Class 9 · ArtsNCERT 2026 Revised Syllabus
Chapter 15: Mediums and Techniques in Visual Art (0907AR15)
Madhurima
Covers natural sources of colour, complementary and analogous colours, and perspective in painting.
Chapter code: 0907ar15 · Book: Madhurima · Class 9 Arts
Find complete NCERT solutions for Class 9 Arts, Madhurima Chapter 15. Every question has a clear, step-by-step answer for chapter code 0907AR15.
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Activity 15.6(4 questions)
1
What kind of perspective do you see? (i) Linear (ii) Aerial (iii) Both (iv) No perspective
Ans.
(iii) Both linear and aerial perspective are used in this painting.
2
In which parts of the painting do you see linear perspective?
Ans.
The receding parallel lines of the garden pathway, side walls and archway, which converge towards the background, show the use of linear perspective.
3
In which parts of the painting do you see atmospheric perspective?
Ans.
The hazy, softly toned trees and sky in the far background, painted with lighter and less detailed colours than the foreground figures, show atmospheric (aerial) perspective.
4
Would you say that this painting represents a confluence of different perspectives? Explain your views.
Ans.
Yes, the painting blends linear perspective in its architectural lines with aerial perspective in its hazy background, reflecting a confluence of Mughal-influenced and traditional Indian painting techniques.
Exercises(4 questions)
1
You have learnt that traditional artists used soot from oil lamps to make a black pigment. Explore vegetables, food, and nature in your surroundings and list five or six natural sources for obtaining colours.
Ans.
• Turmeric – yellow
• Beetroot – pink/red
• Indigo plant – blue
• Charcoal/soot – black
• Henna leaves – green/brown
• Pomegranate peel – yellow-brown
2
List two pairs of complementary colours and two pairs of analogous colours seen in the painting shown in Fig. 15.12 (Miniature painting from Mewar, Rajasthan).
Ans.
• Complementary colours: Red and Green; Blue and Orange.
• Analogous colours: Red, Red-Orange and Orange; Blue, Blue-Green and Green.
3
Write a paragraph about the painting in Fig. 15.13 (Abanindranath Tagore, Emperor's March to Kashmir) covering: (i) description of scene, (ii) analysis of perspective, and (iii) medium to blend colours as seen in the painting.
Ans.
• The painting depicts elephants and riders moving through a hazy, warm-toned landscape.• Aerial perspective is used: the nearer elephant and riders are clearer, while more distant forms fade into softer, hazier tones.• The wash-and-tempera technique, using thin watercolour washes, would best achieve the soft, hazy gradation of colour seen in the painting.
4
Reflect on the various visual arts mediums you have used and write a paragraph on them.
Ans.
This is a personal reflection. Name the mediums explored (e.g., pencil, watercolour, charcoal, collage), and briefly describe the experience and preference for any one medium, with reasons.Note: Reflective/personal question -- to be answered from the student's own experience with Activities 15.1–15.4.
Activities — How to Do(7 questions)
1
Activity 15.1 (mediums): list all mediums mentioned, find the easily available ones, and use them in your artwork. How should you choose?
Ans.
Write the full medium list from the chapter; mark what is easily available (pencils, crayons, clay, fabric); use a different available medium per artwork so skill spreads widely.
2
Activity 15.2 (Indian sculptural crafts): research any two crafts into a one-page journal report with drawings/photos — tradition and region, artist, materials, technique, source. What must the page hold?
Ans.
For each craft record: tradition + region, a practising artist if known, materials/mediums, technique/process, and your source. Add drawings or photos — one page per craft.
3
Activity 15.3 (3D object): handcraft a functional or decorative object from clay, fabric, fibre or soft wood using traditional processes; display and share the experience. What are the steps?
Ans.
Pick an object (pen stand, headgear, jewellery) and a traditional-suitable material; plan steps; build (innovate without an expert if needed); display the piece and share what worked and what failed.
4
Activity 15.4 (mixed-media colour wheel): build the primary–secondary–tertiary wheel in varied mediums; map warm–cool, tints–shades–tones, and complementary/analogous pairs (Fig. 15.7). What should it display?
Ans.
Lay the 12-colour wheel using pencils, crayons, collage, fabric scraps; ring the warm vs cool halves; practise tints, shades, tones; mark complementary opposites and analogous neighbours per Fig. 15.7.
5
Activity 15.5 (vanishing point): on the Fig. 15.9 painting (Aristotle–Plato gathering), mark the vanishing point and draw converging lines below and above eye level. How should you do it?
Ans.
Study the architecture lines with your teacher (look the painting up together); they meet at the centre near Aristotle–Plato — dot the vanishing point in pencil; rule lines below and above eye level converging into it.
6
Activity 15.7 (perspective artwork): re-imagine dancers of your own time on A4 using linear and aerial perspective (9 steps: visualise → sketch → feedback → draw → colour → display → review). What must the final piece show?
Ans.
Visualise dancers, costumes and a setting with architecture; sketch and plan both perspectives; take peer-teacher feedback; draw with linear perspective, colour with aerial perspective; display and journal-review others’ work. Do not copy the miniature.
7
Colour theory: how many complementary pairs can you list (and your favourite, with reason)? List analogous colours in threes (and your favourite, with reason).
Ans.
From your wheel read opposite pairs (red–green, blue–orange, yellow–violet and intermediates — six pairs on a 12-wheel); group adjacent threes (e.g., yellow–yellow-green–green). Pick a favourite of each with one reason (mood, contrast, harmony).