Practicing Success

Target Exam

CUET

Subject

Fine Arts

Chapter

The Rajasthani Schools of Painting

Question:

Match List I with List II

LIST I

LIST II

A. Nihal Chand

I. Mughal School of Painting

B. Basawan

II. Guler School of Painting

C. Nainsukh

III. Bikaner School of Painting

D. Ruknuddin

IV. Kishangarh School of Painting

Choose the correct answer from the options given below:

Options:

A-IV, B-I, C-II, D-III

A-III, B-II. C-IV, D-I

A-II, B-III, C-I, D-IV

A-IV, B-II, C-I, D-III

Correct Answer:

A-IV, B-I, C-II, D-III

Explanation:

The correct answer is Option 1- A-IV, B-I, C-II, D-III

The exaggerated facial type of Kishangarh, which becomes the distinctive and salient stylistic feature of the Kishangarh School, is believed to have been derived from the attractively sharp facial features of Bani Thani. Artist Nihal Chand is attributed with the credit of contriving this exquisite and characteristic Kishangarh physiognomy that is perceived in figures of Sawant Singh and Bani Thani is always represented as Krishna and Radha in brilliantly coloured, panoramic landscapes. Radha’s face in Bani Thani as Radha is unique in her deeply curved eyes, exaggerated arch of the eyebrows, pointed nose, serpentine curl of hair spiralling down the cheek, thin lips and pronounced chin. This particular painting is in the collection of National Museum, New Delhi.

Basawan is associated with the Mughal School of Painting. Madonna and Child (1580) by Basawan done in opaque watercolour on paper is an important early work of the Mughal School of Painting in this context. Madonna, here, is an extraordinary theme, which brings the Byzantine art, the European classical and its Renaissance to the Mughal atelier, where it is translated and transformed into an entirely different visual experience.

Nainsukh appears to have left his hometown in Guler and moved to Jasrota. He is believed to have initially worked for Mian Zoravar Singh, whose son and successor Balwant Singh of Jasrota was to become his greatest patron. Nainsukh’s celebrated pictures of Balwant Singh are unique in the kind of visual record they offer of the patron’s life.

The custom of having portraits of artists is unique to the Bikaner School and most of them are inscribed with information regarding their ancestry. They are referred to as Ustas or Ustad. Ruknuddin painted exquisite works in soft colour tones. Ibrahim’s works have a misty dreamlike quality. His figures are dainty with heavily modeled faces. His studio appears to be most prolific as his name occurs on different sets of Baramasa, Ragamala and Rasikapriya.