. Answer any one of the following questions in about 100 to 150 words.
(a) What is Lost wax technique in brief?
Ans- Exquisite and highly-detailed, the finest lost wax sculptures take several weeks or months to make. Given the difficulty of the technique and the time-consuming process of creating these pieces, high quality lost wax sculptures are increasingly difficult to find. The elaborate and complex lost wax technique of metal casting is divided into many stages. Then, a clay mould is made around the wax model. This is heated, thus melting or ‘losing’ the wax. Molten bronze (or any other metal) is then poured into the empty clay mould. Upon cooling, the clay is broken to reveal a solid bronze statue. The sculpture is then filed and buffed to remove scratches and give it a shine.
Handcrafted by skilled artisans, each sculpture made using the lost wax technique is unique, as the mould must be broken to reveal the final piece. And the beauty of lost wax sculptures lies as much in their detailing, as it does in the fact that they are truly one-of-a-kind.
5. Answer any one of the following questions in about 100 to 150 word.
(b) ‘This is an example of contemporary Indian sculpture’, name and describe the sculpture.
Ans- Sculpture was the favoured medium of artistic expression on the Indian subcontinent. Indian buildings were profusely adorned with it and indeed are often inseparable from it. The subject matter of Indian sculpture was almost invariably abstracted human forms that were used to instruct people in the truths of the Hindu, Buddhist, or Jain religions. The nude was used both to represent the body as a symbol of spirit and to reveal the imagined shapes of the gods. There is an almost complete suppression of individuality in Indian sculpture; this is because the figures are conceived of as shapes that are more perfect and final than anything to be found in the merely transitory appearance of human models. The multiple heads and arms of sculptured Hindu divinities were thought necessary to display the manifold attributes of these gods’ power.
6. Prepare any one project of the following projects given below.
(a) Collect newspaper and magazine cuttings of different festivals, paste all these cuttings in ½ imperial size paper and create a beautiful collage.
Ans-
