PAPER-III
VISUAL ARTS
Signature and Name of Invigilator
1. (Signature) __________________________
(Name) ____________________________
2. (Signature) __________________________
(Name) ____________________________
D 791
1 2
Time : 2 /2 hours]
Number of Pages in this Booklet : 20
Instructions for the Candidates
1. Write your roll number in the space provided on the top of
this page.
2. This paper consists of seventy five multiple-choice type of
questions.
3. At the commencement of examination, the question booklet
will be given to you. In the first 5 minutes, you are requested
to open the booklet and compulsorily examine it as below :
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(iii) After this verification is over, the OMR Sheet Number
should be entered on this Test Booklet.
4. Each item has four alternative responses marked (A), (B),
(C) and (D). You have to darken the circle as indicated below
on the correct response against each item.
Example :
where (C) is the correct response.
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D-79-12
OMR Sheet No. : ...............................................
(To be filled by the Candidate)
Roll No.
(In figures as per admission card)
Roll No.________________________________
(In words)
[Maximum Marks : 150
Number of Questions in this Booklet : 75
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(ii) Ûú¾Ö¸ü ¯Öéšü ¯Ö¸ü ”û¯Öê ×®Ö¤ìü¿ÖÖ®ÖãÃÖÖ¸ü ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ Ûêú ¯Öéšü ŸÖ£ÖÖ
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Æïü … ¤üÖÂê Ö¯ÖæÞÖÔ ¯Öã×ßÖÛúÖ ×•Ö®Ö´Öë ¯Öéšü/¯ÖÏ¿®Ö Ûú´Ö ÆüÖë μÖÖ ¤ãü²ÖÖ¸üÖ †Ö
ÝÖμÖê ÆüÖë μÖÖ ÃÖß׸üμÖ»Ö ´Öë ®Ö ÆüÖë †£ÖÖÔŸÖË ×ÛúÃÖß ³Öß ¯ÖÏÛúÖ¸ü Ûúß
¡Öã×™ü¯ÖæÞÖÔ ¯Öã×ßÖÛúÖ Ã¾ÖßÛúÖ¸ü ®Ö Ûú¸ëü ŸÖ£ÖÖ ˆÃÖß ÃÖ´ÖμÖ ˆÃÖê
»ÖÖî™üÖÛú¸ü ˆÃÖÛêú ãÖÖ®Ö ¯Ö¸ü ¤æüÃÖ¸üß ÃÖÆüß ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ »Öê »Öë …
‡ÃÖÛêú ×»Ö‹ †Ö¯ÖÛúÖê ¯ÖÖÑ“Ö ×´Ö®Ö™ü פüμÖê •ÖÖμÖëÝÖê … ˆÃÖÛêú ²ÖÖ¤ü ®Ö
ŸÖÖê †Ö¯ÖÛúß ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ ¾ÖÖ¯ÖÃÖ »Öß •ÖÖμÖêÝÖß †Öî¸ü ®Ö Æüß †Ö¯ÖÛúÖê
†×ŸÖ׸üŒŸÖ ÃÖ´ÖμÖ ×¤üμÖÖ •ÖÖμÖêÝÖÖ …
(iii) ‡ÃÖ •ÖÖÑ“Ö Ûêú ²ÖÖ¤ü OMR ¯Ö¡ÖÛú Ûúß ÛÎú´Ö ÃÖÓÜμÖÖ ‡ÃÖ ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ
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4. ¯ÖÏŸμÖêÛú ¯ÖÏ¿®Ö Ûêú ×»Ö‹ “ÖÖ¸ü ˆ¢Ö¸ü ×¾ÖÛú»¯Ö (A), (B), (C) ŸÖ£ÖÖ (D) פüμÖê
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•ÖîÃÖÖ ×Ûú ®Öß“Öê פüÜÖÖμÖÖ ÝÖμÖÖ Æîü …
ˆ¤üÖÆü¸üÞÖ :
•Ö²Ö×Ûúú(C) ÃÖÆüß ˆ¢Ö¸ü Æîü …
5. ¯ÖÏ¿®ÖÖë Ûêú ˆ¢Ö¸ü Ûêú¾Ö»Ö ¯ÖÏ¿®Ö ¯Öã×ßÖÛúÖ Ûêú †®¤ü¸ü פüμÖê ÝÖμÖê OMR ¯Ö¡ÖÛú ¯Ö¸ü
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6. †®¤ü¸ü פüμÖê ÝÖμÖê ×®Ö¤ìü¿ÖÖë ÛúÖê ¬μÖÖ®Ö¯Öæ¾ÖÔÛú ¯ÖœÌëü …
7. Ûú““ÖÖ ÛúÖ´Ö (Rough Work) ‡ÃÖ ¯Öã×ßÖÛúÖ Ûêú †×®ŸÖ´Ö ¯Öéšü ¯Ö¸ü Ûú¸ëü …
8. μÖפü †Ö¯Ö OMR ¯Ö¡ÖÛú ¯Ö¸ü ×®ÖμÖŸÖ Ã£ÖÖ®Ö Ûêú †»ÖÖ¾ÖÖ †¯Ö®ÖÖ ®ÖÖ´Ö, ¸üÖê»Ö
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1 P.T.O.
 VISUAL ARTS
PAPER – III
Note : This paper contains seventy five (75) objective type questions of two (2) marks each.
All questions are compulsory.
1. Notre Dame at Paris is 7. A group of constructivist sculptors
(A) Chapel (B) Church are
(C) Cathedral (D) Basilica (A) Malevich, Gabo, Rodchenko
(B) Picasso, Malevich, Gabo
2. Gates of hell by Rodin was (C) Picasso, Tatlin, Pevsner
influenced by the work of (D) Tatlin, Boccioni, Jean Arp
(A) Michael Angelo 8. Standard bronze consists of
(B) Lorenzo Ghiberti (A) 90% copper, 07% tin and 03%
(C) Donatello zinc
(D) Brunelleschi (B) 90% copper and 10% tin
(C) 88% copper, 10% tin and 02%
3. Ornate pillar in Diwan-i-Khas at zinc
(D) 95% copper, 02% silver and
Fatehpur Sikri bears influence of
03% zinc
which Indian provincial style ?
(A) Rajasthan 9. Etruscan Art relates to
(B) Gujarat (A) Ancient Egypt
(C) Malwa (B) Ancient Greek
(C) Ancient Rome
(D) Deccan
(D) Ancient China
4. Famous Parkham Yaksha housed in 10. Ceramics is a
Mathura Museum belongs to which (A) Mixture of cement
period ? (B) Fired clay body
(A) Mauryan period (C) Stone powder
(B) Sunga period (D) Mixture of plaster
(C) Kushan period
(D) Gupta period 11. Yakshi Chandra, the famous stone
relief is from
5. At Mahabalipuram which monolithic (A) Sanchi (B) Bharhut
(C) Amaravati (D) Udaygiri
rock cut Ratha has apsidal plan ?
(A) Bhima Rath 12. The artists whose works expressed
(B) Dharmaraj Rath the tragedy of the prevailing situation
(C) Draupadi Rath generally belonged to Bengal or
(D) Nakul-Sahdev Rath Punjab, the provinces severely
affected by the partition
(A) Satish Gujral, Kewal Soni,
6. According to latest discovery where
Ganesh Pyne, Latika Katt
is found evidence of earliest use of (B) Zainul Abedin, Chitta Prasad,
oil in painting ? B.C. Sanyal, Amar Nath Sehgal
(A) Holland (C) Zainul Abedin, F.N. Souza,
(B) Ajanta Caves Sailor Mookherjee, K.K. Hebbar
(C) Grottoes of Bamiyan (D) N.S. Bendre, Chitta Prasad,
(D) Altamira Caves Paritosh Sen, Chintamani Kar
Paper-III 2 D-79-12
 ¥ü¿µÖ Ûú»ÖÖ‹Ñ
¯ÖÏ¿®Ö¯Ö¡Ö – III
®ÖÖê™ü : ‡ÃÖ ¯ÖÏ¿®Ö¯Ö¡Ö ´Öë ¯Ö“ÖÆü¢Ö¸ü (75) ²ÖÆãü-×¾ÖÛú»¯ÖßµÖ ¯ÖÏ¿®Ö Æïü … ¯ÖÏŸµÖêÛú ¯ÖÏ¿®Ö Ûêú ×»Ö‹ ¤üÖê (2) †ÓÛú ×®Ö¬ÖÖÔ׸üŸÖ Æïü …
ÃÖ³Öß ¯ÖÏ¿®ÖÖë Ûêú ˆ¢Ö¸ü ¤ëü …
1. ¯Öê׸üÃÖ ÛúÖ ®ÖÖê¡Öê¤üÖ´Ö ŒµÖÖ Æîü ? 7. ÃÖÓ¸ü“Ö®ÖÖ¾ÖÖ¤üß ´ÖæÙŸÖÛúÖ¸üÖë ÛúÖ ÃÖ´ÖæÆü ÛúÖî®Ö ÃÖÖ Æîü ?
(A) “Öî¯Ö»Ö (A) ´ÖÖ»Öê×¾Ö“Ö, ÝÖÖ²ÖÖê, ¸üÖò›ü“Öê®ÛúÖê
(B) “Ö“ÖÔ (B) ׯÖÛúÖÃÖÖê, ´ÖÖ»Öê×¾Ö“Ö, ÝÖÖ²ÖÖê
(C) Ûîú£Öê›Òü»Ö (C) ׯÖÛúÖÃÖÖê, ŸÖÖŸÖ×»Ö®Ö, ¯Öîܮָü
(D) ²Öî×ÃÖ×»ÖÛúÖ (D) ŸÖÖŸÖ×»Ö®Ö, ²ÖÖꓵÖÖê®Öß, •µÖÖÑ †Ö¯ÖÔ
8. ´ÖÖ®ÖÛú ²ÖÎÖï•Ö ´Öë ×®Ö´®Ö×»Ö×ÜÖŸÖ Ûúß ÃÖÆüß ´ÖÖ¡ÖÖ ŒµÖÖ
2. ¸üÖê¤üÖÑ «üÖ¸üÖ ×®ÖÙ´ÖŸÖ ×¿Ö»¯Ö ÝÖê™ËüÃÖ †Öò±ú Æêü»Ö ×ÛúÃÖÛêú ÆüÖê®Öß “ÖÖ×Æü‹ ?
׿ֻ¯Ö ÃÖê ¯ÖϳÖÖ×¾ÖŸÖ Æîü ? (A) 90% ŸÖÖÓ²ÖÖ, 7% ×™ü®Ö, 3% •ÖßÖÖ
(A) ´ÖÖ‡Ûêú»Ö ‹Ó•Öê»ÖÖê
(B) 90% ŸÖÖÓ²ÖÖ, 10% ×™ü®Ö
(B) »ÖÖê¸ëü•ÖÌÖê ×ÝÖ¾ÖŸÖá
(C) 88% ŸÖÖÓ²ÖÖ, 10% ×™ü®Ö, 2% •ÖßÖÖ
(C) ¤üÖê®ÖÖ ŸÖê»»ÖÖê
(D) 95% ŸÖÖÓ²ÖÖ, 2% “ÖÖѤüß, 3% •ÖßÖÖ
(D) ²ÖÎæ®Öê»Öê¿Öß
9. ‡™ÒüÃÛú®Ö Ûú»ÖÖ ×ÛúÃÖÃÖê ÃÖÓ²ÖÓ×¬ÖŸÖ Æîü ?
3. ±úŸÖÆü¯Öã¸ü ÃÖßÛú¸üß ×Ã£ÖŸÖ ¤üß¾ÖÖ®Öê ÜÖÖÃÖ ´Öë †»ÖÓÛéúŸÖ (A) ¯ÖÏÖ“Öß®Ö ×´ÖÄÖ (B) ¯ÖÏÖ“Öß®Ö µÖæ®ÖÖ®Ö
ßִ³Ö ×ÛúÃÖ ³ÖÖ¸üŸÖßµÖ ¯ÖÏÖ®ŸÖ Ûúß ¾ÖÖßÖã¿Öî»Öß ÃÖê (C) ¯ÖÏÖ“Öß®Ö ¸üÖê´Ö (D) ¯ÖÏÖ“Öß®Ö “Öß®Ö
¯ÖϳÖÖ×¾ÖŸÖ Æîü ? 10. ÃÖê¸üÖ×´ÖÛú ŒµÖÖ Æîü ?
(A) ¸üÖ•ÖãÖÖ®Ö (B) ÝÖã•Ö¸üÖŸÖ (A) ÃÖß´Öë™ü ÛúÖ ×´ÖÁÖÞÖ
(C) ´ÖÖ»Ö¾ÖÖ (D) ¤üŒÛú®Ö (B) †×Ý®Ö ´Öë ¯ÖÛúÖµÖÖ Æãü†Ö ×´Ö¼üß ÛúÖ ¯ÖÖ¡Ö
(C) ¯ÖÏßָü “ÖæÞÖÔ
4. ´Ö£Öã¸üÖ ÃÖÓÝÖÏÆüÖ»ÖµÖ ´Öë ¯ÖϤüÙ¿ÖŸÖ ¯Ö¸üÜÖ´Ö µÖõÖ ×ÛúÃÖ (D) ¯»ÖÖÙü¸ü ÛúÖ ×´ÖÁÖÞÖ
ÛúÖ»Ö ÃÖê ÃÖÓ²ÖÓ×¬ÖŸÖ Æîü ? 11. ¯ÖÏ×ÃÖ¨ü ÙüÖê®Ö ׸ü»Öß±ú µÖõÖß “ÖÓ¦üÖ ×ÛúÃÖ Ã£ÖÖ®Ö ÃÖê
(A) ´ÖÖîµÖÔ ÛúÖ»Ö (B) ¿ÖãÓÝÖ ÛúÖ»Ö
ÃÖÓ²ÖÓ×¬ÖŸÖ Æîü ?
(C) ÛãúÂÖÖÞÖ ÛúÖ»Ö (D) ÝÖã¯ŸÖ ÛúÖ»Ö
(A) ÃÖÖÑ“Öß (B) ³Ö¸üÆãüŸÖ
5. ´ÖÆüÖ²Ö»Ö߯Öã¸ü´Ö ×Ã£ÖŸÖ ×ÛúÃÖ ‹ÛúÖ¿´Ö ¿Öî»Ö ¸ü£Ö Ûúß (C) †´Ö¸üÖ¾ÖŸÖß (D) ˆ¤üµÖ×ÝÖ׸ü
µÖÖê•Ö®ÖÖ ‹êׯÃÖ›ü»Ö Æîü ? 12. ÃÖ´ÖÛúÖ»Öß®Ö ¡ÖÖÃÖ¤üß ÛúÖê †×³Ö¾µÖÓ×•ÖŸÖ Ûú¸ü®Öê ¾ÖÖ»Öê
(A) ³Öß´Ö¸ü£Ö ׿ֻ¯Ö †×¬ÖÛúŸÖ¸ü ˆ®Ö ´ÖæÙŸÖÛúÖ¸üÖë Ûêú Æïü ו֮ÖÛúÖ
(B) ¬Ö´ÖÔ¸üÖ•Ö ¸ü£Ö ÃÖÓ²ÖÓ¬Ö ²ÖÓÝÖÖ»Ö µÖÖ ¯ÖÓ•ÖÖ²Ö ÃÖê Æîü ŒµÖÖë×Ûú µÖê ¤üÖê ¯ÖÏÖÓŸÖ
(C) ¦üÖî¯Ö¤üß ¸ü£Ö ³ÖÖ¸üŸÖ Ûêú ×¾Ö³ÖÖ•Ö®Ö ÃÖê ²Öã¸üß ŸÖ¸üÆü ¯ÖϳÖÖ×¾ÖŸÖ Æãü‹
(D) ®ÖÛãú»Ö-ÃÖÆü¤êü¾Ö ¸ü£Ö £Öê … ´ÖæÙŸÖÛúÖ¸üÖë Ûêú ‡ÃÖ ÃÖ´ÖæÆü ÛúÖê ¯ÖÆü“ÖÖ×®Ö‹ :
(A) ÃÖŸÖß¿Ö ÝÖã•Ö¸üÖ»Ö, Ûêú¾Ö»Ö ÃÖÖê®Öß, ÝÖÞÖê¿Ö
6. ®Ö¾Öß®ÖŸÖ´Ö †®ÖãÃÖÓ¬ÖÖ®ÖÖë Ûêú †®ÖãÃÖÖ¸ü ÃÖ²ÖÃÖê ¯ÖÆü»Öê ¯ÖÖ‡®Ö, »ÖןÖÛúÖ Ûú¼ü
×“Ö¡Ö ×®Ö´ÖÖÔÞÖ ´Öë ŸÖî»Ö Ûêú ¯ÖϵÖÖêÝÖ Ûêú ¯ÖÏ´ÖÖÞÖ ÛúÆüÖÑ ÃÖê (B) •ÖÌî®Öã»Ö †Ö²Ö¤üß®Ö, ×“Ö¢Ö ¯ÖÏÃÖÖ¤ü, ²Öß.ÃÖß.
¯ÖÏÖ¯µÖ Æïü ? ÃÖÖ®µÖÖ»Ö, †´Ö¸ü ®ÖÖ£Ö ÃÖÆüÝÖ»Ö
(A) ÆüÖò»Öï›ü (C) •Öî®Öã»Ö †Ö²Ö¤üß®Ö, ‹±ú.‹®Ö.ÃÖæ•ÖÌÖ, ÃÖî»ÖÖê¸ü
(B) †•ÖÓŸÖÖ ÝÖã±úÖ‹Ñ ´ÖãÜÖ•Öá, Ûêú.Ûêú. Æîü²²Ö¸ü
(C) ²ÖÖ×´ÖµÖÖ®Ö Ûúß ÝÖã±úÖ‹Ñ (D) ‹®Ö.‹ÃÖ. ²Öë¦êü, ×“Ö¢Ö ¯ÖÏÃÖÖ¤ü, ¯Ö׸üŸÖÖêÂÖ ÃÖê®Ö,
(D) †»ŸÖÖ×´Ö¸üÖ Ûúß ÝÖã±úÖ‹Ñ Ø“ÖŸÖÖ´Ö×ÞÖ Ûú¸ü
D-79-12 3 Paper-III
13. Which one of these is not a form of 20. In print making, drawing Impression
outdoor advertising ? is transferred from stone to which
(A) Bill board (B) Bus shelter type of paper ?
(C) Dangler (D) Kiosk (A) Tracing paper
(B) Gelatin paper
14. Which advertising agency is owned (C) French transfer paper
by Reliance ?
(D) Poster paper
(A) Draft FCB Ulka
(B) Lowe Lintas
(C) Economic Times 21. When was printing press introduced
(D) Mudra Communication Pvt. in India ?
Ltd. (A) 1450 (B) 1665
(C) 1556 (D) 1630
15. Who is the man behind the latest
Indian Rupee Symbol ? 22. Printing from wood engraving and
(A) Lakshya Raghuvanshi metal engraving is
(B) D. Udaya Kumar (A) Intaglio printing and stencil
(C) Rajdeep Ghoshal printing
(D) R. Hiren Sardesai
(B) Relief printing and Intaglio
printing
16. Pull strategy is marketing,
advertising and sales promotion (C) Planographic printing and
activity aimed at including trial, Intaglio printing
purchase and repurchase by (D) Relief printing and
(A) Dealer planographic printing
(B) Retailer
(C) Consumer 23. Japanese applied colour on wood-
(D) Sales person block with
(A) with brush
17. Company’s Logo is its (B) with plastic scraper
(A) Corporate Image (C) Roller
(B) Corporate Identity (D) Dabber
(C) Brand Recognition
(D) Brand Image
24. What is the life period of leno-cut
18. Which newspaper has initiated the print maker Chitta Prasad ?
“Teach India” Campaign ? (A) 1913 – 1978
(A) The Times of India (B) 1891 – 1964
(B) Mail Today (C) 1902 – 1969
(C) Hindustan Times (D) 1945 – 1990
(D) Economic Times
25. In which collection the painting
19. Scraper is used on plate for entitled Ball Room Dance of G.N.
(A) Polishing Tagore ?
(B) Scraping
(A) NGMA (B) LKA
(C) Texturing
(D) Burnishing (C) IFACS (D) NM

Paper-III 4 D-79-12
13. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ÛúÖî®Ö ÃÖÖ ²ÖÖÊ ×¾Ö–ÖÖ¯Ö®ÖÛúÖµÖÔ 20. دÖÏ™ü ´ÖêØÛúÝÖ ´Öë ×ÛúÃÖ ¯ÖÏÛúÖ¸ü Ûêú ¯Öê¯Ö¸ü ¯Ö¸ü ÙüÖê®Ö ÃÖê
(†Öˆ™ü›üÖê¸ü ‹ê›ü¾Ö™üÖԇؕÖÝÖ) ÛúÖ ºþ¯Ö ®ÖÆüà Æîü ? ›ÒüÖ‡ÓÝÖ Ûêú ‡Ó¯ÖÏê¿Ö®Ö ÛúÖê ãÖÖ®ÖÖÓŸÖ׸üŸÖ ×ÛúµÖÖ •ÖÖŸÖÖ Æîü ?
(A) ×²Ö»Ö ²ÖÖê›Ôü (B) ²ÖÃÖ ¿Öê»™ü¸ü (A) ™ÒêüØÃÖÝÖ ¯Öê¯Ö¸ü
(C) ›ïüݻָü (D) ×Ûú†ÖêÃÛú (B) וֻÖê×™ü®Ö ¯Öê¯Ö¸ü
14. ׸ü»ÖÖµÖÓÃÖ-þÖÖ×´ÖŸ¾Ö ¾ÖÖ»Öß ×¾Ö–ÖÖ¯Ö®Ö ‹•ÖëÃÖß (C) ±Ïëú“Ö ™ÒüÖÓÃÖ±ú¸ü ¯Öê¯Ö¸ü
×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ÛúÖî®Ö ÃÖß Æîü ? (D) ¯ÖÖêÙü¸ü ¯Öê¯Ö¸ü
(A) ›ÒüÖ°™ü ‹±ú ÃÖß ²Öß ˆ»ÛúÖ
(B) »ÖÖê¾Öê ػ֙üÖÃÖ 21. ³ÖÖ¸üŸÖ ´Öë دÖÏØ™üÝÖ ¯ÖÏêÃÖ Ûúß Ã£ÖÖ¯Ö®ÖÖ Ûú²Ö Æãü‡Ô ?
(C) ‹ÛúÖê®ÖÖò×´ÖÛú ™üÖ‡´ÃÖ (A) 1450 (B) 1665
(D) ´Öã¦üÖ Ûú´µÖã×®ÖÛêú¿Ö®Ö ¯ÖÏÖ. ×»Ö×´Ö. (C) 1556 (D) 1630
15. ³ÖÖ¸üŸÖßµÖ ¹ý¯ÖµÖÖ Ûêú ®Ö¾Öß®ÖŸÖ´Ö ¯ÖÏŸÖßÛú ÛúÖê ×®ÖÙ´ÖŸÖ
Ûú¸ü®Öê ¾ÖÖ»ÖÖ ÛúÖî®Ö Æîü ? 22. ¾Öã›ü ‡ÓÝÖÏêؾÖÝÖ †Öî¸ü ´Öê™ü»Ö ‡ÓÝÖÏêؾÖÝÖ «üÖ¸üÖ ”û¯ÖÖ‡Ô ÛúÖê
(A) »ÖõµÖ ¸ü‘Öã¾ÖÓ¿Öß ŒµÖÖ ÛúÆüŸÖê Æïü ?
(B) ›üß ˆ¤üµÖ Ûãú´ÖÖ¸ü (A) ‡Ó™êü×ݻֵÖÖê دÖÏØ™üÝÖ †Öî¸ü Ùëü×ÃÖ»Ö Ø¯ÖÏØ™üÝÖ
(C) ¸üÖ•Ö¤üß¯Ö ‘ÖÖêÂÖÖ»Ö (B) ׸ü»Öß±ú دÖÏØ™üÝÖ †Öî¸ü ‡Ó™êü×ݻֵÖÖê دÖÏØ™üÝÖ
(D) †Ö¸ü Æü߸êü®Ö ÃÖ¸ü¤êüÃÖÖ‡Ô (C) ¯»Öî®ÖÖêÝÖÏÖ×±úÛú دÖÏØ™üÝÖ †Öî¸ü ‡Ó™êü×ݻֵÖÖê
16. ¯Öã»Ö ÙÒêü™êü•Öß ×¾Ö¯ÖÞÖ®Ö, ×¾Ö–ÖÖ¯Ö®Ö ŸÖ£ÖÖ ×²ÖÛÎúß ²ÖœÌüÖ®Öê دÖÏØ™üÝÖ
Ûúß ÝÖןÖ×¾Ö×¬Ö Æîü וÖÃÖÛúÖ ˆ§êü¿µÖ ______ «üÖ¸üÖ (D) ׸ü»Öß±ú دÖÏØ™üÝÖ †Öî¸ü ¯»Öî®ÖÖêÝÖÏÖ×±úÛú دÖÏØ™üÝÖ
¯Ö¸üÜÖ®Öê, ÛÎúµÖ Ûú¸ü®Öê ŸÖ£ÖÖ ¯Öã®Ö: ÛÎúµÖ Ûú¸ü®Öê ÛúÖê
¿ÖÖ×´Ö»Ö Ûú¸ü®ÖÖ Æîü … 23. »ÖÛú›Ìüß Ûêú ”ûÖ¯Öê ¯Ö¸ü •ÖÖ¯ÖÖ®Öß »ÖÖêÝÖ ¸ÓüÝÖ ÛúÖê ×ÛúÃÖÛêú
(A) ›ü߻ָü «üÖ¸üÖ ±îú»ÖÖŸÖê Æïü ?
(B) ÜÖã¤ü¸üÖ ×¾ÖÛÎêúŸÖÖ (A) ²ÖÎ¿Ö ÃÖê
(C) ˆ¯Ö³ÖÖꌟÖÖ (B) ¯»ÖÖ×ÙüÛú Ûêú ÃÛÎîú¯Ö¸ü ÃÖê
(D) ײÖÛÎúµÖ Ûú¸ü®Öê ¾ÖÖ»Öê ¾µÖ׌ŸÖ (C) ¸üÖê»Ö¸ü ÃÖê
17. ÛÓú¯Ö®Öß ÛúÖ »ÖÖêÝÖÖê ‡ÃÖÛúÖ (D) ›îü²Ö¸ü ÃÖê
(A) ÛúÖò¯ÖÖì¸êü™ü ”û×¾Ö Æîü …
(B) ÛúÖò¯ÖÖì¸êü™ü ¯ÖÆü“ÖÖ®Ö Æîü … 24. »Öß®ÖÖê-Ûú™ü دÖÏ™ü ´ÖêÛú¸ü ×“Ö¢Ö ¯ÖÏÃÖÖ¤ü ÛúÖ ÛúÖ»Ö
(C) ²ÖÎÖÓ›ü Ûúß ´ÖÖ®µÖŸÖÖ Æîü … ²ÖŸÖ»ÖÖ‡‹ :
(D) ²ÖÎÖÓ›ü ”û×¾Ö Æîü … (A) 1913-1978
(B) 1891-1964
18. ™üß“Ö ‡Ó×›üµÖÖ †×³ÖµÖÖ®Ö ×ÛúÃÖ ÃÖ´ÖÖ“ÖÖ¸ü¯Ö¡Ö ®Öê ¿Öãºþ
×ÛúµÖÖ ? (C) 1902-1969
(A) פü ™üÖ‡´ÃÖ †Öò±ú ‡Ó×›üµÖÖ (D) 1945-1990
(B) ´Öê»Ö ™ãü›êü
(C) ØÆü¤ãüßÖÖ®Ö ™üÖ‡´ÃÖ 25. •Öß.‹®Ö. ™îüÝÖÖê¸ü «üÖ¸üÖ ×®ÖÙ´ÖŸÖ ‘²ÖÖ»Ö ºþ´Ö ›üÖÓÃÖ’
(D) ‡ÛúÖê®ÖÖò×´ÖÛú ™üÖ‡´ÃÖ ¿ÖßÂÖÔÛú ¯ÖëØ™üÝÖ ×ÛúÃÖ ÃÖÓÝÖÏÆü ´Öë Æîü ?
(A) ‹®Ö •Öß ‹´Ö ‹
19. ¯»Öê™ü ¯Ö¸ü ÃÛÎîú¯Ö¸ü ÛúÖ ¯ÖϵÖÖêÝÖ ×ÛúÃÖ×»Ö‹ ×ÛúµÖÖ •ÖÖŸÖÖ
Æîü ? (B) ‹»Ö Ûêú ‹
(A) ¯ÖÖò×»ÖØ¿ÖÝÖ (B) ÃÛÎîúدÖÝÖ (C) †Ö‡Ô ‹±ú ‹ ÃÖß ‹ÃÖ
(C) ™êüŒÃ“ÖظüÝÖ (D) ²ÖÙ®ÖØ¿ÖÝÖ (D) ‹®Ö ‹´Ö

D-79-12 5 Paper-III
26. Of which painter has geometric 32. Assertion (A) : Impressionism was
forms in his painting ‘City of movement against Camera.
Churches’ ? Reason (R) : Because invention of
(A) Rameshwar Broota Camera discarded the relevance
(B) Avinash Chandra of artist.
(C) Prafulla Mohanti (A) (A) is partially correct, (R) is
(D) P.T. Reddy correct.
(B) (A) is correct, (R) is partially
27. Hunting the wild boar is painted in correct.
late 18th century in (C) (A) and (R) both are partially
(A) Pal School correct.
(B) Garhwal School (D) (A) and (R) both are not
(C) Bundi School correct.
(D) Guler School

28. The famous painting of Rembrandt is 33. Assertion (A) : Plato said Art is
(A) Day watch imitation.
(B) Midnight watch Reason (R) : According to him art is
(C) Day night watch merely a copy of form existing
(D) Night watch in perceptual world.
(A) (A) and (R) both are not
29. In which medium painting entitled correct.
‘Karbala’ is painted by M.F. Husain ? (B) (A) is correct, (R) is not
(A) Oil correct.
(B) Acrylic (C) (A) is not correct, (R) is correct.
(C) Water (D) (A) and (R) both are correct.
(D) Tempera
34. Assertion (A) : Henry Moore
30. Who is famous for architectural preferred to have his sculptures
design ? in the open for all to see.
(A) Samsad Husain Reason (R) : As he wanted his art to
(B) Satish Gujral inspire people, not just for
(C) Paritosh Sen decoration.
(D) Jogen Chaudhury (A) (A) and (R) both are correct.
(B) (A) is correct (R) is not correct.
31. Assertion (A) : From prehistoric (C) (A) and (R) both are not
time stone has been used as correct.
most common medium of (D) (A) is not correct (R) is correct.
expression by the artists.
Reason (R) : Because it was easily 35. Assertion (A) : Art should refine and
available medium in abundance contribute to human progress.
for expression of emotion and Reason (R) : As it enlighten the
moreover was durable too. mind with certain aspects of
(A) (A) is not correct, (R) is correct. truth.
(B) (A) and (R) both are correct. (A) (A) is not correct (R) is correct.
(C) (A) is correct, (R) is not correct. (B) (A) is correct (R) is not correct.
(D) (A) and (R) both are not (C) (A) and (R) both are not correct.
correct. (D) (A) and (R) both are correct.
Paper-III 6 D-79-12
26. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×ÛúÃÖ ×“Ö¡ÖÛúÖ¸ü Ûúß ‘×ÃÖ™üß 32. †×³ÖÛú£Ö®Ö (A) : ¯ÖϳÖÖ¾Ö¾ÖÖ¤ü Ûîú´Ö¸üÖ Ûêú ×¾Ö¹ý¨ü
†Öò±ú “Ö“Öì•Ö’ ¿ÖßÂÖÔÛú ¯ÖëØ™üÝÖ ´Öë •µÖÖ×´ÖŸÖßµÖ †ÖÛúÖ¸ü ‹Ûú †ÖÓ¤üÖê»Ö®Ö £ÖÖ …
×´Ö»ÖŸÖÖ Æîü ? ÛúÖ¸üÞÖ (R) : ŒµÖÖë×Ûú Ûîú´Ö¸üÖ Ûêú
(A) ¸üÖ´Ö꿾ָü ²ÖÎæ™üÖ †Ö×¾ÖÂÛúÖ¸ü ®Öê Ûú»ÖÖÛúÖ¸ü Ûêú †Öîד֟µÖ ÛúÖê
(B) †×¾Ö®ÖÖ¿Ö “ÖÓ¦ü †Ã¾ÖßÛúÖ¸ü Ûú¸ü פüµÖÖ £ÖÖ …
(C) ¯Öϱãú»»Ö ´ÖÖêÆÓüŸÖß (A) (A) †ÖÓ׿ÖÛú ºþ¯Ö ÃÖê ÃÖÆüß Æîü, (R) ÃÖÆüß Æîü …
(D) ¯Öß ™üß ¸êüøüß (B) (A) ÃÖÆüß Æîü, (R) †ÖÓ׿ÖÛú ºþ¯Ö ÃÖê ÃÖÆüß Æîü …
(C) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë †ÖÓ׿ÖÛú ºþ¯Ö ÃÖê ÃÖÆüß
27. 18¾Öà ¿ÖŸÖÖ²¤üß Ûêú ˆ¢Ö¸üÖ¬ÖÔ Ûúß ‘ÆüØÞ™üÝÖ ×¤ü ¾ÖÖ‡»›ü Æïü …
²ÖÖê¸ü’ ¿ÖßÂÖÔÛú ¯ÖëØ™üÝÖ ÛúÖ ÃÖÓ²ÖÓ¬Ö ×ÛúÃÖ ×“Ö¡ÖÛú»ÖÖ- (D) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
¿Öî»Öß ÃÖê Æîü ?
(A) ¯ÖÖ»Ö ¿Öî»Öß 33. †×³ÖÛú£Ö®Ö (A) : ¯»Öî™üÖê ®Öê ÛúÆüÖ £ÖÖ ‘Ûú»ÖÖ
(B) ÝÖœÌü¾ÖÖ»Ö ¿Öî»Öß †®ÖãÛú¸üÞÖ Æîü’
(C) ²ÖæÓ¤üß ¿Öî»Öß ÛúÖ¸üÞÖ (R) : ¯»Öî™üÖê Ûêú †®ÖãÃÖÖ¸ü Ûú»ÖÖ‹Ñ
(D) ÝÖã»Öê¸ü ¿Öî»Öß Ûêú¾Ö»Ö ‡ÓצüµÖÝÖÏÖÊ •ÖÝÖŸÖË ´Öë ×Ã£ÖŸÖ ºþ¯ÖÖÛúÖ¸ü
Ûúß ®ÖÛú»Ö Æïü
28. ¸êü´²ÖÎÖÑ Ûúß ¯ÖÏ×ÃÖ¨ü ¯ÖëØ™üÝÖ ‡®Ö´Öë ÃÖê ÛúÖî®Ö ÃÖß Æîü ? (A) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
(A) ›êü ¾ÖÖ“Ö (B) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü …
(B) ×´Ö›ü ®ÖÖ‡™ü ¾ÖÖ“Ö (C) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü …
(C) ›êü ®ÖÖ‡™ü ¾ÖÖ“Ö (D) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(D) ®ÖÖ‡™ü ¾ÖÖ“Ö
34. †×³ÖÛú£Ö®Ö (A) : Æêü®Ö¸üß ´Öæ¸ü ®Öê †¯Ö®Öê ׿ֻ¯Ö
29. ‹´Ö.‹±ú. ÆãüÃÖî®Ö ÛúÖ Ûú²ÖÔ»ÖÖ ¿ÖßÂÖÔÛú ×“Ö¡Ö ×ÛúÃÖ ÛúÖê ÜÖã»Öê ãÖÖ®Ö ´Öë ¸üÜÖ®Öê ÛúÖê ¾Ö¸üßµÖŸÖÖ ¤üß
´ÖÖ¬µÖ´Ö ´Öë ²Ö®ÖÖµÖÖ ÝÖµÖÖ Æîü ? ŸÖÖ×Ûú ÃÖ³Öß ˆÃÖê ¤êüÜÖ ÃÖÛëú …
(A) ŸÖî»Ö (B) ‹×ÛÎú×»ÖÛú ÛúÖ¸üÞÖ (R) : ŒµÖÖë×Ûú ¾Öê “ÖÖÆüŸÖê £Öê ×Ûú
(C) •Ö»Ö (D) ™êü´¯Ö¸üÖ ˆ®ÖÛúÖ ×¿Ö»¯Ö Ûêú¾Ö»Ö ÃÖ•ÖÖ¾Ö™üß ¾ÖßÖã ²Ö®Ö
Ûú¸ü ®Ö ¸üÆü •ÖÖµÖ ²Ö×»Ûú »ÖÖêÝÖÖë ÛúÖê
30. ¾ÖÖßÖã-†×³ÖÛú»¯Ö®Ö Ûêú ×»Ö‹ ÛúÖî®Ö ¯ÖÏ×ÃÖ¨ü Æîü ? †®Öã¯ÖÏê׸üŸÖ Ûú¸êü …
(A) ÃÖ´ÖÃÖÖ¤ü ÆãüÃÖî®Ö (A) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(B) ÃÖŸÖß¿Ö ÝÖã•Ö¸üÖ»Ö (B) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü …
(C) ¯Ö׸üŸÖÖêÂÖ ÃÖê®Ö (C) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
(D) •ÖÖêÝÖê®Ö “ÖÖî¬Ö¸üß (D) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü …

31. †×³ÖÛú£Ö®Ö (A) : ¯ÖÏÖÝÖîןÖÆüÖ×ÃÖÛú ÛúÖ»Ö ÃÖê Æüß
Ûú»ÖÖÛúÖ¸üÖë Ûêú ×»Ö‹ ¯ÖÏßָü ‹Ûú ÃÖ¾ÖÖÔ׬ÖÛú
ˆ¯ÖµÖãŒŸÖ †×³Ö¾µÖÓ•Ö®ÖÖ ÛúÖ ´ÖÖ¬µÖ´Ö ¸üÆüÖ Æîü …
ÛúÖ¸üÞÖ (R) : ŒµÖÖë×Ûú ³ÖÖ¾ÖÖë Ûúß
†×³Ö¾µÖÓ•Ö®ÖÖ Ûêú ×»Ö‹ µÖÆü ¯ÖÏ“Öã¸ü ´ÖÖ¡ÖÖ ´Öë
ÃÖã»Ö³Ö £ÖÖ †Öî¸ü †×¬ÖÛú ×™üÛúÖ‰ú £ÖÖ
(A) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü …
(B) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(C) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü …
(D) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
D-79-12
35. †×³ÖÛú£Ö®Ö (A) : Ûú»ÖÖ ÛúÖê ˆŸÛéú™üŸÖÖ ¯ÖϤüÖ®Ö
Ûú¸ü®Öß “ÖÖ×Æü‹ ŸÖ£ÖÖ ´ÖÖ®Ö¾Ö Ûúß ¯ÖÏÝÖ×ŸÖ ´Öë
µÖÖêÝÖ¤üÖ®Ö Ûú¸ü®ÖÖ “ÖÖ×Æü‹ …
ÛúÖ¸üÞÖ (R) : ŒµÖÖë×Ûú µÖÆü ´ÖÖ®Ö¾Ö-´ÖÖ®ÖÃÖ
ÛúÖê ÃÖŸµÖ Ûêú †®ÖêÛú ¯ÖõÖÖë Ûêú ¯ÖÏ×ŸÖ ¯ÖϲÖã¨ü
²Ö®ÖÖŸÖß Æîü …
(A) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü …
(B) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü …
(C) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
(D) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
7 Paper-III
36. Assertion (A) : Many modern artists
have carved wood sculptures in
styles imitating primitive
sculptures.
Reason (R) : As they thought it
addressed the deepest mysteries
of life with the profoundest
sincerity.
(A) (A) is not correct (R) is correct.
(B) (A) is correct (R) is not correct.
(C) (A) and (R) both are correct.
(D) (A) and (R) both are not
correct.
37. Assertion (A) : Copyright grants a
legal protection to an artist or
author against the reprinting of
original work.
Reason (R) : Copyright material
does not require the consent
before printing the original
work.
(A) (A) and (R) are not correct.
(B) (A) is correct (R) is not correct.
(C) (A) and (R) are correct.
(D) (A) is not correct (R) is correct.
38. Assertion (A) : Logo is a symbol. It
stands for a company. Convey
instantly a feeling about your
company.
Reason (R) : A logo is a symbol, but
it need not, and should not, be a
picture of everything you do.
(A) (A) is not correct and (R) is
correct.
(B) (A) and (R) both are correct.
(C) (R) is correct and (A) is
partially correct.
(D) (A) and (R) both are incorrect.
Paper-III
39. Assertion (A) : An advertising
agency develops and prepares
advertising plans, advertisements
and other promotional tools for
advertisers.
Reason (R) : An advertising agency
is an organization run by only
one creative person.
(A) (A) and (R) both are not
correct.
(B) (A) is correct (R) is not correct.
(C) (A) and (R) both are correct.
(D) (A) is not correct (R) is correct.
40. Assertion (A) : In “Intaglio process”,
plate is made by using acid
only.
Reason (R) : Intaglio impression
comes on paper from deeper
portion of ink.
(A) (A) is correct (R) is wrong.
(B) (A) and (R) are correct.
(C) (A) is wrong (R) is correct.
(D) (A) and (R) both are wrong.
41. Assertion (A) : Guler-Kangra-
School of Indian painting is
renowned for its delicacy of
lines and subtlety of colours.
Reason (R) : Because it imbibed
highest achievements of early
Indian and Mughal art
traditions.
(A) (A) and (R) not correct.
(B) (A) is correct (R) is wrong.
(C) (A) and (R) correct.
(D) (A) is wrong (R) is correct.
42. Assertion (A) : Litho offset is
indirect printing.
Reason (R) : Litho offset is still
medium of expression in
Visual Art.
(A) (A) and (R) both are not correct.
(B) (A) is correct (R) is wrong.
(C) (A) is wrong (R) is correct.
(D) (A) and (R) correct.
8 D-79-12
36. †×³ÖÛú£Ö®Ö (A) : †®ÖêÛú †Ö¬Öã×®ÖÛú 39. †×³ÖÛú£Ö®Ö (A) : ×¾Ö–ÖÖ¯Ö®Ö ‹•ÖëÃÖß ×¾Ö–ÖÖ¯Ö®Ö-
Ûú»ÖÖÛúÖ¸üÖë ®Öê †Öפü´Ö ´ÖæÙŸÖÛú»ÖÖ ¿Öî»Öß ´Öë ÛúŸÖÖÔ†Öë Ûêú ×»Ö‹ ×¾Ö–ÖÖ¯Ö®Ö µÖÖê•Ö®ÖÖ,
†¯Ö®Öê ÛúÖšü ׿ֻ¯ÖÖë ÛúÖê ×®ÖÙ´ÖŸÖ ×ÛúµÖÖ Æîü … ×¾Ö–ÖÖ¯Ö®Ö ŸÖ£ÖÖ †®µÖ ¯ÖϾ֬ÖÔÛú ˆ¯ÖÖµÖ ŸÖîµÖÖ¸ü
Ûú¸üŸÖß Æîü …
ÛúÖ¸üÞÖ (R) : ŒµÖÖë×Ûú ˆ®ÖÛêú ×¾Ö“ÖÖ¸ü ´Öë
ÛúÖ¸üÞÖ (R) : ‹Ûú ×¾Ö–ÖÖ¯Ö®Ö ‹•ÖëÃÖß
µÖÆü •Öß¾Ö®Ö Ûêú ÝÖæœÌüŸÖ´Ö ¸üÆüõÖÖë ÛúÖê ¯Ö¸ü´Ö Ûêú¾Ö»Ö ‹Ûú ¾µÖ׌ŸÖ «üÖ¸üÖ ÃÖÓ“ÖÖ×»ÖŸÖ ÃÖÓÝÖšü®Ö Æîü …
ÝÖÓ³Ö߸üŸÖÖ Ûêú ÃÖÖ£Ö ˆ¤Ëü‘ÖÖ×™üŸÖ Ûú¸üŸÖß Æîü
(A) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
(A) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü … (B) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü …
(C) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(B) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü …
(D) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü …
(C) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
40. †×³ÖÛú£Ö®Ö (A) : ‡Ó™êü×ݻֵÖÖê ¯ÖÏÖêÃÖêÃÖ ´Öë ¯»Öê™ü
(D) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … Ûêú¾Ö»Ö ‹×ÃÖ›ü Ûêú ¯ÖϵÖÖêÝÖ ÃÖê ²Ö®ÖŸÖß Æîü …
ÛúÖ¸üÞÖ (R) : ‡Ó™êü×ݻֵÖÖê ¯ÖÏÖêÃÖêÃÖ ´Öë ”û×¾Ö
37. †×³ÖÛú£Ö®Ö (A) : ÛúÖò¯Ö߸üÖ‡™ü Ûú»ÖÖÛúÖ¸ü µÖÖ ÛúÖÝÖ•Ö ¯Ö¸ü ‡ÓÛú Ûêú ÝÖÆü¸üß ”ûÖ¯Ö Ûêú ÃÖÖ£Ö
»ÖêÜÖÛú ÛúÖê ´Öæ»Ö Ûéú×ŸÖ Ûêú ¯Öã®Ö´ÖãÔ¦üÞÖ Ûêú †ÖŸÖß Æîü …
(A) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü …
×¾Ö¹ý¨ü ¾Öî¬ÖÖ×®ÖÛú †×¬ÖÛúÖ¸ü ¯ÖϤüÖ®Ö Ûú¸üŸÖÖ Æîü …
(B) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
ÛúÖ¸üÞÖ (R) : ÛúÖò¯Ö߸üÖ‡™ü ¾ÖÖ»Öß ÃÖÖ´ÖÝÖÏß (C) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü …
Ûúß ´Öæ»Ö Ûéú×ŸÖ ÛúÖ ´Öã¦üÞÖ Ûú¸®Öê ¯ÖÆü»Öê (D) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
ÃÖÆü´Ö×ŸÖ Ûúß †Ö¾Ö¿µÖÛúŸÖÖ ®ÖÆüà ÆüÖêŸÖß …
(A) (A) ŸÖ£ÖÖ (R) ÃÖÆüß ®ÖÆüà Æïü … 41. †×³ÖÛú£Ö®Ö (A) : ÛúÖÓÝÖ›ÌüÖ †Öî¸ü ÝÖã»Öê¸ü ד֡Ö
¿Öî»Öß †¯Ö®Öê ÃÖãÛãú´ÖÖ¸ü ¸êüÜÖÖÓÛú®Ö †Öî¸ü ˆ¤üÖ¢Ö
(B) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü … ¸ÓüÝÖÖë Ûêú ×»Ö‹ ×¾ÖܵÖÖŸÖ Æïü …
(C) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … ÛúÖ¸üÞÖ (R) : ŒµÖÖë×Ûú ‡®ÆüÖë®Öê †Ö¸Óü׳ÖÛú
³ÖÖ¸üŸÖßµÖ ŸÖ£ÖÖ ´ÖãÝÖ»Ö Ûú»ÖÖ ¯Ö¸ü´¯Ö¸üÖ Ûúß
(D) (A) ÃÖÆüß ®ÖÆüà Æîü (R) ÃÖÆüß Æîü … ÃÖ¾ÖÖìŸÛéú™ü ˆ¯Ö»Öײ¬ÖµÖÖë ÛúÖê †ÖŸ´ÖÃÖÖŸÖ
×ÛúµÖÖ £ÖÖ …
(A) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
38. †×³ÖÛú£Ö®Ö (A) : »ÖÖêÝÖÖê ‹Ûú ¯ÖÏŸÖßÛú Æîü … µÖÆü (B) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü …
×ÛúÃÖß ÛÓú¯Ö®Öß ÛúÖ ¯ÖÏןÖ×®Ö׬֟¾Ö Ûú¸üŸÖÖ Æîü … (C) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
ÛúÖ¸üÞÖ (R) : ‹Ûú »ÖÖêÝÖÖê ‹Ûú ¯ÖÏŸÖßÛú Æîü (D) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü …
¯Ö¸ü®ŸÖã µÖÆü †Ö¾Ö¿µÖÛú ®ÖÆüà Æîü µÖÖ ‹êÃÖÖ
†Ö¾Ö¿µÖÛú ®ÖÆüà ÆüÖê®ÖÖ “ÖÖ×Æü‹ ×Ûú µÖÆü ×ÛúµÖê 42. †×³ÖÛú£Ö®Ö (A) : ×»Ö£ÖÖê †Öò±úÃÖê™ü دÖÏØ™üÝÖ
•ÖÖ®Öê ¾ÖÖ»Öê ¯ÖÏŸµÖêÛú ÛúÖµÖÔ ÛúÖ ×“Ö¡Ö ÆüÖê … ‡Ó›üÖµÖ¸êüŒ™ü دÖÏØ™üÝÖ Æîü …
ÛúÖ¸üÞÖ (R) : ×»Ö£ÖÖê †Öò±úÃÖê™ü دÖÏØ™üÝÖ
(A) (A) ÃÖÆüß ®ÖÆüà Æîü ŸÖ£ÖÖ (R) ÃÖÆüß Æîü … †³Öß ³Öß ¥ü¿µÖÛú»ÖÖ ´Öë †×³Ö¾µÖÓ•Ö®ÖÖ ÛúÖ
(B) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … ´ÖÖ¬µÖ´Ö Æîü …
(A) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
(C) (R) ÃÖÆüß Æîü ŸÖ£ÖÖ (A) †ÖÓ׿ÖÛú ºþ¯Ö ´Öë (B) (A) ÃÖÆüß Æîü, (R) ÝÖ»ÖŸÖ Æîü …
ÃÖÆüß Æîü …
(C) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü …
(D) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … (D) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
D-79-12 9 Paper-III
43. Assertion (A) : Pahari miniature 46. Match the following :
paintings are based on love and a. E-Walter 1. Viscosity
religious themes of Gita D’souza
Govind, Bihari Satsai and b. Dattatraya 2. Wood cut
Bhagavata Purana. Apte
Reason (R) : Because society in the c. Dipak Banerjee 3. Etching
hills and the patron both were d. Vilas Shinde 4. Dimensional
print
religious mind.
Codes :
(A) (A) is correct and (R) is a b c d
correct. (A) 2 4 1 3
(B) (A) is incorrect and (R) is (B) 4 3 1 2
correct. (C) 2 3 4 1
(C) (A) is incorrect and (R) is (D) 1 3 2 4
incorrect. 47. Match the following :
(D) (A) is correct and (R) is a. Raja Ravi Varma 1. Bhopal
incorrect. Litho Workshop
b. Ghari Village 2. Chennai
44. Assertion (A) : In wash painting Workshop
colours are always soft and c. Bharath Bhavan 3. Delhi
subtle. Workshop
Reason (R) : Because of the washing d. Chola Mandal 4. Mumbai
with the water necessary and Codes :
essential tones of colour a b c d
remains on the surface. (A) 4 3 2 1
(A) (A) is correct and (R) is (B) 1 2 3 4
incorrect. (C) 2 1 4 3
(D) 4 3 1 2
(B) (A) is correct and (R) is
correct. 48. Match the following :
(C) (A) is incorrect and (R) is a. Aquatint 1. Different type
correct. of graver
(D) (A) is incorrect and (R) is b. Mezzotint 2. Needle
c. Engraving 3. Resine
incorrect.
d. Dry point 4. Rocker
Codes :
45. Assertion (A) : In drawing normally a b c d
4B Pencil is used. (A) 3 4 2 1
Reason (R) : Because 4B pencil is (B) 2 1 4 3
made of soft graphite which (C) 3 4 1 2
can render light to dark (D) 4 3 2 1
vanishing of shades. 49. Select the correct sequence of the
(A) (A) is incorrect and (R) is parts of Orissan temple ground plan :
incorrect. (A) Jagmohan, Natmandapa,
(B) (A) is incorrect and (R) is Bhogmandapa, Garbhagriha
correct. (B) Garbhagriha, Jagmohan,
Natmandapa, Bhogmandapa
(C) (A) is correct and (R) is
(C) Natmandapa, Bhogmandapa,
correct. Garbhagriha, Jagmohan,
(D) (A) is correct and (R) is (D) Garbhagriha, Bhogmandapa,
incorrect. Natmandapa, Jagmohan
Paper-III 10 D-79-12
43. †×³ÖÛú£Ö®Ö (A) : ¯ÖÆüÖ›Ìüß »Ö‘Öã ×“Ö¡Ö 46. ×®Ö´®Ö ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú׸ü‹ :
ÝÖߟÖÝÖÖêؾ֤ü, ײÖÆüÖ¸üß ÃÖŸÖÃÖ‡Ô ŸÖ£ÖÖ ³ÖÖÝÖ¾ÖŸÖ a. ‡Ô ¾ÖÖ»™ü¸ü ›üß ÃÖæ•ÖÖ 1. ×¾ÖÃÖÛúÖê×ÃÖ™üß
¯Öã¸üÖÞÖ ´Öë ¾ÖÙÞÖŸÖ ¯ÖÏê´Ö †Öî¸ü ¬Ö´ÖÔ Ûêú b. ¤ü¢ÖÖ¸üÖµÖ †Ö¯™êü 2. ¾Öæ›ü Ûú™ü
¯ÖÏÛú¸üÞÖÖë ¯Ö¸ü †Ö¬ÖÖ׸üŸÖ Æîü … c. ¤ü߯ÖÛú ²Ö®Ö•Öá 3. ‹êØ“ÖÝÖ
d. ×¾Ö»ÖÖÃÖ ×ÃÖ®¤êü 4. ›üÖ‡´ÖëÃÖ®Ö»Ö Ø¯ÖÏ™ü
ÛúÖ¸üÞÖ (R) : ŒµÖÖë×Ûú ¯ÖÆüÖ›Ìüß ÃÖ´ÖÖ•Ö ŸÖ£ÖÖ ÛúÖê›ü :
ÃÖÓ¸üõÖÛú ¤üÖê®ÖÖë ¬ÖÖÙ´ÖÛú ¯ÖϾÖé×¢Ö Ûêú £Öê … a b c d
(A) (A) ÃÖÆüß Æî ŸÖ£ÖÖ (R) ÃÖÆüß Æîü … (A) 2 4 1 3
(B) 4 3 1 2
(B) (A) ÝÖ»ÖŸÖ Æîü ŸÖ£ÖÖ (R) ÃÖÆüß Æîü … (C) 2 3 4 1
(D) 1 3 2 4
(C) (A) ÝÖ»ÖŸÖ Æîü ŸÖ£ÖÖ (R) ÝÖ»ÖŸÖ Æîü …
(D) (A) ÃÖÆüß Æîü ŸÖ£ÖÖ (R) ÝÖ»ÖŸÖ Æîü … 47. ×®Ö´®Ö ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú׸ü‹ :
a. ¸üÖ•ÖÖ ¸ü×¾Ö ¾Ö´ÖÖÔ ×»Ö£ÖÖê 1. ³ÖÖê¯ÖÖ»Ö
¾ÖÛÔú¿ÖÖò¯Ö
44. †×³ÖÛú£Ö®Ö (A) : ¾ÖÖ¿Ö ¯ÖëØ™üÝÖ ´Öë ¸ÓüÝÖ ÃÖ¤îü¾Ö b. ÝÖœÌüß ×¾Ö»Öê•Ö ¾ÖÛÔú¿ÖÖò¯Ö 2. “Öê®®Ö‡Ô
ÛúÖê´Ö»Ö †Öî¸ü ÃÖæõ´Ö ÆüÖêŸÖê Æïü … c. ³ÖÖ¸üŸÖ ³Ö¾Ö®Ö ¾ÖÛÔú¿ÖÖò¯Ö 3. פü»»Öß
d. “ÖÖê»Ö ´Ö®›ü»Ö 4. ´Öã´²Ö‡Ô
ÛúÖ¸üÞÖ (R) : ŒµÖÖë×Ûú ¯ÖÖ®Öß Ûêú «üÖ¸üÖ ÛúÖê›ü :
¬Öã»Ö®Öê ÃÖê †×ŸÖ׸üŒŸÖ šüÖêÃÖ ¸ÓüÝÖ ×®ÖÛú»Ö •ÖÖŸÖê a b c d
Æïü ŸÖ£ÖÖ Ûêú¾Ö»Ö ¸ÓüÝÖÖë Ûúß ¯ÖÖ¸ü¤ü¿Öá †Ö³ÖÖ (A) 4 3 2 1
ÃÖŸÖÆü ¯Ö¸ü ²Ö“Ö •ÖÖŸÖß Æïü … (B) 1 2 3 4
(C) 2 1 4 3
(A) (A) ÃÖÆüß Æîü †Öî¸ü (R) ÝÖ»ÖŸÖ Æîü … (D) 4 3 1 2
(B) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü … 48. ×®Ö´®Ö ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú׸ü‹ :
(C) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü … a. ‹Œ¾ÖÖØ™ü™ü 1. ×¾Ö׳֮®Ö ¯ÖÏÛúÖ¸ü Ûêú
ÝÖÏê¾Ö¸ü
(D) (A) ÝÖ»ÖŸÖ Æîü †Öî¸ü (R) ³Öß ÝÖ»ÖŸÖ Æîü … b. ×´Ö•ÖÖêØ™ü™ü 2. ®Öß×›ü»Ö
c. ‡®ÖÝÖÏêؾÖÝÖ 3. ¸êüו֮Ö
d. ›ÒüÖ‡ ¯¾ÖÖ‡®™ü 4. ¸üÖêÛú¸ü
45. †×³ÖÛú£Ö®Ö (A) : ¸êüÜÖÖÓÛú®Ö ´Öë ÃÖÖ´ÖÖ®µÖŸÖ: 4B ÛúÖê›ü :
¯Öë×ÃÖ»Ö ÛúÖ ¯ÖϵÖÖêÝÖ ×ÛúµÖÖ •ÖÖŸÖÖ Æîü … a b c d
ÛúÖ¸üÞÖ (R) : ŒµÖÖë×Ûú 4B ¯Öë×ÃÖ»Ö ´Öë (A) 3 4 2 1
(B) 2 1 4 3
¯ÖϵÖãŒŸÖ ÝÖÏê±úÖ‡™ü ÛúÖê´Ö»Ö ÆüÖêŸÖÖ Æîü וÖÃÖÛêú (C) 3 4 1 2
ÛúÖ¸üÞÖ ˆÃÖÃÖê Æü»Ûúß ÃÖê »ÖêÛú¸ü ÝÖÆü¸üß (D) 4 3 2 1
†Ö³ÖÖ ¯ÖÏÖ¯ŸÖ Ûúß •ÖÖ ÃÖÛúŸÖß Æîü …
(A) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü … 49. ˆ›üßÃÖÖ Ûêú ´ÖÓפü¸ü ÛúÖ ³ÖæŸÖ»Ö ×¾Ö®µÖÖÃÖ ÛúÖ ÃÖÆüß
ÛÎú´Ö “Öã×®Ö‹ :
(B) (A) ÝÖ»ÖŸÖ Æîü, (R) ÃÖÆüß Æîü … (A) •ÖÝÖ´ÖÖêÆü®Ö, ®Ö™ü´ÖÓ›ü¯Ö, ³ÖÖêÝÖ´ÖÓ›ü¯Ö, ÝÖ³ÖÔÝÖéÆü
(B) ÝÖ³ÖÔÝÖéÆ,ü •ÖÝÖ´ÖÖêÆü®Ö, ®Ö™ü´ÖÓ›ü¯Ö, ³ÖÖêÝÖ´ÖÓ›ü¯Ö
(C) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(C) ®Ö™ü´ÖÓ›ü¯Ö, ³ÖÖêÝÖ´ÖÓ›ü¯Ö, ÝÖ³ÖÔÝÖéÆ,ü •ÖÝÖ´ÖÖêÆü®Ö
(D) (A) ÃÖÆüß Æîü ŸÖ£ÖÖ (R) ÝÖ»ÖŸÖ Æîü … (D) ÝÖ³ÖÔÝÖéÆü, ³ÖÖêÝÖ´ÖÓ›ü¯Ö, ®Ö™ü´ÖÓ›ü¯Ö, •ÖÝÖ´ÖÖêÆü®Ö
D-79-12 11 Paper-III
50. Select the correct chronological 54. Select the correct chronology of the
sequence of western philosophers paintings creation :
who worked on aesthetics : (A) Bodhisattvas, Ragamala, Rock
(A) Clive Bell, Croce, Aristotle, St. Painting, Composition – II
Augustine (B) Ragamala, Rock Painting,
(B) St. Augustine, Croce, Clive Bodhisattvas, Composition – II
Bell, Aristotle (C) Composition – II, Ragamala,
(C) Clive Bell, Aristotle, St. Rock Painting, Bodhisattvas
Augustine, Croce (D) Rock Painting, Bodhisattvas,
Ragamala, Composition – II
(D) Aristotle, St. Augustine, Croce,
Clive Bell 55. Select the correct chronological order :
(A) Government College of Art &
51. Select the correct sequence of Craft, Kolkata, Kala Bhavan,
European painting in chronological Shantiniketan Kolkata, Madras
order : (Chennai) School of Arts &
(A) Last Judgement, The Studio, Crafts – Chennai, Sir J.J.
Tribute Money, Water Lilies School of Art, Mumbai
(B) Tribute Money, Last (B) Sir J.J. School of Art – Mumbai,
Judgement, The Studio, Water Madras (Chennai) School of
Lilies Arts & Crafts – Chennai, Kala
(C) Tribute Money, Last Bhavan – Shantiniketan –
Judgement, Water Lilies, The Kolkata, Government College
Studio of Art & Craft – Kolkata
(D) Water Lilies, The Studio, (C) Madras (Chennai) School of
Arts & Crafts – Chennai,
Tribute Money, Last
Government College of Art &
Judgement Craft, Kolkata, Sir J.J. School of
52. Select the correct chronology of Art, Mumbai Kala Bhavan
Shantiniketan, Kolkata
groups formed by Indian painters :
(D) Kala Bhavan, Shantiniketan –
(A) Group – 1890, Young Turks, Kolkata, Sir J.J. School of Art –
PAG, Delhi Shilpi Chakra Mumbai, Government College
(B) PAG, Delhi Shilpi Chakra, of Art & Craft, Kolkata, Madras
Group – 1890, Young Turks (Chennai) School of Arts &
(C) Young Turks, PAG, Delhi Crafts – Chennai
Shilpi Chakra, Group – 1890
(D) Delhi Shilpi Chakra, Group – 56. Select the correct sequence of
1890, Young Turks, PAG machine used in print making :
(A) Litho Press machine, Etching
53. Arrange according to chronological Press machine, Routing machine,
order : Block printing machine
(B) Routing machine, Etching
(A) Suprematism, Rayonism,
press machine, Block printing
Purism, Neo-plasticism machine, Litho press machine.
(B) Rayonism, Suprematism, (C) Litho press machine, Routing
Purism, Neo-plasticism machine, Block printing
(C) Purism, Neo-plasticism, machine, Etching press machine
Suprematism, Rayonism (D) Block printing machine, Etching
(D) Neo-plasticism, Purism, press machine, Litho press
Rayonism, Suprematism machine, Routing machine
Paper-III 12 D-79-12
50. ¯Ö׿“Ö´Öß ÃÖÖüµÖÔ ¿ÖÖÃ¡Ö ¯Ö¸ü ÛúÖµÖÔ Ûú¸ü®Öê ¾ÖÖ»Öê 54. ד֡ÖÖë Ûêú ÃÖé•Ö®Ö ÛúÖê ÛúÖ»ÖÛÎú´ÖÖ®ÖãÃÖÖ¸ü “Öã×®Ö‹ :
¤üÖ¿ÖÔ×®ÖÛúÖë ÛúÖê ÛúÖ»ÖÛÎú´ÖÖ®ÖãÃÖÖ¸ü “Öã×®Ö‹ : (A) ²ÖÖê׬ÖÃÖŸ¾Ö, ¸üÖÝÖ´ÖÖ»ÖÖ, ¯ÖÏßָü ד֡Ö,
(A) Œ»ÖÖ‡¾Ö ²Öê»Ö, ÛÎúÖê“Öê, †¸üßÖæ, ÃÖë™ü ÃÖÓµÖÖê•Ö®Ö-II
†ÝÖÙüß®Ö (B) ¸üÖÝÖ´ÖÖ»ÖÖ, ¯ÖÏßָü ד֡Ö, ²ÖÖê׬ÖÃÖŸ¾Ö,
(B) ÃÖë™ü †ÝÖÙüß®Ö, ÛÎúÖê“Öê, Œ»ÖÖ‡¾Ö ²Öê»Ö, ÃÖÓµÖÖê•Ö®Ö-II
†¸üßÖæ (C) ÃÖÓµÖÖê•Ö®Ö-II, ¸üÖÝÖ´ÖÖ»ÖÖ, ¯ÖÏßָü ד֡Ö,
(C) Œ»ÖÖ‡¾Ö ²Öê»Ö, †¸üßÖæ, ÃÖë™ü †ÝÖÙüß®Ö, ²ÖÖê׬ÖÃÖŸ¾Ö
ÛÎúÖê“Öê (D) ¯ÖÏßָü ד֡Ö, ²ÖÖê׬ÖÃÖŸ¾Ö, ¸üÖÝÖ´ÖÖ»ÖÖ,
(D) †¸üßÖæ, ÃÖë™ü †ÝÖÙüß®Ö, ÛÎúÖê“Öê, Œ»ÖÖ‡¾Ö ÃÖÓµÖÖê•Ö®Ö-II
²Öê»Ö
55. ÃÖÆüß ÛúÖ»ÖÛÎú´Ö “Öã×®Ö‹ :
51. ÛúÖ»ÖÛÎú´ÖÖ®ÖãÃÖÖ¸ü µÖæ¸üÖê×¯ÖµÖ®Ö ×“Ö¡ÖÖë ÛúÖê “Öã×®Ö‹ : (A) ¸üÖ•ÖÛúßµÖ Ûú»ÖÖ ‹¾ÖÓ ×¿Ö»¯Ö ´ÖÆüÖ×¾ÖªÖ»ÖµÖ
(A) »ÖÖÙü •Ö•Ö´Öë™ü, ¤ü Ùæü×›üµÖÖê, ™Òüß²µÖæ™ü ´Ö®Öß, ÛúÖê»ÖÛúŸÖÖ, Ûú»ÖÖ ³Ö¾Ö®Ö ¿ÖÖÓ×ŸÖ ×®ÖÛêúŸÖ®Ö,
¾ÖÖ™ü¸ü »Öß»Öß•Ö ÛúÖê»ÖÛúŸÖÖ ; ´Ö¦üÖÃÖ (“Öê®®Ö‡Ô) Ûú»ÖÖ ‹¾ÖÓ
(B) ™Òüß²µÖæ™ü ´Ö®Öß, »ÖÖÙü •Ö•Ö´Öë™ü, ¤ü Ùæü×›üµÖÖê, ׿ֻ¯Ö ×¾ÖªÖ»ÖµÖ-“Öê®®Ö‡Ô, ÃÖ¸ü •Öê.•Öê. ÃÛæú»Ö
¾ÖÖ™ü¸ü »Öß»Öß•Ö †Öò±ú †Ö™Ôü ´Öã´²Ö‡Ô
(B) ÃÖ¸ü •Öê.•Öê. ÃÛæú»Ö †Öò±ú †Ö™Ôü ´Öã´²Ö‡Ô,
(C) ™Òüß²µÖæ™ü ´Ö®Öß, »ÖÖÙü •Ö•Ö´Öë™ü, ¾ÖÖ™ü¸ü
»Öß»Öß•Ö, ¤ü Ùæ×›üµÖÖê ´Ö¦üÖÃÖ (“Öê®®Ö‡Ô) Ûú»ÖÖ ‹¾ÖÓ ×¿Ö»¯Ö
×¾ÖªÖ»ÖµÖ-“Öê®®Ö‡Ô, Ûú»ÖÖ ³Ö¾Ö®Ö, ¿ÖÖÓןÖ
(D) ¾ÖÖ™ü¸ü »Öß»Öß•Ö, ¤ü Ùæü×›üµÖÖê, ™Òüß²µÖæ™ü ´Ö®Öß,
×®ÖÛêúŸÖ®Ö ÛúÖê»ÖÛúŸÖÖ, ¸üÖ•ÖÛúßµÖ Ûú»ÖÖ ‹¾ÖÓ
»ÖÖÙü •Ö•Ö´Öë™ü ׿ֻ¯Ö ´ÖÆüÖ×¾ÖªÖ»ÖµÖ ÛúÖê»ÖÛúŸÖÖ
52. ³ÖÖ¸üŸÖßµÖ ×“Ö¡ÖÛúÖ¸üÖë «üÖ¸üÖ Ã£ÖÖ×¯ÖŸÖ ÃÖ´ÖæÆüÖë ÛúÖê ÃÖÆüß (C) ´Ö¦üÖÃÖ (“Öê®®Ö‡Ô) Ûú»ÖÖ ‹¾ÖÓ ×¿Ö»¯Ö
ÛúÖ»ÖÛÎú´ÖÖ®ÖãÃÖÖ¸ü “Öã×®Ö‹ : ×¾ÖªÖ»ÖµÖ-“Öê®®Ö‡Ô, ¸üÖ•ÖÛúßµÖ Ûú»ÖÖ ‹¾ÖÓ
׿ֻ¯Ö ÛúÖò»Öê•Ö ÛúÖê»ÖÛúŸÖÖ, ÃÖ¸ü •Öê.•Öê.
(A) ÝÖÏã¯Ö-1890, µÖÓÝÖ ŸÖãÛÔú, ¯ÖîÝÖ, פü»»Öß ×¿Ö»¯Öß
ÃÛæú»Ö †Öò±ú †Ö™Ôü ´Öã´²Ö‡Ô, Ûú»ÖÖ ³Ö¾Ö®Ö,
“ÖÛÎú ¿ÖÖÓ×ŸÖ ×®ÖÛêúŸÖ®Ö ÛúÖê»ÖÛúŸÖÖ
(B) ¯ÖîÝÖ, פü»»Öß ×¿Ö»¯Öß “ÖÛÎú, ÝÖÏã¯Ö-1890, µÖÓÝÖ
(D) Ûú»ÖÖ ³Ö¾Ö®Ö, ¿ÖÖÓ×ŸÖ ×®ÖÛêúŸÖ®Ö ÛúÖê»ÖÛúŸÖÖ,
ŸÖãÛÔú ÃÖ¸ü •Öê.•Öê. ÃÛæú»Ö †Öò±ú †Ö™Ôü ´Öã´²Ö‡Ô,
(C) µÖÓÝÖ ŸÖãÛÔú, ¯ÖîÝÖ, פü»»Öß ×¿Ö»¯Öß “ÖÛÎú, ÝÖÏã¯Ö- ¸üÖ•ÖÛúßµÖ Ûú»ÖÖ ‹¾ÖÓ ×¿Ö»¯Ö ÛúÖê»Öê•Ö
1890 ÛúÖê»ÖÛúŸÖÖ, ´Ö¦üÖÃÖ (“Öê®®Ö‡Ô) ÃÛæú»Ö †Öò±ú
(D) פü»»Öß ×¿Ö»¯Öß “ÖÛÎú, ÝÖÏã¯Ö-1890, µÖÓÝÖ †Ö™Ôü ‹Ó›ü ÛÎúÖ°™ü “Öê®®Ö‡Ô
ŸÖãÛÔú, ¯ÖîÝÖ
56. دÖÏ™ü ´ÖêØÛúÝÖ ´Öë ¯ÖϵÖãŒŸÖ ´Ö¿Öß®ÖÖë ÛúÖ ÃÖÆüß ÛÎú´Ö
53. ÛúÖ»ÖÛÎú´ÖÖ®ÖãÃÖÖ¸ü “Öã×®Ö‹ : “Öã×®Ö‹ :
(A) ÃÖ¾ÖÖì““Ö¾ÖÖ¤ü, ×Ûú¸üÞÖ¾ÖÖ¤ü, ×¾Ö¿Öã¨ü¾ÖÖ¤ü, (A) ×»Ö£ÖÖê ¯ÖÏêÃÖ ´Ö¿Öß®Ö, ‹êØ“ÖÝÖ ¯ÖÏêÃÖ ´Ö¿Öß®Ö,
®Ö¾Ö-»Ö“Ö߻־ÖÖ¤ü ¸üֈؙüÝÖ ´Ö¿Öß®Ö, ²»ÖÖòÛú دÖÏØ™üÝÖ ´Ö¿Öß®Ö
(B) ×Ûú¸üÞÖ¾ÖÖ¤ü, ÃÖ¾ÖÖì““Ö¾ÖÖ¤ü, ×¾Ö¿Öã¨ü¾ÖÖ¤ü, (B) ¸üֈؙüÝÖ ´Ö¿Öß®Ö, ‹êØ“ÖÝÖ ¯ÖÏêÃÖ ´Ö¿Öß®Ö, ²»ÖÖòÛú
®Ö¾Ö-»Ö“Ö߻־ÖÖ¤ü دÖÏØ™üÝÖ ´Ö¿Öß®Ö, ×»Ö£ÖÖê ¯ÖÏêÃÖ ´Ö¿Öß®Ö
(C) ×¾Ö¿Öã¨ü¾ÖÖ¤üü, ®Ö¾Ö-»Ö“Ö߻־ÖÖ¤ü, ÃÖ¾ÖÖì““Ö¾ÖÖ¤ü, (C) ×»Ö£ÖÖê ¯ÖÏêÃÖ ´Ö¿Öß®Ö, ¸üֈؙüÝÖ ´Ö¿Öß®Ö, ²»ÖÖòÛú
×Ûú¸üÞÖ¾ÖÖ¤ü دÖÏØ™üÝÖ ´Ö¿Öß®Ö, ‹êØ“ÖÝÖ ¯ÖÏêÃÖ ´Ö¿Öß®Ö
(D) ®Ö¾Ö-»Ö“Ö߻־ÖÖ¤, ×¾Ö¿Öã¨ü¾ÖÖ¤ü, ×Ûú¸üÞÖ¾ÖÖ¤ü, (D) ²»ÖÖòÛú دÖÏØ™üÝÖ ´Ö¿Öß®Ö, ‹êØ“ÖÝÖ ¯ÖÏêÃÖ ´Ö¿Öß®Ö,
ÃÖ¾ÖÖì““Ö¾ÖÖ¤üü ×»Ö£ÖÖê ¯ÖÏêÃÖ ´Ö¿Öß®Ö, ¸üֈؙüÝÖ ´Ö¿Öß®Ö
D-79-12 13 Paper-III
57. Select the correct sequence of tools 61. Choose the correct sequence in
used in print-making : chronological order :
(A) Different cut graver, Needle, (A) Ramkinkar Baij, Prodosh
Rocker, Levigator Dasgupta, Sankho Chowdhury,
(B) Needle, Different cut graver, Ajit Chakraborty
Rocker, Levigator
(B) Ramkinkar Baij, Sankho
(C) Levigator, Rocker, Needle, Chowdhury, Prodosh
Different cut graver
Dasgupta, Ajit Chakraborty
(D) Rocker, Different cut graver,
Levigator, Needle (C) Ramkinkar Baij, Sankho
Chowdhury, Ajit Chakraborty,
58. Sequence in order of invention : Prodosh Dasgupta
(A) Wood block printing, movable (D) Ramkinkar Baij, Prodosh
types, lithography, laser- Dasgupta, Ajit Chakraborty,
printing. Sankho Chowdhury
(B) Movable types, lithography,
laserprinting, wood block 62. Choose the correct sequence of
printing
Dynasties in chronological order :
(C) Lithography, laserprinting,
wood block printing, movable (A) The Chalukyas, The Guptas,
types The Pallavas, The Chandellas
(D) Laserprinting, wood block (B) The Pallavas, The Chalukyas,
printing, movable types, The Guptas, The Chandellas
lithography (C) The Guptas, The Chandellas,
The Chalukyas, The Pallavas
59. Sequence the four P’s of marketing
(D) The Guptas, The Chalukyas,
implementation wise :
The Chandellas, The Pallavas
(A) Product, Price, Place,
Promotion
(B) Product, Promotion, Place, 63. Choose the correct sequence
Price according to the creation :
(C) Price, Promotion, Product, (A) The Gates of Hell, Monument
Place of Balzac, The Age of Bronze,
(D) Product, Promotion, Price, The Burghers of Calais
Place
(B) The Age of Bronze, The
Burghers of Calais, Monument
60. Sequence the steps of 3D Animation : of Balzac, The Gates of Hell
(A) Modelling, Rigging, Texture,
Rendering (C) The Burghers of Calais,
(B) Texture, Rigging, Modelling, Monument of Balzac, The
Rendering Gates of Hell, The Age of
(C) Modelling, Texture, Rigging, Bronze
Rendering (D) Monument of Balzac, The
(D) Rigging, Rendering, Modelling, Gates of Hell, The Age of
Texture Bronze, The Burghers of Calais

Paper-III 14 D-79-12
57. دÖÏ™ü ´ÖêØÛúÝÖ ´Öë ¯ÖϵÖÖêÝÖ ÆüÖê®Öê ¾ÖÖ»Öê †Öî•ÖÖ¸üÖë ÛúÖ ÃÖÆüß 61. ÛúÖ»ÖÖÛÎú´Ö Ûêú †®ÖãÃÖÖ¸ü ÃÖÆüß ÛÎú´Ö ´Öë “Öã×®Ö‹ :
ÛÎú´Ö “Öã×®Ö‹ …
(A) ¸üÖ´ÖØÛúÛú¸ü ²Öî•Ö, ¯ÖϤüÖêÂÖ ¤üÖÃÖÝÖ㯟Ö, ¿ÖÓÜÖÖê
(A) ×¾Ö׳֮®Ö Ûú™ü ÝÖÏê¾Ö¸ü, ®Öß×›ü»Ö, ¸üÖòÛú¸ü,
“ÖÖî¬Ö¸üß, †•ÖßŸÖ “ÖÛÎú²ÖŸÖá
»Öê×¾ÖÝÖê™ü¸ü
(B) ®Öß×›ü»Ö, ×¾Ö׳֮®Ö Ûú™ü ÝÖÏê¾Ö¸ü, ¸üÖòÛú¸ü, (B) ¸üÖ´ÖØÛúÛú¸ü ²Öî•Ö, ¿ÖÓÜÖÖê “ÖÖî¬Ö¸üß, ¯ÖϤüÖêÂÖ
»Öê×¾ÖÝÖê™ü¸ü ¤üÖÃÖÝÖ㯟Ö, †•ÖßŸÖ “ÖÛÎú²ÖŸÖá
(C) »Öê×¾ÖÝÖê™ü¸ü, ¸üÖòÛú¸ü, ®Öß×›ü»Ö, ×¾Ö׳֮®Ö Ûú™ü (C) ¸üÖ´ÖØÛúÛú¸ü ²Öî•Ö, ¿ÖÓÜÖÖê “ÖÖî¬Ö¸üß, †•ÖߟÖ
ÝÖÏê¾Ö¸ü “ÖÛÎú²ÖŸÖá, ¯ÖϤüÖêÂÖ ¤üÖÃÖÝÖ㯟Ö
(D) ¸üÖòÛú¸ü, ×¾Ö׳֮®Ö Ûú™ü ÝÖÏê¾Ö¸ü, »Öê×¾ÖÝÖê™ü¸ü,
®Öß×›ü»Ö (D) ¸üÖ´ÖØÛúÛú¸ü ²Öî•Ö, ¯ÖϤüÖêÂÖ ¤üÖÃÖÝÖ㯟Ö, †•ÖߟÖ
“ÖÛÎú²ÖŸÖá, ¿ÖÓÜÖÖê “ÖÖî¬Ö¸üß
58. †Ö×¾ÖÂÛéúŸÖ ÆüÖê®Öê Ûêú ÛÎú´Ö ´Öë ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê
¾µÖ¾Ö×Ã£ÖŸÖ Ûúßו֋ :
62. ÛúÖ»ÖÛÎú´Ö Ûêú †®ÖãÃÖÖ¸ü ¸üÖ•µÖ ¾ÖÓ¿ÖÖë ÛúÖê ÃÖÆüß ÛÎú´Ö
(A) ¾Öã›ü ²»ÖÖòÛú دÖÏØ™üÝÖ, ´Öæ¾Öê²Öã»Ö ™üÖ‡¯ÃÖ,
´Öë “Öã×®Ö‹ :
×»Ö£ÖÖêÝÖÏÖ±úß, »Öê•Ö¸ü دÖÏÏØ™üÝÖ
(B) ´Öæ¾Öê²Öã»Ö ™üÖ‡¯ÃÖ, ×»Ö£ÖÖêÝÖÏÖ±úß, »Öê•Ö¸ü (A) “ÖÖ»Ö㌵Ö, ÝÖ㯟Ö, ¯Ö»»Ö¾Ö, “Ö®¤êü»Ö
دÖÏØ™üÝÖ, ¾Öã›ü-²»ÖÖòÛú دÖÏØ™üÝÖ (B) ¯Ö»»Ö¾Ö, “ÖÖ»Ö㌵Ö, ÝÖ㯟Ö, “Ö®¤êü»Ö
(C) ×»Ö£ÖÖêÝÖÏÖ±úß, »Öê•Ö¸ü دÖÏØ™üÝÖ, ¾Öã›ü-²»ÖÖòÛú
دÖÏØ™üÝÖ, ´Öæ¾Öê²Öã»Ö ™üÖ‡¯ÃÖ (C) ÝÖ㯟Ö, “Ö®¤êü»Ö, “ÖÖ»Ö㌵Ö, ¯Ö»»Ö¾Ö
(D) »Öê•Ö¸ü دÖÏØ™üÝÖ, ¾Öã›ü ²»ÖÖòÛú دÖÏØ™üÝÖ, ´Öæ¾Öê²Öã»Ö (D) ÝÖ㯟Ö, “ÖÖ»Ö㌵Ö, “Ö®¤êü»Ö, ¯Ö»»Ö¾Ö
™üÖ‡¯ÃÖ, ×»Ö£ÖÖêÝÖÏÖ±úß

59. ×ÛÎúµÖÖ®¾ÖµÖ®Ö Ûêú †®ÖãÃÖÖ¸ü ×®Ö´®Ö×»Ö×ÜÖŸÖ “ÖÖ¸ü 63. ÃÖé•Ö®Ö Ûêú †®ÖãÃÖÖ¸ü ÃÖÆüß ÛÎú´Ö ÛúÖ “ÖµÖ®Ö Ûú׸üµÖê :
‘¯Öß’ •Ö ÛúÖ ÛÎú´Ö ¯ÖÆü“ÖÖ×®Ö‹ :
(A) ¤ü ÝÖê™ËüÃÖ †Öò±ú Æêü»Ö, ´ÖÖꮵÖæ´Öë™ü †Öò±ú
(A) ¯ÖÏÖê›üŒ™ü, ¯ÖÏÖ‡ÃÖ, ¯»ÖêÃÖ, ¯ÖÏÖê´ÖÖê¿Ö®Ö ²ÖÖ»•ÖÖÛú, ¤ü ‹•Ö †Öò±ú ²ÖÎÖë•Ö, ¤ü ²ÖÝÖÔÃÖÔ
(B) ¯ÖÏÖê›üŒ™ü, ¯ÖÏÖê´ÖÖê¿Ö®Ö, ¯»ÖêÃÖ, ¯ÖÏÖ‡ÃÖ †Öò±ú Ûêú»ÖêÃÖ
(C) ¯ÖÏÖ‡ÃÖ, ¯ÖÏÖê´ÖÖê¿Ö®Ö, ¯ÖÏÖê›üŒ™ü, ¯»ÖêÃÖ (B) ¤ü ‹•Ö †Öò±ú ²ÖÎÖë•Ö, ¤ü ²ÖÝÖÔÃÖÔ †Öò±ú Ûêú»ÖêÃÖ,
(D) ¯ÖÏÖê›üŒ™ü, ¯ÖÏÖê´ÖÖê¿Ö®Ö, ¯ÖÏÖ‡ÃÖ, ¯»ÖêÃÖ ´ÖÖꮵÖæ´Öë™ü †Öò±ú ²ÖÖ»•ÖÖÛú, ¤ü ÝÖê™ËüÃÖ †Öò±ú
Æêü»Ö,
60. 3›üß ‹×®Ö´Öê¿Ö®Ö Ûêú “Ö¸üÞÖÖë ÛúÖ ÃÖÆüß ÛÎú´Ö ÛúÖî®Ö ÃÖÖ (C) ¤ü ²ÖÝÖÔÃÖÔ †Öò±ú Ûêú»ÖêÃÖ, ´ÖÖꮵÖæ´Öë™ü †Öò±ú
Æîü ? ²ÖÖ»•ÖÖÛú, ¤ü ÝÖê™ËüÃÖ †Öò±ú Æêü»Ö, ¤ü ‹•Ö
(A) ´ÖÖò›üØ»ÖÝÖ, ׸üØÝÖÝÖ, ™êüŒÃÖ“Ö¸ü, ¸ëü›üظüÝÖ †Öò±ú ²ÖÎÖë•Ö,
(B) ™êüŒÃÖ“Ö¸ü, ׸üØÝÖÝÖ, ´ÖÖò›üØ»ÖÝÖ, ¸ëü›üظüÝÖ
(D) ´ÖÖꮵÖæ´Öë™ü †Öò±ú ²ÖÖ»•ÖÖÛú, ¤ü ÝÖê™ËüÃÖ †Öò±ú
(C) ´ÖÖò›üØ»ÖÝÖ, ™êüŒÃÖ“Ö¸ü, ׸üØÝÖÝÖ, ¸ëü›üظüÝÖ Æêü»Ö, ¤ü ‹•Ö †Öò±ú ²ÖÎÖë•Ö, ¤ü ²ÖÝÖÔÃÖÔ †Öò±ú
(D) ׸üØÝÖÝÖ, ¸ëü›üظüÝÖ, ´ÖÖò›üØ»ÖÝÖ, ™êüŒÃÖ“Ö¸ü Ûêú»ÖêÃÖ
D-79-12 15 Paper-III
64. Match the artists to their respective 67. Match the authors with their books :
art movement : a. A.K. i. Art and
a. Claude Monet i. Surrealism Coomarswamy Society
b. Salvador Dali ii. Fauvism b. Herbert Read ii. Contemporary
c. Gustav Courbet iii. Realism Art in India
c. Mulkraj iii. Rajput
d. George Rouault iv. Impressionism
Anand Painting
Codes : d. P.N. Mago iv. An Album of
a b c d Indian
(A) iv i ii iii Painting
(B) iv i iii ii Codes :
(C) i ii iv iii a b c d
(D) iv iii i ii (A) ii iv ii i
(B) iii i iv ii
65. Match the following aesthetes to (C) iv ii i iii
theories they propounded : (D) i ii iii iv
a. Croce i. Theory of
68. Match the painters with their
Communication
paintings :
b. Aristotle ii. Theory of a. Nandalal Bose i. Mother and
Imagination Child
c. Tolstoy iii. Theory of b. Jamini Roy ii. Huts
Imitation c. Rathin Mitra iii. Mother feeding
d. Collingwood iv. Theory of her Child
Intuition d. H.A. Gade iv. Open Air
Codes : Restaurant
a b c d Codes :
(A) i ii iii iv a b c d
(B) iv iii i ii (A) iii iv ii i
(B) ii iii iv i
(C) ii i iv iii
(C) iii i iv ii
(D) iii iv i ii (D) i ii iii iv
66. Match the authors with their work : 69. Match the artist to their group :
a. Benjamin i. Survey of a. K.H. Ara i. Calcutta
Rowland Indian Group
Sculpture b. Gopal Ghose ii. Society of
b. V.S. Agrawal ii. Indian Contemporary
Architecture Art
c. Percy Brown iii. The Art and c. Kanval iii. Bombay
Architecture Krishna Progressive
of India Group
d. Ganesh Payne iv. Delhi Shilpi
d. S.K. Saraswati iv. Indian Art
Chakra
Codes : Codes :
a b c d a b c d
(A) iii iv ii i (A) iii i iv ii
(B) i ii iii iv (B) iii ii iv i
(C) iv iii ii i (C) iv ii i iii
(D) ii iii i iv (D) i ii iii iv
Paper-III 16 D-79-12
64. Ûú»ÖÖÛúÖ¸üÖë ÛúÖê ˆ®ÖÃÖê ÃÖ´²Ö×®¬ÖŸÖ Ûú»ÖÖ †Ö®¤üÖê»Ö®Ö 67. »ÖêÜÖÛúÖë ÛúÖê ˆ®ÖÛúß ¯ÖãßÖÛúÖë ÃÖê ÃÖã´Öê×»ÖŸÖ Ûú׸üµÖê :
ÃÖê ÃÖã´Öê×»ÖŸÖ Ûú׸ü‹ : a. ‹.Ûêú. Ûãú´ÖÖ¸ü þÖÖ´Öß i. †Ö™Ôü ‹Ó›ü ÃÖÖêÃÖÖ‡™üß
a. Œ»ÖÖ¤ü ´ÖÖê®Öê i. ÃÖ¸ü׸ü†×»Ö•´Ö b. Æü²ÖÔ™Ôü ¸üß›ü ii. ÛúÖ®™êü´¯Ö¸ü¸üß †Ö™Ôü
b. ÃÖÖ»¾ÖÖ›üÖê¸ü ›üÖ»Öß ii. ±êú×¾Ö•´Ö ‡®Ö ‡Ó×›üµÖÖ
c. ÝÖãßÖÖ¾Ö Ûæú¾Öì™ü iii. ׸ü†×»Ö•´Ö c. ´Öã»Ûú¸üÖ•Ö †Ö®Ö®¤ü iii. ¸üÖ•Ö¯ÖæŸÖ ¯ÖëØ™üÝÖ
d. •µÖÖê•ÖÔ ¸üÖˆ»™ü iv. ‡´¯ÖÏêÃÖ×®Ö•´Ö d. ¯Öß.‹®Ö. ´ÖÖÝÖÖê iv. ‹®Ö †»Ö²Ö´Ö †Öò±ú
ÛúÖê›ü : ‡Ó×›üµÖ®Ö ¯ÖëØ™üÝÖ
a b c d 󜅐ݟ :
(A) iv i ii iii a b c d
(B) iv i iii ii (A) ii iv ii i
(C) i ii iv iii (B) iii i iv ii
(D) iv iii i ii (C) iv ii i iii
(D) i ii iii iv
65. ÃÖÖüµÖÔ ¿ÖÖ×áֵÖÖë ‹¾ÖÓ ˆ®ÖÛêú «üÖ¸üÖ ¯ÖÏן֯ÖÖפüŸÖ
×ÃÖ¨üÖ®ŸÖÖë ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú׸üµÖê : 68. ד֡ÖÛúÖ¸üÖë ÛúÖê ˆ®ÖÛêú ד֡ÖÖë Ûêú ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ
a. ÛÎúÖê“Öê i. £µÖÖê¸üß †Öò±ú Ûú´µÖæ×®ÖÛêú¿Ö®Ö Ûú׸üµÖê :
b. †¸üßÖæ ii. £µÖÖê¸üß †Öò±ú ‡´Öê•Öß®Öê¿Ö®Ö a. ®Ö®¤ü»ÖÖ»Ö ²ÖÖêÃÖ i. ´Ö¤ü¸ü ‹Ó›ü “ÖÖ‡»›ü
c. ™üÖ»ÖÙüÖµÖ iii. £µÖÖê¸üß †Öò±ú ‡´Öß™êü¿Ö®Ö b. •ÖÖ×´Ö®Öß ¸üÖµÖ ii. Æü™ËüÃÖ
d. ÛúÖØ»ÖÝÖ¾Öæ›ü iv. £µÖÖê¸üß †Öò±ú ‡®™ËüµÖæ¿Ö®Ö
c. ¸üÖ×£Ö®Ö ×´Ö¡ÖÖ iii. ´Ö¤ü¸ü ±úßØ›üÝÖ Æü¸ü
ÛúÖê›ü : “ÖÖ‡»›ü
a b c d d. ‹“Ö.‹. ÝÖÖ›êü iv. †Öê¯Ö®Ö ‹†¸ü
(A) i ii iii iv ¸êüÙüÖê¸ëü™ü
(B) iv iii i ii
(C) ii i iv iii
󜅐ݟ :
(D) iii iv i ii a b c d
(A) iii iv ii i
66. »ÖêÜÖÛúÖë ÛúÖê ˆ®ÖÛêú ¯ÖãßÖÛúÖë Ûêú ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ (B) ii iii iv i
Ûú׸ü‹ : (C) iii i iv ii
a. ²ÖÖÖ×´Ö®Ö ¸üÖê»Öê®›ü i. ÃÖ¾Öì †Öò±ú ‡Ó×›üµÖ®Ö (D) i ii iii iv
ÃÛú»¯Ö“Ö¸ü
b. ¾Öß.‹ÃÖ. †ÝÖϾÖÖ»Ö ii. ‡Ó×›üµÖ®Ö 69. ד֡ÖÛúÖ¸ü ÛúÖê ˆÃÖÛêú ÃÖ´ÖæÆü ÃÖê ×´Ö»ÖÖ‡µÖê :
†ÖÙÛú™êüŒ“Ö¸ü a. Ûêú.‹“Ö.†Ö¸üÖ i. Ûú»ÖÛú¢ÖÖ ÃÖ´ÖæÆü
c. ¯ÖÃÖá ²ÖÎÖˆ®Ö iii. ¤ü †Ö™Ôü ‹Ó›ü b. ÝÖÖê¯ÖÖ»Ö ‘ÖÖêÂÖ ii. ÃÖÖêÃÖÖ‡™üß †Öò±ú
†ÖÙÛú™êüŒ“Ö¸ü †Öò±ú ÛúÖÓ™êü´¯Ö¸ü¸üß ÝÖÏã¯Ö
‡Ó×›üµÖÖ c. ÛÓú¾Ö»Ö ÛéúÂÞÖÖ iii. ²ÖÖò´²Öê ¯ÖÏÖêÝÖÏê×ÃÖ¾Ö ÝÖÏã¯Ö
d. ‹ÃÖ.Ûêú. ÃÖ¸üþ֟Öß iv. ‡Ó×›üµÖ®Ö †Ö™Ôü d. ÝÖÞÖê¿Ö ¯ÖÖ‡®Ö iv. פü»»Öß ×¿Ö»¯Öß “ÖÛÎú
󜅐ݟ : 󜅐ݟ :
a b c d a b c d
(A) iii iv ii i (A) iii i iv ii
(B) i ii iii iv (B) iii ii iv i
(C) iv iii ii i (C) iv ii i iii
(D) ii iii i iv (D) i ii iii iv
D-79-12 17 Paper-III
70. Match the following : 73. Match the following :
a. Salarjang i. Mumbai a. Identification i. Package
Museum Design
b. Prince of Wales ii. Delhi b. Consumer ii. Containment
Museum Appeal
c. Indian Museum iii. Hyderabad c. Protection & iii. Consumer
d. National Gallery iv. Kolkata Convenience Acceptance
of Modern Art d. Economy iv. Brand
Codes : Codes :
a b c d a b c d
(A) ii i iv iii (A) i ii iii iv
(B) iii i iv ii (B) iv i iii ii
(C) ii i iii iv (C) iii iv ii i
(D) iv ii i iii (D) i iii ii iv

71. Match the following sculptors with 74. Select the correct match :
their respective mediums :
a. Stop Motion i. Computer tool
a. Satish Gujral i. Brunt
Wood b. Montage ii. Animation
b. P. Daroz ii. Bronze c. Motion Blurs iii. Cinema
c. Rabindra Reddy iii. Ceramic d. Lumiere iv. Visual Editing
Brothers
d. Meera iv. Fibre
Mukherjee Glass Codes :
Codes : a b c d
a b c d (A) ii iv i iii
(A) ii iii i iv (B) iv ii iii i
(B) i iii iv ii (C) iii iv i ii
(C) iv i ii iii (D) i iii ii iv
(D) iii ii i iv
75. Select the correct match :
72. Match the following : a. Toulouse i. Illustration
a. Matisse i. City Square Lautrec
b. Brancusi ii. Guitar b. Piet Mondrian ii. Logo
c. Picasso iii. Bird in Space c. Mickey Patel iii. Design
d. Giacometti iv. The Back d. Sudarshan Dheer iv. Poster
Codes : Codes :
a b c d a b c d
(A) ii iii i iv (A) iv iii i ii
(B) iv iii ii i (B) iii iv i ii
(C) ii iii iv i (C) iv iii ii i
(D) iv i ii iii (D) i ii iv iii
Paper-III 18 D-79-12
70. ×®Ö´®Ö ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú׸üµÖê : 73. ×®Ö´®Ö ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú׸üµÖê :
a. ÃÖ»ÖÖ¸ü•ÖÓÝÖ ´µÖæוµÖ´Ö i. ´Öã´²Ö‡Ô a. †Ö‡›ëü×™ü×±úÛêú¿Ö®Ö i. ¯ÖîÛêú•Ö ×›ü•ÖÖ‡®Ö
b. دÖÏÃÖ †Öò±ú ¾Öî»ÃÖ ii. פü»»Öß b. Ûú®•Öæ´Ö¸ü †¯Öᯙ ii. ÛúÖ®™êü®´Öë™ü
´µÖæוµÖ´Ö c. ¯ÖÏÖê™êüŒ¿Ö®Ö ‹Ó›ü iii. Ûú®•Öæ´Ö¸ü †ÃÖꯙëüÃÖ
c. ‡Ó×›üµÖ®Ö ´µÖæוµÖ´Ö iii. Æîü¤ü¸üÖ²ÖÖ¤ü Ûú®¾Öß×®Ö‹Ó¿Ö
d. ®Öê¿Ö®Ö»Ö ÝÖî»Ö¸üß †Öò±ú iv. ÛúÖê»ÖÛúÖŸÖÖ d. ‡ÛúÖ®ÖÖ´Öß iv. ²ÖÎÖÓ›ü
´ÖÖò›®ÖÔ †Ö™Ôü
󜅐ݟ :
󜅐ݟ :
a b c d
a b c d
(A) i ii iii iv
(A) ii i iv iii
(B) iv i iii ii
(B) iii i iv ii
(C) iii iv ii i
(C) ii i iii iv
(D) iv ii i iii (D) i iii ii iv

71. ×®Ö´®Ö ´ÖæÙŸÖµÖÖë ÛúÖê ˆ®ÖÃÖê ÃÖÓ²ÖÓ×¬ÖŸÖ ´ÖÖ¬µÖ´ÖÖë ÃÖê 74. ÃÖÆüß µÖãÝ´ÖÖë ÛúÖê ×´Ö»ÖÖ‡‹ :
ÃÖã´Öê×»ÖŸÖ Ûú׸üµÖê : a. ÙüÖ¯Ö ´ÖÖê¿Ö®Ö i. Ûú´¯µÖæ™ü¸ü ™æü»Ö
a. ÃÖŸÖß¿Ö ÝÖã•Ö¸üÖ»Ö i. ²Ö®™Ôü ¾Öæ›ü b. ´ÖÖ®™êü•Ö ii. ‹ê×®Ö´Öê¿Ö®Ö
b. ¯Öß. ¤üÖ¸üÖê•Ö ii. ²ÖÎÖë•Ö c. ´ÖÖê¿Ö®Ö ²»Ö¸üÃÖ iii. ×ÃÖ®Öê´ÖÖ
c. ¸ü¾Öß®¦ü ¸êüøüß iii. ×ÃÖ¸üÖ×´ÖÛú d. »Öæ×´Ö¸êü ²ÖΤü¿ÖÔ iv. ×¾Ö•Öã†»Ö ‹×›üØ™üÝÖ
d. ´Ö߸üÖ ´ÖãÜÖ•Öá iv. ±úÖ‡²Ö¸ü Ý»ÖÖÃÖ ÛúÖê›ü :
󜅐ݟ : a b c d
a b c d (A) ii iv i iii
(A) ii iii i iv
(B) iv ii iii i
(B) i iii iv ii
(C) iii iv i ii
(C) iv i ii iii
(D) i iii ii iv
(D) iii ii i iv

72. ×®Ö´®Ö ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûú׸üµÖê : 75. ÃÖÆüß µÖãÝ´ÖÖë ÛúÖê ×´Ö»ÖÖ‡‹ :
a. ´ÖÖ×ŸÖ¿Ö i. ×ÃÖ™üß ÃÛêú†¸ü a. ŸÖæ»ÖæÃÖ »ÖÖ¡Öê i. ‡»ÖÙÒêüÃÖ®Ö
b. ²ÖÎÖÓÛãúÃÖß ii. ×ÝÖ™üÖ¸ü b. ׯ֋™ü ´ÖÖê×®¦üµÖ®Ö ii. »ÖÖêÝÖÖê
c. ׯÖÛúÖÃÖÖê iii. ²Ö›Ôü ‡®Ö ïÖê¿Ö c. ×´ÖÛúß ¯Ö™êü»Ö iii. ×›ü•ÖÖ‡®Ö
d. •ÖÖÛúÖê´Öê×ŸÖ iv. ¤ü ²ÖîÛú d. ÃÖã¤ü¿ÖÔ®Ö ¬Ö߸ü iv. ¯ÖÖêÙü¸ü
󜅐ݟ : 󜅐ݟ :
a b c d a b c d
(A) ii iii i iv (A) iv iii i ii
(B) iv iii ii i (B) iii iv i ii
(C) ii iii iv i (C) iv iii ii i
(D) iv i ii iii (D) i ii iv iii
D-79-12 19 Paper-III
 Space For Rough Work

Paper-III 20 D-79-12