Landscape of the Soul Class 11 Questions and Answers

by | May 5, 2023 | General | 0 comments

 

NCERT Solutions for Class 11 English Hornbill Landscape of the Soul Important Question Answers

Class 11 English Landscape of the Soul Question Answers – Looking for Landscape of the Soul question answers (NCERT solutions) for CBSE Class 11 English Hornbill Book Chapter ? Look no further! Our comprehensive compilation of important questions will help you brush up on your subject knowledge. Practising Class 11 English question answers can significantly improve your performance in the exam. Our solutions provide a clear idea of how to write the answers effectively. Improve your chances of scoring high marks by exploring Chapter : Landscape of the Soul now. The questions listed below are based on the latest CBSE exam pattern, wherein we have given NCERT solutions to the chapter’s extract based questions, multiple choice questions, short answer questions, and long answer questions. 

Also, practising with different kinds of questions can help students learn new ways to solve problems that they may not have seen before. This can ultimately lead to a deeper understanding of the subject matter and better performance on exams. 

 

 

 

Class 11 English Landscape of the Soul Extract Based Questions

Extract-based questions are of the multiple-choice variety, and students must select the correct option for each question by carefully reading the passage.

 

A. A WONDERFUL old tale is told about the painter Wu Daozi, who lived in the eighth century. His last painting was a landscape commissioned by the Tang Emperor Xuanzong, to decorate a palace wall. The master had hidden his work behind a screen, so only the Emperor would see it. For a long while, the Emperor admired the wonderful scene, discovering forests, high mountains, waterfalls, clouds floating in an immense sky, men on hilly paths, birds in flight. “Look, Sire”, said the painter, “in this cave, at the foot of the mountain, dwells a spirit.” The painter clapped his hands, and the entrance to the cave opened.

1. What does the word ‘landscape’ mean in the above extract?
A. Shape of earth
B. Painting
C. Horizon
D. Mountain terrain
Ans. B. Painting

2. Two kinds of paintings being compared are
A. European and Chinese
B. Western and Indian
C. Asian and European
D. Chinese and Spanish
Ans. A. European and Chinese

3. Which painter wants to impose his views on the viewer?
A. Skilled
B. Asian
C. European
D. Chinese
Ans. C. European

4. Which painter wants to involve the thought of the viewer to appreciate his works?
A. Indian
B. European
C. Western
D. Chinese
Ans. D. Chinese

5. Which of the phrases is not similar to ‘borrow his eyes’?
A. As he saw it
B. From a specific angle
C. Choose a single view point
D. Not meant to reproduce an actual view
Ans. D. Not meant to reproduce an actual view

 

B. Around the time Dubuffet was propounding his concept, in India “an untutored genius was creating paradise”. Years ago the little patch of jungle that he began clearing to make himself a garden sculpted with stone and recycled material is known to the world today as the Rock Garden, at Chandigarh. Its 80-year-old creator– director, Nek Chand, is now hailed as India’s biggest contributor to outsider art. The fiftieth issue (Spring 2005) of Raw Vision, a UK-based magazine pioneer in outsider art publications, features Nek Chand, and his Rock Garden sculpture ‘Women by the Waterfall’ on its anniversary issue’s cover.

1. Who has been referred to as ‘untutored genius’ in the given extract?
A. Dubuffet
B. Nek Chand
C. Quinten Metsys
D. Wu Daozi
Ans: B. Nek Chand

2. The word ‘paradise’ as used in the extract refers to
A. Vrindavan Garden
B. Lodhi Garden
C. Mughal Garden
D. Rock Garden
Ans. D. Rock Garden

3. What has prominently been used in creating Rock Garden?
A. Rocks
B. Garden material
C. Recycled material
D. Best material
Ans. C. Recycled material

4. Where is Rock Garden situated?
A. New Delhi
B. Agra
C. Udaipur
D. Chandigarh
Ans. D. Chandigarh

5. What existed earlier at the place where Rock Garden is now situated?
A. Jungle
B. River
C. Ocean
D. Zoo
Ans. A. Jungle

 

C. This concept is expressed as shanshui, literally ‘mountainwater’ which used together represent the word ‘landscape’. More than two elements of an image, these represent two complementary poles, reflecting the Daoist view of the universe. The mountain is Yang — reaching vertically towards Heaven, stable, warm, and dry in the sun, while the water is Yin — horizontal and resting on the earth, fluid, moist and cool. The interaction of Yin, the receptive, feminine aspect of universal energy, and its counterpart Yang, active and masculine, is of course a fundamental notion of Daoism.

1. What does the Chinese Landscape depict?
A. It is not meant to reproduce an actual view.
B. they produce an actual viewpoint
C. they are not imaginary
D. None of the above
Ans. A. It is not meant to reproduce an actual view.

2. What does the concept of ‘Shanshui’ represent?
A. Imaginary place
B. worship
C. ‘mountain water’ which when used together represents the word ‘landscape’
D. None of the above
Ans. C. ‘mountain water’ which when used together represents the word ‘landscape’

3. What does Yin mean?
A. water; horizontal and resting on the earth, fluid, moist and cool
B. Mountain; vertically towards Heaven, stable, warm, and dry in the sun
C. Neutral action
D. None of the above
Ans. A. water; horizontal and resting on the earth, fluid, moist and cool

D. “The inside is splendid, beyond anything words can convey. Please let me show Your Majesty the way.” The painter entered the cave; but the entrance closed behind him, and before the astonished Emperor could move or utter a word, the painting had vanished from the wall. Not a trace of Wu Daozi’s brush was left — and the artist was never seen again in this world.

1. Who was Wu Daozi?
A. Carpenter
B. Plumber
C. Woodcutter
D. Beaurocrat
Ans. A. Carpenter

2. What happens when the emperor tries to sneak into the cave?
A. The painting disappeared
B. Another painting appeared
C. A Spirit came to life
D. None of the above
Ans. A. The painting disappeared

3. Why did the painting disappear from the wall?
A. It was not a real painting
B. It was realistic
C. It was magical
D. It remains a mystery
Ans. B.It was realistic

4. Find out a word from the above extract which means the same as “magnificent or palatial”
A. Splendid
B. Majesty
C. Painting
D. Trace
Ans. A. Splendid

E. What is often overlooked is an essential third element, the Middle Void where their interaction takes place. This can be compared with the yogic practice of pranayama; breathe in, retain, breathe out — the suspension of breath is the Void where meditation occurs. The Middle Void is essential — nothing can happen without it; hence the importance of the white, unpainted space in the Chinese landscape.

1. Name the chapter.
A. Portrait of a Lady
B. Discovering Tut
C. Landscape of the soul
D. The Adventure
Ans. C. Landscape of the soul

2. Name the author of this chapter.
A. Nathalie Trouveroy
B. William Wordsworth
C. Robert Frost
D. Adrienne Rich
Ans. A. Nathalie Trouveroy

3. Which of the following has been called the unpainted space in the Chinese landscape?
A. Yin
B. Yang
C. Middle Void
D. None of the above
Ans. C. Middle Void

4. What has the middle void been compared toin pranayama?
A. suspension of breath
B. inhalation
C. exhalation
D. all of these
Ans.  A. suspension of breath

Class 11 English Hornbill Landscape of the Soul Multiple Choice Questions

Multiple Choice Questions (MCQs) are a type of objective assessment in which a person is asked to choose one or more correct answers from a list of available options. An MCQ presents a question along with several possible answers.

 

1. With whose daughter did Quinten Metsys fall in love?
A. A painter’s
B. A doctor’s
C. A teacher’s
D. A lawyer‘s
Ans. A. A painter’s

2. What was Quinten Metsys by profession?
A. lawyer
B. Musician
C. Goldsmith
Ans. D. Master blacksmith

3. What did Quinten Metsys paint on the painter’s latest panel?
A. A dragon
B. A fish
C. A woman
D. A fly
Ans. D. A fly

4. What two forms of art did the author contrast in this chapter?
A. Indian Ancient Art and Chinese Art
B. Chinese art and European art
C. American Art and European Art
D. European Art and Greek Art
Ans. B. Chinese art and European art

5. What happened when the painter entered the cave?
A. the entrance closed behind him
B. the painting vanished
C. Nothing happened
D. It was only a dream
Ans. B. the painting vanished

6. What does the word ‘Dao’ mean?
A. perfection
B. both the path or the method, and the mysterious works of the Universe
C. mystery
D. royal
Ans. B. both the path or the method, and the mysterious works of the Universe

7. Why didn’t the painter want to draw an eye of a dragon?
A. he feared that the painting would not look good
B. he feared that the dragon would fly out of the painting
C. he feared that dragon will seem real
D. because he didn’t want to work
Ans. B. he feared that the dragon would fly out of the painting

8. What did the two forms of art depict?
A. a perfect, illusionistic likeness in Europe, the essence of inner life and spirit in Asia
B. a perfect, illusionistic likeness in Asia, the essence of inner life and spirit in Europe
C. perfect art form in Asia and realness in Europe
D. It depicted nothing
Ans. A. a perfect, illusionistic likeness in Europe, the essence of inner life and spirit in Asia

9.What path does the Chinese painter’s art create?
A. horizontal or vertical
B. aerial
C. a path for your eyes to travel up and down, then back again, in a leisurely movement
D. linear
Ans. C. a path for your eyes to travel up and down, then back again, in a leisurely
movement

10.What according to the painter dwells in the cave?
A. a spirit
B. monster
C. God
D. dragon
Ans. A. a spirit

11.The third element or middle void has been compared with-
A. self-purification stage of pranayama
B. to bring mind and senses under control
C. suspension of breath stage of pranayama
D. to attain Nirvana
Ans. C. suspension of breath stage of pranayama

12.What does European Figurative painting mean to the viewer?
A. Illusion
B. Imagination
C. exactly as the painter sees it from a specific angle
D. perspective of the painter
Ans. C. exactly as he sees it from a specific angle

13. What was Francois Cheng’s expression?
A. the texture of the landscape
B. the eye of the landscape
C. the center of the universe
D. the color of the landscape
Ans. B. the eye of the landscape

14. What does Yang mean?
A. Mountain; vertically towards Heaven, stable, warm, and dry in the sun
B. water; horizontal and resting on the earth, fluid, moist and cool
C. responsive, feminine aspect of universal energy
D. None of the above
Ans. A. Mountain; vertically towards Heaven, stable, warm, and dry in the sun

15. What does the concept of ‘Shanshui’ represent?
A. Imaginary place
B. Place of worship
C. ‘mountain water’ which when used together represents the word ‘landscape’
D. None of the above
Ans. (c) ‘mountain water’ which when used together represents the word ‘landscape’

16.What does ‘Leisurely movement’ mean?
A. relaxed movement
B. aggressive action
C. pleasurable action
D. None of the above
Ans. A. relaxed movement

17. What did Quinten do to get an apprenticeship into his master’s studio?
A. formally applied to get an apprenticeship
B. drew a fly on his latest panel that looked real
C. gave an interview
D. drew a dragon
Ans. B. drew a fly on his latest panel that looked real

18. What was the name of the blacksmith in the fifteenth century Antwerp?
A. Alessandro Farnese,
B. Van Dyck
C. King Philip II
D. Quinten Metsys
Ans. D. Quinten Metsys

19. Why didn’t the painter want to draw an eye of a dragon?
A. he feared that he would not do justice to the painting
B. he feared that the dragon would fly out of the painting
C. he feared that dragon will not seem real
D. because he didn’t want to work and was lazy
Ans. B. he feared that the dragon would fly out of the painting

20. Who was “Confucius”?
A. A Chinese Philosopher
B. A Persian Philosopher
C. An European sailor
D. An American traveller
Ans. A. A Chinese Philosopher

Class 11 English Landscape of the Soul Question Answers (including questions from Previous Years Question Papers)

In this post we are also providing important short answer questions from the Chapter Landscape of the Soul for CBSE Class 11 exams for the coming session.

 

Q.1. Which parts of the landscape, painted by Wu Daozi, did the Emperor admire and how long?
Ans. The Emperor spent a lot of time observing the artwork. He was in awe of Wu Daozi’s magnificent painting of the scene. He found forests, tall mountains, waterfalls, clouds circling above the great sky, people walking along rocky trails, and birds soaring admirable.

Q.2. What did the painter (Wu Daozi) tell the Emperor about the cave?
Ans. The artist informed the emperor that there was a spirit that resided in the cave at the base of the mountain. The cave’s entrance opened as he clapped his hands. He told the Emperor that the inside of the cave was lovely and offered to show his Majesty the way.

Q3. What happened to the painter as he entered the cave?
Ans. The cave’s entrance closed behind the painter as he entered it. The Emperor was taken aback. The painting was gone from the wall before he had a chance to react or comment. Not even a brush stroke was left behind. The artist, Wu Daozi, was never again seen by anyone.

Q4. Why, do you think, China’s classical education included stories having deep spiritual significance?
Ans. The master used tales with profound spiritual meaning to lead his disciple in the right path. They are prevalent in the writings of revered figures like Confucius and Zhuangzi. These narratives are told in these tales, which show the attitude towards art at the period.

Q5. Why did the painter not draw the eye of the dragon he had painted? How far do you agree with him?
Ans. The artist was afraid that if he added the dragon’s eye, the painting would be complete and the dragon might actually come to life. It might then fly out of the picture. Since the vision of the artist is spiritual, we agree with him.

Q6. Why does Nathalie Trouveroy mention Quinten’s trick?
Ans. In order to emphasise the purpose of art in Europe, the author describes Quinten’s trick. European artists strive for a flawless, illusionistic likeness. Even the master mistook Quinten’s painting of a fly for a genuine one because of its delicate realism.

Q7. How does the Chinese story present the powers and limitations of the Emperor and the painter?
Ans. Even while the Emperor may commission a painting and enjoy its aesthetic appeal, only the artist may disclose to the Emperor the true significance of his creation. Secondly, the Emperor may govern over the land he has conquered, but only the artist understands the route within.

Q8. ‘‘Let me show the way’’, said Wu Daozi. Explain how the author interprets the word ‘way’.
Ans. The author claims that the word “way” has two meanings:
(a) path or procedure, and
(b) the mysterious works of the universe.
The artist describes to the monarch how to go to the cave. He clarifies the enigmatic nature of the universe’s workings by entering the cave and vanishing from view.

Q9. Give three points of contrast between a classical Chinese landscape and a Western One.
Ans. A traditional Chinese landscape does not replicate an actual sight, but a Western landscape does. The Chinese painter does not select a single viewpoint, whereas the European painter wants the viewer to perceive a specific landscape exactly as he saw it, from a specific angle. The Chinese landscape is an inner one, a spiritual and mental space, rather than a physical one like the western one.

Q10. What do you learn about Daoist view of the universe from this chapter?
Ans. Daoism recognises “Yang” and “Yin,” two opposing yet complementary components in the universe. Although “yin” is receptive, feminine, fluid, moist, and cool, “yang” is active, masculine, stable, warm, and dry. ‘Yang’ and ‘Yin’ in interaction is a key Daoist idea.

Q11. Which element is often overlooked? How is it essential?
Ans. Third and most frequently forgotten is the Middle void. This is crucial since it’s where the interaction between “Yin” and “Yang” happens. In the absence of the middle void, nothing can occur. It is equally significant to “pranayama” breath holding. Only in the void, while we are holding our breath, can we meditate.

Q12. How does Nathalie Trouveroy define the role of Man?
Ans. Man is given a fundamental role by the author. He acts as a medium for communication between the poles of the universe in the region between Heaven and Earth. Being “the eye of the landscape,” the presence of man is crucial. He holds a significant position in the universe. He is not lost or overwhelmed by the high peaks.

Q13. How would you classify ‘art’ on the basis of your reading the chapter ‘Landscape of the Soul’?
Ans. We can categorise paintings and sculptures as “mainstream” and “outsider art,” accordingly. The latter are the creations of people who have not received formal training but who yet exhibit aptitude and aesthetic acumen. The former are the works of trained artists. It is the art of the untrained visionary.

Q14. ‘How has the worth of Nek Chand’s work been recognised abroad?
Ans. The largest contribution to “outsider art” from India is widely acknowledged to be Nek Chand’s work. The 50th edition of Raw Vision, a UK-based journal that was a pioneer in publishing outsider art, features Nek Chand and his sculpture “Ladies by the waterfall” from the Rock Garden. UNESCO is organising a five month interactive show of his works.

Q15. How has Nek Chand followed the notions of ‘art brut’ or ‘raw art’ in his works?
Ans. The works of art that are considered “art brut” or “raw art” are those that have not been influenced by any cultural or creative factors. Any and everything, from a can to a sink to a wrecked car, could serve as inspiration for a piece of art. A garden has been sculpted by Nek Chand using stone and repurposed materials.

Class 11 Landscape of the Soul Long Answer Questions 

 

Q1. How does the Chinese view of art differ from The European view? Illustrate your answer with examples.
Ans. A classical Chinese landscape is based on an imaginative, inward, or spiritual approach, as opposed to a western figurative painting, which aims to depict the scene as it actually appears. Although European art seeks to create a flawless illusionistic resemblance, Chinese art tries to capture the essence of inner life and soul. The European painter wants the audience to adopt his eyes and observe a specific landscape from the same perspective that he did. The Chinese artist, on the other hand, doesn’t favour any certain point of view. His surroundings are not actual ones. He does not want the audience to use his eyes for a while. He desires the beholder to enter his mind. A Chinese landscape can be entered from any location, traversed at one’s leisure, and then returned to. The observer must actively participate in Chinese art, according to this concept. Both physical and mental participation is required. The differences are clearly illustrated by the tales surrounding Wu Daozi’s paintings and a traditional tale from Flanders.

Q2. Explain the concept of Shanshui and the fundamental notions of Daoism.
Ans. The word “Shanshui” is Chinese. Mountain-water is what it literally denotes. Together, the two components stand in for the word “landscape”. An image has two elements: a mountain and a body of water. They also exhibit the universe as seen by Daoists. Mountain is “Yang” and water is “Yin,” respectively. The mountain ascends straight up to Heaven. In the sun, the mountain is steady, warm, and dry. Water lies on the Ground and is horizontal. Water is pliable, wet, and cold. The submissive and feminine side of all energy is known as “yin”. Yang is its balancing component. Yang is a vigorous and manly word. One of the key ideas of Daoism is the interaction of ‘Yin’ and ‘Yang. There is an essential third element also. It is the Middle Void where the interaction takes place. There must be this Middle Void. Without it, nothing can take place. The yogic technique of pranayama can be used to explain the Middle Void notion. We inhale, hold our breath, and exhale. The Void, where meditation takes place, is when the breath is held still. As a result, Chinese landscape places a specific emphasis on the white, unpainted area.

Q3. Man is ‘‘the eye of the landscape’’ says Francois Cheng. Discuss this concept on the basis of reading ‘Landscape of the soul’.
Ans. The Daoist conception of the universe can be used to explain the place of man in this universe. Throughout the universe, Daoism recognises two opposing yet complimentary aspects. They are referred to as “Yang” and “Yin,” respectively. Although “yin” is receptive, feminine, moist, and chilly, “yang” is active, masculine, stable, warm, and dry. The Middle Void is where “Yang” and “Yin” communicate. As a result, the Middle Void is crucial since without it, nothing can occur. The value of man and his essential function in the universe can be interpreted in the light of Daoism. In the void between Heaven and Earth, there is man. Even if it is only implied, he acts as a channel for communication between the two poles of the universe. He holds a significant position in the universe. He is not misplaced or enslaved by the towering peaks. Man is the most significant element and the “eye” of the landscape, hence his presence is necessary. Without an eye, we cannot see. Similar to how without man, the universe would be incomplete.

Q4. What do you understand by ‘outsider art’? Write a note on world wide recognition of Nek Chand’s contribution to outsider art.
Ans. “Outsider art” is the term for the work of those who, although having no professional training as artists, exhibit aptitude and creative insight. For his distinctive contribution to outer art, Sh. Nek Chand has received acclaim on a global scale. He has produced a large number of sculptures at the Chandigarh Rock Garden using stone and repurposed materials. Today, Nek Chand’s work is acknowledged as India’s greatest contribution to international art. On the title cover of its 50th edition, the U.K.-based journal “Raw Vision,” a pioneer in the publication of outsider art, featured Nek Chand and his sculpture “Ladies by the Waterfall” from the Rock Garden (Spring 2005). “An excellent testimony of the effect a one individual can make when he lives his ambition,” has been said about his artwork. In his honour, the Swiss UNESCO Commissioner has put together the interactive performance “Realm of Nek Chand,” which will run for five months. In conclusion, Nek Chand has elevated outsider art to dizzying heights and well merits the praise received on a global scale.

 

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