CBSE Class 12 Graphics Sample Paper 2026 27 with Solutions PDF Download

SECTION -A

1. Select the right answer from the given option

i. The Artist’s regard for ‘women who believed in equality’ resulted in painting all of them with empowered expressions. [1 Mark]
A. Marriage Procession of Dara Shikoh
B. Kabir and Raidas
C. Chand Bibi Playing Polo
D. Hazrat Nizamuddin Auliya and Amir Khusro

Answer: C. Chand Bibi Playing Polo

Teacher's Note:
a) The painting shows women playing polo, a game of equals, with confident expressions.
b) The key words 'women' and 'equality' point to this option; the other three show male figures as the main subject.

ii. Which painting stylistically depicts a continuous narrative without giving rigid geometrical partitions? [1 Mark]
A. Maru- Ragini
B. Chaugan Players
C. Chand Bibi Playing Polo
D. Bharat meets Rama at Chitrakut

Answer: D. Bharat meets Rama at Chitrakut

Teacher's Note:
a) A continuous narrative tells several moments of one story inside a single painting.
b) Remember that this painting tells the story without dividing the surface into separate boxes or panels.

iii. Identify the miniature painting that depicts the supreme power of Lord Krishna saving the people of Braj from Indra’s anger. [1 Mark]
A. Krishna on swing
B. Krishna with gopis
C. Krishna lifting mount Govardhana
D. Nand, Yashoda and Krishna with kinsman going to Vrindavana

Answer: C. Krishna lifting mount Govardhana

Teacher's Note:
a) Krishna lifted Mount Govardhana to shelter the people of Braj from the rain sent by an angry Indra.
b) Link the words 'saving' and 'Indra's anger' with the lifting of the mountain.

iv. On which religious book is the famous miniature painting Bharat Meets Rama at Chitrakuta based? [1 Mark]
A. Rasikpriya
B. Guruvani
C. Ramayana
D. Geet Govinda

Answer: C. Ramayana

Teacher's Note:
a) Bharat and Rama are characters of the Ramayana, so the story comes from this epic.
b) Rasikpriya and Geet Govinda are about Radha and Krishna, so do not confuse them.

v. Who painted Falcon on a Bird Rest? [1 Mark]
A. Nuruddin
B. Haji Madni
C. Abul Hasan
D. Mansoor

Answer: D. Mansoor

Teacher's Note:
a) Learn each painting in your course with its artist, as artist-painting pairs are asked often.
b) Falcon on a Bird Rest goes with Mansoor; the other three names belong to other paintings in the course.

vi. Assertion (A): The famous miniature painting Nand, Yashoda and Krishna with Kinsmen going to Vrindavan has characteristics of the Kangra School.
Reason (R): It is painted in a folk style. [1 Mark]
A. Both A and R are true and R is the correct explanation of A.
B. Both A and R are true and R is not the correct explanation of A.
C. A is true but R is false.
D. A is false and R is true.

Answer: A. Both A and R are true and R is the correct explanation of A.

Teacher's Note:
a) The painting belongs to the Kangra School of Pahari miniature painting.
b) The marking scheme treats the folk style as the reason for its Kangra character, so it gives option A.

vii. Assertion (A): The contemporary sculpture Cries Unheard addresses the lack of individual freedom and human dignity.
Reason (R): It is aesthetically powerful in depicting a helpless family asking for support. [1 Mark]
A. Both A and R are true and R is the correct explanation of A
B. Both A and R are true but R is not the correct explanation of A
C. A is true but R is false
D. A is false and R is true

Answer: A. Both A and R are true and R is the correct explanation of A

Teacher's Note:
a) The helpless family asking for support is how the sculpture shows the loss of freedom and dignity.
b) Since R explains why A is true, choose option A.

viii. In the painting Journey’s End by Abanindranath Tagore, the dominant emotion experienced by the viewer can be identified as: [1 Mark]
A. Empathy & Sorrow
B. Happiness & Laughter
C. Energy & Zeal
D. Love & Respect for labour

Answer: A. Empathy & Sorrow

Teacher's Note:
a) The title Journey's End suggests exhaustion and the end of life, which moves the viewer to sadness and sympathy.
b) Options B and C are joyful emotions and do not match the mood of the painting.

SECTION -B

2(A) Validate the following statement of Rajasthani paintings included in your course of study.
i. Rajasthani artists used bright glowing colours with flat background. [1 Mark]
ii. Lines are rhythmic and graceful in Rajasthani paintings. [1 Mark]

Answer:
i. The statement is true. Bright and glowing colours are used carefully in harmonious contrast. Pure hues of red, yellow, blue, brown and white are used without much mixing, and some paintings also use gold and silver colours. The backgrounds are mostly flat.
ii. The statement is true. Rajasthani art developed from the Western and Central Indian schools. In the early phase the lines were bold, but later they became thin, rhythmic, soft and graceful in all the sub-schools of Rajasthan.

Teacher's Note:
a) Begin each part by saying whether the statement is true, then support it.
b) Key words: pure hues, little mixing, gold and silver, flat background, bold lines becoming rhythmic and graceful.

OR

2(B) As modern day women, move forward with men in all walks of life, in this painting six women of Middle Ages reflect equality.
i. Identify the painting and its artist. [1 Mark]
ii. What is the artist trying to show in this painting and how? [1 Mark]

Answer:
i. The painting is Chaugan Players, and the artist is Dana.
ii. The artist shows the empowerment of women. A princess and her companions play chaugan (polo) on decorated horses, with confident postures. They wear bell-shaped ghagharas and Rajasthani attire. The painting shows their leadership qualities, individuality and dignity. It presents women as equal to men and as an integral part of society.

Teacher's Note:
a) Part i carries ½ mark for the painting and ½ mark for the artist, so write both.
b) In part ii, link the visual details (polo, horses, posture) with the idea of equal rights.

3(A) Aesthetically describe Meghdoot, based on virha the subject matter of the Painting [2 Marks]

Answer:
1. Subject matter: The painting is based on Kalidasa's lyrical poem Meghdoot. It tells the story of a Yaksha exiled by King Kubera. He sends his message of love to his wife through a passing cloud.
2. Aesthetics: The Yaksha sits on rocks in a forest, writing his emotions on a leaf. His youthful features and sorrowful expression, the soft colours and the sharp yet delicate lines convey longing, separation (virha) and poetic sensitivity.

Teacher's Note:
a) Virha means the pain of separation, so connect every visual detail to longing.
b) Mention Kalidasa, the exiled Yaksha and the cloud messenger for full marks.

OR

3(B) How does the symbolic use of colours in our National Flag unite all Indians with a feeling of pride, oneness, and commitment towards our nation? [2 Marks]

Answer:
1. Symbolic meaning: Saffron stands for courage, white for peace and green for prosperity. The Ashoka Chakra with 24 spokes stands for duty.
2. How they unite us: These shared symbols remind every Indian, whatever the region or religion, of common ideals. Courage and peace give us pride, prosperity and duty build commitment, and together they create unity and a feeling of nationalism.

Teacher's Note:
a) One mark is for the meaning of the colours and one for how they promote unity, pride and commitment.
b) Do not forget the Ashoka Chakra and its 24 spokes.

4(A) In this painting two humble figures, with peace and contentment on their faces, are shown against Indian village life, for whom work is worship. Describe the painting and at least four values that you learn from them. [2 Marks]

Answer:
1. The painting is Kabir and Raidas by Ustad Faquirullah Khan. It is painted in tempera (watercolour) on paper, in the wash technique. It shows two simple human figures working in a humble village setting, with light and shade, perspective and a realistic portrayal.
2. Values: simplicity, secularism, friendship, devotion to work (work is worship) and peaceful coexistence.

Teacher's Note:
a) Write the title, artist, medium and technique first, then the description.
b) The question asks for at least four values, so list four or more clearly.

OR

4(B) From your course, write four qualities of the painting made in Bijapur School. [2 Marks]

Answer:
1. Mughal, Persian, European and Turkish influences, including high horizons and golden skies.
2. Tall, fair-complexioned figures that are emotionally expressive.
3. Brilliant, rich colours with a harmonious composition.
4. The subject matter is dominated by women empowerment.

Teacher's Note:
a) Each quality carries ½ mark, so write exactly four clear points.
b) High horizon and golden sky are the most distinctive features to remember.

5(A) Evaluate the following statement with the help of a painting included in your course of study: "Basohli artists tended to depict a high horizon in their miniature paintings." [2 Marks]

Answer:
1. The statement is true for Basohli School painting, for example Krishna with Gopis. The high horizon is commonly seen with just an inch-long strip of sky in the upper part. At times there is no horizon at all, only a simple plain background.
2. The rich colours, mastery of line and sensitive portrayal of nature make up for this. The paintings are based on folk art, and the symmetrical ornamentation of nature, especially the trees, has a typical folk influence.

Teacher's Note:
a) Say clearly that the statement is true, then describe the narrow strip of sky.
b) Add the folk influence seen in the symmetrical trees for the second mark.

OR

5(B) Describe the Pahari miniatures in terms of human values that are shown in them. [2 Marks]

Answer: The sentiment of love and devotion is the inspiration and central theme of Pahari painting. The human values shown are:
1. Love, faith, devotion and surrender to the supreme power.
2. Equal love for all followers.
3. Being faithful to the master.
4. Being a good member of the group or team for a common interest, where all decide to move together and stay together.

Teacher's Note:
a) The scheme asks for any four values, so give four clear points.
b) Start with love and devotion, the central theme of Pahari painting.

6(A) Service before self, compassion and helping the deprived, are themes painted by the artist MF Hussain. His work showcases women with motherhood, love and care in their hearts, making this printing source for value education.
i. Identify the Painting and its Medium and Technique. [1 Mark]
ii. Elaborate through its compositional arrangement. [1 Mark]

Answer:
i. The painting is Mother Teresa. The medium and technique are oil on canvas.
ii. The painting shows the social worker Mother Teresa with abstract figures and a hollow face. The white saree with blue borders symbolises Mother Teresa. The central figure lies on the mother's lap, and a healing hand is shown. Human forms of different ages appear. The work expresses compassion, selflessness and a noble, kind, helpful and optimistic approach.

Teacher's Note:
a) Part i needs the title and the medium, oil on canvas, for the full mark.
b) In part ii, mention the white saree with blue borders and the hollow face, as they identify the work.

OR

6(B) i. Write the name of the print maker and the technique used for the graphic print ‘Children’ where monochromatic representation of human anatomy and figures are seen. [1 Mark]
ii. While describing the subject matter, express the feelings and emotions you derive and how? [1 Mark]

Answer:
i. The printmaker is Somnath Hore, and the technique is etching and aquatint on paper.
ii. The print is a composition of five standing figures grouped together, all victims of starvation. The thin, worn-out children have bloated stomachs and thin rectangular ribcages, showing prolonged hunger. Their heads are enormous skulls with small bony faces resting on rickety torsos and limbs. It shows the artist's emotional response to the pain of the poor and deprived - wounded humanity with no hope of rescue. It makes the viewer feel sorrow and sympathy, and it is the artist's protest against injustice towards innocent poor people.

Teacher's Note:
a) Write both the name, Somnath Hore, and the technique, etching and aquatint.
b) Link the visual details (bloated stomachs, ribcages, skulls) to the feelings of pain and protest.

SECTION-C

Attempt any two questions from the given options

7. Write an essay on the development of Rajasthan school and mention its main features with examples. [6 Marks]

Answer:
Development of main sub-schools:
1. Mewar School: All of Rajasthan was affected by Mughal attacks, but Mewar did not come under Mughal control till the end. So the Rajasthani School flourished in its purest form in Mewar, and later in Jaipur, Jodhpur, Amber, Kota, Bundi, Kishangarh, Bikaner and other places. Mewar has elements of the Central Indian style, which is a blend of the Western Indian Gujarat-Jain manuscript school and Persian influences. Example: Maru Ragini by Sahibdin.
2. Kishangarh School: The estate (jagir) inherited by Kishan Singh, the eighth son of Raja Udai Singh of Jodhpur, is known as Kishangarh. This small state, surrounded by Jaipur, Jodhpur and Ajmer, saw a sudden spark of genius when the art of other states was nearing its end. This happened under Raja Raj Singh and later his son Raja Sawant Singh, a scholar and expert in music, poetry and painting. Example: Bani Thani by Nihal Chand.
3. Jaipur School: Under Jai Singh I, the close alliance with Delhi and Akbar's patronage of art kept Mughal influence deep-rooted. Artists tried to move away from it with subjects from the Hindu epics and the romances of Lord Krishna, but the effect remained. Jai Singh II shifted the capital from Amber to Jaipur. The school reached its peak in the 18th century A.D., when Mughal influence weakened. Example: Bharat Meets Rama at Chitrakut.
Main features:
4. Vibrant colours: bright red, yellow, blue and green, often from natural sources, with gold and silver for embellishment.
5. Religious themes: scenes from the Ramayana, the Mahabharata, the Bhagavata Purana and the life of Lord Krishna, especially with Radha and the Gopis.
6. Flat backgrounds: plain, or decorated with floral designs, architecture or landscapes to highlight the main subject.

Teacher's Note:
a) The marks are 3+3: three sub-schools carry 3 marks and the main features carry 3 marks.
b) Give one example painting with each sub-school, as the question asks for examples.
c) Remember that Mewar kept the purest Rajasthani style because it resisted Mughal control.

8. Ramkinkar Baij successfully developed a personal style which had a blend of Indian cultural in Western style. Appreciate his sculpture and why does it stand apart from other sculptures. [6 Marks]

Answer:
1. Sculpture and medium: The sculpture is Santhal Family by Ramkinkar Baij. It is made of cement and concrete (cement mixed with pebbles) on a metal armature of metal rods.
2. Subject matter: It is a round, free-standing outdoor sculpture. It shows a tribal peasant family - a man, a woman, children and a dog - migrating together.
3. Why it stands apart: It is regarded as the first public modernist sculpture in India. It blends a modern Western approach with an Indian tribal subject.
4. Description: It is a rough-textured sculptural group of an adult male and a female, clearly a couple. The woman holds a child on the left side of her body with her left arm.
5. The man carries a bamboo pole on his shoulder with a basket hanging at each end. Another child sits in the front basket. A lively dog walks happily along with them.
6. Emotions and themes: The complex composition of human and animal figures shows migration, poverty, hunger and financial crisis. Yet the family stays together through difficult times.

Teacher's Note:
a) Marks: 1 for the sculpture and medium, 2 for the subject matter and 3 for the description.
b) Key words: cement and concrete, metal armature, rough texture, migration, first public modernist sculpture.
c) Describe the family members one by one, including the dog and the baskets on the bamboo pole.

9. “The print given below depicts the figure of a lonely woman seated on the pavement before a dilapidated wall.”

[Figure: Monochrome print in brownish tones. A figure fully covered in a pale, crumpled drape sits on a raised stone ledge on the left, barefoot, with the face shown as a dark hollow inside the hood of the cloth. Behind is a large brick wall covered with white childlike line drawings. A band of panels with scalloped arch shapes and small rings runs along the top. In the lower right foreground, a pair of bare legs and a foot of a figure lying on the ground enter the picture from the right edge.]

i. Write the name of the printmaker, print, technique, subject matter. [2 Marks]

Answer:
1. The printmaker is Anupam Sud, the print is Of Walls, and the technique is etching on paper.
2. Subject matter: The print is the artist's journey down her memory lane, a memoir of childhood. The subject is unconsciously lost in the mystery of time, a gliding image that has found a place in her creation. It is often read as a picture of poverty and loneliness, but for the artist it is more of a personal moment.

Teacher's Note:
a) Write all four items asked: printmaker, print, technique and subject matter.
b) Mention both readings: poverty and loneliness, and the artist's own childhood memory.

ii. How does the glimpse of the lower part of a poor man, who is lying on the ground, contrasts with clothes of the woman to add to the sadness of the print? [2 Marks]

Answer:
1. In the foreground, two bare legs and a foot of a poor man sleeping near the wall are visible. They contrast with the faceless woman, who is fully clad in an untidy-looking sari and sits barefoot on a ledge of the wall. This contrast adds to the sadness of the print.
2. The print is etched in brown, with line drawings in white. The wall stayed in the artist's subconscious because it seemed very big to the child who once lived there. The artist shows ordinary reality without any beauty or glamour, and draws immense emotive and visual detail out of her medium.

Teacher's Note:
a) Focus on the contrast: bare legs of the man against the covered woman.
b) Mention the brown etching with white line drawings for the technique point.

iii. Why does the printmaker create an interesting form of a woman by hollowing out the face? [2 Marks]

Answer:
1. Anupam Sud exposed the hidden face of society in a straightforward way. She was always interested in feminine subjects, showing women's deprivation and exploitation and exploring their psyche.
2. The faceless figure shows the woman's vulnerability and emptiness in continuous, endless time. The black face and white garments suggest the situation of a widow facing discrimination and conservative beliefs in a male-dominated society. The work is thoughtful, haunting and indistinct, and the deep monochromes strengthen this effect.

Teacher's Note:
a) Key words: vulnerability, emptiness, deprivation and exploitation of women.
b) Link the hollow face with the widow's helplessness in society for the second mark.