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Odisha CHSE +2 Vocational Traditional Art and Craft study materials
Odisha CHSE +2 Vocational Traditional Art and Craft study resources

Odisha CHSE +2 Vocational Traditional Art and Craft practice questions

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Question 1Introduction to Traditional Art and Craft of Odisha

In Odisha's traditional arts, which material is most closely associated with the Pattachitra paintings of Raghurajpur and Puri?

  1. Glass sheets painted from the reverse side
  2. Machine-woven silk stretched on a wooden frame
  3. Handmade cloth treated with chalk and gum, painted with natural colours Correct answer.
  4. Terracotta tiles fired before painting

Explanation

Pattachitra is executed on a prepared cloth or on palm leaf, where the cloth is coated with a mixture of chalk powder and gum so the surface accepts natural mineral and vegetable colours. Silk, glass and fired terracotta belong to other craft traditions rather than to classic Pattachitra.

Question 2Introduction to Traditional Art and Craft of Odisha

Pattachitra painters traditionally prepare their black pigment from which source?

  1. Iron filings rusted in salt water
  2. Powdered lapis lazuli imported from Afghanistan
  3. Crushed conch shell mixed with lime
  4. Lamp soot collected from burning oil lamps Correct answer.

Explanation

The deep black used in Pattachitra comes from soot gathered from the smoke of oil lamps, later bound with gum. This is one of a set of colours made from local minerals, vegetables and shells, each with its own traditional source.

Question 3Introduction to Traditional Art and Craft of Odisha

The traditional painters of Raghurajpur village near Puri are best known by which occupational title?

  1. Kumbhakara
  2. Tanti
  3. Chitrakara Correct answer.
  4. Badhei

Explanation

Chitrakara denotes the painter community whose hereditary craft is Pattachitra and related pictorial work in Raghurajpur. The other titles name potters, weavers and carpenters respectively, which are distinct craft groups.

Question 4Introduction to Traditional Art and Craft of Odisha

Which Odishan craft is created by incising a design through a palm leaf and then filling the cut lines with black pigment so the image reads as a fine dark line?

  1. Sambalpuri ikat weaving
  2. Palm-leaf etching (tala pattachitra) Correct answer.
  3. Bandha tie-and-dye textile
  4. Dokra metal casting

Explanation

In palm-leaf etching, dried talapatra strips are incised with a stylus and the grooves are rubbed with lamp-black so the drawing stands out. It is a distinct manuscript-oriented craft, separate from cloth painting, dyeing and metal casting.

Question 5Introduction to Traditional Art and Craft of Odisha

The Jagannath Temple paintings of Puri are most strongly associated with which subject matter?

  1. Portuguese maritime trade in the Bay of Bengal
  2. The triad of Jagannath, Balabhadra and Subhadra with their anasara and ratha episodes Correct answer.
  3. Botanical studies of European herbals
  4. Mughal court hunting scenes

Explanation

Pattachitra developed largely in the service of the Jagannath cult, depicting the deities and their ritual calendar, including the anasara period and the Ratha Yatra. Courtly Mughal, colonial maritime and European botanical subjects belong to other painting traditions.

Question 6Introduction to Traditional Art and Craft of Odisha

Which deity is conventionally shown to the right of Jagannath in the standard triad depicted in Odishan Pattachitra?

  1. Balabhadra Correct answer.
  2. Subhadra
  3. Lakshmi
  4. Hanuman

Explanation

The standard triad places Balabhadra on Jagannath's right and Subhadra between or beside them, following temple convention. Subhadra is usually depicted centrally or to the left, while Lakshmi and Hanuman are not part of the principal triad arrangement.

Question 7Introduction to Traditional Art and Craft of Odisha

Which traditional Odishan textile is produced by dyeing warp or weft threads in patterned sections before weaving, so that motifs appear with characteristic feathered edges?

  1. Bandha (Sambalpuri ikat) Correct answer.
  2. Pattachitra cloth painting
  3. Chandua appliqué
  4. Khandua silk with temple borders

Explanation

Bandha is a resist-dyeing method in which yarn is bound and dyed before weaving, producing the slightly blurred, feathered motif edges typical of ikat. Khandua is a woven silk with figured borders, while painting and appliqué are surface techniques rather than pre-dyed yarn work.

Question 8Introduction to Traditional Art and Craft of Odisha

The appliqué craft of Pipli in Puri district is traditionally known for producing which kind of article?

  1. Carved wooden door panels
  2. Chariot and temple canopies, umbrellas and banners Correct answer.
  3. Fired clay storage jars
  4. Lost-wax brass figurines

Explanation

Pipli appliqué is stitched from coloured cloth pieces into canopies, umbrellas, banners and decorative covers used in temple processions and the Ratha Yatra. Clay jars, brass casting and wood carving belong to separate craft specialisations.

Question 9Introduction to Traditional Art and Craft of Odisha

A craftsman wishes to make a dokra figurine using the traditional Odishan method. Which sequence correctly describes the process?

  1. Shape wet clay on a wheel, then fire it in a kiln
  2. Model in wax, coat with clay, heat to melt out the wax, pour molten metal, break the mould Correct answer.
  3. Carve the figure from a single block of wood, then paint it
  4. Hammer sheet metal over a wooden form and join the seams

Explanation

Dokra is lost-wax casting: a wax model is encased in clay, the wax is melted out when heated, molten metal is poured into the void, and the clay mould is broken to release the casting. The other sequences describe wood carving, pottery and sheet-metal repoussé.

Question 10Introduction to Traditional Art and Craft of Odisha

In Odishan Pattachitra composition, the border of a painting is most often filled with which element?

  1. Calligraphic verses in Persian script
  2. European-style perspective grid lines
  3. Blank unpainted cloth left as a margin
  4. Repeating floral and geometric motifs framing the central scene Correct answer.

Explanation

Pattachitra panels are characteristically enclosed by decorative borders of repeated floral scrolls and geometric patterns that frame the narrative centre. Blank margins, perspective grids and Persian calligraphy are not part of this convention.

Question 11Introduction to Traditional Art and Craft of Odisha

Which statement best explains why Pattachitra figures are drawn with large eyes and stylised profiles rather than realistic proportion?

  1. The painters lacked knowledge of human anatomy
  2. Pigment limitations prevented fine detail
  3. The idiom prioritises devotional legibility and expressive convention over naturalistic likeness Correct answer.
  4. Religious law forbade the depiction of faces

Explanation

The Pattachitra idiom is deliberately conventional: enlarged eyes, stylised profiles and flat colour serve devotional recognition and narrative clarity rather than optical realism. Anatomical knowledge, pigment limits and prohibition of faces do not explain the style.

Question 12Introduction to Traditional Art and Craft of Odisha

Which natural material traditionally supplies the bright white used in Pattachitra painting?

  1. Red lead ore
  2. Turmeric root
  3. Indigo leaf extract
  4. Ground conch shell Correct answer.

Explanation

White pigment is traditionally obtained by grinding conch shell, giving a dense opaque white. Indigo yields blue, red lead yields a red-orange, and turmeric gives yellow, so none of these produces white.

Question 13Introduction to Traditional Art and Craft of Odisha

The craft of silver filigree (tarakasi) in Odisha is most famously centred in which city?

  1. Cuttack Correct answer.
  2. Koraput
  3. Balasore
  4. Berhampur

Explanation

Cuttack is renowned for tarakasi, where fine silver wires are drawn and twisted into delicate ornamental forms. Berhampur is noted for other crafts, Balasore for different traditions, and Koraput for tribal and dokra work.

Question 14Introduction to Traditional Art and Craft of Odisha

A student is asked to identify a craft in which fine silver wire is twisted into lace-like ornamental shapes for jewellery and decorative items. Which Odishan craft matches this description?

  1. Pattachitra
  2. Chandua
  3. Dokra
  4. Tarakasi Correct answer.

Explanation

Tarakasi is the Odishan silver filigree craft, in which drawn wire is bent and twisted into delicate openwork designs. Chandua is appliqué, dokra is metal casting, and Pattachitra is painting, so none of them involves wire filigree.

Question 15Introduction to Traditional Art and Craft of Odisha

Which feature most reliably distinguishes a Khandua silk from an ordinary plain silk saree?

  1. Woven figured borders and pallu carrying temple and ritual motifs Correct answer.
  2. A tie-dyed pattern across the entire field
  3. A painted narrative panel on the body of the cloth
  4. Applied cut-cloth patches stitched onto the surface

Explanation

Khandua is identified by its woven figured borders and pallu with temple and ritual motifs, traditionally tied to Jagannath worship. Painted panels, appliqué patches and all-over tie-dye belong to other techniques and crafts.

Question 16Introduction to Traditional Art and Craft of Odisha

Which Odishan craft tradition is most closely linked with the tribal communities of Koraput and Rayagada and uses the lost-wax process?

  1. Pattachitra painting
  2. Dokra metal casting Correct answer.
  3. Pipli appliqué
  4. Tarakasi filigree

Explanation

Dokra casting is practised by tribal artisan communities in the Koraput and Rayagada belt, producing figures and vessels by the lost-wax method. Filigree, appliqué and painting are different crafts with different centres and techniques.

Question 17Introduction to Traditional Art and Craft of Odisha

In the context of Odishan craft, the term 'chandua' refers to which object?

  1. A decorative appliqué canopy or cover used in temples and processions Correct answer.
  2. A clay ritual lamp
  3. A silver anklet
  4. A palm-leaf manuscript bundle

Explanation

A chandua is a decorative appliqué canopy or covering, typically made in Pipli and used in temple and ceremonial contexts. Manuscript bundles, clay lamps and silver anklets are unrelated objects from other crafts.

Question 18Introduction to Traditional Art and Craft of Odisha

Which observation would best support the claim that Pattachitra colours were historically prepared from local materials rather than purchased ready-made?

  1. The paintings are framed in imported teak
  2. Pigment sources named in craft accounts include lamp soot, conch shell, indigo and turmeric Correct answer.
  3. The cloth is stretched on a machine-made frame
  4. The finished works are sold in urban galleries

Explanation

Evidence for local preparation lies in the documented sources of colour, such as soot, shell, indigo and turmeric, each processed by the artisan. Framing, stretching equipment and retail outlets say nothing about how pigments were obtained.

Question 19Introduction to Traditional Art and Craft of Odisha

Why is the Ratha Yatra period especially significant for Pattachitra production and trade?

  1. The Jagannath Temple commissions all paintings for the year at that time
  2. The painters are forbidden to work during the rest of the year
  3. Pilgrims gather in large numbers and demand painted souvenirs and devotional images Correct answer.
  4. Natural pigments can only be prepared during the monsoon

Explanation

The festival draws vast numbers of pilgrims to Puri, creating strong seasonal demand for painted images, palm-leaf work and related souvenirs. There is no rule restricting painting to the festival, nor a monsoon-only pigment rule or single annual commission.

Question 20Introduction to Traditional Art and Craft of Odisha

A designer wants a wall hanging that combines stitched coloured fabric shapes into figures and scroll motifs in the Pipli manner. Which craft technique should be used?

  1. Palm-leaf incision
  2. Appliqué Correct answer.
  3. Lost-wax casting
  4. Ikat resist dyeing

Explanation

Appliqué builds images by cutting coloured fabric pieces and stitching them onto a ground cloth, which is exactly the Pipli method. Ikat works through pre-dyed yarn, palm-leaf incision through cut grooves, and lost-wax casting through molten metal.

Question 21Drawing, Sketching and Basic Design Principles

In basic design, a line that changes direction gradually to suggest flow and movement is best described as which type of line?

  1. A curved line Correct answer.
  2. A zigzag line
  3. A horizontal line
  4. A vertical line

Explanation

A curved line bends smoothly without sharp corners, so it reads as flowing and rhythmic, which is why designers use it to suggest movement and grace. Straight lines such as vertical or horizontal ones convey stability or rest rather than flow.

Question 22Drawing, Sketching and Basic Design Principles

Which pair correctly names the three primary colours of the traditional painter's colour wheel?

  1. Red, green and blue
  2. Cyan, magenta and yellow
  3. Red, yellow and blue Correct answer.
  4. Orange, green and violet

Explanation

In pigment mixing as taught in art and craft studios, the primary colours are red, yellow and blue because they cannot be produced by mixing others and they generate the secondaries. Red, green and blue are additive light primaries, and cyan, magenta and yellow belong to process printing.

Question 23Drawing, Sketching and Basic Design Principles

A crafts student mixes yellow and violet paint in equal parts. What is the resulting effect on the colour?

  1. It becomes neutralised and duller because the pair are complementary Correct answer.
  2. It becomes a brighter, more saturated yellow
  3. It becomes a pure secondary green
  4. It becomes a tint of violet with higher value

Explanation

Yellow and violet sit opposite each other on the twelve-part colour wheel, so they are complementary. Mixing complements in equal proportion neutralises chroma and produces a dull, greyish or brownish result rather than a vivid hue.

Question 24Drawing, Sketching and Basic Design Principles

Which term describes the relative lightness or darkness of a colour independent of its hue?

  1. Chroma
  2. Texture
  3. Value Correct answer.
  4. Hue

Explanation

Value refers to how light or dark a colour appears, and it is the quality designers use to build contrast and readable tonal structure. Hue names the colour family, while chroma describes its purity or intensity.

Question 25Drawing, Sketching and Basic Design Principles

A design uses only variations of a single hue, from pale tint to deep shade. Which colour scheme is this?

  1. Complementary
  2. Monochromatic Correct answer.
  3. Analogous
  4. Triadic

Explanation

A monochromatic scheme works with one hue only, varying it by adding white for tints and black for shades. It produces a unified, calm composition but offers limited hue contrast.

Question 26Drawing, Sketching and Basic Design Principles

In a composition, repeating a motif at regular intervals along a border primarily creates which design quality?

  1. Asymmetrical balance
  2. Focal emphasis
  3. Atmospheric perspective
  4. Rhythm through repetition Correct answer.

Explanation

Regular repetition of a motif produces a measured visual beat, which is the basis of rhythm in ornament and border design. Emphasis and balance are separate principles achieved by contrast or by distribution of visual weight.

Question 27Drawing, Sketching and Basic Design Principles

Which of these is an example of a geometric form rather than a natural or organic form?

  1. A river stone
  2. A cone Correct answer.
  3. A leaf
  4. A human hand

Explanation

Geometric forms are mathematically regular shapes such as cones, cubes and cylinders, and they are defined by measurable edges and axes. Leaves, hands and river stones have irregular, living or weathered contours that classify them as organic forms.

Question 28Drawing, Sketching and Basic Design Principles

A still-life drawing shows a box placed so that its top surface appears as a parallelogram. Which drawing convention explains this?

  1. Chiaroscuro
  2. Impasto
  3. Symmetrical balance
  4. Foreshortening in perspective Correct answer.

Explanation

In perspective, surfaces receding from the viewer are foreshortened, so a square top drawn in depth appears as a parallelogram. This is the geometric basis of converging edges in one- and two-point perspective drawing.

Question 29Drawing, Sketching and Basic Design Principles

In one-point perspective, where do the receding parallel edges of a rectangular object converge?

  1. At two vanishing points on the horizon line
  2. At the nearest corner of the object
  3. At the centre of the picture plane regardless of the horizon
  4. At a single vanishing point on the horizon line Correct answer.

Explanation

One-point perspective places a single vanishing point on the horizon, and all edges receding directly away from the viewer converge there. Two vanishing points belong to two-point perspective, used when the object is seen at an angle.

Question 30Drawing, Sketching and Basic Design Principles

Which drawing tool is most appropriate for constructing precise circles and arcs in a technical design layout?

  1. A bow compass Correct answer.
  2. A blending stump
  3. A kneaded eraser
  4. A palette knife

Explanation

A bow compass holds a fixed radius and pivots on a needle point, so it produces accurate circles and arcs for layout and ornament construction. The other tools listed are used for erasing, shading and paint handling rather than geometric construction.

Question 31Drawing, Sketching and Basic Design Principles

A student draws a seated figure using ovals for the head and ribcage and a cylinder for the torso before adding details. Which approach is being used?

  1. Constructing the figure from simple volumes Correct answer.
  2. Gestural scribbling
  3. Stippling for tone
  4. Contour hatching

Explanation

Blocking a figure with simple volumes establishes proportion and three-dimensional structure before surface detail is added. This construction method helps the artist check placement and foreshortening at an early stage.

Question 32Drawing, Sketching and Basic Design Principles

Which shading technique builds tone by drawing closely spaced parallel lines that follow the form's surface?

  1. Collage
  2. Frottage
  3. Hatching Correct answer.
  4. Sfumato

Explanation

Hatching uses parallel strokes to create tone, and when the lines curve with the form they also describe volume. Cross-hatching adds a second set of strokes at an angle to deepen the shadow areas.

Question 33Drawing, Sketching and Basic Design Principles

A clay relief is designed so that the raised motifs project less than half their natural depth from the background. Which type of relief is this?

  1. Freestanding sculpture
  2. Intaglio
  3. Bas-relief Correct answer.
  4. High relief

Explanation

Bas-relief, or low relief, keeps the modelled forms shallow against the ground so the carving reads mainly through light and shadow on a flat plane. High relief projects far more strongly and may be undercut.

Question 34Drawing, Sketching and Basic Design Principles

In traditional Odia appliqué work, what is the basic technical operation that joins cut fabric shapes to a ground cloth?

  1. Stitching the cut shapes onto the surface with decorative edge stitches Correct answer.
  2. Carving the shapes into a wooden block
  3. Firing the shapes in a kiln
  4. Weaving the shapes directly on the loom

Explanation

Appliqué is built by cutting fabric motifs and stitching them onto a base cloth, with the edge stitch both fixing and decorating the shape. The technique therefore depends on cutting, placement and needlework rather than on weaving or heat.

Question 35Drawing, Sketching and Basic Design Principles

A designer wants a poster to feel unstable and dynamic. Which compositional choice best supports that intention?

  1. Using only horizontal bands of equal width
  2. Making all shapes identical in size and evenly spaced
  3. Centring every element on vertical and horizontal axes
  4. Tilting the main diagonal axis and placing the focal point off-centre Correct answer.

Explanation

A tilted axis and an off-centre focal point break static equilibrium and generate visual tension, which reads as energy. Symmetrical centring and uniform repetition produce the opposite effect of calm stability.

Question 36Drawing, Sketching and Basic Design Principles

Which statement correctly distinguishes proportion from scale in design?

  1. Proportion compares parts within a composition, while scale compares an element to a known real-world size Correct answer.
  2. Proportion and scale are identical terms with no technical difference
  3. Proportion concerns colour temperature, while scale concerns line weight
  4. Proportion applies only to sculpture, while scale applies only to painting

Explanation

Proportion is the relative size relationship among parts of a design, such as head to body in a figure. Scale relates an element to an external reference or standard size, which is why an oversized object can look monumental.

Question 37Drawing, Sketching and Basic Design Principles

A student must enlarge a small sketch accurately onto a larger sheet while preserving all shapes. Which traditional method is most suitable?

  1. Freehand tracing from memory
  2. Using a single vanishing point
  3. Squaring up the sketch with a proportional grid Correct answer.
  4. Applying a wash over the sketch

Explanation

Squaring up divides the original into a grid and reproduces each cell at a larger size, so every proportion is scaled by the same factor. It is a standard transfer method in mural, textile and craft design work.

Question 38Drawing, Sketching and Basic Design Principles

Which feature most clearly identifies a design as radially symmetrical?

  1. Elements balance unequally on either side of a vertical axis
  2. Elements decrease in size toward the top of the frame
  3. Elements arranged around a central point repeat in a circular pattern Correct answer.
  4. Elements repeat in a staggered row from left to right

Explanation

Radial symmetry radiates from a centre, so the motif repeats around a point as in a mandala, wheel or many textile roundels. Bilateral symmetry instead balances across a single axis.

Question 39Drawing, Sketching and Basic Design Principles

A painting uses warm orange light on the figure and cool blue-grey shadows. Which principle is the artist exploiting?

  1. Simultaneous contrast of warm and cool colour temperature Correct answer.
  2. Achromatic greyscale modelling
  3. A triadic scheme of equal chroma
  4. Monochromatic harmony

Explanation

Placing warm light against cool shadow sets up a temperature contrast that makes each zone appear more intense and gives the form a vibrating sense of light. This is a deliberate use of colour temperature rather than of a single hue or a neutral scale.

Question 40Drawing, Sketching and Basic Design Principles

A craft designer must choose a motif repeat for a saree border where the pattern should read continuously without visible interruption at the join. Which repeat is most appropriate?

  1. A motif cut off arbitrarily at the fabric edge
  2. A seamless half-drop repeat aligned at the repeat line Correct answer.
  3. A single isolated motif placed once on the border
  4. A random scattering of motifs of different sizes

Explanation

A seamless repeat is planned so that the motif meets itself exactly at the repeat line, allowing the border to continue without a break. Half-drop repeats also create a denser, more interlocking rhythm suited to long borders.

Question 41Traditional Painting: Pattachitra and Scroll Painting

In Odia Pattachitra practice, which material is traditionally prepared as the painting surface by pasting layers of cloth with tamarind seed paste and then coating it with chalk powder?

  1. Patta Correct answer.
  2. Palm leaf
  3. Wooden plank
  4. Terracotta tile

Explanation

The word patta refers to the prepared cloth-based support that gives Pattachitra its name. Layers of cloth are bonded with tamarind seed gum and finished with a chalk or conch-shell powder coating that is burnished smooth before painting.

Question 42Traditional Painting: Pattachitra and Scroll Painting

The traditional Pattachitra painters of Odisha, who belong to the Chitrakara community, are locally known by which term?

  1. Patua
  2. Maharana Correct answer.
  3. Thangka painter
  4. Chitrakar of Rajasthan

Explanation

The hereditary painter families of Raghurajpur and Puri are addressed as Maharana, a title associated with their craft status. Patua refers to scroll painters of Bengal, while Thangka painting belongs to Himalayan Buddhist traditions.

Question 43Traditional Painting: Pattachitra and Scroll Painting

Which village near Puri is internationally recognised as a heritage craft village specialising in Pattachitra painting?

  1. Raghurajpur Correct answer.
  2. Konark
  3. Pipili
  4. Cuttack

Explanation

Raghurajpur, on the banks of the Bhargavi near Puri, is the best-known Pattachitra village and was developed as a heritage crafts village. Pipili is famous for appliqué work, while Konark is known for its temple and stone carving.

Question 44Traditional Painting: Pattachitra and Scroll Painting

Which traditional pigment source gives Pattachitra its characteristic bright white for highlighting and fine line work?

  1. Red lead
  2. Yellow orpiment
  3. Conch-shell powder Correct answer.
  4. Lamp black

Explanation

White in traditional Pattachitra is commonly prepared from powdered conch shell or chalk, giving a dense opaque white used for highlights and fine detailing. Lamp black supplies black, red lead supplies red, and orpiment supplies yellow.

Question 45Traditional Painting: Pattachitra and Scroll Painting

In the traditional Pattachitra method, what is the purpose of applying a thin coating of tamarind seed paste over the finished painting?

  1. To bleach the colours to pastel shades
  2. To make the cloth transparent
  3. To give a protective glossy finish and seal the pigments Correct answer.
  4. To create a raised relief texture

Explanation

A final coat of tamarind seed gum is applied to seal the surface and impart a characteristic sheen that protects the mineral pigments. It is a finishing step, not a means of altering colour or creating relief.

Question 46Traditional Painting: Pattachitra and Scroll Painting

Which subject is the most iconic and central theme of traditional Puri-style Pattachitra painting?

  1. Mughal court scenes
  2. European still life
  3. Jagannath, Balabhadra and Subhadra Correct answer.
  4. Chinese landscape scenery

Explanation

Pattachitra from Puri is intimately linked to the Jagannath temple, and the triad of Jagannath, Balabhadra and Subhadra is its most iconic subject. Other themes such as Dasavatara and Krishna leela also appear, but the triad is central.

Question 47Traditional Painting: Pattachitra and Scroll Painting

A Pattachitra artist paints a large round face with huge circular eyes and no distinct neck or limbs, framed by a decorative border. Which subject is being depicted?

  1. Ganesha seated on a lotus
  2. A nayika in a garden
  3. Jagannath in his wooden triad form Correct answer.
  4. Krishna playing the flute

Explanation

The wooden Jagannath triad is painted with large round eyes and a squat, almost limbless form because it follows the shape of the carved temple images. Krishna, Ganesha and nayika figures are shown with fully modelled bodies and human proportions.

Question 48Traditional Painting: Pattachitra and Scroll Painting

In Pattachitra composition, what is the function of the decorated border (often with floral or geometric motifs) surrounding the main panel?

  1. It frames and encloses the narrative scene and marks the picture's boundary Correct answer.
  2. It represents the ocean surrounding the world
  3. It records the price paid by the patron
  4. It shows the artist's signature in code

Explanation

Pattachitra panels are conventionally enclosed by ornamental borders that frame the central scene and separate it from the cloth edge. The border is decorative and compositional rather than documentary or coded.

Question 49Traditional Painting: Pattachitra and Scroll Painting

Which Odia scroll-painting tradition uses long horizontal or vertical cloth scrolls, often unrolled by singers to narrate a story panel by panel?

  1. Pattachitra of Puri
  2. Kalamkari
  3. Madhubani
  4. Yamapata Correct answer.

Explanation

Yamapata are long narrative scrolls, traditionally shown while a singer recounts the story of the afterlife and Yama's judgment. Puri Pattachitra is typically a framed panel, while Madhubani and Kalamkari belong to Bihar and Andhra respectively.

Question 50Traditional Painting: Pattachitra and Scroll Painting

The long narrative scroll used in Odisha to depict the torments of hell and the judgment of the dead is called:

  1. Chandua
  2. Yamapata Correct answer.
  3. Chitrapata
  4. Palm-leaf patta

Explanation

Yamapata literally means the cloth of Yama, and it depicts the afterlife, punishments and the god of death. It is a distinct scroll genre within Odia narrative painting, shown to audiences with sung narration.