1Read the following extract and answer the questions that follow:"Indigenous artefact was an innovative creation of industrious craftspersons with its intricate design. It invoked a sense of respect for the initiatives taken by the government to showcase them."(i) Explain the meaning of the word "indigenous" in the context of the extract. [1 mark](ii) Why did the intricate design of the artefacts invoke a sense of respect? [2 marks](iii) What do you understand by "initiatives taken by the government"? Give one example relevant to crafts. [2 marks](iv) The sentence can be seen as a testament to the cultural value of traditional crafts. Justify. 2marks
2The word "punkha" originates from the word ‘pankh’, which means feather of a bird. Pankha is used to refer to all fans, whereas the word pankhi denotes a small plumed fan used in ancient India. Evidence of the existence and use of pankhi in India can be found in Buddhist wall paintings at Ajanta. These wall paintings date back to the 2nd century CE.(i) What is the etymological origin of the word "punkha"? [1 mark](ii) Differentiate between "pankha" and "pankhi" as described in the text. [2 marks](iii) Where can historical evidence of the use of "pankhi" be found? Mention the approximate time period. 2marks
3Case Study:In ancient times, pankhas were used in temples to fan deities. They were also used in royal courts to fan kings. Pankhas varied in size from a tiny two inch one to large ones requiring a person’s full arm strength to move them. Over time, pankhas became significant cultural goods distributed through trade routes. They were considered exotic and stylish. Although there was substantial commonality in their use across India, different villages and towns developed their own varieties of traditional pankhas.(i) How did the use of pankhas differ in temples and royal courts? [1 mark](ii) Describe the range of sizes pankhas could have, based on the passage. [2 marks](iii) What made pankhas significant "cultural goods" distributed through trade routes? 2marks
4Bamboo, cane, palm leaf, silk, brass, leather, and silver pankhas, with decorative beads and stones were used depending on geographies, cultures, and traditional rituals. In modern times, the use of pankhas has been restricted to decorative purposes, and they have become traditional craft items in India.(i) List any three materials used for making pankhas mentioned in the text. [1 mark](ii) Explain why the materials used for pankhas varied across different regions. [2 marks](iii) How has the function of pankhas changed in modern times? 2marks
5For instance, the appliqué hand fan of Rajasthan is an antique pankha made of pieces of fabric in different shapes and patterns sewn onto another cloth with the use of ornamental needlework. Furthermore, the zardozi hand fan of Rajasthan differs in its use of glittering ornate encrusted: and encrusted gold threadwork.(i) What is the primary material used in the appliqué hand fan of Rajasthan? [1 mark](ii) How is the zardozi hand fan of Rajasthan distinct from the appliqué hand fan? [2 marks](iii) The term "ornamental needlework" suggests a particular skill. Elaborate on this. 2marks
6The adjoining state of Gujarat has its own indigenous take on pankhas. These hand fans are elegant pure cotton-based fans embellished with mirror work. The beads hand fan is covered with colourful beads and has a silver handle. Gujarat is the centre for bead craft in India and these dainty pankhas are commonly used as wall decorations. Kutch is recognised for its hand-stitched leather hand fans decorated with thread and wool at its seams. Gujarat’s industrious home-based women workers have worked tirelessly in the handicraft of pankha-making to produce embroidered hand fans with traditional mirror work and cross-stitch embroidery in different shapes and sizes.(i) What are the two types of indigenous pankhas from Gujarat mentioned? [1 mark](ii) Why are the pankhas from Gujarat commonly used as wall decorations? [2 marks](iii) What role do women workers play in pankha-making in Gujarat, according to the passage? 2marks
7Artisans in Bengal make delicate pankhas from sola: the beautiful milky-white spongy centre of a type of water grass. The palm leaf hand fans are locally referred to as Tal Patar Pankha. They are easy to carry and are perpetually kept as an article of possession in Bengali households.(i) From what material are the delicate pankhas made in Bengal? [1 mark](ii) What is the local name for palm leaf hand fans in Bengal? [1 mark](iii) Why are Tal Patar Pankhas considered a perpetual article of possession in Bengali households? 3marks
8The Phadh hand fans of Uttar Pradesh are adorned with pure gold, silver zari, silk, and satin frills. The large palm leaf fans of Odisha as well as Bihar’s colourful and sturdy bamboo hand fans, are all recognised across India due to their antiquity and rarity.(i) List the decorative elements used on the Phadh hand fans of Uttar Pradesh. [1 mark](ii) What makes the palm leaf fans of Odisha and bamboo hand fans of Bihar stand out across India? [2 marks](iii) Explain the significance of "antiquity and rarity" in the recognition of these fans. 2marks
9Assertion (A): The advent of technology poses a threat to the traditional craft of pankha-making.Reason (R): With time and the advent of technology and innovative creations, the beautiful culture of pankhas runs the risk of slowly losing its presence among Indians.Select the correct option:(a) Both (A) and (R) are true and (R) is the correct explanation of (A).(b) Both (A) and (R) are true but (R) is not the correct explanation of (A).(c) (A) is true but (R) is false.(d) (A) is false but (R) is true. 1mark
10The chapter mentions that pankhas have transformed into a commercial business and now provide some form of livelihood to India’s artisans. The slight increase in popularity and demand is significantly factored by the different versions of the pankha being crafted.(i) How has the nature of pankha-making changed over time? [2 marks](ii) What is the primary factor contributing to the increased popularity and demand for pankhas? [2 marks](iii) Evaluate the statement: "Commercialisation of a craft can be a double-edged sword." 3marks
11Initiatives such as pankha-making workshops, both within and outside the handicraft exhibitions help spread awareness about the beauty and importance of this craft in India’s culture.(i) What is the purpose of pankha-making workshops? [2 marks](ii) How do these workshops contribute to the preservation of the craft? 3marks
12Identify the pair of words from the text that means the same as "actions to improve a situation." 1mark
13Explain the phrase "exotic and stylish" in the context of pankhas in ancient India. 2marks
14The poem "Winds of Change" suggests a transformation. How does this title relate to the changes observed in the tradition and use of pankhas? 3marks
15"The structure of each fan reflects the cultural core of the region that crafts it." Support this statement with two examples from the chapter. 3marks
16The chapter highlights the risk of pankhas losing their presence. Suggest two ways, other than workshops, to ensure the survival of this traditional craft. 3marks
17The word "punkha" is linked to "pankh" (feather). Discuss how this etymological connection might reflect the early form or inspiration for these fans. 2marks
18Compare and contrast the use of pankhas in ancient times with their use in modern times, based on the information provided in the chapter. 3marks
19The chapter mentions various materials used for making pankhas. Classify these materials into natural and manufactured categories. 2marks
20How does the chapter emphasize the artistry and skill involved in creating different types of pankhas? Provide examples. 3marks
Answers
1.(i) Indigenous means local, or originating from the place where it is found. In the context of the extract, it refers to artefacts that are native to a particular region or country.(ii) The intricate design of the artefacts showcased the skill, creativity, and hard work of the craftspersons. This level of craftsmanship and beauty naturally invoked a sense of respect for the artisans and their creations.(iii) "Initiatives taken by the government" refer to actions or programs implemented by the government to promote, support, or preserve something. An example relevant to crafts could be the establishment of government-sponsored craft villages, providing financial aid to artisans, or organizing craft fairs and exhibitions to showcase their work to a wider audience.(iv) The statement highlights that each indigenous artefact was a unique and well-crafted item, reflecting the identity and skill of its makers. This suggests that these crafts hold significant cultural value, representing the heritage and creativity of a community, which commands respect.
2.
(i) The word "punkha" originates from the word ‘pankh’, which means the feather of a bird.
(ii) "Pankha" is a general term used to refer to all types of fans, while "pankhi" specifically denotes a small fan made of feathers or plumes used in ancient India.
(iii) Historical evidence of the use of pankhi can be found in Buddhist wall paintings at Ajanta. These paintings date back to the 2nd century CE.
3.
(i) In temples, pankhas were used to fan deities, implying a religious or ritualistic purpose. In royal courts, they were used to fan kings, suggesting a function of comfort and status for royalty.
(ii) Pankhas varied significantly in size. They ranged from very small ones, as tiny as two inches, to very large ones that required a person's full arm strength to operate.
(iii) Pankhas became significant cultural goods because they were considered exotic and stylish, making them desirable items. Their distribution through trade routes further enhanced their significance as valuable commodities that transcended local boundaries.
4.
(i) Any three materials from the list: Bamboo, cane, palm leaf, silk, brass, leather, silver.
(ii) The materials used for pankhas varied depending on the local resources ("geographies"), the customs and traditions of the people ("cultures"), and specific ceremonial or ritualistic practices ("traditional rituals").
(iii) In modern times, the use of pankhas has been restricted primarily to decorative purposes. They are no longer primarily functional items for cooling but have become valued as traditional craft items.
5.
(i) The primary material used in the appliqué hand fan of Rajasthan is fabric, which is cut into different shapes and patterns and sewn onto another cloth.
(ii) The zardozi hand fan is distinct because it uses glittering ornate encrusted gold threadwork, whereas the appliqué fan relies on ornamental needlework using pieces of fabric.
(iii) The term "ornamental needlework" suggests a high level of skill in sewing and embroidery. It implies intricate patterns and decorative stitches that enhance the aesthetic appeal of the fan, indicating meticulous craftsmanship.
6.
(i) The two types of indigenous pankhas from Gujarat mentioned are the pure cotton-based fans embellished with mirror work (embellished with mirror work fans) and the bead hand fan, and the hand-stitched leather hand fans.
(ii) The Gujarat pankhas are commonly used as wall decorations because they are described as "dainty" and are often embellished with decorative elements like mirror work, colourful beads, or intricate embroidery, making them visually appealing decorative items.
(iii) According to the passage, the industrious home-based women workers in Gujarat have tirelessly worked in pankha-making. They are responsible for producing embroidered hand fans with traditional mirror work and cross-stitch embroidery in various shapes and sizes, contributing significantly to the craft.
7.
(i) The delicate pankhas made in Bengal are crafted from "sola," which is described as the milky-white spongy centre of a type of water grass.
(ii) The local name for palm leaf hand fans in Bengal is "Tal Patar Pankha."
(iii) Tal Patar Pankhas are considered a perpetual article of possession in Bengali households because they are easy to carry and are consistently kept by people, suggesting their constant utility or enduring cultural significance.
8.
(i) The decorative elements used on the Phadh hand fans of Uttar Pradesh are pure gold, silver zari, silk, and satin frills.
(ii) The palm leaf fans of Odisha and Bihar’s bamboo hand fans are recognized across India due to their antiquity (their age and historical significance) and rarity (their uncommonness).
(iii) "Antiquity" implies that these fans have a long historical lineage and are part of India's heritage, making them culturally valuable. "Rarity" suggests that they are not commonly found, which increases their uniqueness and appeal, making them recognized and sought after.
9(a) Both (A) and (R) are true and (R) is the correct explanation of (A).
10.
(i) In ancient times, pankhas were primarily functional items used for personal cooling. Over time, they have transformed into a commercial business, providing a livelihood for artisans and becoming items of trade and sale.
(ii) The primary factor contributing to the increased popularity and demand for pankhas is the crafting of different versions of the pankha, which caters to a wider range of tastes and preferences.
(iii) The commercialisation of a craft can be a double-edged sword because while it provides a livelihood and economic opportunities for artisans (positive aspect), it can also lead to mass production, potential dilution of traditional quality and artistry, and the risk of the craft becoming solely profit-driven, potentially losing its cultural essence (negative aspect).
11.
(i) The purpose of pankha-making workshops is to spread awareness about the beauty and importance of the pankha craft in India's culture.
(ii) These workshops contribute to the preservation of the craft by:
a) Educating people about the cultural significance and artistry of pankhas.
b) Providing a platform for contemporary pankha makers to demonstrate their craft, potentially helping them regain popularity.
c) Offering a commercial platform for artisans, which can lead to a sustainable livelihood and encourage them to continue the craft.
12The phrase "actions to improve a situation" corresponds to "initiatives."
13The phrase "exotic and stylish" suggests that pankhas were perceived as unusual, foreign, and fashionable items in ancient India. They were not merely utilitarian but possessed an aesthetic appeal that made them desirable and indicative of good taste and sophistication.
14The title "Winds of Change" aptly captures the essence of the chapter as it describes how the tradition and use of pankhas have undergone significant transformations. From being essential items for personal cooling in ancient times, they have evolved into decorative craft items, with their usage and production methods changing due to technological advancements and market demands. The "winds of change" signify these shifts in cultural importance, function, and the very existence of the pankha.
15The statement "The structure of each fan reflects the cultural core of the region that crafts it" can be supported by the following examples:a) The appliqué hand fan of Rajasthan, made of fabric with ornamental needlework, reflects the region's rich tradition of textile arts and intricate embroidery.b) The hand-stitched leather hand fans from Kutch (Gujarat), decorated with thread and wool at its seams, showcase the distinct craft traditions associated with leatherwork prevalent in that region.
16Two ways to ensure the survival of this traditional craft, other than workshops, could be:a) Promoting Online Sales and Marketing: Creating dedicated online platforms or partnering with e-commerce sites to sell pankhas can reach a global audience and increase demand, providing artisans with a wider market.b) Integration into Educational Curricula: Incorporating the study of pankha-making as a craft in school or vocational training programs can pass on the skills to younger generations and ensure the continuation of the tradition.
17The etymological connection of "punkha" to "pankh" (feather) likely reflects the initial inspiration or earliest forms of these fans. Early fans might have been made from feathers or designed to mimic the movement and lightness of feathers, suggesting that the concept of fanning originated from natural elements and evolved from there.
18.
Ancient Times:
- Primary Use: Functional, for personal cooling and comfort.
- Context: Used in temples for deities, in royal courts for kings.
- Variety: Ranged from very small to large, requiring significant effort.
- Perception: Exotic and stylish cultural goods, distributed through trade.
Modern Times:
- Primary Use: Restricted to decorative purposes.
- Context: Traditional craft items.
- Functionality: Largely diminished in its primary cooling role.
- Perception: Valued for their artistry and cultural heritage.
19.
Natural Materials: Bamboo, cane, palm leaf, sola (water grass), silk, cotton, leather, feathers (implied by 'pankh').
Manufactured Materials: Brass, silver, fabric (for appliqué), gold thread, zari.
20The chapter emphasizes the artistry and skill involved in creating different types of pankhas through descriptions of their unique features and materials:
- Rajasthan: The "appliqué hand fan" is made with "ornamental needlework," and the "zardozi hand fan" uses "glittering ornate encrusted gold threadwork," highlighting intricate textile and embroidery skills.
- Gujarat: The "pure cotton-based fans embellished with mirror work" and "beads hand fan" showcase fine detailing and bead craft, while "hand-stitched leather hand fans" demonstrate skill in leatherworking and decorative stitching.
- Bengal: Delicate pankhas from "sola" imply intricate carving or shaping of this material.
- Uttar Pradesh: Adorned with "pure gold, silver zari, silk, and satin frills," indicating a high level of decorative artistry.
- Bihar: "Colourful and sturdy bamboo hand fans" suggest skilled craftsmanship in bamboo weaving and design.
- Tribal versions: Mentioning "geometrical patterns and the white ink and red background combinations" shows artistic application of design principles.
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