Landscape of the soul class 11 NCERT solutions
Landscape of the soul class 11 NCERT solutions : Landscape of the soul is the chapter number six from the class 11 NCERT English main textbook. Landscape of the soul is written by author Nathalie Trouveroy. Here you'll get to read landscape of the soul class 11 ncert solutions.
Landscape of the soul summary in English
In this chapter "The landscape of the soul" the writer "Nathalie Trouveroy" contrasts two forms of art "Chinese art and European" art by using two different stories.During the eighth century in China, the Tang emperor Xuanzong Talking about the Text commissioned "Wu Daozi" a painter to decorate a wall in the palace. Upon seeing the wall painting, the Emperor started noticing the outer appearance of the painting but the painter drew his attention to a cave at the foot of the mountain.
Wu Daozi told the Emperor that he would take him inside. As soon as the painter clapped his hand the entrance of the cave opened, The painter entered the cave and then the entrance closed behind him and the painting on the wall was disappeared and so was the painter.
In another story, a painter wouldn’t draw an eye of a dragon as he feared that the dragon would fly out of the painting.
In another story to represent a European art form, a master Blacksmith falls in love with a painter’s daughter. The father didn’t approve of him because of his profession.
The blacksmith sneaked into his painting studio and painted a fly on the painter’s latest panel. The fly seemed so real that the painter tried to hit it first before realising it was in the painting.
The painter accepted him as a trainee in his studio. The blacksmith married the painter’s daughter and later became one of the famous painters of his time.
These stories revealed as to how art form is believed to be followed in two different regions in the world. In Europe, an artist wants his viewer to see a real viewpoint by borrowing his eyes. The art must be perfect and must be illusion likeness.
On the other hand in China, the artist doesn’t paint a real one but uses his inner and spiritual voice to create an abstract piece. The viewer can enter the painting from any point and can travel according to his own imagination. The artist wants the viewer to enter his mind and create a path of its own.
This concept is called "Shanshui" which means "mountain water". When they are used together, they make the word "landscape".
Landscape of the soul summary in Hindi
इस अध्याय में "The landscape of the soul" लेखक "Nathalie Trouveory" दो अलग-अलग कहानियों का उपयोग करके कला के दो रूपों "चीनी कला और यूरोपीय" कला के विपरीत है।
चीन में आठवीं शताब्दी के दौरान, तांग सम्राट Xuanzong ने पाठ के बारे में बात करते हुए "Wu Daozi" को एक चित्रकार को महल में एक दीवार को सजाने के लिए कमीशन किया था। दीवार की पेंटिंग को देखते हुए, सम्राट ने पेंटिंग के बाहरी स्वरूप को देखना शुरू कर दिया, लेकिन चित्रकार ने अपना ध्यान पहाड़ की एक गुफा पर आकर्षित किया।
वू डाओज़ी ने सम्राट से कहा कि वह उसे अंदर ले जाएगा। जैसे ही चित्रकार ने अपने हाथ से ताली बजाई, गुफा का प्रवेश द्वार खुल गया, चित्रकार गुफा में दाखिल हुआ और फिर प्रवेश द्वार उसके पीछे बंद हो गया और दीवार पर लगी पेंटिंग गायब हो गई और ऐसा ही चित्रकार का भी हुआ।
एक अन्य कहानी में, एक चित्रकार ड्रैगन की आंख नहीं खींचेगा क्योंकि उसे डर था कि पेंटिंग से ड्रैगन उड़ जाएगा।
एक अन्य कहानी में एक यूरोपीय कला रूप का प्रतिनिधित्व करने के लिए, एक मास्टर लोहार एक चित्रकार की बेटी के प्यार में पड़ जाता है। उसके पेशे के कारण पिता ने उसे स्वीकार नहीं किया।
लोहार अपने पेंटिंग स्टूडियो में घुस गया और चित्रकार के नवीनतम पैनल पर एक मक्खी चित्रित की। मक्खी इतनी वास्तविक लग रही थी कि चित्रकार ने पेंटिंग में आने से पहले उसे हिट करने की कोशिश की।
चित्रकार ने उसे अपने स्टूडियो में एक प्रशिक्षु के रूप में स्वीकार किया। लोहार ने चित्रकार की बेटी से शादी की और बाद में अपने समय के प्रसिद्ध चित्रकारों में से एक बन गया।
इन कहानियों से पता चलता है कि कैसे कला के रूप में दुनिया के दो अलग-अलग क्षेत्रों का अनुसरण किया जाता है। यूरोप में, एक कलाकार चाहता है कि उसका दर्शक उसकी आँखों से उधार लेकर एक वास्तविक दृश्य देख सके। कला परिपूर्ण होनी चाहिए और भ्रम समानता होनी चाहिए।
दूसरी ओर चीन में, कलाकार एक असली पेंट नहीं करता है, लेकिन एक सार टुकड़ा बनाने के लिए अपनी आंतरिक और आध्यात्मिक आवाज़ का उपयोग करता है। दर्शक किसी भी बिंदु से पेंटिंग में प्रवेश कर सकता है और अपनी कल्पना के अनुसार यात्रा कर सकता है। कलाकार चाहता है कि दर्शक उसके दिमाग में प्रवेश करे और अपना रास्ता खुद बनाए।
इस अवधारणा को "Shanshui" कहा जाता है जिसका अर्थ है "पहाड़ का पानी"। जब उन्हें एक साथ उपयोग किया जाता है, तो वे "लैंडस्केप" शब्द बनाते हैं।
Landscape of the soul class 11 questions answers
• Page No: 34
Notice these expressions in the text. Infer their meaning from the context.
anecdote, illusionistic likeness, delicate realism, conceptual space, figurative painting
Ans:
Anecdote : From the text, the meaning of anecdote can be inferred as a short account of a particular incident or event, especially of an interesting or exciting nature.
Illusionistic likeness : It refers to an adjective of the technique of using pictorial methods in order to deceive the eye. The reference is to an illusion created by the semblance of something.
Delicate realism : It refers to the alluring quality of the art which makes it seem real. It is an interest in or concern for the actual or real as opposed to abstract.
Conceptual space : It refers to relation with the abstract than the factual representation. This is the incalculable dimension of the understanding of concepts.
Figurative painting : A figurative painting refers to the metaphoric representation of a piece of art, through the eyes of the creator’s imagination.
• Page No: 38
Understanding the Text
1. (i) Contrast the Chinese view of art with the European view with examples.
Ans: The Chinese paintings are based on imaginative, inner or spritiual approach whereas the european paintings reproduce an actual view, of an external or real object. The paintings of Wu daozi and mater painters of Europe illustrate the difference.
(ii) Explain the concept of shanshui.
Ans: Shanshui, meaning “mountain-water”, refers to a style of Chinese painting that involves natural landscapes, the landscape which is an inner one, a spiritual and conceptual space. It represents the two complementary poles (`yin’ and `yang’) reflecting the Daoist view of the universe.
2. (i)What do you understand by the terms ‘outsider art’ and ‘art brut’ or ‘raw art’ ?
Ans: 'Outsiders art' refers to those art who have no right to be artists as they have recieved no formal training yet show talent and artistic insight. 'Art brut' or 'raw art' are the works of art in their raw state as regards cultural and artistic influences.
(ii) Who was the “untutored genius who created a paradise” and what is the nature of his contribution to art ?
Ans: The “untutored genius” who created “paradise” was Nek Chand, an 80- year old creator-director who made the world famous rock garden at Chandigarh. His was an ‘outsider art’ in which he sculpted with stone and recycled materials. He used anything and everything from a tin to a sink to a broken down car to form an artistic piece. One of his famous creations are ‘Woist'.Talking about the Text
Discuss the following statements in groups of four.
Q1.“The Emperor may rule over the territory he has conquered, but only the artist knows the way within.”
Ans: This sentence explains the fact that even though an Emperor might rule an entire kingdom and have power over his conquered territory, only an artist would be able to go beyond any material appearance. He knows both the path and the method of the mysterious work of the universe. True meaning of his work can be seen only by means known to him, irrespective of how powerful an emperor is.
Q2. “The landscape is an inner one, a spiritual and conceptual space.”
Ans: This phrase explains The Chinese art from where a Chinese painter wants you to enter his mind rather than borrow his eyes. This is a physical as well as a mental participation. It is a landscape created by the artist to travel up and down, and back again, through the viewer’s eyes. The landscape is not `real’ and can be reached from any point.
Thinking about the Language
Q3. Find out the correlates of Yin and Yang in other cultures.
Ans: The Indian culture lays stress on Nature and God. Nature is the 'yen' or female part whereas God the creator, is the male part. This concept also known as 'Maya' or Brahma' The combination of two creates the whole world, all it objects and also inhabitants.
Q4. What is the language spoken in Flanders ?
Ans: 'French' language spoken in Flanders which is a region in Belgium.
Landscape of the soul short questions answers
Ans: Flemish artist did not draw the dragon’s eye for fear it would come alive; so lifelike was the dragon. Quinten Metsys painted a fly on artists’ canvas - artist swatted it thinking it was a real fly.
Q2. What are Yang and Yin ? What do they represent ?
Ans:
Ans:
Ans: ‘Yang’ represents the mountain or the vertical element which is stable, warm, dry and masculine. ‘Yin’ represents the water or the horizontal element that is fluid, moist, cool and feminine. The interaction of Yang and Yin is the fundamental notion of Daoism.
Q3. Who is Nek Chand ? What is his achievement ?
Ans: Nek Chand was an untrained artist, renowned for his masterpiece sculpted work with stone and recycled material - the Rock Garden of Chandigarh. He was an exponent of raw art which received worldwide recognition.
Ans: Nek Chand was an untrained artist, renowned for his masterpiece sculpted work with stone and recycled material - the Rock Garden of Chandigarh. He was an exponent of raw art which received worldwide recognition.
Q4. How was Nek Chand honoured ?
Ans: Nek Chand was made the Director of his creation - ‘The Rock Gardens’. He was honoured by the Swiss Commission of UNESCO by way of a European exposition of his works. There were interactive shows ‘Realm of Nek Chand’ held at leading museums in Switzerland, Belgium, France and Italy.
Ans: Nek Chand was made the Director of his creation - ‘The Rock Gardens’. He was honoured by the Swiss Commission of UNESCO by way of a European exposition of his works. There were interactive shows ‘Realm of Nek Chand’ held at leading museums in Switzerland, Belgium, France and Italy.
Q5. What is the Middle Void ? Why it is important ?
Ans: The ‘Middle Void’ is the empty space between ‘Yang’ and ‘Yin’. Their interaction takes place here. It is represented by white unpainted space in Chinese paintings.
Ans: The ‘Middle Void’ is the empty space between ‘Yang’ and ‘Yin’. Their interaction takes place here. It is represented by white unpainted space in Chinese paintings.
Q6. Why is the white unpainted space important in Chinese art ?
Ans: White space represents the Middle Void where the interaction of Yang and Yin takes place. Man has an important role here. He becomes the conduct of communication between both poles of the universe.
Ans: White space represents the Middle Void where the interaction of Yang and Yin takes place. Man has an important role here. He becomes the conduct of communication between both poles of the universe.
Landscape of the soul important questions answers
Q1. What is the difference between Chinese and European view of art ?
or
What is the essential difference in the nature of Eastern and Western painting styles ?
Ans: The Chinese and the European arts are in direct contrast to each other and represent two contrarian views of art. Western figurative paintings depict scenes exactly as they are, whereas Eastern painters depict inner space—spiritual and conceptual. The European painter wants the viewer to understand his art exactly as he sees it, whereas Chinese painter wants the viewer to use his prudence, enjoy the art and come out with his inference.
or
What is the essential difference in the nature of Eastern and Western painting styles ?
Ans: The Chinese and the European arts are in direct contrast to each other and represent two contrarian views of art. Western figurative paintings depict scenes exactly as they are, whereas Eastern painters depict inner space—spiritual and conceptual. The European painter wants the viewer to understand his art exactly as he sees it, whereas Chinese painter wants the viewer to use his prudence, enjoy the art and come out with his inference.
Q2. How did the theory of ‘brut art’ put forward by Jean Dubuffet get credence ?
Ans: French painter Jean Dubuffet challenged the concept of ‘art brut’ in the 1940s. Before that the art of the untrained visionary was of minor interest. At about the same time ‘an untutored genius was creating paradise’. This was none other than Nek Chand, who cleared a little patch of jungle to make himself a garden sculpted with stone and recycled material known to the world today as the Rock Garden, at Chandigarh.
Ans: French painter Jean Dubuffet challenged the concept of ‘art brut’ in the 1940s. Before that the art of the untrained visionary was of minor interest. At about the same time ‘an untutored genius was creating paradise’. This was none other than Nek Chand, who cleared a little patch of jungle to make himself a garden sculpted with stone and recycled material known to the world today as the Rock Garden, at Chandigarh.
Q3. How does shanshui express the Daoist view of the universe ?
Ans: Shanshui means ‘mountain water.’ It expresses the Daoist view. The mountain is Yang and it stretches vertically towards Heaven. It is stable, warm, and dry in the sun, while the water is Yin. It is horizontal and resting on the earth, fluid, moist and cool. The interaction of Yin, the receiver, feminine aspect of universal energy, and Yang, active and masculine, is the fundamental belief of Daoism.
Ans: Shanshui means ‘mountain water.’ It expresses the Daoist view. The mountain is Yang and it stretches vertically towards Heaven. It is stable, warm, and dry in the sun, while the water is Yin. It is horizontal and resting on the earth, fluid, moist and cool. The interaction of Yin, the receiver, feminine aspect of universal energy, and Yang, active and masculine, is the fundamental belief of Daoism.
Q4. What is lacking in Shanshui ?
Ans: The third element, the Middle Void where their interaction takes place, is lacking in Shanshui. The Middle Void is indispensable. Hence nothing can happen without it. This is the reason why the white, unpainted space in Chinese landscape is important. This is also where Man finds a fundamental role, in that space between Heaven and Earth, he becomes the medium of communication between both poles of the universe.
Ans: The third element, the Middle Void where their interaction takes place, is lacking in Shanshui. The Middle Void is indispensable. Hence nothing can happen without it. This is the reason why the white, unpainted space in Chinese landscape is important. This is also where Man finds a fundamental role, in that space between Heaven and Earth, he becomes the medium of communication between both poles of the universe.
Q5. Why did the artist agree to get his daughter married to the blacksmith ?
Ans: Initially the artist was against the blacksmith, Quinten Metsys, marrying his daughter. However, one day Quinten slyly sneaked into the painter’s studio and painted a fly on his latest panel, that was so realistic that the master tried to swat it away. The artist was so impressed that he admitted Quinten as an apprentice into his studio and let him marry his beloved.
Ans: Initially the artist was against the blacksmith, Quinten Metsys, marrying his daughter. However, one day Quinten slyly sneaked into the painter’s studio and painted a fly on his latest panel, that was so realistic that the master tried to swat it away. The artist was so impressed that he admitted Quinten as an apprentice into his studio and let him marry his beloved.
Landscape of the soul extra questions answers
Q1. Briefly narrate the story of the Emperor and the Chinese artist.
Ans: A painter Wu Daozi, who lived in the eighth century was asked to paint a landscape by the Tang Emperor Xuanzong, to decorate a palace wall. The artist concealed his work behind a screen, so that only the Emperor would see it. For a long time, the Emperor admired the wonderful scene.
Ans: A painter Wu Daozi, who lived in the eighth century was asked to paint a landscape by the Tang Emperor Xuanzong, to decorate a palace wall. The artist concealed his work behind a screen, so that only the Emperor would see it. For a long time, the Emperor admired the wonderful scene.
One day the painter showed him a cave at the foot of the mountain, and said that a spirit dwelt there. The painter clapped his hands, and the entrance to the cave opened. He then entered the cave and the entrance closed behind him. Since then nothing is known of the artist or the painting as the painting vanished off the wall.
Q2. How did stories such as the one about Wu Daozi play an important role in China’s classical education ?
Ans: Such stories played a significant part in China’s classical education. They helped the master to guide his pupil in the right direction. They were not merely tales, but were deeply illuminating of the essence of art. The books of Confucius and Zhuangzi are full of such stories. They reveal that art was considered the essence of inner life and spirit in Asia.
Ans: Such stories played a significant part in China’s classical education. They helped the master to guide his pupil in the right direction. They were not merely tales, but were deeply illuminating of the essence of art. The books of Confucius and Zhuangzi are full of such stories. They reveal that art was considered the essence of inner life and spirit in Asia.
Q3. Briefly recount what happened to the painter Wu Daozi ?
Ans: The painter Wu Daozi lived in the eighteenth century. He was showing his painting of a beautiful landscape to the Emperor who was all praises for it. Wu Daozi then clapped his hands before the cave in his painting and its entrance opened. The painter entered the cave and disappeared along with the cave and painting leaving the astonished Emperor speechless!
Ans: The painter Wu Daozi lived in the eighteenth century. He was showing his painting of a beautiful landscape to the Emperor who was all praises for it. Wu Daozi then clapped his hands before the cave in his painting and its entrance opened. The painter entered the cave and disappeared along with the cave and painting leaving the astonished Emperor speechless!
Q4. How was Quinten able to marry the painter’s daughter ?
Ans: Quinten was a blacksmith who wanted to marry a painter’s daughter. The painter did not think he was a suitable match, as he was not an artist. Quinten painted a fly on one of the painter’s canvases. It looked so real that the painter tried to kill it. When he realised that Quinten had painted it, he allowed him to marry his daughter.
Ans: Quinten was a blacksmith who wanted to marry a painter’s daughter. The painter did not think he was a suitable match, as he was not an artist. Quinten painted a fly on one of the painter’s canvases. It looked so real that the painter tried to kill it. When he realised that Quinten had painted it, he allowed him to marry his daughter.
Q5. How is the pranayama compared to the Middle void ?
Ans: The Middle Void is vital as nothing can happen without it. This is the reason why the white, unpainted space in Chinese landscape is imperative. This is also where Man finds a fundamental role, in the yogic practice of pranayama we breathe in, retain and breathe out. The suspension of breath is the Void where meditation occurs.
Ans: The Middle Void is vital as nothing can happen without it. This is the reason why the white, unpainted space in Chinese landscape is imperative. This is also where Man finds a fundamental role, in the yogic practice of pranayama we breathe in, retain and breathe out. The suspension of breath is the Void where meditation occurs.
Landscape of the soul long questions answers
Q1.Narrate the tale of the Chinese Emperor and the artist. What message does the story convey?
Ans:
Tang Emperor Xuanzong asked the painter Wu Daozi, to make a landscape to decorate a palace wall. The artist had hidden his work behind a screen, so only the Emperor would see it. The Emperor, for a long time, admired the wonderful scene, discovering forests, high mountains, waterfalls, clouds floating in an immense sky, men on hilly paths, birds in flight. One day the painter showed him a cave, at the foot of the mountain.
He said that a spirit lived there. Just then, the painter clapped his hands, and the entrance to the cave opened. The artist said that it was infinitely beautiful inside and he entered the cave. The entrance closed behind him. Since then nothing has been known of Wu Daozi.
The story underlines the message that the Emperor was only interested appreciating the outer appearance of the painting but the artist makes known to him the true meaning of his work. The Emperor admires the territory while the artist is filled with the ‘spirit’ within.
Q2. Narrate the anecdote that brings out that Europeans endeavoured to achieve ‘a perfect, illusionistic likeness’.
Ans: In fifteenth century lived a blacksmith named Quinten Metsys who fell in love with a painter’s daughter. The father, being an artist, would not accept a son-in-law who was a blacksmith. So Quinten crept into the painter’s studio and painted a fly on his latest board. It seemed so real that even the artist thought it was real and tried to swat it away.
It was then he realised what had happened. He immediately took Quinten as a trainee into his studio. Quinten then married his beloved and went on to become one of the most famous painters of his age.This story exemplifies what European form of art was trying to achieve. They wanted a perfect, illusionistic likeness.
Q3. What was the revolutionary idea in art that was put forward by Jean Dubuffet ? How did an Indian artist support his theory ?
Ans: Before the French painter Jean Dubuffet, challenged the concept of ‘art brut’ in the 1940s, people were not interested in the art of the untutored creative thinkers. It was he who defied this concept. As a consequence this ‘outsider art’ has steadily become the fastest growing area of interest in modem art worldwide. He felt that there are artists who have received no formal training, yet show talent and artistic insight. Their works are a motivating contrast to a lot of conventional ones.
At the time Dubuffet was advocating his theory, in India ‘an untutored genius was creating paradise’. Nek Chand made one of the biggest contributions by clearing a little patch of jungle to make himself a garden sculpted with stone and recycled material. This garden is known to the world today as the Rock Garden at Chandigarh.
Q4. How do the Chinese expect the people to view the horizontal scroll ? Why ?
Ans: Unlike European art, Chinese art is meant to be metaphorical. An artist in China would not like the onlooker to look at a particular landscape from a specific angle. The Chinese painter does not choose a specific viewpoint. One can enter his landscape from any point, and then travel in it. The artist creates a course for your eyes to journey up and down, then back again, at an unhurried pace.
This is even truer of the horizontal scroll. The action of slowly opening one section of the painting, then rolling it up to move on to the other, adds a dimension of time which is unknown in any other form of painting. It necessitates the active contribution of the viewer. It is the viewer who decides at what speed he will travel through the painting. The interaction is physical as well as mental. The Chinese painter wants you to enter his mind. The landscape is an inner one, a spiritual and abstract.
Q5. Nek Chand’s work is acclaimed as the work of a genius and is appreciated world over. Justify.
Ans: Nek Chand’s work is acknowledged as India’s biggest contribution to outsider art. The fiftieth issue of Raw Vision, a UK-based magazine that initiated the outsider art publications, featured Nek Chand, and his Rock Garden sculpture ‘Women by the Waterfall’ on its anniversary issue’s cover. It reported how Nek Chand had used every thing from a tin to a sink to a broken down car to create a work of art that took him to the pinnacles of glory.
The Swiss Commission for UNESCO applauded his art as ‘an outstanding testimony of the difference a single man can make when he lives his dream’, and decided to honour him. They decided to put up an exhibition of his works. The five-month interactive show, ‘Realm of Nek Chand’, is to begin in October. It is to be held at leading museums in Switzerland, Belgium, France and Italy. However, the greatest honour for him is seeing people enjoy the creation.
Ans:
Tang Emperor Xuanzong asked the painter Wu Daozi, to make a landscape to decorate a palace wall. The artist had hidden his work behind a screen, so only the Emperor would see it. The Emperor, for a long time, admired the wonderful scene, discovering forests, high mountains, waterfalls, clouds floating in an immense sky, men on hilly paths, birds in flight. One day the painter showed him a cave, at the foot of the mountain.
He said that a spirit lived there. Just then, the painter clapped his hands, and the entrance to the cave opened. The artist said that it was infinitely beautiful inside and he entered the cave. The entrance closed behind him. Since then nothing has been known of Wu Daozi.
The story underlines the message that the Emperor was only interested appreciating the outer appearance of the painting but the artist makes known to him the true meaning of his work. The Emperor admires the territory while the artist is filled with the ‘spirit’ within.
Q2. Narrate the anecdote that brings out that Europeans endeavoured to achieve ‘a perfect, illusionistic likeness’.
Ans: In fifteenth century lived a blacksmith named Quinten Metsys who fell in love with a painter’s daughter. The father, being an artist, would not accept a son-in-law who was a blacksmith. So Quinten crept into the painter’s studio and painted a fly on his latest board. It seemed so real that even the artist thought it was real and tried to swat it away.
It was then he realised what had happened. He immediately took Quinten as a trainee into his studio. Quinten then married his beloved and went on to become one of the most famous painters of his age.This story exemplifies what European form of art was trying to achieve. They wanted a perfect, illusionistic likeness.
Q3. What was the revolutionary idea in art that was put forward by Jean Dubuffet ? How did an Indian artist support his theory ?
Ans: Before the French painter Jean Dubuffet, challenged the concept of ‘art brut’ in the 1940s, people were not interested in the art of the untutored creative thinkers. It was he who defied this concept. As a consequence this ‘outsider art’ has steadily become the fastest growing area of interest in modem art worldwide. He felt that there are artists who have received no formal training, yet show talent and artistic insight. Their works are a motivating contrast to a lot of conventional ones.
At the time Dubuffet was advocating his theory, in India ‘an untutored genius was creating paradise’. Nek Chand made one of the biggest contributions by clearing a little patch of jungle to make himself a garden sculpted with stone and recycled material. This garden is known to the world today as the Rock Garden at Chandigarh.
Q4. How do the Chinese expect the people to view the horizontal scroll ? Why ?
Ans: Unlike European art, Chinese art is meant to be metaphorical. An artist in China would not like the onlooker to look at a particular landscape from a specific angle. The Chinese painter does not choose a specific viewpoint. One can enter his landscape from any point, and then travel in it. The artist creates a course for your eyes to journey up and down, then back again, at an unhurried pace.
This is even truer of the horizontal scroll. The action of slowly opening one section of the painting, then rolling it up to move on to the other, adds a dimension of time which is unknown in any other form of painting. It necessitates the active contribution of the viewer. It is the viewer who decides at what speed he will travel through the painting. The interaction is physical as well as mental. The Chinese painter wants you to enter his mind. The landscape is an inner one, a spiritual and abstract.
Q5. Nek Chand’s work is acclaimed as the work of a genius and is appreciated world over. Justify.
Ans: Nek Chand’s work is acknowledged as India’s biggest contribution to outsider art. The fiftieth issue of Raw Vision, a UK-based magazine that initiated the outsider art publications, featured Nek Chand, and his Rock Garden sculpture ‘Women by the Waterfall’ on its anniversary issue’s cover. It reported how Nek Chand had used every thing from a tin to a sink to a broken down car to create a work of art that took him to the pinnacles of glory.
The Swiss Commission for UNESCO applauded his art as ‘an outstanding testimony of the difference a single man can make when he lives his dream’, and decided to honour him. They decided to put up an exhibition of his works. The five-month interactive show, ‘Realm of Nek Chand’, is to begin in October. It is to be held at leading museums in Switzerland, Belgium, France and Italy. However, the greatest honour for him is seeing people enjoy the creation.
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