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FMU WOTas Trom the passage similar in meaning as
(1) waste material
(2) dangerous and involving risk
Q.3 Read the passage given below and answer the questions that follow.
Mithila painting, as a domestic ritual activity was unknown to the outside world until
the massive Bihar earthquake of 1934. The devastation caused th house walls to
tumble down, and the British colonial officer in Madhubani District, William G.
Archer, inspecting the damage discovered the paintings on the newly exposed
interior walls of the houses. Archer-Later to become the south Asia Curator at
London's Victoria and Albert Museum was stunned by the beauty of the paintings
and similarities to the work of modern western artists like Klee, Miro and Picasso
During the 1930s, these paintings, the eraliest images we have of them.
A second natural disastor, the drought of the 1960s proplet the All India handicraft
Board to encourage a few upper caste women in villages around Madhubani town
to transfer their ritual wall painting onto paper as an income genrating project: his
Iglelwordfide spning day Clas 10 English
way, several of these women turned out to be superb artists. Four of them went on
to represent India in cultural fairs in Europe, Russia band the USA.
By the Late 1970s, the popular success of the painting- aesthetically distinct from
Indian Painting Traditions-drew dealerfrom Delhi offering mimimal prices for mass-
produced paintings of the most popular divinities and three familiar scenes from
the Ramayana. Out of poverty many painting complied with dealers demand and
produced the rapid and repetitious image known s Madhubani painting
Nevertheless, with thte encouragement of a number of Indian and foreign patrons,
other artists working within the same aesthetic tradition continued to produce the
highly crafted, deeply individualistic, and increasingly diverse work known as
Mithila Paintings.
Mithila had long been famed for its rich culture and numerous poets, scholars, and
theologians. The position of women in Mithila society has dramatically attend.
Apart from contributing to the family income, individual women have gained local,
national and even intemational recognition, Artists are being invited to exhibitions
across India, Europe, the USA and Japan as 'contemporary artists' rather than
folkartists' Along with economic success, there was expansion in womwn's
xonciousness and engagment with the multiple world around them. These changes
have provoked an argument in Mithila and beyond, between those who claim that
commercialization and the loss of its ritual functions have decased Mithila Painting,
versus those who see mithila paintings as a contemporary
form rooted in the
expanding experience concem, and freedom of the women of Mithila.
Questions-
(a)
(b)
(c)
The massive earthquake in Bihar occured in-
(1)1933 (1) 1934 (iii) 1935
The word in paragraph 1 means astonished.
(i) Stuned (ii) amazed (ii)horrified
The word 'contemporary in paragraph 5 means
(1) belonging to the sametime
(11) modem (ili) historical
The word 'provoked' in paragraph 6 means
(i) wanton (ii) goaded (ii) malicious
How was the earhtquake in Bihar a blessing in desguise?
(2)
Who was William G Archer
(2)
When did the women of Mithila get their due recognition
(2)
Name the two different paintings traditions adoped by the women of Mithila (2)
Which was the second natural disaster the region experienced. (2)
(d)
(e)
(9)
(h)
0
Igle wordlielspning day Clas 10 English
Answers
Answer:
Prior to the devastating Bihar earthquake of 1934, mithila painting as a home ceremonial practise was unknown to the outer world. House walls collapsed as a result of the destruction, and William G. Archer, a British colonial official in the Madhubani District who was surveying the damage, found paintings on the freshly exposed internal walls of the dwellings.
Explanation:
Step 1: Archer, who would later take on the role of South Asia Curator at the Victoria and Albert Museum in London, was astounded by the paintings' beauty and their resemblance to the work of contemporary Western painters like Klee, Miro, and Picasso. He captured the initial pictures of several of these artworks in black and white during the 1930s. The wall paintings came to the public's attention a few years later, in 1949, thanks to an article in the Indian art journal Marg.
Step 2: The All India Handicrafts Board encouraged a few upper caste women in the villages near Madhubani town to translate their ceremonial wall paintings onto paper as an income-generating enterprise in response to a second natural calamity, the drought of the 1960s. Several of these women went on to become accomplished painters by drawing on the area's vibrant visual culture, which contrasts the traditions of "line painting" and "colour painting," as well as their particular skills. Four of them later represented India in cultural festivals in the USA, Europe, and Russia. Many additional women from disadvantaged castes started painting on paper as a result of their widespread national and international fame.
Step 3: By the late 1970s, sellers from New Delhi were selling low rates for mass-produced paintings of the most well-known deities and three well-known episodes from the Ramayana. The paintings were visually unique from other Indian painting traditions. Many painters gave in to the sellers' demands because they were poor and created the quick, repetitive paintings known as "Madhubani paintings." However, other painters working within the same aesthetic traditions continued to create the finely made, intensely individualised, and more diversified work now known as "Mithila Painting" with the support of several Indian and international patrons.
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