Reading section & note making
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The passage discusses the key differences between classical Chinese landscapes and Western landscapes in paintings. In classical Chinese landscapes, there is no single viewpoint and the landscape is meant to be entered from any point rather than reproducing an actual view. It allows the viewer to travel through the painting at their own pace through a horizontal scroll. The landscape represents an inner spiritual space rather than a real one. Shan shui, meaning mountain water, represents the landscape and the interaction between the Yin and Yang forces of nature. The empty space between the mountains and water is an important third element, similar to the suspension of breath in yoga, where meditation occurs. In this empty space, man acts as the connector between heaven and earth, playing a fundamental role in
Reading section & note making
- 1. READING SECTION – ‘A’ By: ASHWINI KUMAR 11-08-2020 1 Ashwini Kumar READING SECTION – ‘A’
- 2. TYPES OF PASSAGES 1. Factual Passage: Provides good clarity on the topic being discussed. (Instructions, descriptions, reports) 2. Discursive Passage: Passes aimlessly from one subject to another. The passage will talk about various topics at random that appear to have no connection with one another. (Argumentative, persuasive, interpretative) 3. Literary Passage: A portion or section of a written work, either fiction or non-fiction. (Extract from essays, poem, fiction etc.) 11-08-2020 2Ashwini Kumar
- 3. TIPS TO ATTEMPT …. • Read the questions, by skimming, quickly. • Now, read the passage once, and look at the questions again. • After this read the passage again (by scanning) and underline the parts where you think answers might be there. • Read the underlined parts with utmost attention. • Write the answers in your own words. Don’t copy the sentences of the passage as it is. • Use word attack strategy to infer the meaning of the difficult words. 11-08-2020 3 Ashwini Kumar
- 4. NOTE MAKING 11-08-2020 4 EXTRACTING MAIN POINTS & SUB POINTS FROM THE GIVEN PASSAGE • Read the passage thoroughly. (By scanning) • Find a suitable TITLE / HEADING for the passage. (Read the first & last paragraph(s) for giving title.) • Underline the main points & supporting details. • Find out the chief division of the passage & use them for main-headings. • Circle the longer words or those often repeated words & abbreviate them. • Organize the information systematically.Ashwini Kumar
- 5. NOTE MAKING 11-08-2020 5 IMPORTANT TIPS: • Do not write in complete sentences; use content words/phrases only. • Underline the Headings & Sub-Headings. • Use abbreviations: (How to form abbreviations….? ) a. Capitalized initial letters: Eg. LIC; WHO, RO, O.N.G.C etc. b. The first few letters & the last few letters of the words. Eg. Advertisement = Advt., Government = Govt. c. Taking the first & last letters of the words. Eg. Reading = Rdng ; Education = Edn d. Contractions of word: Eg. Will not = won’t ; Does not = doesn’t e. Universally recognized SYMBOLS used : Eg.: Viz. = namely ; eg. = For Example. IMPORTANT: Make a box for writing the abbreviations (Use at least 4 abbreviations) f. Just remove the vowels : Eg.: Workman = wkmn, Material = mtrl Ashwini Kumar • Avoid Grammar by omitting articles, prepositions, conjunctions, if possible
- 6. Lesson No 4: Landscape of the Soul (Page 35-36) A classical Chinese landscape is not meant to reproduce an actual view, as would a Western figurative painting. Whereas the European painter wants you to borrow his eyes and look at a particular landscape exactly as he saw it, from a specific angle, the Chinese painter does not choose a single viewpoint. His landscape is not a ‘real’ one, and you can enter it from any point, then travel in it; the artist creates a path for your eyes to travel up and down, then back again, in a leisurely movement. This is even more true in the case of the horizontal scroll, in which the action of slowly opening one section of the painting, then rolling it up to move on to the other, adds a dimension of time which is unknown in any other form of painting. It also requires the active participation of the viewer, who decides at what pace he will travel through the painting — a participation which is physical as well as mental. The Chinese painter does not want you to borrow his eyes; he wants you to enter his mind. The landscape is an inner one, a spiritual and conceptual space. 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. 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 Chinese landscape. This is also where Man finds a fundamental role. In that space between Heaven and Earth, he becomes the conduit of communication between both poles of the Universe. His presence is essential, even if it’s only suggested; far from being lost or oppressed by the lofty peaks, he is, in Francois Cheng’s wonderful expression, “the eye of the landscape”. 11-08-2020 6 HornbillMake notes of the following 400 wordsAshwini Kumar
- 7. NOTE MAKING - Example Title: MAN - A CONNECTOR OF ART AND NATURE 1) CLASSICAL CHINESE LNDSCP 1.1. No single view (.) to see 1.2. Lndscp not real 1.3. Viewer can enter from any (.) 1.3.1. Can decide pace to travel through pntg. 1.3.2. Participates physically & mentally 1.4. Appeals to innerself – mind, spiritual & conceptual space 2) WESTERN PNTG. 2.1. Rpsnts. actual view 2.2. Borrows painter’s eye 3) SHANSHUI 3.1. Mountain water Rpsnts. Lndscp –Yang & Yin 3.2. Yang 3.2.1. Vertical to Hvn, stable, warm, dry 3.2.2. Active & Masculine 3.3 Yin 3.3.1Horizontal, fluid, moist & cool 3.3.2Receptive & feminine. 11-08-2020 7 Main Heading Sub Heading Sub Heading Sub Heading Sub Heading Sub-sub-Heading Sub-sub-Heading Main Heading Sub Heading Sub Heading Ashwini Kumar
- 8. Continue… 4) COMPARISION 4.1. Pranayam 4.1.1. Breathe in, retain & Breathe out 4.2. Middle void 4.2.1. Meditation 4.2.2. White & unpainted space in Chinese Lndscp 5) MAN’S FUNDAMENTAL ROLE 5.1. Conduit of comm. btwn. Hvn & Earth 5.2. Eye of the Lndscp. 11-08-2020 8 Abbreviations and symbols used: 1) Lndscp = Landscape 2) (.) = Point 3) Pntg = Painting 4) Hvn = Heaven 5) & = and 6) Comm.btwn.= Communication between 7) Rpsnts = Represents Ashwini Kumar Write the summary of the given passage in one paragraph only.
- 10. MARKING SCHEME – NOTE MAKING 11-08-2020 10 1. NOTE MAKING (05 Marks) a) Title : 01 Mark b) Numbering & Indenting : 01 Mark c) Key / glossary : 01 Mark d) Notes : 02 Marks 2. SUMMARY (Maximum 50 words) (03 Marks) a) Content : 02 Marks b) Expression : 01 Mark & SUMMARY Ashwini Kumar