NIOS Class 12 Painting Chapter 9 South Indian Painting

NIOS Class 12 Painting Chapter 9 South Indian Painting Solutions English Medium As Per New Syllabus. to each chapter is provided in the list so that you can easily browse throughout different chapters NIOS Class 12 Painting Chapter 9 South Indian Painting and select need one. NIOS Class 12 Painting Chapter 9 South Indian Painting Question Answers Download PDF. NIOS Study Material of Class 12 Painting Notes Paper 332.

NIOS Class 12 Painting Chapter 9 South Indian Painting

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 12 Painting English Medium Solutions, NIOS Senior Secondary Course Painting Solutions for All Chapter, You can practice these here.

South Indian Painting

Chapter: 9

INTEXT QUESTIONS 9.1

A. Choose the most appropriate option.

1. What is the period of Tanjore painting?

(i) Contemporary 

(ii) Ancient 

(iii) Pre-historic 

(iv) None of these

Ans: (i) Contemporary 

2. Name anyone material used for Tanjore paintings.

(i) Clay 

(ii) Gold 

(iii) Silver 

(iv) Bronze

Ans: (ii) Gold.

3. What is the meaning of the word Panchamukhi.

(i) Four eyes 

(ii) Four hands 

(iii) Five headed 

(iv) All of these

Ans: (iii) Five headed.

INTEXT QUESTIONS 9.2

1. Why are Mysore paintings named so?

Ans: Mysore painting is named so after its place of origin.

2. What is the period of the development of Mysore painting?

Ans: Mysore painting developed in the Mysore region of modern- day karnataka in the 18th century. 

3. Which style of painting did Mysore painting develop from?

Ans: Mysore painting is a sub- branch/offshoot of the Vijayanagar school.

4. What is the hallmark of Mysore painting?

Ans: A combination of grace, serenity and intricate detail are the hallmark of Mysore.

INTEXT QUESTIONS 9.3

A. Fill in the blanks:

1. The period of the Deccan miniature is _____________.

Ans: Between the 16th and 17th centuries.

2. The main of the Deccani miniature is _____________.

Ans: Royal personages. 

3. The Deccani colours are rich and _____________.

Ans: Luminous.

4. Artists of the Deccani school took inspiration from ____________.

Ans: Mughal school.

TERMINAL QUESTIONS

1. Describe the traditional painting styles of South India.

Ans: South India is home to various traditional painting styles that flourished under royal patronage, sharing a common thread of a rich Vijayanagar ancestry. Important styles include the Deccan miniature paintings of Bijapur and Hyderabad, Tanjore paintings of Tamil Nadu, Mysore paintings of Karnataka, Kalamkari of Andhra Pradesh, and the frescoes of Kerala.

2. Write about the development of Tanjore painting?

Ans: Tanjore painting originated in the Thanjavur region of modern-day Tamil Nadu. Its golden period was between the 16th and 18th centuries when it flourished under the patronage of the Nayak rulers, the Vijayanagar Rayas, and the Maratha court. The Raju community of Tanjavur and Trichy, along with the Naidu community of Madurai, were instrumental in developing this style.

3. What are the themes of Tanjore paintings and in which medium are they executed?

Ans: The themes of Tanjore paintings mainly revolve around Hindu gods and goddesses, royal personages, celestial beings, and the pranks of the child Krishna. They were originally painted on fabric stuck on wooden planks, which is why they were called ‘Palagai Padani’. The medium includes wooden boards, white cotton fabric, chalk powder, gum, mineral colours, gold leaf, pieces of glass, and precious stones.

4. What are the characteristics of Tanjore painting?

Ans: Tanjore paintings are deeply rooted in religion and exude feelings of holiness and devotion. Their hallmark is the sophisticated use of flat, vivid colours and the application of precious stones, glass, and gold foil in relief. This skilled use of stones and gold gives the paintings a distinct three-dimensional effect, and the faces in the paintings are typically round with a divine glow.

5. Explain why Mysore paintings are named so?

Ans: Mysore paintings are named after their place of origin, which is the Mysore region of modern-day Karnataka.

6. What is the period of the development of Mysore painting? Which ruler made a stellar contribution to. 

Ans: Mysore painting developed during the 18th century. The Wodeyar ruler, Mummadi Krishnaraja Wodeyar, made a stellar contribution to the revival and development of this art form after Tipu Sultan’s defeat.

7. What is the hallmark of Mysore painting? What are its themes?

Ans: The hallmark of Mysore painting is a combination of grace, serenity, and intricate detail. Its main themes include Hindu Gods and Goddesses, as well as scenes from Hindu mythology.

8. Name the principalities which constituted the Deccan. What is the period of the Deccan miniature?

Ans: During the middle ages, the principalities of Bijapur, Ahmednagar, Golconda, and Hyderabad constituted the Deccan. The period of the Deccan miniature spans between the 16th and 19th centuries.

9. What were the main influences on the Deccan miniature, and its key characteristics?

Ans: The Deccani miniature style is marked by a mix of Turkish, Persian, and Indian influences, taking inspiration from the Mughal school and Vijayanagar frescoes. Its key characteristics include a gentle grandeur, mystic backgrounds, elongated human figures, energetic compositions, and the depiction of fair-complexioned, sharp-featured men and delicate-featured women. The paintings also heavily feature Persian-influenced elements like floral sprigs in the background and high horizons.

10. What are the main themes of the Deccan miniatures?

Ans: The main themes of Deccani miniatures are royal personages and scenes from their everyday lives.

11. Describe the colour scheme of the Deccan miniature?

Ans: The colour scheme of Deccani miniatures is rich and luminous. Artists typically used mineral and vegetable colours. The extensive use of gold and white in these paintings is a distinct result of Persian influence.