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Subjects

Home Science

Traditional occupations in India - Visual arts

This Class 11 Home Science topic, from the chapter “Work, Livelihood and Career,” introduces students to visual arts as an important form of traditional occupation in India. It explores how painting, drawing, craft, design, textiles, pottery and other creative practices are shaped by local materials, skills, culture and community knowledge. Students also consider the role of artisans, changing markets, livelihood opportunities, preservation of heritage and the importance of respect for skilled work when thinking about careers in the creative sector.

Expert · Level 3 · 25 questions

Practice questions

01Why is value chain study important for artists in traditional visual arts?

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02In which situation will digital promotion of traditional art be considered most effective?

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03If traditional artists are continuously receiving low prices, what is the most practical collective measure?

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04How can the meaning of living tradition in visual art be best understood?

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05Which is the most expert way to create quality standards in an art group?

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06If traditional painting is included in curriculum, what should be the right basis of assessment?

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07What is the main ethical issue when an external company uses community knowledge in traditional art?

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08What is the advanced use of market research for a traditional visual artist?

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09In which situation can a traditional art product be placed in a premium category?

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10Why is cultural sensitivity necessary along with technical training in visual art?

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11If synthetic colours are replacing natural colours in an art, what should be examined from an expert view?

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12What is the difference between digitization and archiving in traditional art?

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13Which example shows social entrepreneurship in traditional visual art?

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14Which point must be included in a fair contract for an art product?

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15If a traditional artist work is repeatedly copied, which step is most suitable?

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16Why can emotional value in traditional art turn into economic value?

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17What should an art group do if local resources for visual art become scarce?

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18What is the meaning of social capital in art-based livelihood?

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19If an institution gives training on folk art but does not include local artists, what is the problem?

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20What is the main difference between market adaptation and cultural distortion in traditional art?

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21Why should indirect expenses be added to the cost of an art product?

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22In which situation can collective branding in traditional art fail?

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23What is the expert benefit of a curated exhibition for visual artists?

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24If traditional paintings are to be used in hotel decor, what would be the correct process?

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25Which is the strongest model of skill transfer in traditional visual art?

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