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Directions: Answer the given question based on the following passage.Form in the textile art, as in all other useful arts, is fundamentally, although not exclusively, the resultant or expression of function, but at the same time it is further than in other shaping arts from expressing the whole of function. Such is the pliability of a large portion of textile products - as, for example, nets, garments, and hangings - that the shapes assumed are variable, and, therefore, when not distended or for some purpose folded or draped, the articles are without aesthetic value or interest. The more rigid objects of other useful arts, while their shape still accords with their functional office, exhibit attributes of form generally recognised as pleasing to the mind, which are expressed by the terms grace, elegance, symmetry, and the like. Such attributes are not separable from functional attributes, but originate and exist conjointly with them. In addition to these features of form we observe others of a more decidedly super functional character, added manifestly for the purpose of enhancing the appearance.In very primitive times when a utensil is produced functional ideas predominate, and there is, perhaps, so far as its artificial characters are concerned, a minimum of comeliness. But as the ages pass by, essential features are refined and elements of beauty are added and emphasized. In riper culture the growing pressure of aesthetic desire leads to the addition of many superficial modifications whose chief office is to please the fancy. In respect to primitive works we may distinguish four steps in the acquisition of aesthetic features of form, three of which are normal, the fourth abnormal: First, we have that in which functional characters alone are considered, any element of beauty, whether due to the artists hand or to the accidents of material, construction, or model, being purely adventitious; second, that in which the necessary features of the utensil appear to have experienced the supervision of taste, edges being rounded, curves refined, and symmetry perfected; third, that in which the functionally perfect object, just described, undergoes further variations of contour, adding to variety and unity, thus enhancing beauty without interfering with serviceability; and, fourth, that in which, under abnormal influences, beauty is sought at the sacrifice of functional and constructive perfection.The exact relations of the various classes of forces and phenomena may be more fully elucidated by the aid of illustrations. Woven mats, in early use by many tribes of men and originating in the attempt to combine leaves, vines, and branches for purposes of comfort, are flat because of function, the degree of flatness depending upon the size of filaments and mode of combination; and in outline they are irregular, square, round, or oval, as a result of many causes and influences, embracing use, construction, material, models. The varied features observed upon the surface, the colors and patterns, pertain to design rather than to form and will receive attention in the proper place.Q. Which one of the following best describes the central idea of the passage?a)Decline of aesthetic qualities in artb)Decline of functional values in useful artc)Coherence of beauty and service abilityd)Customer satisfaction being prime motive of all creationCorrect answer is option 'B'. Can you explain this answer? for CAT 2024 is part of CAT preparation. The Question and answers have been prepared according to the CAT exam syllabus. Information about Directions: Answer the given question based on the following passage.Form in the textile art, as in all other useful arts, is fundamentally, although not exclusively, the resultant or expression of function, but at the same time it is further than in other shaping arts from expressing the whole of function. Such is the pliability of a large portion of textile products - as, for example, nets, garments, and hangings - that the shapes assumed are variable, and, therefore, when not distended or for some purpose folded or draped, the articles are without aesthetic value or interest. The more rigid objects of other useful arts, while their shape still accords with their functional office, exhibit attributes of form generally recognised as pleasing to the mind, which are expressed by the terms grace, elegance, symmetry, and the like. Such attributes are not separable from functional attributes, but originate and exist conjointly with them. In addition to these features of form we observe others of a more decidedly super functional character, added manifestly for the purpose of enhancing the appearance.In very primitive times when a utensil is produced functional ideas predominate, and there is, perhaps, so far as its artificial characters are concerned, a minimum of comeliness. But as the ages pass by, essential features are refined and elements of beauty are added and emphasized. In riper culture the growing pressure of aesthetic desire leads to the addition of many superficial modifications whose chief office is to please the fancy. In respect to primitive works we may distinguish four steps in the acquisition of aesthetic features of form, three of which are normal, the fourth abnormal: First, we have that in which functional characters alone are considered, any element of beauty, whether due to the artists hand or to the accidents of material, construction, or model, being purely adventitious; second, that in which the necessary features of the utensil appear to have experienced the supervision of taste, edges being rounded, curves refined, and symmetry perfected; third, that in which the functionally perfect object, just described, undergoes further variations of contour, adding to variety and unity, thus enhancing beauty without interfering with serviceability; and, fourth, that in which, under abnormal influences, beauty is sought at the sacrifice of functional and constructive perfection.The exact relations of the various classes of forces and phenomena may be more fully elucidated by the aid of illustrations. Woven mats, in early use by many tribes of men and originating in the attempt to combine leaves, vines, and branches for purposes of comfort, are flat because of function, the degree of flatness depending upon the size of filaments and mode of combination; and in outline they are irregular, square, round, or oval, as a result of many causes and influences, embracing use, construction, material, models. The varied features observed upon the surface, the colors and patterns, pertain to design rather than to form and will receive attention in the proper place.Q. Which one of the following best describes the central idea of the passage?a)Decline of aesthetic qualities in artb)Decline of functional values in useful artc)Coherence of beauty and service abilityd)Customer satisfaction being prime motive of all creationCorrect answer is option 'B'. Can you explain this answer? covers all topics & solutions for CAT 2024 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for Directions: Answer the given question based on the following passage.Form in the textile art, as in all other useful arts, is fundamentally, although not exclusively, the resultant or expression of function, but at the same time it is further than in other shaping arts from expressing the whole of function. Such is the pliability of a large portion of textile products - as, for example, nets, garments, and hangings - that the shapes assumed are variable, and, therefore, when not distended or for some purpose folded or draped, the articles are without aesthetic value or interest. The more rigid objects of other useful arts, while their shape still accords with their functional office, exhibit attributes of form generally recognised as pleasing to the mind, which are expressed by the terms grace, elegance, symmetry, and the like. Such attributes are not separable from functional attributes, but originate and exist conjointly with them. In addition to these features of form we observe others of a more decidedly super functional character, added manifestly for the purpose of enhancing the appearance.In very primitive times when a utensil is produced functional ideas predominate, and there is, perhaps, so far as its artificial characters are concerned, a minimum of comeliness. But as the ages pass by, essential features are refined and elements of beauty are added and emphasized. In riper culture the growing pressure of aesthetic desire leads to the addition of many superficial modifications whose chief office is to please the fancy. In respect to primitive works we may distinguish four steps in the acquisition of aesthetic features of form, three of which are normal, the fourth abnormal: First, we have that in which functional characters alone are considered, any element of beauty, whether due to the artists hand or to the accidents of material, construction, or model, being purely adventitious; second, that in which the necessary features of the utensil appear to have experienced the supervision of taste, edges being rounded, curves refined, and symmetry perfected; third, that in which the functionally perfect object, just described, undergoes further variations of contour, adding to variety and unity, thus enhancing beauty without interfering with serviceability; and, fourth, that in which, under abnormal influences, beauty is sought at the sacrifice of functional and constructive perfection.The exact relations of the various classes of forces and phenomena may be more fully elucidated by the aid of illustrations. Woven mats, in early use by many tribes of men and originating in the attempt to combine leaves, vines, and branches for purposes of comfort, are flat because of function, the degree of flatness depending upon the size of filaments and mode of combination; and in outline they are irregular, square, round, or oval, as a result of many causes and influences, embracing use, construction, material, models. The varied features observed upon the surface, the colors and patterns, pertain to design rather than to form and will receive attention in the proper place.Q. Which one of the following best describes the central idea of the passage?a)Decline of aesthetic qualities in artb)Decline of functional values in useful artc)Coherence of beauty and service abilityd)Customer satisfaction being prime motive of all creationCorrect answer is option 'B'. Can you explain this answer?.

Solutions for Directions: Answer the given question based on the following passage.Form in the textile art, as in all other useful arts, is fundamentally, although not exclusively, the resultant or expression of function, but at the same time it is further than in other shaping arts from expressing the whole of function. Such is the pliability of a large portion of textile products - as, for example, nets, garments, and hangings - that the shapes assumed are variable, and, therefore, when not distended or for some purpose folded or draped, the articles are without aesthetic value or interest. The more rigid objects of other useful arts, while their shape still accords with their functional office, exhibit attributes of form generally recognised as pleasing to the mind, which are expressed by the terms grace, elegance, symmetry, and the like. Such attributes are not separable from functional attributes, but originate and exist conjointly with them. In addition to these features of form we observe others of a more decidedly super functional character, added manifestly for the purpose of enhancing the appearance.In very primitive times when a utensil is produced functional ideas predominate, and there is, perhaps, so far as its artificial characters are concerned, a minimum of comeliness. But as the ages pass by, essential features are refined and elements of beauty are added and emphasized. In riper culture the growing pressure of aesthetic desire leads to the addition of many superficial modifications whose chief office is to please the fancy. In respect to primitive works we may distinguish four steps in the acquisition of aesthetic features of form, three of which are normal, the fourth abnormal: First, we have that in which functional characters alone are considered, any element of beauty, whether due to the artists hand or to the accidents of material, construction, or model, being purely adventitious; second, that in which the necessary features of the utensil appear to have experienced the supervision of taste, edges being rounded, curves refined, and symmetry perfected; third, that in which the functionally perfect object, just described, undergoes further variations of contour, adding to variety and unity, thus enhancing beauty without interfering with serviceability; and, fourth, that in which, under abnormal influences, beauty is sought at the sacrifice of functional and constructive perfection.The exact relations of the various classes of forces and phenomena may be more fully elucidated by the aid of illustrations. Woven mats, in early use by many tribes of men and originating in the attempt to combine leaves, vines, and branches for purposes of comfort, are flat because of function, the degree of flatness depending upon the size of filaments and mode of combination; and in outline they are irregular, square, round, or oval, as a result of many causes and influences, embracing use, construction, material, models. The varied features observed upon the surface, the colors and patterns, pertain to design rather than to form and will receive attention in the proper place.Q. Which one of the following best describes the central idea of the passage?a)Decline of aesthetic qualities in artb)Decline of functional values in useful artc)Coherence of beauty and service abilityd)Customer satisfaction being prime motive of all creationCorrect answer is option 'B'. Can you explain this answer? in English & in Hindi are available as part of our courses for CAT. Download more important topics, notes, lectures and mock test series for CAT Exam by signing up for free.

Here you can find the meaning of Directions: Answer the given question based on the following passage.Form in the textile art, as in all other useful arts, is fundamentally, although not exclusively, the resultant or expression of function, but at the same time it is further than in other shaping arts from expressing the whole of function. Such is the pliability of a large portion of textile products - as, for example, nets, garments, and hangings - that the shapes assumed are variable, and, therefore, when not distended or for some purpose folded or draped, the articles are without aesthetic value or interest. The more rigid objects of other useful arts, while their shape still accords with their functional office, exhibit attributes of form generally recognised as pleasing to the mind, which are expressed by the terms grace, elegance, symmetry, and the like. Such attributes are not separable from functional attributes, but originate and exist conjointly with them. In addition to these features of form we observe others of a more decidedly super functional character, added manifestly for the purpose of enhancing the appearance.In very primitive times when a utensil is produced functional ideas predominate, and there is, perhaps, so far as its artificial characters are concerned, a minimum of comeliness. But as the ages pass by, essential features are refined and elements of beauty are added and emphasized. In riper culture the growing pressure of aesthetic desire leads to the addition of many superficial modifications whose chief office is to please the fancy. In respect to primitive works we may distinguish four steps in the acquisition of aesthetic features of form, three of which are normal, the fourth abnormal: First, we have that in which functional characters alone are considered, any element of beauty, whether due to the artists hand or to the accidents of material, construction, or model, being purely adventitious; second, that in which the necessary features of the utensil appear to have experienced the supervision of taste, edges being rounded, curves refined, and symmetry perfected; third, that in which the functionally perfect object, just described, undergoes further variations of contour, adding to variety and unity, thus enhancing beauty without interfering with serviceability; and, fourth, that in which, under abnormal influences, beauty is sought at the sacrifice of functional and constructive perfection.The exact relations of the various classes of forces and phenomena may be more fully elucidated by the aid of illustrations. Woven mats, in early use by many tribes of men and originating in the attempt to combine leaves, vines, and branches for purposes of comfort, are flat because of function, the degree of flatness depending upon the size of filaments and mode of combination; and in outline they are irregular, square, round, or oval, as a result of many causes and influences, embracing use, construction, material, models. The varied features observed upon the surface, the colors and patterns, pertain to design rather than to form and will receive attention in the proper place.Q. Which one of the following best describes the central idea of the passage?a)Decline of aesthetic qualities in artb)Decline of functional values in useful artc)Coherence of beauty and service abilityd)Customer satisfaction being prime motive of all creationCorrect answer is option 'B'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of Directions: Answer the given question based on the following passage.Form in the textile art, as in all other useful arts, is fundamentally, although not exclusively, the resultant or expression of function, but at the same time it is further than in other shaping arts from expressing the whole of function. Such is the pliability of a large portion of textile products - as, for example, nets, garments, and hangings - that the shapes assumed are variable, and, therefore, when not distended or for some purpose folded or draped, the articles are without aesthetic value or interest. The more rigid objects of other useful arts, while their shape still accords with their functional office, exhibit attributes of form generally recognised as pleasing to the mind, which are expressed by the terms grace, elegance, symmetry, and the like. Such attributes are not separable from functional attributes, but originate and exist conjointly with them. In addition to these features of form we observe others of a more decidedly super functional character, added manifestly for the purpose of enhancing the appearance.In very primitive times when a utensil is produced functional ideas predominate, and there is, perhaps, so far as its artificial characters are concerned, a minimum of comeliness. But as the ages pass by, essential features are refined and elements of beauty are added and emphasized. In riper culture the growing pressure of aesthetic desire leads to the addition of many superficial modifications whose chief office is to please the fancy. In respect to primitive works we may distinguish four steps in the acquisition of aesthetic features of form, three of which are normal, the fourth abnormal: First, we have that in which functional characters alone are considered, any element of beauty, whether due to the artists hand or to the accidents of material, construction, or model, being purely adventitious; second, that in which the necessary features of the utensil appear to have experienced the supervision of taste, edges being rounded, curves refined, and symmetry perfected; third, that in which the functionally perfect object, just described, undergoes further variations of contour, adding to variety and unity, thus enhancing beauty without interfering with serviceability; and, fourth, that in which, under abnormal influences, beauty is sought at the sacrifice of functional and constructive perfection.The exact relations of the various classes of forces and phenomena may be more fully elucidated by the aid of illustrations. Woven mats, in early use by many tribes of men and originating in the attempt to combine leaves, vines, and branches for purposes of comfort, are flat because of function, the degree of flatness depending upon the size of filaments and mode of combination; and in outline they are irregular, square, round, or oval, as a result of many causes and influences, embracing use, construction, material, models. The varied features observed upon the surface, the colors and patterns, pertain to design rather than to form and will receive attention in the proper place.Q. Which one of the following best describes the central idea of the passage?a)Decline of aesthetic qualities in artb)Decline of functional values in useful artc)Coherence of beauty and service abilityd)Customer satisfaction being prime motive of all creationCorrect answer is option 'B'. Can you explain this answer?, a detailed solution for Directions: Answer the given question based on the following passage.Form in the textile art, as in all other useful arts, is fundamentally, although not exclusively, the resultant or expression of function, but at the same time it is further than in other shaping arts from expressing the whole of function. Such is the pliability of a large portion of textile products - as, for example, nets, garments, and hangings - that the shapes assumed are variable, and, therefore, when not distended or for some purpose folded or draped, the articles are without aesthetic value or interest. The more rigid objects of other useful arts, while their shape still accords with their functional office, exhibit attributes of form generally recognised as pleasing to the mind, which are expressed by the terms grace, elegance, symmetry, and the like. Such attributes are not separable from functional attributes, but originate and exist conjointly with them. In addition to these features of form we observe others of a more decidedly super functional character, added manifestly for the purpose of enhancing the appearance.In very primitive times when a utensil is produced functional ideas predominate, and there is, perhaps, so far as its artificial characters are concerned, a minimum of comeliness. But as the ages pass by, essential features are refined and elements of beauty are added and emphasized. In riper culture the growing pressure of aesthetic desire leads to the addition of many superficial modifications whose chief office is to please the fancy. In respect to primitive works we may distinguish four steps in the acquisition of aesthetic features of form, three of which are normal, the fourth abnormal: First, we have that in which functional characters alone are considered, any element of beauty, whether due to the artists hand or to the accidents of material, construction, or model, being purely adventitious; second, that in which the necessary features of the utensil appear to have experienced the supervision of taste, edges being rounded, curves refined, and symmetry perfected; third, that in which the functionally perfect object, just described, undergoes further variations of contour, adding to variety and unity, thus enhancing beauty without interfering with serviceability; and, fourth, that in which, under abnormal influences, beauty is sought at the sacrifice of functional and constructive perfection.The exact relations of the various classes of forces and phenomena may be more fully elucidated by the aid of illustrations. Woven mats, in early use by many tribes of men and originating in the attempt to combine leaves, vines, and branches for purposes of comfort, are flat because of function, the degree of flatness depending upon the size of filaments and mode of combination; and in outline they are irregular, square, round, or oval, as a result of many causes and influences, embracing use, construction, material, models. The varied features observed upon the surface, the colors and patterns, pertain to design rather than to form and will receive attention in the proper place.Q. Which one of the following best describes the central idea of the passage?a)Decline of aesthetic qualities in artb)Decline of functional values in useful artc)Coherence of beauty and service abilityd)Customer satisfaction being prime motive of all creationCorrect answer is option 'B'. Can you explain this answer? has been provided alongside types of Directions: Answer the given question based on the following passage.Form in the textile art, as in all other useful arts, is fundamentally, although not exclusively, the resultant or expression of function, but at the same time it is further than in other shaping arts from expressing the whole of function. Such is the pliability of a large portion of textile products - as, for example, nets, garments, and hangings - that the shapes assumed are variable, and, therefore, when not distended or for some purpose folded or draped, the articles are without aesthetic value or interest. The more rigid objects of other useful arts, while their shape still accords with their functional office, exhibit attributes of form generally recognised as pleasing to the mind, which are expressed by the terms grace, elegance, symmetry, and the like. Such attributes are not separable from functional attributes, but originate and exist conjointly with them. In addition to these features of form we observe others of a more decidedly super functional character, added manifestly for the purpose of enhancing the appearance.In very primitive times when a utensil is produced functional ideas predominate, and there is, perhaps, so far as its artificial characters are concerned, a minimum of comeliness. But as the ages pass by, essential features are refined and elements of beauty are added and emphasized. In riper culture the growing pressure of aesthetic desire leads to the addition of many superficial modifications whose chief office is to please the fancy. In respect to primitive works we may distinguish four steps in the acquisition of aesthetic features of form, three of which are normal, the fourth abnormal: First, we have that in which functional characters alone are considered, any element of beauty, whether due to the artists hand or to the accidents of material, construction, or model, being purely adventitious; second, that in which the necessary features of the utensil appear to have experienced the supervision of taste, edges being rounded, curves refined, and symmetry perfected; third, that in which the functionally perfect object, just described, undergoes further variations of contour, adding to variety and unity, thus enhancing beauty without interfering with serviceability; and, fourth, that in which, under abnormal influences, beauty is sought at the sacrifice of functional and constructive perfection.The exact relations of the various classes of forces and phenomena may be more fully elucidated by the aid of illustrations. Woven mats, in early use by many tribes of men and originating in the attempt to combine leaves, vines, and branches for purposes of comfort, are flat because of function, the degree of flatness depending upon the size of filaments and mode of combination; and in outline they are irregular, square, round, or oval, as a result of many causes and influences, embracing use, construction, material, models. The varied features observed upon the surface, the colors and patterns, pertain to design rather than to form and will receive attention in the proper place.Q. Which one of the following best describes the central idea of the passage?a)Decline of aesthetic qualities in artb)Decline of functional values in useful artc)Coherence of beauty and service abilityd)Customer satisfaction being prime motive of all creationCorrect answer is option 'B'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice Directions: Answer the given question based on the following passage.Form in the textile art, as in all other useful arts, is fundamentally, although not exclusively, the resultant or expression of function, but at the same time it is further than in other shaping arts from expressing the whole of function. Such is the pliability of a large portion of textile products - as, for example, nets, garments, and hangings - that the shapes assumed are variable, and, therefore, when not distended or for some purpose folded or draped, the articles are without aesthetic value or interest. The more rigid objects of other useful arts, while their shape still accords with their functional office, exhibit attributes of form generally recognised as pleasing to the mind, which are expressed by the terms grace, elegance, symmetry, and the like. Such attributes are not separable from functional attributes, but originate and exist conjointly with them. In addition to these features of form we observe others of a more decidedly super functional character, added manifestly for the purpose of enhancing the appearance.In very primitive times when a utensil is produced functional ideas predominate, and there is, perhaps, so far as its artificial characters are concerned, a minimum of comeliness. But as the ages pass by, essential features are refined and elements of beauty are added and emphasized. In riper culture the growing pressure of aesthetic desire leads to the addition of many superficial modifications whose chief office is to please the fancy. In respect to primitive works we may distinguish four steps in the acquisition of aesthetic features of form, three of which are normal, the fourth abnormal: First, we have that in which functional characters alone are considered, any element of beauty, whether due to the artists hand or to the accidents of material, construction, or model, being purely adventitious; second, that in which the necessary features of the utensil appear to have experienced the supervision of taste, edges being rounded, curves refined, and symmetry perfected; third, that in which the functionally perfect object, just described, undergoes further variations of contour, adding to variety and unity, thus enhancing beauty without interfering with serviceability; and, fourth, that in which, under abnormal influences, beauty is sought at the sacrifice of functional and constructive perfection.The exact relations of the various classes of forces and phenomena may be more fully elucidated by the aid of illustrations. Woven mats, in early use by many tribes of men and originating in the attempt to combine leaves, vines, and branches for purposes of comfort, are flat because of function, the degree of flatness depending upon the size of filaments and mode of combination; and in outline they are irregular, square, round, or oval, as a result of many causes and influences, embracing use, construction, material, models. The varied features observed upon the surface, the colors and patterns, pertain to design rather than to form and will receive attention in the proper place.Q. Which one of the following best describes the central idea of the passage?a)Decline of aesthetic qualities in artb)Decline of functional values in useful artc)Coherence of beauty and service abilityd)Customer satisfaction being prime motive of all creationCorrect answer is option 'B'. Can you explain this answer? tests, examples and also practice CAT tests.