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

SECTION -A

1. Select the right answer from the given option

i. The Expression primarily expressed in Radha (Bani Thani) is: [1 Mark]
A. Motherly love
B. Pride in grace
C. Sorrow for migration
D. Celebration of harvest

Answer: B. Pride in grace

Teacher's Note:
a) Bani Thani is an idealised, elegant figure of Radha from the Kishangarh sub-school.
b) Her proud, graceful profile is the main expression, not sorrow or motherly love.

ii. The famous sculpture ‘Triumph of labour, was created by [1 Mark]
A. Ramkinker Baij
B. D.P. Roy Chaudhury
C. Amarnath Sehgal
D. P.V. Janakiram

Answer: B. D.P. Roy Chaudhury

Teacher's Note:
a) Triumph of Labour shows workers pushing a heavy rock together.
b) Do not confuse it with Santhal Family, which is by Ramkinker Baij.

iii. Which miniature School of Rajasthan is recognised for preserving its core visual originality for the longest period. [1 Mark]
A. Mewar
B. Kishangarh
C. Jaipur
D. Bundi

Answer: A. Mewar

Teacher's Note:
a) Mewar is one of the earliest and most stylistically enduring centres of Rajasthani miniature painting.
b) Maru Ragini by Sahibdin is the Mewar painting in your course.

iv. Assertion (A): The Mughal School of Painting used decorative borders to enhance the beauty of the painting.
Reason (R): Artists of Mughal courts used floral motifs and gold to make their painting look royal and full of grandeur. [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, but R is true

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

Teacher's Note:
a) The decorative borders were made with floral motifs and gold, which is why they added beauty and grandeur.
b) Check if R tells why A happens; here it does, so choose A.

v. Which among the following painting was painted by M. A. R. Chughtai? [1 Mark]
A. Raslila
B. Meghdoot
C. Radhika
D. Shiva and Sati

Answer: C. Radhika

Teacher's Note:
a) Radhika is the Bengal School painting by M. A. R. Chughtai in your course.
b) Meghdoot is by Ram Gopal Vijayvargiya; match each Bengal School painting with its artist.

vi. In which miniature painting has the artist scaled the main character to convey values such as protection, leadership, and selfless service? [1 Mark]
A. Krishna on Swing
B. Krishna Lifting Mount Govardhan
C. Krishna and Gopis
D. Nand, Yashoda, and Krishna with Kinsmen

Answer: B. Krishna Lifting Mount Govardhan

Teacher's Note:
a) Krishna is shown larger than the others as he lifts the mountain to shelter the villagers.
b) Link the words protection and leadership with the lifting of Govardhan.

vii. This painting has flat surface inscribed with a line on the upper portion that is translated as, “beautiful maidens on horsebacks, playing”. [1 Mark]
A. Radha Bani Thani
B. Maru Ragini
C. Chand Bibi playing polo
D. Chaughan players

Answer: D. Chaughan players

Teacher's Note:
a) Chaughan is the old name of the game of polo, and the inscription refers to maidens playing it on horseback.
b) Read the options carefully, as two of them show polo; the marking scheme gives D.

viii. Assertion (A): Paintings from the Pahari miniature tradition are known for their depiction of romantic themes from works like the Gita Govinda.
Reason (R): This is because the Pahari miniature tradition evolved in a cultural environment deeply shaped by Vaishnav devotional literature and music. [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, but R is true

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

Teacher's Note:
a) The Gita Govinda is Vaishnav devotional poetry about Radha and Krishna.
b) So the Vaishnav environment (R) explains the romantic themes (A).

SECTION -B

2(A) Maru Ragini (1628 A.D.), a Rajasthani miniature painting, exemplifies the sublime visual vocabulary of the Mewar School - one of the earliest and most stylistically enduring centres of the Rajasthani miniature tradition. Evaluate its aesthetic grandeur and visual majesty. [2 Marks]

Answer:
1. Visual composition: Maru Ragini is painted by Sahibdin. It is an outdoor desert scene on the theme of love. A king and queen ride a camel, with attendants and a dog around them, under a night sky. Calligraphic inscriptions are written at the top of the painting.
2. Aesthetics: The painting has bright colours, simple borders, ek-chashma (one-eyed) profiles, beautiful costumes and fine rhythmic lines. It expresses the themes of loyalty, faithfulness and commitment.

Teacher's Note:
a) One mark is for the visual composition and one for the aesthetics, so write a point on each.
b) Always name the artist, Sahibdin, and the key figures (king and queen on a camel).

OR

2(B) Write a short descriptive note on the miniature painting Chand Bibi Playing Polo, explaining its, subject matter, artistic style, compositional structure, and key visual features. [2 Marks]

Answer:
1. Subject matter and artistic style: The painting belongs to the Deccan School (Golconda). It shows Chand Bibi, the warrior queen of Bijapur, and other women playing polo, a game mainly played by men at that time. It shows the life and importance of women, with a female referee. The style shows Persian influence.
2. Composition and visual features: It is a well-composed outdoor scene with decorated horses, a princess and female figures, trees and a pond showing nature. The figures are realistic and the colours are vibrant.

Teacher's Note:
a) Mention Deccan School, Golconda and Chand Bibi as the warrior queen of Bijapur.
b) The point that women are playing a men's game is a key value point.

3(A) i. Explain the historical origin and the development of two Pahari School of Miniature Painting. [1 Mark]
ii. Give example of an artist & artwork of each school. [1 Mark]

Answer:
i. The Pahari School originated in the 17th century. Artists fled north from Aurangzeb's wrath to the hill areas of Himachal. Its hybrid style was influenced by the Gujarat, Mughal and Rajasthani miniature traditions. The main centres were Basohli, Guler, Kangra and Jammu.
1. Basohli: the earliest centre of Pahari painting. It is known for vigorous and bold lines, strong glowing primary colours and intense emotional scenes.
2. Kangra: developed in the 18th century under its main patron Raja Sansar Chand. This was its golden period, known for refined drawing and brilliant colour schemes.
ii. Examples: Basohli - Manaku, Krishna with Gopis; Kangra - Nainsukh, Nand, Yashoda and Krishna with Kinsmen Going to Vrindavana.

Teacher's Note:
a) One mark is for the origin and one for the development, so give the 17th century origin first.
b) Give one feature of each school: bold lines and primary colours for Basohli, refined drawing for Kangra.
c) Manaku and Nainsukh are the two Pahari artists named in the marking scheme.

OR

3(B) An artwork, associated with the Deccan School of miniature painting, shows a spiritual Scene in a garden with a disciple playing a musical instrument for his master.
i. Identify the artwork and to which sub school it belongs to? [1 Mark]
ii. Explain the relationship between mentor and disciple. [1 Mark]

Answer:
i. The artwork is Hazrat Nizamuddin Auliya and Amir Khusro. The artist is unknown. It belongs to the Hyderabad sub-school. It is painted in watercolour (tempera technique) on paper.
ii. The painting shows respect and devotion of the disciple towards his Guru. It has simplicity, peace and a divine atmosphere, set outdoors near a fruitful tree with minimal architecture. Amir Khusro plays a musical instrument while the Guru, with a halo behind him, gives blissful preaching. It shows the connection between young and old, and the sharing and acceptance of wisdom.

Teacher's Note:
a) Name both figures, Nizamuddin Auliya and Amir Khusro, and the sub-school, Hyderabad.
b) Use value words such as respect, devotion and sharing of wisdom in part ii.

4(A) How far is the painter successful in depicting emotions, movement, people from all aspects of life in the subject matter of the painting Nand, Yashoda, and Krishna with Kinsmen Going to Vrindavana? [2 Marks]

Answer:
1. The painting Nand, Yashoda, and Krishna with Kinsmen Going to Vrindavan is by Nainsukh. It is painted in tempera technique with watercolour on paper.
2. The painter is very successful in conveying both the emotional and aesthetically pleasing essence. The composition is well balanced, with multiple figures of kinsmen in action as they move to Vrindavan. Krishna wears a pitambar, and the bright colours and jewellery add beauty. These moving figures show the artist's success.

Teacher's Note:
a) One mark is for the name, artist, technique and medium, so always begin with these.
b) Mention multiple figures in action to show movement and people from all walks of life.

OR

4(B) Bikaner developed as an important centre of Rajasthani painting in the 17th century. The main themes of Bikaner painting were love scenes of Radha and Krishna based on various literary texts.
i. Identify the painting and its artist from your course. [1 Mark]
ii. Describe its compositional arrangement. [1 Mark]

Answer:
i. The painting is Krishna on Swing. It belongs to the Rajasthani School, Bikaner sub-school. The artist is Nuruddin, and the medium is watercolour/tempera.
ii. It is a vertical painting divided into two panels by two hills, yet it gives the illusion of a single painting. In the upper panel, Krishna sits on a swing wearing an orange dhoti and a crown, in a bluish hue; on the other side is a balcony (architecture) from which Radha watches. The lower panel shows a garden with trees and foliage, where Krishna and Radha are seated separately. A horizontal architectural or ground line divides the two parts.

Teacher's Note:
a) Remember: Krishna on Swing, Bikaner, Nuruddin.
b) Describe the upper panel and the lower panel separately for the composition mark.

Identify and appreciate the emotions that dominate the artworks of the artist mentioned below, with special reference to the application of colours and technique:

5(A) Raja Ravi Varma [2 Marks]

Answer:
1. In Rama Vanquishing the Pride of the Ocean (oil on canvas), Rama is the main figure standing on a rock in the foreground. His face shows anger and annoyance. Varuna, with his consorts, pleads before him; there are three figures in all.
2. The composition is diagonal, and the central figure is balanced by turbulent, violent waves, stones and a dark, stormy sky. The figures are realistic, with flowing clothes. Light and shadow and detailed brushwork make the scene dramatic.

Teacher's Note:
a) Name the painting and its medium, oil on canvas, first.
b) The key emotion is Rama's anger; link it with the stormy sky and violent waves.

OR

5(B) Amrita Sher-Gil. [2 Marks]

Answer:
1. Amrita Sher-Gil painted Haldi Grinder in 1940, when she was seeking inspiration from India's idyllic rural scene. It shows Indian women busy in the traditional activity of grinding dry turmeric, painted in an Indian style.
2. She used bright, saturated pigments in this work. Trained in modern art in Europe, she saw parallels between the miniature traditions of north India and the modern art of Paul Gauguin, whom she admired.

Teacher's Note:
a) Key facts: Haldi Grinder, 1940, women grinding turmeric.
b) Mention bright, saturated colours and the blend of Indian miniature and modern European influence.

6(A) What are the symbolic significance of the icons and colours used in the Indian National Flag? [2 Marks]

Answer:
1. Colours: The flag uses saffron, white, green and blue. Together they symbolise courage, sacrifice, peace, truth, honesty, strength, unity, prosperity and agriculture.
2. Icon: The Dharma Chakra is the eternal wheel of law. It stands for motion and growth, and for commitment and duty. Its 24 spokes represent the 24 hours of the day.

Teacher's Note:
a) Write one point on the colours and one on the Dharma Chakra.
b) Do not forget the 24 spokes of the chakra.

OR

6(B) Throw light on the graphic print included in your course that represents the pain and agony of a female left alone and surrounded by poverty. [2 Marks]

Answer:
1. The print is Of Walls, a modern artwork made by etching on paper. It is a monochromatic print.
2. It shows a female figure with a dark face in a dirty white saree, the bare legs of a male figure, and a brick wall of a haveli with chalk drawings. It shows poverty and injustice, blending realism with abstraction through fine line work and textures.

Teacher's Note:
a) One mark is for the name and technique (Of Walls, etching), one for the description.
b) Use the words poverty, injustice and monochromatic in your answer.

SECTION-C

Attempt any two questions from the given options

7. Discuss the key characteristics of any two Mughal miniature paintings made during two different rulers:
i. The artist & title.
ii. The Medium & technique.
iii. The compositional arrangement. [6 Marks]

Answer:
Painting 1 (Shahjahan period):
i. Artist and title: Darashikoh ki Baraat (the marriage procession of Dara Shikoh) by Haji Madni.
ii. Medium and technique: watercolour on paper, in the tempera technique.
iii. Composition: a huge wedding procession with more than 100 figures. The groom is at the centre with a halo, on a decorated horse, among multiple decorated horses. Females ride on elephants, attendants hold candles and fireworks light the sky. The bride's welcome party, musicians and a dancing boy are shown. Bright colours, jewellery, Mughal costumes and floral borders add grandeur.
Painting 2 (Akbar period):
i. Artist and title: Krishna Lifting Mount Govardhan by Miskin.
ii. Medium and technique: watercolour on paper, in the tempera technique.
iii. Composition: Krishna is the central and largest figure, lifting Mount Govardhan to protect the people of Braj. The villagers, cowherds and cattle gather under the mountain for shelter. The large scale of Krishna shows his role as protector and leader, and the many figures and bright colours fill the scene with life.

Teacher's Note:
a) Choose two paintings from two different rulers (Akbar, Jahangir or Shahjahan), as the question demands.
b) For each painting, cover all three points: artist and title, medium and technique, composition; each carries 1 mark.
c) In Darashikoh ki Baraat, remember the groom with a halo and more than 100 figures.

8. What is the Contribution of Indian art in the freedom struggle? [6 Marks]

Answer:
1. Company painting and colonial rule: With colonial rule around the eighteenth century, the English were charmed by the manners and customs of people of all ranks, by tropical flora and fauna, and by varying locales. Partly for documentation and partly for artistic reasons, many English officers commissioned local artists to paint scenes around them, to get a better idea of the natives.
2. Indianising art education (1896): The year 1896 was important in the Indian history of visual arts. E. B. Havell and Abanindranath Tagore saw a need to Indianise art education in the country. This began in the Government Art School, Calcutta, now the Government College of Art and Craft, Kolkata. Similar art schools were set up in Lahore, Bombay and Madras, but their main focus was on crafts like metalwork, furniture and curios.
3. Kala Bhavana, the first national art school: Nandalal Bose, a student of Abanindranath Tagore, was invited by the poet and philosopher Rabindranath Tagore to head the painting department of the newly established Kala Bhavana. Kala Bhavana was India's first national art school.

Teacher's Note:
a) The answer carries 2+2+2 marks, so write three clear paragraphs.
b) Key names: E. B. Havell, Abanindranath Tagore, Nandalal Bose and Rabindranath Tagore.
c) Remember the year 1896 and Kala Bhavana as India's first national art school.

9. Examine the picture of the painting given below, focusing on:

[Figure: Colour painting of a young man with long dark hair, wearing yellow garments and a white scarf, crouching on a rock and writing on a stone slab; swirling white-blue clouds surround him, trees and a hut are at the top, a small waterfall is at the lower left and white birds fly in the dark blue sky.]

i. Mention the artist’s name, the title of the painting, medium & technique [2 Marks]

Answer: The painting is Meghdoot by Ram Gopal Vijayvargiya. It belongs to the Bengal School. The medium is watercolour on paper, and it is made in the tempera technique.

Teacher's Note:
a) Two marks are for the artist, title, technique and medium together, so write all of them.
b) Do not confuse Meghdoot with Radhika, which is by M. A. R. Chughtai.

ii. How the artist uses subject matter in the composition? [1 Mark]

Answer: The Yaksha is the main figure, shown writing a message, surrounded by clouds and flying birds. It is a poetic representation of the theme of love and longing from Kalidasa's poem.

Teacher's Note:
a) Name the central figure, the Yaksha, and what he is doing.
b) Link the clouds with the message he sends in the poem.

iii. How the work conveys the emotional and aesthetic core of Kalidasa’s poem, analysing emotional impact, colour choices, forms, and its reflection of the Bengal School. [3 Marks]

Answer:
1. Emotional impact: Tears flow from the Yaksha's doe-shaped eyes. The painting shows loneliness, the agony of separation and melancholy, along with a sense of adoration and hope.
2. Colour choices: Fresh colours are used, such as the yellow garments, which stand out against the clouds.
3. Forms and Bengal School: The figure is delicate, the flowing hair is well composed, and rhythmic lines show the movement of wind, clouds and flying birds. The poetic, lyrical treatment reflects the Bengal School.

Teacher's Note:
a) Write one point each on emotion, colour and form, as three marks are given.
b) Use key words from the scheme: agony of separation, melancholy, hope, rhythmic lines.