Modern Indian artists chose their styles and media in many ways. Consider the following statements:
(A) K. C. S. Paniker evolved a modern, uniquely Indian style from his region’s diagrams, scripts and pictograms.
(B) Chittoprasad and Somnath Hore, the two political artists, found printmaking to be a strong medium to express social concerns.
(C) Abstraction was important for sculptors like Piloo Pochkhanawala and printmakers like Krishna Reddy.
(D) In the 1960s, Biren De and G. R. Santosh in Madras turned to local traditions for abstract art.
Choose the correct answer from the options given below:
Answer & explanation
Correct answer: option 1
The correct answer is Option (1) → (A), (B) and (C) only
A. K. C. S. Paniker evolved a modern, uniquely Indian style from his region’s diagrams, scripts and pictograms. — Correct. Paniker drew on what he saw in his region, and the result was modern and uniquely Indian.
B. Chittoprasad and Somnath Hore, the two political artists, found printmaking to be a strong medium to express social concerns. — Correct. Printmaking let them make many copies and reach more people.
C. Abstraction was important for sculptors like Piloo Pochkhanawala and printmakers like Krishna Reddy. — Correct. For these artists, the use of material was as important as the new shapes they made.
D. In the 1960s, Biren De and G. R. Santosh in Madras turned to local traditions for abstract art. — Incorrect. Biren De and Santosh worked in Delhi. Paniker was the one in Madras.
Note: This topic was not named in the CUET 2026 syllabus, but it was part of the NCERT chapter. In 2025 and 2026, NTA also asked questions on topics in NCERT that the CUET syllabus did not name. So our mocks have questions from every part of the NCERT chapter, to give you enough practice. Read the whole chapter, not only the sub-topics named in the syllabus.
NCERT (2026-27): “Abstraction – A New Trend … Abstraction was important for many sculptors like Piloo Pochkhanawala and printmakers like Krishna Reddy. For them, the use of material was as important as the new shapes they were creating. … Many Indian artists and critics grew worried about their imitation of modern art from the West and felt the need to establish an Indian identity in their art. In the 1960s, Biren De and G. R. Santosh in Delhi and K. C. S. Paniker in Madras moved in this direction when they turned to the past and local artistic traditions to create a unique Indian abstract art. … K. C. S. Paniker, on the other hand, made use of diagrams, scripts and pictograms that he saw in his region and evolved out of them a style, which was both modern and uniquely Indian.” (p.103) “… Chittoprasad and Somnath Hore, the two political artists of India, found printmaking to be a strong medium to express these social concerns. With printmaking, it is easier to produce multiple number of artworks and reach out to more number of people.” |