Fill in the Blanks
Q1: Wu Daozi was asked by Emperor Xuanzong to paint a landscape to decorate a palace wall in the __________ century.
Ans: 8th century
The question seeks information about the century in which Wu Daozi was active.
Q2: The painter Wu Daozi hid his masterpiece behind a __________.
Ans: screen
This question pertains to the method Wu Daozi used to conceal his work from view.
Q3: Wu Daozi's last painting vanished from the wall without a __________.
Ans: sign
This question inquires about the manner in which Wu Daozi's final artwork disappeared.
Q4: In traditional Chinese education, stories about artists like Wu Daozi served as __________.
Ans: guidance
This question focuses on the purpose of such stories in Chinese education.
Q5: The artist Quinten Metsys became a famous painter in __________ century Antwerp.
Ans: 15th
The question is about the time period in which Quinten Metsys achieved fame as a painter.
Q6: European painters aim for a perfect __________ likeness.
Ans: illusionistic
This question relates to the goal of European painters in their artwork.
Q7: The interaction of __________ and __________ is a fundamental notion of Daoism.
Ans: Yin and yang
It asks about a core concept in Daoism related to yin and yang.
Q8: The Chinese concept of 'shanshui' represents the word __________.
Ans: Landscape
This question explores the meaning of the term 'shanshui' in the context of landscape art.
Q9: The middle void in Chinese landscape is the space between __________ and __________.
Ans: Heaven and earth
It inquires about the role of the middle void in Chinese landscape art.
Q10: The concept of 'art brut' or 'raw art' was first created by the French painter __________ in the 1940s.
Ans: Jean Dubuffet
This question seeks to identify the originator of the concept of 'art brut' or 'raw art.'
Assertion and Reason Based
Q1: Assertion: Wu Daozi disappeared without a trace after entering the cave.
Reason: The entrance to the cave closed behind him.
(a) Both Assertion and Reason are true, and the Reason is the correct explanation of the Assertion.
(b) Both Assertion and Reason are true, but the Reason is not the correct explanation of the Assertion.
(c) Assertion is true, but the Reason is false.
(d) Assertion is false, but the Reason is true.
Ans: (a)
In the passage, it is mentioned that Wu Daozi entered the cave, and the entrance closed behind him. Subsequently, he disappeared without a trace, indicating that both the assertion and the reason are true. The reason explains why Wu Daozi disappeared – it's because the entrance to the cave closed behind him.
Q2: Assertion: The Chinese landscape is an inner, spiritual space, while the European landscape aims for a perfect illusionistic likeness.
Reason: The Chinese artist wants the viewer to enter his mind, while the European artist wants the viewer to look from a specific angle.
(a) Both Assertion and Reason are true, and the Reason is the correct explanation of the Assertion.
(b) Both Assertion and Reason are true, but the Reason is not the correct explanation of the Assertion.
(c) Assertion is true, but the Reason is false.
(d) Assertion is false, but the Reason is true.
Ans: (a)
The passage makes it clear that Chinese landscape art focuses on inner, spiritual aspects, and the artist wants the viewer to enter his mind. In contrast, European landscape art aims for a realistic perspective where the viewer looks from the artist's viewpoint. The reason explains why the two approaches differ.
Q3: Assertion: 'Art brut' or 'raw art' was first created by Jean Dubuffet in the 1940s.
Reason: 'Outsider art' is the creation of those with formal training in art.
(a) Both Assertion and Reason are true, and the Reason is the correct explanation of the Assertion.
(b) Both Assertion and Reason are true, but the Reason is not the correct explanation of the Assertion.
(c) Assertion is true, but the Reason is false.
(d) Assertion is false, but the Reason is true.
Ans: (b)
While it's true that Jean Dubuffet coined the term 'art brut' or 'raw art' in the 1940s, the reason stating that 'outsider art' is created by those with no formal training in art is a general characteristic of 'art brut.' The reason doesn't directly explain why Jean Dubuffet created the term.
Q4: Assertion: Nek Chand's Rock Garden is recognized as a testimony of a single man's dream.
Reason: The garden is a collective effort of many artists and craftsmen.
(a) Both Assertion and Reason are true, and the Reason is the correct explanation of the Assertion.
(b) Both Assertion and Reason are true, but the Reason is not the correct explanation of the Assertion.
(c) Assertion is true, but the Reason is false.
(d) Assertion is false, but the Reason is true.
Ans: (a)
Nek Chand's Rock Garden is indeed recognized as a testimony of a single man's dream, as mentioned in the passage. However, it's also true that the garden was a collective effort of many artists and craftsmen, which collectively supports the assertion. Nek Chand's vision and leadership were crucial in bringing this collective effort to life.
Q5: Assertion: The concept of 'shanshui' represents 'Landscape' in Chinese art.
Reason: 'Shanshui' combines the elements of mountain ('yang') and water ('yin').
(a) Both Assertion and Reason are true, and the Reason is the correct explanation of the Assertion.
(b) Both Assertion and Reason are true, but the Reason is not the correct explanation of the Assertion.
(c) Assertion is true, but the Reason is false.
(d) Assertion is false, but the Reason is true.
Ans: (a)
'Shanshui' does represent 'Landscape' in Chinese art, as explained in the passage. It also combines the elements of mountain ('yang') and water ('yin'). Therefore, both the assertion and the reason are true, and the reason provides a correct explanation for the assertion.
Very Short Answer Type Questions
Q1: What did Wu Daozi paint to decorate the palace wall?
Ans: A landscape.
Q2: Who was the only person allowed to see Wu Daozi's painting?
Ans: Emperor Xuanzong.
Q3: What concept is expressed by 'shanshui' in Chinese art?
Ans: 'Mountain-water' or 'Landscape.'
Q4: What does 'art brut' or 'raw art' refer to?
Ans: Art created by untrained individuals.
Q5: What does the interaction of yin and yang represent in Chinese art?
Ans: A fundamental notion of Daoism.
Q6: What is the 'middle void' in Chinese landscape art?
Ans: The space where the interaction of yin and yang occurs.
Q7: What role does the viewer play in experiencing a Chinese horizontal scroll?
Ans: The viewer actively participates in opening and rolling it.
Q8: What is the European painter's aim in landscape art?
Ans: To create a perfect illusionistic likeness.
Q9: What is Nek Chand's most famous creation?
Ans: The Rock Garden.
Q10: What is the reward for Nek Chand when people enjoy his creation?
Ans: The biggest reward for him.
Short Answer Type Questions
Q1: Describe what happened to Wu Daozi after he entered the cave.
Ans: Wu Daozi entered the cave, and the entrance closed behind him, trapping him inside. He disappeared without a trace, and his painting also vanished from the wall. This mysterious event marked the end of his artistic career.
Q2: Explain the difference between the Chinese and European approaches to landscape art.
Ans: In Chinese landscape art, the emphasis is on the inner life and spirit of the landscape. The artist wants the viewer to enter his mind, and the landscape represents a spiritual and conceptual space. In contrast, European landscape art aims for a perfect illusionistic likeness, wanting the beholder to see a specific landscape from the artist's viewpoint.
Q3: What is the concept of 'shanshui' in Chinese art, and how does it relate to Daoism?
Ans: 'Shanshui' in Chinese art represents 'Mountain-water' or 'Landscape.' It combines the elements of mountain ('yang') and water ('yin'). This concept relates to Daoism, where the interaction of yin and yang is a fundamental notion. The 'middle void,' where their interaction occurs, is essential, akin to the suspension of breath in meditation. This white unpainted space in Chinese landscape signifies the role of man between Heaven and Earth, as the medium of communication between both poles of the universe.
Q4: What is the significance of 'art brut' or 'raw art'?
Ans: 'Art brut' or 'raw art' is significant as it recognizes and celebrates the work of untrained individuals who show talent and artistic insight despite receiving no formal training in art. It challenges traditional notions of what it means to be an artist. This form of art, initially of minority interest, has now become a rapidly growing area in international modern art, emphasizing the creativity and vision of individuals who may not have the conventional credentials but produce compelling, unique works.
Long Answer Type Questions
Q1: Discuss the role of Nek Chand's Rock Garden in the context of 'outsider art' and its recognition as a testimony of a single man's dream.
Ans: Nek Chand's Rock Garden is a remarkable example of 'outsider art,' which celebrates the creativity of individuals who lack formal training. This garden, sculpted with stone and recycled materials, has gained international recognition as a testimony to the difference one person can make when pursuing their dream. Nek Chand's vision transformed an unused space into a captivating artistic creation. His ability to repurpose materials and infuse them with artistic insight highlights the power of untrained artists. The Rock Garden's collective effort of many individuals also challenges the notion that art must be produced by formally trained artists. Nek Chand's story shows that the impact of one individual's dream can be significant and can inspire others to appreciate the beauty of 'outsider art.'
Q2: Compare and contrast the stories of Wu Daozi and Quinten Metsys, highlighting their significance in their respective cultural contexts.
Ans: Wu Daozi and Quinten Metsys represent two different cultural contexts in their stories. Wu Daozi, the Chinese painter, painted a landscape with a hidden, spiritual essence. After he entered the cave and vanished, his work emphasized the inner life and spirit of art. This reflects the Chinese approach to art as a means of conveying the essence and spirituality of the subject.
On the other hand, Quinten Metsys, a European blacksmith, used his talent to create a realistic fly on a painting, gaining entry into the world of European art. His story illustrates the European emphasis on achieving a perfect illusionistic likeness and the importance of formal training in art.
Both stories reveal cultural differences in artistic goals: the Chinese aim for inner spiritual expression, while Europeans strive for realistic representation. Wu Daozi's story highlights the spiritual and conceptual space in Chinese art, while Quinten Metsys' story showcases the pursuit of a realistic perspective in Western art.
Q3: Explain the concept of 'shanshui' in Chinese landscape art and its connection to Daoism.
Ans: The concept of 'shanshui' in Chinese landscape art is deeply rooted in the connection between 'yang' (mountain) and 'yin' (water). 'Shanshui' represents 'Landscape' and combines these two elements to create a holistic view of the natural world. This concept is closely related to Daoism, where the interaction of 'yin' and 'yang' is a fundamental notion.
In Daoism, 'yin' and 'yang' represent opposing yet complementary forces in the universe. These forces are in constant interaction and balance. 'Shanshui' mirrors this principle by bringing together the contrasting elements of 'mountain' and 'water' in a harmonious depiction of nature.
The 'middle void' in 'shanshui' is the space where the interaction of 'yin' and 'yang' takes place, much like the suspension of breath in meditation. This 'void' is essential for any change or transformation to occur, emphasizing the significance of emptiness in the landscape. 'Shanshui' expresses the profound Daoist philosophy that everything in the universe is interconnected and in constant motion.
