Class 9 · ArtsNCERT 2026 Revised Syllabus
Chapter 1: Introduction to the History of Arts (0907AR01)
Madhurima
Introduces tangible and intangible cultural heritage, the purpose of the arts, and key artworks from 4000 BCE to 1200 CE — including the Mohenjo-Daro bronze figurine, Ajanta murals, and the Chola Nataraja.
Chapter code: 0907ar01 · Book: Madhurima · Class 9 Arts
Find complete NCERT solutions for Class 9 Arts, Madhurima Chapter 1. Every question has a clear, step-by-step answer for chapter code 0907AR01.
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Our Cultural Heritage(1 questions)
1
Let us explore: Which artistic practices and traditions around you can be categorised as either tangible or intangible cultural heritage?
Ans.
Tangible heritage around us includes temple sculptures, monuments, pottery, jewellery, paintings and handicrafts. Intangible heritage includes folk songs, oral stories, festivals, rituals, dance forms and traditional recipes passed down through generations.
Purpose of the Arts(1 questions)
1
Discussion circle: How do various art forms enrich our lives?
Ans.
Various art forms enrich our lives by expressing emotions, preserving cultural memory, building community identity, inspiring creativity, and connecting generations through shared traditions, stories and aesthetic experiences reflecting human values.
4000 BCE - 500 BCE: Bronze Figurine, Mohenjo-Daro(3 questions)
1
Discussion circle: What do you think is portrayed by the pose in the figure above?
Ans.
The pose portrays confidence and grace. The relaxed stance, with one hand on the waist and a slightly lifted chin, suggests dignity and self-assurance, possibly depicting a dancer's poised, graceful bearing.
2
Activity 1.1: Create a line drawing of an animal.
Ans.
• Draw any animal from observation or memory, paying attention to proportion and identifiable features.
• Check whether the animal is clearly identifiable from the drawing.
• Analyse the artistic qualities shown, such as line control, accuracy of form and use of space.
3
Activity 1.2: Visualise, pose, and draw (bronze figurine's missing feet).
Ans.
• Since the feet of the bronze figurine are not visible, take turns miming the pose while imagining different foot positions.
• Quickly sketch the pose along with two or three possible foot placements to complete the visualisation.
Related Developments in Global Art (4000 BCE - 500 BCE)(2 questions)
1
Discussion circle: Compare pottery from the Sindhu-Sarasvati civilisation with pottery from other ancient civilisations and discuss your observations.
Ans.
Sindhu-Sarasvati pottery used geometric and animal motifs painted in black on red clay. Similarly, Mesopotamian and Chinese pottery of the same period used painted geometric patterns, showing shared decorative traditions across early civilisations.
2
Let us explore: Which category of instruments do you think the harp belongs to? What role might this instrument have played in Egyptian culture?
Ans.
The harp belongs to the chordophone (string) category of instruments. In Egyptian culture, it likely accompanied religious rituals, royal ceremonies and courtly entertainment, symbolising refinement and divine harmony.
500 BCE - 600 CE: Important Texts and Treatises on the Arts(3 questions)
1
Discussion circle: Why do you think ancient scholars composed treatises that codified the arts?
Ans.
Ancient scholars codified the arts to preserve techniques systematically, ensure consistency across generations of practitioners, provide a theoretical foundation for training artists, and set shared standards for aesthetic appreciation.
2
Discussion circle: On what basis do you think they devised theories, and do you think they remained constant over time?
Ans.
They devised theories through observation of nature, human emotion and existing performance practices. These theories did not remain constant; later commentaries, such as the Abhinavabharati, reinterpreted and expanded earlier concepts like the rasa theory.
3
Activity 1.3: Watch performances and make notes in your journal.
Ans.
• Watch two short videos of different Indian dance, music or theatre performances.
• Note postures, formations, steps, rhythms, movements, gestures, sounds, costumes and props used.
• Note the emotions and rasas conveyed, and record any aspects that felt special or unique in each performance.
Cave Architecture and Stupa(2 questions)
1
Activity 1.4: Find the Buddha in the relief panels (Fig. 1.21 and Fig. 1.22).
Ans.
In the early phase of Buddhism, the Buddha was shown through symbols rather than human form. Fig. 1.21 uses footprints/a platform to depict the miracle of walking on water; Fig. 1.22 uses a tree and platform near which the monkey offers honey, indicating the Buddha's unseen presence.
2
Activity 1.5: Imagine the music - What do you think is the occasion? Identify the instruments or their categories. What kind of music might they have played?
Ans.
The occasion appears to be a religious or festive celebration. The relief shows drums (membranophones), cymbals (idiophones) and wind instruments (aerophones), suggesting rhythmic, devotional music suited to a ceremonial gathering.
Important Centres for Sculpture(4 questions)
1
Discussion circle: What are the various animals you see, and what are their symbolic meanings?
Ans.
The pillar capitals show lions, elephants and bulls. The lion symbolises courage and royal power, the elephant symbolises strength and wisdom, and the bull symbolises strength, fertility and steadfastness.
2
Discussion circle: What qualities of these animals do you associate with staying on the path of Dhamma?
Ans.
Courage, patience, inner strength and steadfastness, as shown by these animals, are associated with the discipline and perseverance required to follow the Buddhist path of Dhamma.
3
Discussion circle: What other details do you appreciate in the capitals?
Ans.
The mirror-like polish, precise symmetry, refined carving of the animal forms and the abstract wheel (Chakra of Dharma) motif reflect the exceptional technical skill of Mauryan sculptors.
4
Let us recall: Discuss artworks of the Kushana empire studied in Grade 7 Social Science.
Ans.
Kushana period artworks blend the Greco-Roman realism of the Gandhara style with the indigenous fullness of the Mathura style, reflecting the empire's role as a cultural bridge along Central Asian trade routes.
Activity 1.6: Observe and Respond to the Artwork (Vishnu in Varaha Avatara, Fig. 1.28)(5 questions)
1
Discuss the story of the Varaha-avatara in Fig. 1.28, and identify the main characters depicted in the sculpture.
Ans.
The sculpture shows Vishnu as Varaha (the boar) rescuing the earth goddess Bhudevi from the demon Hiranyaksha, who had submerged the earth under cosmic waters. The main characters are Varaha, Bhudevi and Sheshanaga.
2
How is strength and power depicted in this artwork?
Ans.
Strength is shown through the Varaha's large, muscular form, its dominant scale compared to the surrounding figures, and its dynamic, upward posture, conveying divine power triumphing over evil.
3
Which among the navarasa would you relate with this artwork?
Ans.
Vira rasa (the sentiment of heroism and valour) best relates to this artwork, as it depicts a powerful, courageous act of rescue and victory over an evil force.
4
Does the image of Varaha resemble any dance pose?
Ans.
Yes, the twisted torso, raised arm and balanced weight distribution resemble a classical dance pose, similar to postures seen in Bharatanatyam or Odissi.
5
Mimic the postures of Vishnu in Varaha-avatara, Sheshanaga at his foot, and Bhudevi being rescued.
Ans.
This is a practical, physical activity. Students form small groups and enact the three postures together, exploring how a static sculpture can be translated into embodied, dynamic movement.
Painting (Ajanta Murals)(4 questions)
1
Discussion circle: What ensures the longevity of an artwork?
Ans.
A stable, sheltered environment, protection from sunlight and moisture, use of durable natural materials, minimal handling, and regular expert conservation together ensure the longevity of an artwork.
2
Discussion circle: The murals at Ajanta have survived more than 1,500 years. How long do you think murals made today can last?
Ans.
Modern murals using synthetic paints may last only a few decades without special conservation, since they generally lack the plaster-and-earth-pigment technique and sheltered cave environment that helped preserve the Ajanta murals.
3
Discussion circle: Reflect on the factors that damage artwork. What can ensure their longevity?
Ans.
Sunlight, moisture, pollution, human touch and natural ageing damage artwork. Controlled temperature and humidity, protective display, restricted handling and expert conservation can ensure their longevity.
4
Activity 1.7: Rhythmic recitation challenge (Kiratarjuniyam verse).
Ans.
This is a practical recitation activity. Students read the single-consonant verse aloud repeatedly to internalise its rhythm, appreciating the poet's technical skill and the vira rasa the verse conveys.
600 CE - 1200 CE: Rock-Cut Architecture, Sculpture and Manuscript Painting(6 questions)
1
Let us explore: The Kailasha Temple was carved by removing rock from the top downward, without room for mistakes. What kind of planning would they have done?
Ans.
The builders would have needed a complete mental or scaled model of the finished temple in advance, precise measurements, a careful sequential top-down carving plan, and close supervision by highly skilled craftsmen.
2
Let us explore: Palm leaves were commonly used for written texts. Why do you think these musical notations and detailed treatise were inscribed on rock (Kudumiyanmalai inscription)?
Ans.
Rock inscriptions gave the important musical treatise permanence and public accessibility. Unlike fragile palm leaves, rock ensured the notation and knowledge would survive for centuries as a durable, public reference.
3
Let us explore: Which aspects of the White Tara in Fig. 1.48 remind you of the Chola bronze Nataraja?
Ans.
The graceful posture, serene facial expression, refined ornamental detailing and clear spiritual symbolism in the White Tara recall the poised elegance and devotional purpose seen in the Chola Nataraja.
4
Let us explore: What do you think white symbolises in this image?
Ans.
White symbolises purity, compassion and spiritual enlightenment, reflecting White Tara's role as a benevolent, healing and protective deity in Buddhist tradition.
5
Activity 1.8: Visualise music - listen to instrumental music and create an artwork based on what you visualise.
Ans.
This is a practical activity. Students listen to a piece of instrumental music and translate the emotions and images it evokes into a drawing or painting, connecting sound with visual expression.
6
Activity 1.9: Mindful movement - Do you think dance can be a mindful practice? Try the movements from Shloka 36 of Abhinaya-darpanam and note your reflections.
Ans.
Yes, dance can be a mindful practice. As the shloka explains, it requires complete focus linking hand, eye, mind and emotion, which cultivates present-moment awareness along with expressive communication.
Living Traditions(2 questions)
1
Let us explore (Metal crafts / Dhokra): Of the sculptures you have studied in this chapter, which are made from the lost-wax process?
Ans.
The Mohenjo-Daro bronze figurine (Fig. 1.12) and the Chola bronze Nataraja (Fig. 1.46) were both made using the lost-wax casting technique.
2
Find out about the tallest Nataraja sculpture at Bharat Mandapam: note the artist, lineage/tradition, material, dimensions and year of installation.
Ans.
This is a practical research task to be completed with the teacher's help, requiring students to look up and record the artist, artistic lineage, material used, dimensions and the year the sculpture was installed.
Activity 1.10: Find Out About Living Traditions(6 questions)
1
Painting traditions: What are the painting traditions in your region/state? What materials and mediums do they use? How have they changed over time?
Ans.
Regional painting traditions such as Madhubani, Warli and Pattachitra traditionally used natural pigments on cloth, paper or walls. Over time, many artists have adopted synthetic colours and commercial canvases while retaining traditional motifs.
2
Dance forms: Find an artwork from this chapter that shows dancers in a similar formation. In which Indian dances do you see formations like this practised today?
Ans.
Fig. 1.19 (Rani Gumpha relief, Udayagiri) shows dancers and musicians in a group formation, similar to formations seen today in folk dances like Garba, Bihu and group Kathak performances.
3
Masks: Find out about Indian performing traditions that use masks. What are the masks made of? How are they used in performances?
Ans.
Traditions such as Chhau, Yakshagana and Ankiya Nat use masks made of wood, papier-mache, cloth or metal. Performers wear them to represent characters, deities or animals, enhancing symbolic and dramatic storytelling.
4
Songs: Which traditional songs are performed in your region/culture to mark important life events? Would you categorise these songs as tangible or intangible heritage?
Ans.
Traditional wedding songs, harvest songs and lullabies mark important life events in most regions. These are intangible cultural heritage, since they are living oral traditions passed down through practice rather than physical objects.
5
Musical instruments: Find artworks/texts from this chapter connected to music. Which traditional musical instruments are used in your region, and what materials are they made of?
Ans.
The Samaveda, the dundubhi drum mentioned in the Rigveda, and the Gupta gold coin (Fig. 1.29) connect to music in this chapter. Regional instruments such as the dholak and harmonium are made of wood, animal skin and metal.
6
Katha/storytelling traditions: Gather and share folk stories from different parts of India. How are stories told in your region through drama, music, dance and visual arts?
Ans.
Folk stories are shared through oral narration, regional theatre such as Ramlila, devotional songs and painted narrative scrolls such as Patachitra, combining drama, music and visual art in a single storytelling tradition.
Exercises(6 questions)
1
Categorise the given list into tangible and intangible cultural heritage: (i) Sculptures (ii) Vedic chanting (iii) Knowledge of weaving textiles (iv) Pottery (v) Jewellery (vi) Traditional wedding songs (vii) Kāvaḍ Kathā (viii) Madhubani painting.
Ans.
• Tangible cultural heritage: Sculptures, Pottery, Jewellery, Madhubani painting.
• Intangible cultural heritage: Vedic chanting, Knowledge of weaving textiles, Traditional wedding songs, Kāvaḍ Kathā.
2
Why are ancient texts and treatises on Indian arts still relevant today? (i) They contain exact instructions for making different artefacts. (ii) They provide historical knowledge, technical guidance, and philosophical foundations for understanding and practising Indian arts. (iii) They only contain the rules for dance. (iv) They are only useful for studying ancient scripts and languages.
Ans.
Correct option (ii): They provide historical knowledge, technical guidance, and philosophical foundations for understanding and practising Indian arts.
3
Why do you think the murals in the Ajanta caves have survived close to 1,500 years? (i) Because the murals were repainted every year by local population. (ii) Because they contain a mixture of natural and synthetic pigments. (iii) Because the caves provided a stable, sheltered environment that protected the paintings from sunlight, rain, and wind. (iv) Because the caves were built on a sacred site where decay does not occur.
Ans.
Correct option (iii): Because the caves provided a stable, sheltered environment that protected the paintings from sunlight, rain and wind.
4
Write three rules you would follow at a historical monument, performance, or art gallery to respect the art and ensure its protection from damage.
Ans.
• Do not touch sculptures, paintings or monument surfaces directly.
• Avoid using flash photography near paintings, murals or fragile artefacts.
• Do not litter, write on, or otherwise damage the structure or displayed objects.
5
Choose any art form you are familiar with. What kind of developments do you see in techniques over time? Use these prompts: (i) Function or role of artworks/performance traditions at different points of time. (ii) Exploration of literary sources, materials, mediums, and techniques. (iii) How are arts processes practised today informed by the past?
Ans.
• Function/role over time: Originally a temple ritual offering to deities, it is now performed on public stages for wider cultural and artistic appreciation.
• Literary sources, materials, mediums, techniques: It draws from the Natyashastra and Abhinaya-darpanam; costumes have moved from simple natural fabrics to elaborate stitched costumes and modern stage lighting.
• Informed by the past: Today's dancers still train using the codified hand gestures (mudras) and postures from ancient treatises, blending tradition with contemporary staging.
6
Write a note on any work of Indian art that you like, which was made before 1200 CE. You can also choose an artwork that has not been provided in the textbook. Describe it using any five prompts: (i) Material, time period, location/region. (ii) Subject/theme. (iii) Iconography or symbolism, if any. (iv) Visual characteristics (style/expression). (v) What interests you in the artwork, and how do you connect it to the present times?
Ans.
• Material, time period, location: Bronze sculpture from the Chola period, 10th century CE, Tamil Nadu.
• Subject/theme: Shiva as Nataraja, the cosmic dancer, symbolising creation, preservation and destruction.
• Iconography/symbolism: A ring of fire, four hands holding fire and damaru and forming gajahasta and abhaya mudras, with the dwarf Apasmara crushed underfoot.
• Visual characteristics: Dynamic yet balanced composition, rhythmic flowing lines and idealised proportions conveying divine energy and movement.
• Relevance today: It embodies the idea of eternal cosmic rhythm and continues to inspire modern dance, art and India's cultural identity worldwide.
Projects(2 questions)
7
Individual Project: Select one tradition of Indian art practised today and write a note describing it using the given prompts (example: Kathakali).
Ans.
• Art forms involved: Dance, drama, music and elaborate visual make-up/costume art combined together.
• Occasion/purpose: Traditionally performed at temple festivals in Kerala to narrate stories from the epics.
• Subject/theme: Episodes from the Ramayana, Mahabharata and Puranas depicting the battle of good over evil.
• Literary sources: Based on written Attakatha (performance texts) drawn from oral and Sanskrit epic traditions.
• Instruments, props and resources: Chenda and maddalam drums, elaborate face paint, headgear and costumes.
• Continuity and change: Hand gestures and expressions (mudras) remain from the Natyashastra, while stage lighting and shorter performance formats are recent changes.
• Personal connection: The vivid colours and expressive storytelling make it emotionally engaging and connect the past to the present.
8
Group Project: Explore a local tradition of a State/Union Territory (not your own) using the given prompts (example: Chhau dance, Odisha/Jharkhand/West Bengal).
Ans.
• Name of tradition and location: Chhau dance, practised across Odisha, Jharkhand and West Bengal.
• Neighbourhood/group associated: Rural community troupes who perform seasonally during local festivals.
• Description: A masked martial dance form using vigorous movements, colourful masks, costumes and percussion accompaniment.
• Function/role: Performed during spring festivals to narrate mythological stories and mark community celebration.
• Changes over 20-25 years: Increasing use of stage lighting, shorter formats for festivals, and growing recognition through national cultural events.
• Associated histories/texts: Rooted in martial traditions and epics like the Ramayana and Mahabharata, transmitted orally through practice.