UGC NET 2016: July, Paper III, Visual Art
Text of page 1
PAPER-III
VISUAL ARTS
Signature and Name of Invigilator
1. (Signature) __________________________ OMR Sheet No. : ...............................................
(Name) ____________________________ (To be filled by the Candidate)
2. (Signature) __________________________ Roll No.
(Name) ____________________________ (In figures as per admission card)
Roll No.________________________________
J 7 9 1 6 (In words)
Time : 2 1/2 hours] [Maximum Marks : 150
Number of Pages in this Booklet : 32 Number of Questions in this Booklet : 75
Instructions for the Candidates ¯Ö¸üßõÖÖÙ£ÖμÖÖë Ûêú ×»Ö‹ ×®Ö¤ìü¿Ö
1. Write your roll number in the space provided on the top of 1. ‡ÃÖ ¯Öéšü Ûêú ‰ú¯Ö¸ü ×®ÖμÖŸÖ Ã£ÖÖ®Ö ¯Ö¸ü †¯Ö®ÖÖ ¸üÖê»Ö ®Ö´²Ö¸ü ×»Ö×ÜÖ‹ …
this page. 2. ‡ÃÖ ¯ÖÏ¿®Ö-¯Ö¡Ö ´Öë ¯Ö“ÖÆü¢Ö¸ü ²ÖÆãü×¾ÖÛú»¯ÖßμÖ ¯ÖÏ¿®Ö Æïü …
2. This paper consists of seventy five multiple-choice type of 3. ¯Ö¸üßõÖÖ ¯ÖÏÖ¸ü´³Ö ÆüÖê®Öê ¯Ö¸ü, ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ †Ö¯ÖÛúÖê ¤êü ¤üß •ÖÖμÖêÝÖß … ¯ÖÆü»Öê
questions. ¯ÖÖÑ“Ö ×´Ö®Ö™ü †Ö¯ÖÛúÖê ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ ÜÖÖê»Ö®Öê ŸÖ£ÖÖ ˆÃÖÛúß ×®Ö´®Ö×»Ö×ÜÖŸÖ
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(ii) Tally the number of pages and number of questions Æïü … ¤üÖêÂÖ¯ÖæÞÖÔ ¯Öã×ßÖÛúÖ ×•Ö®Ö´Öë ¯Öéšü/¯ÖÏ¿®Ö Ûú´Ö ÆüÖë μÖÖ ¤ãü²ÖÖ¸üÖ †Ö
in the booklet with the information printed on the ÝÖμÖê ÆüÖë μÖÖ ÃÖß׸üμÖ»Ö ´Öë ®Ö ÆüÖë †£ÖÖÔŸÖ ×ÛúÃÖß ³Öß ¯ÖÏÛúÖ¸ü Ûúß
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other discrepancy should be got replaced immediately ‡ÃÖÛêú ×»Ö‹ †Ö¯ÖÛúÖê ¯ÖÖÑ“Ö ×´Ö®Ö™ü פüμÖê •ÖÖμÖëÝÖê … ˆÃÖÛêú ²ÖÖ¤ü ®Ö
by a correct booklet from the invigilator within the ŸÖÖê †Ö¯ÖÛúß ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ ¾ÖÖ¯ÖÃÖ »Öß •ÖÖμÖêÝÖß †Öî¸ü ®Ö Æüß †Ö¯ÖÛúÖê
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should be entered on the OMR Sheet and the OMR ¤ëü …
Sheet Number should be entered on this Test Booklet. 4. ¯ÖÏŸμÖêÛú ¯ÖÏ¿®Ö Ûêú ×»Ö‹ “ÖÖ¸ü ˆ¢Ö¸ü ×¾ÖÛú»¯Ö (1), (2), (3) ŸÖ£ÖÖ (4) פüμÖê ÝÖμÖê
4. Each item has four alternative responses marked (1), (2), (3) Æïü … †Ö¯ÖÛúÖê ÃÖÆüß ˆ¢Ö¸ü Ûêú ¾Öé¢Ö ÛúÖê ¯Öê®Ö ÃÖê ³Ö¸üÛú¸ü ÛúÖ»ÖÖ Ûú¸ü®ÖÖ Æîü •ÖîÃÖÖ
and (4). You have to darken the circle as indicated below on ×Ûú ®Öß“Öê פüÜÖÖμÖÖ ÝÖμÖÖ Æîü :
the correct response against each item. ˆ¤üÖÆü¸üÞÖ :
Example : •Ö²Ö×Ûúú(3) ÃÖÆüß ˆ¢Ö¸ü Æîü …
where (3) is the correct response. 5. ¯ÖÏ¿®ÖÖë Ûêú ˆ¢Ö¸ü Ûêú¾Ö»Ö ¯ÖÏ¿®Ö ¯Öã×ßÖÛúÖ Ûêú †®¤ü¸ü פüμÖê ÝÖμÖê OMR ¯Ö¡ÖÛú ¯Ö¸ü
5. Your responses to the items are to be indicated in the OMR Æüß †Ó×ÛúŸÖ Ûú¸ü®Öê Æïü … μÖפü †Ö¯Ö OMR ¯Ö¡ÖÛú ¯Ö¸ü פüμÖê ÝÖμÖê ¾Öé¢Ö Ûêú †»ÖÖ¾ÖÖ
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response at any place other than in the circle in the OMR ®ÖÆüà ÆüÖêÝÖÖ …
Sheet, it will not be evaluated. 6. †®¤ü¸ü פüμÖê ÝÖμÖê ×®Ö¤ìü¿ÖÖë ÛúÖê ¬μÖÖ®Ö¯Öæ¾ÖÔÛú ¯ÖœÌëü …
6. Read instructions given inside carefully. 7. Ûú““ÖÖ ÛúÖ´Ö (Rough Work) ‡ÃÖ ¯Öã×ßÖÛúÖ Ûêú †×®ŸÖ´Ö ¯Öéšü ¯Ö¸ü Ûú¸ëü …
7. Rough Work is to be done in the end of this booklet. 8. μÖפü †Ö¯Ö OMR ¯Ö¡ÖÛú ¯Ö¸ü ×®ÖμÖŸÖ Ã£ÖÖ®Ö Ûêú †»ÖÖ¾ÖÖ †¯Ö®ÖÖ ®ÖÖ´Ö, ¸üÖê»Ö
8. If you write your Name, Roll Number, Phone Number or put ®Ö´²Ö¸ü, ±úÖê®Ö ®Ö´²Ö¸ü μÖÖ ÛúÖê‡Ô ³Öß ‹êÃÖÖ ×“ÖÅ®Ö ×•ÖÃÖÃÖê †Ö¯ÖÛúß ¯ÖÆü“ÖÖ®Ö ÆüÖê
any mark on any part of the OMR Sheet, except for the space ÃÖÛêú, †Ó×ÛúŸÖ Ûú¸üŸÖê Æïü †£Ö¾ÖÖ †³Ö¦ü ³ÖÖÂÖÖ ÛúÖ ¯ÖÏμÖÖêÝÖ Ûú¸üŸÖê Æïü, μÖÖ ÛúÖê‡Ô
allotted for the relevant entries, which may disclose your †®μÖ †®Öã×“ÖŸÖ ÃÖÖ¬Ö®Ö ÛúÖ ¯ÖÏμÖÖêÝÖ Ûú¸üŸÖê Æïü, •ÖîÃÖê ×Ûú †Ó×ÛúŸÖ ×ÛúμÖê ÝÖμÖê
identity, or use abusive language or employ any other unfair ˆ¢Ö¸ü ÛúÖê ×´Ö™üÖ®ÖÖ μÖÖ ÃÖ±êú¤ü ÃμÖÖÆüß ÃÖê ²Ö¤ü»Ö®ÖÖ ŸÖÖê ¯Ö¸üßõÖÖ Ûêú ×»ÖμÖê
means, such as change of response by scratching or using †μÖÖêÝμÖ ‘ÖÖê×ÂÖŸÖ ×ÛúμÖê •ÖÖ ÃÖÛúŸÖê Æïü …
white fluid, you will render yourself liable to disqualification. 9. †Ö¯ÖÛúÖê ¯Ö¸üßõÖÖ ÃÖ´ÖÖ¯ŸÖ ÆüÖê®Öê ¯Ö¸ü ´Öæ»Ö OMR ¯Ö¡ÖÛú ×®Ö¸üßõÖÛú ´ÖÆüÖê¤üμÖ ÛúÖê
9. You have to return the Original OMR Sheet to the invigilators »ÖÖî™üÖ®ÖÖ †Ö¾Ö¿μÖÛú Æîü †Öî¸ü ¯Ö¸üßõÖÖ ÃÖ´ÖÖׯŸÖ Ûêú ²ÖÖ¤ü ˆÃÖê †¯Ö®Öê ÃÖÖ£Ö ¯Ö¸üßõÖÖ ³Ö¾Ö®Ö
at the end of the examination compulsorily and must not ÃÖê ²ÖÖÆü¸ü ®Ö »ÖêÛú¸ü •ÖÖμÖë … ÆüÖ»ÖÖÓ×Ûú †Ö¯Ö ¯Ö¸üßõÖÖ ÃÖ´ÖÖׯŸÖ ¯Ö¸ü ´Öæ»Ö ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ
carry it with you outside the Examination Hall. You are,
however, allowed to carry original question booklet and ŸÖ£ÖÖ OMR ¯Ö¡ÖÛú Ûúß ›ãü¯»ÖßÛêú™ü ¯ÖÏ×ŸÖ †¯Ö®Öê ÃÖÖ£Ö »Öê •ÖÖ ÃÖÛúŸÖê Æïü …
duplicate copy of OMR Sheet on conclusion of examination. 10. Ûêú¾Ö»Ö C.B.S.E. «üÖ¸üÖ ¯ÖϤüÖ®Ö ×ÛúμÖê ÝÖμÖê ÛúÖ»Öê ²ÖÖ»Ö ¯¾ÖÖ‡Õ™ü ¯Öê®Ö ÛúÖ
10. Use only Black Ball point pen provided by C.B.S.E. Æüß ‡ÃŸÖê´ÖÖ»Ö Ûú¸ëü …
11. Use of any calculator or log table etc., is prohibited. 11. ×ÛúÃÖß ³Öß ¯ÖÏÛúÖ¸ü ÛúÖ ÃÖÓÝÖÞÖÛú (Ûîú»ÖÛãú»Öê™ü¸ü) μÖÖ »ÖÖÝÖ ™êü²Ö»Ö †Öפü ÛúÖ
12. There is no negative marks for incorrect answers. ¯ÖÏμÖÖêÝÖ ¾ÖÙ•ÖŸÖ Æîü …
13. In case of any discrepancy in the English and Hindi versions, 12. ÝÖ»ÖŸÖ ˆ¢Ö¸üÖë Ûêú ×»Ö‹ ÛúÖê‡Ô ®ÖÛúÖ¸üÖŸ´ÖÛú †ÓÛú ®ÖÆüà Æïü …
English version will be taken as final. 13. μÖפü †ÓÝÖÏê•Öß μÖÖ ØÆü¤üß ×¾Ö¾Ö¸üÞÖ ´Öë ÛúÖê‡Ô ×¾ÖÃÖÓÝÖ×ŸÖ ÆüÖê, ŸÖÖê †ÓÝÖÏê•Öß ×¾Ö¾Ö¸üÞÖ
†Ó×ŸÖ´Ö ´ÖÖ®ÖÖ •ÖÖ‹ÝÖÖ …
J-79-16 1 P.T.O.
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VISUAL ARTS
Paper – III
Note : This paper contains seventy five (75) objective type questions of two (2) marks each. All
questions are compulsory.
1. Viscosity is a process of print making where
(1) Wooden block is used (2) Metal block is used
(3) Plaster brick block is used (4) Rubber block is used
2. In silk screen process a light sensitive film is exposed to
(1) Turn it black (2) Create the image
(3) Harden the screen (4) Change the colour
3. One of the following has changed the art of poster printing :
(1) Renoir (2) Paul Gaugin
(3) Lautrec (4) Goya
4. Printing is done from sunken area in the process of
(1) Woodcut (2) Intaglio
(3) Lithograph (4) Offset printing
5. In India oleograph printing was done by the press received from
(1) Dutch (2) Italy
(3) Germany (4) England
6. Wood engraving is done on the block with
(1) Side grain of the wooden plank (2) End grain of the wooden plank
(3) Lower grain of the wooden plank (4) Upper grain of the wooden plank
7. Corpse is a vehicle of
(1) Chamunda (2) Saraswati
(3) Parvati (4) Durga
8. Name the artist who worked with Gharuas of Bastar to learn the casting technique
(1) Subodh Gupta (2) Baiju Parthan
(3) Meera Mukherjee (4) Arpana Caur
Paper-III 2 J-79-16
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¥ü¿µÖ Ûú»ÖÖ
¯ÖÏ¿®Ö¯Ö¡Ö – III
×®Ö¤ìü¿Ö : ‡ÃÖ ¯ÖÏ¿®Ö¯Ö¡Ö ´Öë ¯Ö“ÖÆü¢Ö¸ü (75) ²ÖÆãü-×¾ÖÛú»¯ÖßµÖ ¯ÖÏ¿®Ö Æïü … ¯ÖÏŸµÖêÛú ¯ÖÏ¿®Ö Ûêú ¤üÖê (2) †ÓÛú Æïü … ÃÖ³Öß ¯ÖÏ¿®Ö †×®Ö¾ÖÖµÖÔ Æïü …
1. ×¾ÖÃÛúÖêÃÖß™üß ×¯ÖÏ®™ü ´ÖêØÛúÝÖ Ûúß ¯ÖÏ×ÛÎúµÖÖ Æîü וÖÃÖ´Öë
(1) »ÖÛú›Ìüß Ûêú ²»ÖÖòÛú ÛúÖ ¯ÖϵÖÖêÝÖ ÆüÖêŸÖÖ Æîü …
(2) »ÖÖîÆü ²»ÖÖòÛú ÛúÖ ¯ÖϵÖÖêÝÖ ÆüÖêŸÖÖ Æîü …
(3) ¯»ÖÖÙü¸ü ײÖÎÛú ²»ÖÖòÛú ÛúÖ ¯ÖϵÖÖêÝÖ ÆüÖêŸÖÖ Æîü …
(4) ¸ü²Ö¸ü ²»ÖÖòÛú ÛúÖ ¯ÖϵÖÖêÝÖ ÆüÖêŸÖÖ Æîü …
2. ×ÃÖ»Ûú ÃÛÎúß®Ö ¯ÖÏÖîÃÖêÃÖ ´Öë ¯ÖÏÛúÖ¿Ö Ûêú ¯ÖÏ×ŸÖ ÃÖÓ¾Öê¤ü®Ö¿Öß»Ö ×±ú»´Ö ÛúÖê †®ÖÖ¾Öé¢Ö ×ÛúµÖÖ •ÖÖŸÖÖ Æîü …
(1) ‡ÃÖê ÛúÖ»ÖÖ ²Ö®ÖÖ®Öê Ûêú ×»Ö‹ (2) ŸÖþÖ߸ü ²Ö®ÖÖ®Öê Ûêú ×»Ö‹
(3) ¯Ö¤ìü (ÃÛÎúß®Ö) ÛúÖê ÃÖÜŸÖ ²Ö®ÖÖ®Öê Ûêú ×»Ö‹ (4) ¸ÓüÝÖ ´Öë ¯Ö׸ü¾ÖŸÖÔ®Ö Ûú¸ü®Öê Ûêú ×»Ö‹
3. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×ÛúÃÖ®Öê ¯ÖÖêÙü¸ü دÖÏØ™üÝÖ Ûú»ÖÖ ´Öë ¯Ö׸ü¾ÖŸÖÔ®Ö Ûú¸ü פüµÖÖ Æîü ?
(1) ¸êü®Ö¾ÖÖ (2) ¯ÖÖò»Ö ÝÖÖîÝÖë
(3) »ÖÖî¡Öê (4) ÝÖÖêµÖÖ
4. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×ÛúÃÖ´Öë ¬ÖÓÃÖê õÖê¡Ö ÃÖê ´Öã¦üÞÖ ×ÛúµÖÖ •ÖÖŸÖÖ Æîü ?
(1) ¾Öæ›ü Ûú™ü (2) ‡®Ö™îü×ݻֵÖÖê
(3) ×»Ö£ÖÖêÝÖÏÖ±ú (4) †Öò±úÃÖê™ü دÖÏØ™üÝÖ
5. ³ÖÖ¸üŸÖ ´Öë ×®Ö´®Ö×»Ö×ÜÖŸÖ Ã£ÖÖ®Ö ÃÖê ¯ÖÏÖ¯ŸÖ ¯ÖÏêÃÖ ÃÖê †Öê×»ÖµÖÖêÝÖÏÖ±ú دÖÏØ™üÝÖ Ûúß ÝÖ‡Ô
(1) ›ü“Ö (2) ‡™ü»Öß
(3) •Ö´ÖÔ®Öß (4) ‡ÓÝ»Öï›ü
6. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×ÛúÃÖ ¯ÖÏÛúÖ¸ü Ûêú ²»ÖÖòÛú ¯Ö¸ü ¾Öã›ü ‡®ÖÝÖÏêؾÖÝÖ Ûúß •ÖÖŸÖß Æîü ?
(1) ×Ûú®ÖÖ¸êü Ûêú ÝÖÏê®Ö ¾ÖÖ»Öß »ÖÛú›Ìüß Ûêú ±ú»ÖÛú ÃÖê (2) †ÓŸÖ Ûêú ÝÖÏê®Ö ¾ÖÖ»Öß »ÖÛú›Ìüß Ûêú ±ú»ÖÛú ÃÖê
(3) ×®Ö“Ö»Öê ÝÖÏê®Ö ¾ÖÖ»Öß »ÖÛú›Ìüß Ûêú ±ú»ÖÛú ÃÖê (4) ‰ú¯Ö¸üß ÝÖÏê®Ö ¾ÖÖ»Öß »ÖÛú›Ìüß Ûêú ±ú»ÖÛú ÃÖê
7. ¿Ö¾Ö ×ÛúÃÖÛúÖ ¾ÖÖÆü®Ö Æîü ?
(1) “ÖÖ´ÖãÓ›üÖ (2) ÃÖ¸üþ֟Öß
(3) ¯ÖÖ¾ÖÔŸÖß (4) ¤ãüÝÖÖÔ
8. ¾ÖÆü ÛúÖî®Ö ÃÖÖ Ûú»ÖÖÛúÖ¸ü Æîü וÖÃÖ®Öê ÛúÖØÙüÝÖ ŸÖÛú®ÖßÛú ²Ößָü Ûêú ‘ÖÖ¸üÖë ÃÖê ÃÖßÜÖß ?
(1) ÃÖã²ÖÖê¬Ö ÝÖ㯟ÖÖ (2) ²Öî•Öã ¯Ö¸ü£Ö®Ö
(3) ´Ö߸üÖ ´ÖãÜÖ•Öá (4) †»¯Ö®ÖÖ ÛúÖî¸ü
J-79-16 3 Paper-III
Text of page 4
9. Who gave rational classification of Fine Arts ?
(1) Plato (2) Hegel
(3) Kant (4) Karl Marx
10. First mosque of Gujarat was Barwada Masjid, erected in late 7th century. Where is it
located ?
(1) Ghoga, Bhavnagar (2) Bharuch
(3) Ahmedabad (4) Surat
11. The episode of Vessantara Jataka is sculptured on the front and back of which gateway
and architrave at Sanchi Mahastupa
(1) West Gate, middle architrave (2) South gate, top architrave
(3) East gate, middle architrave (4) North gate, bottom architrave
12. Griselda Pollock wrote
(1) Vision and Difference : Feminism, Femineity and the Histories of Art
(2) The story of Art
(3) Meaning in the Visual Arts
(4) Vision and Design
13. ‘Yakshi Chandra’, the famous stone relief is from
(1) Sanchi (2) Bharhut
(3) Amaravati (4) Udaygiri
14. The sculpture ‘Japanese War God’ is made by
(1) Aristide Maillol (2) Michael Ayrton
(3) Eduardo Paolozzi (4) Marino Marini
15. A group of constructivist sculptors are
(1) Malevich, Gabo, Rodchenko (2) Picasso, Malevich, Gabo
(3) Picasso, Tatlin, Pevsner (4) Tatlin, Boccioni, Jean Arp
16. “Bicycle Wheel” is a sculpture by
(1) Constantine Brancusi (2) Marcel Duchamp
(3) Edgar Degas (4) David Smith
Paper-III 4 J-79-16
Text of page 5
9. »Ö×»ÖŸÖÛú»ÖÖ ÛúÖ ŸÖÛÔúÃÖÓÝÖŸÖ ¾ÖÝÖáÛú¸üÞÖ ×ÛúÃÖ®Öê ×ÛúµÖÖ £ÖÖ ?
(1) ¯»Öê™üÖê (2) ÆêüÝÖ»Ö
(3) ÛúÖÓ™ü (4) ÛúÖ»ÖÔ ´ÖÖŒÃÖÔ
10. ÝÖã•Ö¸üÖŸÖ Ûúß ÃÖ¾ÖÔ¯ÖÏ£Ö´Ö ´Ö×Õ֤ü (²Ö¸ü¾ÖÖ›üÖ ´Ö×Õ֤ü) •ÖÖê ÃÖÖŸÖ¾Öà ÃÖ¤üß Ûêú ˆ¢Ö¸üÖ¬ÖÔ ´Öë ²Ö®Öß, ¾ÖÆü ÛúÆüÖÑ ×Ã£ÖŸÖ Æîü ?
(1) ‘ÖÖêÝÖÖ, ³ÖÖ¾Ö®ÖÝÖ¸ü (2) ³Öºþ“Ö
(3) †Æü´Ö¤üÖ²ÖÖ¤ü (4) ÃÖæ¸üŸÖ
11. ÃÖÖÓ“Öß ´ÖÆüÖßÖæ¯Ö Ûêú ×ÛúÃÖ ŸÖÖê¸üÞÖ †Öî¸ü ²Ö›Ìêü¸üß Ûêú †ÖÝÖê †Öî¸ü ¯Öß”êû ¾ÖêÃÖÖ®ŸÖ¸ü •ÖÖŸÖÛú Ûú£ÖÖ ×“Ö×¡ÖŸÖ Æîü ?
(1) ¯Ö׿“Ö´Ö ŸÖÖê¸üÞÖ, ´Ö¬µÖ ²Ö›Ìêü¸üß (2) ¤ü×õÖÞÖ ŸÖÖê¸üÞÖ, ˆ¯Ö¸üß ²Ö›Ìêü¸üß
(3) ¯Öæ¾Öá ŸÖÖê¸üÞÖ, ´Ö¬µÖ ²Ö›Ìêü¸üß (4) ˆ¢Ö¸ü ŸÖÖê¸üÞÖ, ×®Ö“Ö»Öß ²Ö›Ìêü¸üß
12. ÝÖÏßÃÖê»›üÖ ¯Öã»ÖÖêÛú ®Öê ×®Ö´®Ö ´Öë ÃÖê ×ÛúÃÖÛúß ¸ü“Ö®ÖÖ Ûúß ?
(1) ×¾Ö•ÖÌ®Ö ‹Ó›ü ×›ü±ú¸ëüÃÖ : ±êú×´Ö×®Ö•´Ö, ±êú×´Ö×®Ö™üß ‹Ó›ü ¤ü ×ÆüÙü¸üß•Ö †Öò±ú †Ö™Ôü
(2) ¤ü ÙüÖê¸üß †Öò±ú †Ö™Ôü
(3) ´ÖßØ®ÖÝÖ ‡®Ö ¤ü ×¾Ö•µÖæ†»Ö †Ö™Ôü
(4) ×¾Ö•ÖÌ®Ö ‹Ó›ü ×›ü•ÖÖ‡®Ö
13. ¯ÖÏ×ÃÖ¨ü ÙüÖê®Ö ׸ü»Öß±Ìú ‘µÖõÖß “ÖÓ¦üÖ’ ×®Ö´®Ö ´Öë ÃÖê ÛúÆüÖÑ ÃÖê Æîü ?
(1) ÃÖÖÓ“Öß (2) ³ÖÖ¸üÆãü™ü
(3) †´Ö¸üÖ¾ÖŸÖß (4) ˆ¤üµÖ×ÝÖ¸üß
14. ‘•Öê¯Öê®Öß•ÖÌ ¾ÖÖò¸ü ÝÖÖò›ü’ ´ÖæÙŸÖ ×ÛúÃÖ®Öê ²Ö®ÖÖ‡Ô ?
(1) ׸üÃÖ™üÖ‡›ü ´Öê»ÖÖî»Ö (2) ´ÖÖ‡Ûú»Ö †ÖµÖ¸ü™ü®Ö
(3) ‹›ãü†›üÖì ¯ÖÖ†Öê»ÖÖê•ûÌ•Öß (4) ´Öê׸ü®ÖÖê ´Öê׸ü®Öß
15. ×®Ö´®Ö ´Öë ÃÖÓ¸ü“Ö®ÖÖŸ´ÖÛú ´ÖæÙŸÖÛúÖ¸üÖë ÛúÖ ÃÖ´ÖæÆü Æîü :
(1) ´Öê»Ö×¾Ö“Ö, ÝÖÖ²ÖÖê, ¸üÖê›ü“ÖëÛúÖë (2) ׯÖÛúÖÃÖÖê, ´Öê»Ö×¾Ö“Ö, ÝÖÖ²ÖÖê
(3) ׯÖÛúÖÃÖÖê, ™êü™ü×»Ö®Ö, ¯Öê¾Ã®Ö¸ü (4) ™êü™ü×»Ö®Ö, ²ÖÖêד“Ö†Öê®Öß, •µÖÖÓ †Ö¯ÖÔ
16. “²ÖÖ‡×ÃÖÛú»Ö ¾Æü߻֔ ×®Ö´®Ö ´Öë ÃÖê ×ÛúÃÖÛúß ²Ö®ÖÖ‡Ô Æãü‡Ô ´ÖæÙŸÖ Æîü ?
(1) ÛúÖò®Ã™êü®Ö×™ü®Ö ²ÖÎÖÓ×ÃÖÃÖß (2) ´ÖÖÃÖì»Ö ›ËüµÖæ“Öî´¯Ö
(3) ‹›üÝÖ¸ü ›êüÝÖÖÃÖ (4) ›êü×¾Ö›ü ×ô֣Ö
J-79-16 5 Paper-III
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17. Henry Moor was influenced by
(1) African sculptures (2) Maya, Aztec sculptures
(3) Etruscan sculptures (4) Indian sculptures
18. Buddha iconography represents
(1) Different postures of Buddha (2) Jataka stories
(3) Mythical concepts of Buddha (4) Standing postures of Buddha
19. Printing today is classified in three major phases
(1) Cutting, bending, collating (2) Gathering, assembling, binding
(3) Prepress, press, postpress (4) Printing, cutting, finishing
20. In 1968, the first poster museum in the world was opened in
(1) Victoria & Albert Museum, London
(2) The Metropolitan Museum of Art, New York
(3) Warsaw Museum, Poland
(4) Louvre Museum, Paris
21. Who first proposed U.S.P. (the Unique Selling Proposition) as a marketing concept in a
successful advertising campaign ?
(1) Rosser Reeves (2) David Ogilvy
(3) Theodore Levitt (4) Theodore Lewis (Ted Bates)
22. Who proposed 4P’s classification in 1960 which has since been used by marketers
throughout the world ?
(1) Jerome McCarthy (2) Neil Borden
(3) Bill Bernbach (4) Paul Rand
23. A series of Advertising messages that share a single idea and theme which make up an
Integrated Marketing Communication
(1) Campaign (2) IMC
(3) Marketing Mix (4) U.S.P.
24. Which art movement have great influence on modern designing besides ‘Bauhau’s
Movement’ ?
(1) Cubism (2) Impressionism
(3) Art Nowveall (4) Post-Modernism
Paper-III 6 J-79-16
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17. Æêü®Ö¸üß ´Öæ¸ü ×®Ö´®Ö ´Öë ÃÖê ×ÛúÃÖÃÖê ¯ÖϳÖÖ×¾ÖŸÖ £Öê ?
(1) †±ÏúßÛúß ´ÖæÙŸÖµÖÖÑ (2) ´ÖÖµÖÖ, ‹•ÖÌ™êüÛú ´ÖæÙŸÖµÖÖÑ
(3) ‹¡Öã×ÃÖµÖÖÑ ´ÖæÙŸÖµÖÖÑ (4) ³ÖÖ¸üŸÖßµÖ ´ÖæÙŸÖµÖÖÑ
18. ²ÖÖî¨ü ¯ÖÏןִÖÖ»ÖõÖÞÖ ×®Ö´®Ö ´Öë ×ÛúÃÖê ¤ü¿ÖÖÔŸÖß Æîü ?
(1) ²Öã¨ü Ûúß ×¾Ö׳֮®Ö ´Öã¦üÖ‹Ñ (2) •ÖÖŸÖÛú Ûú£ÖÖ‹Ñ
(3) ²Öã¨ü Ûúß ¯ÖÖî¸üÖ×ÞÖÛú ÃÖÓÛú»¯Ö®ÖÖ‹Ñ (4) ²Öã¨ü Ûúß ÜÖ›Ìêü ÆüÖê®Öê Ûúß ×ãÖ×ŸÖ Ûúß ´Öã¦üÖ‹Ñ
19. ׯÖÏØ®™üÝÖ ÛúÖê †Ö•Ö ŸÖß®Ö ¯ÖÏ´ÖãÜÖ “Ö¸üÞÖÖë ´Öë ¾ÖÝÖáÛéúŸÖ ×ÛúµÖÖ •ÖÖŸÖÖ Æîü :
(1) ÛúØ™üÝÖ, ²ÖëØ›üÝÖ, ÛúÖê»ÖêØ™üÝÖ (2) ÝÖê¤üظüÝÖ, †ÃÖë²ÖØ»ÖÝÖ ‹Þ›ü ²ÖÖ‡ÓØ›üÝÖ
(3) ¯ÖÏ߯ÖÏîÃÖ, ¯ÖÏîÃÖ, ¯ÖÖêÙü¯ÖÏîÃÖ (4) ׯÖÏØ®™üÝÖ, ÛúØ™üÝÖ, ×±ú×®ÖØ¿ÖÝÖ
20. 1968 ´Öë ×¾Ö¿¾Ö ÛúÖ ¯ÖÏ£Ö´Ö ¯ÖÖêÙü¸ü ÃÖÓÝÖÏÆüÖ»ÖµÖ ÜÖÖê»ÖÖ ÝÖµÖÖ :
(1) ×¾ÖŒ™üÖê׸üµÖÖ ‹Þ›ü †»Ö²Ö™Ôü ´µÖæוÖ̵ִÖ, »ÖÓ¤ü®Ö
(2) ¤ü ´Öê™ÒüÖê¯ÖÖê×»Ö™ü®Ö ´µÖæוÖÌµÖ´Ö †Öò±ú †Ö™Ôü, ®µÖæµÖÖòÛÔú
(3) ¾ÖÖò¸üÃÖÖ ´µÖæוÖ̵ִÖ, ¯ÖÖî»Öë›ü
(4) »ÖÖê¾Ö¸êü ´µÖæוÖ̵ִÖ, ¯Öê׸üÃÖ
21. ×ÛúÃÖ®Öê ‹Ûú ÃÖ±ú»Ö ×¾Ö–ÖÖ¯Ö®Ö †×³ÖµÖÖ®Ö ´Öë ´ÖÖÙÛúØ™üÝÖ ÃÖÓÛú»¯Ö®ÖÖ Ûêú ŸÖÖî¸ü ¯Ö¸ü ¯ÖÆü»Öß ²ÖÖ¸ü µÖæ.‹ÃÖ.¯Öß. (¤ü µÖæ×®ÖÛú ÃÖêØ»ÖÝÖ
¯ÖÏÖê¯ÖÖêוֿ֮Ö) ÛúÖ ¯ÖÏßÖÖ¾Ö ×ÛúµÖÖ ?
(1) ¸üÖêÃÖ¸ü ¸üß¾•ÖÌ (2) ›êü×¾Ö›ü †Öê×ÝÖ»¾Öß
(3) ×£ÖµÖÖê›üÖê¸ü »Öê×¾Ö™ü (4) ×£ÖµÖÖê›üÖê¸ü »Öê×¾ÖÃÖ (™êü›ü ²Öê™ËüÃÖ)
22. ×ÛúÃÖ®Öê 1960 ´Öë 4P Ûêú ¾ÖÝÖáÛú¸üÞÖ ÛúÖ ¯ÖÏßÖÖ¾Ö ×ÛúµÖÖ †Öî¸ü ŸÖ²Ö ÃÖê Æüß ×¾Ö¿¾Ö³Ö¸ü Ûêú ´ÖÖÛìú™ü¸ü ‡ÃÖÛúÖ ‡ÃŸÖê´ÖÖ»Ö Ûú¸ü ¸üÆêü
Æïü ?
(1) •Öê¸üÖê´Ö ´ÖîÛúÖ£Öá (2) ®Öᯙ ²ÖÖò›Ôü®Ö
(3) ×²Ö»Ö ²ÖêµÖ®ÖÔ²ÖÛú (4) ¯ÖÖò»Ö ¸ïü›ü
23. ×¾Ö–ÖÖ¯Ö®Ö ÃÖÓ¤êü¿ÖÖë Ûúß ‹Ûú ÀÖéÓÜÖ»ÖÖ, וÖÃÖÛúÖ ×¾Ö“ÖÖ¸ü ‹¾ÖÓ ×¾ÖÂÖµÖ ‹Ûú Æüß ÆüÖêŸÖÖ Æîü ŸÖ£ÖÖ •ÖÖê ‹ÛúßÛéúŸÖ ´ÖÖÙÛúØ™üÝÖ ÃÖÓ“ÖÖ¸ü ²Ö®Ö
•ÖÖŸÖÖ Æîü, ‡ÃÖê ×®Ö´®Ö ´Öë ÃÖê ŒµÖÖ ÛúÆüŸÖê Æïü ?
(1) Ûîú´¯Öê®Ö (2) †Ö‡Ô.‹´Ö.ÃÖß.
(3) ´ÖÖÙÛúØ™üÝÖ ×´ÖŒÃÖ (4) µÖæ.‹ÃÖ.¯Öß.
24. ²ÖÖˆÆüÖêÃÖË ´Öæ¾Ö´Öë™ü Ûêú ÃÖÖ£Ö †Ö¬Öã×®ÖÛú ×›ü•ÖÌևخÖÝÖ ¯Ö¸ü ×®Ö´®Ö ´Öë ÃÖê ×ÛúÃÖ †Ö™Ôü ´Öæ¾Ö´Öë™ü ÛúÖ •Ö²Ö¸ü¤üÃŸÖ ¯ÖϳÖÖ¾Ö ¯Ö›ÌüÖ ?
(1) ŒµÖæײÖÃ´Ö (2) ‡´¯ÖÏê¿Ö×®Ö•ûÌ´Ö
(3) †Ö™Ôü ®ÖÖî¾Öæ (4) ¯ÖÖêÙü ´ÖÖò›üÙ®Ö•ûÌ´Ö
J-79-16 7 Paper-III
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25. Who was the great artist of the Kishangarh school of painting ?
(1) Manaku (2) Nihal Chand
(3) Nainsukh (4) Bishandas
26. Sfumato is a technique of
(1) Painting (2) Sculpture
(3) Applied Art (4) Print making
27. Conte is a sketching technique which was invented in
(1) India (2) France
(3) Sri Lanka (4) Poland
28. The kiss is a work by
(1) Jan Van Eyck (2) Picasso
(3) Gustave Klimt (4) Paul Gaugin
29. Tertiary colours are
(1) 4 (2) 6
(3) 8 (4) 3
30. Company painting resulted from amalgamation of
(1) Indian and Chinese Art (2) Indian and European Art
(3) Indian and Persian Art (4) Indian and Thai Art
31. Choose the correct sequence in chronological order :
(1) K.G. Subramanyam, Chitta Prasad, A.R. Chughtai, Somnath Hore
(2) Chitta Prasad, A.R. Chughtai, Somnath Hore, K.G. Subramanyam
(3) A.R. Chughtai, Chitta Prasad, Somnath Hore, K.G. Subramanyam,
(4) Somnath Hore, A.R. Chughtai, K.G. Subramanyam, Chitta Prasad
32. Which of the following set of material is correct :
(1) Aquatint dust-box, Burnisher, Scraper, Metal needle
(2) Exposing table, Gelatine, Scraper, Squeeze
(3) River sand, Gum Arabic, Tusche, PVA
(4) Aquatint dust-box, PVA, Silver poaint, Metal needle
Paper-III 8 J-79-16
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25. ×Ûú¿Ö®ÖÝÖœÌü ד֡ÖÛú»ÖÖ Ûêú ´ÖÆüÖ®Ö Ûú»ÖÖÛúÖ¸ü ÛúÖî®Ö £Öê ?
(1) ´Ö®ÖÛæú (2) ×®ÖÆüÖ»Ö “Ö®¤ü
(3) ®Öî®ÖÃÖãÜÖ (4) ײֿ֤֮üÖÃÖ
26. ñæú´ÖÖŸÖÖê ×ÛúÃÖÛúß ŸÖÛú®ÖßÛú Æîü ?
(1) ד֡ÖÛúÖ¸üß (2) ´ÖæÙŸÖÛú»ÖÖ
(3) ‹¯»ÖÖ‡›ü Ûú»ÖÖ (4) ”ûÖ¯ÖÖ Ûú»ÖÖ
27. ÛúÖëŸÖê ‹Ûú ¸êüÜÖÖ×“Ö¡Ö ŸÖÛú®ÖßÛú Æîü וÖÃÖÛúÖ †Ö×¾ÖÂÛúÖ¸ü Æãü†Ö :
(1) ³ÖÖ¸üŸÖ (2) ±ÏúÖÓÃÖ
(3) ÁÖß»ÖÓÛúÖ (4) ¯ÖÖê»Öï›ü
28. ‘¤ü ×ÛúÃÖ’ ×ÛúÃÖÛúß Ûéú×ŸÖ Æîü ?
(1) •ÖÖ®Ö ¾ÖÖ®Ö †Ö‡Ûú (2) ׯÖÛúÖÃÖÖê
(3) ÝÖãßÖÖ¾Ö ×Œ»Ö´™ü (4) ¯ÖÖ»Ö ÝÖÖêÝÖÖò
29. ŸÖéŸÖßµÖÛú ¸ÓüÝÖ Æïü
(1) 4 (2) 6
(3) 8 (4) 3
30. Ûú´¯Ö®Öß ×“Ö¡ÖÛú»ÖÖ Ûêú ÃÖ´ÖÖ´Öê»Ö®Ö ÛúÖ ¯Ö׸üÞÖÖ´Ö Æîü
(1) ³ÖÖ¸üŸÖßµÖ †Öî¸ü “Öß®Öß Ûú»ÖÖ (2) ³ÖÖ¸üŸÖßµÖ †Öî¸ü µÖæ¸üÖê¯ÖßµÖ Ûú»ÖÖ
(3) ³ÖÖ¸üŸÖßµÖ †Öî¸ü ±ÌúÖ¸üÃÖß Ûú»ÖÖ (4) ³ÖÖ¸üŸÖßµÖ †Öî¸ü £ÖÖ‡Ô Ûú»ÖÖ
31. ÛúÖ»ÖÛÎú´Ö Ûêú †®ÖãÃÖÖ¸ü ÃÖÆüß ÛÎú´Ö ÛúÖ “ÖµÖ®Ö Ûú¸ëü :
(1) Ûêú.•Öß. ÃÖã²ÖδÖÞµÖ´Ö, ×“Ö¢Ö ¯ÖÏÃÖÖ¤ü, ‹.†Ö¸ü. “ÖãÝÖŸÖÖ‡Ô, ÃÖÖê´Ö®ÖÖ£Ö ÆüÖê¸ü
(2) ×“Ö¢Ö ¯ÖÏÃÖÖ¤ü, ‹.†Ö¸ü. “ÖãÝÖŸÖÖ‡Ô, ÃÖÖê´Ö®ÖÖ£Ö ÆüÖê¸ü, Ûêú.•Öß. ÃÖã²ÖδÖÞµÖ´Ö
(3) ‹.†Ö¸ü. “ÖãÝÖŸÖÖ‡Ô, ×“Ö¢Ö ¯ÖÏÃÖÖ¤ü, ÃÖÖê´Ö®ÖÖ£Ö ÆüÖê¸ü, Ûêú.•Öß. ÃÖã²ÖδÖÞµÖ´Ö
(4) ÃÖÖê´Ö®ÖÖ£Ö ÆüÖê¸ü, ‹.†Ö¸ü. “ÖãÝÖŸÖÖ‡Ô, Ûêú.•Öß. ÃÖã²ÖδÖÞµÖ´Ö, ×“Ö¢Ö ¯ÖÏÃÖÖ¤ü
32. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ÛúÖî®Ö ÃÖß ÃÖÖ´ÖÝÖÏß ÛúÖ ÃÖ´ÖæÆü ÃÖÆüß Æîü ?
(1) ‹Œ¾ÖÖØ™ü™ü-›üÙü ²ÖÖòŒÃÖ, ²ÖÙ®Ö¿Ö¸ü, ÃÛÎîú¯Ö¸ü, ´Öê™ü»Ö ®Öß›ü»Ö
(2) ‹ŒÃÖ¯ÖÖêØ•ÖÝÖ ™êü²Ö»Ö, ×ÝÖ»Öê™üÖ‡®Ö, ÃÛÎîú¯Ö¸ü, ÃŒ¾Öß•Öß
(3) ׸ü¾Ö¸ü ÃÖï›ü, ÝÖ´Ö †¸êüײÖÛú, ™ãü¿Ö, ¯Öß.¾Öß.‹.
(4) ‹Œ¾ÖÖØÙü™ü-›üÙü ²ÖÖòŒÃÖ, ¯Öß.¾Öß.‹., ×ÃÖ»¾Ö¸ü ¯¾ÖÖ‡Ó™ü, ´Öê™ü»Ö ®Öß›ü»Ö
J-79-16 9 Paper-III
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33. Choose the correct sequence in chronological order :
(1) Hayter, Toulouse Lautrec, Rembrandt, Picasso
(2) Picasso, Rembrandt, Toulouse Lautrec, Hayter
(3) Toulouse Lautrec, Picasso, Hayter, Rembrandt
(4) Rembrandt, Toulouse Lautrec, Picasso, Hayter
34. Choose correct chronological sequence of the philosophers :
(1) Aristotle, Plotinus, Satre, Socrates
(2) Plotinus, Aristotle, Satre, Socrates
(3) Socrates, Aristotle, Plotinus, Satre
(4) Plotinus, Socrates, Aristotle, Satre
35. Select the correct sequence of the art movements :
(1) Art Nouveau, Bauhaus, Abstract Expressionism, Conceptual art
(2) Abstract Expressionism, Art Nouveau, Conceptual art, Bauhaus
(3) Abstract Expressionism, Art Nouveau, Bauhaus, Conceptual art
(4) Bauhaus, Conceptual art, Art Nouveau, Abstract Expressionism
36. Choose correct chronological sequence of Sun temples :
(1) Modhera, Osian, Martand, Konark
(2) Martand, Osian, Modhera, Konark
(3) Osian, Modhera, Konark, Martand
(4) Martand, Modhera, Konark, Osian
37. Select the correct chronological sequence :
(1) Giotto, Luca Della Robbia, Rodin, Nam June Paik
(2) Giotto, Rodin, Luca Della Robbia, Nam June Paik
(3) Rodin, Giotto, Luca Della Robbia, Nam June Paik
(4) Luca Della Robbia, Giotto, Nam June Paik, Rodin
38. Select the correct sequence of execution from B.C. to A.D.
(1) Apollo Belvedere, The Colosseum, Discobolos, Venus of Milo
(2) Venus of Milo, Discobolos, The Colosseum, Apollo Belvedere
(3) Discobolos, Apollo Belvedere, Venus of Milo, The Colosseum
(4) The Colosseum, Apollo Belvedere, Discobolos, Venus of Milo
Paper-III 10 J-79-16
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33. ÛúÖ»ÖÛÎú´Ö Ûêú †®ÖãÃÖÖ¸ü ÃÖÆüß ÛÎú´Ö ÛúÖ “ÖµÖ®Ö Ûú¸ëü :
(1) Æêü™ü¸ü, ™ãü»ÖãÃÖ »ÖÖî¡Öê, ¸êü´²ÖÎÖÑ, ׯÖÛúÖÃÖÖê
(2) ׯÖÛúÖÃÖÖê, ¸êü´²ÖÎÖÑ, ™ãü»ÖãÃÖ »ÖÖî¡Öê, Æêü™ü¸ü
(3) ™ãü»ÖãÃÖ »ÖÖî¡Öê, ׯÖÛúÖÃÖÖê, Æêü™ü¸ü, ¸êü´²ÖÎÖÑ
(4) ¸êü´²ÖÎÖÑ, ™ãü»ÖãÃÖ »ÖÖî¡Öê, ׯÖÛúÖÃÖÖê, Æêü™ü¸ü
34. ¤üÖ¿ÖÔ×®ÖÛúÖë Ûêú ÃÖÆüß ÛúÖ»ÖÖ®ÖãÛÎú´Ö ÛúÖ “ÖµÖ®Ö Ûú¸ëü :
(1) †¸üßÖæ, ¯»ÖÖê×™ü®ÖÃÖ, ÃÖÖ¡Ö, ÃÖãÛÎúÖŸÖ
(2) ¯»ÖÖê×™ü®ÖÃÖ, †¸üßÖæ, ÃÖÖ¡Ö, ÃÖãÛÎúÖŸÖ
(3) ÃÖãÛÎúÖŸÖ, †¸üßÖæ, ¯»ÖÖê×™ü®ÖÃÖ, ÃÖÖ¡Ö
(4) ¯»ÖÖê×™ü®ÖÃÖ, ÃÖãÛÎúÖŸÖ, †¸üßÖæ, ÃÖÖ¡Ö
35. Ûú»ÖÖ †Ö®¤üÖê»Ö®ÖÖë Ûêú ÃÖÆüß ÛÎú´Ö ÛúÖ “ÖµÖ®Ö Ûúßו֋ :
(1) †Ö™Ôü ®Öæ¾ÖÖê, ²ÖÖˆÆüÖêÃÖ, †²ÃÖ™ÒîüŒ™ü ‹ŒÃÖ¯ÖÏê×ÃÖ×®Ö•´Ö, Ûú®ÖÃÖꯓÖã†»Ö †Ö™Ôü
(2) †²ÃÖ™ÒîüŒ™ü ‹ŒÃÖ¯ÖÏê×ÃÖ×®Ö•´Ö, †Ö™Ôü ®Öæ¾ÖÖê, Ûú®ÖÃÖꯓÖã†»Ö †Ö™Ôü, ²ÖÖˆÆüÖêÃÖ
(3) †²ÃÖ™ÒîüŒ™ü ‹ŒÃÖ¯ÖÏê×ÃÖ×®Ö•´Ö, †Ö™Ôü ®Öæ¾ÖÖê, ²ÖÖˆÆüÖêÃÖ, Ûú®ÖÃÖꯓÖã†»Ö †Ö™Ôü
(4) ²ÖÖˆÆüÖêÃÖ, Ûú®ÖÃÖꯓÖã†»Ö †Ö™Ôü, †Ö™Ôü ®Öæ¾ÖÖê, †²ÃÖ™ÒîüŒ™ü ‹ŒÃÖ¯ÖÏê×ÃÖ×®Ö•´Ö
36. ÃÖæµÖÔ ´ÖÓפü¸üÖë Ûêú ÃÖÆüß ÛúÖ»ÖÖ®ÖãÛÎú´Ö ÛúÖ “ÖµÖ®Ö Ûúßו֋ :
(1) ´ÖÖêœÌêü¸üÖ, †Öê×ÃÖµÖÖÑ, ´ÖÖŸÖÔÞ›ü, ÛúÖêÞÖÖÛÔú
(2) ´ÖÖŸÖÔÞ›ü, †Öê×ÃÖµÖÖÑ, ´ÖÖêœÌêü¸üÖ, ÛúÖêÞÖÖÛÔú
(3) †Öê×ÃÖµÖÖÑ, ´ÖÖêœÌêü¸üÖ, ÛúÖêÞÖÖÛÔú, ´ÖÖŸÖÔÞ›ü
(4) ´ÖÖŸÖÔÞ›ü, ´ÖÖêœÌêü¸üÖ, ÛúÖêÞÖÖÛÔú, †Öê×ÃÖµÖÖÑ
37. ÃÖÆüß ÛúÖ»ÖÖ®ÖãÛÎú´Ö ÛúÖ “ÖµÖ®Ö Ûúßו֋ :
(1) וֵÖÖê™üÖê, »ÖãÛúÖ ›êü»ÖÖ ¸üÖêײֵÖÖ, ¸üÖê×›ü®Ö, ®Öî´Ö •Öæ®Ö ¯ÖîÛú
(2) וֵÖÖê™üÖê, ¸üÖê×›ü®Ö, »ÖãÛúÖ ›êü»ÖÖ ¸üÖêײֵÖÖ, ®Öî´Ö •Öæ®Ö ¯ÖîÛú
(3) ¸üÖê×›ü®Ö, וֵÖÖê™üÖê, »ÖãÛúÖ ›êü»ÖÖ ¸üÖêײֵÖÖ, ®Öî´Ö •Öæ®Ö ¯ÖîÛú
(4) »ÖãÛúÖ ›êü»ÖÖ ¸üÖêײֵÖÖ, וֵÖÖê™üÖê, ®Öî´Ö •Öæ®Ö ¯ÖîÛú, ¸üÖê×›ü®Ö
38. ²Öß.ÃÖß. ÃÖê ‹.›üß. ´Öë ×®Ö¯ÖÖ¤ü®Ö ÛúÖ ÃÖÆüß ÛÎú´Ö “Öã×®Ö‹ :
(1) †¯ÖÖê»ÖÖê ²Öê»Ö¾Öê›ü¸êü, ¤ü ÛúÖê»ÖÖê×ÃÖµÖ´Ö, ×›üÃÛúÖê²ÖÖê»ÖÖêÃÖ, ¾Öß®ÖÃÖ †Öò±ú ×´Ö»ÖÖê
(2) ¾Öß®ÖÃÖ †Öò±ú ×´Ö»ÖÖê, ×›üÃÛúÖê²ÖÖê»ÖÖêÃÖ, ¤ü ÛúÖê»ÖÖê×ÃÖµÖ´Ö, †¯ÖÖê»ÖÖê ²Öê»Ö¾Öê›ü¸êü
(3) ×›üÃÛúÖê²ÖÖê»ÖÖêÃÖ, †¯ÖÖê»ÖÖê ²Öê»Ö¾Öê›ü¸êü, ¾Öß®ÖÃÖ †Öò±ú ×´Ö»ÖÖê, ¤ü ÛúÖê»ÖÖê×ÃÖµÖ´Ö
(4) ¤ü ÛúÖê»ÖÖê×ÃÖµÖ´Ö, †¯ÖÖê»ÖÖê ²Öê»Ö¾Öê›ü¸êü, ×›üÃÛúÖê²ÖÖê»ÖÖêÃÖ, ¾Öß®ÖÃÖ †Öò±ú ×´Ö»ÖÖê
J-79-16 11 Paper-III
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39. Select the correct sequence from older to younger :
(1) Nagii Patel, Amarnath Sehgal, Prithpal Ladi, Hiranmoy Roychawdhary
(2) Hiranmoy Roychawdhary, Amarnath Sehgal, Nagii Patel, Prithpal Ladi
(3) Prithpal Ladi, Nagii Patel, Hiranmoy Roychawdhary, Amarnath Sehgal
(4) Nagii Patel, Hiranmoy Roychawdhary, Amarnath Sehgal, Prithpal Ladi
40. Select the correct sequence in Advertising Trafficking :
(1) Presentation and Approval, Production and Trafficking, Designing layout,
Developing in Comprehensive
(2) Developing in Comprehensive, Presentation and Approval, Designing layout,
Production and Trafficking
(3) Production and Trafficking, Presentation and Approval, Developing in
Comprehensive, Designing layout
(4) Designing layout, Developing in Comprehensive, Presentation and Approval,
Production and Trafficking
41. Arrange the sequence of an ad campaign development
(1) Analytics, Pre-launch check, Ideation, Evaluation of post-launch impact
(2) Ideation, Analytics, Pre-launch check, Evaluation of post-launch impact
(3) Evaluation of post-launch impact, Pre-launch check, Analytics, Ideation
(4) Ideation, Evaluation of post-launch impact, Analytics, Pre-launch check
42. Arrange the typical work-flow sequence in the key areas of an Ad Agency :
(1) Creative presentation, Account service coordination, Production, Media Planning
(2) Media Planning, Creative presentation, Production, Account service coordination
(3) Production, Media Planning, Account service coordination, Creative presentation
(4) Account service coordination, Media Planning, Creative presentation, Production
43. Choose the correct chronological order of evolution of colours
(1) Vegetable colours, Mineral colours, Optical colours, Synthetic colours
(2) Mineral colours, Vegetable colours, Synthetic colours, Optical colours,
(3) Optical colours, Synthetic colours, Mineral colours, Vegetable colours
(4) Vegetable colours, Optical colours, Mineral colours, Synthetic colours
Paper-III 12 J-79-16
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39. ¾ÖµÖÖê¾Öé¨ü ÃÖê µÖã¾ÖÖ ÛúÖ ÃÖÆüß ÛÎú´Ö “Öã×®Ö‹ :
(1) ®ÖÖÝÖß ¯Ö™êü»Ö, †´Ö¸ü®ÖÖ£Ö ÃÖÆüÝÖ»Ö, ¯ÖÏߟ֯ÖÖ»Ö »ÖÖ›üß, Æü߸ü®Ö´Ö®Ö ¸üÖµÖ “ÖÖî¬Ö¸üß
(2) Æü߸ü®Ö´Ö®Ö ¸üÖµÖ “ÖÖî¬Ö¸üß, †´Ö¸ü®ÖÖ£Ö ÃÖÆüÝÖ»Ö, ®ÖÖÝÖß ¯Ö™êü»Ö, ¯ÖÏߟ֯ÖÖ»Ö »ÖÖ›üß
(3) ¯ÖÏߟ֯ÖÖ»Ö »ÖÖ›üß, ®ÖÖÝÖß ¯Ö™êü»Ö, Æü߸ü®Ö´Ö®Ö ¸üÖµÖ “ÖÖî¬Ö¸üß, †´Ö¸ü®ÖÖ£Ö ÃÖÆüÝÖ»Ö
(4) ®ÖÖÝÖß ¯Ö™êü»Ö, Æü߸ü®Ö´Ö®Ö ¸üÖµÖ “ÖÖî¬Ö¸üß, †´Ö¸ü®ÖÖ£Ö ÃÖÆüÝÖ»Ö, ¯ÖÏߟ֯ÖÖ»Ö »ÖÖ›üß
40. ‹›ü¾ÖÔ™üևؕÖÝÖ ™Òîü×±úØÛúÝÖ ´Öë ÃÖÆüß ÛÎú´Ö “Öã®Öë :
(1) ¯ÖÏê•ÖÌê®™êü¿Ö®Ö ‹Þ›ü †¯ÖÏæ¾Ö»Ö, ¯ÖÏÖê›üŒ¿Ö®Ö ‹Þ›ü ™Òîü×±úØÛúÝÖ, ×›ü•ÖևخÖÝÖ »Öê †Ö‰ú™ü, ›êü¾Ö»ÖدÖÝÖ ‡®Ö ÛÓú¯ÖÏßÆêü®Ö×ÃÖ¾Ö
(2) ›êü¾Ö»ÖدÖÝÖ ‡®Ö ÛÓú¯ÖÏßÆêü®Ö×ÃÖ¾Ö, ¯ÖÏê•ÖÌê®™êü¿Ö®Ö ‹Þ›ü †¯ÖÏæ¾Ö»Ö, ×›ü•ÖևخÖÝÖ »Öê †Ö‰ú™ü, ¯ÖÏÖê›üŒ¿Ö®Ö ‹Þ›ü ™Òîü×±úØÛúÝÖ
(3) ¯ÖÏÖê›üŒ¿Ö®Ö ‹Þ›ü ™Òîü×±úØÛúÝÖ, ¯ÖÏê•ÖÌê®™êü¿Ö®Ö ‹Þ›ü †¯ÖÏæ¾Ö»Ö, ›êü¾Ö»ÖدÖÝÖ ‡®Ö ÛÓú¯ÖÏßÆêü®Ö×ÃÖ¾Ö, ×›ü•ÖևخÖÝÖ »Öê †Ö‰ú™ü
(4) ×›ü•ÖևخÖÝÖ »Öê †Ö‰ú™ü, ›êü¾Ö»ÖدÖÝÖ ‡®Ö ÛÓú¯ÖÏßÆêü®Ö×ÃÖ¾Ö, ¯ÖÏê•ÖÌê®™êü¿Ö®Ö ‹Þ›ü †¯ÖÏæ¾Ö»Ö, ¯ÖÏÖê›üŒ¿Ö®Ö ‹Þ›ü ™Òîü×±úØÛúÝÖ
41. ×¾Ö–ÖÖ¯Ö®Ö ¯ÖÏ“ÖÖ¸ü ×¾ÖÛúÖÃÖ ÛúÖ ÃÖÆüß ÛÎú´Ö »ÖÝÖÖ‹Ñ :
(1) ‹®ÖÖ×»Ö×™üŒÃÖ, ¯ÖÏß-»ÖÖò®“Ö “ÖîÛú, †Ö‡×›ü‹¿Ö®Ö, ‡¾Öê»Öã‹¿Ö®Ö †Öò±ú ¯ÖÖêÙü-»ÖÖò®“Ö ‡´¯Öü
(2) †Ö‡×›ü‹¿Ö®Ö, ‹®ÖÖ×»Ö×™üŒÃÖ, ¯ÖÏß-»ÖÖò®“Ö “ÖîÛú, ‡¾Öê»Öã‹¿Ö®Ö †Öò±ú ¯ÖÖêÙü-»ÖÖò®“Ö ‡´¯Öü
(3) ‡¾Öê»Öã‹¿Ö®Ö †Öò±ú ¯ÖÖêÙü-»ÖÖò®“Ö ‡´¯Öü, ¯ÖÏß-»ÖÖò®“Ö “ÖîÛú, ‹®ÖÖ×»Ö×™üŒÃÖ, †Ö‡×›ü‹¿Ö®Ö
(4) †Ö‡×›ü‹¿Ö®Ö, ‡¾Öê»Öã‹¿Ö®Ö †Öò±ú ¯ÖÖêÙü-»ÖÖò®“Ö ‡´¯Öü, ‹®ÖÖ×»Ö×™üŒÃÖ, ¯ÖÏß-»ÖÖò®“Ö “ÖîÛú
42. ×¾Ö–ÖÖ¯Ö®Ö ‹•ÖëÃÖß Ûêú ´ÖãÜµÖ õÖê¡ÖÖë ´Öë ˆÃÖÛêú ÃÖÖ´ÖÖ®µÖ ÛúÖµÖÔ ÛúÖ ÃÖÆüß ÛÎú´Ö ²ÖŸÖÖ‹Ñ :
(1) ×ÛÎú‹×™ü¾Ö ¯ÖÏê•Öê®™êü¿Ö®Ö, †ÛúÖˆ®™ü ÃÖÙ¾ÖÃÖ ÛúÖê-†ÖêÙ›ü®Öê¿Ö®Ö, ¯ÖÏÖê›üŒ¿Ö®Ö, ´Öß×›üµÖÖ ¯»ÖÖØ®ÖÝÖ
(2) ´Öß×›üµÖÖ ¯»ÖÖØ®ÖÝÖ, ×ÛÎú‹×™ü¾Ö ¯ÖÏê•Öê®™êü¿Ö®Ö, ¯ÖÏÖê›üŒ¿Ö®Ö, †ÛúÖˆ®™ü ÃÖÙ¾ÖÃÖ ÛúÖê-†ÖêÙ›ü®Öê¿Ö®Ö
(3) ¯ÖÏÖê›üŒ¿Ö®Ö, ´Öß×›üµÖÖ ¯»ÖÖØ®ÖÝÖ, †ÛúÖˆ®™ü ÃÖÙ¾ÖÃÖ ÛúÖê-†ÖêÙ›ü®Öê¿Ö®Ö, ×ÛÎú‹×™ü¾Ö ¯ÖÏê•Öê®™êü¿Ö®Ö
(4) †ÛúÖˆ®™ü ÃÖÙ¾ÖÃÖ ÛúÖê-†ÖêÙ›ü®Öê¿Ö®Ö, ´Öß×›üµÖÖ ¯»ÖÖØ®ÖÝÖ, ×ÛÎú‹×™ü¾Ö ¯ÖÏê•Öê®™êü¿Ö®Ö, ¯ÖÏÖê›üŒ¿Ö®Ö
43. ¸ÓüÝÖÖë Ûêú ×¾ÖÛúÖÃÖ ÛúÖ ÃÖÆüß ÛúÖ»ÖÖ®ÖãÛÎú´Ö “Öã×®Ö‹ :
(1) ¾ÖÖ®ÖïÖןÖÛú ¸ÓüÝÖ, ÜÖ×®Ö•Ö ¸ÓüÝÖ, †Öòׯ™üÛú»Ö ¸ÓüÝÖ, ØÃÖ£Öê×™üÛú ¸ÓüÝÖ
(2) ÜÖ×®Ö•Ö ¸ÓüÝÖ, ¾ÖÖ®ÖïÖןÖÛú ¸ÓüÝÖ, ØÃÖ£Öê×™üÛú ¸ÓüÝÖ, †Öòׯ™üÛú»Ö ¸ÓüÝÖ
(3) †Öòׯ™üÛú»Ö ¸ÓüÝÖ, ØÃÖ£Öê×™üÛú ¸ÓüÝÖ, ÜÖ×®Ö•Ö ¸ÓüÝÖ, ¾ÖÖ®ÖïÖןÖÛú ¸ÓüÝÖ
(4) ¾ÖÖ®ÖïÖןÖÛú ¸ÓüÝÖ, †Öòׯ™üÛú»Ö ¸ÓüÝÖ, ÜÖ×®Ö•Ö ¸ÓüÝÖ, ØÃÖ£Öê×™üÛú ¸ÓüÝÖ
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44. Choose the correct order of oil painting on canvas
(1) Stretching, Painting, Framing, Priming
(2) Framing, Painting, Priming, Stretching
(3) Stretching, Priming, Painting, Framing
(4) Stretching, Framing, Priming, Painting
45. Choose the correct sequence of artists in chronological order :
(1) Ingres, Delacroix, Courbet, Manet
(2) Manet, Delacroix, Courbet, Ingres
(3) Courbet, Ingres, Delacroix, Manet
(4) Delacroix, Courbet, Manet, Ingres
46. Assertion (A) : ‘With Skeleton Arm’ is a portrait of Munch is an etching done in
needle-and-ink method.
Reason (R) : Edward Munch is well known painter never did wood cut and
lithography.
(1) (A) and (R) both are correct.
(2) (A) is correct and (R) is not correct.
(3) (A) is not correct but (R) is correct.
(4) (A) and (R) both are incorrect.
47. Assertion (A) : Print making is also known as the medium of expression.
Reason (R) : Print maker is involved at every stage of process.
(1) (A) is correct and (R) is incorrect.
(2) (A) is incorrect but (R) is correct.
(3) (A) and (R) both are correct.
(4) (A) and (R) both are incorrect.
48. Assertion (A) : Krishna Reddy’s was educated in sculpture but he turned towards print
making.
Reason (R) : Because when he joined ‘Atelier 17’ his interest grew in print making.
(1) (A) is correct and (R) is incorrect.
(2) (A) is incorrect but (R) is correct.
(3) (A) and (R) both are correct.
(4) (A) and (R) both are incorrect.
Paper-III 14 J-79-16
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44. Ûîú®Ö¾ÖÖÃÖ ¯Ö¸ü ŸÖî»Ö-×“Ö¡Ö ²Ö®ÖÖ®Öê ÛúÖ ÃÖÆüß ÛÎú´Ö “Öã×®Ö‹ :
(1) ÙÒêüØ“ÖÝÖ, ¯ÖëØ™üÝÖ, ±ÏêúØ´ÖÝÖ, ¯ÖÏևشÖÝÖ
(2) ±ÏêúØ´ÖÝÖ, ¯ÖëØ™üÝÖ, ¯ÖÏևشÖÝÖ, ÙÒêüØ“ÖÝÖ
(3) ÙÒêüØ“ÖÝÖ, ¯ÖÏևشÖÝÖ, ¯ÖëØ™üÝÖ, ±ÏêúØ´ÖÝÖ
(4) ÙÒêüØ“ÖÝÖ, ±ÏêúØ´ÖÝÖ, ¯ÖÏևشÖÝÖ, ¯ÖëØ™üÝÖ
45. Ûú»ÖÖÛúÖ¸üÖë Ûêú ÃÖÆüß ÛúÖ»ÖÖ®ÖãÛÎú´Ö ÛúÖ “ÖµÖ®Ö Ûú¸ëü :
(1) ‹ëÝÖÏê, ¤êü»ÖÖ ŒÎ¾ÖÖ, Ûæú¸ü²Öê, ´ÖÖ®Öê
(2) ´ÖÖ®Öê, ¤êü»ÖÖ ŒÎ¾ÖÖ, Ûæú¸ü²Öê, ‹ëÝÖÏê
(3) Ûæú¸ü²Öê, ‹ëÝÖÏê, ¤êü»ÖÖ ŒÎ¾ÖÖ, ´ÖÖ®Öê
(4) ¤êü»ÖÖ ŒÎ¾ÖÖ, Ûæú¸ü²Öê, ´ÖÖ®Öê, ‹ëÝÖÏê
46. †×³ÖÛú£Ö®Ö (A) : ‘×¾Ö¤ü ÃÛêú»Öê™ü®Ö †Ö´ÖÔ’ ´ÖÓ“Ö ÛúÖ ‹êÃÖÖ ×“Ö¡Ö Æîü וÖÃÖ´Öë ®Öß›ü»Ö †Öî¸ü ‡ÓÛú ¯Ö¨ü×ŸÖ ÃÖê ‡ÓØ“ÖÝÖ Ûúß ÝÖ‡Ô
Æîü …
ŸÖÛÔú (R) : ‹›ü¾ÖÖ›Ôü ´ÖÓ“Ö ¯ÖÏ×ÃÖ¨ü ד֡ÖÛúÖ¸ü Æïü ו֮ÆüÖë®Öê Ûú³Öß ³Öß ¾Öæ›ü Ûú™ü †Öî¸ü ×»Ö£ÖÖêÝÖÏÖ±úß ®ÖÆüà ×ÛúµÖÖ …
(1) (A) †Öî¸ ü(R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(2) (A) ÃÖÆüß Æîü ¯Ö¸ÓüŸÖã (R) ÝÖ»ÖŸÖ Æîü …
(3) (A) ÃÖÆüß ®ÖÆüà Æîü ¯Ö¸ÓüŸÖã (R) ÃÖÆüß Æîü …
(4) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
47. †×³ÖÛú£Ö®Ö (A) : ‘دÖÏ™ü ´ÖêØÛúÝÖ’ ÛúÖê †×³Ö¾µÖ׌ŸÖ Ûêú ´ÖÖ¬µÖ´Ö Ûêú ºþ¯Ö ´Öë ³Öß •ÖÖ®ÖÖ •ÖÖŸÖÖ Æîü …
ŸÖÛÔú (R) : ¯ÖÏ×ÛÎúµÖÖ Ûêú ¯ÖÏŸµÖêÛú ßָü ¯Ö¸ü دÖÏ™ü´ÖêÛú¸ü ¿ÖÖ×´Ö»Ö ÆüÖêŸÖÖ Æîü …
(1) (A) ÃÖÆüß Æîü, ¯Ö¸ÓüŸÖã (R) ÝÖ»ÖŸÖ Æîü …
(2) (A) ÝÖ»ÖŸÖ Æîü, ¯Ö¸ÓüŸÖã (R) ÃÖÆüß Æîü …
(3) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(4) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
48. †×³ÖÛú£Ö®Ö (A) : ÛéúÂÞÖÖ ¸êüøüß Ûúß ×¿ÖõÖÖ-¤üßõÖÖ ´ÖæÙŸÖÛúÖ¸ü Ûêú ºþ¯Ö ´Öë Æãü‡Ô £Öß ¯Ö¸ÓüŸÖã ¾ÖÆü دÖÏ™ü ´ÖêØÛúÝÖ Ûúß †Öê¸ü ´Öã›Ìü
ÝÖ‹ …
ŸÖÛÔú (R) : ŒµÖÖë×Ûú •Ö²Ö ¾ÖÆü ‘‹™êü×»ÖµÖ¸ü 17’ ´Öë ¿ÖÖ×´Ö»Ö Æãü‹ ŸÖÖê ˆ®ÖÛúß ¹ý×“Ö Ø¯ÖÏ™ü ´ÖêØÛúÝÖ ´Öë ÆüÖê ÝÖ‡Ô …
(1) (A) ÃÖÆüß Æîü †Öî¸ (R) ÝÖ»ÖŸÖ Æîü …
(2) (A) ÝÖ»ÖŸÖ Æîü ¯Ö¸ÓüŸÖã (R) ÃÖÆüß Æîü …
(3) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(4) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
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49. Assertion (A) : The classical Gupta aesthetic idiom was an amalgam of the sensuous
and spiritual.
Reason (R) : This is due to the fact that the spirituality of expression was inherited
from the Kushan period.
(1) Both (A) and (R) are correct.
(2) (A) is correct but (R) is incorrect.
(3) (A) is incorrect but (R) is correct.
(4) Both (A) and (R) are incorrect.
50. Assertion (A) : Somaskandamurti is popularly depicted in the sanctums of Pallava
shrines.
Reason (R) : In Pallava temples, Somaskandamurti not only represents the family of
Lord Shiva but also eulogizes the Pallava royal family.
(1) Both (A) and (R) are correct.
(2) (A) is correct but (R) is incorrect.
(3) (A) is incorrect but (R) is correct.
(4) Both (A) and (R) are incorrect.
51. Assertion (A) : In the tomb of Illtutmish trabeate system of construction was used.
Reason (R) : This is because Illtutmish was very fond of the trabeate system.
(1) Both (A) and (R) are correct.
(2) (A) is correct but (R) is incorrect.
(3) (A) is incorrect but (R) is correct.
(4) Both (A) and (R) are incorrect.
52. Assertion (A) : Working in any art-craft media is a way to mental and spiritual
development.
Reason (R) : “Kala” is the way to freedom of mind and “moksha” or liberation of the
soul.
(1) (A) and (R) both are not correct.
(2) (A) and (R) both are correct.
(3) (A) is correct (R) is not correct.
(4) (A) is not correct (R) is correct.
Paper-III 16 J-79-16
Text of page 17
49. †×³ÖÛú£Ö®Ö (A) : Œ»ÖÖ×ÃÖÛúß ÝÖ㯟ÖÛúÖ»Öß®Ö ÃÖÖï¤üµÖÔ¿ÖÖÃ¡Ö Ûúß ¿Öî»Öß ‡×®¦üÝÖÏÖÆüß †Öî¸ü †Ö¬µÖÖŸ´Ö ÛúÖ ×´ÖÁÖÞÖ Æîü …
ŸÖÛÔú (R) : ‹êÃÖÖ ‡ÃÖ×»Ö‹ Æîü ×Ûú †×³Ö¾µÖ׌ŸÖ Ûúß †Ö¬µÖÖן´ÖÛúŸÖÖ ÛãúÂÖÖÞÖ µÖãÝÖ ÃÖê »Öß ÝÖ‡Ô £Öß …
(1) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(2) (A) ÃÖÆüß Æîü ¯Ö¸ÓüŸÖã (R) ÝÖ»ÖŸÖ Æîü …
(3) (A) ÝÖ»ÖŸÖ Æîü ¯Ö¸ÓüŸÖã (R) ÃÖÆüß Æîü …
(4) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
50. †×³ÖÛú£Ö®Ö (A) : ¯Ö»»Ö¾Ö ´Ö×®¤ü¸üÖë Ûêú ÝÖ³ÖÔ ÝÖéÆüÖë ´Öë ÃÖÖê´ÖÃÛú®¤ü ´ÖæÙŸÖ ÛúÖê †×¬ÖÛúÖÓ¿ÖŸÖ: ¤ü¿ÖÖÔµÖÖ •ÖÖŸÖÖ Æîü …
ŸÖÛÔú (R) : ¯Ö»»Ö¾Ö ´Ö×®¤ü¸üÖë ´Öë ÃÖÖê´ÖÃÛú¤ü ´ÖæÙŸÖ ®Ö Ûêú¾Ö»Ö ×¿Ö¾Ö ¯Ö׸ü¾ÖÖ¸ü ÛúÖê ¯ÖϤüÙ¿ÖŸÖ Ûú¸üŸÖÖ Æîü, †×¯ÖŸÖã
¯Ö»»Ö¾Ö ¸üÖ•Ö-¯Ö׸ü¾ÖÖ¸ü Ûúß ¯ÖÏ¿Ö×ÃŸÖ ÛúÖ ¯ÖÏŸÖßÛú Æîü …
(1) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(2) (A) ÃÖÆüß Æîü »Öê×Ûú®Ö (R) ÃÖÆüß ®ÖÆüà Æîü …
(3) (A) ÃÖÆüß ®ÖÆüà Æîü »Öê×Ûú®Ö (R) ÃÖÆüß Æîü …
(4) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÃÖÆüß ®ÖÆüà Æïü …
51. †×³ÖÛú£Ö®Ö (A) : ‡»ŸÖãŸÖ×´Ö¿Ö Ûêú ´ÖÛú²Ö¸êü ´Öë ÃÖÓ¸ü“Ö®ÖÖ Ûêú ™Òîüײ֋™ü ŸÖÛú®ÖßÛú ÛúÖ ‡ÃŸÖê´ÖÖ»Ö ×ÛúµÖÖ ÝÖµÖÖ Æîü …
ŸÖÛÔú (R) : ‹êÃÖÖ ‡ÃÖ×»Ö‹ Æîü ×Ûú ‡»ŸÖãŸÖ×´Ö¿Ö ÛúÖê ™Òîüײ֋™ü ŸÖÛú®ÖßÛú ²ÖÆãüŸÖ ¯ÖÃÖÓ¤ü £Öß …
(1) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(2) (A) ÃÖÆüß Æîü ¯Ö¸ÓüŸÖã (R) ÝÖ»ÖŸÖ Æîü …
(3) (A) ÝÖ»ÖŸÖ Æîü ¯Ö¸ÓüŸÖã (R) ÃÖÆüß Æîü …
(4) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
52. †×³ÖÛú£Ö®Ö (A) : ×ÛúÃÖß ³Öß †Ö™Ôü-ÛÎúÖ°™ü ´Öß×›üµÖÖ ´Öë ÛúÖµÖÔ Ûú¸ü®ÖÖ, ´ÖÖ®Ö×ÃÖÛú †Öî¸ü †Ö¬µÖÖן´ÖÛú ×¾ÖÛúÖÃÖ ÛúÖ ´ÖÖÝÖÔ
Æîü …
ŸÖÛÔú (R) : “Ûú»ÖÖ” ´Ö®Ö Ûúß Ã¾ÖŸÖÓ¡ÖŸÖÖ †Öî¸ü “´ÖÖêõÖ” µÖÖ †ÖŸ´ÖÖ Ûúß ´Öã׌ŸÖ ÛúÖ ´ÖÖÝÖÔ Æîü …
(1) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÃÖÆüß ®ÖÆüà Æïü …
(2) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(3) (A) ÃÖÆüß Æîü, (R) ÃÖÆüß ®ÖÆüà Æîü …
(4) (A) ÃÖÆüß ®ÖÆüà Æîü, (R) ÃÖÆüß Æîü …
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53. Assertion (A) : Communication must be an essential quality of art.
Reason (R) : Two pillars of art criticism are an account of value and an account of
communication.
(1) (A) is correct (R) is not correct.
(2) (A) and (R) both are correct.
(3) (A) is not correct (R) is correct.
(4) (A) and (R) both are not correct.
54. Assertion (A) : Rodin admired Michelangelo’s unfinished sculptures.
Reason (R) : He deliberately left many of his marble carvings unfinished.
(1) (A) and (R) both are correct.
(2) (A) and (R) both are not correct.
(3) (A) is correct (R) is not correct.
(4) (A) is not correct (R) is correct.
55. Assertion (A) : Prime Minister Narendra Modi launched ‘Beti Bachao, Beti Padao’
campaign to improve birth and education of girls.
Reason (R) : Because United States offers help through USAID for the campaign.
(1) Both (A) and (R) are correct.
(2) Both (A) and (R) are incorrect.
(3) (A) is correct, (R) is incorrect.
(4) (A) is incorrect (R) is correct.
56. Assertion (A) : The principle of proximity is the reasoning of the same or similar
elements throughout a design. Repetition of certain design elements
brings a clear sense of unity and cohesiveness.
Reason (R) : The principle says that related items should be grouped together so that
never to be viewed as several unrelated elements.
(1) Both (A) and (R) are correct.
(2) Both (A) and (R) are incorrect.
(3) (A) is correct (R) is incorrect.
(4) (A) is incorrect (R) is incorrect.
Paper-III 18 J-79-16
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53. †×³ÖÛú£Ö®Ö (A) : ÃÖÓ¯ÖÏêÂÖÞÖ, †¾Ö¿µÖ Æüß Ûú»ÖÖ ÛúÖ †Ö¾Ö¿µÖÛú ÝÖãÞÖ ÆüÖê®ÖÖ “ÖÖ×Æü‹ …
ŸÖÛÔú (R) : Ûú»ÖÖ Ûúß †Ö»ÖÖê“Ö®ÖÖ Ûêú ¤üÖê ßÖÓ³Ö Æïü – ´Öæ»µÖ ÛúÖ »ÖêÜÖÖ-•ÖÖêÜÖÖ †Öî¸ü ÃÖÓ¯ÖÏêÂÖÞÖ ÛúÖ »ÖêÜÖÖ-•ÖÖêÜÖÖ …
(1) (A) ÃÖÆüß Æîü, (R) ÃÖÆüß ®ÖÆüà Æîü …
(2) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(3) (A) ÃÖÆüß ®ÖÆüà Æîü, (R) ÃÖÆüß Æîü …
(4) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÃÖÆüß ®ÖÆüà Æïü …
54. †×³ÖÛú£Ö®Ö (A) : ¸üÖê×›ü®Ö ´ÖÖ‡ÔÛú»Ö‹ÓוֻÖÖê Ûúß †¬Öæ¸üß ´ÖæÙŸÖµÖÖë ÛúÖ ¯ÖÏ¿ÖÓÃÖÛú £ÖÖ …
ŸÖÛÔú (R) : ˆ®ÆüÖë®Öê •ÖÖ®Ö²Öæ—ÖÛú¸ü ²ÖÆãüŸÖ ÃÖß ÃÖÓÝÖ´Ö¸ü´Ö¸ü Ûúß ®ÖŒÛúÖ׿ֵÖÖë ÛúÖê †¬Öæ¸üÖ ”ûÖê›Ìü פüµÖÖ …
(1) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(2) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÃÖÆüß ®ÖÆüà Æïü …
(3) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü …
(4) (A) ÃÖÆüß ®ÖÆüà Æîü, (R) ÃÖÆüß Æîü …
55. †×³ÖÛú£Ö®Ö (A) : ¯ÖϬÖÖ®Ö ´ÖÓ¡Öß ®Ö¸êü®¦ü ´ÖÖê¤üß ®Öê »Ö›Ìü×ÛúµÖÖë Ûêú •Ö®´Ö †Öî¸ü ׿ÖõÖÖ Ûúß ×ãÖ×ŸÖ ´Öë ÃÖã¬ÖÖ¸ü »ÖÖ®Öê Ûêú ×»Ö‹
‘²Öê™üß ²Ö“ÖÖ†Öê, ²Öê™üß ¯ÖœÌüÖ†Öê’ †×³ÖµÖÖ®Ö Ûúß ¿Öãºþ†ÖŸÖ Ûúß …
ŸÖÛÔú (R) : ŒµÖÖë×Ûú ÃÖÓµÖãŒŸÖ ¸üÖ™Òü, µÖæ.‹ÃÖ.‹.†Ö‡Ô.›üß. Ûêú ´ÖÖ¬µÖ´Ö ÃÖê ‡ÃÖ †×³ÖµÖÖ®Ö Ûêú ×»Ö‹ ´Ö¤ü¤ü Ûúß
¯Öê¿ÖÛú¿Ö Ûú¸üŸÖÖ Æîü …
(1) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(2) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
(3) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü …
(4) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü …
56. †×³ÖÛú£Ö®Ö (A) : ‘פü دÖÏ×ÃÖ¯Ö»Ö †Öò±ú ¯ÖÏÖŒÃÖ×´Ö™üß’ ¯Öæ¸üß ×›ü•ÖÖ‡®Ö ´Öë ˆ®Æüà µÖÖ ÃÖ´ÖÖ®Ö ¯ÖÏÛúÖ¸ü Ûêú ŸÖ¢¾ÖÖë Ûêú ×»Ö‹ ŸÖÛÔú
Æîü … Ûãú”û ×›ü•ÖÖ‡®Ö ŸÖ¢¾ÖÖë ÛúÖê ¤üÖêÆü¸üÖ®Öê ÃÖê ‹ÛúŸÖÖ †Öî¸ü ÃÖ´²Ö¨üŸÖÖ Ûúß ³ÖÖ¾Ö®ÖÖ †ÖŸÖß Æîü …
ŸÖÛÔú (R) : ‡ÃÖ ×ÃÖ¨üÖÓŸÖ ´Öë ÛúÆüÖ ÝÖµÖÖ Æîü ×Ûú ÃÖÓ²ÖÓ×¬ÖŸÖ ´Ö¤ëü ÃÖ´ÖæÆü²Ö¨ü Ûúß •ÖÖ‹Ñ ŸÖÖ×Ûú Ûú³Öß ³Öß ˆ®Æëü †®ÖêÛú
†ÃÖ´²Ö¨ü ŸÖ¢¾ÖÖë Ûêú ºþ¯Ö ´Öë ®Ö ÃÖ´Ö—ÖÖ •ÖÖ‹ …
(1) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(2) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
(3) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü …
(4) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü …
J-79-16 19 Paper-III
Text of page 20
57. Assertion (A) : Polish Poster School significantly influenced the international
development of graphic design in poster art.
Reason (R) : Because their use of powerful suggestion, strong and vivid colours
from folk art, printed and often hand-lettered with popular symbols to
create an inventive metaphor as a hybrid of words and images.
(1) Both (A) and (R) are incorrect.
(2) Both (A) and (R) are correct.
(3) (A) is correct but (R) is incorrect.
(4) (A) is incorrect but (R) is correct.
58. Assertion (A) : Paul Gauguin’s work registers Austere simplicity of forms and theme
from so called savage life.
Reason (R) : Because he was fade up with hypocracy and superficiality of modern
European civilization and moved to Tahiti.
(1) (A) is correct and (R) is also correct.
(2) (A) is correct but (R) is not correct.
(3) (A) is not correct but (R) is correct.
(4) (A) is not correct and (R) is also not correct.
59. Assertion (A) : Acrylic paints have been adopted as a popular medium by
contemporary painters and sculptors.
Reason (R) : The versatility and flexibility offered by acrylics have opened new
avenues of experimentations.
(1) Both (A) and (R) are correct.
(2) (A) is correct but (R) is incorrect.
(3) (A) is incorrect but (R) is correct.
(4) Both (A) and (R) are incorrect.
60. Assertion (A) : Gubbar was a unique method for painting hashiyas in Mughal
miniature painting.
Reason (R) : Mughal artists experimented with gold dust and pouncing method to
give hashiyas a distinct style.
(1) Both (A) and (R) are correct.
(2) (A) is correct but (R) is incorrect.
(3) (A) is incorrect but (R) is correct.
(4) Both (A) and (R) are incorrect.
Paper-III 20 J-79-16
Text of page 21
57. †×³ÖÛú£Ö®Ö (A) : ¯ÖÖê×»Ö¿Ö ¯ÖÖêÙü¸ü ÃÛæú»Ö ®Öê ¯ÖÖêÙü¸üÛú»ÖÖ ´Öë ÝÖÏÖ×±úÛú ×›ü•ÖÖ‡®Ö Ûêú †ÓŸÖ¸üÖÔ™ÒüßµÖ ×¾ÖÛúÖÃÖ ¯Ö¸ü
ˆ»»ÖêÜÖ®ÖßµÖ ¯ÖϳÖÖ¾Ö ›üÖ»ÖÖ …
ŸÖÛÔú (R) : ŒµÖÖë×Ûú ˆ®ÖÛêú ÃÖ¿ÖŒŸÖ ÃÖã—ÖÖ¾Ö, »ÖÖêÛúÛú»ÖÖ ÃÖê ÃÖ¿ÖŒŸÖ †Öî¸ü ×¾Ö×¾Ö¬Ö ¸ÓüÝÖÖë Ûêú ¯ÖϵÖÖêÝÖ, וִ֮Öë
®Ö¾ÖÖ“ÖÖ¸üß ºþ¯ÖÛú ²Ö®ÖÖ®Öê Ûêú ×»Ö‹ »ÖÖêÛúׯÖ쵅 ¯ÖÏŸÖßÛúÖë ÃÖ×ÆüŸÖ ´ÖãצüŸÖ †Öî¸ü ÆüßÖ×»Ö×¯Ö ¿ÖÖ×´Ö»Ö Æîü,
¿ÖÖײ¤üÛú ÛúÖ ×´ÖÁÖÞÖ Æîü
(1) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
(2) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(3) (A) ÃÖÆüß Æîü ¯Ö¸ÓüŸÖã (R) ÝÖ»ÖŸÖ Æîü …
(4) (A) ÝÖ»ÖŸÖ Æîü, ¯Ö¸ÓüŸÖã (R) ÃÖÆüß Æîü …
58. †×³ÖÛú£Ö®Ö (A) : ¯ÖÖò»Ö ÝÖÖêÝÖÖò Ûêú ÛúÖµÖÔ ´Öë ºþ¯ÖÛúÛúÖ¸üÖë Ûúß †ŸµÖ®ŸÖ ÃÖ¸ü»ÖŸÖÖ †Öî¸ü ×¾ÖÂÖµÖ-¾ÖßÖã Ûúß ÃÖ¸ü»ÖŸÖÖ
ŸÖ£ÖÖÛú×£ÖŸÖ †Öפü¾ÖÖÃÖß •Öß¾Ö®Ö ÃÖê ¯ÖϳÖÖ×¾ÖŸÖ Æîü …
ŸÖÛÔú (R) : ŒµÖÖë×Ûú ¾ÖÆü †Ö¬Öã×®ÖÛú µÖæ¸üÖê¯ÖßµÖ ÃÖ³µÖŸÖÖ Ûêú ²Ö®ÖÖ¾Ö™üß¯Ö®Ö †Öî¸ü ×¾Ö¸üÖê¬ÖÖ³ÖÖÃÖ ÃÖê ˆ³Ö¸üÛú¸ü ŸÖÖ×ÆüŸÖß ´Öë
†Ö ²ÖÃÖÖ £ÖÖ …
(1) (A) ÃÖÆüß Æîü †Öî¸ (R) ³Öß ÃÖÆüß Æîü …
(2) (A) ÃÖÆüß Æîü »Öê×Ûú®Ö (R) ÝÖ»ÖŸÖ Æîü …
(3) (A) ÝÖ»ÖŸÖ Æîü »Öê×Ûú®Ö (R) ÃÖÆüß Æîü …
(4) (A) ÝÖ»ÖŸÖ Æîü †Öî¸ (R) ³Öß ÃÖÆüß ®ÖÆüà Æîü …
59. †×³ÖÛú£Ö®Ö (A) : ÃÖ´ÖÛúÖ»Öß®Ö ×“Ö¡ÖÛúÖ¸üÖë †Öî¸ü ´ÖæÙŸÖÛúÖ¸üÖë Ûêú «üÖ¸üÖ ‹ÛÎú×»ÖÛú ¸ÓüÝÖÖë ÛúÖ ¯ÖϵÖÖêÝÖ »ÖÖêÛúׯÖ쵅 ´ÖÖ¬µÖ´Ö Ûêú
ºþ¯Ö ´Öë ×ÛúµÖÖ ÝÖµÖÖ Æîü …
ŸÖÛÔú (R) : ²ÖÆãü×¾Ö–ÖŸÖÖ †Öî¸ü ®Ö´µÖŸÖÖ •ÖîÃÖê ‹ÛÎú×»ÖÛú ¸ÓüÝÖÖë Ûêú ÝÖãÞÖÖë ®Öê ¯ÖϵÖÖêÝÖ¬ÖÙ´ÖŸÖÖ Ûêú ®Ö‹ †Ö´ÖÖ¯Ö ˆ¯Ö×ã֟Ö
×Ûú‹ …
(1) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(2) (A) ÃÖÆüß Æîü »Öê×Ûú®Ö (R) ÝÖ»ÖŸÖ Æîü …
(3) (A) ÝÖ»ÖŸÖ Æîü »Öê×Ûú®Ö (R) ÃÖÆüß Æîü …
(4) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
60. †×³ÖÛú£Ö®Ö (A) : ´ÖãÝÖ»Ö »Ö‘Öã ד֡ÖÛú»ÖÖ ´Öë ÆüÖ׿֋ ÛúÖê דÖ×¡ÖŸÖ Ûú¸ü®Öê Ûúß ÝÖã²ÖÖ¸ü ‹Ûú †®ÖÖîÜÖß ×¾Ö×¬Ö Æîü …
ŸÖÛÔú (R) : ´ÖãÝÖ»Ö Ûú»ÖÖÛúÖ¸üÖë ®Öê ÆüÖ׿֋ ÛúÖê ¯ÖÏ´ÖãÜÖ ¿Öî»ÖßÝÖŸÖ ×¾Ö¿ÖêÂÖŸÖÖ Ûêú ºþ¯Ö ´Öë פüÜÖÖ®Öê Ûêú ×»Ö‹ þÖÞÖÔ-
“ÖæÞÖÔ †Öî¸ü ¯ÖֈخÃÖÝÖ ×¾Ö×¬Ö ÛúÖ ¯ÖϵÖÖêÝÖ ×ÛúµÖÖ …
(1) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(2) (A) ÃÖÆüß Æîü »Öê×Ûú®Ö (R) ÝÖ»ÖŸÖ Æîü …
(3) (A) ÝÖ»ÖŸÖ Æîü »Öê×Ûú®Ö (R) ÃÖÆüß Æîü …
(4) (A) †Öî¸ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
J-79-16 21 Paper-III
Text of page 22
61. Match the following :
a. Andy Warhol i. Woodcut
b. Hokusai ii. Lithography
c. Francisco Goya iii. Screen printing
d. Toulouse Lautrec iv. Aquatint
Codes :
a b c d
(1) ii i iv iii
(2) iii i iv ii
(3) iii iv i ii
(4) ii iv i iii
62. Match the following :
a. Wood block i. 1040
b. Movable type ii. 200
c. Printing press iii. 1440
d. Etching iv. 1515
Codes :
a b c d
(1) ii i iii iv
(2) iv ii i iii
(3) iv i iii ii
(4) i iii iv ii
63. Match the following :
a. Somnath Hore i. Woodcut
b. Carol Summers ii. Etching
c. Paul Lingeran iii. Paper pulp cast
d. Jagmohan Chopra iv. Paper plate
Codes :
a b c d
(1) i ii iv iii
(2) iv i iii ii
(3) iii i ii iv
(4) i ii iii iv
Paper-III 22 J-79-16
Text of page 23
61. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú¸ëü :
a. ‹Ó›üß ¾ÖÖ¸ü»Ö i. ¾Öã›üÛú™ü
b. ÆüÖêÛãúÃÖÖ‡ ii. ×»Ö£ÖÖêÝÖÏÖ±úß
c. ±ÏúÖÓ×ÃÖÃÛúÖê ÝÖÖêµÖÖ iii. ×ÃÛÎú®Ö دÖÏØ™üÝÖ
d. ™ãü»ÖãÃÖ »ÖÖî¡Öê iv. ‹×Œ¾ÖØ™ü™ü
Ûæú™ü :
a b c d
(1) ii i iv iii
(2) iii i iv ii
(3) iii iv i ii
(4) ii iv i iii
62. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú¸ëü :
a. ÛúÖšü ²»ÖÖòÛú i. 1040
b. “Ö»Ö¬ÖÖŸÖã ™üÖ‡Ô¯Ö ii. 200
c. ”ûÖ¯ÖÖ ¯ÖÏîÃÖ iii. 1440
d. †´»ÖÖÓÛú®Ö iv. 1515
Ûæú™ü :
a b c d
(1) ii i iii iv
(2) iv ii i iii
(3) iv i iii ii
(4) i iii iv ii
63. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú¸ëü :
a. ÃÖÖê´Ö®ÖÖ£Ö ÆüÖê¸ü i. ¾Öã›üÛú™ü
b. Ûêú¸üÖê»Ö ÃÖ´Ö¸ü ii. ‹Ø“ÖÝÖ
c. ¯ÖÖò»Ö Ø»Öݸü®Ö iii. ¯Öê¯Ö¸ü ¯Ö»¯Ö ÛúÖÙü
d. •ÖÝÖ´ÖÖêÆü®Ö “ÖÖê¯Ö›ÌüÖ iv. ¯Öê¯Ö¸ü ¯»Öê™ü
Ûæú™ü :
a b c d
(1) i ii iv iii
(2) iv i iii ii
(3) iii i ii iv
(4) i ii iii iv
J-79-16 23 Paper-III
Text of page 24
64. Match the following :
a. Agni i. Elephant
b. Yama ii. Ram
c. Indra iii. Bull
d. Ishana iv. Buffalo
Codes :
a b c d
(1) iii iv i ii
(2) ii iii iv i
(3) i iv iii ii
(4) ii iv i iii
65. Match the following :
a. Dakhil Darwaza i. Fatehpur Sikari
b. Buland Darwaza ii. Pandua
c. Alai Darwaza iii. Ahmedabad
d. Teen Darwaza iv. Qutb Complex, Delhi
Codes :
a b c d
(1) i ii iii iv
(2) ii i iv iii
(3) ii iv iii i
(4) iv ii iii i
66. Match the following :
a. Meera Mukherji i. Polyester and Fiberglass
b. Ram Kinkar Baij ii. Lost wax method
c. Dhruva Mistry iii. Concrete
d. P.V. Jankiraman iv. Repousse
Codes :
a b c d
(1) iii iv i ii
(2) ii iii i iv
(3) iv ii i iii
(4) ii iv i iii
Paper-III 24 J-79-16
Text of page 25
64. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú¸ëü :
a. †×Ý®Ö i. ÆüÖ£Öß
b. µÖ´Ö ii. ´ÖêÂÖ
c. ‡®¦ü iii. ¾ÖéÂÖ³Ö
d. ‡Ô¿ÖÖ®Ö iv. ³ÖïÃÖ
Ûæú™ü :
a b c d
(1) iii iv i ii
(2) ii iii iv i
(3) i iv iii ii
(4) ii iv i iii
65. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú¸ëü :
a. ¤üÖ×ÜÖÌ»Ö ¤ü¸ü¾ÖÖ•ÖÌÖ i. ±úŸÖêÆü¯Öã¸ü ÃÖßÛú¸üß
b. ²Öã»Ö®¤ü ¤ü¸ü¾ÖÖ•ÖÌÖ ii. ¯ÖÖÓ›ãü†Ö
c. †»ÖÖ‡Ô ¤ü¸ü¾ÖÖ•ÖÌÖ iii. †Æü´Ö¤üÖ²ÖÖ¤ü
d. ŸÖß®Ö ¤ü¸ü¾ÖÖ•ÖÌÖ iv. ÛãúŸÖã²Ö ¯Ö׸üÃÖ¸ü, פü»»Öß
Ûæú™ü :
a b c d
(1) i ii iii iv
(2) ii i iv iii
(3) ii iv iii i
(4) iv ii iii i
66. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú¸ëü :
a. ´Ö߸üÖ ´ÖãÜÖ•Öá i. ¯ÖÖò׻ևÙü¸ü †Öî¸ü ±úÖ‡²Ö¸ü Ý»ÖÖÃÖ
b. ¸üÖ´Ö ØÛúÛú¸ü ²Öî•Ö ii. »ÖÖêÙü ¾ÖîŒÃÖ ´Öê£Ö›ü
c. ¬ÖÐã¾Ö ×´ÖáÖß iii. ÛÓúÛÎúß™ü
d. ¯Öß.¾Öß. •ÖÖ®ÖÛú߸ü´Ö®Ö iv. ׸ü¯ÖæÃÖê
Ûæú™ü :
a b c d
(1) iii iv i ii
(2) ii iii i iv
(3) iv ii i iii
(4) ii iv i iii
J-79-16 25 Paper-III
Text of page 26
67. Match the following :
a. Early Renaissance i. Bernini
b. High Renaissance ii. Duchamp
c. Baroque iii. Masaccio
d. Modern iv. Michelangelo
Codes :
a b c d
(1) ii i iv iii
(2) iii iv i ii
(3) i iv ii iii
(4) iv ii i iii
68. Match the following :
a. Medardo Rosso i. Adam and Eve
b. Constantin Brancusi ii. Hand of God
c. Auguste Rodin iii. The Bookmaker
d. Michelangelo iv. “Blockhead” Slave
Codes :
a b c d
(1) ii iii i iv
(2) iii i ii iv
(3) iv ii iii i
(4) ii i iii iv
69. Match the following :
a. Ebony i. Terracotta
b. Earthen ware ii. Non-ferrous
c. Aluminium iii. Sedimentary Rocks
d. Lime stones iv. Wood
Codes :
a b c d
(1) iv ii iii i
(2) i iii ii iv
(3) iv i ii iii
(4) iv ii i iii
Paper-III 26 J-79-16
Text of page 27
67. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú¸ëü :
a. †»Öá ׸ü®ÖêÃÖÖ i. ²Öê¸ü®Öß®Öß
b. ÆüÖ‡ ׸ü®ÖêÃÖÖ ii. ›ËüµÖæ“Öî´¯Ö
c. ²ÖÖ¸üÖêŒµÖ iii. ´ÖîÃÖî×ÃÖµÖÖê
d. ´ÖÖò›ü®ÖÔ iv. ´ÖÖ‡Ûêú»Ö‹ÓוֻÖÖê
Ûæú™ü :
a b c d
(1) ii i iv iii
(2) iii iv i ii
(3) i iv ii iii
(4) iv ii i iii
68. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú¸ëü :
a. ´Öê›üÖ¸ü›üÖê ¸üÖêÃÖÖê i. ‹›ü´Ö ‹Ó›ü ‡¾Ö
b. ÛúÖî®ÃÖ™ïü×™ü®Ö ²ÖÎÖ®ÖÛãúÃÖß ii. Æîü®›ü †Öò±ú ÝÖÖò›ü
c. †ÖÝÖÙü ¸üÖê×›ü®Ö iii. ¤ü ²ÖãÛú´ÖêÛú¸ü
d. ´ÖÖ‡Ûú»Ö ‹ëוֻÖÖê iv. “²»ÖÖÛúÆêü›ü” ûÖê¾Ö
Ûæú™ü :
a b c d
(1) ii iii i iv
(2) iii i ii iv
(3) iv ii iii i
(4) ii i iii iv
69. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú¸ëü :
a. †Ö²Ö®ÖæÃÖ i. ¯ÖŒÛúß ×´Ö™Ëü™üß
b. ×´Ö™Ëü™üß Ûêú ²ÖŸÖÔ®Ö ii. †»ÖÖîÆü
c. ‹ê»Öã´Öß×®ÖµÖ´Ö iii. †¾ÖÃÖÖ¤üß ¿Öî»Ö
d. “Öæ®ÖÖ ¯ÖŸ£Ö¸ü iv. ÛúÖšü
Ûæú™ü :
a b c d
(1) iv ii iii i
(2) i iii ii iv
(3) iv i ii iii
(4) iv ii i iii
J-79-16 27 Paper-III
Text of page 28
70. Match the following :
a. Cartoons i. Saul Bass
b. Logo ii. William Addison Diggins
c. Book Jacket Designing iii. Mario Miranda
d. Film Posters iv. Paul Rand
Codes :
a b c d
(1) i ii iii iv
(2) iii iv ii i
(3) i ii iv iii
(4) iii iv i ii
71. Match the following :
a. Advertorial i. Television
b. Centre-spread Ad ii. Magazine
c. Transit Ad iii. Newspaper
d. Prime time Ad iv. Out of Home
Codes :
a b c d
(1) iii ii iv i
(2) ii iii iv i
(3) i iv ii iii
(4) iv iii ii i
72. Match the following :
a. Pixellation i. Conceptualization
b. Media Planning ii. Target Audience
c. Film Editing iii. Splicer
d. Visualiser iv. Computer
Codes :
a b c d
(1) iv ii iii i
(2) iv i ii iii
(3) iii iv i ii
(4) ii iii iv i
Paper-III 28 J-79-16
Text of page 29
70. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú¸ëü :
a. ÛúÖ™æÔü®Ö i. ÃÖÖ†Öê»Ö ²ÖÃÖ
b. »ÖÖêÝÖÖê ii. ×¾Ö×»ÖµÖ´Ö ‹›üßÃÖ®Ö ×›ü×ÝÖ®ÃÖ
c. ²ÖãÛú •ÖîÛêú™ü ×›ü•ÖÖ‡®Ö iii. ´ÖÖ׸üµÖÖê ×´Ö¸üÖÓ›üÖ
d. ×±ú»´Ö ¯ÖÖêÙüÃÖÔ iv. ¯ÖÖò»Ö ¸ïü›ü
Ûæú™ü :
a b c d
(1) i ii iii iv
(2) iii iv ii i
(3) i ii iv iii
(4) iii iv i ii
71. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú¸ëü :
a. ‹›ü¾Ö™üÖì׸üµÖ»Ö i. ™êü»Öß×¾Ö•ÖÌ®Ö
b. ÃÖê®™ü¸ü ïÖÏê›ü ‹›ü ii. ´ÖîÝÖ•ÖÌß®Ö
c. ™ÒüÖÓוÖÌ™ü ‹›ü iii. ®µÖæ•Ö̯Öê¯Ö¸ü
d. ¯ÖÏÖ‡´Ö ™üÖ‡´Ö ‹›ü iv. †Ö‰ú™ü †Öò±ú ÆüÖê´Ö
Ûæú™ü :
a b c d
(1) iii ii iv i
(2) ii iii iv i
(3) i iv ii iii
(4) iv iii ii i
72. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú¸ëü :
a. ׯ֌ÃÖê»Öê¿Ö®Ö i. ÛúÖò®ÃÖꯓÖã†Ö»ÖևؕÖÝÖ
b. ´Öß×›üµÖÖ ¯»ÖÖØ®ÖÝÖ ii. †Öò×›ü‹ê®ÃÖ/™üÖ¸üÝÖê™ü ÃÖêÝÖ´Öë™ü
c. ×±ú»´Ö ‹›üßØ™üÝÖ iii. ï»ÖÖ‡Ô•Ö̸ü
d. ×¾Ö•ÖÌå†Ö»ÖÖ‡•Ö̸ü iv. Ûú´¯µÖæ™ü¸ü
Ûæú™ü :
a b c d
(1) iv ii iii i
(2) iv i ii iii
(3) iii iv i ii
(4) ii iii iv i
J-79-16 29 Paper-III
Text of page 30
73. Match the following :
a. The Tribute Money i. Michelangelo
b. The Calling of St. Matthew ii. Rembrandt
c. The Last Judgement iii. Masaccio
d. The Angel Leaving Tabit and Tobias iv. Caravaggio
Codes :
a b c d
(1) iii iv i ii
(2) ii i iv iii
(3) i ii iii iv
(4) iv iii ii i
74. Match the following :
a. Miniature Painting i. Patli
b. Pala Manuscript Covers ii. Palm leaf
c. Jain painted manuscript iii. Cloth
d. Thangkas iv. Wasli
Codes :
a b c d
(1) iv i ii iii
(2) i iii ii iv
(3) iii ii iv i
(4) i iii iv ii
75. Match the following :
a. Govache i. No binding agent
b. Encaustic painting ii. Wax
c. Tempera iii. Gum Arabic
d. Fresco iv. Egg Yolk
Codes :
a b c d
(1) iii i iv ii
(2) iv iii ii i
(3) iii ii iv i
(4) i ii iii iv
__________
Paper-III 30 J-79-16
Text of page 31
73. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú¸ëü :
a. ¤ü ×™Òü²µÖæ™ü ´Ö®Öß i. ´ÖÖ‡Ûú»Ö ‹Ó•Öê»ÖÖê
b. ¤ü ÛúÖØ»ÖÝÖ †Öò±ú ÃÖë™ü ´ÖÖæ ii. ¸êü´²ÖÎÖÑ
c. ¤ü »ÖÖÙü •Ö•Ö´Öî®™ü iii. ´ÖÃÖÖ“µÖÖê
d. ¤ü ‹Ó×•Ö»Ö »ÖßؾÖÝÖ ™îüײ֙ü ‹Ó›ü ™üÖêײֵÖÖÃÖ iv. Ûú¸üÖ¾ÖîוֵÖÖê
Ûæú™ü :
a b c d
(1) iii iv i ii
(2) ii i iv iii
(3) i ii iii iv
(4) iv iii ii i
74. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú¸ëü :
a. »Ö‘Öã ד֡ÖÛú»ÖÖ i. ¯Ö™ü»Öß
b. ¯ÖÖ»Ö ´Öî®Ö˵Öã×ÃÛÎú¯™ü Ûú¾Ö¸ü ii. ŸÖÖ›Ìü¯Ö¡Ö
c. דÖ×¡ÖŸÖ •Öî®Ö ´Öî®Ö˵Öã×ÃÛÎú¯™ü iii. Ûú¯Ö›ÌüÖ
d. £ÖÓÛúÖ iv. ¾ÖÃÖ»Öß
Ûæú™ü :
a b c d
(1) iv i ii iii
(2) i iii ii iv
(3) iii ii iv i
(4) i iii iv ii
75. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú¸ëü :
a. ݾÖÖò¿Ö i. ²ÖÓ¬ÖÛúÖ¸üß ‹•Öë™ü ÛúÖ ¯ÖϵÖÖêÝÖ ®ÖÆüà
b. ‡®ÖËÛúÖ×ÙüÛú ×“Ö¡Ö ii. ´ÖÖê´Ö
c. ™ëü¯Ö¸üÖ iii. ÝÖ´Ö †¸êüײÖÛú
d. ׳Ö×¢Ö×“Ö¡Ö iv. †Þ›ü ¯ÖߟÖÛú
Ûæú™ü :
a b c d
(1) iii i iv ii
(2) iv iii ii i
(3) iii ii iv i
(4) i ii iii iv
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J-79-16 31 Paper-III
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Source: University Grants Commission. Question paper published by University Grants Commission.