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  • Read the passage carefully and choose the best answer to each question out of the four alternatives. It is a labour of love and the result of painstaking research. Chikankari - A Lucknawi Tradition by Paola Manfredi, an Italian, is a book that shows her close and long association with the craft. Lucknow?s chikankari is known across the world yet very little research or documentation has been done. Articles or features have appeared off and on but this book is amongst the first of its kind, which aims to document the vast treasure called Chikan. What makes the book extremely interesting is that unlike other books that tend to rely on second hand material, with exhaustive references and quotes, Paola Manfredi has filled her tome with passionate grass-roots level research. The narrative more in the nature of a personal journey, with all the quirks and street-smart practicality, makes the book refreshing. As Paola says in the book, it is not a scholarly or academic research but more of a documentation of the world of chikankari. Paola questions the use of chikan as a word for embroidery, highlighting that it has a broader connotation encompassing haute couture, the fine art of making a garment, embroidering it and finishing it with finesse. She is no stranger to chikankari having worked with SEWA and several craftsmen. Her love for white on white embroidery also found a calling in chikan. Paola came to India to work in textile exports and as she says, ?If you like textiles ... India is a heaven, an inexhaustible treasure trove.? When did Paola get her first experience of chikankari?


  • Options
  • A. When she was still in Italy
  • B. When she was working with SEWA
  • C. When she started writing her book on chikankari
  • D. When she was looking to buy some haute couture

  • Correct Answer
  • When she was working with SEWA 

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    • 1. Read the passage carefully and choose the best answer to each question out of the four alternatives. It is a labour of love and the result of painstaking research. Chikankari - A Lucknawi Tradition by Paola Manfredi, an Italian, is a book that shows her close and long association with the craft. Lucknow?s chikankari is known across the world yet very little research or documentation has been done. Articles or features have appeared off and on but this book is amongst the first of its kind, which aims to document the vast treasure called Chikan. What makes the book extremely interesting is that unlike other books that tend to rely on second hand material, with exhaustive references and quotes, Paola Manfredi has filled her tome with passionate grass-roots level research. The narrative more in the nature of a personal journey, with all the quirks and street-smart practicality, makes the book refreshing. As Paola says in the book, it is not a scholarly or academic research but more of a documentation of the world of chikankari. Paola questions the use of chikan as a word for embroidery, highlighting that it has a broader connotation encompassing haute couture, the fine art of making a garment, embroidering it and finishing it with finesse. She is no stranger to chikankari having worked with SEWA and several craftsmen. Her love for white on white embroidery also found a calling in chikan. Paola came to India to work in textile exports and as she says, ?If you like textiles ... India is a heaven, an inexhaustible treasure trove.? Why did Paola come to India?

    • Options
    • A. To visit Lucknow
    • B. To write a book
    • C. To study chikankari
    • D. To work in textile exports
    • Discuss
    • 2. Read the passage carefully and choose the best answer to each question out of the four alternatives. It is a labour of love and the result of painstaking research. Chikankari - A Lucknawi Tradition by Paola Manfredi, an Italian, is a book that shows her close and long association with the craft. Lucknow?s chikankari is known across the world yet very little research or documentation has been done. Articles or features have appeared off and on but this book is amongst the first of its kind, which aims to document the vast treasure called Chikan. What makes the book extremely interesting is that unlike other books that tend to rely on second hand material, with exhaustive references and quotes, Paola Manfredi has filled her tome with passionate grass-roots level research. The narrative more in the nature of a personal journey, with all the quirks and street-smart practicality, makes the book refreshing. As Paola says in the book, it is not a scholarly or academic research but more of a documentation of the world of chikankari. Paola questions the use of chikan as a word for embroidery, highlighting that it has a broader connotation encompassing haute couture, the fine art of making a garment, embroidering it and finishing it with finesse. She is no stranger to chikankari having worked with SEWA and several craftsmen. Her love for white on white embroidery also found a calling in chikan. Paola came to India to work in textile exports and as she says, ?If you like textiles ... India is a heaven, an inexhaustible treasure trove.? Name one type of garment design style that Paola loves?

    • Options
    • A. Embroidery on cotton cloth
    • B. Colorful embroidery
    • C. White on white embroidery
    • D. Silk work on khadi cloth
    • Discuss
    • 3. Read the passage carefully and choose the best answer to each question out of the four alternatives. I don?t know whether the Madras Photographic Society has anything to do with the recently-publicised Chennai Photo Biennales, the first last year and the next scheduled for 2018, but participant or not, it certainly deserves a bow for being the country?s first photographic society. Its founder was an Army doctor, Alexander Hunter. The Society was founded in 1857, shortly after Lord Canning arrived as Governor-General. Canning and Lady Canning, both photography enthusiasts, were responsible for creating the famed Government series, The People of India. Hunter had still earlier, in 1850, privately started the Madras School of Arts. The School, taken over by Government in 1852, moved from Popham?s Broadway to Poonamallee High Road. There, he and an eight-member committee revised the syllabus, offering two streams, Industrial and Artistic. Hunter was put in charge of the institution, renamed the Government School of Industrial Arts, in 1855. It was the first formal school of Art in the country. In it, Hunter introduced Photography. Hunter retired in 1868, to be succeeded by Robert Chisholm. No mean photographer, Hunter encouraged the School, it is now the Government College of Arts and Crafts to build up a photographic collection. Unfortunately, little is left of his work, especially the monuments of South India captured by Government photographer Linnaeus Tripe and his assistant C Iyahsawmi. Hunter himself did a series of pictures of the ?Seven Pagodas? (Mahabalipuram) and worked with his wards on photographs of the five hill tribes of the Nilgiris. It was at a prize-giving of the School that Hunter urged the Governor to provide it more suitable premises. They came up on the PH Road site in Chisholm?s time and to his design ? and remain there. Alexander Hunter was by profession a _____________.

    • Options
    • A. Photographer
    • B. Artist
    • C. Teacher
    • D. Doctor
    • Discuss
    • 4. Read the passage carefully and choose the best answer to each question out of the four alternatives. I don?t know whether the Madras Photographic Society has anything to do with the recently-publicised Chennai Photo Biennales, the first last year and the next scheduled for 2018, but participant or not, it certainly deserves a bow for being the country?s first photographic society. Its founder was an Army doctor, Alexander Hunter. The Society was founded in 1857, shortly after Lord Canning arrived as Governor-General. Canning and Lady Canning, both photography enthusiasts, were responsible for creating the famed Government series, The People of India. Hunter had still earlier, in 1850, privately started the Madras School of Arts. The School, taken over by Government in 1852, moved from Popham?s Broadway to Poonamallee High Road. There, he and an eight-member committee revised the syllabus, offering two streams, Industrial and Artistic. Hunter was put in charge of the institution, renamed the Government School of Industrial Arts, in 1855. It was the first formal school of Art in the country. In it, Hunter introduced Photography. Hunter retired in 1868, to be succeeded by Robert Chisholm. No mean photographer, Hunter encouraged the School, it is now the Government College of Arts and Crafts to build up a photographic collection. Unfortunately, little is left of his work, especially the monuments of South India captured by Government photographer Linnaeus Tripe and his assistant C Iyahsawmi. Hunter himself did a series of pictures of the ?Seven Pagodas? (Mahabalipuram) and worked with his wards on photographs of the five hill tribes of the Nilgiris. It was at a prize-giving of the School that Hunter urged the Governor to provide it more suitable premises. They came up on the PH Road site in Chisholm?s time and to his design ? and remain there. Who is credited for creating the famous ?People of India? photography series?

    • Options
    • A. Alexander Hunter
    • B. Robert Chisholm
    • C. Linnaeus Tripe
    • D. Lord Canning
    • Discuss
    • 5. Read the passage carefully and choose the best answer to each question out of the four alternatives. I don?t know whether the Madras Photographic Society has anything to do with the recently-publicised Chennai Photo Biennales, the first last year and the next scheduled for 2018, but participant or not, it certainly deserves a bow for being the country?s first photographic society. Its founder was an Army doctor, Alexander Hunter. The Society was founded in 1857, shortly after Lord Canning arrived as Governor-General. Canning and Lady Canning, both photography enthusiasts, were responsible for creating the famed Government series, The People of India. Hunter had still earlier, in 1850, privately started the Madras School of Arts. The School, taken over by Government in 1852, moved from Popham?s Broadway to Poonamallee High Road. There, he and an eight-member committee revised the syllabus, offering two streams, Industrial and Artistic. Hunter was put in charge of the institution, renamed the Government School of Industrial Arts, in 1855. It was the first formal school of Art in the country. In it, Hunter introduced Photography. Hunter retired in 1868, to be succeeded by Robert Chisholm. No mean photographer, Hunter encouraged the School, it is now the Government College of Arts and Crafts to build up a photographic collection. Unfortunately, little is left of his work, especially the monuments of South India captured by Government photographer Linnaeus Tripe and his assistant C Iyahsawmi. Hunter himself did a series of pictures of the ?Seven Pagodas? (Mahabalipuram) and worked with his wards on photographs of the five hill tribes of the Nilgiris. It was at a prize-giving of the School that Hunter urged the Governor to provide it more suitable premises. They came up on the PH Road site in Chisholm?s time and to his design ? and remain there. Who was in charge of the Government School of Industrial Arts before Chisholm?

    • Options
    • A. Hunter
    • B. Lady Canning
    • C. Iyahsawmi
    • D. Tripe
    • Discuss
    • 6. Read the passage carefully and choose the best answer to each question out of the four alternatives. It is a labour of love and the result of painstaking research. Chikankari - A Lucknawi Tradition by Paola Manfredi, an Italian, is a book that shows her close and long association with the craft. Lucknow?s chikankari is known across the world yet very little research or documentation has been done. Articles or features have appeared off and on but this book is amongst the first of its kind, which aims to document the vast treasure called Chikan. What makes the book extremely interesting is that unlike other books that tend to rely on second hand material, with exhaustive references and quotes, Paola Manfredi has filled her tome with passionate grass-roots level research. The narrative more in the nature of a personal journey, with all the quirks and street-smart practicality, makes the book refreshing. As Paola says in the book, it is not a scholarly or academic research but more of a documentation of the world of chikankari. Paola questions the use of chikan as a word for embroidery, highlighting that it has a broader connotation encompassing haute couture, the fine art of making a garment, embroidering it and finishing it with finesse. She is no stranger to chikankari having worked with SEWA and several craftsmen. Her love for white on white embroidery also found a calling in chikan. Paola came to India to work in textile exports and as she says, ?If you like textiles ... India is a heaven, an inexhaustible treasure trove.? The book, ?Chikankari - A Lucknawi Tradition? is best described as a ____________ the art of chikankari.

    • Options
    • A. documentation of
    • B. academic research on
    • C. dissertation on
    • D. report on
    • Discuss
    • 7. Read the passage carefully and choose the best answer to each question out of the four alternatives. It is a labour of love and the result of painstaking research. Chikankari - A Lucknawi Tradition by Paola Manfredi, an Italian, is a book that shows her close and long association with the craft. Lucknow?s chikankari is known across the world yet very little research or documentation has been done. Articles or features have appeared off and on but this book is amongst the first of its kind, which aims to document the vast treasure called Chikan. What makes the book extremely interesting is that unlike other books that tend to rely on second hand material, with exhaustive references and quotes, Paola Manfredi has filled her tome with passionate grass-roots level research. The narrative more in the nature of a personal journey, with all the quirks and street-smart practicality, makes the book refreshing. As Paola says in the book, it is not a scholarly or academic research but more of a documentation of the world of chikankari. Paola questions the use of chikan as a word for embroidery, highlighting that it has a broader connotation encompassing haute couture, the fine art of making a garment, embroidering it and finishing it with finesse. She is no stranger to chikankari having worked with SEWA and several craftsmen. Her love for white on white embroidery also found a calling in chikan. Paola came to India to work in textile exports and as she says, ?If you like textiles ... India is a heaven, an inexhaustible treasure trove.? What makes the book, ?Chikankari - A Lucknawi Tradition? interesting?

    • Options
    • A. It is based on personal experience and observation
    • B. It contains all types of chikan designs
    • C. It is illustrated to highlight the beauty of the art
    • D. The fact that it has been written by a foreigner
    • Discuss
    • 8. In the following question, a sentence has been given in Direct/Indirect speech. Out of the four alternatives suggested, select the one which best expresses the same sentence in Indirect/Direct speech. The driver said, "I have been waiting here at the airport since two hours for my master."

    • Options
    • A. The driver said that he had been waiting there at the airport since two hours for his master.
    • B. The driver said that he had been waiting here at the airport since two hours for his master.
    • C. The driver said that he has been waiting there at the airport since two hours for his master.
    • D. The driver said that he has been waiting here at the airport since two hours for his master.
    • Discuss
    • 9. In the following question, a sentence has been given in Direct/Indirect speech. Out of the four alternatives suggested, select the one which best expresses the same sentence in Indirect/Direct speech. My mother said, "We went to a market that is five kilometers from here."

    • Options
    • A. My mother said that they had gone to a market that was five kilometers from here.
    • B. My mother said that they have gone to a market that was five kilometers from there.
    • C. My mother said that they had gone to a market that was five kilometers from there.
    • D. My mother said that they have gone to a market that was five kilometers from here.
    • Discuss
    • 10. In the following question, a sentence has been given in Direct/Indirect speech. Out of the four alternatives suggested, select the one which best expresses the same sentence in Indirect/Direct speech. My sister said to me, "You didn't help me yesterday so I will not help you now."

    • Options
    • A. My sister said to me that I had not helped her the day before so she would not help me then.
    • B. My sister said to me that I have not helped her the day before so she would not help me now.
    • C. My sister said to me that I have not helped her yesterday so she would not help me then.
    • D. My sister said to me that I had not helped her yesterday so she would not help me now.
    • Discuss


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