The Place of Art in Education MCQ (Multiple Choice Questions) - Nandalal Bose - WB HS

 Class-XI

Prose

Chapter- 5

The Place of Art in Education   

-Nandalal Bose

The Place of Art in Education MCQ

MCQ (Multiple Choice Questions)

1. In order to acquire Knowledge, man has

devised -

a)  a  number of things 

b) nothing 

c) only one thing 

d)Science and technology

 Ans: a) A number of things 

2.While seeking inner delight, man gives language -

 a) no importance 

b) its due importance

c) little importance

d) undue importance

 Ans: b) It's due importance 

3.  In order to acquire knowledge and seek inner delight, man has devised

a) science  

b) art  

c) literature

d) language

 Ans: d) Language 

4. The vehicle for literature, science, and philosophy is -

a) fine arts

b) craft  

c) mathematics

d) language

 Ans: d) Language 

5. Inner delight is provided by-

a) literature 

b) language 

c) lyrical  music 

d) lottery

 Ans: a) Literature 

6. The field of expression for language is –

a) vast 

b) ever expanding 

c) unlimited 

d) limited

 Ans: a) Vast

7. Art, music, dance can be-

a) the companions of language  

b) the rivals  of language 

c) playing the role of substitutes for language 

d) antagonistic towards language

 Ans: a) The companions of language 

8. Education in art heightens-

a) man’s knowledge 

b) man’s knowledge  and  efficiency

c) man’s aesthetic experience 

d) man’s knowledge and aesthetic experience

 Ans: d) Man's knowledge and aesthetic experience 

9. Man’s knowledge and aesthetic experience is heightened through education in-

a) language 

b) arts 

c) science 

d) technology

 Ans: b) Arts 

10. For the purpose of education in art, music, and dance, the medium of reading and writing is-

a) compatible

b) incompatible 

c) responsible 

d) incorrigible

Ans: b) Incompatible 

11. Literature provides delight that is –

a) internal in nature 

b) coarse in nature 

c) external in nature 

d) superficial  in nature

 Ans: a) Internal in nature

12. Man’s gateway to the world is his-

a) language 

b) knowledge 

c) education 

d) mind and senses

Ans: d) Mind and senses

13. For total development  through education, we should-

a) give importance to reading 

b) give importance to writing 

c) give importance to art training

d) give importance to reading, writing along with art training

 Ans: d) Give importance to reading, writing along with art training

14. The provision for art training in our universities is-

a) enough 

b) sufficient 

c) excellent 

d)  meagre

 Ans: d) Meagre

15. The present state of art education in universities is influenced by the notion that art is-

a) devoid of utility for common people 

b) disliked by the common people 

c) only for the intelligent people 

d) only for the urban* people

 Ans: a) Devoid of utility for common people 

16. The general notion about art has a –

a) positive impact on art training in universities 

b) significant impact on the popularity of art training among students 

c) negative impact on art training  in universities 

d) little impact on art training in universities

 Ans: c) Negative impact on art training in Universities. 

17. The number of general notions about art is –

a) four

b) three

c) five

d) two

 Ans: d) Two

18. The notions about art are that-

a) art is for a few professionals and it is necessary for one to do a professional course to study art.

b) art is for the rich and it is necessary for one to be rich to study art

c) art is for a few professionals and common people have no use of art.

d) art is for a few intellectuals and it is necessary for one to be an intellectual to study art.

 Ans: c) Art is for a few professionals and common people have no use of art.

19. “When the educated do not feel any sense of shame at not understanding art, what question can there be of commoners?”-

The above statement shows

a) Widespread indifference in understanding art 

b) lack of sincerity 

c) lack of fund needed for art training 

d) careless attitude of a particular section of people in society.

Ans: a) Widespread indifference in understanding art.

20.  “They gape in amazement* at Japanese dolls….”-

The word ‘They’ in the above statement refers to-

a)  the common people having no art training 

b) the professionals who study art 

c) the educated people who are great art-connoisseurs* 

d) the students who are in universities.

 Ans: a) The common people having no art training.

21. Persons who are responsible for the poor aesthetic standard of common people are-

a) the politicians 

b) the economists 

c) the working class 

d) the educated public/ones

 Ans: a) The politicians.

22. With regard to imparting art training, the educated people show-

a) an indifferent attitude 

b) a lot of enthusiasm

c) their inquisitiveness 

d) a lot of exuberance 

 Ans: a) An indifferent attitude.

23. The aesthetic sensibilities of this country-

a) is on the decline 

b) is on the rise 

c) is going up 

d) is in danger

 Ans: a) Is on the decline.

24. Aesthetic sensibilities can be developed by imparting art education to-

a) the illiterate* 

b) semi-literate *

c) the poor 

d) the educated

 Ans: d) The educated.

25. “….they set the standards for the people at large.’- Here the word ‘they’ refers to-

a) the common people 

b) the poor 

c) the illiterate people 

d) the educated

 Ans: d) The educated.

26. “….they set the standards for the people at large.”- The 

statement shows that ‘they’ have-

a) a significant influence on people at large. 

b) extraordinary power to convince people.

c) a negative impact on people’s thinking 

d) a soothing effect on people’s mind

Ans: a) A significant influence on people at large.

27. The relationship between sense of beauty and aesthetic experience is-

a) contradictory *

b) conflicting* 

c) interchangeable*

d) proportional

 Ans: d) Proportional.

28. When sense of beauty is absent, aesthetic beauty is-

a) present 

b) dominant 

c) dormant

d) absent

 Ans: d) Absent

29. the absence of a sense of beauty-

a) affects the physical and mental well-being  

b) affects the mental well-being only   

c) affects the spiritual well-being  

d) perfects the physical and mental well-being

Ans: a) Affects the physical and mental well-being.

30. Sense of beauty helps one develop a sense of-

a) filthiness 

b) cleanliness 

c) tidiness 

d) both cleanliness and tidiness

 Ans: d) Both cleanliness and tidiness.

31. People, who litter rubbish in their houses and courtyards, keep themselves and their surroundings filthy, lack-

a) civic sense 

b) common sense 

c) aesthetic sense 

d) good sense

 Ans: c) Aesthetic sense

32. Lack of aesthetic sense points towards a-

a) poor standard of behaviour 

b) normal standard of behaviour 

c) usual standard of behaviour 

d) casual standard of behaviour

 Ans: a) Poor standard of behaviour.

33. Lack of aesthetic sense contaminates society in –

a) only one way 

b) in less than two ways 

c) in more than two ways 

d) in less than three ways

 Ans: d) In less than three ways.

34. Lack of aesthetic sense contaminates society with-

a) diseases 

b) deaths 

c) despicable standards of behaviour of people 

d) diseases and despicable standards of behaviour of people

 Ans: d) diseases and despicable standards of behaviour of people.

35. The word ‘contaminate’ means-

a) corrupt 

b) pollute 

c) infect 

d) vitiate*

 Ans: b) Pollute.

36. The word ‘despicable’ means-

a) pleasant 

b) bad 

c) good 

d) prosaic*

 Ans: b) Bad.

37. Aesthetic sense -

 a) prevents 

  b) protects

  c) favours

  d) cherishes

Ans: a) Prevents.

38. Some people hold the notion that

a) art is only for the rich 

b) art is only for the pleasure-loving 

c) art is for the rich and the pleasure-loving 

d) art is for the educated

Ans: c) Art is for the rich and the pleasure-loving.

39. Some people think that art is-

a) an exclusive property of a few people 

b) inclusive *

c) conclusive *

d) an intellectual property of a few people

 Ans: a) An exclusive property of a few people.

40. Those who think art is an exclusive property of the rich are-

a) favourable to art 

b) contemptuous about art 

c) careless about art 

d) serious about art

 Ans: b) Contemptuous about art.

41. Those who banish art from their daily lives, think that art is for-

a) the rich and the educated 

b) the educated and the poor 

c) the poor and the pleasure-loving  

d) the pleasure-loving and the rich

Ans: d) The pleasure-loving and the rich.

 

42. The vitality of a work of art depends on –

a) its sense of beauty and order 

b) its monetary* value 

c) its style 

d) its status of being contemporary *

 Ans: a) It's sense of beauty and order.

43. A poor Santhal’s daily household work of sweeping and mopping his hut speaks about his-

a) sense of purity 

b) sense of innocence 

c) sense of piety* 

d) sense of aesthetics

 Ans: d) Sense of aesthetics.

44. An educated college student’s act of keeping his clothes and things in disorganised mess speaks about his-

a) excellent aesthetic sense 

b) fashionable way of living 

c) lack of patience 

d) ugly way of living

 Ans: d) Ugly way of living.

45. The life of a poor Santhal and the life of an educated college student show that art and aesthetic sense-

a) do not depend on money 

b) do not depend on caste, race, and religion 

c) do not depend on education 

d) do not depend on money, education, caste, race, and religion.

 Ans: d) Do not depend on money, education, caste, race, and religion.

46. Art is full of vitality when-

a) it is an essential part of life 

b) it is studied in universities 

c) it is studied by a few chosen professionals 

d) it is studied by educated people

 Ans: a) It is an essential part of life.

47. Art is lifeless when-

a) it is considered  essential 

b) it is superficial 

c)it is considered relevant 

d) it is considered ornamental

 Ans: b) It is superficial.

48. Shirts hanging from picture frames, tea-cups, and combs littering the study table are examples of-

a) proportion 

b) appropriation

c) disproportion 

d) distortion

 Ans: c) Disproportion 

49. Use of open-breasted jacket with the ‘dhoti’, high-heeled shoes with the saree point towards-

a) fashion

b) simplicity 

c) aesthetic sensibility 

d) lack of aesthetic sensibility

 And: d) Lack of aesthetic sensibility.

50. Disproportion and lack of taste is-

a) somewhere to be seen 

b) anywhere to be seen 

c) nowhere to be seen

d) everywhere to be seen

 Ans: d) Everywhere to be seen.

51. Disproportion and lack of taste is                                                 

a) limited

b) widespread

c) modest

d) mild

Ans: b) Widespread

52. The two aspects to the practice of literature are concerned with-

a) cultivation *of knowledge and monetary gains 

b) entertainment and monetary gains

b) knowledge and spirituality 

d) aesthetic pleasure and cultivation of knowledge in one hand and monetary returns on the other.

 Ans: d) Aesthetic pleasure and cultivation of knowledge in one hand and monetary returns on the other.

53. Art has- 

a) one 

b) two 

c) three 

d) four

Ans: b) Two.

 

54. The two sides to art are-

a) fine art and crude art 

b) professional art and amateur art 

c) fine art and fictional art

d) fine and functional art

 Ans: d) Fine and functional art.

55. Fine art is related to –

a) monetary issues 

b) physical issues 

c) mental well-being 

d) spiritual fulfilment

 Ans: c) Mental well-being.

56. Fine art has a –

a) confining effect on mind 

b) liberating effect on mind 

c) binding effect on mind 

d) standing effect on mind

 Ans: b) Liberating effect on mind.

57. Fine art imports us to the world of-

a) fancy 

b) spirituality 

c) practicality 

d) frivolity

 Ans: a) Fancy.

58. The journey from the world of sorrows into the world of delight can be made easier if we take help of-

a) fine art 

b) functional art 

c) professional art 

d) performative art

 Ans: a) Fine art.

59. Fine art can be a gateway for escape for people who-

a) are relaxed and careless 

b) have renounced the world 

c) are heavily burdened with the problems of life 

d) are baffled by the ways of the people.

 Ans: c) Are heavily burdened with the problems of life.

60. Fine art deals with-

a) coarse pleasure 

b) wild fun 

c) cacophony 

d) sense of beauty and delight inherent in  it.  

Ans: d) Sense of beauty and delight inherent in it.

                                                                                  

61. Functional art is –

a) professional  in nature 

b) theoretical in nature 

c) theocratic in nature 

d) philanthropic in nature

 Ans: a) Professional in nature.

62. Functional art is-

a) theoretical 

b) practical 

c) professional 

d) both practical and professional

 Ans: d) Both practical and professional.

63. Functional art instils beauty in –

a) everyday objects 

b) mundane objects 

c) precious* objects 

d) everyday objects that can be mundane in nature.

 Ans: d) Everyday objects that can be mundane in nature.

64. Functional art makes our life-

a) filthy 

b) disdainful* 

c) beautiful 

d) meaningful

 Ans: d) Meaningful.

65. A respectable *life in terms of livelihood can be expected from the practice of-

a) functional art 

b) fine art 

c) aesthetics 

d) ethics

Ans: a) Function art.

66. Functional art-

a) helps the economic health of a country remain safe and  sound 

b) destroys the economic condition 

c) hurts the economic condition 

d) curtails the economic growth

 Ans: a) Helps the economic health of a country remain safe and  sound.

67. Functional art-

a) brings beauty to daily life 

b) brings value to our words 

c) brings meaning to daily life 

d) brings justice and equality

 Ans: a) Brings beauty to daily life.

68. Functional art adds –

a) value to precious objects 

b) value to priceless objects 

c) value to prosaic objects 

d) value to preserved objects

 Ans: c) Value to prosaic objects.

69. Functional art is by nature-

a) altruistic* 

b) charitable  

c) escapist*

d) realistic

 Ans: d) Realistic.

70. Fine art is by nature-

a) altruistic 

b) philanthropic 

c) escapist 

d) charitable

 Ans: c) Escapist.

71. The main difference between fine art and functional art is that-

a) fine art creates a world of beauty on its own, while functional art 

dislikes the idea of beauty.

b) fine art takes us into a world of beauty while functional art is 

beautiful in itself.

c) fine art takes us to a world of aesthetic delight, while functional art makes everything around us beautiful.

d) fine art has a permanent solution to every problem of life, while functional art offers no such solution.

 Ans: c) Fine art takes us to a world of aesthetic delight, while functional art makes everything around us beautiful.

72. Fine art offers –

a) physical relief 

b) spiritual relief

c) mental relief 

d) economic relief

 Ans: c) Mental relief.

73. Relief offered by fine art is-

a) permanent 

b) perpetual 

c)long-lived 

d) temporary

 Ans: d) Temporary. 

74. Functional art offers-

a) mental relief 

b) monetary relief 

c) minor relief 

d) massive relief

 Ans: b) Monetary relief.

75. The relation between our country’s economic decline and decay of functional art is-

a) proportional 

b) disproportional

c) nominal

d) negligible 

 Ans: a) Proportional. 

76. The exclusion of art from the sphere of our needs is –

a) harmful for the country’s cultural status 

b) harmful for the economic growth

c) harmful for the diplomatic status 

d) harmful for the human rights

 Ans: b) Harmful for economic growth.

77. Art education-

a) deprives our lives of beauty 

b) fills our lives with beauty

c) burdens our lives with beauty 

d) weighs down our lives with beauty

 Ans: a) Deprives our lives of beauty.

78. Lack of art education-

a) burdens our lives with coarseness. 

b) fills our lives with beauty

c) deprives our lives of vulgarity 

d) burdens our lives with financial crisis.

 Ans: a) Burdens our lives with coarseness.

79. Our past heritage is-

a) linked with art education. 

b) linked with work education 

c) linked with handicraft

d) linked with artisans

 Ans: a) Linked with art education.

80. Lack of art education has-

a) secluded us from our past heritage 

b) soothed us from our past heritage 

c) separated us from our past heritage 

d) saddened us about our past heritage.

Ans: c) Separated us from our past heritage.

81. Art education-

a) helps understand the aesthetic qualities of a country 

b) helps understand a country’s rich cultural past 

c) deters one from delving deep into the country’s cultural past

d) deters one from appreciating the rich cultural past of one’s country

 Ans: b) Helps understand a country’s rich cultural past.

82. To appreciate the glory of past painting, we need-

a) training  in sculpture 

b) training in painting 

c) training in handicraft 

d) training in art

 Ans: d) Training in art.

83. Our approach towards the glory of our past painting, 

sculpture and architecture is that of –

a) enthusiasm 

b) ignorance

c) keen interest 

d) inquisitiveness

 Ans: b) Ignorance.

84. To discover our past glory in art, we needed-

a) foreign training 

b) foreign fund 

c) foreign education 

d) foreign connoisseurs

 Ans: d) Foreign Connoisseurs.

85. Foreign connoisseurs are-

a) better equipped 

b) ill-equipped 

c) less-equipped 

d) worst-equipped

Ans: a) Better equipped.

86. In understanding our past heritage, we should be-

a) antagonistic to

b) resentful to

c) remorseful to

d) indebted to foreign connoisseurs.

 Ans: d) Indebted to foreign connoisseurs.

87. Our present-day art-

a) gets valued by us. 

b) is studied by us with a lot of zeal. 

c) is received with a lot of fervour 

d) is neglected by us.

 Ans: d) Is neglected by us.

88. That we overlook our art work is a matter of-

a) regret 

b) pride 

c) shock 

d) shame

 Ans: d) Shame.

89. The role the foreign markets play for our art is –

a) nourishing 

b) negative 

c) narcissistic

d) notorious

 Ans: a) Nourishing.

90.To get recognised in India, approval in foreign markets for an 

Indian art work is –

a) mandatory 

b) must 

c) one of the most important prerequisites 

d) superfluous

Ans: c) One of the most important prerequisites. 

91. The roots of art education lie in the –

a) observation of ‘Nature’ and good works of art. 

b) observation of the universe and cosmos.

c) observation  of human beings. 

d) observation of flora and fauna.

 Ans: a) Observation of ‘Nature’ and good works of art. 

92. When it comes to art education, nature is a-

a) friend. 

b) philosopher. 

c) guide.

 d) teacher.

Ans: d) Teacher

93. Teachers of art education must possess the quality of-

a) inquisitiveness. 

b) logical thinking. 

c) aesthetic sensibilities. 

d) critical thinking

 Ans: c) Aesthetic sensibilities.

94. Power of observation is developed through-

a) training in literature 

b) training in drawing 

c) training  in architecture 

d) training in philosophy

 Ans: b) Training in drawing.

95. Power of observation makes people-

a) intellectual 

b) insightful 

c) intelligent 

d) introvert

 Ans: b) Insightful.

96. Training in drawing equip students with skills to study-

a) science, philosophy, and art 

b) philosophy, painting, and literature

c) literature, science, and philosophy 

d) architecture, art, and painting

 Ans: c) Literature, Science and philosophy. 

97. Art training will-

a) make all the students artists 

b) make all the students great artists

c) not make all the students artists 

d) make students connoisseurs of art

 Ans: c) Not make all the students artists 

98. At the time of the writer, art was –

a) not a mandatory subject 

b) a compulsory subject

c) not an optional subject 

d) not a subject to be studied in educational institutions

 Ans: a) Not a mandatory subject. 

99. Observation of nature requires –

a) time 

b) environment 

c) mentality 

d) both time and environment

 Ans: d) Both time and environment. 

100. Institutional training in art –

a) makes one a good artist 

b) does not guarantee one to be a good artist 

c) is the ultimate way to become an artist 

d) guarantees one to be a good artist

 Ans: b) does not guarantee one to be a good artist.

101. As a remedy for sad state of art education and awareness 

about art, the writer prescribes-

a) nature observation 

b) training in drawing 

c) observation of good works of art 

d) institutional training

Ans: d) Institutional training. 

102. Paintings, sculpture etc should be displayed in the-

a) class-rooms 

b) living rooms 

c) libraries 

d) class-rooms, libraries, studies and living rooms

 Ans: d) Class-rooms, libraries, studies and living rooms.

103. In the absence of good paintings, sculpture and other 

specimens of fine arts and functional arts-

a) their creators must come and talk to the students 

b) their photographs should be displayed 

c) any other work of art mediocre in quality should be displayed 

d) any other work of art poor in quality can be displayed

 Ans: b) Their photographs should be displayed. 

104. Paintings, sculpture and other specimens of fine and functional arts to be displayed should be selected on the basis of their-

a) quality 

b) mediocrity

c) quantity 

d) fragility

Ans: a) Quality.

105. Books on art should be written by-

a) well-versed people 

b) well-taught people 

c) well-mannered 

d) well-behaved people

 Ans: a) Well-versed people

106. One of the key features of the books on art must be the usage of –

a) historical citations 

b) scientific evidence 

c) social doctrine 

d) cultural texts

Ans: a) Historical citations

107. Films showing the selected examples of art of this country, 

shown to students are-

a) enough for them 

b) more than enough for them 

c) irrelevant for them 

d) incomplete for them

 Ans: d) Incomplete for them.

108. Films based on the selected examples of art must be shown 

to students for –

a) exploration of art work 

b) exposure to art work 

c) exploitation of art work 

d) exhibition of art work

 Ans: b) Exposure to art work.

109. Perfect exposure to art is only possible when students are 

shown the art of –

a) a specific country 

b) the country they belong to 

c) the locality they come from 

d) the whole world

 Ans: d) The whole world

110. While selecting the art intended to be shown in films, one 

must be-

a) holistic in approach 

b) specific in approach 

c) perfectionist in approach 

d) traditional in approach

Ans: a) Holistic in approach. 

111. The idea of students visiting museums and picture galleries is-

a) impracticable 

b) implementable

c) impossible 

d) incorrigible

 Ans: b) Implementable. 

112. The author is

  a) hopeless  

  b) optimistic 

  c) doubtful

  d) determined

Ans: b) Optimistic. 

113. A tour to an art gallery means an encounter with an object of art which is –

a) straightforward 

b) roundabout* 

c) indirect 

d) incomplete

 Ans: a) Straightforward. 

114. Compared to direct encounter with art work, lectures on 

art work are-

a) less effective 

b) far more effective 

c) strikingly effective 

d) radically effective

 Ans: a) Less effective. 

115. Direct encounter with an art work, -

a) train the eyes of the students 

b) makes students fully understand them 

c) makes them understand their rich cultural history 

d) makes students spiritually awakened

 Ans: a) Train the eyes of the students.

116. Visit of the students to art museums depends on the –

a) mindset of the educational institution 

b) mindset of the students 

c) mindset of the teachers 

d) mindset of the museum authority

 Ans: a) Mindset of the educational institution 

117. Visiting art museums and picture galleries awaken-

a) aesthetic sensibilities 

b) aesthetic sensibilities, discerning power, and eyesight 

c)discerning power and eyesight 

d) eyesight

 Ans: a) Aesthetic sensibilities.

118. Which one among the following is not achieved by direct encounter with an art object through museum visits?

a) logical reasoning 

b) power of discernment 

c) argumentative qualities 

d) aesthetic sensibilities

Ans: c) Argumentative qualities. 

119. One of the most effective ways of nature-familiarisation is to hold-

a) seasonal fairs

b) seasonal festivals 

c) winter festivals 

d) summer camps

 Ans: b) Seasonal festivals. 

120. Creations in art and literature have their source in-

a) seasonal fruits 

b) seasonal flowers

c) seasonal festivals 

d) seasonal fruits, flowers, and festivals

Ans: d) Seasonal fruits, flowers, and festivals. 

121. “…Students should be introduced to nature’s own festival of the seasons,…”-

By the phrase “ Nature’s own festival of the season…”, the writer intends to mean-

a) the colour and the beauty, the ‘nature’ presents in each season

b) that Nature holds festivals 

c) the seasonal festivals 

d) the joy associated with festivals

 Ans: a) The colour and the beauty, the ‘nature’ presents in each season.

122. Autumn presents the festival of –

a) rain and sun

b) rice fields

c) lotus ponds 

d) rice fields and lotus ponds

 Ans: d) Rice fields and lotus ponds.

123. Spring presents the carnival of –

a) flowers 

b) fruits 

c) people 

d) birds

 Ans: a) Flowers.

124. Palash and  shimul blooms in-

a) summer 

b) autumn 

c) winter 

d) spring

 Ans: d) Spring.

125. Familiarisation* with nature is essential for –

a) town dwellers 

b) rural boys 

c) vagabonds 

d) travellers

 Ans: a) Town dwellers.

126. Special holidays, picnics, games, use of seasonal costumes are a part of –

a) seasonal holidays 

b) seasonal celebrations 

c) seasonal festivals 

d) seasonal get together

 Ans: c) Seasonal celebrations. 

127. Getting acquainted with nature and  learning to love it 

makes aesthetic sensibilities-

a) permanent 

b) fragile

c) quick-flitting

d) weaker

 Ans: a) Permanent.

128. To attain aesthetic sensibilities and to make it permanent, 

students should not-

a) love Nature 

b) get acquainted with Nature 

c) go away from Nature 

d) continue observing Nature

 Ans: c) Go away from Nature.

129. Nature has provided the source material for all-

a) inventions 

b) explorations 

c) artistic creations

 d) adventurous activities

 Ans: c) Artistic creations.

130. Getting acquainted with ‘Nature’ comes normally to-

a) village people 

b) rural boys 

c) city-dwellers 

d) urban people

Ans: b) Rural boys.