NIOS CLASS 10 PAINTING CHAPTER-8 Pioneers of Contemporary Indian Art

 

Chapter 8

Pioneers of Contemporary Indian Art

 

INTEXT QUESTIONS 8.1

1. What is the medium of Hamsa Damayanti?

Ans:

v  He at that point out of nowhere observed a Naga god in fire and he spared him.

v The Naga god consequently changed Nala's appearance and instructed him to gain proficiency with the expertise of the game from the ruler Rituparna of Ayodhya, so he could get back his realm. Nala went to Ayodhya without advising Damayanti, which left her looking for him.

v Damayanti was assaulted by a python yet it was executed by a tracker. Enamored by Damayanti's excellence, the tracker attempted to compel himself on her yet she reviled him to be scorched into cinders.

2. What does the painting depict?

Ans:

v After the tracker was scorched, Damayanti was saved by a gathering of dealers. Anyway one night a group of elephants devastated the merchants' things and the brokers began to beat Damayanti as they suspected she had brought them misfortune.

v Running for her life, Damayanti arrived at Viprapur. There she was picked as the servant by the sovereign, Bhanumati. At some point, a priest perceived who the servant was and taken her back to Vidarbha. Later she sent an inquiry to all realms to distinguish where Nala was.

v Nala responded to the inquiry and he was called to Vidarbha. There he rejoined with Damayanti and they went to Nishada.

v Nala tested Puskara yet this time Pushkara lost. Nala got his realm back and he carried on with a glad existence with Damayanti.

3. What was the vital link Ravi Varma provided?

Ans:

    Raja Ravi Varma's portrayal of legendary characters has become a piece of the Indian creative mind of the sagas.

    He is regularly scrutinized for being too garish and nostalgic in his style however his work stays exceptionally famous in India.

    Huge numbers of his awesome artworks are housed at Laxmi Vilas Palace, Vadodara.

    Raja Ravi Varma was captivated by the force and intense articulation of Europeancompositions, which went over to him as strikingly differentiating to adapted Indian fine art. His compositions are viewed as among the best instances of the combination of Indian conventions with the procedures of European scholarly craftsmanship.

4. What printing process he used to reproduce his paintings?

Ans:

    Printing and disseminating oleographs was given to Ravi Varma by Sir T. Madhava Rao, previous Dewan of Travancore and later Baroda, in a letter during the 1880s which read: "There are numerous companions who are burning of having your works. It would be not feasible for you, with just a couple of hands, to satisfy quite a huge need.

    " At the time, Ravi Varma had guaranteed his companion and benefactor that he would give his proposal his sincere consultation, and even though it took the craftsman almost 10 years, he did so in the end.

INTEXT QUESTIONS 8.2

1. Which Europeon styles influenced Amrita most?

Ans:

    Quite a solid liking for Western methods of painting, as a reaction to conventional craftsmanship authentic assets, has made Sher-Gil a charming craftsman to consider. The juncture of East and West is apparent in her energetic canvases.

    The development of her novel style is reflected through her canvases, impacted by Impressionist and 'European' style, they are described by a remarkable shading palette loaded up with unbridled and intense shading.

2. How many figures are there on the painting "Brahmacharies".

Ans:

    In the Hindu, Jain, and Buddhist ascetic conventions, brahmacharya suggests, in addition to other things, the compulsory renunciation of sex and marriage.

    It is viewed as essential for a priest's otherworldly practice.

    Western ideas of the strict life as rehearsed in religious settings reflect these attributes

3. State the main features of this painting composition.

Ans:

    The piece of an image is not the same as its subject (what is portrayed), regardless of whether a second from a story, an individual, or a spot.

    Numerous subjects, for instance, Saint George and the Dragon, are regularly depicted in craftsmanship, yet utilizing an incredible scope of syntheses even though the two figures are ordinarily the lone ones that appeared.

4. In which year was it painted?

Ans:

    Sher-Gil wedded her Hungarian first cousin, Dr. Viktor Egan when she was 25.

    Egan had helped Sher-Gil acquire premature births on, in any event, two events before their marriage.

    She moved with him to India to remain at her fatherly family's home in Saraya, Sardarnagar, ChauriChaura in Gorakhpur, Uttar Pradesh. In this way started her second period of painting which approaches its effect on Indian craftsmanship with any semblance of Rabindranath Tagore and Jamini Roy of the Bengal school of workmanship.

    The 'Calcutta Group' of specialists, which changed the Indian workmanship scene, was to begin just in 1943, and the 'Reformist Artist's Group', with Francis Newton Souza, Ara, Bakre, Gade, M. F. Husain, and S. H. Raza among its authors, lay further ahead in 1948.

INTEXT QUESTIONS 8.3

1. What were the themes Gaganendranath chose to paint between 1910 and 1921?

Ans:

    Somewhere in the range of 1920 and 1925, Gaganendranath spearheaded tests in pioneer painting.

    Partha Mitter portrays him as "the solitary Indian painter before the 1940s who utilized the language and punctuation of Cubism in his painting".

    From 1925 onwards, the craftsman built up a mind-boggling post-cubist style.

2. Which Europeon style influenced his painting "Atrium"?

Ans:

    Cubism is a mid-twentieth century cutting edge workmanship development that reformed European artwork and form and propelled related developments in music, writing, and engineering.

    Cubism has been viewed as the most powerful workmanship development of the twentieth century.

3. Who do his cartoons reflect?

Ans:

     Gaganendranath got no proper instruction except for prepared under the watercolouristHarinarayanBandopadhyay.

    In 1907, alongside his sibling Abanindranath, he established the Indian Society of Oriental Art which later distributed the compelling diary Rupam. Somewhere in the range of 1906 and 1910, the craftsman contemplated and acclimatized Japanese brush methods and the impact of Far Eastern workmanship into his work, as exhibited by his outlines for Rabindranath Tagore's collection of memoirs Jeevansmriti (1912).

    He proceeded to build up his methodology in his Chaitanya and Pilgrim arrangement. Gaganendranath, at last, relinquished the revivalism of the Bengal School and took up cartoon. The Modern Review distributed a large number of his kid's shows in 1917.

    From 1917 onwards, his mocking lithographs showed up in a progression of books, including Play of Opposites, Realm of the Absurd, and Reform Screams.

4. What is the medium of the painting "Atrium"?

Ans: Watercolor or paper is the medium of the painting “Atrium”.

    Oil and easel painting In India started at the beginning of the eighteenth century which saw numerous European craftsmen, for example, Zoffany, Kettle, Hodges, Thomas and William Daniell, Joshua Reynolds, Emily Eden, and George Chinnery coming out to India looking for notoriety and fortune.

    The courts of the royal conditions of India were a significant draw for European specialists because they supported the visual and performing expressions and their requirement for European style of pictures

    The dealers of the East India Company likewise gave an enormous market to local craftsmanship. A particular class created of watercolor painting on paper and mica in the later 50% of the eighteenth century portraying scenes of regular day to day existence, formal attire of royal courts, and local merriments and ceremonies.

TERMINAL EXERCISES

1. Write in brief what kind of art evolved after Company Art declined in India?

Ans: The Indian workmanship has depicted the way of life of Indian development like Warli craftsmanship for truck thus numerous this include profoundly it gives one and one message in the Asian season of the set of experiences we can say Ajanta cavern artworks.

    In noteworthy craftsmanship, form in stone and metal, fundamentally strict, has endured the Indian atmosphere better than other media and gives a large portion of the best remaining parts.

    A significant number of the main old finds that are not in cut stone come from the encompassing, drier districts as opposed to India itself.

    Indian burial service and thoughtful conventions prohibit grave merchandise, which is the principal wellspring of old workmanship in different societies.

    Indian craftsman styles generally followed Indian religions out of the subcontinent, having a particularly enormous impact in Tibet, South East Asia, and China. Indianworkmanship has itself gotten impacts now and again, particularly from Central Asia and Iran, and Europe.

2. Describe the subjects of Raja Ravi Verma’s paintings.

Ans: Raja Ravi Varma(29 April 1848 – 2 October 1906) was an observed Indian painter and craftsman. He is considered among the best painters throughout the entire existence of Indian craftsmanship. His works are probably the best illustration of the combination of European scholastic workmanship with simply Indian reasonableness and iconography.

    Furthermore, he was remarkable for making moderate lithographs of his canvases accessible to general society, which extraordinarily improved his scope and impact as a painter and well-known individual.

    His lithographs expanded the association of average folks with expressive arts and characterized masterful tastes among everyday citizens. Moreover, his strictportrayals of Hindu divinities and works from Indian epic verse and Puranas have gotten significant recognition.

    Raja Ravi Varma was firmly identified with the imperial group of Travancore of present-day Kerala state in India.

3. Describe the composition of the painting “Brahmacharies”.

Ans: Brahmacharis

Amrita Sher-Gil

Date: 1937

Style: Post-Impressionism

Genre: genre painting

 

    Later in 1937, she visited South India and delivered her South Indian set of three artworks Bride's Toilet, Brahmacharis, and South Indian Villagers Going to Market following her visit to the Ajanta Caves, when she made a cognizant endeavor to re- visitation of old-style Indian workmanship.

    These artworks uncover her enthusiastic feeling of shading and similarly energetic compassion for her Indian subjects, who are regularly portrayed in their neediness and despair.

    By now the change in her work was finished and she had discovered her 'creative mission' which was, as per her, to communicate the life of Indian individuals through her canvas. While in Saraya Sher-Gil kept in touch with a companion in this manner: "I can just paint in India. Europe has a place with Picasso, Matisse, Braque.

4. Write a paragraph on Gaganendranath Tagore’s style of painting.

Ans: Gaganendranath was a pioneer from multiple points of view – in receiving Indian styles of painting in the wake of preparing in western workmanship, and afterward engrossing Japanese styles. Alongside his sibling, Abanindranath, they initiated what got known as the "Bengal school" or "Neo-Oriental school".

Its impact spread the nation over while it joined different strains of South Asian impact. Somewhere in the range of 1920 and 1925, Gaganendranath spearheaded tests in innovator painting. Partha Mitter depicts him as "The solitary Indian painter before the 1940s to utilize the language and grammar of Cubism in his artwork". From 1925 onwards, the craftsman built up a mind-boggling post-cubist style.