Comprehension:
Read the given passage carefully and answer the questions that follow:-
The accomplished tradition of painting at Bundi gave rise to one of the most outstanding Rajasthani Schools of miniature painting, Kota, which excels in the depiction of hunting scenes and reflects an exceptional excitement and obsession for animal chases. Bundi and Kota were parts of the same kingdom till 1625, when Jahangir divided the Bundi empire and awarded one part to Madhu Singh, the younger son of Rao Ratan Singh, for his bravery in defending him against his son Prince Khurram’s (Shah Jahan) rebellion in Deccan.
After its separation from Bundi, Kota had its own School, commencing in the reign of Jagat Singh (1658-1683). In the early period, the paintings of Bundi and Kota couldn’t be distinguished for several decades as Kota painters borrowed from the Bundi repertoire. Some compositions were taken verbatim from Bundi pictures. However, there is an attitude of non-conformity apparent in figural and architectural exaggerations. With a flair for drawing superseding in the following decades, the Kota style of painting became strikingly individual. By the reign of Ram Singh (1686-1708), artists had passionately enlarged their inventory to a large variety of subjects. Kota artists seem to have been the first to render landscapes as the real subject of compositions. Umed Singh (1770-1819) acceded to the throne at the age of ten years, but his regent arranged for the young king to be amused with hunting and gaming from an early age. Paintings served as flattering records of his exploits and the obsession with the chase, which became a social ritual in which even women of the court participated. Kota artists excelled in rendering animals and combat, and paintings thus reflect a characteristically spontaneous and calligraphic execution.
“In the initial years of the Kota school’s development, the paintings of the Kota school were indistinguishable from the Bundi school.” The passage argues, however, that there is an element of non-conformity apparent in the figural and architectural exaggerations of the Kota school.
In light of the given statement, choose the option that analyses the progression of the Kota school’s distinct style.
Answer & explanation
Correct answer: option 4
The correct answer is Option (4) → The figural and architectural exaggerations indicate the presence of a distinct artistic identity that is later crystallised in the distinctive style of the Kota school, which lies in the depiction of animals and hunting.
The passage traces a growth. At first Kota painters borrowed from Bundi, yet "an attitude of non-conformity" showed in their figural and architectural exaggerations. Later the Kota style became "strikingly individual", and its artists came to excel in animals, combat and the chase. The exaggerations were thus the first sign of an identity that was crystallised (took a fixed, clear form) in the hunting scenes.
Why the Other Options are Incorrect?
Option 1: The lack of differentiation between Kota and Bundi schools of painting depicts an absence of an individual identity in the Kota school that leads to its slow dissolution. — Incorrect. Contradicted: the early likeness to Bundi did not lead to dissolution (gradual disappearance); the passage says the Kota style "became strikingly individual".
Option 2: The figural and architectural exaggerations indicate a flair for theatrics that gives rise to a lack of realism in the more mature periods of the Kota school. — Incorrect. Not mentioned: nothing is said about a lack of realism; the passage praises the mature work, saying "Kota artists excelled in rendering animals and combat".
Option 3: The figural and architectural exaggerations indicate the emergence of an imitated style that was slowly consolidated in the later years through a specialisation in landscapes. — Incorrect. Contradicted: the exaggerations show "an attitude of non-conformity", the opposite of imitation, and the Kota school is finally known for hunting scenes, not for landscapes alone.