NIOS Class 10 Folk Art Chapter 2 Forms of Folk and Tribal Art Solutions to each chapter is provided in the list so that you can easily browse through different chapters NIOS Class 10 Folk Art Chapter 2 Forms of Folk and Tribal Art and select need one. NIOS Class 10 Folk Art Chapter 2 Forms of Folk and Tribal Art Question Answers Download PDF. NIOS Study Material of Class 10 Folk Art Notes Paper 244.
NIOS Class 10 Folk Art Chapter 2 Forms of Folk and Tribal Art
Also, you can read the NIOS book online in these sections Solutions by Expert Teachers as per National Institute of Open Schooling (NIOS) Book guidelines. These solutions are part of NIOS All Subject Solutions. Here we have given NIOS Class 10 Folk Art Chapter 2 Forms of Folk and Tribal Art, NIOS Secondary Course Folk Art Solutions for All Chapters, You can practice these here.
Forms of Folk and Tribal Art
Chapter: 2
INTEXT QUESTIONS 2.1
Tick the right answer:
1. To which community do the painters of Chitrakathi style belong?
(i) Thakur.
(ii) Mughal.
(iii) Rajput.
(iv) Kayasth.
Ans: (i) Thakur.
2. Name the region of Maharashtra, where this style of painting is popular?
(i) Konkan.
(ii) Bankura.
(iii) Ghaziabad.
(iv) Birbhum.
Ans: (i) Konkan.
INTEXT QUESTIONS 2.2
1. In which part of the country palm leaf was used for writing?
Ans: South and SouthEast Asia.
2. Name the species of palm leaves used for writing and drawing?
Ans: Borasses or Koria Ambrakyujiphes.
3. Mention the period of illustrated manuscripts of Jains.
Ans: Illustrated manuscript of Jain from 10th to 15th Century AD.
INTEXT QUESTIONS 2.3
1. Where does the Gond tribe live?
Ans: The Gond tribes belong to Madhya Pradesh and Maharashtra.
2. Name the author and researcher who wrote a book on Gond art? Name the title of the book.
Ans: Tribals of middle India is written by Dr. Verrier Elwin.
3. What do they call the coat of earth colours of Gond painting?
Ans: Traditional technique of colouring is called ‘Tingana’.
4. Who started the new movement of Gond art?
Ans: It is contributed by Jangarh Shyam Singh and Narmada.
INTEXT QUESTIONS 2.4.
1. What is Kalamkari, and why is it called Kalamkari?
Ans: Kalamkari is a type of hand painted or block painted cotton textile, produced in Iran and India. Its name originated in Persian, which is derived from the words Kalam(pen) and Kari(craftsmanship), meaning drawing with a pen.
Kalamkari is a traditional Indian textile printing technique that involves hand-painting or block printing designs on fabrics using natural dyes.
2. Name the two styles of Kalamkari. How are these different?
Ans: Only the pen was used in the first phase. Later block printing was used in Masulipatnam.
| TERMINAL EXERCISE |
1. What is Chitrakathi? Where is it practised? Explain.
Ans: The term Chitrakathi is the conjunction of two words: chitra meaning picture and katha meaning story. With this application, a Chitrakathi is the one who narrates stories with a visual aid. Thereby, one can imagine the rich tradition behind this art.
Chitrakathi paintings are also known as Pinguli Chitra since it is still practised in Sindhudurg of Maharashtra. It is believed that these painters were engaged by Shivaji for spying. Chitrakathi painters used to demonstrate during the festivals along with puppeteers. The association of festivals took care to provide musical instruments like Dholki, Tuntuna, Manjira and Shankh. There is a good collection of Chitrakathi paintings at the National Craft Museum, New Delhi and Raja Dinkar Kelkar Museum, Pune.
2. Write about the themes. Write in detail the material used in making Chitrakathi.
Ans: The Chitrakathi paintings originated in Paithan of Maharashtra. It is a pilgrimage centre on the bank of the Godavari river. Thousands of pilgrims visit the Vitthal temple and love to collect these paintings. Along with stories of epics, stories from Vitthal Parchvishi and Chalchandu Aranyak are also painted. These paintings are generally 30 cm × 40 cm in size. Some large paintings are also made to describe the Vitthal pilgrimage. It is believed that these paintings are influenced by miniature paintings and temple murals. Vegetable and mineral colours are used in these paintings. Chitrakathi paintings are also known as Pinguli Chitra since it is still practised in Sindhudurg of Maharashtra. It is believed that these painters were engaged by Shivaji for spying. Chitrakathi painters used to demonstrate during the festivals along with puppeteers. The association of festivals took care to provide musical instruments like Dholki, Tuntuna, Manjira and Shankh. There is a good collection of Chitrakathi paintings at the National Craft Museum, New Delhi and Raja Dinkar kelkar Museum, Pune.
3. Where and when the Chitrakathi painting is exhibited?
Ans: It is practised in Pinguli, in the district of Sindhudurg in Maharashtra. The Chitrakathi painting in the 17th and 18th Century AD.
4. When did writing on Tadpatra start? Explain.
Ans: 5th century BCE.
Tadpatra is the manuscript written on dry palm leaves. These leaves were used as writing materials in countries such as South Asia. The leaves were first cooked and dried. Then the stylus is used by writers to inscribe letters on the leaf.
5. Name the type of Tadpatra on which writing is done. How is writing and drawing are done on Tadpatra?
Ans: There are four basic forms that are characteristic of palm leaves: pinnate, palmate, bipinnate and entire.
The palm leaves are first cooked and dried. The writer then uses a stylus to inscribe letters. Natural colourings are applied to the surface so the ink will stick to the grooves. This process is similar to intaglio printing.
6. When did Tarpatra painting start? Which religion is related to Tarpatra paintings? Where can the collection of Tadpatra paintings be found?
Ans: In the 5th century AD.
The Hindu paintings are closely connected to Buddhist priests. Similarly, the scenes from Ajanta paintings are from the life of Buddha and Jatakas. The paintings have deep details of bodhisattvas who are painting on the walls of Ajanta.
Palm leaf was used as writing material in ancient times before paper was invented. Palm leaves was mainly used in South and South-East Asia. The use of Palm leaf as writing material started in the 5th Century AD for this purpose. Borassas or
Korifa Ambraquily Fesh species of the palm leaf is processed with smoke. The palm leaf is cut in a rectangular shape with a hole in the middle. All the palm leaves are tied into a bunch by inserting thread through these holes. This bunch is called
‘Pothi’. The painting of palm leaf came into being during the 10th Century AD and continued till the 15th Century AD. There is a collection of handwritten Pothi at Jaisalmer Bhandar (Rajasthan). This is illustrated with black lines. These are painted in red, blue and golden colours.
7. In which part of India does the Gond tribe reside? What is the name of their traditional ‘Lipai’?
Ans: Gond, group of aboriginal peoples (now officially designated as Scheduled Tribes) of central and south-central India, about two million in number. They live in the states of Madhya Pradesh, Maharashtra, Telangana, Andhra Pradesh, Bihar, and Odisha.
NEXT: Do yourself.
8. Name the two Gond painters who brought new tradition and development when they appeared.
Ans: The two Gond painters who brought new tradition and development when they appeared.
(i) Jangarh Singh Shyam: Jangarh Singh Shyam was a prominent Gond artist known for his vibrant and intricate paintings depicting traditional Gond motifs and stories. He gained recognition for his unique style and innovative approach to Gond art, which helped bring the art form to wider attention both nationally and internationally. Tragically, Jangarh Singh Shyam passed away in 2001 at a relatively young age, but his contributions to Gond art continue to be celebrated.
(ii) Jivya Soma Mashe: Jivya Soma Mashe is another influential Gond artist who played a key role in popularising Gond art and bringing it to the forefront of contemporary Indian art. His distinctive style, characterised by intricate patterns and motifs inspired by nature and tribal life, has earned him widespread acclaim. Jivya Soma Mashe’s work has been exhibited in galleries and museums worldwide, helping to raise awareness and appreciation for Gond art as a unique and vibrant folk art tradition.
9. Which organisation is responsible for the development of Gond painting?
Ans: The organisation is responsible for the development of Gond painting, a form of india folk art , is the bharti lok Kalamkari paintings are developed around temples of Srikalahasti town in Andhra Pradesh. The paintings include scroll paintings, a backdrop of the images in the temples, Patchitra for Rathas etc. The themes are mainly taken from Ramayana, Mahabharat and mythologies. The development of Gond painting is primarily attributed to the Gond tribal community of central India, rather than a specific organisation. Gond painting is a traditional art form that has been passed down through generations within the Gond community. While various governmental and non-governmental organisations may support the promotion and preservation of Gond art, the art form itself is deeply rooted in the cultural heritage and creativity of the Gond people.
