UGC NET 2009: June, Paper II, Visual Art
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Signature and Name of Invigilator OMR 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.
J7 9 0 9 PAPERII
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 ¬⁄UˡÊÊÁÕ¸ÿÙ¢ ∑§ Á‹∞ ÁŸŒ¸‡Ê
1. Write your roll number in the space provided on the top of 1. ¬„‹U ¬ÎDU ∑§ ™§¬⁄U ÁŸÿà SÕÊŸ ¬⁄U •¬ŸÊ ⁄UÙ‹U Ÿê’⁄U Á‹Áπ∞–
this page. 2. ß‚ ¬˝‡Ÿ-¬òÊ ◊¢ ¬øÊ‚ ’„ÈÁfl∑§À¬Ëÿ ¬˝‡Ÿ „Ò¢–
2. This paper consists of fifty multiple-choice type of questions.
3. ¬⁄UˡÊÊ ¬˝Ê⁄êU÷ „ÙŸ ¬⁄U, ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê •Ê¬∑§Ù Œ ŒË ¡ÊÿªË– ¬„‹U ¬UÊ°ø Á◊Ÿ≈U
3. At the commencement of examination, the question booklet
will be given to you. In the first 5 minutes, you are •Ê¬∑§Ù ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê πÙ‹Ÿ ÃÕÊ ©‚∑§Ë ÁŸêŸÁ‹Áπà ¡Ê°ø ∑§ Á‹∞ ÁŒÿ
requested to open the booklet and compulsorily examine it ¡Êÿ¢ª Á¡‚∑§Ë ¡Ê°ø •Ê¬∑§Ù •fl‡ÿ ∑§⁄UŸË „Ò —
as below : (i) ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê πÙ‹Ÿ ∑§ Á‹∞ ©‚∑§ ∑§fl⁄U ¬¡§¬⁄U ‹ªË ∑§Êª¡ ∑§Ë
(i) To have access to the Question Booklet, tear off the ‚Ë‹ ∑§Ù »§Ê«∏U ‹¢U– πÈ‹Ë „È߸ ÿÊ Á’ŸÊ S≈UË∑§⁄U-‚Ë‹U ∑§Ë ¬ÈÁSÃ∑§Ê
paper seal on the edge of this cover page. Do not SflË∑§Ê⁄U Ÿ ∑§⁄¢U–
accept a booklet without sticker-seal and do not accept
an open booklet. (ii) ∑§fl⁄U ¬ÎDU ¬⁄U ¿U¬ ÁŸŒ̧‡ÊÊŸÈ‚Ê⁄U ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê ∑§ ¬ÎDU ÃÕÊ ¬˝‡ŸÙ¢ ∑§Ë
(ii) Tally the number of pages and number of questions ‚¢ÅÿÊ ∑§Ù •ë¿UË Ã⁄U„ øÒ∑§ ∑§⁄U ‹¢U Á∑§ ÿ ¬Í⁄U „Ò¢U– ŒÙ·¬Íáʸ ¬ÈÁSÃ∑§Ê
in the booklet with the information printed on the Á¡Ÿ◊¢ ¬ÎDU / ¬˝‡Ÿ ∑§◊ „Ù¢ ÿÊ ŒÈ’Ê⁄UÊ •Ê ªÿ „Ù¢ ÿÊ ‚ËÁ⁄Uÿ‹U ◊¢ Ÿ „Ù¢
cover page. Faulty booklets due to pages/questions •Õʸà Á∑§‚Ë ÷Ë ¬˝∑§Ê⁄U ∑§Ë òÊÈÁ≈U¬Íáʸ ¬ÈÁSÃ∑§Ê SflË∑§Ê⁄U Ÿ ∑§⁄¢U ÃÕÊ
missing or duplicate or not in serial order or any ©‚Ë ‚◊ÿ ©‚ ‹Uı≈UÊ∑§⁄U ©‚∑§ SÕÊŸ ¬⁄U ŒÍ‚⁄UË ‚„Ë ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê
other discrepancy should be got replaced immediately
by a correct booklet from the invigilator within the
‹ ‹¢– U ß‚∑§ Á‹∞ •Ê¬∑§Ù ¬Ê°ø Á◊Ÿ≈U ÁŒÿ ¡Êÿ¢ª– ©‚∑§ ’ÊŒ Ÿ
period of 5 minutes. Afterwards, neither the question ÃÙ •Ê¬∑§Ë ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê flʬ‚ ‹Ë ¡ÊÿªË •ı⁄U Ÿ „Ë •Ê¬∑§Ù
booklet will be replaced nor any extra time will be •ÁÃÁ⁄UQ§ ‚◊ÿ ÁŒÿÊ ¡ÊÿªÊ–
given. (iii) ß‚ ¡Ê°ø ∑§ ’ÊŒ ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê ∑§Ë R§◊ ‚¢ÅÿÊ OMR ¬òÊ∑§ ¬⁄U
(iii) After this verification is over, the Test Booklet Number •¢Á∑§Ã ∑§⁄¢U •Uı⁄U OMR ¬òÊ∑§ ∑§Ë R§◊§‚¢ÅÿÊ ß‚ ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê ¬⁄U
should be entered in the OMR Sheet and the •¢Á∑§Ã ∑§⁄U Œ¢–
OMR Sheet Number should be entered on this Test
Booklet. 4. ¬˝àÿ∑§ ¬˝‡Ÿ ∑§ Á‹∞ øÊ⁄U ©ûÊ⁄U Áfl∑§À¬ (A), (B), (C) ÃÕÊ (D) ÁŒÿ ªÿ „Ò¢–
4. Each item has four alternative responses marked (A), (B), •Ê¬∑§Ù ‚„Ë ©ûÊ⁄U ∑§ ŒËÉʸflÎûÊ ∑§Ù ¬Ÿ ‚ ÷⁄U∑§⁄U ∑§Ê‹Ê ∑§⁄UŸÊ „Ò ¡Ò‚Ê Á∑§ ŸËø
(C) and (D). You have to darken the oval as indicated ÁŒπÊÿÊ ªÿÊ „Ò–
below on the correct response against each item. ©ŒÊ„⁄UáÊ — A B C D
Example : A B C D ¡’Á∑§ (C) ‚„Ë ©ûÊ⁄U „Ò–
where (C) is the correct response. 5. ¬˝‡ŸÙ¢ ∑§ ©ûÊ⁄U ∑§fl‹U ¬˝‡Ÿ ¬òÊ I ∑§ •ãŒ⁄U ÁŒÿ ªÿ ©ûÊ⁄U-¬òÊ∑§ ¬⁄U „Ë •¢Á∑§Ã
5. Your responses to the items are to be indicated in the Answer ∑§⁄UŸ „Ò¢– ÿÁŒ •Ê¬ ©ûÊ⁄U ¬òÊ∑§ ¬⁄U ÁŒÿ ªÿ ŒËÉʸflÎûÊ ∑§ •‹ÊflÊ Á∑§‚Ë •ãÿ
Sheet given inside the Paper I booklet only. If you mark SÕÊŸ ¬⁄U ©ûÊ⁄U Áøã„Ê¢Á∑§Ã ∑§⁄Uà „Ò, ÃÙ ©‚∑§Ê ◊ÍÀUÿÊ¢∑§Ÿ Ÿ„Ë¢ „٪ʖ
at any place other than in the ovals in the Answer Sheet, it
will not be evaluated. 6. •ãŒ⁄U ÁŒÿ ªÿ ÁŸŒ¸‡ÊÙ¢ ∑§Ù äÿÊŸ¬Ífl¸∑§ ¬…∏¢U–
6. Read instructions given inside carefully. 7. ∑§ìÊÊ ∑§Ê◊ (Rough Work) ß‚ ¬ÈÁSÃ∑§Ê ∑§ •ÁãÃ◊ ¬ÎDU ¬⁄U ∑§⁄¢U–
7. Rough Work is to be done in the end of this booklet. 8. ÿÁŒ •Ê¬ ©ûÊ⁄U-¬ÈÁSÃ∑§Ê ¬⁄U •¬ŸÊ ŸÊ◊ ÿÊ ∞‚Ê ∑§Ù߸ ÷Ë ÁŸ‡ÊÊŸ Á¡‚‚ •Ê¬∑§Ë
8. If you write your name or put any mark on any part of the ¬„øÊŸ „Ù ‚∑§, §Á∑§‚Ë ÷Ë ÷ʪ ¬⁄U Œ‡Êʸà ÿÊ •¢Á∑§Ã ∑§⁄Uà „Ò¢ ÃÙ ¬⁄UˡÊÊ ∑§
test booklet, except for the space allotted for the relevant Á‹ÿ •ÿÙÇÿ ÉÊÙÁ·Ã ∑§⁄U ÁŒÿ ¡Êÿ¢ª–
entries, which may disclose your identity, you will render
yourself liable to disqualification. 9. •Ê¬∑§Ù ¬⁄UˡÊÊ ‚◊Ê# „ÙŸ §¬⁄U ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê ∞fl¥ OMR ©ûÊ⁄U-¬òÊ∑§ ÁŸ⁄UˡÊ∑§
9. You have to return the test question booklet and OMR ◊„ÙŒÿ ∑§Ù ‹Uı≈UÊŸÊ •Êfl‡ÿ∑§ „Ò •ı⁄U ¬⁄UˡÊÊ ‚◊ÊÁ# ∑§ ’ÊŒ ©‚ •¬Ÿ ‚ÊÕ
Answer Sheet to the invigilators at the end of the ¬⁄UˡÊÊ ÷flŸ ‚ ’Ê„⁄U Ÿ ‹∑§⁄U ¡Êÿ¢–
examination compulsorily and must not carry it with you
10. ∑§fl‹ ŸË‹ / ∑§Ê‹ ’Ê‹U åflÊßZ≈U ¬ÒŸ ∑§Ê „Ë ßSÃ◊Ê‹ ∑§⁄¢U–
outside the Examination Hall.
10. Use only Blue/Black Ball point pen. 11. Á∑§‚Ë ÷Ë ¬˝∑§Ê⁄U ∑§Ê ‚¢ªáÊ∑§ (∑Ò§‹∑ȧ‹≈U⁄U) UÿÊ ‹Êª ≈U’‹ •ÊÁŒ ∑§Ê
11. Use of any calculator or log table etc., is prohibited. ¬˝ÿÙª flÁ¡¸Ã „Ò–
12. There is NO negative marking. 12. ª‹Ã ©ûÊ⁄U ∑§ Á‹∞ •¢∑§ Ÿ„Ë¢ ∑§Ê≈U ¡Êÿ¢ª–
J7909 1 P.T.O.
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VISUAL ARTS
PAPERII
Note : This paper contains fifty (50) multiple-choice questions, each question carrying
two (2) marks. Attempt all of them.
1. Indian painter who adopted folk style :
(A) N.S. Bendre (B) K.C.S. Paniker
(C) Ram Kumar (D) Jamini Roy
2. K. K. Hebbars drawings are based on :
(A) Folk style (B) Cubist style
(C) Oriental style (D) Realistic style
3. The first Government School of Art in India was started at :
(A) Madras (B) Bangalore (C) Mumbai (D) Delhi
4. National Gallery of Modern Art is in :
(A) Panji (B) Mumbai (C) Jodhpur (D) Jaipur
5. New name of clarion Advertising is :
(A) Cognito (B) Adcom (C) Percept (D) Bates
6. A major advantage of using the newspapers as a medium of advertising is :
(A) Cost (B) High-buyer selectivity
(C) Wide circulation (D) Excellent colour production
7. Who is the liaison officer between the client and advertising agency :
(A) Sales Executive (B) Creative Director
(C) Media Manager (D) Account Executive
8. Confession of an Advertising Man is written by :
(A) K.K. Nair (B) David Ogilvy
(C) Shobha Dey (D) John Hunt
J7909 2
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ŒÎ‡ÿ ∑§‹Ê∞¥
¬˝‡Ÿ¬òÊII
ŸÙ≈U — ß‚ ¬˝‡Ÿ¬òÊ ◊¢ ¬øÊ‚ (50) flSÃÈÁŸD ¬˝‡Ÿ „Ò¢– ¬˝àÿ∑§ ¬˝‡Ÿ ∑§ ŒÙ (2) •¢∑§ „Ò¢– ‚÷Ë ¬˝‡ŸÙ¢ ∑§ ©ûÊ⁄U
ŒËÁ¡∞–
1. ‹Ê∑§ ‡ÊÒ‹Ë ∑§Ê •¬ŸÊŸ flÊ‹Ê ÷Ê⁄UÃËÿ ÁøòÊ∑§Ê⁄U —
(A) ∞Ÿ. ∞‚. ’¥Œ˝ (B) ∑§.‚Ë.∞‚.¬ÁáÊ∑§⁄U
(C) ⁄UÊ◊ ∑ȧ◊Ê⁄U (D) ¡Á◊ŸË ⁄UÊÚÿ
2. ∑§. ∑§. „é’⁄U ∑§ ⁄UπÊ ÁøòÊ __________ ¬⁄U •ÊœÊÁ⁄Uà „Ò–
(A) ‹Ê∑§ ‡ÊÒ‹Ë (B) ÉÊŸÊà◊∑§ ‡ÊÒ‹Ë
(C) ¬˝Êëÿ ‡ÊÒ‹Ë (D) ÿÕÊÕ¸flÊŒË ‡ÊÒ‹Ë
3. ÷Ê⁄Uà ◊¥ ¬˝Õ◊ ∑§‹Ê ÁflŒ˜ÿÊ‹ÿ ∑§„Ê° ‡ÊÈM§ „È•Ê —
(A) ◊Œ˝Ê‚ (B) ’¥ª‹Ê⁄U (C) ◊È¥’߸ (D) ÁŒÀ‹Ë
4. Ÿ‡ÊŸ‹ ªÒ‹⁄UË •ÊÚ»§ ◊ÊÚ«UŸ¸ •Ê≈¸U Á∑§‚ SÕÊŸ ¬⁄U ÁSÕà „Ò?
(A) ¬áÊ¡Ë (B) ◊È¥’߸ (C) ¡Êœ¬È⁄U (D) ¡ÿ¬È⁄U
5. “Ä‹ÒÁ⁄UÿŸ ∞«Ufl≈UʸßÁ¡¥ª” ∑§Ê ŸÿÊ ŸÊ◊ ÄÿÊ „Ò?
(A) ∑§ÊÚÁÇŸ≈UÊ (B) ∞«U∑§ÊÚ◊ (C) ¬‚¸å≈U (D) ’≈˜‚
6. ÁflôÊʬŸ „ÃÈ ‚◊ÊøÊ⁄U¬òÊÊ¥ ∑§Ê ◊Êäÿ◊ ∑§ M§¬ ◊¥ ©¬ÿʪ ∑§Ê ∞∑§ ¬˝◊Èπ ‹Ê÷ „Ò —
(A) ‹ÊªÃ (B) „Ê߸’Êÿ⁄U ‚‹ÁÄ≈UÁfl≈UË
(C) √ÿʬ∑§ ¬˝‚Ê⁄U (D) ©ûÊ◊ ⁄¥UªÊà¬ÊŒŸ
7. Ä‹Êÿ¥≈U ÃÕÊ ÁflôÊʬŸ ∞¡¥‚Ë ∑§ ’Ëø ‚¥¬∑¸§ •Áœ∑§Ê⁄UË ∑§ÊÒŸ „ÊÃÊ „Ò?
(A) ‚À‚ ߪ˜¡ÄÿÍÁ≈Ufl (B) Á∑˝§ÿÁ≈Ufl «UÊÿ⁄UÄ≈U⁄U
(C) ◊ËÁ«UÿÊ ◊ÒŸ¡⁄U (D) •∑§Ê©á≈U ߪ˜¡ÄÿÍÁ≈UflU
8. ““∑§ã»§‡ÊŸ •ÊÚ»§ ∞Ÿ ∞«Ufl≈UʸßÁ¡¥ª ◊ÒŸ”” ∑§Ê Á‹πŸ flÊ‹Ê ∑§ÊÒŸ „Ò?
(A) ∑§.∑§. ŸÊÿ⁄U (B) «UÁfl«U •ÊÇ‹flË (C) ‡ÊÊ÷Ê «U (D) ¡ÊÚŸ „á≈U
J7909 3 P.T.O.
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9. Who made the sculpture YAKSHA-YAKSHI ?
(A) Meera Mukherjee (B) Dhruv Mistry
(C) Nand gopal (D) Ram kinkar Baij
10. Sarnath Buddha was carved out of :
(A) Jodhapur Sand stone (B) Ambaji Marble
(C) Chunar Sand stone (D) Orissa Granite
11. Bernini was a :
(A) Modern painter (B) Modern sculptor
(C) Baroque sculptor (D) Renaissance painter
12. The sculpture Little fourteen-year old Dancer was done by :
(A) David Smith (B) Auguste Rodin
(C) Edgar Degas (D) Medardo Rosso
13. Engraving and etching are part of :
(A) Intaglio (B) Aquatint
(C) Flexography (D) Lithography
14. Crayon and ink is used in :
(A) Lithography (B) Etching
(C) Lino-cut (D) In make-up printing
15. Talcum powder is used in :
(A) Etching (B) Lino-cut
(C) Lithography (D) Wood-cut
16. Who is a graphic artist of the following ?
(A) M.F. Hussain (B) Abanindranath Tagore
(C) Anupam Sood (D) Mahendra Pandya
17. One of the following thinker is a post - modernist :
(A) E.H. Gombrich (B) John Golding
(C) Jaques Derrida (D) None of the above
J7909 4
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9. ““ÿˇÊ-ÿˇÊË”” ◊ÍÁø ∑§Ê Á‡ÊÀ¬∑§Ê⁄U ∑§ÊÒŸ „Ò?
(A) ◊Ë⁄UÊ ◊Èπ¡Ë¸ (B) œ˝Èfl Á◊SòÊË (C) Ÿ¥Œ ªÊ¬Ê‹ (D) ⁄UÊ◊Á∑¥§∑§⁄U ’Ò¡
10. ‚Ê⁄UŸÊÕ ÁSÕà ’ÈŒ˜œ ∑§Ë ¬˝ÁÃ◊Ê Á∑§‚∑§ ™§¬⁄U ©à∑§Ëáʸ ∑§Ë ªß¸ „Ò?
(A) ¡Êœ¬È⁄U ’‹È•Ê ¬àÕ⁄U (B) •¥’Ê¡Ë ‚¥ª◊⁄U◊⁄U
(C) øÈŸÊ⁄U ’‹È•Ê ¬àÕ⁄U (D) ©«∏Ë‚Ê ª˝ŸÊß≈U
11. ’ÁŸ¸ŸË ∞∑§ __________ ÕÊ
(A) •ÊœÈÁŸ∑§ ÁøòÊ∑§Ê⁄U (B) •ÊœÈÁŸ∑§ Á‡ÊÀ¬∑§Ê⁄U
(C) ’⁄UÊ∑§ Á‡ÊÀ¬∑§Ê⁄U (D) ¬ÈŸ¡Ê¸ª⁄UáÊ ∑§Ê‹ ∑§Ê ÁøòÊ∑§Ê⁄U
12. ““Á‹≈˜U‹ »§Ê≈U˸Ÿ ßÿ⁄U •ÊÀ«U «UÊ¥‚⁄U”” Á∑§‚∑§Ë ∑ΧÁà „Ò–
(A) «UÁfl«U ÁS◊Õ (B) •ªS≈U ⁄UÊÁ«UŸ (C) ∞Œ˜ª⁄U ŒªÊ‚ (D) ◊«UÊ«Uʸ ⁄UÊ‚Ê
13. ߥª˝ÊÁfl¥ª ÃÕÊ ∞Áø¥ª ÁŸêŸÁ‹Áπà ◊¥ ‚ Á∑§‚∑§Ê ÷ʪ „Ò–
(A) ߥ≈ÒUÁÇ‹•Ê (B) ∞ÄflÊÁ≈¥U≈U (C) ç‹Ä‚ʪ˝Ê»§Ë (D) Á‹ÿʪ˝Ê»§Ë
14. ∑˝§ÿÊŸ ÃÕÊ ß¥∑§U ∑§Ê ©¬ÿʪ Á∑§‚◊¥ „ÊÃÊ „Ò?
(A) Á‹Õʪ˝Ê»§Ë (B) ∞Áø¥ª
(C) Á‹ŸÊ-∑§≈U (D) ◊∑§-•¬ Á¬˝¥Á≈¥Uª
15. ≈UÊÚÀ∑§◊ ¬Ê©«U⁄U ∑§Ê ©¬ÿʪ Á∑§‚◊¥ „ÊÃÊ „Ò?
(A) ∞Áø¥ª (B) Á‹ŸÊ-∑§≈U (C) Á‹Õʪ˝Ê»§Ë (D) flÈ«U-∑§≈U
16. ÁŸêŸÁ‹Áπà ◊¥ ‚ ∑§ÊÒŸ ∞∑§ •ÊÁ≈¸US≈U „Ò?
(A) ∞◊. ∞»§. „È‚ÒŸ (B) •’ŸËãŒ˝ŸÊÕ ≈ÒUªÊ⁄U
(C) •ŸÈ¬◊ ‚ÍŒ (D) ◊„ãŒ˝ ¬Ê᫘UÿÊ
17. ߟ◊¥ ‚ ∑§Ê߸ ∞∑§ ©ûÊ⁄U-•ÊœÈÁŸ∑§ Áø¥Ã∑§ „Ò —
(A) ߸. ∞ø . ªÊê’˝Ëø (B) ¡Ê„Ÿ˜ ªÊÀ«UË¥ª
(C) ¡Ò∑§ ŒÁ⁄U«UÊ (D) ߟ◊¥ ‚ ∑§Ê߸ Ÿ„Ë
J7909 5 P.T.O.
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18. One of the great sculptor from Mathura in 6th century AD :
(A) Dignaga (B) Yashadinna
(C) Yasavdatta (D) Ghanamidatta
19. Collection of medieval painting in Deccan is from :
(A) Ahamad nagar (B) Pune
(C) Aurangabad (D) Kolhapur
20. A known Hindu temple with combination of Sultanate architecture is located at.
(A) Delhi (B) Agra (C) Bharatpur (D) Orccha
21. Assertion (A) : A man without literature, music and art is a beast without a tail or
horns - Bartruhari
Reason (R) : Everyone is endowed with an artistic mind but only some are
expressive.
(A) (A) is correct (R) is incorrect
(B) (A) is incorrect (R) is correct
(C) (A) is incorrect (R) is also incorrect
(D) (A) is correct (R) is also correct
22. Assertion (A) : The themes of the paintings of Ravi Varma are Indian. But he followed
the techniques of western artists.
Reason (R) : The artist is free to express his ideas in his own way. He may choose
finer elements of both for the theme and the style.
(A) (A) is correct and (R) is also correct
(B) (A) is correct and (R) is incorrect
(C) (A) is correct and (R) is partially correct
(D) (A) is not correct and (R) is correct
23. Assertion (A) : The company has cost involved in writing stories and gaining the
support of the media for publicity.
Reason (R) : Publicity does not cost anything.
(A) (A) is correct (R) is not correct
(B) (A) is not correct (R) is correct
(C) (A) and (R) are both correct
(D) (A) and (R) are both in correct
J7909 6
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18. ¿U∆UË ‡ÊÃÊÁéŒ ◊¥ ◊ÕÈ⁄UÊ ‚ ∞∑§ ◊„ÊŸ Á‡ÊÀ¬∑§Ê⁄ —
(A) ÁŒÇŸÊª (B) ÿ‡ÊŒËÛÊ (C) ÿ‚flŒûÊ (D) œŸÊ◊ËŒûÊ
19. ŒÅUπŸ ◊¥ ◊äÿ∑§Ê‹ËŸ ÁøòÊÊ¥∑§Ê ‚¥ª˝„ ÿ„Ê°‚ „Ò -
(A) •„◊ŒŸª⁄U (B) ¬ÈáÊ (C) •ÊÒ⁄¥UªÊ’ÊŒ (D) ∑§ÊÀ„ʬÍ⁄U
20. ∞∑§ ¬˝Á‚h Á„ãŒÈ ◊ÁãŒ⁄U Á¡‚◊¥ ‚Àßà SÕʬàÿ ∑§Ê ‚¥Á◊üÊáÊ „Ò fl„ ß‚ ‡Ê„⁄U ◊¥ ÁSÕà „Ò–
(A) ÁŒÀ‹Ë (B) •Êª⁄UÊ (C) ÷⁄UìÍ⁄U (D) •Ê¿Uʸ
21. •Á÷∑§ÕŸ (A) — ““‚ÊÁ„àÿ, ‚¥ªËà •ÊÒ⁄U ∑§‹Ê ‚ Áfl„ËŸ √ÿÁQ§ flÊSÃfl ◊¥ ¬Í°¿U •ÊÒ⁄U ‚Ë¥ª ∑§ Á’ŸÊ ¡ÊŸfl⁄U ∑§
‚◊ÊŸ „ÊÃÊ „Ò–””-÷ø΄⁄UË
∑§Ê⁄UáÊ (R) — ∞∑§ ∑§‹Êà◊∑§ ◊ÁSÃc∑§ ‚÷Ë ∑§ ¬Ê‚ „Ò ‹Á∑§Ÿ ∑ȧ¿U ‹Êª „Ë •Á÷√ÿÁQ§‡ÊË‹ „Êà „Ò¥–
(A) (A) ‚„Ë „Ò (R) ª‹Ã „Ò
(B) (A) ª‹Ã „Ò (R) ‚„Ë „Ò
(C) (A) ª‹Ã „Ò (R) ÷Ë ª‹Ã „Ò
(D) (A) ‚„Ë „Ò (R) ÷Ë ‚„Ë „Ò
22. •Á÷∑§ÕŸ (A) — ⁄UÁfl fl◊ʸ ∑§Ë ¬Á≈¥Uª˜‚ ∑§ “ÕË◊” ÷Ê⁄UÃËÿ „Ò– ¬⁄UãÃÈ ©ã„Ê¥Ÿ ¬Ê‡øÊàÿ ∑§‹Ê∑§Ê⁄UÊ¥ ∑§Ë
Ã∑§ŸË∑§Ê¥ ∑§Ê •ŸÈ‚⁄UáÊ Á∑§ÿÊ „Ò–
∑§Ê⁄UáÊ (R) — ∑§‹Ê∑§Ê⁄U •¬Ÿ ÁfløÊ⁄UÊ¥ ∑§Ê •¬Ÿ Ã⁄UË∑§ ‚ •Á÷√ÿQ§ ∑§⁄UŸ ∑§ Á‹∞ SflÃ¥òÊ „Ò– fl„ ÕË◊
ÃÕÊ ‡ÊÒ‹Ë ŒÊŸÊ¥ ∑§ Á‹∞ ¬Á⁄Uc∑Χà Ãàfl ∑§Ê øÿŸ ∑§⁄U ‚∑§ÃÊ „Ò–
(A) (A) ‚„Ë „Ò ÃÕÊ (R) ÷Ë ‚„Ë „Ò–
(B) (A) ‚„Ë „Ò ÃÕÊ (R) ª‹Ã „Ò–
(C) (A) ‚„Ë „Ò ÃÕÊ (R) •Ê¥Á‡Ê∑§ M§¬ ◊¥ ‚„Ë „Ò–
(D) (A) ª‹Ã „Ò ÃÕÊ (R) ‚„Ë „Ò–
23. •Á÷∑§ÕŸ (A) — ∞∑§ ∑¥§¬ŸË ŒÊŸÊ¥ ¬⁄U πø¸ ∑§⁄UÃË „Ò — ∑§ÕÊ-‹πŸ ¬⁄U ÃÕÊ ¬˝øÊ⁄U ∑§ Á‹∞ ◊ËÁ«UÿÊ ∑§Ê
‚◊Õ¸Ÿ ¬˝Ê# ∑§⁄UŸ ∑§ Á‹∞
∑§Ê⁄UáÊ (R) — ¬˝øÊ⁄U ¬⁄U ∑ȧ¿U πø¸ Ÿ„Ë¥ „ÊÃÊ
(A) (A) ‚„Ë „Ò (R) ª‹Ã „Ò–
(B) (A) ª‹Ã „Ò (R) ‚„Ë „Ò–
(C) (A) ÃÕÊ (R) ŒÊŸÊ¥ ‚„Ë „Ò–
(D) (A) ÃÕÊ (R) ŒÊŸÊ¥ ª‹Ã „Ò–
J7909 7 P.T.O.
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24. Assertion (A) : Sellers promote their products through exhibits and shows to build
consumer awareness and interest.
Reason (R) : Sellers promote their products through exhibits and shows when other
channels fail.
(A) (A) is not correct (R) is correct
(B) (A) is not correct (R) is also not correct
(C) (A) is correct (R) is not correct
(D) (A) and (R) both are correct
25. 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) (A) and (R) both are partially correct
26. Assertion (A) : Rodin is a symbolist as well as Impressionist.
Reason (R) : As Rodin combines two dominant directions of late 19th century art
in his work.
(A) (A) is not correct (R) is partially correct
(B) (A) is correct (R) is also correct
(C) (A) is correct (R) is incorrect
(D) (A) is incorrect (R) is also in correct
27. Assertion (A) : Acid in print-making process is used for removing un-wanted parts
on the metal plate.
Reason (R) : Acid in devastating agent unless and untill erosion-resistant is applied
to metal surface.
(A) (A) is correct (R) is also correct
(B) (A) is incorrect (R) is correct
(C) (A) and (R) both are incorrect
(D) (A) and (R) both are partially correct
J7909 8
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24. •Á÷∑§ÕŸ (A) — •¬Ÿ ©à¬ÊŒÊ¥ ◊¥ ©¬÷Êà∑§Ê•Ê¥ ∑§Ë M§Áø ¡ªÊŸ ÃÕÊ ©à¬ÊŒÊ¥ ∑§ ¬˝Áà ¡ÊªM§∑§ÃÊ ’ŸÊŸ ∑§
Á‹∞ ¬˝Œ‡Ê¸ÁŸÿÊ¥ ÃÕÊ ¬˝Œ‡Ê¸ŸÊ¥ ∑§ ◊Êäÿ◊ ‚ Áfl∑˝§ÃÊ ©à¬ÊŒUÊ¥ ∑§Ê ¬˝Ê◊Ê≈U ∑§⁄Uà „Ò–
∑§Ê⁄UáÊ (R) — ¡’ •ãÿ øÒŸ‹ •‚»§‹ „Ê ¡Êà „Ò¥ Ã’ Áfl∑˝§ÃÊ •¬Ÿ ©à¬ÊŒÊ¥ ∑§ ¬˝Ê◊ʇʟ ∑§ Á‹∞
¬˝Œ‡Ê¸ÁŸÿÊ¥ ÃÕÊ ¬˝Œ‡ÊŸÊ¥ ∑§Ê ‚„Ê⁄UÊ ‹Ã „¥Ò–
(A) (A) ª‹Ã „Ò (R) ‚„Ë „Ò
(B) (A) ª‹Ã „Ò (R) ÷Ë ª‹Ã „Ò
(C) (A) ‚„Ë „Ò (R) ª‹Ã „Ò
(D) (A) ÃÕÊ (R) ŒÊŸÊ ‚„Ë „Ò
25. •Á÷∑§ÕŸ (A) — •Ê∑ΧÁì⁄U∑§ Á‡ÊÀ¬Ê¥ ◊¥ ≈UÄ‚ ø⁄U‹ ‚Ä ¡Ëfl¥ÃÃÊ ©à¬ÛÊ ∑§⁄UÃË „Ò–
∑§Ê⁄UáÊ (R) — Á‡ÊÀ¬Ê¥ ∑§Ê Á÷ÛÊ M§¬ ◊¥ ÁŸÁ◊¸Ã ∑§⁄UŸ ∑§ Á‹∞ Á‡ÊÀ¬∑§Ê⁄UÊ¥ ∑§Ê ∞∑§ Ÿß¸ Ã∑§ŸË∑§ Á◊‹Ë–
(A) (A) •Ê¥Á‡Ê∑§ M§¬ ◊¥ ‚„Ë „Ò, ÃÕÊ (R) ‚„Ë „Ò–
(B) (A) ‚„Ë „Ò ÃÕÊ (R) ÷Ë ‚„Ë „Ò–
(C) (A) ª‹Ã „Ò ÃÕÊ (R) •Ê¥Á‡Ê∑§ M§¬ ‚ ‚„Ë „Ò–
(D) (A) ÃÕÊ (R) ŒÊŸÊ¥ •Ê¥Á‡Ê∑§ M§¬ ‚ ‚„Ë „Ò–
26. •Á÷∑§ÕŸ (A) — ⁄Uʌʰ ∞∑§ ¬˝ÃË∑§flÊŒË (Á‚¥’ÊÚÁ‹S≈U) ÷Ë „Ò •ÊÒ⁄U ¬˝÷ÊflflÊŒË (ߥ¬˝‡ÊÁŸS≈U) ÷Ë–
∑§Ê⁄UáÊ (R) — ÄÿÊ¥Á∑§ ⁄Uʌʰ Ÿ •¬ŸË ∑ΧÁà ◊¥ ©ÛÊË‚flË¥ ‡ÊÃÊéŒË ∑§Ë ŒÊ ¬˝◊Èπ ÁŒ‡ÊÊ•Ê¥ ∑§Ê ‚¥ÿÊÁ¡Ã Á∑§ÿÊ
„Ò¥–
(A) (A) ª‹Ã „Ò (R) •Ê¥Á‡Ê∑§ M§¬ ‚ ‚„Ë „Ò–
(B) (A) ‚„Ë „Ò (R) ÷Ë ‚„Ë „Ò–
(C) (A) ‚„Ë „Ò (R) ª‹Ã „Ò–
(D) (A) ª‹Ã „Ò (R) ÷Ë ª‹Ã „Ò–
27. •Á÷∑§ÕŸ (A) — Á¬˝á≈U◊¥Á∑¥§ª ∑§Ë ¬˝Á∑˝§ÿÊ ◊¥ œÊÃÈ ∑§Ë å‹≈U ∑§ •flÊ¥Á¿Uà ÷ʪʥ ∑§Ê Á◊≈UÊŸ ∑§ Á‹∞ áʒ ∑§Ê
ßSÃ◊Ê‹ Á∑§ÿÊ ¡ÊÃÊ „Ò–
∑§Ê⁄UáÊ (R) — ÿÁŒ œÊÃÈ ∑§Ë ‚Ä ¬⁄U •¬⁄UŒŸ •fl⁄UÊœ∑§ Ÿ„Ë¥ ‹ªÊÿÊ ¡Êÿ ÃÊ Ã¡Ê’ ∞∑§ Áfläfl¥‚∑§ ∑§Ê
∑§Êÿ¸ ∑§⁄UÃÊ „Ò
(A) (A) ‚„Ë „Ò (R) ÷Ë ‚„Ë „Ò
(B) (A) ª‹Ã „Ò (R) ‚„Ë „Ò
(C) (A) ÃÕÊ (R) ŒÊŸÊ¥ ª‹Ã „Ò
(D) (A) ÃÕÊ (R) ŒÊŸÊ¥ •Ê¥Á‡Ê∑§ M§¬ ‚ ‚„Ë „Ò¥
J7909 9 P.T.O.
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28. Assertion (A) : Etching prints can be made using metal plate.
Reason (R) : Etching is easily done without any techincal support.
(A) (A) and (R) both are correct
(B) (A) and (R) both are incorrect
(C) (A) is correct (R) is not correct
(D) (A) is partially correct (R) is not correct
29. Assertion (A) : The notion of classicism is a borrowed concept from the western
art-history and is imposed on Indian art.
Reason (R) : Classicism is an important concept that has been in circulation in Indian
art-history since colonial times.
(A) (A) and (R) both are correct
(B) (A) is correct and (R) incorrect
(C) (A) is incorrect and (R) is correct
(D) (A) and (R) both are incorrect
30. Assertion (A) : Notion of spirituality was used as a conceptual catagory in studying
Indian art traditions.
Reason (R) : Spirituality is propogated as integral part of Indian culture.
(A) (A) and (R) both are incorrect
(B) (A) is correct and (R) is partially correct
(C) (A) is partially correct and (R) is incorrect
(D) (A) and (R) both are correct
31. Arrange the correct sequence from the following Deccany school of paintings in
order :
(A) Ahmadnagar, Bijapur, Golconda, Bidar
(B) Bidar, Bijapur, Ahmadnagar, Golconda
(C) Golconda, Bijapur, Bidar, Ahmadnagar
(D) Bijapur, Bidar, Ahmadnagar, Golconda
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28. •Á÷∑§ÕŸ (A) — œÊÃÈ ∑§Ë å‹≈U ∑§Ê ©¬ÿʪ ∑§⁄U ∞Áø¥ª Á¬˝¥≈˜U‚ ’ŸÊÿ ¡Ê ‚∑§Ã „Ò¥–
∑§Ê⁄UáÊ (R) — Á∑§‚Ë Ã∑§ŸË∑§Ë ‚„ÊÿÃÊ ∑§ Á’ŸÊ ÷Ë ∞Áø¥ª •Ê‚ÊŸË ‚ Á∑§ÿÊ ¡Ê ‚∑§ÃÊ „Ò–
(A) (A) ÃÕÊ (R) ŒÊŸÊ ‚„Ë „¥Ò
(B) (A) ÃÕÊ (R) ŒÊŸÊ ª‹Ã „Ò¥
(C) (A) ‚„Ë „Ò (R) ª‹Ã „Ò
(D) (A) •Ê¥Á‡Ê∑§ M§¬ ‚ ‚„Ë „Ò (R) ª‹Ã „Ò
29. •Á÷∑§ÕŸ (A) — üÊáÿflÊŒ (Ä‹ÊÁ‚∑§ËflÊŒ) ∑§Ë œÊ⁄U ¬Á‡ø◊Ë ∑§‹Ê ∑§ ßÁÄʂ ‚ •ÊŒûÊ ‚¥∑§À¬ŸÊ „Ò ÃÕÊ
ß‚ ÷Ê⁄UÃËÿ ∑§‹Ê ¬⁄U ‹ÊŒ ÁŒÿÊ ªÿÊ „Ò–
Ã∑¸§ (R) — üÊáÿflÊŒ (Ä‹ÊÁ‚∑§ËflÊŒ) ∞∑§ ◊„àfl¬Íáʸ ‚¥∑§À¬ŸÊ „Ò ¡Ê ÷Ê⁄UÃËÿ ∑§‹Ê ∑§ ßÁÄʂ ◊¥
©¬ÁŸfl‡ÊflÊŒ ‚ ø‹Ë •Ê ⁄U„Ë „Ò–
(A) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò
(B) (A) ‚„Ë¥ „Ò ÃÕÊ (R) ª‹Ã „Ò
(C) (A) ª‹Ã „Ò ÃÕÊ (R) ‚„Ë „Ò
(D) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ª‹Ã „Ò
30. •Á÷∑§ÕŸ (A) — ÷Ê⁄UÃËÿ ∑§‹Ê ¬⁄Uê¬⁄UÊ ◊¥ •ÊäÿÊÁà◊∑§ÃÊ ∑§Ë œÊ⁄UáÊÊ ∞∑§ ‚¥∑§À¬ŸÊà◊∑§ ∑§ÊÁ≈U ∑§ M§¬ ◊¥
¬˝ÿÈQ§ ∑§Ë ªß¸ „Ò–
Ã∑¸§ (R) — •ÊäÿÁà◊∑§ÃÊ ÷Ê⁄UÃËÿ ‚¥S∑ΧÁà ∑§ ◊Í‹÷Íà ÷ʪ ∑§ M§¬ ¬˝øÊÁ⁄Uà „È߸ „Ò–
(A) (A) ÃÕÊ (R) ŒÊŸÊ¥ ª‹Ã „Ò
(B) (A) ‚„Ë „Ò, ÃÕÊ (R) •Ê¥Á‡Ê∑§ M§¬ ‚ ‚„Ë „Ò
(C) (A) •Ê¥Á‡Ê∑§ M§¬ ‚ ‚„Ë „Ò •ÊÒ⁄U (R) ª‹Ã „Ò
(D) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò
31. ÁŸêŸÁ‹Áπà ¬Á≈¥Uª ∑§ ŒÁÄπŸË S∑ͧ‹Ê¥ ∑§Ê ‚„Ë ∑˝§◊ ‚ √ÿflÁSÕà ∑§ËÁ¡∞–
(A) •„◊ŒŸª⁄U, ’ˡʬÈ⁄U, ªÊ‹∑§Ê¥«UÊ, Á’Œ⁄U
(B) Á’Œ⁄U, ’ˡʬÈ⁄U, •„◊ŒŸª⁄U, ªÊ‹∑§Ê¥«UÊ
(C) ªÊ‹∑§Ê¥«UÊ, ’ˡʬÈ⁄U, Á’Œ⁄U, •„◊ŒŸª⁄
(D) ’ˡʬÈ⁄U, Á’Œ⁄U, •„◊ŒŸª⁄U, ªÊ‹∑§Ê¥«UÊ
J7909 11 P.T.O.
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32. Select the correct sequence in the following Art movements of western countries in
order :
(A) Expressionism, Cubism, Dadaism, Surrealism
(B) Surrealism, Expressionism, Cubism, Dadaism
(C) Dadaism, Cubism, Expressionism, Surrealism
(D) Surrealism, Expressionism, Cubism, Dadaism
33. Select the correct sequence in chronological order :
(A) Gothic, Romanesque, Roman, Medieval
(B) Roman, Romanesque, Gothic, Medieval
(C) Roman, Medieval, Romanesque, Gothic
(D) Medieval, Romanesque, Roman, Gothic
34. Select the correct sequence in order of Seniority :
(A) Rembrandt, Delacroix, Monet, Duchamp
(B) Delacroix, Monet, Duchamp, Rembrandt
(C) Monet, Duchamp, Rembrandt, Delacroix
(D) Rembrandt, Monet, Duchamp, Delacroix
35. Arrange an order of four major medias which they appeared in India :
(i) Print
(ii) Film
(iii) Television
(iv) Radio
code :
(A) (ii) (iii) (iv) (i)
(B) (ii) (iv) (i) (iii)
(C) (i) (iv) (ii) (iii)
(D) (iv) (i) (iii) (ii)
36. Select the correct sequecnce of colours the way it is pronounced in normal practice.
(i) M(magenta) (ii) Y(yellow)
(iii) C(cyan) (iv) K(black)
code :
(A) (ii) (iv) (iii) (i)
(B) (iii) (i) (ii) (iv)
(C) (i) (iv) (ii) (iii)
(D) (ii) (i) (iii) (iv)
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32. ¬Á‡ø◊Ë Œ‡ÊÊ¥ ◊¥ „È∞ ∑§‹Ê •Ê¥ŒÊ‹Ÿ ∑§Ê ‚„Ë ∑˝§◊ ∑§Ê øÿŸ ∑§ËÁ¡∞ —
(A) •Á÷√ÿ¥¡ŸÊflÊŒ, ÉÊŸflÊŒ, ŒÊŒÊflÊŒ, •ÁÃÿÕÊÕ¸flÊŒ
(B) •ÁÃÿÕÊÕ¸flÊŒU, •Á÷√ÿ¥¡ŸÊflÊŒU, ÉÊŸflÊŒ, ŒÊŒÊflÊŒ
(C) ŒÊŒÊflÊŒ, ÉÊŸflÊŒ, •Á÷√ÿ¥¡ŸÊflÊŒ, •ÁÃÿÕÊÕ¸flÊŒU
(D) •ÁÃÿÕÊÕ¸flÊŒU , •Á÷√ÿ¥¡ŸÊflÊŒU, ÉÊŸflÊŒ, ŒÊŒÊflÊŒ
33. ߟ∑§Ê ∑§Ê‹∑˝§◊ ∑§Ë ŒÎÁC ‚ ‚„Ë ∑˝§◊ ∑§Ê øÿŸ ∑§ËÁ¡∞ —
(A) ªÊÚÁÕ∑§, ⁄UÊ◊ŸSÄÿÍ, ⁄UÊ◊Ÿ, ◊äÿ∑§Ê‹ËŸ
(B) ⁄UÊ◊ŸU, ⁄UÊ◊ŸSÄÿÍ, ªÊÚÁÕ∑§, ◊äÿ∑§Ê‹ËŸ
(C) ⁄UÊ◊Ÿ, ◊äÿ∑§Ê‹ËŸ, ⁄UÊ◊ŸSÄÿÍ, ªÊÚÁÕ∑§
(D) ◊äÿ∑§Ê‹ËŸU , ⁄UÊ◊ŸSÄÿÍ, ⁄UÊ◊Ÿ, ªÊÚÁÕ∑§
34. flÁ⁄UDÃÊ ∑§Ë ŒÎÁC ‚ ߟ∑§ ‚„Ë ∑˝§◊ ∑§Ê øÿŸ ∑§ËÁ¡∞ —
(A) ⁄Uê’˝Ê°, Œ‹∑˝§ÊÚ, ◊ÊŸ, «ÿȇÊÊ
(B) Œ‹∑˝§ÊÚU, ◊ÊŸ, «ÿȇÊʧ, ⁄Uê’˝Ê°
(C) ◊ÊŸ, «ÿȇÊÊ, ⁄Uê’˝Ê°, Œ‹∑˝§ÊÚ
(D) ⁄Uê’˝Ê°U , ◊ÊŸ, «ÿȇÊÊ, Œ‹∑˝§ÊÚ
35. ÷Ê⁄Uà ◊¥ Á¡‚ ¬˝∑§Ê⁄U ‚ øÊ⁄U ¬˝◊Èπ ¡Ÿ ‚¥øÊ⁄U ◊Êäÿ◊ •Ê∞ „Ò ©Ÿ∑§Ê ‚„Ë ∑˝§◊ ◊¥ √ÿflÁSÕà ∑§ËÁ¡∞ —
(i) Á¬˝¥≈U (ii) Á»§À◊ (iii) ŒÍ⁄UŒ‡Ê¸Ÿ (iv) ⁄UÁ«UÿÊ
∑§Ê«U —
(A) (ii) (iii) (iv) (i)
(B) (ii) (iv) (i) (iii)
(C) (i) (iv) (ii) (iii)
(D) (iv) (i) (iii) (ii)
36. ⁄¥Uª Á¡‚ ¬˝∑§Ê⁄U ‚ ‚Ê◊Êãÿ ¬˝ÿʪ ◊¥ ∑§Ê◊ ◊¥ •Êà „Ò ©Ÿ∑§ ‚„Ë ∑˝§◊ ∑§Ê øÿŸ ∑§ËÁ¡∞—
(i) ∞◊ (◊Ò¡Ò¥≈U Ê) (ii) flÊ߸ (¬Ë‹Ê) (iii) ‚Ë (‚Ë∞Ÿ) (iv) ∑§ (é‹Ò∑§)
∑§Ê«U —
(A) (ii) (iv) (iii) (i)
(B) (iii) (i) (ii) (iv)
(C) (i) (iv) (ii) (iii)
(D) (ii) (i) (iii) (iv)
J7909 13 P.T.O.
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37. Select the correct sequence as per seniority :
(A) Deepak Banerjee, Naina Dalal, Rini Dhumal, Pinaki Barua
(B) Naina Dalal, Deepak Banerjee, Rini Dhumal, Pinaki Barua
(C) Deepak Banerjee, Pinaki Barua, Naina Dalal, Rini Dhumal
(D) Rini Dhumal, Deepak Banerjee, Naina Dalal, Pinaki Barua
38. Which one of the following set of material is correct :
(A) Roller, Stone, Collograph, Touch
(B) A la Pupee, Rocker, Roller, Burnister
(C) Embossing, Chine-colle, Relief, Stone
(D) Screen, PVC, Squeezee, Table
39. Choose the correct sequence :
(A) Mauryas, Kushans, Pratiharas, Guptas
(B) Pratiharas, Kushans, Guptas, Mauryas
(C) Mauryas, Kushans, Guptas, Pratiharas
(D) Mauryas, Guptas, Kushans, Pratiharas
40. Choose the correct chronological sequence :
(A) Badami, Karla, Pitalkhora, Mahabalipuram
(B) Pitalkhora, Karla, Badami, Mahabalipuram
(C) Karla, Pitalkhora, Badami, Mahabalipuram
(D) Pitalkhora, Badami, Karla, Mahabalipuram
J7909 14
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37. fl⁄UËÿÃÊ ∑§Ë ŒÎÁC ‚ ‚„Ë ∑˝§◊ ∑§Ê øÿŸ ∑§ËÁ¡∞ —
(A) ŒË¬∑§ ’ÒŸ¡Ë¸, ŸÿŸÊ Œ‹Ê‹, ⁄UËŸË œÍ◊Ê‹, Á¬ŸÊ∑§Ë ’M§•Ê
(B) ŸÿŸÊ Œ‹Ê‹, ŒË¬∑§ ’ÒŸ¡Ë¸, ⁄UËŸË œÍ◊Ê‹, Á¬ŸÊ∑§Ë ’M§•Ê
(C) ŒË¬∑§ ’ÒŸ¡Ë¸, Á¬ŸÊ∑§Ë ’M§•Ê, ŸÿŸÊ Œ‹Ê‹, ⁄UËŸË œÍ◊Ê‹
(D) ⁄UËŸË œÍ◊Ê‹, ŒË¬∑§ ’ÒŸ¡Ë¸, ŸÿŸÊ Œ‹Ê‹, Á¬ŸÊ∑§Ë ’M§•Ê
38. ‚Ê◊ª˝Ë ∑§ ‚≈U ∑§Ê ÁŸêŸÁ‹Áπà ◊¥ ‚ ‚„Ë ∑˝§◊ ’ÃÊß∞ —
(A) ⁄UÊ‹⁄U, S≈UÊŸ, ∑§Ê‹Êª˝Ê»§, ≈Uø
(B) •ÊÚ ‹ÊÚ ¬È¬, ⁄UÊÚ∑§⁄U, ⁄UÊ‹⁄U, Á’ÁŸ¸S≈U⁄U
(C) ∞ê’ÊÚÁ¡¥ª, ÁøŸ∑§Ê‹, Á⁄UÁ‹»§, S≈UÊŸ
(D) S∑˝§ËŸ, ¬ËflË‚Ë, SÄÿÍ߸¡Ë, ≈U’‹
39. ‚„Ë ∑˝§◊ ∑§Ê øÿŸ ∑§ËÁ¡∞—§
(A) ◊ÊÒÿ¸, ∑ȧ·ÊáÊ, ¬˝ÁÄÊ⁄U, ªÈ#
(B) ¬˝ÁÄÊ⁄U, ∑ȧ·ÊáÊ, ªÈ#, ◊ÊÒÿ¸
(C) ◊ÊÒÿ¸, ∑ȧ·ÊáÊ, ªÈ#, ¬˝ÁÄÊ⁄U
(D) ◊ÊÒÿ¸, ªÈ#, ∑ȧ·ÊáÊ, ¬˝ÁÄÊ⁄U
40. ∑§Ê‹∑˝§◊ ∑§Ë ŒÎÁC ‚ ‚„Ë ∑˝§◊ ∑§Ê øÿŸ ∑§ËÁ¡∞—§
(A) ’ÊŒÊ◊Ë, ∑§⁄U‹Ê, ¬ËËπÊ⁄UÊ, ◊„Ê’‹Ë¬È⁄U◊
(B) ¬ËËπÊ⁄UÊ, ∑§⁄U‹Ê, ’ÊŒÊ◊Ë, ◊„Ê’‹Ë¬È⁄U◊
(C) ∑§⁄U‹Ê, ¬ËËπÊ⁄UÊ, ’ÊŒÊ◊Ë, ◊„Ê’‹Ë¬È⁄U◊
(D) ¬ËËπÊ⁄UÊ, ’ÊŒÊ◊Ë, ∑§⁄U‹Ê, ◊„Ê’‹Ë¬È⁄U◊
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41. Match the following
(a) Hyderabad (i) Kailas Temple
(b) Ellora (ii) Gol Gummaz
(c) Ajanta (iii) Salarjang Museum
(d) Bijapur (iv) Padmapani Bodhisatva
Code :
(a) (b) (c) (d)
(A) (iii) (i) (iv) (ii)
(B) (i) (iv) (ii) (iii)
(C) (iv) (ii) (iii) (i)
(D) (ii) (iii) (i) (iv)
42. Attribute the right city to the given museum :
(a) Indian Museum (i) Bhopal
(b) Bharat Bhavan (ii) Mumbai
(c) Salarjung Museum (iii) Kolkatta
(d) Prince of Wales Museum (iv) Hyderabad
Code :
(a) (b) (c) (d)
(A) (ii) (i) (iii) (iv)
(B) (iii) (i) (iv) (ii)
(C) (iv) (iii) (ii) (i)
(D) (i) (ii) (iii) (iv)
43. Match the following :
(a) Pica (i) Surface quality
(b) Font (ii) Colour
(c) Hue (iii) Unit of measure of length of line
(d) Texture (iv) Type
Code :
(a) (b) (c) (d)
(A) (iv) (ii) (iii) (i)
(B) (i) (ii) (iv) (iii)
(C) (iii) (iv) (ii) (i)
(D) (ii) (i) (iii) (iv)
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41. ÁŸêŸÁ‹Áπà ∑§Ê Á◊‹Êß∞ —
(a) „ÒŒ⁄UÊ’ÊŒ (i) ∑Ò§‹Ê‡Ê ◊¥ÁŒ⁄U
(b) ∞‹Ê⁄UÊ (ii) ªÊ‹ ªÈê’¡
(c) •¡ãÃÊ (iii) ‚Ê‹Ê⁄U¡¥ª êÿÍÁ$¡ÿ◊
(d) ’ˡʬÈ⁄U (iv) ¬Œ˜◊Ê¬ÊŸË ’ÊÁœSàfl
∑§Ê«U —
(a) (b) (c) (d)
(A) (iii) (i) (iv) (ii)
(B) (i) (iv) (ii) (iii)
(C) (iv) (ii) (iii) (i)
(D) (ii) (iii) (i) (iv)
42. ÁŒ∞ ª∞ êÿÍÁ$¡ÿ◊ ∑§ Á∑§‚ ‡Ê„⁄U ∑§Ë Áfl‡Ê·ÃÊ „Ò —
(a) ߥÁ«UÿŸ êÿÍÁ$¡ÿ◊ (i) ÷ʬʋ
(b) ÷Ê⁄Uà ÷flŸ (ii) ◊È¥’߸
(c) ‚Ê‹Ê⁄U¡¥ª êÿÍÁ$¡ÿ◊ (iii) ∑§Ê‹∑§ûÊÊ
(d) Á¬¥˝‚ •Ê»§ flÀ‚ êÿÍÁ$¡ÿ◊ (iv) „ÒŒ⁄UÊ’ÊŒ
∑§Ê«U —
(a) (b) (c) (d)
(A) (ii) (i) (iii) (iv)
(B) (iii) (i) (iv) (ii)
(C) (iv) (iii) (ii) (i)
(D) (i) (ii) (iii) (iv)
43. ÁŸêŸÁ‹Áπà ∑§Ê Á◊‹Êß∞ —
(a) ¬Ë∑§Ê (i) ‚Ã„Ë ªÈáÊ
(b) »§Ê¥≈U (ii) ⁄¥Uª
(c) sÍ (iii) ⁄UπÊ ∑§Ë ‹¥ê’Ê߸ ◊ʬŸ flÊ‹Ë ß∑§Ê߸
(d) ≈ÒUÄø⁄U (iv) ≈UÊ߬
∑§Ê«U —
(a) (b) (c) (d)
(A) (iv) (ii) (iii) (i)
(B) (i) (ii) (iv) (iii)
(C) (iii) (iv) (ii) (i)
(D) (ii) (i) (iii) (iv)
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44. Match the following :
(a) Durer (i) Shanti Niketan
(b) Laxma Gaud (ii) New York
(c) Somnath Hore (iii) Hyderabad
(d) Krishna Reddy (iv) Germany
Code :
(a) (b) (c) (d)
(A) (ii) (iii) (iv) (i)
(B) (iv) (iii) (i) (ii)
(C) (iii) (i) (ii) (iv)
(D) (iv) (iii) (ii) (i)
45. Match the following :
(a) S.H.Raza (i) Mural
(b) Satish Gujral (ii) Painting
(c) Shiba Cchachi (iii) Sculpture
(d) John Devaraj (iv) Multi-media installations
Code :
(a) (b) (c) (d)
(A) (iii) (ii) (iv) (i)
(B) (ii) (iv) (i) (iii)
(C) (ii) (i) (iv) (iii)
(D) (i) (ii) (iii) (iv)
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44. ÁŸêŸÁ‹Áπà ∑§Ê Á◊‹Êß∞ —
(a) «KÍ⁄U⁄U (i) ‡ÊÊ¥Áà ÁŸ∑§ÃŸ
(b) ‹ˇ◊Ê ªÊÒ«∏U (ii) ãÿÍÿÊ∑¸§
(c) ‚Ê◊ŸÊÕ „Ê⁄U (iii) „ÒŒ⁄UÊ’ÊŒ
(d) ∑ΧcáÊÊ ⁄U«˜«UË (iv) ¡◊¸ŸË
∑§Ê«U —
(a) (b) (c) (d)
(A) (ii) (iii) (iv) (i)
(B) (iv) (iii) (i) (ii)
(C) (iii) (i) (ii) (iv)
(D) (iv) (iii) (ii) (i)
45. ÁŸêŸÁ‹Áπà ∑§Ê Á◊‹Êß∞ —
(a) ∞‚. ∞ø. ⁄U$¡Ê (i) êÿÈ⁄U‹
(b) ‚ÃË‡Ê ªÈ¡⁄UÊ‹ (ii) ¬Á≈¥Uª
(c) Á‡Ê’Ê ¿UøË (iii) S∑§‹¬ø⁄U
(d) ¡Ê°Ÿ Œfl⁄UÊ¡ (iv) ◊À≈UË ◊ËÁ«UÿÊ ß¥S≈UÊ‹‡ÊŸ
∑§Ê«U —
(a) (b) (c) (d)
(A) (iii) (ii) (iv) (i)
(B) (ii) (iv) (i) (iii)
(C) (ii) (i) (iv) (iii)
(D) (i) (ii) (iii) (iv)
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Read the following passage and answer the questions nos. 46-50 :
Museums are collection of art-objects. The idea of museum is to store the objects
of art and day-to day house-hold objects. The museums thrive on the rarity of the
object. Without the tag of rarity, museum cannot attract public. They are an important
institutions for building cultural resources. Earlier, museums would house only the
old-objects or old works of art but today the definition of rarity does not hold ground
because the idea of work of art has changed considerably. Any object when displayed
differently and when its existance is defined by its context and the space in which it is
being Exhibited, become an object of art. It contains numerous objects that are made
by hands as well as are ready-made objects.
Ready-made objects are used as material and form in creating a work of art.
Because of availability of such ready-made objects, artist attempt to use them to project
his/her visual ideas. Such objects are contextualised to re-arrange its existing space
into a space of rarity to become a museum object.
In populer visual culture, rarity has no place when a particular object, print etc.,
is in circulation. Till it is produced as salable commodity, it remains a popular object
but when its mass production stops and circulation gets shrinked in market, it suddenly
becomes an object of rarity.
These days market-forces rule the rarity of object and artists voice is marginalised.
Suddenly the defining elements of affordability and luxury are the market prices.
Print-makers, sculptors, painters, applied artists have to respond to emerging
market forces. However, there are many who are not moved by market-forces and
prefer to capitalise their freedom into a market price. Museum as an institution has
been transformed into the place of public displays and as a stored-place. But exclusions
in its collection and display show its hegemonic attitude as well as an institution of
control of cultural resources.
46. Museum has collection of :
(A) All artifacts (B) Art-works
(C) Art-objects (D) Art and popular objects
47. Object of popular visual culture becomes rare because :
(A) It is mass produced
(B) Shrink in Circulation and production
(C) Shrink in market-forces
(D) Shrink in commodity interest
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ŸËø ÁŒÿ ªÿ ¬Ò‚¡ ∑§Ê ¬…∏∑§⁄U ¬˝‡Ÿ ‚¥ÅÿÊ 46-50 ∑§ ©ûÊ⁄U ŒËÁ¡∞–
‚¥ª˝„Ê‹ÿ ∑§‹Ê-flSÃÈ•Ê¥ ∑§ ‚¥ª˝„ „Êà „Ò¥– ‚¥ª˝„Ê‹ÿ ∑§Ë ‚¥∑§À¬ŸÊ ∑§‹Ê-flSÃÈ•Ê¥ ÃÕÊ ŒÒÁŸ∑§ ©¬ÿʪ ∑§Ë
ÉÊ⁄U‹Í flSÃÈ•Ê¥ ∑§Ê ÷á«UÊ⁄UáÊ „Ò– ‚¥ª˝„Ê‹ÿ ◊ flSÃÈ•Ê¥ ∑§Ë ŒÈ‹¸÷ÃÊ ¬˝œÊŸ „ÊÃË „Ò¥– ŒÈ‹¸÷ÃÊ ∑§ ∆Uå¬ ∑§ Á’ŸÊ
‚¥ª˝„Ê‹ÿ ¡Ÿ‚Ê◊Êãÿ ∑§Ê •Ê∑§Á·¸Ã Ÿ„Ë¥ ∑§⁄U ‚∑§Ã– ‚Ê¥S∑ΧÁÃ∑§ ‚¥‚ÊœŸÊ¥ ∑§ ÁŸ◊ʸáÊ ∑§ Á‹∞ ÿ ◊„àfl¬Íáʸ
‚¥SÕÊ∞° „Ò¥– ¬„‹ ‚¥ª˝„Ê‹ÿÊ¥ ◊¥ ¬È⁄UÊŸË flSÃÈ•Ê¥ ÿÊ ¬È⁄UÊŸË ∑§‹Ê-∑ΧÁÃÿÊ¥ ∑§Ê ⁄UπÊ ¡ÊÃÊ ÕÊ, ¬⁄UãÃÈ •Ê¡ ŒÈ‹¸÷ÃÊ ∑§Ë
¬Á⁄U÷Ê·Ê ß‚∑§Ê ‚’‹ •ÊœÊ⁄U Ÿ„Ë¥ ⁄U„ ªß¸ „Ò– ÄÿÊ¥Á∑§ ∑§‹Ê ∑§Ë ∑ΧÁÃÿÊ¥ ∑§Ë ‚¥∑§À¬ŸÊ •’ ∑§Ê»§Ë ’Œ‹ øÈ∑§Ë „Ò–
∑§Ê߸ flSÃÈ ¡’ Á÷ÛÊ M§¬ ‚ ¬˝ŒÁ‡Ê¸Ã „Ê ÃÕÊ ¡’ ©‚∑§ •ÁSÃàfl ∑§Ê ©‚∑§ ‚¥Œ÷¸ ◊¥ ÃÕÊ fl„ ¡„Ê° ¬˝ŒÁ‡Ê¸Ã „Ê
©‚∑§ ¬Á⁄U¬˝ˇÿ ◊ ¬Á⁄U÷ÊÁ·Ã Á∑§ÿÊ ªÿÊ „Ê Ã’ fl„ flSÃÈ ∑§‹Ê-flSÃÈ ’Ÿ ¡ÊÃË „Ò– ß‚◊¥ „SÃ-ÁŸÁ◊¸Ã ÃÕÊ ÃÒÿÊ⁄U
‡ÊÈŒÊ •ªÁáÊà flSÃÈ∞° ‚ÁÛÊÁ„à „Ò¥– ∑§‹Ê ∑§Ë ∑ΧÁÃÿÊ¥ ∑§ ‚ΡŸ ◊ ÃÒÿÊ⁄U‡ÊÈŒÊ flSÃÈ•Ê¥ ∑§Ê ¬˝ÿʪ ‚Ê◊ª˝Ë ÃÕÊ •Ê∑§Ê⁄U
∑§ M§¬ ◊¥ Á∑§ÿÊ ¡ÊÃÊ „Ò– ß‚ ¬˝∑§Ê⁄U ∑§Ë ÃÒÿÊ⁄U ‡ÊÈŒÊ flSÃÈ•Ê¥ ∑§Ë ©¬‹éœÃÊ ∑§ ∑§Ê⁄UáÊ, ∑§‹Ê∑§Ê⁄U •¬ŸË
ŒÎ‡ÿÊà◊∑§ ‚¥∑§À¬ŸÊ•Ê¥ ∑§Ê ¬˝ˇÊÁ¬Ã ∑§⁄UŸ ∑§ Á‹∞ ∑§⁄Uà „Ò¥– ß‚ ¬˝∑§Ê⁄U ∑§Ë flSÃÈ•Ê¥ ∑§Ê ©Ÿ∑§Ë ◊ÊÒ¡ÍŒÊ ÁSÕÁà ‚
∞∑§ ŒÈ‹¸÷ÃÊ ∑§Ë ÁSÕÁà ¬⁄U ¬ÈŸ√ÿ¸flÁSÕà ∑§⁄U ©ã„¥ ‚¥ª˝„Ê‹ÿ-flSÃÈ ’ŸÊŸ ∑§ Á‹∞ ¬˝‚¥ªÊœËŸ Á∑§ÿÊ ¡ÊÃÊ „Ò– ¡’
Ã∑§ ∞∑§ flSÃÈ •ÕflÊ ÁøòÊ-Áfl‡Ê· ßàÿÊÁŒ ÁflÃ⁄UáÊ ◊¥ „ÊÃÊ „Ò Ã’ Ã∑§ ‹Ê∑§Á¬˝ÿ ŒÎ‡ÿ ‚¥S∑ΧÁà ◊¥ ŒÈ‹¸÷ÃÊ ∑§
Á‹∞ ∑§Ê߸ SÕÊŸ Ÿ„Ë¥ ⁄U„ÃÊ– ¡’ Ã∑§ ∞∑§ Áfl∑˝§ÿ flSÃÈ ∑§ M§¬ ◊¥ ß‚∑§Ê ©à¬ÊŒŸ Ÿ„Ë¥ „ÊÃÊ Ã’ Ã∑§ ÿ„ ∞∑§
‹Ê∑§Á¬˝ÿ flSÃÈ ’ŸË ⁄U„ÃË „Ò– ¬⁄UãÃÈ ¡’ ß‚∑§Ê ¬È¥¡Êà¬ÊŒŸ ’¥Œ „Ê ¡ÊÃÊ „Ò ÃÕÊ ’Ê¡Ê⁄U ◊¥ ß‚∑§Ê ÁflÃ⁄UáÊ ÉÊ≈U ¡ÊÃÊ
„Ò, ÿ„ •øÊŸ∑§ „Ë ŒÈ‹¸÷ÃÊ ∑§Ë flSÃÈ ’Ÿ ¡ÊÃË „Ò–
•Ê¡∑§‹ “flSÃÈ•Ê¥ ∑§Ë ŒÈ‹¸÷ÃÊ” ¬⁄U ’Ê¡Ê⁄U ∑§Ë ÃÊ∑§ÃÊ¥ ∑§Ê flø¸Sfl „Ò ÃÕÊ ∑§‹Ê∑§Ê⁄Ê¥ ∑§Ë •ÊflÊ¡ „ÊÁ‡Êÿ
¬⁄U ø‹Ë ªß¸ „Ò– •øÊŸ∑§ „Ë, ’Ê¡Ê⁄U ∑§Ë ∑§Ë◊Ã¥ „Ë π⁄UËŒŸ ∑§Ë ˇÊ◊ÃÊ ÃÕÊ Áfl‹Ê‚ʬ∑§⁄UáÊ ∑§Ê ¬Á⁄U÷ÊÁ·Ã ∑§⁄UŸ
flÊ‹Ë ÁŸœÊ¸⁄U∑§ Ãàfl ’Ÿ ªß¸ „Ò¥–
ÁøòÊ∑§Ê⁄UÊ¥, ◊ÍÁø∑§Ê⁄UÊ¥, ©¬ÿÊÁªÃ ∑§‹Ê∑§Ê⁄UÊ¥ ∑§Ê ©ŒËÿ◊ÊŸ ’Ê¡Ê⁄-‡ÊÁà∑§ÿÊ¥ ∑§ ¬˝Áà •ŸÈÁ∑˝§ÿʇÊË‹ „ÊŸÊ
„ʪʖ Á»§⁄U ÷Ë, ∞‚ ’„Èà ‚ ‹Êª „Ò¥ ¡Ê ’Ê¡Ê⁄U-‡ÊÁQ§ÿÊ¥ ‚ ÁfløÁ‹Ã Ÿ„Ë¥ „Êà ÃÕÊ •¬ŸË SflÃ¥òÊÃÊ ‚ ’Ê¡Ê⁄U-
∑§Ë◊ÃÊ¥ ∑§Ê ∑Ò§¬Ë≈U‹Êß¡ ∑§⁄UŸ ∑§Ê Ã⁄U¡Ë„ ŒÃ „Ò¥– ∞∑§ ‚¥SÕÊ ∑§ M§¬ ◊¥ ‚¥ª˝„Ê‹ÿ ‹Ê∑§-¬˝Œ‡Ê¸Ÿ ∑§ SÕÊŸ ÃÕÊ
÷á«UÊ⁄UáÊ ∑§ SÕÊŸ ◊¥ M§¬Ê¥ÃÁ⁄Uà „Ê øÈ∑§ „Ò¥– ¬⁄UãÃÈ ßŸ∑§ ‚¥ª˝„ ◊¥ ’Á„c∑§⁄UáÊ ÃÕÊ ¬˝Œ‡Ê¸Ÿ ‚¥ÊS∑ΧÁÃ∑§ ‚¥‚ÊœŸÊ ¬⁄U
©Ÿ∑§Ë •ÊÁœàÿ¬Íáʸ ÃÕÊ ÁŸ⁄¥U∑ȧ‡Ê ÁŸÿ¥òÊáÊ ∑§Ë ◊ŸÊflÎÁà Œ‡ÊʸÃÊ „Ò¥–
46. ‚¥ª˝„Ê‹ÿÊ¥ ◊¥ ÄÿÊ ‚ª˝Á„à „ÊÃÊ „Ò¥–
(A) ‚÷Ë •Á≈¸U»Ò§Ä≈˜U‚ (B) ∑§‹Ê-∑ΧÁÃÿÊ°
(C) ∑§‹Ê flSÃÈ∞° (D) ∑§‹Ê ∞fl¥ ‹Ê∑§Á¬˝ÿ flSÃÈ∞°
47. ‹Ê∑§Á¬˝ÿ ŒÎ‡ÿ ‚¥S∑ΧÁà ∑§Ë flSÃÈ ŒÈ‹¸÷ ’Ÿ ¡ÊÃË „Ò ÄÿÊ¥Á∑§ —
(A) ß‚∑§Ê ¬È¥¡Êà¬ÊŒŸ „ÊÃÊ „Ò– (B) ÁflÃ⁄UáÊ ‚¥ÅÿÊ ÃÕÊ ©à¬ÊŒŸ ‚¥ÅÿÊ ÉÊ≈U ¡ÊŸÊ
(C) ’Ê¡Ê⁄U ÃÊ∑§ÃÊ¥ ∑§Ê ∑§◊ „Ê ¡ÊŸÊ (D) Á¡¥‚-M§Áø ◊¥ ∑§◊Ë •ÊŸÊ
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48. Market forces rule :
(A) Marginalised voices (B) Affordability
(C) Rarity of Object (D) Luxury
49. Exclusion in collection of object by the Museum shows :
(A) Hegemoney (B) Public display
(C) Cultural resources (D) Rarity of objects
50. What is the role of freedom of artist in art economy ?
(A) Capitalising into public and museum displays
(B) Capitalising into market price
(C) Capitalising into hegemonic market prices
(D) Capitalising into institutions of control
-oOo-
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48. ’Ê¡Ê⁄U ∑§Ë ÃÊ∑§Ã¥ ÁŸÿ¥ÁòÊà ∑§⁄UÃË „Ò¥ —
(A) „ÊÁ‡Êÿ ¬⁄U ø‹Ë ªß¸ •ÊflÊ¡ (B) π⁄UËŒ-ˇÊ◊ÃÊ
(C) flSÃÈ ∑§Ë ŒÈ‹¸÷ÃÊ (D) Áfl‹Ê‚ʬ∑§⁄UáÊ
49. ‚¥ª˝„Ê‹ÿ mÊ⁄UÊ •¬Ÿ ‚¥ª˝„ ‚ ∑ȧ¿U flSÃÈ•Ê¥ ∑§Ê flÁ„c∑§⁄UáÊ ÄÿÊ Œ‡ÊʸÃÊ „Ò?
(A) •ÊÁœ¬àÿ-÷Êfl (B) ‹Ê∑§ ¬˝Œ‡Ê¸Ÿ
(C) ‚Ê¥S∑ΧÁÃ∑§ ‚¥‚ÊœŸ (D) flSÃÈ•Ê¥ ∑§Ë ŒÈ‹¸÷ÃÊ
50. ∑§‹Ê-•Õ¸√ÿflSÕÊ ◊¥ ∑§‹Ê∑§Ê⁄U ∑§Ë SflÃ¥òÊÃÊ ∑§Ë ÄÿÊ ÷ÍÁ◊∑§Ê „Ò–
(A) ‹Ê∑§ ÃÕÊ ‚¥ª˝„Ê‹ÿ ¬˝Œ‡Ê¸ŸÊ¥ ◊¥ ∑Ò§Á¬≈U‹Êß¡ ∑§⁄UŸÊ
(B) ’Ê¡Ê⁄U ∑§Ë ∑§Ë◊ÃÊ¥ ◊¥ ∑Ò§Á¬≈U‹Êß¡ ∑§⁄UŸÊ
(C) •ÊÁœ¬àÿʜ˟ ’Ê¡Ê⁄U ∑§Ë◊ÃÊ¥ ◊¥ ∑Ò§Á¬≈U‹Êß¡ ∑§⁄UŸÊ
(D) ÁŸÿ¥òÊáÊ ÷⁄UË ‚¥SÕÊ ◊¥ ∑Ò§Á¬≈U‹Êß¡ ∑§⁄UŸÊ
-oOo-
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Space For Rough Work J7909 24
Official key not published for this paper.
Page 1 of 24
Source: University Grants Commission. Question paper published by University Grants Commission.