PAPER-III VISUAL ARTS - Examrace€¦ · Paper-III 2 D-79-14 VISUAL ARTS Paper – III Note : This...

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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 : (i) To have access to the Question Booklet, tear off the paper seal on the edge of this cover page. Do not accept a booklet without sticker-seal and do not accept an open booklet. (ii) Tally the number of pages and number of questions in the booklet with the information printed on the cover page. Faulty booklets due to pages/questions missing or duplicate or not in serial order or any other discrepancy should be got replaced immediately by a correct booklet from the invigilator within the period of 5 minutes. Afterwards, neither the Question Booklet will be replaced nor any extra time will be given. (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. 5. Your responses to the items are to be indicated in the OMR Sheet given inside the Booklet only. If you mark at any place other than in the circle in the OMR Sheet, it will not be evaluated. 6. Read instructions given inside carefully. 7. Rough Work is to be done in the end of this booklet. 8. If you write your Name, Roll Number, Phone Number or put any mark on any part of the OMR Sheet, except for the space allotted for the relevant entries, which may disclose your identity, or use abusive language or employ any other unfair means such as change of response by scratching or using white fluid, you will render yourself liable to disqualification. 9. You have to return the test question booklet and Original OMR Sheet to the invigilators at the end of the examination compulsorily and must not carry it with you outside the Examination Hall. You are, however, allowed to carry original question booklet and duplicate copy of OMR Sheet on conclusion of examination. 10. Use only Blue/Black Ball point pen. 11. Use of any calculator or log table etc., is prohibited. 12. There is no negative marks for incorrect answers. 13. In case of any discrepancy in the English and Hindi versions, English version will be taken as final. Number of Pages in this Booklet : 32 Number of Questions in this Booklet : 75 Instructions for the Candidates fl‚ı£º Œ » fi/¿ 1. ˆ flØ´ Œ fl‚ fi ˆ£fi fl‚ flfi ‚Œ» fi·²‚ » 2. ˆ flˇ¿fi-fl¡ ·º fl˘¢‚ ²˘ª »fl flˇ¿fi ˘ 3. fl‚ı flˇ‚·‡ ˘ŒfiŒ fl‚, flˇ¿fi-flªˆ fl Œ /Œ / Œ fl˘»Œ fl ·fi™ fl Œ flˇ¿fi-flªˆ Œ»fiŒ £ ˆ fi·fi» Œ » /Œ ºŒ, ˆ fl Œ ¿ ‚fi ˘ : (i) flˇ¿fi-flªˆ Œ»fiŒ Œ » ˆŒ ‚ flŒ fl‚ » ˆ» Œ – »º ª» ˘ª ²fi ˆ™ ‚-ˆ» flªˆ ˆ ‚ fi ‚º (ii) ‚ flØ´ fl‚ flŒ fi/¿fiªˆ‚ flˇ¿fi-flªˆ Œ flØ´ £ flˇ¿fiº ˆ Œ ‚˘ ‚ »º Œ fl‚Œ ˘ /Œ ´fl ª ˆ fi·º Ø ´/flˇ ¿fi · ˘º /ª²‚ Œ ˘º ˆ‚» ·º fi ˘º £¸ ˆ ‡ flˇ ‚ ¡ª™fl flªˆ ˆ ‚ fi ‚º £ ˆ ˆ· ˆŒ »™ ‚ ˆŒ ˆ£fi fl‚ /ˆ‚ ˆ˘ flˇ¿fi-flªˆ »Œ »º ˆŒ » fl Œ fl ·fi™ /Œ ºŒ ˆŒ ²/ fi Œ fl flˇ ¿fi-flª ˆ flˆ » Œ ‚ fi ˘ fl Œ ‚ ˆ· / Œ (iii) ˆ Œ ²/ OMR fl¡ ˛ · ˆ ˆ flˇ¿fi-flªˆ fl‚ ‚ /º 4. flˇŒ flˇ¿fi Œ » ‚ ¢‚ »fl (A), (B), (C) £ (D) Œ ˘ fl Œ ˆ˘ ¢‚ Œ Ø¢ Œ flŒfi ˆŒ ‡‚ ‚ » ‚fi ˘ ˆ fiŒ / ˘ /˘‚ : ² (C) ˆ˘ ¢‚ ˘ 5. flˇ¿fiº Œ ¢‚ Œ » flˇ¿fi flªˆ Œ fi/‚ /Œ Œ OMR fl¡ fl‚ ˘ ‚fiŒ ˘ / fl OMR fl¡ fl‚ /Œ Œ Ø¢ Œ » ˆ fi ˆ£fi fl‚ ¢‚ ¯fi ‚Œ ˘, Œ ˆ ·» fi fi˘ ˘Œ 6. fi/‚ /Œ Œ fi/¿º Œ ‹fifl flº 7. · (Rough Work) ˆ flªˆ Œ fi· flØ´ fl‚ ‚º 8. / fl OMR fl¡ fl‚ fi ˆ£fi Œ » flfi fi·, ‚Œ» fi·²‚, – Œfi fi·²‚ Œ ‡ Œˆ ¯fi ˆˆŒ fl fl˘fi ˘Œ ˆŒ , ‚Œ ˘ £ ‡ƒ ‡´ flˇŒ ‚Œ ˘, Œ fi fiª ˆ‹fi flˇŒ ‚Œ ˘, ˆŒ Œ Œ ¢‚ Œ ·™fi ˆ–Œ / ˆ˘ ˆŒ ²/»fi Œ fl‚ı Œ »Œ Œ Œ´ Œ ˆ Œ ˘ 9. fl Œ fl‚ı ˆ·fl ˘ŒfiŒ fl‚ flˇ¿fi-flªˆ ·» OMR fl¡ fi‚ı ·˘Œ/ Œ »™fi ¿ ˘ ‚ fl‚ı ˆ·fl Œ ²/ ˆŒ flfiŒ ˆ£ fl‚ı ‡fi ˆŒ ²˘‚ fi »Œ ‚ º ˘» fl fl‚ı ˆ·fl fl‚ ·» flˇ¿fi-flªˆ £ OMR fl¡ ªfl»Œ ™ flˇ flfiŒ ˆ£ »Œ ˆ Œ ˘ 10. Œ » fi»Œ/ »Œ ²» fl™ flŒfi ˘ ˆŒ·» ‚º 11. ˆ ‡ flˇ ‚ ˆ ( »ª »Œ™‚) » ™Œ²» / flˇŒ ˘ 12. » ¢‚º Œ » Œ fi ‚· fi˘ ˘ 13. / ˇŒ ˘/ ‚ ·º Œ ˆ ˘Œ, Œ ˇŒ ‚ · ·fi [Maximum Marks : 150 Time : 2 1 / 2 hours] PAPER-III (To be filled by the Candidate) Signature and Name of Invigilator OMR Sheet No. : ............................................... Roll No. (In words) 1. (Signature) __________________________ (Name) ____________________________ 2. (Signature) __________________________ (Name) ____________________________ Roll No.________________________________ 79 (In figures as per admission card) D 1 4 D-79-14 1 P.T.O. VISUAL ARTS www.examrace.com

Transcript of PAPER-III VISUAL ARTS - Examrace€¦ · Paper-III 2 D-79-14 VISUAL ARTS Paper – III Note : This...

1. Write your roll number in the space provided on the top ofthis page.

2. This paper consists of seventy five multiple-choice type ofquestions.

3. At the commencement of examination, the question bookletwill be given to you. In the first 5 minutes, you are requestedto open the booklet and compulsorily examine it as below :(i) To have access to the Question Booklet, tear off the

paper seal on the edge of this cover page. Do not accepta booklet without sticker-seal and do not accept an openbooklet.

(ii) Tally the number of pages and number of questionsin the booklet with the information printed on thecover page. Faulty booklets due to pages/questionsmissing or duplicate or not in serial order or anyother discrepancy should be got replaced immediatelyby a correct booklet from the invigilator within theperiod of 5 minutes. Afterwards, neither the QuestionBooklet will be replaced nor any extra time will begiven.

(iii) After this verification is over, the OMR Sheet Numbershould 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 onthe correct response against each item.Example :where (C) is the correct response.

5. Your responses to the items are to be indicated in the OMRSheet given inside the Booklet only. If you mark at anyplace other than in the circle in the OMR Sheet, it will not beevaluated.

6. Read instructions given inside carefully.7. Rough Work is to be done in the end of this booklet.8. If you write your Name, Roll Number, Phone Number or put

any mark on any part of the OMR Sheet, except for the spaceallotted for the relevant entries, which may disclose youridentity, or use abusive language or employ any other unfairmeans such as change of response by scratching or usingwhite fluid, you will render yourself liable to disqualification.

9. You have to return the test question booklet and OriginalOMR Sheet to the invigilators at the end of the examinationcompulsorily and must not carry it with you outside theExamination Hall. You are, however, allowed to carry originalquestion booklet and duplicate copy of OMR Sheet onconclusion of examination.

10. Use only Blue/Black Ball point pen.11. Use of any calculator or log table etc., is prohibited.12. There is no negative marks for incorrect answers.13. In case of any discrepancy in the English and Hindi versions,

English version will be taken as final.

Number of Pages in this Booklet : 32 Number of Questions in this Booklet : 75

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(ii) Ûú¾Ö¸ü ¯ÖéÂ�ü ¯Ö¸ü �û¯Öê ×®Ö¤ìü¿ÖÖ®ÖãÃÖÖ¸ü ¯ÖÏ¿®Ö-¯Öã×Ã�ÖÛúÖ Ûêú ¯ÖéÂ�ü �Ö£ÖÖ¯ÖÏ¿®ÖÖë Ûúß ÃÖÓܵÖÖ ÛúÖê ���ûß �Ö¸üÆü �ÖîÛú Ûú¸ü »Öë ×Ûú µÖê ¯Öæ¸êüÆïü � ¤üÖêÂÖ¯ÖæÞÖÔ ¯Öã×Ã�ÖÛúÖ ×�Ö®Ö´Öë ¯ÖéÂ�ü/¯ÖÏ¿®Ö Ûú´Ö ÆüÖë µÖÖ ¤ãü²ÖÖ üÖ �ÖÝÖµÖê ÆüÖë µÖÖ ÃÖß׸üµÖ»Ö ´Öë ®Ö ÆüÖë �£ÖÖÔ�ÖË ×ÛúÃÖß ³Öß ¯ÖÏÛúÖ¸ü Ûúß¡Öã×�ü¯ÖæÞÖÔ ¯Öã×Ã�ÖÛúÖ Ã¾ÖßÛúÖ¸ü ®Ö Ûú¸ëü �Ö£ÖÖ �ÃÖß ÃÖ´ÖµÖ �ÃÖê»ÖÖî�üÖÛú¸ü �ÃÖÛêú ãÖÖ®Ö ¯Ö¸ü ¤æüÃÖ¸üß ÃÖÆüß ¯ÖÏ¿®Ö-¯Öã×Ã�ÖÛúÖ »Öê »Öë ��ÃÖÛêú ×»Ö� �Ö¯ÖÛúÖê ¯ÖÖÑ�Ö ×´Ö®Ö�ü פüµÖê �ÖÖµÖëÝÖê � �ÃÖÛêú ²ÖÖ¤ü ®Ö�ÖÖê �Ö¯ÖÛúß ¯ÖÏ¿®Ö-¯Öã×Ã�ÖÛúÖ ¾ÖÖ¯ÖÃÖ »Öß �ÖÖµÖêÝÖß �Öî ü ®Ö Æüß �Ö¯ÖÛúÖê�×�Ö׸ü��Ö ÃÖ´ÖµÖ ×¤üµÖÖ �ÖÖµÖêÝÖÖ �

(iii) �ÃÖ �ÖÖÑ�Ö Ûêú ²ÖÖ¤ü OMR ¯Ö¡ÖÛú Ûúß ÛÎú´Ö ÃÖÓܵÖÖ �ÃÖ ¯ÖÏ¿®Ö-¯Öã×Ã�ÖÛúÖ¯Ö¸ü �Ó×Ûú�Ö Ûú¸ü ¤ëü �

4. ¯ÖÏ�µÖêÛú ¯ÖÏ¿®Ö Ûêú ×»Ö� �ÖÖ¸ü �¢Ö¸ü ×¾ÖÛú»¯Ö (A), (B), (C) �Ö£ÖÖ (D) פüµÖêÝÖµÖê Æïü � �Ö¯ÖÛúÖê ÃÖÆüß �¢Ö¸ü Ûêú ¾Öé¢Ö ÛúÖê ¯Öê®Ö ÃÖê ³Ö¸üÛú¸ü ÛúÖ»ÖÖ Ûú¸ü®ÖÖ Æîü�ÖîÃÖÖ ×Ûú ®Öß�Öê פüÜÖÖµÖÖ ÝÖµÖÖ Æîü ��¤üÖÆü¸üÞÖ :�Ö²Ö×Ûúú(C) ÃÖÆüß �¢Ö¸ü Æîü �

5. ¯ÖÏ¿®ÖÖë Ûêú �¢Ö¸ü Ûêú¾Ö»Ö ÖÏ¿®Ö Öã×Ã�ÖÛúÖ Ûêú �®¤ü¸ü פüµÖê ÝÖµÖê OMR Ö¡ÖÛú Ö¸üÆüß �Ó×Ûú�Ö Ûú¸ü®Öê Æïü � µÖפü �Ö¯Ö OMR ¯Ö¡ÖÛú ¯Ö¸ü פüµÖê ÝÖµÖê ¾Öé¢Ö Ûêú �»ÖÖ¾ÖÖ×ÛúÃÖß �®µÖ ãÖÖ®Ö ¯Ö¸ü �¢Ö¸ü ×�ÖÅ®ÖÖÓ×Ûú�Ö Ûú¸ü�Öê Æïü, �ÖÖê �ÃÖÛúÖ ´Ö滵ÖÖÓÛú®Ö®ÖÆüà ÆüÖêÝÖÖ �

6. �®¤ü¸ü פüµÖê ÝÖµÖê ×®Ö¤ìü¿ÖÖë ÛúÖê ¬µÖÖ®Ö¯Öæ¾ÖÔÛú ¯Ö�Ìëü �7. Ûú��ÖÖ ÛúÖ´Ö (Rough Work) �ÃÖ ¯Öã×Ã�ÖÛúÖ Ûêú �×®�Ö´Ö ¯ÖéÂ�ü ¯Ö¸ü Ûú¸ëü �8. µÖפü �Ö¯Ö OMR ¯Ö¡ÖÛú ¯Ö¸ü ×®ÖµÖ�Ö Ã£ÖÖ®Ö Ûêú �»ÖÖ¾ÖÖ �¯Ö®ÖÖ ®ÖÖ´Ö, ¸üÖê»Ö

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9. �Ö¯ÖÛúÖê ¯Ö¸üßõÖÖ ÃÖ´ÖÖ¯�Ö ÆüÖê®Öê ¯Ö¸ü ¯ÖÏ¿®Ö-¯Öã×Ã�ÖÛúÖ �¾ÖÓ ´Öæ»Ö OMR ¯Ö¡ÖÛú×®Ö¸üßõÖÛú ´ÖÆüÖê¤üµÖ ÛúÖê »ÖÖî�üÖ®ÖÖ �Ö¾Ö¿µÖÛú Æîü �Öî¸ü ¯Ö¸üßõÖÖ ÃÖ´ÖÖׯ�Ö Ûêú ²ÖÖ¤ü�ÃÖê �¯Ö®Öê ÃÖÖ£Ö ¯Ö¸üßõÖÖ ³Ö¾Ö®Ö ÃÖê ²ÖÖÆü¸ü ®Ö »ÖêÛú¸ü �ÖÖµÖë � ÆüÖ»ÖÖÓ×Ûú �Ö¯Ö¯Ö¸üßõÖÖ ÃÖ´ÖÖׯ�Ö ¯Ö¸ü ´Öæ»Ö ¯ÖÏ¿®Ö-¯Öã×Ã�ÖÛúÖ �Ö£ÖÖ OMR ¯Ö¡ÖÛú Ûúß �ãü¯»ÖßÛêú�ü¯ÖÏ×�Ö �¯Ö®Öê ÃÖÖ£Ö »Öê �ÖÖ ÃÖÛú�Öê Æïü �

10. Ûêú¾Ö»Ö ®Öß»Öê/ÛúÖ»Öê ²ÖÖ»Ö ¯¾ÖÖ�Õ�ü ¯Öê®Ö ÛúÖ Æüß �Ã�Öê ÖÖ»Ö Ûú ëü �11. ×ÛúÃÖß ³Öß ¯ÖÏÛúÖ¸ü ÛúÖ ÃÖÓÝÖÞÖÛú (Ûîú»ÖÛãú»Öê�ü¸ü) µÖÖ »ÖÖÝÖ �êü²Ö»Ö �Öפü ÛúÖ

¯ÖϵÖÖêÝÖ ¾ÖÙ�Ö�Ö Æîü �12. ÝÖ»Ö�Ö �¢Ö¸üÖë Ûêú ×»Ö� ÛúÖê�Ô ®ÖÛúÖ¸üÖ�´ÖÛú �ÓÛú ®ÖÆüà Æïü �13. µÖפü �ÓÝÖÏê�Öß µÖÖ ØÆü¤üß ×¾Ö¾Ö¸üÞÖ ´Öë ÛúÖê�Ô ×¾ÖÃÖÓÝÖ×�Ö ÆüÖê, �ÖÖê �ÓÝÖÏê�Öß ×¾Ö¾Ö¸üÞÖ

�Ó×�Ö´Ö ´ÖÖ®ÖÖ �ÖÖ�ÝÖÖ �

[Maximum Marks : 150Time : 2 1/2 hours]

PAPER-III

(To be filled by the Candidate)

Signature and Name of Invigilator

OMR Sheet No. : ...............................................

Roll No.

(In words)

1. (Signature) __________________________

(Name) ____________________________

2. (Signature) __________________________

(Name) ____________________________Roll No.________________________________

7 9(In figures as per admission card)

D 1 4

D-79-14 1 P.T.O.

VISUAL ARTS

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Paper-III 2 D-79-14

VISUAL ARTS

Paper – III

Note : This paper contains seventy five (75) objective type questions of two (2) marks each. All

questions are compulsory.

1. In Indian art, the term medhi is related to which discipline from following :

(A) Painting (B) Sculpture

(C) Architecture (D) None of above

2. Finial of the famous Brihadeswara Temple of Tanjavur represents the form of

(A) Dhvaja (B) Trishul

(C) Kalash (D) Stupika

3. Kaknadbot was the ancient name of which one ancient sites given below :

(A) Sarnath (B) Sanchi

(C) Rajgriha (D) Kapilvastu

4. In Buddhist Iconography who is depicted in bhumisparsh mudra (earth touching gesture) ?

(A) Akshobhya (B) Amitabh

(C) Ratnasambhav (D) Amoghsiddhi

5. Which museum of the following has best collection of Gandharan sculptures ?

(A) Archaeological Museum Sarnath

(B) Site Museum of Sanchi

(C) Bharat Kala Bhavan, BHU

(D) Government Museum and Art Gallery, Chandigarh

6. From the following archaeologists whose birth centenary was celebrated in January 2014 ?

(A) Sir John Marshal (B) Sir Alexander Cunningham

(C) Sir Aurel Stein (D) Sir Mortimer Wheeler

7. Where did Rocco art style blossom ?

(A) Greece (B) France

(C) Spain (D) Italy

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D-79-14 3 Paper-III

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Paper-III 4 D-79-14

8. Who painted the copy of Manet’s Olympia ?

(A) Paul Gauguin (B) Henri Matisse

(C) Andre Derain (D) Oskar Kokoschka

9. Who painted The Raft of Medusa’ ?

(A) Theodore Gericault (B) Piet Mondrian

(C) Wassily Kandinsky (D) Gustav Courbet

10. What is the medium of “Portrait and Township” done by F.N. Souza in 1957 ?

(A) Oil colour (B) Tempera

(C) Water colour (D) Pen and Ink

11. Which of the Rajasthani school is supposed to have largely produced paintings on Hunting

theme ?

(A) Jaipur (B) Kishangarh

(C) Kota (D) Jodhpur

12. Who painted “The Calling of St. Mathew” ?

(A) Caravaggio (B) Zurbaran

(C) Giuseppe Ribera (D) Alfonso Abril

13. Modern crucibles for molten metal are made of

(A) Porcelain (B) Iron

(C) Graphite (D) Stoneware

14. A sculptor who made works that hang rather than stand

(A) Eva Hess (B) Anish Kapoor

(C) Henry Moore (D) Rachel Whiteread

15. Plaster of Paris is made by

(A) Dehydrating Silica (B) Dehydrating Quartz

(C) Crushing White Marble (D) Dehydrating Gypsum

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D-79-14 5 Paper-III

8. � �� �� � �� � &� �� �� � ��� � �� ���� �� � �� � �� � 7 ����� ��� � � ���� ��� ���� ���� � �3 �� �� �� ,�� B � �� ����� �+

(A) �� � ?� � �:� �� :� �� (B) � ��� ! �� �� �� 7 ��� �

(C) �� �F� ��(� �! � ��� (D) �� ? ���! ����� � ���� �� ��� �

9. � ���� �� � �‘$��! �� G7 ���� ? 4��� � $� ��� �’ ��� �� ,� � B� �� ���� � �+

(A) 8 �� �� (�! ��: �� ! �� ��� ?� � (B) � �� �7 ��� �� � F��� ��

(C) � � �� �� �� ��� �� (������ (D) : � � ��� �� � ��� ��� H �

10. � � I� �JKLM� � � ��4�A ��� A ��� � * 1� � �<�� ! �� ��� �� � �� � �: � �� � �� ,� � �‘�� �� 7 NH �7 ���� (��7 ��"�� �� � ��’ ��� �� � ��� � �/ ��� � * ��+

(A) �� �� �� ���� � ! �� (B) 7 � ��� � ! ��

(C) � � �7 �! ����� � ! �� (D) ��� � � ��� * ! ������ �� �

11. � ,� � ���� � ���� �� ���� �! �� 1� �8 �� ��� ��� *� � � ���� �‘� �� ��� !’��� �� I� �� ���! ��� � &���5 6�� ��� � �� ,� � ��� ��� �� � �1�� ��� �� � ��� �1� � � �� � * ��+

(A) 1� �� ��� ! �� (B) � ���� �� :� CD �

(C) ��� � 7 �� (D) 1� � � �� �� �! ���

12. “$� ���� E � �: � ���? 4���� � 7 ��� * 8 ��-” �� � � ���� ,� � �� �� �� � �� � &� �� �� � ��� � �� ������ � ��� ����� � � * ��+

(A) ��! �� � � 11� �� �� (B) 1� � ! ���! �� ��

(C) : � � �� � �� �� ! ���� ! �� (D) �� � 4�� � ��� � ��� �� O� � ��

13. � �� >� � �� ��� � �� � ��� ��� � � ���� �� �� �� ���>� � (D ��� � �'�O- �� �� �� � � )�� ���� ��� ��� ��� � �� �� � � � * ��+

(A) �� � � �� �� � �� (B) � � �� ��

(C) : � �� 4�� �7 � (D) �7 �� � �� �� � �� ! ���

14. � � ����� * �� ��- . �� ���! �� * ��� 1� �� ��� ��3 ��� � �P �- �� � �� � * ���� �� ���&� (D �� �! � �� �� � * ��+

(A) �� � � �� � � ��� (B) ��� � �� ����� -! ��

(C) � ��� ! �� �� -! �� (D) ! �� �� �� � �� �� �7 �! �� (��

15. �� � � �7 �! ����? 4���� � � ! ��� ���� �� �� � � B � �� ���� �� � �� ���� � �1�� � �� � * ��+

(A) �� � �� - �'� ��� � � ��� )��� ��� �� 1� � �� ��! �B��<�� ! �� (B) / � �� 7 Q �1� ��� ��� �� 1� �� � ��! �B � �<�� ! ��

(C) �� 4� �$���� � : � � ! �� ! ����� � ��� � �� ��! �� (D) � 1� ��� � ��� ��� �� 1� �� � ��! �B � �<�� ! �� �

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Paper-III 6 D-79-14

16. The Terracotta Army of the Han dynasty in China was buried for centuries because

(A) The sculptures were meant to be kept hidden from invaders

(B) They were part of funerary rituals and were meant to be buried

(C) They were accidentally covered during a sandstorm

(D) They were built over by subsequent dynasties

17. One of the earliest artists to harness television signals to make interactive sculpture was

(A) Nam Jun Paike (B) AtsukoTanaka

(C) Yoko Ono (D) Isamu Noguchi

18. Bodhisattava Avalokiteshvara in the Indian Museum Kolkata is made of

(A) Pink Sandstone (B) Bronze

(C) Schist (D) Granite

19. Name the tool in calligraphy.

(A) Totter Ball Pen (B) Reed Pen

(C) Technical Pen (D) Mapping Pen

20. ‘CC’ is a measuring unit in

(A) Indoor Advertising (B) Radio Advertising

(C) Outdoor Advertising (D) Newspaper Advertising

21. Which one of the following is not the name of font ?

(A) Garamond (B) Collins

(C) Bodoni (D) Caslon

22. Who said ‘Advertising is the greatest art form of the 20th

century’ ?

(A) Marshall Mcluhan (B) David Ogilvi

(C) Jeremy Bullmore (D) Rosser Reeves

23. The term inverted landscape used in advertising refers to

(A) Wider advertisement (B) Vertical Advertisement

(C) Square advertisement (D) Normal Advertisement

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D-79-14 7 Paper-III

16. ,� � �� ���� � �� ��Q �� �� �� ���� �7� �! �� ���� 7 �� ��� � R ��� � $��� �� ��� � �1� �� �� �� � �$��� � �! � �� �/ �� �� � ��

(A) ��� �� - . �� ��� � ����� ��� �O �� �� �� �� � ���� ��ST�� � ��! ��! �&� �� � ���� ��� � �� �� 1� �� �8� � ���

(B) � � � ���� �� � ��� � ���� ! ����� ������ ���� ��8 � � ��� *! ��"� � ��$� 4��� � �� � �1� � �� � ��%� � I7 ��8 � � ���

(C) � � � �!� �� �� �� � ���9 � �� �� �� ��� � �$� �%� � :�� �� ���$��� �: ��� 0 ��

(D) � � � ���! �� �� �R �! �� 1�� �� �� �� �<�� ! �� ��� �� � �� � �: � ��� �8 �0 ���

17. � � �� ��� * �� � �� � � �� �� � � �� �� � � �� ��� �� ��,� � �� � ���� � ���! �� * �� � 1� �� �� � � �� �� �� $�� �8 � � � �� � � � ��! ���� � �� � �� � � �- . �� ��� � � �� �� � �� � � B� � � �� �� � "� � ��

7 � �� �� �� � 1� �� �� �� : �� � � ���� ��� � ��� 11� � ����! ��� $��� � �+

(A) �� � � �1� - �� ��� � ���� (B) �� � �� � ��� � ��� �� � ���

(C) �� � ���� � ���� ��� � (D) ��� � � - ��� �� :� �� ,� �

18. %� � ! ��� � �� ��� �: �� �� � ��� ����� � � ��� � �� �� ���� � �� �� ���� � ���� � �� �� ��� �� ��� ! ����� �� - .� � �� ���� �� � ��� ��� � *��+

(A) : � �� �� ��� ��� �� � � � ��� �8 � ! �� (B) ��� 9 �� �

(C) � �� �7 �� (D) : � �� ��� �7 ���

19. �* �� �� :� � � 4�� ��� �"�� �� �� :� �� ����� �1� � ��� �� � �� �� �"�� ��! �B � ���� ��� � � �/ �� � � * ��+

(A) 7 �� ? 7 �! ����� ?� � ���� �� (B) ! �� (���� � ��

(C) 7 � �/ �� ���� � ���� �� (D) � * E ��: � ���� �� �

20. ‘�� � ��� �’ � �� ��� � �� &�� � �� � ���� �� ���� ��� �� � �� ����� � � * ��+

(A) ��(�� � ! ��� �� ;�� �� �� (B) ! � �� (���� � �� � � ;� � �� ��

(C) �� "7 �(�� � ! ���� � ;�� �� �� (D) �� � � ,� �! ��� � ��� � ;� � �� �� �

21. � �� �� � �� � &� �� �� � ��� � ����* �� ��� � �4�� � �7 ���� � � ��� �0 � * ��+

(A) : � *! �� � �� �(�� (B) ��� ? �� � ��� �

(C) �� � � (�� � �� � (D) �* ��� � �� � �� �

22. ‘� � � ;� � �� �� �UV� � 0 ��� $�� ���� ��� �� �� � ��� (D �� ���� �� �����5 6�� � * ���’ – �� ��"� / � � �� �� �� �� �� &�� � �� � ��� � �� ���� ��� � * ��+

(A) � � �� � � �� * ���� � ��� (B) (� �� �� (���� � �: �� �� �

(C) 1� � ! �� � ��� � �� � �� ! �� (D) ! �� � 1�! ��! �� � �� ��

23. � � � ;� � �� �� �� � �‘��� � 7H �(��� � * �(���� ���’ � ���� �� � ��� �� � ���� � � * ��+

(A) � � � �(�! ���(��� 7 �� �1� � � �7 �� (B) � � .7 ���� � ��(��� 7 �� �1� � � �7 ��

(C) �/ � � * �� ! ���(�� �7 �� �1� � � �7 �� (D) �� � ? � � � ��(�� � 7 �� �1� �� �7 ���

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Paper-III 8 D-79-14

24. What is Glossary in printed book ?

(A) List of Illustrations (B) List of Technical words

(C) List of photographs (D) List of tables

25. In which year contemporary print making was introduced in India ?

(A) 1556 (B) 1570

(C) 1630 (D) 1910

26. Name the earliest surviving compilation printed in Goa.

(A) Lust for life (B) The Vinci code

(C) Bhagvatam (D) Compendio Spiritual de Vide

27. The Intaglio printing in India was introduced by

(A) Rabindra Nath Tagore (B) Somnath Hore

(C) Bartholomew (D) Crawford

28. Who is also print maker from the following ?

(A) Rembrandt (B) Michelangelo

(C) Raphael (D) Canova

29. Of the following which tool has mushroom shaped handle ?

(A) Burin (B) Burnisher

(C) Roulette (D) Mattoir

30. What is drypoint in engraving ?

(A) It’s a liner engraving on hard metal surface.

(B) It is a technique where no liquid is used.

(C ) It is process where powder is used for printing.

(D) None of above.

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D-79-14 9 Paper-III

24. � � � F�� � ���� �� � ���� � ��� �$�� �� �� � �/ �� � ��� �� � � �� � � * ��+

(A) � �� $��� �� ,� � ��� - ,�� (B) � � ���� � ��� ��� �$�� � ���� ��� - ,� �

(C) ST� �� � � ,� � �� �'4�� � 7 ��� )���� ��� - ,�� (D) �� � ! �B �� ��� - ,�� �

25. � ���� �� � I� �%� �! �� � �� � ��� � ��� � � �� ���ST� �� � � ,� � ���� ���� �� ��� !� �%� � � ��� �+

(A) 1556 (B) 1570

(C) 1630 (D) 1910

26. : � �� �� � �� � �E �� �7 ����� �: � � ��� �� ��� ��� � ! �� ��� ��� � ��� � �� ��� � � :� �� ���� ��� � � �/ �� � � * ��+

(A) � � �7 ��4�� ? ! ��4�� �� ! �� (B) $��� � � ��� � ���� � (�

(C) %� � :� �� �� � (D) ���� � � �(��� �� �� ���� ! �,��� �� � �$��� � � (���

27. %� � ! ��� �� � ���7 � �� : �� ��� � �E �� �E 7 �:� ���� ��� �W X�� � � ������ ��� ���� �+

(A) ! �� � � �F��� �8 � �7* �: �� �! �� (B) �� � � � ��� 8� � �� � ! ��

(C) �� � 8� �H � �� � ��- (D) �O �� 4�� � ( ���

28. � �� �� � �� � &� �� �� � ��� � ����* �� �E �� � 7 ��� �� � � � �� �%� �� * ��+

(A) ! � ��� O� � (B) � � ��� ��� ��� 1� �� ��

(C) ! �� 4� �� � � (D) �� ��� �� �� � �

29. � �� �� � �� � &� �� �� � ��� � �� ���� �"�� ��! �B� ���� � �� 8 � � �' � �(��� )�&� � �� �'� �� 5 6� )��� ��� ! ����� � * ��+

(A) ��� -� ! ��� (B) �� . �� ��! �

(C) ! �� ? �� �7 � (D) � � 7 ��? �� ! ��

30. "� ��� B � �� �'��� : �� �E �� : � )�� � �(N �� ���� ���� 7 ��/ �� � � * ��+

(A) �� ����Y �� � ! ���� �� �� ���� ��� � � ���� ! ��!* �� &� ������ : �� �E �� : � � * ���

(B) �� ���� �� � ��� ���� � ��� * ��� 1� �� � � �� ���� � �F�� � ���� �"�� ��� �: � ��� �0 � ��� � �� ��

(C) �� �������� � � �O ��� � � * ��� 1� �� � � �E �� �E 7 �:���� ��� � � ��,�- B � �'�� � "(�! �)���� �"�� ��� � :� �� ����� �1� �� �� � * ���

(D) "�� �� � / �� �� � ��� � ����� � ��� �0 ��

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Paper-III 10 D-79-14

31. Choose the correct chronology of the artists.

(A) Cellini, Lorenzo Ghiberti, Donatello, Michelangelo

(B) Lorenzo Ghiberti, Cellini, Donatello, Michelangelo

(C) Donatello, Lorenzo Ghiberti, Cellini, Michelangelo

(D) Lorenzo Ghiberti, Donatello, Cellini, Michelangelo

32. Chose the correct chronology of the monuments.

(A) Hagia Sophia, Reims Cathedral, Medici palace, St. Peters Basilica

(B) Reims Cathedral, Hagia Sophia, Medici palace, St. Peters Basilica

(C) Hagia Sophia, Medici palace, Reims Cathedral, St. Peters Basilica

(D) Hagia Sophia, St. Peters Basilica, Reims Cathedral, Medici palace

33. Choose the correct chronological order of the monuments.

(A) Sultangarhi, Quwat Ul Islam, Tomb of Shershah Suri, Red Fort Delhi

(B) Quwat Ul Islam, Sultangarhi, Tomb of Shershah Suri, Red Fort Delhi

(C) Tomb of Shershah Suri, Quwat Ul Islam, Sultangarhi, Red Fort Delhi

(D) Quwat Ul Islam, Tomb of Shershah Suri, Sultangarhi, Red Fort Delhi

34. Choose the correct chronological order.

(A) Johannes Vermeer, Peter Paul Rubens, John Constable, Salvador Dali

(B) John Constable, Peter Paul Rubens, Johannes Vermeer, Salvador Dali

(C) Peter Paul Rubens, John Constable, Salvador Dali, Johannes Vermeer,

(D) Peter Paul Rubens, Johannes Vermeer, John Constable, Salvador Dali

35. Choose the correct sequence according to Samrangansutradhar.

(A) Rekhakarm, Bhumibandhan, Vartana Karm, Lekhanam

(B) Bhumibandhan, Rekhakarm, Vartana Karm, Lekhanam

(C) Bhumibandhan, Vartana Karm, Rekhakarm, Lekhanam

(D) Bhumibandhan, Lekhanam Rekhakarm, Vartana Karm

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D-79-14 11 Paper-III

31. � �� �� ���� � � ��� ! ��� ���� ��� �� ���� �� �O �� �,� � � �� ��Z

(A) �� � � �� ��� @ �� �� �! � �1�� � ��: � �� �. 7 �@ �(�� � �� � 7� �� �� � @ �� � ��� �� ���� 1� �� ��

(B) � � �� !� �1� �� �� :� ��� . 7 �@ ���� � �� ��� @ �(�� � �� � 7� �� �� � @ �� � ��� �� ���� 1� �� �� �

(C) (�� � ��� 7 � ��� �� @ ��� � �! � �1�� � ��: � �� �. 7 �@ ��� �� �� ��� @ �� � ��� �� � �� � 1�� �� �

(D) � � �� !� �1� �� �� :� ��� . 7 �@ �(��� ��� 7 � ��� �� @ ��� �� �� ��� @ �� � ��� �� � �� � 1�� �� � �

32. � �� �� � �� � &� �� ��� � ! ���� � ���� ���� � � �O�� ��� ����� � ��� ! ���� �� ��O �� �,�� � ����Z

(A) �� � 1� ��� ��� �� � 4���� @ �! � ��� ��* �8� (�! �� �@�� � � (�� �����* � �� �� @ ���� 7 ���� �7 ��� ���* � ���� � ���

(B) ! � ��� ��* �8 � (�! ��� @ � �� � 1� ��� ��� � �� 4��� �@�� � � (�� �����* � �� �� @ ���� 7 ���� �7 ��� ���* � ���� � ���

(C) �� � 1� ��� ��� �� � 4���� @ �� � � (�� �� ��� *� �� �� @ �! � ��� ��*�8 � (�! ��� @ ��� �7 ���� � 7 ��� ���* � ���� � ���

(D) �� � 1� ��� ��� �� � 4���� @ ��� � 7 ����� 7 ��� ��� *� �� � �� ��� @ �!� ��� ��* �8 � (�! ��� @ �� �� (�� �� ��� * �� � �� �

33. � �� �� � �� � &� �� ��� � ! ���� � ���� ���� � � �O�� ��� ����� � ��� ! ���� �� ��O �� �,�� � ����Z

(A) �� � � �� �� �� :� CD �� @ ����� �� �"� � ���� � � � @ ��� � ! ��� � ����- ! �� ���� �� ���� ! ��@ �� �� �� �� ��� �� �� $�� � ��

(B) ���� � � �"� � ���� �� � @ ��� � �� �� � ��: � CD �� @ ��� � ! ��� � ����- ! �� ���� �� ���� ! ��@ �� �� �� �� ��� �� �� $�� � ��

(C) �� � ! ���� ���� - ! �� ���� �� ����! �� @ ����� �� �"� � ���� � � �@ ���� � �� �� �� :� CD �� @ �� ��� � �� ���� � �� $�� �� �

(D) ���� � � �"� � ���� �� � @ ��� �! ��� � ���� - ! �� ���� �� ���� ! ��@ ��� � �� � �� ��: � CD �� @ �� �� �� �� ��� �� �� $�� � �� �

34. �� �� ���� � � �O �� �,� �� �� ��Z

(A) 1� � ? ��� ��� ! �� �! �@ ��� �7 �! ���� � ?� � �5 6�� ���@ �1� � ? �� ���� � �7 ���� � @ ��� �� �� $�� � ! ��(�� ���

(B) 1� � ? �� ���� � �7 ���� � @ ���� 7 �! ����� ? �� �5 6�� ��� @ �1� � ? ������ ! �� �! �@ ��� � �� � $��� ! ��(�� �� �

(C) �� � 7 �! ����� ? �� �5 6�� ���@ �1� �? �� ���� � �7 ���� � @ ��� �� � � $��� ! ��(�� �� � @ �1�� ? ��� ��� ! �� �! �

(D) �� � 7 �! ����� ? �� �5 6�� ���@ �1� �? ��� �� � ! ��� ! �@ �1� � ? �� ���� � �7 ���� � @ ��� �� �� $�� � ! ��(�� ��� �

35. �� � ! � �:� �� ��- � �� �! ���� ����� � ��� ! ���� ������ � � �O �� �,�� � �� ��Z

(A) ! � �&�� ��� @ �%� -� � ��� �� �� @ ��� �� ��� ���� @�� � � &� ���

(B) %� - � ���� �� �� @ �!� �&�� ��� @ ��� �� ��� ���� @�� � � &� ���

(C) %� - � ���� �� �� @ ��� �� ��� ���� @ �!� �&�� ��� @�� � � &� ���

(D) %� - � ���� �� �� @ ��� � &� �� � @ �!� �&�� ��� @ ��� �� ��� ���� �

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Paper-III 12 D-79-14

36. Choose the correct chronological order of the painters :

(A) Mir Saiyad Ali, Mansoor, Basawan, Maularam

(B) Mir Saiyad Ali, Basawan, Maularam, Mansoor

(C) Mir Saiyad Ali, Maularam, Basawan, Mansoor

(D) Mir Saiyad Ali, Basawan, Mansoor, Maularam

37. Choose the correct reverse order of colour scheme.

(A) Primary, Secondary, Quaternary, Tertiary

(B) Quaternary, Primary, Tertiary, Secondary

(C) Tertiary, Quaternary, Secondary, Primary

(D) Quaternary, Tertiary, Secondary, Primary

38. Choose the correct sequence of advertising design.

(A) Audience Identification, Concept Development, Comprehensive Design, Final

Design

(B) Concept Development, Audience Identification, Comprehensive Design, Final

Design

(C) Audience Identification, Comprehensive Design, Concept Development, Final

Design

(D) Audience Identification, Comprehensive Design, Final Design, Concept

Development

39. Choose the correct chronology of printing invention.

(A) Wood types, Dotmatrix, Metal types, Laser

(B) Metal types, Wood types, Dotmatrix, Laser

(C) Wood types, Metal types, Dotmatrix, Laser

(D) Dotmatrix, Wood types, Metal types, Laser

40. Choose the correct chronological order from the following :

(A) Serigraphy, Offset, Xerography, Laser Printing

(B) Offset, Serigraphy, Xerography, Laser Printing

(C) Serigraphy, Xerography, Offset, Laser Printing

(D) Xerography, Serigraphy, Offset, Laser Printing

41. Choose the correct sequence of colour scheme in modern printing technology.

(A) Magenta, Cyan, Yellow, Black

(B) Black, Cyan, Magenta, Yellow

(C) Cyan, Magenta, Black, Yellow

(D) Cyan, Magenta, Yellow, Black

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D-79-14 13 Paper-III

36. � �� �� � �� � &� �� �� ,� � ��� ! ��� ���� ���� ���O �� ��� ����� ��� �! ���� �� ��O �� �,� �� �� ��Z

(A) � � ! ���� * �� $���� � �@ �� � ��- ! �@ ��� ��� �� �� @�� � * � �� ! ���

(B) � � ! ���� * �� $���� � �@ ��� ��� � � �� @ �� �* � ��! �� � @ �� � ��-! �

(C) � � ! ���� * �� $���� � �@ �� � *� �� ! �� � @ ��� �� �� � �� @ ��� �� -! �

(D) � � ! ���� * �� $���� � �@ ��� ��� � � �� @ �� � ��- ! �@�� � * � �� ! ��� �

37. ! � �:� ��� �� 1� ��� ���� ��� �� �� �� �� ! �� �� ��O ���,� � � �� ��Z

(A) �� � �8 �� � ��@ �� <�� �� �� ��@ �,� � �� I��@ �� �3 � ���� ��

(B) ,� � �� I��@ ��� � �8 �� � ��@ �� �3 �� � �� ��@ �� <�� ���� ���

(C) � � 3� � ��� ��@ �,�� �� I��@ �� <�� � � �� ��@ ���� � 8� �� ��

(D) ,� � �� I��@ �� � 3� �� �� ��@ �� <��� � �� ��@ ���� � 8� �� ���

38. � � � ;� � �� �� �� (�1�� ��� ���� ��� �� ��O �� �,� � � �� ��Z

(A) $��� ����� �,� � �� @ ���� �� �! �B � � �� � � ����� @ �� �� � �� ����(�1�� ��� @ ���- B � �� (�1� � ���

(B) �� � �� �! �B �� �� �� ��� �� @ �$��� ����� �,���� @ �� ��� �� ����(�1�� ��� @ ���- B � �� (�1�� ���

(C) $��� ����� �,� � �� @ �� �� � �� ���� (�1� � ��� @��� � �� � ! �B� � ��� � ��� �� @ ���- B � �� (�1� � ���

(D) $��� ����� �,� � �� @ �� �� � �� ���� (�1� � ��� @��� - B � �� (�1�� ��� @ ��� � ��� ! �B� � ��� � ����� ��

39. � �� �E 7 �:� �&�� � 1� ���� ��� �� ����� � �O �� �,� � � �� ��Z

(A) � � � (��7 �� ����@ �(�� ? 7 ��� �� 7N �/ �� @ �� �7 �� � �7 �� ���� @ �� �� �� ! ��

(B) � � 7 �� � �7 �� ���� @ �� �� (��7 �� ���� @ �(��? 7 ��� � �7 N �/ ��@ �� � � �� ! �

(C) � � � (��7 �� ����@ �� � 7 ��� �7 �� ���� @ �(��? 7 ��� � �7 N �/ ��@ �� � � �� ! �

(D) (�� ? 7 ��� �� 7 N �/ ��@ �� �� (��7 �� ���� @ �� �7 �� � �7 �� ���� @ �� �� �� ! ��

40. � �� �� � �� � &� �� ��� � ��� �� ���� �� � ��� �O �� � ����O �� ���� �,� �� �� ���� � 1� ��Z

(A) �� � ! ��: �� � 4�� @ ���? 4��� � 7 �@ �1�D � ! �� �: � �� 4�� @ �� � � ��! ��E ��� E 7 �: � �

(B) �� ? 4��� � 7 �@ ���� ! ��: �� � 4�� @ �1�D � ! �� �: � �� 4�� @ �� � � ��! ��E ��� E 7 �: �

(C) �� � ! ��: �� � 4�� @ �1�D � ! �� �: �� � 4�� @ ���? 4��� � 7 �@ �� � � ��! ��E ��� E 7 �: �

(D) 1� D �! �� �: �� � 4�� @ ���� ! ��: �� � 4�� @ ���? 4��� � 7 �@ �� � � ��! ��E ��� E 7 �: � �

41. �� �� � � �� ���� � F�B � ��� �� * [�� �: � ��� �� � �! � �:� ��� �� 1� ��� ���� ��� �� ���� � �O �� ��� � �� ���Z

(A) � * 1� �7 �� @ �� �� �� �� @ ���� � �� @ ����� � �

(B) ��� � �� @ �� �� �� �� @ �� * 1�� 7 ��@ ��� �� � �

(C) � �� �� �� @ ��* 1� �7 �� @ ����� � �@ ��� �� � �

(D) � �� �� �� @ ��* 1� �7 �� @ ���� � �� @ ����� � � �

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Paper-III 14 D-79-14

42. Choose the correct sequence of techniques.

(A) Woodcut, Wood Engraving, Metal Engraving, Lithography

(B) Wood Engraving, Woodcut, Metal Engraving, Lithography

(C) Metal Engraving, Woodcut, Wood Engraving, Lithography

(D) Lithography, Woodcut, Wood Engraving, Metal Engraving

43. In which order did humans develop their technical skills ?

(A) Clay Modelling, Stone Carving, Metal Casting, Wood Carving

(B) Clay Modelling, Wood Carving, Stone Carving, Metal Casting

(C) Metal Casting, Wood Carving, Stone Carving, Clay Modelling

(D) Wood Carving, Clay Modelling, Metal Casting, Stone Carving

44. Select in order of chronology.

(A) Devi Prasad, Jyotsana Bhatt, P.R Daroz, Vinit Kakkar

(B) Jyotsana Bhatt, Devi Prasad, Vinit Kakkar, P.R Daroz

(C) P.R Daroz, Jyotsana Bhatt, Vinit Kakkar, Devi Prasad

(D) Vinit Kakkar, P.R Daroz , Jyotsana Bhatt, Devi Prasad

45. Choose correct sequence for sand casting.

(A) Making of positive mould, Coat with Shellac and Talcum, Taking of impression,

Pouring of molten metal

(B) Taking of impression, Making of positive mould, Coat with Shellac and Talcum,

Pouring of molten metal

(C) Coat with Shellac and Talcum, Making of positive mould, Taking of impression,

Pouring of molten metal

(D) Pouring of molten metal, Making of positive mould, Coat with Shellac and Talcum,

Taking of impression

46. Assertion (A) : As compare to marble sculptures very few monumental sculptures in

metal from ancient Greece have survived to our time.

Reason (R) : Because metal sculptures were usually melted by the subsequent regimes for

reuse.

(A) (A) is correct and (R) is not correct.

(B) (A) is not correct but (R) is correct.

(C) (A) and (R)both are incorrect.

(D) (A) and (R) both are correct.

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D-79-14 15 Paper-III

42. � �� �� � �� � &� �� �� � ����� ���� ��� ���� �� ���� � �O �� ���� �,� �� �� ����� 1� ��Z

(A) ��� IY ��� ,� � @ ���� IY ��"� ��� B� ��@ ��� � �� � �"� ��� B� ��@�� �� 8 �� �: �� � 4��

(B) ��� IY ��"� ��� B � ��@ ���� IY ��� ,� �@ ��� � �� � �"� ��� B� ��@�� �� 8 �� �: �� � 4��

(C) �� � � �� �"� ��� B� ��@ ���� IY ��� ,� � @ ���� IY ��"� ��� B � �� @�� �� 8 �� �: �� � 4��

(D) � � �8 � �� :� �� 4�� @ ���� IY ��� ,� �@ ���� IY ��"� ��� B � �� @ ����� �� �"� ��� B � �� �

43. � � �� �� ��� � ���� ��� �� � ����� ��� ����* �� �� �� ���� ��O �� �� � ��� � ��� �� � � �� ���� � �+

(A) / � � � ��� ? (�E� �: � @ ��7 ��� �� ���� \� �: �@ �� * 7 �� � ���� E �7 �:� @ ��� � (�����\ �� : �

(B) /� � � ��� ? (�E� �: � @ ��� � (�����\ �� : �@ ��7 �� � �� ���� \ �� :� @�� *7 �� � ����E �7 �: �

(C) � * 7 �� � ����E �7 �:� @ �� �� (����� \� �: � @ ��7 ����� ���� \ �� :�@ �/ � �� �� �? (�E �� :�

(D) � � � (�����\ �� :� @ �/ � �� �� �? (�E �� : �@ �� * 7 ��� ���� E �7 �:�@ ��7 �� � �� ���� \� � :� �

44. � �� �� � �� � &� �� ���� ���� � �� ��� �O �� �� � �,� �� �� ����� 1���Z

(A) $� �� � � ���� �� � $�@ �1�� �� � �� �� � �%� ]�@ ��� �A �� ! �A �$�! �� �1�D @ ��� � ��� � � ���/ ��(D �

(B) 1�� � �� �� �� � �%� ]�@ �$� �� � � ���� �� � $�@ ��� � ��� �� ���/ ��(D�@ ��� �A �� ! �A �$�! �� � 1� D

(C) �� � A ��! �A �$�! �� � 1�D @ �1�� �� � �� �� � �%� ]�@ �� �� �� �� � ���/��(D �@ �$� ��� � ���� �� � $�

(D) � � � �� � �� ���/ ��(D �@ ���� A ��! �A �$�! �� � 1� D@ �1�� � �� �� �� ��%� ]�@ �$� �� � � ���� �� � $��

45. �� � (����� E �7 �:� ��� ��� �� ���� �� ���� � �O�� ���� �,� �� ������ � 1� ��Z

(A) �� � �� 1�D � 7 �� � �� �� � (��'�� � 9 ,� � )�� �* ��� ! ����! ��� � @ ��� ?� �* ����� * ! ��7* �� � ��� ���� ��� ��,� CD �� �� �@ �ST� �� ��� � �� � @ �� �� >� � �� ��� �� � � �(��� � ���

(B) ST� �� �� � � ��� @ ���� �� 1� D� 7 ��� �� � �� (��'�� � 9 ,� � )�� �* ��� ! ����! ��� � @ ���? �� * ����� *! ��7 * ��� ��� ���� �� � ��,� CD�� �� �@ �� �� >� � �� ��� ��� � �(�� �� �� �

(C) �� ? � �* ����� *! ��7 * ��� ��� ���� �� � ��,� CD �� �� � @ ��� �� � 1�D � 7 �� � �� �� � (��'�� � 9 ,� � )�� �* ��� ! ����! ��� � @ �ST� �� ��� � ��� @ �� �� >�� � � ���� �� � �(�� �� �� �

(D) � �� >� � �� ��� � �� � �(��� � ��� @ ���� � � 1� D� 7 ��� �� � � � (��'���9 ,� � )��� * �� � ! ����! ���� @ ��� ?� � *����� * ! ��7 * ��� ��� ���� �� � ��,� CD �� �� �@ �ST� �� �� � � ��� �

46. �����������(A)��� �� �: � � ! �� ! �� �-. � � �� �� � ��� � � �� �� �� � � �� � ��� �� � � ��� � �� �� �� �� � ! ���� �� � �- .� � �� �9 � ��� � ,� � ��� :� �� �� � �� � � �� � !� �� �� � �� � �� ���

�� � ��� ���� ��� ,� � � � �����

� ������(R) : / �� �� � ������� � �� �R ��� � �� ��� � ��� ��<�� ! �� ���� �� � ���� �� -. �� ��� � �������� � �� Z�"�� ��� �: � � � ��� � ���� � �� Z�� ��>� �� � �� ��1� � � �� �8 �� ���

� ���� ���

(A) (A)� �� �� � * �@ �(R)��� �� ��� �0 � * �� � (B) (A)� �� �� ��� �0 � * �@ �(R)��� �� � * �� �

(C) (A)��� * ! ��(R)� $�� � �� � � �:� �� � � � � ��� (D) (A)��� * ! ��(R)� $�� � �� � � ��� �� � � ����

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Paper-III 16 D-79-14

47. Assertion (A) : A ‘Sculpture Park’ is equivalent of a ‘White Cube’ gallery.

Reason (R) : Because both aspire to the condition of neutrality.

(A) (A) and (R) both are correct.

(B) (A) is correct and (R) is not correct.

(C) (A) is not correct and (R) is correct.

(D) (A) and (R) both are not correct.

48. Assertion (A) : Rodin sculptures are known for spontaneity.

Reason (R) : Because he was sculpting after live models.

(A) (A) and (R) both are correct.

(B) (A) is correct and (R) is not correct.

(C) (A) is not correct and (R) is correct.

(D) (A) and (R) both are not correct.

49. Assertion (A) : Edvard Munch is a well known painter who also did some work in

woodcuts and lithography.

Reason (R) : Munch’s self portrait ‘with skeleton arm’ is done with an etching needle -

and ink method.

(A) (A) and (R) both are correct.

(B) (A) is correct and (R) is not correct.

(C) (A) is not correct and (R) is correct.

(D) (A) and (R) both are not correct.

50. Assertion (A) : Etching prints can be made using wood or soft surface.

Reason (R) : Etching is easy and fast process.

(A) (A) and (R) both are correct.

(B) (A) is correct and (R) is not correct.

(C) (A) is not correct and (R) is correct.

(D) (A) and (R) both are not correct

51. Assertion (A) : Printmaking is methodology of visual communication and expression

through use of form, space and design.

Reason (R) : Sometimes the term ‘Graphic Art’ is used interchangeably due to

overlapping skills involved in the process.

(A) (A) and (R) both are correct.

(B) (A) is correct and (R) is not correct.

(C) (A) is not correct and (R) is correct.

(D) (A) and (R) both are not correct.

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D-79-14 17 Paper-III

47. �����������(A)���‘���� �� ,� ! ����� � �’ � �� �� �� � �� � �‘� �� �7 ��/ ��- ��’ : �*� � ! �� ��� ���� � � �� ��� * ����

� ������(R) : / �� �� � ���$�� � ��� � � �� ��� 7 ��8 � �� � ���� �� �8� � �� ��� ��� �� ���� ���� =�� ���! �� � � � � ����

� ���� ���

(A) (A)��� * ! ��(R)� $�� � �� � � ��� �� � � ��� (B) (A)� �� �� � * ���� * ! ��(R)��� �� ��� �0 � * ����

(C) (A)� �� �� ��� �0 � * ���� * ! ��(R)��� �� � * ��� (D) (A)��� * ! ��(R)� $�� � �� � � ��� �� ��� �0 � � ����

48. �����������(A)���! �� � $�� 9 ���� �� - . ���� �9 ��� �1� � �� ��� ��� � ���� �� &����� � � �����

� ������(R) : / �� �� � ����� �� �1� �� � �� � ��� ? (�� �� � ����� �$� �&� ��! ���- .� � �� �9 ��� �� � �� � �8 � � ���

� ���� ���

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(C) (A)� �� �� ��� �0 � * ���� * ! ��(R)��� �� � * ��� (D) (A)��� * ! ��(R)� $�� � �� � � ��� �� ��� �0 � � ����

49. �����������(A)��� �(�� � ( �� � � ,� � ���� � � � &�� �� � � � ,� � ��� ! �� %�� � � �� ��*! �� "� �� � �� � � ��� IY �� � ,� � ���! �� � �� 8 �� � �� � 8 �� �: �� � 4�� � �� � %�� � �� �ST �

��� � �� ���� � � * ����

� ������(R) : � � ,� ���� ��� � � ,� � �'�� �� 4���� � ? 7 NH �7 �)@ �‘� � � $����� �� �Q 7 ��� ��� � ’ �E ,� :� ��� � � ��� 8� � ���� � �� ��� 2�� �� ��� ��<�� ! �� ��� ������ �: � ����

* ����

� ���� ���

(A) (A)��� * ! ��(R)� $�� � �� � � ��� �� � � ��� (B) (A)� �� �� � * ���� * ! ��(R)��� �� ��� �0 � * ����

(C) (A)� �� �� ��� �0 � * ���� * ! ��(R)��� �� � * ��� (D) (A)��� * ! ��(R)� $�� � �� � � ��� �� ��� �0 � � ����

50. �����������(A)����E ,� : � �E �� �7 Q ��� ���� IY ���� � ��� � ? G7 ���� �� ����� �"���� �� :� ���! ��� ���� �� ���1� � ��� ��� �� � � ����

� ������(R) : �E ,� T:� ��� �� � �� �� �8 �� �� � � 1� ��� � �F� ��� :� � �� ��� �� �O ��� � � * ����

� ���� ���

(A) (A)��� * ! ��(R)� $�� � �� � � ��� �� � � ��� (B) (A)� �� �� � * ���� * ! ��(R)��� �� ��� �0 � * ����

(C) (A)� �� �� ��� �0 � * ���� * ! ��(R)��� �� � * ��� (D) (A)��� * ! ��(R)� $�� � �� � � ��� �� ��� �0 � � ����

51. ����������� (A)� �� ST� �� � ��� � � � 'E �� � 7 ��� E ��: � )� 5 6�� @ � 1� :� �� '��� � �� )� �� * ! �� � (�1� � ��� � �� �� "�� �� �� :� � <�� ! ��� ^���� � �� �� � �I� B � � ��� �

�� 2�� �� � * ����

� ������(R) : ��� � �O ���� � � � @ � �� ! ���� ! �� �� � �� � � ���* �� ���� � � �� �� 1�� (D � �� �� � �� � � �� �� ��� ! �B � � ��%� � ���%�� �‘: � �� � 4���� ��7 �’ �� �$�� ��� � "�� �� � � :� �

����$- ��� ! � ���� ���8 � � �� ��� ! ��� ���� � �1� �� � � � * ����

� ���� ���

(A) (A)��� * ! ��(R)� $�� � �� � � ��� �� � � ��� (B) (A)� �� �� � * ���� * ! ��(R)��� �� ��� �0 � * ����

(C) (A)� �� �� ��� �0 � * ���� * ! ��(R)��� �� � * ��� (D) (A)��� * ! ��(R)� $�� � �� � � ��� �� ��� �0 � � ����

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Paper-III 18 D-79-14

52. Assertion (A) : Tughlaq architecture stylistically shows preference for Massive and

Bartered wall.

Reason (R) : Because they add more strength to defense and durability.

(A) (A) is correct and (R) is not correct.

(B) (A) is not correct and (R) is correct.

(C) (A) and (R) both are correct.

(D) (A) and (R) both are not correct.

53. Assertion (A) : Plato in Republic has condemned art.

Reason (R) : Because arts are means of catharsis.

(A) (A) is correct and (R) is not correct.

(B) (A) is not correct and (R) is correct.

(C) (A) and (R) both are correct.

(D) (A) and (R) both are not correct.

54. Assertion (A) : From Gupta period onwards river goddesses were used to be carved on

door jambs of entrance of Brahmanical temples in Northern India.

Reason (R) : Because rivers were main life lines of culture, civilization and trade.

(A) (A) is correct and (R) is not correct.

(B) (A) is not correct and (R) is correct.

(C) (A) and (R) both are correct.

(D) (A) and (R) both are not correct.

55. Assertion (A) : Sans serif type face has lines at the end of stems and arms of letters.

Reason (R) : Sans serif type face has a typical character of thin and thick strokes and the

end of stems and arm.

(A) (A) is correct and (R) is not correct.

(B) (A) is not correct and (R) is correct.

(C) (A) and (R) both are correct.

(D) (A) and (R) both are not correct.

56. Assertion (A) : The sale of famous brand ‘Volks Wagon’ cars soared all over the world.

Reason (R) : Because of its famous campaign “At 60 miles an hour loudest noise in the

car comes from the electric clock”.

(A) (A) is correct and (R) is not correct.

(B) (A) is not correct and (R) is correct.

(C) (A) and (R) both are correct.

(D) (A) and (R) both are not correct.

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D-79-14 19 Paper-III

52. �����������(A)��� �� * � �� :� �� � �� �* ! �� �� ! �� � �� :� � � ��� �� � ��� � ��� �� � %� �!��%� ! ���� � � � 8 �� � ��$�! �� ��� � �� � ! �� P �� ��� � � �� � $�� �� �! �� � � �� �� � �� ��

1�� � $�� ��� � ,� � �� �� � * �����

� ������(R) : / �� �� � ����� � �! �=� � ��� 8� � �� 7 ���� _��� �� ����� �1�� � $�� ��� � ^�CD �� �� ��� �$�� �� ���! �� � � � * ����

� ���� ���

(A) (A)� �� �� � * ���� * ! ��(R)��� �� ��� �0 � * ��� (B) (A)� �� �� ��� �0 � * ���� * ! ��(R)��� �� � * ���

(C) (A)��� * ! ��(R)� $�� � �� � � ��� �� � � ��� (D) (A)��� * ! ��(R)� $�� � �� � � ��� �� ��� �0 � � ����

53. �����������(A)����� � � 7 �� � ���� �:� B ��� �� �� � ���� �� ���� �� �� �$�� ���� � * ����

� ������(R) : / �� �� � ������ �� �9 �� �� ! � �,��� �'�� � ��* �8� �. �� �� )���� �� � ��� � � � ����

� ���� ���

(A) (A)� �� �� � * ���� * ! ��(R)��� �� ��� �0 � * ��� (B) (A)� �� �� ��� �0 � * ���� * ! ��(R)��� �� � * ���

(C) (A)��� * ! ��(R)� $�� � �� � � ��� �� � � ��� (D) (A)��� * ! ��(R)� $�� � �� � � ��� �� ��� �0 � � ����

54. �����������(A)��� : � � ��� � ��� :� � �� �,� � �� � "#� ! �� � %� �! �� � � �� � �� O� `B � � �� �$�! �� � � �� �� �� � �� � �� � �� �� (�� �! �� 1� * �� �� Q � �� ! �� ��$�� � $� �� � � ��� 9 � "� ���B � �

��� �1� � �� � �8 �0 ���

� ������(R) : / �� �� � ����� � ��3 �� �� @ ��� %�� � �� �� �8 �� �� ��� ��� ! ����� �� � &�� �1� � ���� �! � �&�� �9 �'��� ��� �� �! �)��� � $��� � 9 �8� 0 ���

� ���� ���

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(C) (A)��� * ! ��(R)� $�� � �� � � ��� �� � � ��� (D) (A)��� * ! ��(R)� $�� � �� � � ��� �� ��� �0 � � ����

55. �����������(A)����� �� ��� � � ! �4��7 � � ��� �4� ��� �� � ��=� ! �� � ���� �(� �� (��� �� ������ �� ! � ��� � 8� � ��� � 1�- ��� ! ��! � �&� � �9 � �� � �� � � � ����

� ������(R) : �� � � �� � � ��� � � �� � 7� �� �7 N ����Q ��� � � � 8� � � (� �� (���� � � �� * ! �� �� � 1�- � � � � �� �� � � � � �� ! � �� ��� �� � � ��� � �� � �� � ���� ! �4�� 7 �� � �� � 4� ��� � ��� � Y� �Y ��

� � � �� � I�� �� � * ����

� ���� ���

(A) (A)� �� �� � * ���� * ! ��(R)��� �� ��� �0 � * ��� (B) (A)� �� �� ��� �0 � * ���� * ! ��(R)��� �� � * ���

(C) (A)��� * ! ��(R)� $�� � �� � � ��� �� � � ��� (D) (A)��� * ! ��(R)� $�� � �� � � ��� �� ��� �0 � � ����

56. �����������(A)���� � � &��� �� ��� O� B(��‘� � � ? / �� ��� *: � ��’ ��� ! ��� ���� �� �� �O ���� � � ��� %� ! ��� � ��� �� � �� ����� CD ��: � � � * ����

� ������ (R) : / �� � � � ��� "�� ��� � � ��&�� �� � � �� %� �� � �� � 8 �� � � ��� “��� �� � >� �7 �� � aV� � � � � � ��� � ! �G� � �! �� �� ! �� ���! �� � � � �� �� � � �� ��� _9 �,���

�� � �� 1� �� �� 1� �� � ���� �>� (D �� ���� ��� �� � � * ���” �

� ���� ���

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(C) (A)��� * ! ��(R)� $�� � �� � � ��� �� � � ��� (D) (A)��� * ! ��(R)� $�� � �� � � ��� �� ��� �0 � � ����

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Paper-III 20 D-79-14

57. Assertion (A) : A typographer of an advertising agency’s creative department works in

close association with art director.

Reason (R) : Because he finds out or invents type face that meets the tone and mood of

an advertisement.

(A) (A) is correct and (R) is not correct.

(B) (A) is not correct and (R) is correct.

(C) (A) and (R) both are correct.

(D) (A) and (R) both are not correct.

58. Assertion (A) : Van Gogh was creating immense texture on painted surface by paint

itself.

Reason (R) : Because he was using glaze.

(A) (A) is correct and (R) is not correct.

(B) (A) is not correct and (R) is correct.

(C) (A) and (R) both are correct.

(D) (A) and (R) both are not correct.

59. Assertion (A) : In the frescoes of Michelangelo one can see very distinct lines of relief.

Reason (R) : Because he was basically a sculptor defining his form with utmost clarity.

(A) (A) is correct and (R) is not correct.

(B) (A) is not correct and (R) is correct.

(C) (A) and (R) both are correct.

(D) (A) and (R) both are not correct.

60. Assertion (A) : Impressionist painters were not after emotional or intellectual contents.

Reason (R) : Because they were faithful to paint changing optical reality in environment.

(A) (A) is correct and (R) is also correct.

(B) (A) is not correct and (R) is correct.

(C) (A) is correct and (R) is not correct.

(D) (A) and (R) both are not correct.

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D-79-14 21 Paper-III

57. ����������� (A)� �� � � � ;�� �� �� � � ��%� � :� � �� �� ! �,� ��� � � ��� �� � %� �: � � �� �� 7 �� ��� �� :� �� 4�! �� >� � �� I7 �� 5 6�� � �� � � ���� � � � �� $H ��� ��� �� �� �� � 8 � �

� � � � ��! ����� � ���! �� �� � � ����

� ������(R) : /��� �� ��� � �� � � "�� � 7 ��� �� � 4� ��� � ��� � ��� �� � � �: �� �� � � * �� ��� � "�� ��� � �� � � I��� ! �� ��! ��� � � * �� 1�� � � �� � ;�� ���� � �� �� �� �! �� �� * ! ��

� � 1� � 1� ����� ��� �� �� I7 ����! �� � � � * ����

� ���� ���

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(C) (A)��� * ! ��(R)� $�� � �� � � ��� �� � � ��� (D) (A)��� * ! ��(R)� $�� � �� � � ��� �� ��� �0 � � ����

58. �����������(A)���� � * �� �:� �? :� �� ,�� � � � ��� �� ���� ! ��� � �7 � ���� �7 ��<�� ! �� � �� �%� �! �� ��� � �� � �� 7 ����� ��� 3 1� �� �� ����� ���! ���� �8 � � ���

� ������(R) : / �� �� � ����� �� �: �� � 1�D �������� � � � � �� �� ����� ���! �� ���8 �� ���

� ���� ���

(A) (A)� �� �� � * ���� * ! ��(R)��� �� ��� �0 � * ��� (B) (A)� �� �� ��� �0 � * ���� * ! ��(R)��� �� � * ���

(C) (A)��� * ! ��(R)� $�� � �� � � ��� �� � � ��� (D) (A)��� * ! ��(R)� $�� � �� � � ��� �� ��� �0 � � ����

59. �����������(A)���� � ���� � �� � 1�� � �� ��� ��� %�� #� �� ,� � �� �� � ��� � �� � ��� �:�-�� � :� �! � �&� � ��� ���� � ���� I7 ��� � ��� � �$� �&� � �1� � ��� ���� � � * ����

� ������(R) : / �� �� � ����� �� �� - �� �5 6�� ��� � �� - .� � ���! ��8 � � ���* ! ���� �3 �� �� ���� � ��� � � � � �� ������ I7 �� � � ��� ���� �8 � ��� � �� ����� � ���! �� �� �8 � � ���

� ���� ���

(A) (A)� �� �� � * ���� * ! ��(R)��� �� ��� �0 � * ��� (B) (A)� �� �� ��� �0 � * ���� * ! ��(R)��� �� � * ���

(C) (A)��� * ! ��(R)� $�� � �� � � ��� �� � � ��� (D) (A)��� * ! ��(R)� $�� � �� � � ��� �� ��� �0 � � ����

60. �����������(A)����� � %� �� � �� � $�� �� ,� � ��� ! ��%�� �� ��� � � ���� �8 �� ��� �*� 2����� � � I� �� �� �� �� �� � ��� ���� � S� T��� �0 �! � �� ���8 � �����

� ������ (R) : / �� � �� ��� � � �� � ��� � � � 8 �� � �� �� �� � �� � � � � � �� $�� ! �� 8 ��� � ��� ! � �: � � '�� � 7 �)� �� �� � � �! �B � � � � � �� � ��� �� � �� �� ��� ! �B � � � �� �� �� � � ��� ���

�� $�� � � �� �! � �� �� � * ����

� ���� ���

(A) (A)� �� �� � * ���� * ! ��(R)�%� � ��� �� � * ��� (B) (A)� �� �� ��� �0 � * ���� * ! ��(R)��� �� � * ���

(C) (A)� �� �� � * ���� * ! ��(R)��� �� ��� �0 � * ��� (D) (A)��� * ! ��(R)� $�� � �� � � ��� �� ��� �0 � � ����

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Paper-III 22 D-79-14

61. Match the following :

a. Planography i. Matrix retains its original surface

b. Stencil ii. Colour is processed through separation

c. Collography iii. Texture obtained by pasting

d. Woodcut iv. Block printing

Codes :

a b c d

(A) ii iv iii i

(B) iv iii ii i

(C) ii i iv iii

(D) i ii iii iv

62. Match the following :

a. Lithography i. CMYK

b. Etching ii. Mesh

c. Screen iii. NH3

d. Digital iv. Gum

Codes :

a b c d

(A) iv iii ii i

(B) iv ii iii i

(C) ii i iv iii

(D) i ii iii iv

63. Match the following :

a. Raja Ravi Varma i. Mother and Child

b. Rabindranath Tagore ii. Dandi March

c. Jamini Roy iii. The Maharashtrian Lady

d. Nandalal Bose iv. Dancing Woman

Codes :

a b c d

(A) ii iv iii i

(B) iv iii ii i

(C) iii iv i ii

(D) i ii iii iv

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D-79-14 23 Paper-III

61. � �� �� � �� �&� �� ���� �� � �� � �� ���� � 1���Z

a. �� � � �� �� :� �� 4�� i. � * � 7N �/ �� ���� ��� �� - � � ���� � ���� ��� ��! �&� � �� � * ���

b. �7 * �� ��� � � ii. ! � �:� ���� ��� 3 8� ���� � ��� ��<�� ! �� ���� � �O ��� B��� ���� � �1� �� �� � * ���

c. ��� � �� �� :� �� 4�� iii. �� � ��� �� 7 ����� � ���� E �7 �: � �<�� ! �� ���� � �� � �� ���� � �1� �� �� � * ���

d. ��� IY ��� ,� � �'� �� (����7 �) iv. �� � �? ���ST�� � �

���� ��:

a b c d

(A) ii iv iii i

(B) iv iii ii i

(C) ii i iv iii

(D) i ii iii iv

62. � �� �� � �� �&� �� ���� � ���� � �� � �� � ����� 1���Z

a. � � � 8� �� :� �� 4�� i. CMYK

b. �E ,� :� �'�� � � � ���� ) ii. � * ��

c. ��O �� �� iii. NH3

d. � (�� 1� 7 ��� iv. : � �

���� ��:

a b c d

(A) iv iii ii i

(B) iv ii iii i

(C) ii i iv iii

(D) i ii iii iv

63. � �� �� � �� �&� �� ���� � ���� � �� � �� � ����� 1���Z

a. ! �� 1� � �! ��� � ��� � � i. � � 9 ��� *! ���� ,,� �

b. ! �� � � �F��� �8 � �7 * �: �� � ! �� ii. $�� � (�� ��� � � �

c. 1� � � � �� � �! �� �� � iii. � ! �� Y �� �� � �� ��

d. �� �$�� � � � � ��� �� �� iv. �� 3 � �� ���! �� �� �� � �� ��

���� ��:

a b c d

(A) ii iv iii i

(B) iv iii ii i

(C) iii iv i ii

(D) i ii iii iv

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Paper-III 24 D-79-14

64. Match the following :

a. Hindola Mahal i. Chittorgarh

b. Gol Gumbaj ii. Bijapur

c. Vijay Stambh iii. Mandu

d. Sarkhej iv. Ahmedabad

Codes :

a b c d

(A) iii ii i iv

(B) iv iii ii i

(C) ii i iv iii

(D) i ii iii iv

65. Match the following :

a. Sleeping Muse i. Art for Art’s sake

b. Franz Halls ii. Brancusi

c. Victor Cousin iii. Jolly Jester

d. Roger Fry iv. Formalism

Codes :

a b c d

(A) ii iii i iv

(B) iv iii ii i

(C) ii i iv iii

(D) i ii iii iv

66. Match the following :

a. Hans (Swan) i. Kuber (Jambhala)

b. Peacock ii. Brahma

c. Mongoose iii. Kartikeya

d. Garuda iv. Vishnu

Codes :

a b c d

(A) ii iv iii i

(B) iv iii ii i

(C) ii iii i iv

(D) i ii iii iv

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D-79-14 25 Paper-III

64. � �� �� � �� �&� �� ���� � ���� � �� � �� � ����� 1���Z

a. E �(�� � �� � �� �� � � i. � ,� �� �* (D �:� CD �

b. : � �� �� �: �� � �� 1� � ii. �� � 1�� ��� ! ��

c. � � � 1� �� ��� �� %� iii. � � � (- �

d. �� ! �&� � 1� � iv. � �� $�� �� � $�

���� ��:

a b c d

(A) iii ii i iv

(B) iv iii ii i

(C) ii i iv iii

(D) i ii iii iv

65. � �� �� � �� �&� �� ���� � ���� � �� � �� � ����� 1���Z

a. �� � � E �� :� ��� - 1� i. ��� � � ��� ��� �� ����� ��

b. 4� � �1� � �� � �� ii. �� O� � �� ��� �

c. � � � /7 �! ����� 1� D �� iii. 1� � ? �� � �1�� �7 �! ��

d. ! �� � 1� ! ��4� �� � iv. 4�� � � �� 1�

���� ��:

a b c d

(A) ii iii i iv

(B) iv iii ii i

(C) ii i iv iii

(D) i ii iii iv

66. � �� �� � �� �&� �� ���� � ���� � �� � �� � ����� 1���Z

a. � ��� i. �� ��� �! ��'1� � �� � �� � )

b. � � � ! � ii. �� O `�

c. �� � �� � �� iii. ��� . �� �� ���

d. : � W X(D � iv. � � � IB� �

���� ��:

a b c d

(A) ii iv iii i

(B) iv iii ii i

(C) ii iii i iv

(D) i ii iii iv

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Paper-III 26 D-79-14

67. Match the following :

a. Haniwa i. Jaipur

b. Celedon ii. Korea

c. Porcelain iii. Japan

d. Blue pottery iv. China

Codes :

a b c d

(A) ii iv iii i

(B) iv iii ii i

(C) ii i iv iii

(D) iii ii iv i

68. Match the following :

a. Rape of Sabine Woman i. Bologna

b. Gate of Paradise ii. Bernini

c. Ecstasy of Teresa iii. Rodin

d. The Kiss iv. Lorenzo Ghiberti

Codes :

a b c d

(A) ii iv iii i

(B) i iv ii iii

(C) ii i iv iii

(D) i ii iii iv

69. Match the following :

a. Pointing i. Externally applied plastering that can be molded or carved

b. Stucco ii. A metallic carving instrument

c. Glaze iii. A mechanical technique of copying from a three dimensional

model

d. Chisel iv. A vitreous surface coating

Codes :

a b c d

(A) iii i iv ii

(B) i iv ii iii

(C) ii i iv iii

(D) i ii iii iv

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D-79-14 27 Paper-III

67. � �� �� � �� �&� �� ���� � ���� � �� � �� � ����� 1���Z

a. ��� � � �� i. 1� �� ��� ! ��

b. �� � � �� (��� �� ii. ��� � �! ��� �

c. �� � � �� �� � �� iii. 1� � ��� ��

d. �� �� - ��� �� 7 �! �� iv. ,� � ��

���� ��:

a b c d

(A) ii iv iii i

(B) iv iii ii i

(C) ii i iv iii

(D) iii ii iv i

68. � �� �� � �� �&� �� ���� � ���� � �� � �� � ����� 1���Z

a. ! � ��� ��� ? 4���� * �� � ��� ��� - �* �� i. �� �� � �� :�

b. : � �7 ���� ? 4���� * ! �� (�� �1� ii. �� . �� �� �

c. �/ �� 7 * ��� � ���? 4��7 � �! � ���� iii. ! �� � $�� ��

d. $��� ���� iv. � � �� ! � �1�� � �� :� �� 7 �R

���� ��:

a b c d

(A) ii iv iii i

(B) i iv ii iii

(C) ii i iv iii

(D) i ii iii iv

69. � �� �� � �� �&� �� ���� � ���� � �� � �� � ����� 1���Z

a. �� � � �� E 7 �: � i. �� �b � � Z� ��� � �7 �! �� � ����� � 1� � �� � � � 1� �� � � �� � (D �� � �8 ��� � � � 1� �� ����

"� ��� B � �� �� ����� �1� � ��� �� ���

b. �7 �/ ��� � ii. �� � � �� � �"� ��� B� �� �"�� ��! �B �

c. : � �� 1� iii. � ���� � �� � �� ��� � � ��� ? (��� ��� � ���� ? �� ����! ��� � ������� �� � � ����� ����� ���

d. � ,� 1�D � � iv. ��� 9 ,� ��� �� �� ���� �E 7 �:� �

���� ��:

a b c d

(A) iii i iv ii

(B) i iv ii iii

(C) ii i iv iii

(D) i ii iii iv

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Paper-III 28 D-79-14

70. Match the following :

a. Brand Name i. A set of assets linked to brand association

b. Brand Image ii. A symbol put on product by the manufacturer

c. Brand Equity iii. Leading personality used for product promotion

d. Brand Stretching iv. A major of individual brand ability

Codes :

a b c d

(A) ii iv iii i

(B) ii iii i iv

(C) ii i iv iii

(D) i ii iii iv

71. Match the following :

a. Brown colour i. Knowledge and Warmth

b. Orange colour ii. Passion and Love

c. Blue colour iii. Quietness and Sorrow

d. Purple colour iv. Truth and distance

Codes :

a b c d

(A) iii i iv ii

(B) i iv ii iii

(C) ii i iv iii

(D) i ii iii iv

72. Match the following :

a. Account Review i. Team of specialists in the Ad agency

b. Account Planning ii. Acting link between client and Ad agency

c. Account management iii. Maintaining quality of services for clients

d. Account Group iv. Process of devising advertising strategy

Codes :

a b c d

(A) ii iv iii i

(B) i iv ii iii

(C) ii i iv iii

(D) iii iv ii i

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D-79-14 29 Paper-III

70. � �� �� � �� �&� �� ���� � ���� � �� � �� � ����� 1���Z

a. �� � (���� � � � i. �� O� (����� � �� �� ��� �� ��� � �1� � (D �� ��� � ����� �� ���� ��� �7 �

b. �� � (���� �� �� E �� �� ii. � �� � � �� � �<�� ! �� �"� ��� $���� ! ���� � �� � ����,� c �� ��(��� � �� �

c. �� � (���� / �� 7 �� iii. "� �� � $�� ��� � � �� CD �� �� � � $� ��� � � �� �� � � ��� � ���� � � � ���� �

��� � � ���� �"�� �� �� :� ���! ��� � �

d. �� � (���7 N � �E ,� :� � iv. �� � � �&� �� �� � /� �: �� � ���O � (��=� � �� �

���� ��:

a b c d

(A) ii iv iii i

(B) ii iii i iv

(C) ii i iv iii

(D) i ii iii iv

71. � �� �� � �� �&� �� ���� � ���� � �� � �� � ����� 1���Z

a. %� - ! �� �! � �:� � i. ;� � �� ��� 8� � �:� � 1�� � �� �

b. �� � !� �: �� �! � �:� � ii. ��� � ! ��: � ��� 8 �� ����� ! ��

c. �� � �� � �! � �: � � iii. � � * �� ��� 8� � �$� �Z&�

d. �� �: � ��� �! � �: � � iv. �� � �� ��� 8 �� �$- �! ��

���� ��:

a b c d

(A) iii i iv ii

(B) i iv ii iii

(C) ii i iv iii

(D) i ii iii iv

72. � �� �� � �� �&� �� ���� � ���� � �� � �� � ����� 1���Z

a. � � � &� � ��� �� =� � i. � � � ;� � �� �� ��1�� �� � �� � �� � � �� � I� ;� �$�� � �

b. � � � &� � ��� �� 1� ��� ii. : � �� ����� � 8� � ��� � ;� � �� �� ��1�� �� � ��� ���� � ,� ��� �� � ����� ���� �� ���! ��� � �

c. � � � &� � ���� �� � �� �� iii. : � �� ���� � ���� ���� �� � ��� ���� �:� � B� �� #� � ��� �� ���� �! �&� ���

d. � � � &� � ��� �- �� iv. � � � ;� � �� �� ���� �/ � � �� � � ��� �� �� ���! ��� � ���� ��� � � �O ����

���� ��:

a b c d

(A) ii iv iii i

(B) i iv ii iii

(C) ii i iv iii

(D) iii iv ii i

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Paper-III 30 D-79-14

73. Match the following :

a. Three Graces i. Michelangelo

b. Sleeping Venus ii. Masaccio

c. Tribute Money iii. Titian

d. Last Judgment iv. Peter Paul Rubens

Codes :

a b c d

(A) iv iii ii i

(B) i iv ii iii

(C) ii i iv iii

(D) i ii iii iv

74. Match the following :

a. Impasto i. Transparent and Opaque

b. Water colour ii. Opaque

c. Oil Pastel iii. Transparent

d. Acrylic iv. Thick and Opaque

Codes :

a b c d

(A) ii iv iii i

(B) iv iii ii i

(C) ii i iv iii

(D) i ii iii iv

75. Match the following :

a. Encaustic i. Waste material

b. Tesserae ii. Computer

c. Collage iii. Mosaic

d. Morphing iv. Wax

Codes :

a b c d

(A) ii iv iii i

(B) i iv ii iii

(C) iv iii i ii

(D) i ii iii iv

________

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D-79-14 31 Paper-III

73. � �� �� � �� �&� �� ���� � ���� � �� � �� � ����� 1���Z

a. 8 � d� �: �� � ��� 1� � i. � � ��� �� ���� 1� �� ��

b. �� � � E �� :� �� �� �� �� ii. � �� � � ���� ��

c. � 7 N ���� - 7 ��� ��� iii. � 7 �� �� �� ��

d. � � � �7 ��1� 1� � � �7 �� iv. �� � 7 �! ����� ? �� �5 6�� ���

���� ��:

a b c d

(A) iv iii ii i

(B) i iv ii iii

(C) ii i iv iii

(D) i ii iii iv

74. � �� �� � �� �&� �� ���� � ���� � �� � �� � ����� 1���Z

a. ��� � �7 �� � i. �� � ! �$��� R �� �8 �� ���� � ! �$��� R

b. � � �7 �! ����� � ! �� ii. ��� � ! �$��� R

c. �� �� �� ��� � �7 ��� � iii. �� � ! �$��� R

d. �� �O ��� � ��� iv. � � � 7 �� ��� 8� � ����� ! �$��� R

���� ��:

a b c d

(A) ii iv iii i

(B) iv iii ii i

(C) ii i iv iii

(D) i ii iii iv

75. � �� �� � �� �&� �� ���� � ���� � �� � �� � ����� 1���Z

a. ��� ��� "� �7 ���� i. �� � � �� I7 ���� $�� 8�

b. 7 � ��� �� ! � ii. ����� - 7 �! ��

c. ��� � �� � 1� iii. � � � 1�� ���

d. � � \ 4�: � iv. � � � �

���� ��:

a b c d

(A) ii iv iii i

(B) i iv ii iii

(C) iv iii i ii

(D) i ii iii iv

____________

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Paper-III 32 D-79-14

Space For Rough Work

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