DAY – 61 : Insta 75 Days Revision Plan-2025 : ART & CULTURE

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• Question 1 of 30 1. Question 1 points Consider the following statements regarding Mauryan pillars, particularly those from Ashoka’s reign, and their comparison with Achaemenid (Persian) pillars: While both Mauryan and Achaemenid pillars often feature polished surfaces, Mauryan pillars are typically monolithic (carved from a single piece of stone), whereas Achaemenid pillars were generally constructed in sections. The capitals of Mauryan pillars, such as the Sarnath Lion Capital, exclusively depict animal forms, unlike Achaemenid capitals which often incorporated human or composite figures. Mauryan pillars universally feature a bell-shaped element (inverted lotus) below the abacus, a feature directly borrowed from Persian architectural traditions. Which of the statements given above is/are correct? (a) 1 only (b) 1 and 3 only (c) 2 and 3 only (d) 1, 2 and 3 Correct Solution: A Statement 1 is correct. A key distinction is that Mauryan pillars, especially Ashokan pillars, are monolithic, carved from a single block of sandstone (often Chunar sandstone), showcasing immense technical skill. Achaemenid pillars, in contrast, were typically built segmentally. Both traditions featured polished surfaces, though the Mauryan polish is often considered distinctively lustrous. Statement 2 is incorrect. While Mauryan capitals prominently feature animals (lions, bulls, elephants) , Achaemenid capitals also frequently used animal forms, notably bulls (e.g., Persepolis), sometimes in pairs, and composite creatures. The statement’s claim of exclusivity for Mauryan animal capitals and the implication of human figures on Achaemenid capitals being a primary distinction in this context is misleading. The style of representation differs, but animal forms are common in both. Statement 3 is incorrect. While the bell-shaped capital (often described as an inverted lotus) is a characteristic feature of many Ashokan pillars , and shows influence from Persian forms (like the Persepolitan bell), it is not universally present on all Mauryan pillars across all periods, nor is it necessarily a direct, unchanged borrowing. More importantly, stating it’s universally featured and directly borrowed oversimplifies the complex interaction and adaptation of motifs. Some pillars have different capital forms. Incorrect Solution: A Statement 1 is correct. A key distinction is that Mauryan pillars, especially Ashokan pillars, are monolithic, carved from a single block of sandstone (often Chunar sandstone), showcasing immense technical skill. Achaemenid pillars, in contrast, were typically built segmentally. Both traditions featured polished surfaces, though the Mauryan polish is often considered distinctively lustrous. Statement 2 is incorrect. While Mauryan capitals prominently feature animals (lions, bulls, elephants) , Achaemenid capitals also frequently used animal forms, notably bulls (e.g., Persepolis), sometimes in pairs, and composite creatures. The statement’s claim of exclusivity for Mauryan animal capitals and the implication of human figures on Achaemenid capitals being a primary distinction in this context is misleading. The style of representation differs, but animal forms are common in both. Statement 3 is incorrect. While the bell-shaped capital (often described as an inverted lotus) is a characteristic feature of many Ashokan pillars , and shows influence from Persian forms (like the Persepolitan bell), it is not universally present on all Mauryan pillars across all periods, nor is it necessarily a direct, unchanged borrowing. More importantly, stating it’s universally featured and directly borrowed oversimplifies the complex interaction and adaptation of motifs. Some pillars have different capital forms.

#### 1. Question

Consider the following statements regarding Mauryan pillars, particularly those from Ashoka’s reign, and their comparison with Achaemenid (Persian) pillars:

• While both Mauryan and Achaemenid pillars often feature polished surfaces, Mauryan pillars are typically monolithic (carved from a single piece of stone), whereas Achaemenid pillars were generally constructed in sections.

• The capitals of Mauryan pillars, such as the Sarnath Lion Capital, exclusively depict animal forms, unlike Achaemenid capitals which often incorporated human or composite figures.

• Mauryan pillars universally feature a bell-shaped element (inverted lotus) below the abacus, a feature directly borrowed from Persian architectural traditions.

Which of the statements given above is/are correct?

• (a) 1 only

• (b) 1 and 3 only

• (c) 2 and 3 only

• (d) 1, 2 and 3

Solution: A

• Statement 1 is correct. A key distinction is that Mauryan pillars, especially Ashokan pillars, are monolithic, carved from a single block of sandstone (often Chunar sandstone), showcasing immense technical skill. Achaemenid pillars, in contrast, were typically built segmentally. Both traditions featured polished surfaces, though the Mauryan polish is often considered distinctively lustrous.

• Statement 2 is incorrect. While Mauryan capitals prominently feature animals (lions, bulls, elephants) , Achaemenid capitals also frequently used animal forms, notably bulls (e.g., Persepolis), sometimes in pairs, and composite creatures. The statement’s claim of exclusivity for Mauryan animal capitals and the implication of human figures on Achaemenid capitals being a primary distinction in this context is misleading. The style of representation differs, but animal forms are common in both.

• Statement 3 is incorrect. While the bell-shaped capital (often described as an inverted lotus) is a characteristic feature of many Ashokan pillars , and shows influence from Persian forms (like the Persepolitan bell), it is not universally present on all Mauryan pillars across all periods, nor is it necessarily a direct, unchanged borrowing. More importantly, stating it’s universally featured and directly borrowed oversimplifies the complex interaction and adaptation of motifs. Some pillars have different capital forms.

Solution: A

• Question 2 of 30 2. Question 1 points Consider the following statements regarding the evolution of temple architecture during the Gupta period: The earliest Gupta temples were predominantly rock-cut cave shrines, similar to the earlier Mauryan tradition. A key development was the transition to structural temples, initially featuring flat roofs and shallow pillared porches. The characteristic Nagara style shikhara (curvilinear tower) became a standard feature of Gupta temples from the very beginning of the period. Gupta temples primarily used elaborately carved wood, with stone construction becoming prominent only in the post-Gupta era. Which of the statements given above is/are correct? (a) 2 only (b) 1 and 3 only (c) 2 and 4 only (d) 1, 2 and 3 only Correct Solution: A Statement 1 is incorrect. While rock-cut architecture continued (e.g., Ajanta, Ellora expansions ), the Gupta period is marked by the beginning and evolution of free-standing structural temples, moving away from the predominant rock-cut tradition of earlier periods. Statement 2 is correct. The initial phase of Gupta structural temples (early 5th century CE) is characterized by modest, flat-roofed shrines with a square garbhagriha and a shallow pillared porch in front. Examples include Temple No. 17 at Sanchi. This represents the foundational stage before the development of taller superstructures. Statement 3 is incorrect. The shikhara, the defining feature of the later Nagara style, evolved during the Gupta period, not from the very beginning. Early temples were flat-roofed. The shikhara appears in later Gupta temples (e.g., Dashavatara temple at Deogarh, late 5th/early 6th century CE) marking a subsequent stage of development. Statement 4 is incorrect. Gupta structural temples were built using both brick and stone. While wood might have been used earlier or for certain elements, stone became a prominent material for structural temples during this period, often featuring relief sculptures. Elaborate brick temples with terracotta decoration also existed. Incorrect Solution: A Statement 1 is incorrect. While rock-cut architecture continued (e.g., Ajanta, Ellora expansions ), the Gupta period is marked by the beginning and evolution of free-standing structural temples, moving away from the predominant rock-cut tradition of earlier periods. Statement 2 is correct. The initial phase of Gupta structural temples (early 5th century CE) is characterized by modest, flat-roofed shrines with a square garbhagriha and a shallow pillared porch in front. Examples include Temple No. 17 at Sanchi. This represents the foundational stage before the development of taller superstructures. Statement 3 is incorrect. The shikhara, the defining feature of the later Nagara style, evolved during the Gupta period, not from the very beginning. Early temples were flat-roofed. The shikhara appears in later Gupta temples (e.g., Dashavatara temple at Deogarh, late 5th/early 6th century CE) marking a subsequent stage of development. Statement 4 is incorrect. Gupta structural temples were built using both brick and stone. While wood might have been used earlier or for certain elements, stone became a prominent material for structural temples during this period, often featuring relief sculptures. Elaborate brick temples with terracotta decoration also existed.

#### 2. Question

Consider the following statements regarding the evolution of temple architecture during the Gupta period:

• The earliest Gupta temples were predominantly rock-cut cave shrines, similar to the earlier Mauryan tradition.

• A key development was the transition to structural temples, initially featuring flat roofs and shallow pillared porches.

• The characteristic Nagara style shikhara (curvilinear tower) became a standard feature of Gupta temples from the very beginning of the period.

• Gupta temples primarily used elaborately carved wood, with stone construction becoming prominent only in the post-Gupta era.

Which of the statements given above is/are correct?

• (a) 2 only

• (b) 1 and 3 only

• (c) 2 and 4 only

• (d) 1, 2 and 3 only

Solution: A

• Statement 1 is incorrect. While rock-cut architecture continued (e.g., Ajanta, Ellora expansions ), the Gupta period is marked by the beginning and evolution of free-standing structural temples, moving away from the predominant rock-cut tradition of earlier periods.

• Statement 2 is correct. The initial phase of Gupta structural temples (early 5th century CE) is characterized by modest, flat-roofed shrines with a square garbhagriha and a shallow pillared porch in front. Examples include Temple No. 17 at Sanchi. This represents the foundational stage before the development of taller superstructures.

• Statement 3 is incorrect. The shikhara, the defining feature of the later Nagara style, evolved during the Gupta period, not from the very beginning. Early temples were flat-roofed. The shikhara appears in later Gupta temples (e.g., Dashavatara temple at Deogarh, late 5th/early 6th century CE) marking a subsequent stage of development.

• Statement 4 is incorrect. Gupta structural temples were built using both brick and stone. While wood might have been used earlier or for certain elements, stone became a prominent material for structural temples during this period, often featuring relief sculptures. Elaborate brick temples with terracotta decoration also existed.

Solution: A

• Question 3 of 30 3. Question 1 points Which of the following statements most accurately describes the primary painting technique employed in the Ajanta caves? (a) True Fresco (Fresco Buono), where pigments are applied on wet lime plaster, allowing them to chemically bond with the wall. (b) Fresco-Secco, where pigments mixed with a binder are applied onto dry plaster, relying on the binder for adhesion. (c) Tempera technique, where pigments mixed with a binding medium (like glue or egg yolk) are applied to a dry prepared surface (mud plaster often topped with lime). (d) Encaustic painting, where pigments are mixed with hot wax and applied to the surface. Correct Solution: C The paintings at Ajanta are widely recognized as being executed primarily using the Tempera technique, often referred to as “dry fresco” or sometimes Fresco-Secco, distinguishing it from True Fresco (Fresco Buono). The process involved preparing the rock surface with a layer of mud plaster (often mixed with organic materials like rice husk or plant fibers), followed by a thin coat of lime wash. Pigments, derived from natural sources (ochres, lapis lazuli, carbon black, etc.) mixed with a binding agent (likely animal glue), were then applied to this dry surface. Incorrect Solution: C The paintings at Ajanta are widely recognized as being executed primarily using the Tempera technique, often referred to as “dry fresco” or sometimes Fresco-Secco, distinguishing it from True Fresco (Fresco Buono). The process involved preparing the rock surface with a layer of mud plaster (often mixed with organic materials like rice husk or plant fibers), followed by a thin coat of lime wash. Pigments, derived from natural sources (ochres, lapis lazuli, carbon black, etc.) mixed with a binding agent (likely animal glue), were then applied to this dry surface.

#### 3. Question

Which of the following statements most accurately describes the primary painting technique employed in the Ajanta caves?

• (a) True Fresco (Fresco Buono), where pigments are applied on wet lime plaster, allowing them to chemically bond with the wall.

• (b) Fresco-Secco, where pigments mixed with a binder are applied onto dry plaster, relying on the binder for adhesion.

• (c) Tempera technique, where pigments mixed with a binding medium (like glue or egg yolk) are applied to a dry prepared surface (mud plaster often topped with lime).

• (d) Encaustic painting, where pigments are mixed with hot wax and applied to the surface.

Solution: C

• The paintings at Ajanta are widely recognized as being executed primarily using the Tempera technique, often referred to as “dry fresco” or sometimes Fresco-Secco, distinguishing it from True Fresco (Fresco Buono). The process involved preparing the rock surface with a layer of mud plaster (often mixed with organic materials like rice husk or plant fibers), followed by a thin coat of lime wash. Pigments, derived from natural sources (ochres, lapis lazuli, carbon black, etc.) mixed with a binding agent (likely animal glue), were then applied to this dry surface.

Solution: C

• Question 4 of 30 4. Question 1 points In the iconography of the Chola bronze Nataraja (Shiva as Lord of Dance), consider the following elements and their symbolic interpretations: Damaru (Drum): Represents the primordial sound of creation and the passage of time. Abhaya Mudra (Gesture): Symbolizes destruction of the cosmos at the end of an era. Flame in Hand: Represents the divine knowledge that destroys ignorance. Raised Left Foot: Signifies refuge for the devotee and liberation (moksha). Trampled Dwarf (Apasmara): Represents the devotee’s ego being crushed by divine grace. How many of the above interpretations are correctly matched? (a) Only two (b) Only three (c) Only four (d) All five Correct Solution: B *Damaru* (Drum): Correct. The drum in Shiva’s upper right hand symbolizes the sound of creation (Pranava or Om), the rhythm of the cosmos, and the passage of time. *Abhaya Mudra* (Gesture): Incorrect. The front right hand is typically shown in the Abhaya Mudra, the gesture of fearlessness, reassurance, and protection, sustaining the cosmos. Destruction is symbolized by the flame. Flame in Hand: Incorrect. The flame (Agni) in Shiva’s upper left hand symbolizes destruction – the dissolution of the universe necessary for renewal. It purifies and transforms. While knowledge destroys ignorance, this specific element primarily represents destruction/transformation. Raised Left Foot: Correct. The uplifted left foot signifies liberation (moksha) and offers refuge to the devotee’s soul. Trampled Dwarf (*Apasmara): Correct. The figure crushed under Shiva’s right foot is Apasmara Purusha, representing ignorance, illusion, and ego, which must be overcome for liberation. Incorrect Solution: B Damaru* (Drum): Correct. The drum in Shiva’s upper right hand symbolizes the sound of creation (Pranava or Om), the rhythm of the cosmos, and the passage of time. *Abhaya Mudra* (Gesture): Incorrect. The front right hand is typically shown in the Abhaya Mudra, the gesture of fearlessness, reassurance, and protection, sustaining the cosmos. Destruction is symbolized by the flame. Flame in Hand: Incorrect. The flame (Agni) in Shiva’s upper left hand symbolizes destruction – the dissolution of the universe necessary for renewal. It purifies and transforms. While knowledge destroys ignorance, this specific element primarily represents destruction/transformation. Raised Left Foot: Correct. The uplifted left foot signifies liberation (moksha) and offers refuge to the devotee’s soul. Trampled Dwarf (*Apasmara*): Correct. The figure crushed under Shiva’s right foot is Apasmara Purusha, representing ignorance, illusion, and ego, which must be overcome for liberation.

#### 4. Question

In the iconography of the Chola bronze Nataraja (Shiva as Lord of Dance), consider the following elements and their symbolic interpretations:

• Damaru (Drum): Represents the primordial sound of creation and the passage of time.

• Abhaya Mudra (Gesture): Symbolizes destruction of the cosmos at the end of an era.

• Flame in Hand: Represents the divine knowledge that destroys ignorance.

• Raised Left Foot: Signifies refuge for the devotee and liberation (moksha).

• Trampled Dwarf (Apasmara): Represents the devotee’s ego being crushed by divine grace.

How many of the above interpretations are correctly matched?

• (a) Only two

• (b) Only three

• (c) Only four

• (d) All five

Solution: B

• *Damaru* (Drum): Correct. The drum in Shiva’s upper right hand symbolizes the sound of creation (Pranava or Om), the rhythm of the cosmos, and the passage of time.

• *Abhaya Mudra* (Gesture): Incorrect. The front right hand is typically shown in the Abhaya Mudra, the gesture of fearlessness, reassurance, and protection, sustaining the cosmos. Destruction is symbolized by the flame.

• Flame in Hand: Incorrect. The flame (Agni) in Shiva’s upper left hand symbolizes destruction – the dissolution of the universe necessary for renewal. It purifies and transforms. While knowledge destroys ignorance, this specific element primarily represents destruction/transformation.

• Raised Left Foot: Correct. The uplifted left foot signifies liberation (moksha) and offers refuge to the devotee’s soul.

• Trampled Dwarf (*Apasmara*): Correct. The figure crushed under Shiva’s right foot is Apasmara Purusha, representing ignorance, illusion, and ego, which must be overcome for liberation.

Solution: B

• *Damaru* (Drum): Correct. The drum in Shiva’s upper right hand symbolizes the sound of creation (Pranava or Om), the rhythm of the cosmos, and the passage of time.

• Raised Left Foot: Correct. The uplifted left foot signifies liberation (moksha) and offers refuge to the devotee’s soul.

• Trampled Dwarf (*Apasmara*): Correct. The figure crushed under Shiva’s right foot is Apasmara Purusha, representing ignorance, illusion, and ego, which must be overcome for liberation.

• Question 5 of 30 5. Question 1 points Which decorative technique, involving the inlay of coloured stones (semi-precious and precious) into marble to create intricate patterns, became particularly prominent in Mughal architecture, exemplified by its extensive use in the Taj Mahal? (a) Arabesque (b) Jaali Work (c) Pietra Dura (d) Stucco Incision Correct Solution: C Pietra Dura (Italian for “hard stone”) is the technique described. It involves meticulously cutting and fitting highly polished coloured stones (like lapis lazuli, jade, carnelian, agate, jasper) into depressions carved in marble to create intricate designs, often floral or geometric. This technique reached its zenith under Mughal patronage, especially during Shah Jahan’s reign, and is a defining feature of the Taj Mahal’s decoration. Incorrect Solution: C Pietra Dura (Italian for “hard stone”) is the technique described. It involves meticulously cutting and fitting highly polished coloured stones (like lapis lazuli, jade, carnelian, agate, jasper) into depressions carved in marble to create intricate designs, often floral or geometric. This technique reached its zenith under Mughal patronage, especially during Shah Jahan’s reign, and is a defining feature of the Taj Mahal’s decoration.

#### 5. Question

Which decorative technique, involving the inlay of coloured stones (semi-precious and precious) into marble to create intricate patterns, became particularly prominent in Mughal architecture, exemplified by its extensive use in the Taj Mahal?

• (a) Arabesque

• (b) Jaali Work

• (c) Pietra Dura

• (d) Stucco Incision

Solution: C

Pietra Dura (Italian for “hard stone”) is the technique described. It involves meticulously cutting and fitting highly polished coloured stones (like lapis lazuli, jade, carnelian, agate, jasper) into depressions carved in marble to create intricate designs, often floral or geometric. This technique reached its zenith under Mughal patronage, especially during Shah Jahan’s reign, and is a defining feature of the Taj Mahal’s decoration.

Solution: C

• Question 6 of 30 6. Question 1 points Consider the following pairs regarding Indian Miniature Painting schools: Pala School : Characterized by sinuous lines, subdued tones, and primarily Buddhist themes on palm leaves. Mughal School : Known for realism, fine detailing, portraiture, court scenes, and a blend of Persian and Indian elements. Rajasthani School (Mewar) : Often depicted Hindu myths (like Gita Govinda, Bhagavata Purana) with bold colours and emotional intensity. Pahari School (Kangra) : Famous for lyrical themes, particularly Radha-Krishna romance (Gita Govinda), delicate lines, and naturalistic settings. How many of the above pairs are correctly matched? (a) Only one pair (b) Only two pairs (c) Only three pairs (d) All four pairs Correct Solution: D Pala School: Correct. Originating in Eastern India (Bengal/Bihar) around the 8th-12th centuries, it focused on Buddhist themes (Mahayana, Vajrayana) on palm-leaf manuscripts, characterized by sinuous lines and relatively simple compositions with symbolic colours. Mughal School: Correct. Flourishing from the 16th century, it blended Persian finesse with Indian traditions. Known for its realism, detailed observation (especially in flora, fauna, portraits), court scenes, hunting, battles, and use of fine brushwork and rich pigments. Rajasthani School (Mewar): Mewar, a prominent Rajasthani school, is known for its bold lines, vibrant colours, emotional intensity, and depiction of Hindu epics, Puranas, and local legends. Sahibdin was a key artist. Pahari School (Kangra): Correct. Developing in the Himalayan foothills from the 17th century, the Kangra sub-school (flourishing under Raja Sansar Chand) is renowned for its lyrical quality, delicate lines, soft colours, naturalistic depiction of landscapes, and focus on romantic themes, especially Radha-Krishna narratives like the Gita Govinda. Incorrect Solution: D Pala School: Correct. Originating in Eastern India (Bengal/Bihar) around the 8th-12th centuries, it focused on Buddhist themes (Mahayana, Vajrayana) on palm-leaf manuscripts, characterized by sinuous lines and relatively simple compositions with symbolic colours. Mughal School: Correct. Flourishing from the 16th century, it blended Persian finesse with Indian traditions. Known for its realism, detailed observation (especially in flora, fauna, portraits), court scenes, hunting, battles, and use of fine brushwork and rich pigments. Rajasthani School (Mewar): Mewar, a prominent Rajasthani school, is known for its bold lines, vibrant colours, emotional intensity, and depiction of Hindu epics, Puranas, and local legends. Sahibdin was a key artist. Pahari School (Kangra): Correct. Developing in the Himalayan foothills from the 17th century, the Kangra sub-school (flourishing under Raja Sansar Chand) is renowned for its lyrical quality, delicate lines, soft colours, naturalistic depiction of landscapes, and focus on romantic themes, especially Radha-Krishna narratives like the Gita Govinda.

#### 6. Question

Consider the following pairs regarding Indian Miniature Painting schools:

• Pala School : Characterized by sinuous lines, subdued tones, and primarily Buddhist themes on palm leaves.

• Mughal School : Known for realism, fine detailing, portraiture, court scenes, and a blend of Persian and Indian elements.

• Rajasthani School (Mewar) : Often depicted Hindu myths (like Gita Govinda, Bhagavata Purana) with bold colours and emotional intensity.

• Pahari School (Kangra) : Famous for lyrical themes, particularly Radha-Krishna romance (Gita Govinda), delicate lines, and naturalistic settings.

How many of the above pairs are correctly matched?

• (a) Only one pair

• (b) Only two pairs

• (c) Only three pairs

• (d) All four pairs

Solution: D

• Pala School: Correct. Originating in Eastern India (Bengal/Bihar) around the 8th-12th centuries, it focused on Buddhist themes (Mahayana, Vajrayana) on palm-leaf manuscripts, characterized by sinuous lines and relatively simple compositions with symbolic colours.

• Mughal School: Correct. Flourishing from the 16th century, it blended Persian finesse with Indian traditions. Known for its realism, detailed observation (especially in flora, fauna, portraits), court scenes, hunting, battles, and use of fine brushwork and rich pigments.

• Rajasthani School (Mewar): Mewar, a prominent Rajasthani school, is known for its bold lines, vibrant colours, emotional intensity, and depiction of Hindu epics, Puranas, and local legends. Sahibdin was a key artist.

• Pahari School (Kangra): Correct. Developing in the Himalayan foothills from the 17th century, the Kangra sub-school (flourishing under Raja Sansar Chand) is renowned for its lyrical quality, delicate lines, soft colours, naturalistic depiction of landscapes, and focus on romantic themes, especially Radha-Krishna narratives like the Gita Govinda.

Solution: D

• Question 7 of 30 7. Question 1 points Consider the following themes commonly found in Sangam literature: Heroic exploits of kings in battle and praise of their valour. Intricate descriptions of personal emotions, particularly love and separation between lovers. Ethical codes of conduct for rulers and society. Detailed accounts of specific religious rituals and temple worship procedures. Which of the above themes primarily fall under the ‘Puram’ category of Sangam poetry? (a) 1 and 2 only (b) 1 and 3 only (c) 2 and 4 only (d) 1, 3 and 4 only Correct Solution: B Sangam literature is broadly classified into ‘Akam’ (interior/love) and ‘Puram’ (exterior/public life) themes. Theme 1 (Heroism/War): Falls under Puram, which deals with public life, including heroism, war, kings’ deeds, and ethics. Works like Purananuru exemplify this. Theme 2 (Love/Emotions): Falls under Akam, which focuses on personal emotions, primarily love in its various stages (union, separation, etc.). Works like Akananuru and Kuruntokai are examples. Theme 3 (Ethics/Governance): Falls under Puram, as it pertains to public conduct, governance, and societal values. Theme 4 (Rituals/Temple Worship): While Sangam literature contains references to deities and religious practices , detailed procedural accounts of specific rituals or temple worship are not its primary focus, especially compared to later Agamic or Puranic texts. The core division is Akam (love) and Puram (heroism/public life). Detailed ritual procedure is not a defining characteristic of either main category, though religious elements appear within Puram contexts (e.g., praise of deities like Murugan in Paripatal ). Incorrect Solution: B Sangam literature is broadly classified into ‘Akam’ (interior/love) and ‘Puram’ (exterior/public life) themes. Theme 1 (Heroism/War): Falls under Puram, which deals with public life, including heroism, war, kings’ deeds, and ethics. Works like Purananuru exemplify this. Theme 2 (Love/Emotions): Falls under Akam, which focuses on personal emotions, primarily love in its various stages (union, separation, etc.). Works like Akananuru and Kuruntokai are examples. Theme 3 (Ethics/Governance): Falls under Puram, as it pertains to public conduct, governance, and societal values. Theme 4 (Rituals/Temple Worship): While Sangam literature contains references to deities and religious practices , detailed procedural accounts of specific rituals or temple worship are not its primary focus, especially compared to later Agamic or Puranic texts. The core division is Akam (love) and Puram (heroism/public life). Detailed ritual procedure is not a defining characteristic of either main category, though religious elements appear within Puram contexts (e.g., praise of deities like Murugan in Paripatal ).

#### 7. Question

Consider the following themes commonly found in Sangam literature:

• Heroic exploits of kings in battle and praise of their valour.

• Intricate descriptions of personal emotions, particularly love and separation between lovers.

• Ethical codes of conduct for rulers and society.

• Detailed accounts of specific religious rituals and temple worship procedures.

Which of the above themes primarily fall under the ‘Puram’ category of Sangam poetry?

• (a) 1 and 2 only

• (b) 1 and 3 only

• (c) 2 and 4 only

• (d) 1, 3 and 4 only

Solution: B

Sangam literature is broadly classified into ‘Akam’ (interior/love) and ‘Puram’ (exterior/public life) themes.

• Theme 1 (Heroism/War): Falls under Puram, which deals with public life, including heroism, war, kings’ deeds, and ethics. Works like Purananuru exemplify this.

• Theme 2 (Love/Emotions): Falls under Akam, which focuses on personal emotions, primarily love in its various stages (union, separation, etc.). Works like Akananuru and Kuruntokai are examples.

• Theme 3 (Ethics/Governance): Falls under Puram, as it pertains to public conduct, governance, and societal values.

• Theme 4 (Rituals/Temple Worship): While Sangam literature contains references to deities and religious practices , detailed procedural accounts of specific rituals or temple worship are not its primary focus, especially compared to later Agamic or Puranic texts. The core division is Akam (love) and Puram (heroism/public life). Detailed ritual procedure is not a defining characteristic of either main category, though religious elements appear within Puram contexts (e.g., praise of deities like Murugan in Paripatal ).

Solution: B

Sangam literature is broadly classified into ‘Akam’ (interior/love) and ‘Puram’ (exterior/public life) themes.

• Theme 1 (Heroism/War): Falls under Puram, which deals with public life, including heroism, war, kings’ deeds, and ethics. Works like Purananuru exemplify this.

• Theme 3 (Ethics/Governance): Falls under Puram, as it pertains to public conduct, governance, and societal values.

• Question 8 of 30 8. Question 1 points Consider the following statements regarding key metaphysical concepts within Sufism: Wahdat-ul-Wujud, often translated as “Unity of Being,” posits that only God is the true Reality and all existence is a manifestation or reflection of His Being. Wahdat-us-Shuhud, translated as “Unity of Witness” or “Apparentism,” argues that the experience of unity with God is subjective (in the vision of the seeker) and does not imply ontological oneness between the Creator and creation. The Chishti order in India primarily adhered to Wahdat-us-Shuhud, emphasizing the distinction between God and creation, while the Suhrawardi order propagated Wahdat-ul-Wujud. Which of the statements given above is/are correct? (a) 1 and 2 only (b) 2 and 3 only (c) 1 and 3 only (d) 1, 2 and 3 Correct Solution: A Statement 1 is correct. Wahdat-ul-Wujud (Unity of Being/Existence) is a doctrine most famously associated with Ibn Arabi. It emphasizes that True Existence (Wujud) belongs only to God (al-Haqq), and the entirety of creation is a manifestation, reflection, or shadow of that single Reality. Statement 2 is correct. Wahdat-us-Shuhud (Unity of Witness/Apparentism), strongly associated with Shaikh Ahmad Sirhindi, offers a contrasting view. It interprets the Sufi experience of unity (Tawhid) as a subjective state experienced by the seeker (shuhud – witnessing), rather than an objective ontological reality (wujud – being). It maintains a clearer distinction between the Creator and the creation. Statement 3 is incorrect. The Chishti order, particularly influential figures like Khwaja Moinuddin Chishti and his successors in India, were largely proponents of Wahdat-ul-Wujud, emphasizing love and the essential unity of beings. While some Sufis, like Shaikh Ahmad Sirhindi (associated more with the Naqshbandi order, though influential across orders), strongly advocated Wahdat-us-Shuhud, it’s inaccurate to broadly associate the Chishtis primarily with Shuhud and Suhrawardis with Wujud. Suhrawardis, while maintaining closer ties with the political establishment, also had diverse metaphysical leanings, but were not singularly defined by propagating Wujud in opposition to Chishtis. The association presented is reversed and oversimplified. Incorrect Solution: A Statement 1 is correct. Wahdat-ul-Wujud (Unity of Being/Existence) is a doctrine most famously associated with Ibn Arabi. It emphasizes that True Existence (Wujud) belongs only to God (al-Haqq), and the entirety of creation is a manifestation, reflection, or shadow of that single Reality. Statement 2 is correct. Wahdat-us-Shuhud (Unity of Witness/Apparentism), strongly associated with Shaikh Ahmad Sirhindi, offers a contrasting view. It interprets the Sufi experience of unity (Tawhid) as a subjective state experienced by the seeker (shuhud – witnessing), rather than an objective ontological reality (wujud – being). It maintains a clearer distinction between the Creator and the creation. Statement 3 is incorrect. The Chishti order, particularly influential figures like Khwaja Moinuddin Chishti and his successors in India, were largely proponents of Wahdat-ul-Wujud, emphasizing love and the essential unity of beings. While some Sufis, like Shaikh Ahmad Sirhindi (associated more with the Naqshbandi order, though influential across orders), strongly advocated Wahdat-us-Shuhud, it’s inaccurate to broadly associate the Chishtis primarily with Shuhud and Suhrawardis with Wujud. Suhrawardis, while maintaining closer ties with the political establishment, also had diverse metaphysical leanings, but were not singularly defined by propagating Wujud in opposition to Chishtis. The association presented is reversed and oversimplified.

#### 8. Question

Consider the following statements regarding key metaphysical concepts within Sufism:

• Wahdat-ul-Wujud, often translated as “Unity of Being,” posits that only God is the true Reality and all existence is a manifestation or reflection of His Being.

• Wahdat-us-Shuhud, translated as “Unity of Witness” or “Apparentism,” argues that the experience of unity with God is subjective (in the vision of the seeker) and does not imply ontological oneness between the Creator and creation.

• The Chishti order in India primarily adhered to Wahdat-us-Shuhud, emphasizing the distinction between God and creation, while the Suhrawardi order propagated Wahdat-ul-Wujud.

Which of the statements given above is/are correct?

• (a) 1 and 2 only

• (b) 2 and 3 only

• (c) 1 and 3 only

• (d) 1, 2 and 3

Solution: A

Statement 1 is correct. Wahdat-ul-Wujud (Unity of Being/Existence) is a doctrine most famously associated with Ibn Arabi. It emphasizes that True Existence (Wujud) belongs only to God (al-Haqq), and the entirety of creation is a manifestation, reflection, or shadow of that single Reality.

Statement 2 is correct. Wahdat-us-Shuhud (Unity of Witness/Apparentism), strongly associated with Shaikh Ahmad Sirhindi, offers a contrasting view. It interprets the Sufi experience of unity (Tawhid) as a subjective state experienced by the seeker (shuhud – witnessing), rather than an objective ontological reality (wujud – being). It maintains a clearer distinction between the Creator and the creation.

Statement 3 is incorrect. The Chishti order, particularly influential figures like Khwaja Moinuddin Chishti and his successors in India, were largely proponents of Wahdat-ul-Wujud, emphasizing love and the essential unity of beings. While some Sufis, like Shaikh Ahmad Sirhindi (associated more with the Naqshbandi order, though influential across orders), strongly advocated Wahdat-us-Shuhud, it’s inaccurate to broadly associate the Chishtis primarily with Shuhud and Suhrawardis with Wujud. Suhrawardis, while maintaining closer ties with the political establishment, also had diverse metaphysical leanings, but were not singularly defined by propagating Wujud in opposition to Chishtis. The association presented is reversed and oversimplified.

Solution: A

• Question 9 of 30 9. Question 1 points The architecture of Fatehpur Sikri, built during Akbar’s reign, is renowned for its synthesis of diverse architectural traditions. Consider the following features found in its various structures: Use of red sandstone as the primary building material. Presence of chhatris (domed kiosks) and jharokhas (projecting balconies). Incorporation of arches, domes, and jaali (latticed screens). Strict adherence to Islamic aniconic principles, completely avoiding floral and faunal motifs. Which of the above features exemplify the blend of indigenous (Rajput/Gujarati) and Perso-Islamic styles at Fatehpur Sikri? (a) 1 and 2 only (b) 3 and 4 only (c) 1, 2 and 3 only (d) 1, 2, 3 and 4 Correct Solution:C Fatehpur Sikri explicitly showcases a blend of indigenous Indian (particularly Rajput and Gujarati) and imported Perso-Islamic architectural styles, reflecting Akbar’s policy of cultural synthesis. Feature 1 (Red Sandstone): Correct. The extensive use of red sandstone is a prominent feature of Fatehpur Sikri and is also characteristic of Rajput architecture in the region. This points towards indigenous influence. Feature 2 (*Chhatris* and *Jharokhas*): Correct. Chhatris and Jharokhas are distinctive elements frequently found in Rajput (and broader Indian) architecture. Their incorporation into Fatehpur Sikri structures (like Panch Mahal, Jodha Bai’s Palace) is a clear example of indigenous style integration. Feature 3 (Arches, Domes, *Jaali*): Correct. Arches (often pointed or cusped), domes, and intricate jaali work are characteristic features derived from Perso-Islamic architectural traditions, widely used throughout Fatehpur Sikri for structural and decorative purposes. Feature 4 (Aniconic Principles): Incorrect. While Islamic tradition generally avoids figural representation in religious contexts, Mughal art, particularly under Akbar, was not strictly aniconic. Fatehpur Sikri’s decorations include not only geometric patterns and calligraphy (Islamic influence) but also floral motifs and sometimes even animal forms (reflecting Indian traditions), especially in secular buildings. The statement claiming complete avoidance of floral/faunal motifs is inaccurate for Fatehpur Sikri’s overall decorative scheme. Incorrect Solution:C Fatehpur Sikri explicitly showcases a blend of indigenous Indian (particularly Rajput and Gujarati) and imported Perso-Islamic architectural styles, reflecting Akbar’s policy of cultural synthesis. Feature 1 (Red Sandstone): Correct. The extensive use of red sandstone is a prominent feature of Fatehpur Sikri and is also characteristic of Rajput architecture in the region. This points towards indigenous influence. Feature 2 (*Chhatris* and *Jharokhas*): Correct. Chhatris and Jharokhas are distinctive elements frequently found in Rajput (and broader Indian) architecture. Their incorporation into Fatehpur Sikri structures (like Panch Mahal, Jodha Bai’s Palace) is a clear example of indigenous style integration. Feature 3 (Arches, Domes, *Jaali*): Correct. Arches (often pointed or cusped), domes, and intricate jaali work are characteristic features derived from Perso-Islamic architectural traditions, widely used throughout Fatehpur Sikri for structural and decorative purposes. Feature 4 (Aniconic Principles): Incorrect. While Islamic tradition generally avoids figural representation in religious contexts, Mughal art, particularly under Akbar, was not strictly aniconic. Fatehpur Sikri’s decorations include not only geometric patterns and calligraphy (Islamic influence) but also floral motifs and sometimes even animal forms (reflecting Indian traditions), especially in secular buildings. The statement claiming complete avoidance of floral/faunal motifs is inaccurate for Fatehpur Sikri’s overall decorative scheme.

#### 9. Question

The architecture of Fatehpur Sikri, built during Akbar’s reign, is renowned for its synthesis of diverse architectural traditions. Consider the following features found in its various structures:

• Use of red sandstone as the primary building material.

• Presence of chhatris (domed kiosks) and jharokhas (projecting balconies).

• Incorporation of arches, domes, and jaali (latticed screens).

• Strict adherence to Islamic aniconic principles, completely avoiding floral and faunal motifs.

Which of the above features exemplify the blend of indigenous (Rajput/Gujarati) and Perso-Islamic styles at Fatehpur Sikri?

• (a) 1 and 2 only

• (b) 3 and 4 only

• (c) 1, 2 and 3 only

• (d) 1, 2, 3 and 4

Solution:C

• Fatehpur Sikri explicitly showcases a blend of indigenous Indian (particularly Rajput and Gujarati) and imported Perso-Islamic architectural styles, reflecting Akbar’s policy of cultural synthesis. Feature 1 (Red Sandstone): Correct. The extensive use of red sandstone is a prominent feature of Fatehpur Sikri and is also characteristic of Rajput architecture in the region. This points towards indigenous influence. Feature 2 (*Chhatris* and *Jharokhas*): Correct. Chhatris and Jharokhas are distinctive elements frequently found in Rajput (and broader Indian) architecture. Their incorporation into Fatehpur Sikri structures (like Panch Mahal, Jodha Bai’s Palace) is a clear example of indigenous style integration. Feature 3 (Arches, Domes, *Jaali*): Correct. Arches (often pointed or cusped), domes, and intricate jaali work are characteristic features derived from Perso-Islamic architectural traditions, widely used throughout Fatehpur Sikri for structural and decorative purposes. Feature 4 (Aniconic Principles): Incorrect. While Islamic tradition generally avoids figural representation in religious contexts, Mughal art, particularly under Akbar, was not strictly aniconic. Fatehpur Sikri’s decorations include not only geometric patterns and calligraphy (Islamic influence) but also floral motifs and sometimes even animal forms (reflecting Indian traditions), especially in secular buildings. The statement claiming complete avoidance of floral/faunal motifs is inaccurate for Fatehpur Sikri’s overall decorative scheme.

• Feature 1 (Red Sandstone): Correct. The extensive use of red sandstone is a prominent feature of Fatehpur Sikri and is also characteristic of Rajput architecture in the region. This points towards indigenous influence.

• Feature 2 (*Chhatris* and *Jharokhas*): Correct. Chhatris and Jharokhas are distinctive elements frequently found in Rajput (and broader Indian) architecture. Their incorporation into Fatehpur Sikri structures (like Panch Mahal, Jodha Bai’s Palace) is a clear example of indigenous style integration.

• Feature 3 (Arches, Domes, *Jaali*): Correct. Arches (often pointed or cusped), domes, and intricate jaali work are characteristic features derived from Perso-Islamic architectural traditions, widely used throughout Fatehpur Sikri for structural and decorative purposes.

• Feature 4 (Aniconic Principles): Incorrect. While Islamic tradition generally avoids figural representation in religious contexts, Mughal art, particularly under Akbar, was not strictly aniconic. Fatehpur Sikri’s decorations include not only geometric patterns and calligraphy (Islamic influence) but also floral motifs and sometimes even animal forms (reflecting Indian traditions), especially in secular buildings. The statement claiming complete avoidance of floral/faunal motifs is inaccurate for Fatehpur Sikri’s overall decorative scheme.

Solution:C

• Question 10 of 30 10. Question 1 points Which of the following statements accurately differentiates between Chaitya halls and Viharas in the context of early Indian rock-cut architecture (Post-Mauryan period)? (a) Chaityas were primarily residential quarters for monks, featuring multiple small cells, while Viharas were congregational worship halls, typically apsidal in plan with a stupa at the rear. (b) Chaityas served as congregational worship or prayer halls, often containing a stupa, while Viharas were monasteries providing residential cells for monks. (c) Both Chaityas and Viharas were exclusively Buddhist structures, with Chaityas used by Mahayana followers and Viharas by Hinayana followers. (d) Viharas were characterized by elaborately carved facades featuring Jataka tales, whereas Chaityas had plain, unadorned entrances focusing on the internal stupa. Correct Solution:B The fundamental distinction lies in their function. Chaitya: A Chaitya-griha (Chaitya hall) was primarily a place of worship, assembly, or prayer for the Buddhist monastic community. Its characteristic architectural form often included an apsidal (semi-circular) rear end housing a votive stupa, a central nave separated from side aisles by pillars, and a vaulted roof. Examples include the Karle Chaitya. Vihara: A Vihara was essentially a monastery, serving as the dwelling place for monks. Architecturally, it typically consisted of a central hall entered via a verandah, with small residential cells excavated around the walls of the hall. Examples include Ajanta Cave No. 12. Incorrect Solution:B The fundamental distinction lies in their function. Chaitya: A Chaitya-griha (Chaitya hall) was primarily a place of worship, assembly, or prayer for the Buddhist monastic community. Its characteristic architectural form often included an apsidal (semi-circular) rear end housing a votive stupa, a central nave separated from side aisles by pillars, and a vaulted roof. Examples include the Karle Chaitya. Vihara: A Vihara was essentially a monastery, serving as the dwelling place for monks. Architecturally, it typically consisted of a central hall entered via a verandah, with small residential cells excavated around the walls of the hall. Examples include Ajanta Cave No. 12.

#### 10. Question

Which of the following statements accurately differentiates between Chaitya halls and Viharas in the context of early Indian rock-cut architecture (Post-Mauryan period)?

• (a) Chaityas were primarily residential quarters for monks, featuring multiple small cells, while Viharas were congregational worship halls, typically apsidal in plan with a stupa at the rear.

• (b) Chaityas served as congregational worship or prayer halls, often containing a stupa, while Viharas were monasteries providing residential cells for monks.

• (c) Both Chaityas and Viharas were exclusively Buddhist structures, with Chaityas used by Mahayana followers and Viharas by Hinayana followers.

• (d) Viharas were characterized by elaborately carved facades featuring Jataka tales, whereas Chaityas had plain, unadorned entrances focusing on the internal stupa.

Solution:B

• The fundamental distinction lies in their function. Chaitya: A Chaitya-griha (Chaitya hall) was primarily a place of worship, assembly, or prayer for the Buddhist monastic community. Its characteristic architectural form often included an apsidal (semi-circular) rear end housing a votive stupa, a central nave separated from side aisles by pillars, and a vaulted roof. Examples include the Karle Chaitya. Vihara: A Vihara was essentially a monastery, serving as the dwelling place for monks. Architecturally, it typically consisted of a central hall entered via a verandah, with small residential cells excavated around the walls of the hall. Examples include Ajanta Cave No. 12.

• Chaitya: A Chaitya-griha (Chaitya hall) was primarily a place of worship, assembly, or prayer for the Buddhist monastic community. Its characteristic architectural form often included an apsidal (semi-circular) rear end housing a votive stupa, a central nave separated from side aisles by pillars, and a vaulted roof. Examples include the Karle Chaitya.

• Vihara: A Vihara was essentially a monastery, serving as the dwelling place for monks. Architecturally, it typically consisted of a central hall entered via a verandah, with small residential cells excavated around the walls of the hall. Examples include Ajanta Cave No. 12.

Solution:B

• Question 11 of 30 11. Question 1 points Consider the following statements : The Ayaka pillars are monolithic stone structures that are prominent features in temples built under Nagara style. The Ayaka pillars represents the various incarnations of the presiding deity of the temple, often through sculptures. Which of the statements given above is/are correct? (a) 1 only (b) 2 only (c) Both 1 and 2 (d) Neither 1 nor 2 Correct Solution: D Ayaka pillars are stone pillars constructed on four cardinal sides of a Buddhist stupa These pillars mark five Key elements in the life of Gautama Buddha- birth, enlightenment, first sermon, death and other significant moments. These are key elements of Buddhist architectural tradition that reflect importance of life and teachings of Gautama Buddha. These are found commonly in various Buddhist sites including Sanchi, Amaravati and Nagarjunkonda. The tradition of building Ayaka pillars in Buddhist stupas is usually associated with the Mauryan period particularly under patronage of Ashoka These are found on Ayaka platforms projecting from the drum of the stupa. Hence statements 1 and 2 are incorrect Incorrect Solution: D Ayaka pillars are stone pillars constructed on four cardinal sides of a Buddhist stupa These pillars mark five Key elements in the life of Gautama Buddha- birth, enlightenment, first sermon, death and other significant moments. These are key elements of Buddhist architectural tradition that reflect importance of life and teachings of Gautama Buddha. These are found commonly in various Buddhist sites including Sanchi, Amaravati and Nagarjunkonda. The tradition of building Ayaka pillars in Buddhist stupas is usually associated with the Mauryan period particularly under patronage of Ashoka These are found on Ayaka platforms projecting from the drum of the stupa. Hence statements 1 and 2 are incorrect

#### 11. Question

Consider the following statements :

• The Ayaka pillars are monolithic stone structures that are prominent features in temples built under Nagara style.

• The Ayaka pillars represents the various incarnations of the presiding deity of the temple, often through sculptures.

Which of the statements given above is/are correct?

• (a) 1 only

• (b) 2 only

• (c) Both 1 and 2

• (d) Neither 1 nor 2

Solution: D

• Ayaka pillars are stone pillars constructed on four cardinal sides of a Buddhist stupa

• These pillars mark five Key elements in the life of Gautama Buddha- birth, enlightenment, first sermon, death and other significant moments.

• These are key elements of Buddhist architectural tradition that reflect importance of life and teachings of Gautama Buddha.

• These are found commonly in various Buddhist sites including Sanchi, Amaravati and Nagarjunkonda.

• The tradition of building Ayaka pillars in Buddhist stupas is usually associated with the Mauryan period particularly under patronage of Ashoka

• These are found on Ayaka platforms projecting from the drum of the stupa.

Hence statements 1 and 2 are incorrect

Solution: D

• Ayaka pillars are stone pillars constructed on four cardinal sides of a Buddhist stupa

• These pillars mark five Key elements in the life of Gautama Buddha- birth, enlightenment, first sermon, death and other significant moments.

• These are key elements of Buddhist architectural tradition that reflect importance of life and teachings of Gautama Buddha.

• These are found commonly in various Buddhist sites including Sanchi, Amaravati and Nagarjunkonda.

• The tradition of building Ayaka pillars in Buddhist stupas is usually associated with the Mauryan period particularly under patronage of Ashoka

• These are found on Ayaka platforms projecting from the drum of the stupa.

Hence statements 1 and 2 are incorrect

• Question 12 of 30 12. Question 1 points Consider the following statements regarding Ramanujacharya : He was deeply influenced by the Alvar tradition. He advocated that Brahmana is eternal and exists alone, thus the concept of multiplicity of souls is non-existent. Sri Bhasya and Gita Bhasya are part of the Navratna scriptures composed by Ramanuja. How many of the statements given above is/are correct (a) Only one (b) Only two (c) All three (d) None Correct Solution: B Ramanujacharya was a Bhakti Saint from Tamil Nadu. He believed in the philosophy of Vaishnavism and was deeply influenced by the 12 Alwars or Vaishnavite poet Saints who were immersed in devotion towards Narayana or Krishna. Ramanujacharya wrote nine scriptures known as Navaratnas which included Vedartha sangraha, Shri bhashya, Gita bhashya, Vedanta Deepa, Vedanta Sara, Sarangati gadya, Sri Vaikuntha gadya and Nitya Grantha. These deal with various subjects. Hence statements 1 and 3 are correct Ramanujacharya’s philosophical foundations were influential to the Bhakti movement that emerged in medieval India. He was the chief proponent of Vishishtadvaita school of Vedanta. According to his Vishishtadvaita School of Philosophy, Brahmana alone exists, but there is plurality of souls, too. It is a non dualistic School of Vedanta philosophy which believes in all diversity subsuming to an underlying Unity. Hence statement 2 is incorrect Incorrect Solution: B Ramanujacharya was a Bhakti Saint from Tamil Nadu. He believed in the philosophy of Vaishnavism and was deeply influenced by the 12 Alwars or Vaishnavite poet Saints who were immersed in devotion towards Narayana or Krishna. Ramanujacharya wrote nine scriptures known as Navaratnas which included Vedartha sangraha, Shri bhashya, Gita bhashya, Vedanta Deepa, Vedanta Sara, Sarangati gadya, Sri Vaikuntha gadya and Nitya Grantha. These deal with various subjects. Hence statements 1 and 3 are correct Ramanujacharya’s philosophical foundations were influential to the Bhakti movement that emerged in medieval India. He was the chief proponent of Vishishtadvaita school of Vedanta. According to his Vishishtadvaita School of Philosophy, Brahmana alone exists, but there is plurality of souls, too. It is a non dualistic School of Vedanta philosophy which believes in all diversity subsuming to an underlying Unity. Hence statement 2 is incorrect

#### 12. Question

Consider the following statements regarding Ramanujacharya :

• He was deeply influenced by the Alvar tradition.

• He advocated that Brahmana is eternal and exists alone, thus the concept of multiplicity of souls is non-existent.

• Sri Bhasya and Gita Bhasya are part of the Navratna scriptures composed by Ramanuja.

How many of the statements given above is/are correct

• (a) Only one

• (b) Only two

• (c) All three

Solution: B

• Ramanujacharya was a Bhakti Saint from Tamil Nadu.

• He believed in the philosophy of Vaishnavism and was deeply influenced by the 12 Alwars or Vaishnavite poet Saints who were immersed in devotion towards Narayana or Krishna.

• Ramanujacharya wrote nine scriptures known as Navaratnas which included Vedartha sangraha, Shri bhashya, Gita bhashya, Vedanta Deepa, Vedanta Sara, Sarangati gadya, Sri Vaikuntha gadya and Nitya Grantha. These deal with various subjects.

Hence statements 1 and 3 are correct

• Ramanujacharya’s philosophical foundations were influential to the Bhakti movement that emerged in medieval India.

• He was the chief proponent of Vishishtadvaita school of Vedanta.

• According to his Vishishtadvaita School of Philosophy, Brahmana alone exists, but there is plurality of souls, too.

• It is a non dualistic School of Vedanta philosophy which believes in all diversity subsuming to an underlying Unity.

Hence statement 2 is incorrect

Solution: B

• Ramanujacharya was a Bhakti Saint from Tamil Nadu.

• He believed in the philosophy of Vaishnavism and was deeply influenced by the 12 Alwars or Vaishnavite poet Saints who were immersed in devotion towards Narayana or Krishna.

Hence statements 1 and 3 are correct

• Ramanujacharya’s philosophical foundations were influential to the Bhakti movement that emerged in medieval India.

• He was the chief proponent of Vishishtadvaita school of Vedanta.

• According to his Vishishtadvaita School of Philosophy, Brahmana alone exists, but there is plurality of souls, too.

• It is a non dualistic School of Vedanta philosophy which believes in all diversity subsuming to an underlying Unity.

Hence statement 2 is incorrect

• Question 13 of 30 13. Question 1 points Consider the following statements regarding painting traditions of India: Fresco paintings are drawn on with surface of wet walls to allow infiltration of pigments inside the surface. Egg Tempera paintings are done by mixing colour pigments with water soluble binder, most commonly egg yolk, hence the name. Which of the statements given above is/are correct? (a) 1 only (b) 2 only (c) Both 1 and 2 (d) Neither 1 nor 2 Correct Solution : C Pragjyotisha was the ancient name for Assam and the historical name for the city of Guwahati; It has been mentioned as a kingdom in epics like Ramayana and Mahabharata. In ancient Sanskrit literature, Pragjyotisha and Kamarupa were terms used for the region. Pragjyotisha was the capital of the Kamarupa kingdom as mentioned in the epics Mahabharata and Ramayana, often linked to the Varman dynasty and figures like Naraka and Bhagadatta. The region was later known as Kamarupa in medieval period. Hence option C is correct Incorrect Solution : C In various caves of ancient India, Fresco paintings are common. Fresco paintings involve application of a layer of clay, cow dung and rice ask on the surface of the rock; a coating of lime plaster being applied on top of it after which, colours and pigments are applied on the moist surface which allows pigments to seep in and create a lasting image on the rock surface. In true Fresco method, the paintings are done when the surface wall is still wet, so that pigments go deep inside the wall surface. Hence statement 1 is correct The most common form of classical Tempera painting is egg Tempera, which is a permanent fast drying painting medium consisting of coloured pigments mixed with water soluble binder medium usually a glutinous material, such as gum, egg yolk, etc. Egg yolk is most common bindere used and hence it is called egg tempera. Hence statement 2 is correct

#### 13. Question

Consider the following statements regarding painting traditions of India:

• Fresco paintings are drawn on with surface of wet walls to allow infiltration of pigments inside the surface.

• Egg Tempera paintings are done by mixing colour pigments with water soluble binder, most commonly egg yolk, hence the name.

Which of the statements given above is/are correct?

• (a) 1 only

• (b) 2 only

• (c) Both 1 and 2

• (d) Neither 1 nor 2

Solution : C

• Pragjyotisha was the ancient name for Assam and the historical name for the city of Guwahati;

• It has been mentioned as a kingdom in epics like Ramayana and Mahabharata.

• In ancient Sanskrit literature, Pragjyotisha and Kamarupa were terms used for the region.

• Pragjyotisha was the capital of the Kamarupa kingdom as mentioned in the epics Mahabharata and Ramayana, often linked to the Varman dynasty and figures like Naraka and Bhagadatta.

• The region was later known as Kamarupa in medieval period.

Hence option C is correct

Solution : C

• In various caves of ancient India, Fresco paintings are common.

• Fresco paintings involve application of a layer of clay, cow dung and rice ask on the surface of the rock; a coating of lime plaster being applied on top of it

• after which, colours and pigments are applied on the moist surface which allows pigments to seep in and create a lasting image on the rock surface.

• In true Fresco method, the paintings are done when the surface wall is still wet, so that pigments go deep inside the wall surface.

Hence statement 1 is correct

• The most common form of classical Tempera painting is egg Tempera, which is a permanent fast drying painting medium consisting of coloured pigments mixed with water soluble binder medium usually a glutinous material, such as gum, egg yolk, etc.

• Egg yolk is most common bindere used and hence it is called egg tempera.

Hence statement 2 is correct

• Question 14 of 30 14. Question 1 points Consider the following statements : The Kalaram Temple, located on the bank of Godavari, features Ram, Sita and Laxmana together. The Veerabhadra Temple built in the Vijayanagara architectural style, features scenes from the Mahabharata and Puranas. Which of the statements given above is/are correct? (a) 1 only (b) 2 only (c) Both 1 and 2 (d) Neither 1 nor 2 Correct Solution : C Kalaram Temple is in Nashik, Maharashtra. It was built in 1792 with the efforts of Sardar Rangarao Odhekar it is located on the banks of Godavari in the Panchavati area of Nashik The temple is dedicated Ram, Sita and Laxman and a black idol of Hanumana stands at the main entrance. Hence statement 1 is correct Veerabhadra Temple is in Lepakshi Andhra Pradesh. The temple is believed to have preserved the footprints of goddess Sita. The temple showcases Vijayanagara style architecture with integrated carvings and paintings on the walls and pillars One of the most striking features of the temple is the hanging pillars, which are said to be designed indigenously and appear to be suspended in mid air. The Temple has some exclusive Fresco painting which depict scenes of Rama and Krishna from the Epic stories of Ramayana, Mahabharata and the Puranas. Hence statement 2 is correct Incorrect Solution : C Kalaram Temple is in Nashik, Maharashtra. It was built in 1792 with the efforts of Sardar Rangarao Odhekar it is located on the banks of Godavari in the Panchavati area of Nashik The temple is dedicated Ram, Sita and Laxman and a black idol of Hanumana stands at the main entrance. Hence statement 1 is correct Veerabhadra Temple is in Lepakshi Andhra Pradesh. The temple is believed to have preserved the footprints of goddess Sita. The temple showcases Vijayanagara style architecture with integrated carvings and paintings on the walls and pillars One of the most striking features of the temple is the hanging pillars, which are said to be designed indigenously and appear to be suspended in mid air. The Temple has some exclusive Fresco painting which depict scenes of Rama and Krishna from the Epic stories of Ramayana, Mahabharata and the Puranas. Hence statement 2 is correct

#### 14. Question

Consider the following statements :

• The Kalaram Temple, located on the bank of Godavari, features Ram, Sita and Laxmana together.

• The Veerabhadra Temple built in the Vijayanagara architectural style, features scenes from the Mahabharata and Puranas.

Which of the statements given above is/are correct?

• (a) 1 only

• (b) 2 only

• (c) Both 1 and 2

• (d) Neither 1 nor 2

Solution : C

• Kalaram Temple is in Nashik, Maharashtra.

• It was built in 1792 with the efforts of Sardar Rangarao Odhekar

• it is located on the banks of Godavari in the Panchavati area of Nashik

• The temple is dedicated Ram, Sita and Laxman and a black idol of Hanumana stands at the main entrance.

Hence statement 1 is correct

• Veerabhadra Temple is in Lepakshi Andhra Pradesh.

• The temple is believed to have preserved the footprints of goddess Sita.

• The temple showcases Vijayanagara style architecture with integrated carvings and paintings on the walls and pillars

• One of the most striking features of the temple is the hanging pillars, which are said to be designed indigenously and appear to be suspended in mid air.

• The Temple has some exclusive Fresco painting which depict scenes of Rama and Krishna from the Epic stories of Ramayana, Mahabharata and the Puranas.

Hence statement 2 is correct

Solution : C

• Kalaram Temple is in Nashik, Maharashtra.

• It was built in 1792 with the efforts of Sardar Rangarao Odhekar

• it is located on the banks of Godavari in the Panchavati area of Nashik

• The temple is dedicated Ram, Sita and Laxman and a black idol of Hanumana stands at the main entrance.

Hence statement 1 is correct

• Veerabhadra Temple is in Lepakshi Andhra Pradesh.

• The temple is believed to have preserved the footprints of goddess Sita.

• The temple showcases Vijayanagara style architecture with integrated carvings and paintings on the walls and pillars

• One of the most striking features of the temple is the hanging pillars, which are said to be designed indigenously and appear to be suspended in mid air.

• The Temple has some exclusive Fresco painting which depict scenes of Rama and Krishna from the Epic stories of Ramayana, Mahabharata and the Puranas.

Hence statement 2 is correct

• Question 15 of 30 15. Question 1 points Consider the following statements regarding Sohrai paintings : These are done during Sohrai festival in Jharkhand. These are exclusively done for religious purposes using homemade bamboo brushes. This painting tradition is passed down from mother to daughters. Santhal, Munda and Oraon tribes practice Sohrai paintings. How many of the statements given above is/are correct (a) Only one (b) Only two (c) Only three (d) All four Correct Solution: C Sohrai is a form of mural art in Hazaribagh district of Jharkhand and other Eastern states. During a local festival Sohrai , local tribal women make these paintings on the walls of their mud houses. It depic a matriarchal tradition in which the art form is passed down as a legacy by the mothers to their daughters. Hence statements 1 and 3 are correct Sohrai paintings are known for use of natural pigments and simple tools; The artist often used brushes made from twigs, rice straw or even use fingers to create beautiful designs on the walls of houses. Hence statement 2 is incorrect Sohrai painting is a tribal art of the women of kurmi, Santhal, Agaria, Munda, Oraon and Ghatwal tribes. Hence statement 4 is correct Incorrect Solution: C Sohrai is a form of mural art in Hazaribagh district of Jharkhand and other Eastern states. During a local festival Sohrai , local tribal women make these paintings on the walls of their mud houses. It depic a matriarchal tradition in which the art form is passed down as a legacy by the mothers to their daughters. Hence statements 1 and 3 are correct Sohrai paintings are known for use of natural pigments and simple tools; The artist often used brushes made from twigs, rice straw or even use fingers to create beautiful designs on the walls of houses. Hence statement 2 is incorrect Sohrai painting is a tribal art of the women of kurmi, Santhal, Agaria, Munda, Oraon and Ghatwal tribes. Hence statement 4 is correct

#### 15. Question

Consider the following statements regarding Sohrai paintings :

• These are done during Sohrai festival in Jharkhand.

• These are exclusively done for religious purposes using homemade bamboo brushes.

• This painting tradition is passed down from mother to daughters.

• Santhal, Munda and Oraon tribes practice Sohrai paintings.

How many of the statements given above is/are correct

• (a) Only one

• (b) Only two

• (c) Only three

• (d) All four

Solution: C

• Sohrai is a form of mural art in Hazaribagh district of Jharkhand and other Eastern states.

• During a local festival Sohrai , local tribal women make these paintings on the walls of their mud houses.

• It depic a matriarchal tradition in which the art form is passed down as a legacy by the mothers to their daughters.

Hence statements 1 and 3 are correct

• Sohrai paintings are known for use of natural pigments and simple tools;

• The artist often used brushes made from twigs, rice straw or even use fingers to create beautiful designs on the walls of houses.

Hence statement 2 is incorrect

• Sohrai painting is a tribal art of the women of kurmi, Santhal, Agaria, Munda, Oraon and Ghatwal tribes.

Hence statement 4 is correct

Solution: C

• Sohrai is a form of mural art in Hazaribagh district of Jharkhand and other Eastern states.

• During a local festival Sohrai , local tribal women make these paintings on the walls of their mud houses.

• It depic a matriarchal tradition in which the art form is passed down as a legacy by the mothers to their daughters.

Hence statements 1 and 3 are correct

• Sohrai paintings are known for use of natural pigments and simple tools;

• The artist often used brushes made from twigs, rice straw or even use fingers to create beautiful designs on the walls of houses.

Hence statement 2 is incorrect

• Sohrai painting is a tribal art of the women of kurmi, Santhal, Agaria, Munda, Oraon and Ghatwal tribes.

Hence statement 4 is correct

• Question 16 of 30 16. Question 1 points Consider the following information: Cave Location Features 1.Kanheri Caves Gujarat Krishna playing flute image 2. Badami Caves Karnataka Tandava dance image 3. Armamalai Caves Tamil Nadu Jain rock art 4. Sittanavasal Caves Andhra Pradesh Theravada Buddhist images In which of the above rows is the given information correctly matched ? (a) Only one (b) Only two (c) Only three (d) All four Correct Solution : B Kanheri caves are a group of caves and rock cut monuments located in the outskirts of Mumbai Maharashtra; these are located within the Sanjay Gandhi National park The earliest reference of the Caves are from travelogs of Fa hien The excavations in the caves were primarily undertaken during the Hinayana phase of Buddhism; but also has examples of Mahayana and few paintings of Vajrayana Buddhism. Hence pair 1 is incorrect Badami ( Karnataka) was the capital of early Chalukya Dynasty. The Chalukya ruler Mangalesha patronised excavation of the Badami caves. Specially in cave 1, Shiva has been depicted as Nataraja or The Lord of dance depicting him in the Tandava form These are group of four caves, out of which three are brahmnical while the fourth is affiliated to Jainism. Hence pair 2 is correct Armamalai caves are located in Tamil Nadu Mud and unbaked brick structures located within the cave place were the resting place of Jain saints The cave houses Jain paintings, Rock art and remains belonging to Jain monks Beautiful coloured paintings are seen on the cave roof and walls which depict the stories of Jainism as well as Astadhik Palakas Astadhik Palakas are the gods of eight directions who are said to rule eight quarters or the eight directions of the universe. Hence pair 3 is correct The Pandya rulers were patronisers of art. Thirumalaipuram caves and Jaina Caves at Sittanavasal are some of the surviving examples of the Pandya period. In Sittanavasal the paintings are visible on the ceilings of the shrines, in verandas and on brackets. Sittanavasal cave is the only place in Tamil Nadu where Pandya paintings are seen. These are not dedicated to Theravada Buddhism; instead, they are a Jain temple and monastery. Hence pair 4 is incorrect Incorrect Solution : B Kanheri caves are a group of caves and rock cut monuments located in the outskirts of Mumbai Maharashtra; these are located within the Sanjay Gandhi National park The earliest reference of the Caves are from travelogs of Fa hien The excavations in the caves were primarily undertaken during the Hinayana phase of Buddhism; but also has examples of Mahayana and few paintings of Vajrayana Buddhism. Hence pair 1 is incorrect Badami ( Karnataka) was the capital of early Chalukya Dynasty. The Chalukya ruler Mangalesha patronised excavation of the Badami caves. Specially in cave 1, Shiva has been depicted as Nataraja or The Lord of dance depicting him in the Tandava form These are group of four caves, out of which three are brahmnical while the fourth is affiliated to Jainism. Hence pair 2 is correct Armamalai caves are located in Tamil Nadu Mud and unbaked brick structures located within the cave place were the resting place of Jain saints The cave houses Jain paintings, Rock art and remains belonging to Jain monks Beautiful coloured paintings are seen on the cave roof and walls which depict the stories of Jainism as well as Astadhik Palakas Astadhik Palakas are the gods of eight directions who are said to rule eight quarters or the eight directions of the universe. Hence pair 3 is correct The Pandya rulers were patronisers of art. Thirumalaipuram caves and Jaina Caves at Sittanavasal are some of the surviving examples of the Pandya period. In Sittanavasal the paintings are visible on the ceilings of the shrines, in verandas and on brackets. Sittanavasal cave is the only place in Tamil Nadu where Pandya paintings are seen. These are not dedicated to Theravada Buddhism; instead, they are a Jain temple and monastery. Hence pair 4 is incorrect

#### 16. Question

Consider the following information:

Cave | Location | Features

1.Kanheri Caves | Gujarat | Krishna playing flute image

1.Badami Caves | Karnataka | Tandava dance image
2.Armamalai Caves | Tamil Nadu | Jain rock art
3.Sittanavasal Caves | Andhra Pradesh | Theravada Buddhist images

In which of the above rows is the given information correctly matched ?

• (a) Only one

• (b) Only two

• (c) Only three

• (d) All four

Solution : B

• Kanheri caves are a group of caves and rock cut monuments located in the outskirts of Mumbai Maharashtra; these are located within the Sanjay Gandhi National park

• The earliest reference of the Caves are from travelogs of Fa hien

• The excavations in the caves were primarily undertaken during the Hinayana phase of Buddhism; but also has examples of Mahayana and few paintings of Vajrayana Buddhism.

Hence pair 1 is incorrect

• Badami ( Karnataka) was the capital of early Chalukya Dynasty.

• The Chalukya ruler Mangalesha patronised excavation of the Badami caves.

• Specially in cave 1, Shiva has been depicted as Nataraja or The Lord of dance depicting him in the Tandava form

• These are group of four caves, out of which three are brahmnical while the fourth is affiliated to Jainism.

Hence pair 2 is correct

• Armamalai caves are located in Tamil Nadu

• Mud and unbaked brick structures located within the cave place were the resting place of Jain saints

• The cave houses Jain paintings, Rock art and remains belonging to Jain monks

• Beautiful coloured paintings are seen on the cave roof and walls which depict the stories of Jainism as well as Astadhik Palakas

• Astadhik Palakas are the gods of eight directions who are said to rule eight quarters or the eight directions of the universe.

Hence pair 3 is correct

• The Pandya rulers were patronisers of art. Thirumalaipuram caves and Jaina Caves at Sittanavasal are some of the surviving examples of the Pandya period.

• In Sittanavasal the paintings are visible on the ceilings of the shrines, in verandas and on brackets.

• Sittanavasal cave is the only place in Tamil Nadu where Pandya paintings are seen.

• These are not dedicated to Theravada Buddhism; instead, they are a Jain temple and monastery.

Hence pair 4 is incorrect

Solution : B

• Kanheri caves are a group of caves and rock cut monuments located in the outskirts of Mumbai Maharashtra; these are located within the Sanjay Gandhi National park

• The earliest reference of the Caves are from travelogs of Fa hien

• The excavations in the caves were primarily undertaken during the Hinayana phase of Buddhism; but also has examples of Mahayana and few paintings of Vajrayana Buddhism.

Hence pair 1 is incorrect

• Badami ( Karnataka) was the capital of early Chalukya Dynasty.

• The Chalukya ruler Mangalesha patronised excavation of the Badami caves.

• Specially in cave 1, Shiva has been depicted as Nataraja or The Lord of dance depicting him in the Tandava form

• These are group of four caves, out of which three are brahmnical while the fourth is affiliated to Jainism.

Hence pair 2 is correct

• Armamalai caves are located in Tamil Nadu

• Mud and unbaked brick structures located within the cave place were the resting place of Jain saints

• The cave houses Jain paintings, Rock art and remains belonging to Jain monks

• Beautiful coloured paintings are seen on the cave roof and walls which depict the stories of Jainism as well as Astadhik Palakas

• Astadhik Palakas are the gods of eight directions who are said to rule eight quarters or the eight directions of the universe.

Hence pair 3 is correct

• The Pandya rulers were patronisers of art. Thirumalaipuram caves and Jaina Caves at Sittanavasal are some of the surviving examples of the Pandya period.

• In Sittanavasal the paintings are visible on the ceilings of the shrines, in verandas and on brackets.

• Sittanavasal cave is the only place in Tamil Nadu where Pandya paintings are seen.

• These are not dedicated to Theravada Buddhism; instead, they are a Jain temple and monastery.

Hence pair 4 is incorrect

• Question 17 of 30 17. Question 1 points Consider the following statements regarding Sri Chaitanya : He was a disciple of Keshav Bharati in Bengal. He popularized introduce musical performances of kirtan as a medium of devotion towards Lord Krishna. The Jagannath temple at Puri was built under his influence by the Ganga Dynasty. He questioned authority of the religious scriptures. How many of the statements given above is/are correct? (a) Only one (b) Only two (c) Only three (d) All four Correct Solution: B Chaitanya Mahaprabhu was most popular Vaishnav Bhakti reformer from Bengal. He was the disciple of Keshav Bharti. He popularized kirtan which is a group devotional songs accompanied by ectastic dancing in the name of Lord Krishna. Chaitanya Mahaprabhu propunded vaishnavism in Bengal and Odisha. He was the first to introduce musical performance or Kirtans in Bhakti movement. Sri Chaitanya founded Gaudiya vaishnavism, the devotional worship of Radha and Krishna and their divine incarnations as forms of God. The worship is in the form of singing Holy names of Radha and Krishna. Hence statements 1 and 2 are correct The Jagannath temple in Puri was built in the 12th century; it was started in 1135 CE and completed in 1150 CE; it was Commission by King Anantavarman of Eastern Ganga Dynasty. On the other hands Sri Chaitanya mahaprabhu was born in February 1486 CE; after construction of the temple ;however he was a devotee and spent many years in the temple. Sri Chaitanya did not question the authority of the brahmanas and Hindu scriptures. Hence statements 3 and 4 are incorrect Incorrect Solution: B Chaitanya Mahaprabhu was most popular Vaishnav Bhakti reformer from Bengal. He was the disciple of Keshav Bharti. He popularized kirtan which is a group devotional songs accompanied by ectastic dancing in the name of Lord Krishna. Chaitanya Mahaprabhu propunded vaishnavism in Bengal and Odisha. He was the first to introduce musical performance or Kirtans in Bhakti movement. Sri Chaitanya founded Gaudiya vaishnavism, the devotional worship of Radha and Krishna and their divine incarnations as forms of God. The worship is in the form of singing Holy names of Radha and Krishna. Hence statements 1 and 2 are correct The Jagannath temple in Puri was built in the 12th century; it was started in 1135 CE and completed in 1150 CE; it was Commission by King Anantavarman of Eastern Ganga Dynasty. On the other hands Sri Chaitanya mahaprabhu was born in February 1486 CE; after construction of the temple ;however he was a devotee and spent many years in the temple. Sri Chaitanya did not question the authority of the brahmanas and Hindu scriptures. Hence statements 3 and 4 are incorrect

#### 17. Question

Consider the following statements regarding Sri Chaitanya :

• He was a disciple of Keshav Bharati in Bengal.

• He popularized introduce musical performances of kirtan as a medium of devotion towards Lord Krishna.

• The Jagannath temple at Puri was built under his influence by the Ganga Dynasty.

• He questioned authority of the religious scriptures.

How many of the statements given above is/are correct?

• (a) Only one

• (b) Only two

• (c) Only three

• (d) All four

Solution: B

• Chaitanya Mahaprabhu was most popular Vaishnav Bhakti reformer from Bengal.

• He was the disciple of Keshav Bharti.

• He popularized kirtan which is a group devotional songs accompanied by ectastic dancing in the name of Lord Krishna.

• Chaitanya Mahaprabhu propunded vaishnavism in Bengal and Odisha.

• He was the first to introduce musical performance or Kirtans in Bhakti movement.

• Sri Chaitanya founded Gaudiya vaishnavism, the devotional worship of Radha and Krishna and their divine incarnations as forms of God.

• The worship is in the form of singing Holy names of Radha and Krishna.

Hence statements 1 and 2 are correct

• The Jagannath temple in Puri was built in the 12th century; it was started in 1135 CE and completed in 1150 CE; it was Commission by King Anantavarman of Eastern Ganga Dynasty.

• On the other hands Sri Chaitanya mahaprabhu was born in February 1486 CE; after construction of the temple ;however he was a devotee and spent many years in the temple.

• Sri Chaitanya did not question the authority of the brahmanas and Hindu scriptures.

Hence statements 3 and 4 are incorrect

Solution: B

• Chaitanya Mahaprabhu was most popular Vaishnav Bhakti reformer from Bengal.

• He was the disciple of Keshav Bharti.

• He popularized kirtan which is a group devotional songs accompanied by ectastic dancing in the name of Lord Krishna.

• Chaitanya Mahaprabhu propunded vaishnavism in Bengal and Odisha.

• He was the first to introduce musical performance or Kirtans in Bhakti movement.

• Sri Chaitanya founded Gaudiya vaishnavism, the devotional worship of Radha and Krishna and their divine incarnations as forms of God.

• The worship is in the form of singing Holy names of Radha and Krishna.

Hence statements 1 and 2 are correct

• The Jagannath temple in Puri was built in the 12th century; it was started in 1135 CE and completed in 1150 CE; it was Commission by King Anantavarman of Eastern Ganga Dynasty.

• On the other hands Sri Chaitanya mahaprabhu was born in February 1486 CE; after construction of the temple ;however he was a devotee and spent many years in the temple.

• Sri Chaitanya did not question the authority of the brahmanas and Hindu scriptures.

Hence statements 3 and 4 are incorrect

• Question 18 of 30 18. Question 1 points Regarding Gandhara school of art, consider the following statements : It developed in the north-western part of Indian subcontinent under patronage of Kushana dynasty. Coloured sandstone sculptures of Buddha are features of this school of art. Images of Buddha and Bodhisattvas resemble Greek God Apollo. Which of the statements given above is/are correct? (a) 1 and 2 only (b) 2 and 3 only (c) 1 and 3 only (d) 1, 2 and 3 Correct Solution : D the Gandhara School of art is a form of Hellenistic art that was patronized by Sakas and the Kushanas. This school flourished in North Western part of the subcontinent and important centres were Kandahar, Kabul, Herat, Bamiyan, Taxila, etc. Under the Gandhara school of art, sculptures were made both independently and as structural part of monuments. Materials used included bluish-grey sandstone, schist in the early phase while the later period witnessed the use of mud and stucco. Many sculptures of human, animal and most importantly Buddha were made out of them. the Buddha is depicted both as Standing and seated. Buddha is shown in a spiritual state with fewer ornaments and seated in a position of a yogi ; the eyes are half closed in meditation. Images of Buddha and Bodhisattvas resemble Greek God Apollo with broad shoulders and a halo around the head. Hence statements 1, 2 and 3 are correct Incorrect Solution : D the Gandhara School of art is a form of Hellenistic art that was patronized by Sakas and the Kushanas. This school flourished in North Western part of the subcontinent and important centres were Kandahar, Kabul, Herat, Bamiyan, Taxila, etc. Under the Gandhara school of art, sculptures were made both independently and as structural part of monuments. Materials used included bluish-grey sandstone, schist in the early phase while the later period witnessed the use of mud and stucco. Many sculptures of human, animal and most importantly Buddha were made out of them. the Buddha is depicted both as Standing and seated. Buddha is shown in a spiritual state with fewer ornaments and seated in a position of a yogi ; the eyes are half closed in meditation. Images of Buddha and Bodhisattvas resemble Greek God Apollo with broad shoulders and a halo around the head. Hence statements 1, 2 and 3 are correct

#### 18. Question

Regarding Gandhara school of art, consider the following statements :

• It developed in the north-western part of Indian subcontinent under patronage of Kushana dynasty.

• Coloured sandstone sculptures of Buddha are features of this school of art.

• Images of Buddha and Bodhisattvas resemble Greek God Apollo.

Which of the statements given above is/are correct?

• (a) 1 and 2 only

• (b) 2 and 3 only

• (c) 1 and 3 only

• (d) 1, 2 and 3

Solution : D

• the Gandhara School of art is a form of Hellenistic art that was patronized by Sakas and the Kushanas.

• This school flourished in North Western part of the subcontinent and important centres were Kandahar, Kabul, Herat, Bamiyan, Taxila, etc.

• Under the Gandhara school of art, sculptures were made both independently and as structural part of monuments.

• Materials used included bluish-grey sandstone, schist in the early phase while the later period witnessed the use of mud and stucco.

• Many sculptures of human, animal and most importantly Buddha were made out of them.

• the Buddha is depicted both as Standing and seated.

• Buddha is shown in a spiritual state with fewer ornaments and seated in a position of a yogi ; the eyes are half closed in meditation.

• Images of Buddha and Bodhisattvas resemble Greek God Apollo with broad shoulders and a halo around the head.

Hence statements 1, 2 and 3 are correct

Solution : D

• the Gandhara School of art is a form of Hellenistic art that was patronized by Sakas and the Kushanas.

• This school flourished in North Western part of the subcontinent and important centres were Kandahar, Kabul, Herat, Bamiyan, Taxila, etc.

• Under the Gandhara school of art, sculptures were made both independently and as structural part of monuments.

• Materials used included bluish-grey sandstone, schist in the early phase while the later period witnessed the use of mud and stucco.

• Many sculptures of human, animal and most importantly Buddha were made out of them.

• the Buddha is depicted both as Standing and seated.

• Buddha is shown in a spiritual state with fewer ornaments and seated in a position of a yogi ; the eyes are half closed in meditation.

• Images of Buddha and Bodhisattvas resemble Greek God Apollo with broad shoulders and a halo around the head.

Hence statements 1, 2 and 3 are correct

• Question 19 of 30 19. Question 1 points Which of the following Chola temples uniquely depicts Hanuman or Anjaneya playing Veena? (a) Airavatesvara Temple (b) Sri Singeeswarar Temple (c) Ekambareswarar Temple (d) Brihadeeswarar Temple Correct Solution : B Sri Singeeswarar Temple is known for its distinct representation of Hanuman or Anjaneya planning the Veena in a subtle state. The temple is located in Mappedu in Tiruvalur district in Tamil Nadu. It was built in 976 AD by Aditya Karaikal, the elder brother of Raja Raja Chola. The temple was renovated in the 16th century under patronage of king Tirumala Nayaka, particularly erecting the main tower or Raja gopuram. Recently, a set of copper plate inscriptions dating back to the 16th century have been discovered in the temple. Hence option B is correct Incorrect Solution : B Sri Singeeswarar Temple is known for its distinct representation of Hanuman or Anjaneya planning the Veena in a subtle state. The temple is located in Mappedu in Tiruvalur district in Tamil Nadu. It was built in 976 AD by Aditya Karaikal, the elder brother of Raja Raja Chola. The temple was renovated in the 16th century under patronage of king Tirumala Nayaka, particularly erecting the main tower or Raja gopuram. Recently, a set of copper plate inscriptions dating back to the 16th century have been discovered in the temple. Hence option B is correct

#### 19. Question

Which of the following Chola temples uniquely depicts Hanuman or Anjaneya playing Veena?

• (a) Airavatesvara Temple

• (b) Sri Singeeswarar Temple

• (c) Ekambareswarar Temple

• (d) Brihadeeswarar Temple

Solution : B

• Sri Singeeswarar Temple is known for its distinct representation of Hanuman or Anjaneya planning the Veena in a subtle state.

• The temple is located in Mappedu in Tiruvalur district in Tamil Nadu.

• It was built in 976 AD by Aditya Karaikal, the elder brother of Raja Raja Chola.

• The temple was renovated in the 16th century under patronage of king Tirumala Nayaka, particularly erecting the main tower or Raja gopuram.

• Recently, a set of copper plate inscriptions dating back to the 16th century have been discovered in the temple.

Hence option B is correct

Solution : B

• Sri Singeeswarar Temple is known for its distinct representation of Hanuman or Anjaneya planning the Veena in a subtle state.

• The temple is located in Mappedu in Tiruvalur district in Tamil Nadu.

• It was built in 976 AD by Aditya Karaikal, the elder brother of Raja Raja Chola.

• The temple was renovated in the 16th century under patronage of king Tirumala Nayaka, particularly erecting the main tower or Raja gopuram.

• Recently, a set of copper plate inscriptions dating back to the 16th century have been discovered in the temple.

Hence option B is correct

• Question 20 of 30 20. Question 1 points Consider the following pairs: Archaeological Site : Important Features Bhojshala Complex: Saraswati temple Kumhrar site: site for Buddhist council Bojjannakonda : Monolithic Statue of Mahavira How many of the pairs given above are correct? (a) Only one (b) Only two (c) All three (d) None Correct Solution : B Bhojshala complex is located in Dhar district in Madhya Pradesh. It was built by Raja Bhoj of the Paramara dynasty as an educational Institute in the 11th century. It was originally built as a Saraswati Temple which was later converted into a mosque by Muslim rulers. The mosque is built using structural parts of the temple; the monument also retains some slabs inscribed with Sanskrit and Prakrit literary works. Under and agreement with the ASI, Hindus perform Pooja in the temple every Tuesday and Muslims offer their prayer every Friday. Hence pair 1 is correct Kumhrar site is in Patna, Bihar. Recently the Archaeological Survey of India initiated excavation of the 80 period assembly hall at the site which is regarded as the only surviving evidence of architectural achievements of Mauryan emperors in the Indian subcontinent. According to ASI the excavation began with focus on Ashokan sabhagar or assembly hall with an aim to assess current condition of the buried Mauryan stone pillars the Mauryan period hall, believed to have been used by emperor Ashoka for the third Buddhist council in 3rd century BC, was revealed through excavations in 1912-1915 and 1951- 1955 the site houses remains of Pataliputra, the capital of the Mauryan Empire It provides insights into the history of rulers like Ajatshatru, Chandragupta Maurya and Ashoka. Hence pair 2 is correct Bojjannakonda is a centuries old Buddhist Heritage site near Visakhapatnam in Andhra Pradesh. It is an ancient Buddhist monastery dating back to 3rd century BC; the main stupa here is a rock curved structure covered with bricks adorned with Buddha sculpture. This site has elements of all the three Buddhist phases – Theravada, Mahayana and Vajrayana Hence pair 3 is incorrect Incorrect Solution : B Bhojshala complex is located in Dhar district in Madhya Pradesh. It was built by Raja Bhoj of the Paramara dynasty as an educational Institute in the 11th century. It was originally built as a Saraswati Temple which was later converted into a mosque by Muslim rulers. The mosque is built using structural parts of the temple; the monument also retains some slabs inscribed with Sanskrit and Prakrit literary works. Under and agreement with the ASI, Hindus perform Pooja in the temple every Tuesday and Muslims offer their prayer every Friday. Hence pair 1 is correct Kumhrar site is in Patna, Bihar. Recently the Archaeological Survey of India initiated excavation of the 80 period assembly hall at the site which is regarded as the only surviving evidence of architectural achievements of Mauryan emperors in the Indian subcontinent. According to ASI the excavation began with focus on Ashokan sabhagar or assembly hall with an aim to assess current condition of the buried Mauryan stone pillars the Mauryan period hall, believed to have been used by emperor Ashoka for the third Buddhist council in 3rd century BC, was revealed through excavations in 1912-1915 and 1951- 1955 the site houses remains of Pataliputra, the capital of the Mauryan Empire It provides insights into the history of rulers like Ajatshatru, Chandragupta Maurya and Ashoka. Hence pair 2 is correct Bojjannakonda is a centuries old Buddhist Heritage site near Visakhapatnam in Andhra Pradesh. It is an ancient Buddhist monastery dating back to 3rd century BC; the main stupa here is a rock curved structure covered with bricks adorned with Buddha sculpture. This site has elements of all the three Buddhist phases – Theravada, Mahayana and Vajrayana Hence pair 3 is incorrect

#### 20. Question

Consider the following pairs:

Archaeological Site : Important Features

• Bhojshala Complex: Saraswati temple

• Kumhrar site: site for Buddhist council

• Bojjannakonda : Monolithic Statue of Mahavira

How many of the pairs given above are correct?

• (a) Only one

• (b) Only two

• (c) All three

Solution : B

• Bhojshala complex is located in Dhar district in Madhya Pradesh.

• It was built by Raja Bhoj of the Paramara dynasty as an educational Institute in the 11th century.

• It was originally built as a Saraswati Temple which was later converted into a mosque by Muslim rulers.

• The mosque is built using structural parts of the temple; the monument also retains some slabs inscribed with Sanskrit and Prakrit literary works.

• Under and agreement with the ASI, Hindus perform Pooja in the temple every Tuesday and Muslims offer their prayer every Friday.

Hence pair 1 is correct

• Kumhrar site is in Patna, Bihar.

• Recently the Archaeological Survey of India initiated excavation of the 80 period assembly hall at the site which is regarded as the only surviving evidence of architectural achievements of Mauryan emperors in the Indian subcontinent.

• According to ASI the excavation began with focus on Ashokan sabhagar or assembly hall with an aim to assess current condition of the buried Mauryan stone pillars

• the Mauryan period hall, believed to have been used by emperor Ashoka for the third Buddhist council in 3rd century BC, was revealed through excavations in 1912-1915 and 1951- 1955

• the site houses remains of Pataliputra, the capital of the Mauryan Empire

• It provides insights into the history of rulers like Ajatshatru, Chandragupta Maurya and Ashoka.

Hence pair 2 is correct

• Bojjannakonda is a centuries old Buddhist Heritage site near Visakhapatnam in Andhra Pradesh.

• It is an ancient Buddhist monastery dating back to 3rd century BC; the main stupa here is a rock curved structure covered with bricks adorned with Buddha sculpture.

• This site has elements of all the three Buddhist phases – Theravada, Mahayana and Vajrayana

Hence pair 3 is incorrect

Solution : B

• Bhojshala complex is located in Dhar district in Madhya Pradesh.

• It was built by Raja Bhoj of the Paramara dynasty as an educational Institute in the 11th century.

• It was originally built as a Saraswati Temple which was later converted into a mosque by Muslim rulers.

• The mosque is built using structural parts of the temple; the monument also retains some slabs inscribed with Sanskrit and Prakrit literary works.

• Under and agreement with the ASI, Hindus perform Pooja in the temple every Tuesday and Muslims offer their prayer every Friday.

Hence pair 1 is correct

• Kumhrar site is in Patna, Bihar.

• According to ASI the excavation began with focus on Ashokan sabhagar or assembly hall with an aim to assess current condition of the buried Mauryan stone pillars

• the Mauryan period hall, believed to have been used by emperor Ashoka for the third Buddhist council in 3rd century BC, was revealed through excavations in 1912-1915 and 1951- 1955

• the site houses remains of Pataliputra, the capital of the Mauryan Empire

• It provides insights into the history of rulers like Ajatshatru, Chandragupta Maurya and Ashoka.

Hence pair 2 is correct

• Bojjannakonda is a centuries old Buddhist Heritage site near Visakhapatnam in Andhra Pradesh.

• It is an ancient Buddhist monastery dating back to 3rd century BC; the main stupa here is a rock curved structure covered with bricks adorned with Buddha sculpture.

• This site has elements of all the three Buddhist phases – Theravada, Mahayana and Vajrayana

Hence pair 3 is incorrect

• Question 21 of 30 21. Question 1 points Consider the following statements regarding the IUCN Green Status of Species: It provides a global framework for assessing how close a species is to full ecological recovery. It is a mandatory component of the IUCN Red List of Threatened Species. A species is considered fully recovered only if it is viable and performs ecological functions within current range. How many statements given above is/are correct? (a) Only one (b) Only two (c) All three (d) None Correct Solution: A Detailed Explanation: Statement 1 – Correct The IUCN Green Status of Species is a new global tool developed to assess species recovery, not just extinction risk. It asks whether a species is: Present across its historical range (even where lost due to human activity), Viable (not at risk of extinction), and Performing its ecological role across its range. Hence, it provides a structured way to measure how far a species is from being fully recovered. This complements the IUCN Red List, which focuses on extinction risk. Statement 2 – Incorrect The Green Status is an optional part of the IUCN Red List assessment process. While all species on the Red List are assessed for their extinction risk, only some (~100 as of now) have additionally been assessed for their recovery potential under the Green Status. Therefore, it is not a mandatory component. Statement 3 – Incorrect A species is considered fully recovered under the Green Status only if it: Exists across its historical range, Is viable, and Is functioning ecologically in all parts of that range. The statement incorrectly limits this to “current range” — omitting historical range makes it incomplete and hence incorrect. Incorrect Solution: A Detailed Explanation: Statement 1 – Correct The IUCN Green Status of Species is a new global tool developed to assess species recovery, not just extinction risk. It asks whether a species is: Present across its historical range (even where lost due to human activity), Viable (not at risk of extinction), and Performing its ecological role across its range. Hence, it provides a structured way to measure how far a species is from being fully recovered. This complements the IUCN Red List, which focuses on extinction risk. Statement 2 – Incorrect The Green Status is an optional part of the IUCN Red List assessment process. While all species on the Red List are assessed for their extinction risk, only some (~100 as of now) have additionally been assessed for their recovery potential under the Green Status. Therefore, it is not a mandatory component. Statement 3 – Incorrect A species is considered fully recovered under the Green Status only if it: Exists across its historical range, Is viable, and Is functioning ecologically in all parts of that range. The statement incorrectly limits this to “current range” — omitting historical range makes it incomplete and hence incorrect.

#### 21. Question

Consider the following statements regarding the IUCN Green Status of Species:

• It provides a global framework for assessing how close a species is to full ecological recovery.

• It is a mandatory component of the IUCN Red List of Threatened Species.

• A species is considered fully recovered only if it is viable and performs ecological functions within current range.

How many statements given above is/are correct?

• (a) Only one

• (b) Only two

• (c) All three

Solution: A

Detailed Explanation:

• Statement 1 – Correct The IUCN Green Status of Species is a new global tool developed to assess species recovery, not just extinction risk. It asks whether a species is: Present across its historical range (even where lost due to human activity), Viable (not at risk of extinction), and Performing its ecological role across its range. Hence, it provides a structured way to measure how far a species is from being fully recovered. This complements the IUCN Red List, which focuses on extinction risk.

• Present across its historical range (even where lost due to human activity),

• Viable (not at risk of extinction), and

• Performing its ecological role across its range. Hence, it provides a structured way to measure how far a species is from being fully recovered. This complements the IUCN Red List, which focuses on extinction risk.

• Statement 2 – Incorrect The Green Status is an optional part of the IUCN Red List assessment process. While all species on the Red List are assessed for their extinction risk, only some (~100 as of now) have additionally been assessed for their recovery potential under the Green Status. Therefore, it is not a mandatory component.

• Statement 3 – Incorrect A species is considered fully recovered under the Green Status only if it: Exists across its historical range, Is viable, and Is functioning ecologically in all parts of that range. The statement incorrectly limits this to “current range” — omitting historical range makes it incomplete and hence incorrect.

• Exists across its historical range,

• Is viable, and

• Is functioning ecologically in all parts of that range. The statement incorrectly limits this to “current range” — omitting historical range makes it incomplete and hence incorrect.

Solution: A

Detailed Explanation:

• Present across its historical range (even where lost due to human activity),

• Viable (not at risk of extinction), and

• Exists across its historical range,

• Is viable, and

• Question 22 of 30 22. Question 1 points Consider the following statements about Anchor Investor: Statement-I: Anchor investors help improve investor confidence and demand before an IPO is opened to the public. Statement-II: They are allowed to sell their shares anytime after allotment without restriction. Which one of the following is correct with reference to the above statements? (a) Both Statement-I and Statement-II are correct and Statement-II explains Statement-I (b) Both Statement-I and Statement-II are correct, but Statement-II does not explain Statement-I (c) Statement-I is correct, but Statement-II is incorrect (d) Statement-I is incorrect, but Statement-II is correct Correct Solution: C Anchor Investors are institutional investors who are allotted shares in an Initial Public Offering (IPO) a day before the issue opens for subscription to the general public. Statement-I is correct because their early participation serves as a signal of credibility, thereby boosting investor confidence and potentially increasing demand among retail and other institutional investors. They help in price discovery and give stability to the IPO by creating an initial demand base. Statement-II is incorrect. As per SEBI guidelines, anchor investors are subject to a mandatory lock-in period of 30 days from the date of allotment. This restriction is meant to prevent immediate profit booking and to ensure that these large investors remain invested for at least a short term, reinforcing their commitment to the offering. Thus, while anchor investors do enhance confidence in IPOs, they cannot sell their shares immediately, making Statement-II incorrect. Incorrect Solution: C Anchor Investors are institutional investors who are allotted shares in an Initial Public Offering (IPO) a day before the issue opens for subscription to the general public. Statement-I is correct because their early participation serves as a signal of credibility, thereby boosting investor confidence and potentially increasing demand among retail and other institutional investors. They help in price discovery and give stability to the IPO by creating an initial demand base. Statement-II is incorrect. As per SEBI guidelines, anchor investors are subject to a mandatory lock-in period of 30 days from the date of allotment. This restriction is meant to prevent immediate profit booking and to ensure that these large investors remain invested for at least a short term, reinforcing their commitment to the offering. Thus, while anchor investors do enhance confidence in IPOs, they cannot sell their shares immediately, making Statement-II incorrect.

#### 22. Question

Consider the following statements about Anchor Investor:

Statement-I: Anchor investors help improve investor confidence and demand before an IPO is opened to the public. Statement-II: They are allowed to sell their shares anytime after allotment without restriction.

Which one of the following is correct with reference to the above statements?

• (a) Both Statement-I and Statement-II are correct and Statement-II explains Statement-I

• (b) Both Statement-I and Statement-II are correct, but Statement-II does not explain Statement-I

• (c) Statement-I is correct, but Statement-II is incorrect

• (d) Statement-I is incorrect, but Statement-II is correct

Solution: C

• Anchor Investors are institutional investors who are allotted shares in an Initial Public Offering (IPO) a day before the issue opens for subscription to the general public. Statement-I is correct because their early participation serves as a signal of credibility, thereby boosting investor confidence and potentially increasing demand among retail and other institutional investors. They help in price discovery and give stability to the IPO by creating an initial demand base.

• Statement-I is correct because their early participation serves as a signal of credibility, thereby boosting investor confidence and potentially increasing demand among retail and other institutional investors. They help in price discovery and give stability to the IPO by creating an initial demand base.

• Statement-II is incorrect. As per SEBI guidelines, anchor investors are subject to a mandatory lock-in period of 30 days from the date of allotment. This restriction is meant to prevent immediate profit booking and to ensure that these large investors remain invested for at least a short term, reinforcing their commitment to the offering.

Thus, while anchor investors do enhance confidence in IPOs, they cannot sell their shares immediately, making Statement-II incorrect.

Solution: C

Thus, while anchor investors do enhance confidence in IPOs, they cannot sell their shares immediately, making Statement-II incorrect.

• Question 23 of 30 23. Question 1 points Consider the following statements regarding the powers and functions of the National Human Rights Commission: NHRC has the power of a civil court under the Code of Civil Procedure, 1908. It can visit any jail or detention centre to review conditions of inmates. Its jurisdiction extends to human rights violations committed by private individuals. How many of the above statements are correct? (a) Only one (b) Only two (c) All three (d) None Correct Solution: B Explanation: The National Human Rights Commission (NHRC) of India, established under the Protection of Human Rights Act, 1993, is a statutory body tasked with protecting and promoting human rights. Statement 1 is correct: NHRC does have the powers of a civil court under the Code of Civil Procedure, 1908 while inquiring into complaints. These include summoning witnesses, requisitioning public records, and receiving evidence on affidavits (Section 13 of the Act). Statement 2 is correct: NHRC is empowered to visit jails, detention centres, and other custodial institutions to examine the living conditions of inmates and recommend reforms (Section 12(c)). Statement 3 is incorrect: NHRC does not have jurisdiction over human rights violations committed by private individuals unless there is negligence or failure by a public servant or authority to prevent such violations. Its mandate is limited to the actions or inactions of public authorities. Incorrect Solution: B Explanation: The National Human Rights Commission (NHRC) of India, established under the Protection of Human Rights Act, 1993, is a statutory body tasked with protecting and promoting human rights. Statement 1 is correct: NHRC does have the powers of a civil court under the Code of Civil Procedure, 1908 while inquiring into complaints. These include summoning witnesses, requisitioning public records, and receiving evidence on affidavits (Section 13 of the Act). Statement 2 is correct: NHRC is empowered to visit jails, detention centres, and other custodial institutions to examine the living conditions of inmates and recommend reforms (Section 12(c)). Statement 3 is incorrect: NHRC does not have jurisdiction over human rights violations committed by private individuals unless there is negligence or failure by a public servant or authority to prevent such violations. Its mandate is limited to the actions or inactions of public authorities.

#### 23. Question

Consider the following statements regarding the powers and functions of the National Human Rights Commission:

• NHRC has the power of a civil court under the Code of Civil Procedure, 1908.

• It can visit any jail or detention centre to review conditions of inmates.

• Its jurisdiction extends to human rights violations committed by private individuals.

How many of the above statements are correct?

• (a) Only one

• (b) Only two

• (c) All three

Solution: B

Explanation:

The National Human Rights Commission (NHRC) of India, established under the Protection of Human Rights Act, 1993, is a statutory body tasked with protecting and promoting human rights.

• Statement 1 is correct: NHRC does have the powers of a civil court under the Code of Civil Procedure, 1908 while inquiring into complaints. These include summoning witnesses, requisitioning public records, and receiving evidence on affidavits (Section 13 of the Act).

• Statement 2 is correct: NHRC is empowered to visit jails, detention centres, and other custodial institutions to examine the living conditions of inmates and recommend reforms (Section 12(c)).

• Statement 3 is incorrect: NHRC does not have jurisdiction over human rights violations committed by private individuals unless there is negligence or failure by a public servant or authority to prevent such violations. Its mandate is limited to the actions or inactions of public authorities.

Solution: B

Explanation:

The National Human Rights Commission (NHRC) of India, established under the Protection of Human Rights Act, 1993, is a statutory body tasked with protecting and promoting human rights.

• Question 24 of 30 24. Question 1 points It belongs to the family Myrtaceae and thrives in deep, humid tropical forests with well-drained loamy soils and heavy rainfall. Indigenous to the Maluku Islands but now extensively cultivated in the Western Ghats, especially in Wayanad and Idukki, this crop’s unopened flower buds are harvested, sun-dried, and used in spice blends. Which crop fits this description? (a) Nutmeg (b) Allspice (c) Clove (d) Cinnamon Correct Solution: C Clove (Syzygium aromaticum) is a spice obtained from the dried flower buds of the Myrtaceae family tree. Although native to Indonesia’s Maluku Islands, it is now widely cultivated in southern India. Wayanad in Kerala is a key clove-growing region. Its ecological requirements are consistent with moist tropical climates and deep loamy soils. Incorrect Solution: C Clove (Syzygium aromaticum) is a spice obtained from the dried flower buds of the Myrtaceae family tree. Although native to Indonesia’s Maluku Islands, it is now widely cultivated in southern India. Wayanad in Kerala is a key clove-growing region. Its ecological requirements are consistent with moist tropical climates and deep loamy soils.

#### 24. Question

It belongs to the family Myrtaceae and thrives in deep, humid tropical forests with well-drained loamy soils and heavy rainfall. Indigenous to the Maluku Islands but now extensively cultivated in the Western Ghats, especially in Wayanad and Idukki, this crop’s unopened flower buds are harvested, sun-dried, and used in spice blends. Which crop fits this description?

• (a) Nutmeg

• (b) Allspice

• (d) Cinnamon

Solution: C

Clove (Syzygium aromaticum) is a spice obtained from the dried flower buds of the Myrtaceae family tree. Although native to Indonesia’s Maluku Islands, it is now widely cultivated in southern India. Wayanad in Kerala is a key clove-growing region. Its ecological requirements are consistent with moist tropical climates and deep loamy soils.

Solution: C

• Question 25 of 30 25. Question 1 points Consider the following statements regarding the National Industrial Corridor Development Corporation (NICDC): NICDC was initially established under the Ministry of Heavy Industries to develop electric vehicle hubs in Greenfield smart cities. It is currently the apex body under the Ministry of Commerce and Industry responsible for implementing multi-state industrial corridors in India. Which of the above statements is/are correct? (a) 1 only (b) 2 only (c) Both 1 and 2 (d) Neither 1 nor 2 Correct Answer: B Explanation: Statement 1 is incorrect: NICDC originated as Delhi-Mumbai Industrial Corridor Development Corporation (DMICDC) in 2007 and was not under the Ministry of Heavy Industries, nor focused specifically on EV hubs. Statement 2 is correct: NICDC functions under the Ministry of Commerce and Industry and serves as the nodal agency for the planning, implementation, and management of multi-state industrial corridors like DMIC, CBIC, BMIC, and AKIC, integrating logistics, manufacturing, and smart city infrastructure. About National Industrial Corridor Development Corporation (NICDC): What it is: NICDC is India’s premier government body for planning, developing, and implementing industrial corridors and smart cities to boost manufacturing and logistics. Established in: 2007, initially under the Delhi-Mumbai Industrial Corridor Development Corporation (DMICDC) and later expanded as NICDC. Ministry: Ministry of Commerce and Industry, Government of India. Objectives: Develop futuristic industrial cities integrated with smart technologies. Create globally competitive manufacturing hubs. Foster industrial investments, innovation, and regional economic growth. Support India’s vision of becoming a global manufacturing powerhouse. Incorrect Answer: B Explanation: Statement 1 is incorrect: NICDC originated as Delhi-Mumbai Industrial Corridor Development Corporation (DMICDC) in 2007 and was not under the Ministry of Heavy Industries, nor focused specifically on EV hubs. Statement 2 is correct: NICDC functions under the Ministry of Commerce and Industry and serves as the nodal agency for the planning, implementation, and management of multi-state industrial corridors like DMIC, CBIC, BMIC, and AKIC, integrating logistics, manufacturing, and smart city infrastructure. About National Industrial Corridor Development Corporation (NICDC): What it is: NICDC is India’s premier government body for planning, developing, and implementing industrial corridors and smart cities to boost manufacturing and logistics. Established in: 2007, initially under the Delhi-Mumbai Industrial Corridor Development Corporation (DMICDC) and later expanded as NICDC. Ministry: Ministry of Commerce and Industry, Government of India. Objectives: Develop futuristic industrial cities integrated with smart technologies. Create globally competitive manufacturing hubs. Foster industrial investments, innovation, and regional economic growth. Support India’s vision of becoming a global manufacturing powerhouse.

#### 25. Question

Consider the following statements regarding the National Industrial Corridor Development Corporation (NICDC):

• NICDC was initially established under the Ministry of Heavy Industries to develop electric vehicle hubs in Greenfield smart cities.

• It is currently the apex body under the Ministry of Commerce and Industry responsible for implementing multi-state industrial corridors in India.

Which of the above statements is/are correct?

• (a) 1 only

• (b) 2 only

• (c) Both 1 and 2

• (d) Neither 1 nor 2

Answer: B

Explanation: Statement 1 is incorrect: NICDC originated as Delhi-Mumbai Industrial Corridor Development Corporation (DMICDC) in 2007 and was not under the Ministry of Heavy Industries, nor focused specifically on EV hubs.

Statement 2 is correct: NICDC functions under the Ministry of Commerce and Industry and serves as the nodal agency for the planning, implementation, and management of multi-state industrial corridors like DMIC, CBIC, BMIC, and AKIC, integrating logistics, manufacturing, and smart city infrastructure.

About National Industrial Corridor Development Corporation (NICDC):

• What it is: NICDC is India’s premier government body for planning, developing, and implementing industrial corridors and smart cities to boost manufacturing and logistics.

• Established in: 2007, initially under the Delhi-Mumbai Industrial Corridor Development Corporation (DMICDC) and later expanded as NICDC.

• Ministry: Ministry of Commerce and Industry, Government of India.

• Objectives: Develop futuristic industrial cities integrated with smart technologies. Create globally competitive manufacturing hubs. Foster industrial investments, innovation, and regional economic growth. Support India’s vision of becoming a global manufacturing powerhouse.

• Develop futuristic industrial cities integrated with smart technologies.

• Create globally competitive manufacturing hubs.

• Foster industrial investments, innovation, and regional economic growth.

• Support India’s vision of becoming a global manufacturing powerhouse.

Answer: B

About National Industrial Corridor Development Corporation (NICDC):

• What it is: NICDC is India’s premier government body for planning, developing, and implementing industrial corridors and smart cities to boost manufacturing and logistics.

• Established in: 2007, initially under the Delhi-Mumbai Industrial Corridor Development Corporation (DMICDC) and later expanded as NICDC.

• Ministry: Ministry of Commerce and Industry, Government of India.

• Develop futuristic industrial cities integrated with smart technologies.

• Create globally competitive manufacturing hubs.

• Foster industrial investments, innovation, and regional economic growth.

• Support India’s vision of becoming a global manufacturing powerhouse.

• Question 26 of 30 26. Question 1 points In the aftermath of the Second World War, the political decisions and attitudes taken by aggressor states differed significantly. Japan was reluctant to confess its wrongdoing officially and recognise the damage caused. No apologies were submitted to China, Korea, Indonesia, or the Philippines. Even today, bilateral relationships are still strained by the lack of a frank and official admission of past failures. Germany showed itself able to carry out a work of remembrance, making official apologies for Nazi crimes and committing itself never to fall into a similar trap. German repentance healed relationships and laid the foundation for what became the European Union. France and Italy were enthusiastic about the role played by their resistance movements but preferred to conceal the crimes committed by their fascist regimes. Few lessons were learned. The suppressed past continues to spoil their social relations and weakens their ability to prevent similar deviations Which among the following is the most logical and rational inference that can be made from the above passage? a. Japan continues to follow pacifism after 2nd world war. b. There are widespread social conflicts in Italy and France. c. Germany has very good bilateral relations with the neighbours. d. Different attitudes adopted after war have led to different results. Correct Correct Option: D Justification: Option (d) is correct. This is the central theme of the passage. Through different examples of Japan, Germany, France and Italy the author is describing the different results of different political attitudes. Incorrect Correct Option: D Justification: Option (d) is correct. This is the central theme of the passage. Through different examples of Japan, Germany, France and Italy the author is describing the different results of different political attitudes.

#### 26. Question

In the aftermath of the Second World War, the political decisions and attitudes taken by aggressor states differed significantly. Japan was reluctant to confess its wrongdoing officially and recognise the damage caused. No apologies were submitted to China, Korea, Indonesia, or the Philippines. Even today, bilateral relationships are still strained by the lack of a frank and official admission of past failures. Germany showed itself able to carry out a work of remembrance, making official apologies for Nazi crimes and committing itself never to fall into a similar trap. German repentance healed relationships and laid the foundation for what became the European Union. France and Italy were enthusiastic about the role played by their resistance movements but preferred to conceal the crimes committed by their fascist regimes. Few lessons were learned. The suppressed past continues to spoil their social relations and weakens their ability to prevent similar deviations

Which among the following is the most logical and rational inference that can be made from the above passage?

• a. Japan continues to follow pacifism after 2nd world war.

• b. There are widespread social conflicts in Italy and France.

• c. Germany has very good bilateral relations with the neighbours.

• d. Different attitudes adopted after war have led to different results.

Correct Option: D

Justification:

Option (d) is correct. This is the central theme of the passage. Through different examples of Japan, Germany, France and Italy the author is describing the different results of different political attitudes.

Correct Option: D

Justification:

• Question 27 of 30 27. Question 1 points Pointing to a boy on the stage, Vidya said, “He is the only brother of the daughter of the wife of my husband.” How is the boy on the stage related to Vidya’s son’s sister? a. Brother b. Husband c. Cousin d. Nephew Correct Correct Option : A Justification : Wife of Vidya’s husband — Vidya; Brother of daughter — Son. So, the boy on the stage is Vidya’s son. Vidya’s son’s sister is the sister of boy who is in the stage because Vidya’s daughter has only one brother. Incorrect Correct Option : A Justification : Wife of Vidya’s husband — Vidya; Brother of daughter — Son. So, the boy on the stage is Vidya’s son. Vidya’s son’s sister is the sister of boy who is in the stage because Vidya’s daughter has only one brother.

#### 27. Question

Pointing to a boy on the stage, Vidya said, “He is the only brother of the daughter of the wife of my husband.” How is the boy on the stage related to Vidya’s son’s sister?

• a. Brother

• b. Husband

Correct Option : A

Justification :

Wife of Vidya’s husband — Vidya;

Brother of daughter — Son.

So, the boy on the stage is Vidya’s son.

Vidya’s son’s sister is the sister of boy who is in the stage because Vidya’s daughter has only one brother.

Correct Option : A

Justification :

Wife of Vidya’s husband — Vidya;

Brother of daughter — Son.

So, the boy on the stage is Vidya’s son.

Vidya’s son’s sister is the sister of boy who is in the stage because Vidya’s daughter has only one brother.

• Question 28 of 30 28. Question 1 points H is the brother of M, who is the only daughter of B. T is the only child of J, who is the sister of X. H is the brother-in-law of X. There are only two unmarried females in the family. Find how is T related to X? a. Nephew b. Maternal Aunt c. Niece d. Either option A or C Correct Correct Option : D Justification : With the given hints following family tree can be prepared: As we know that there are two unmarried females in the family, out of which one is ‘M’ and the other one could be ‘T’ i.e. the child of H and J or it could be X i.e. the sibling of J. Thus T could either be nephew or niece of X. Hence option D is correct. Incorrect Correct Option : D Justification : With the given hints following family tree can be prepared: As we know that there are two unmarried females in the family, out of which one is ‘M’ and the other one could be ‘T’ i.e. the child of H and J or it could be X i.e. the sibling of J. Thus T could either be nephew or niece of X. Hence option D is correct.

#### 28. Question

H is the brother of M, who is the only daughter of B. T is the only child of J, who is the sister of X. H is the brother-in-law of X. There are only two unmarried females in the family. Find how is T related to X?

• b. Maternal Aunt

• d. Either option A or C

Correct Option : D

Justification :

With the given hints following family tree can be prepared:

As we know that there are two unmarried females in the family, out of which

one is ‘M’ and the other one could be ‘T’ i.e. the child of H and J or it could be X

i.e. the sibling of J.

Thus T could either be nephew or niece of X. Hence option D is correct.

Correct Option : D

Justification :

With the given hints following family tree can be prepared:

As we know that there are two unmarried females in the family, out of which

one is ‘M’ and the other one could be ‘T’ i.e. the child of H and J or it could be X

i.e. the sibling of J.

Thus T could either be nephew or niece of X. Hence option D is correct.

• Question 29 of 30 29. Question 1 points Pointing to a boy in the photograph Shivani said, “He is the only son of the only child of my grandfather.” How Shivani is related to that boy? a. Mother b. Sister c. Aunt d. Cannot be determined Correct Correct Option : B Justification : The boy in the photograph is the only son of Shivani’s grandfather’s only son; i.e., the boy is the only son of Shivani’s father. Hence, the boy is the brother of Shivani or Shivani is the sister of the boy. Incorrect Correct Option : B Justification : The boy in the photograph is the only son of Shivani’s grandfather’s only son; i.e., the boy is the only son of Shivani’s father. Hence, the boy is the brother of Shivani or Shivani is the sister of the boy.

#### 29. Question

Pointing to a boy in the photograph Shivani said, “He is the only son of the only child of my grandfather.” How Shivani is related to that boy?

• d. Cannot be determined

Correct Option : B

Justification :

The boy in the photograph is the only son of Shivani’s grandfather’s only son; i.e., the boy is the only son of Shivani’s father.

Hence, the boy is the brother of Shivani or Shivani is the sister of the boy.

Correct Option : B

Justification :

The boy in the photograph is the only son of Shivani’s grandfather’s only son; i.e., the boy is the only son of Shivani’s father.

Hence, the boy is the brother of Shivani or Shivani is the sister of the boy.

• Question 30 of 30 30. Question 1 points In an exam Priya is 9th from top and 14th from bottom among girls. In entire class (boys+girls), she’s 21st from top. The ratio of boys to girls is 3:2. How many boys are ranked below Priya? (a) 15 (b) 18 (c) 21 (d) 24 Correct Answer: C Solution: Total girls = 9 (top) +14 (bottom) -1 = 22 Total students = (5 parts=22 girls)→ 3 parts boys = (22/2)×3 = 33 Boys below Priya: Total below Priya = 33+22-21 = 34 Girls below her = 14-1 =13 Boys below = 34-13 = 21 hence, correct answer is option (c) 21 Incorrect Answer: C Solution: Total girls = 9 (top) +14 (bottom) -1 = 22 Total students = (5 parts=22 girls)→ 3 parts boys = (22/2)×3 = 33 Boys below Priya: Total below Priya = 33+22-21 = 34 Girls below her = 14-1 =13 Boys below = 34-13 = 21 hence, correct answer is option (c) 21

#### 30. Question

In an exam Priya is 9th from top and 14th from bottom among girls. In entire class (boys+girls), she’s 21st from top. The ratio of boys to girls is 3:2. How many boys are ranked below Priya?

Solution:

• Total girls = 9 (top) +14 (bottom) -1 = 22

• Total students = (5 parts=22 girls)→ 3 parts boys = (22/2)×3 = 33

• Boys below Priya: Total below Priya = 33+22-21 = 34 Girls below her = 14-1 =13 Boys below = 34-13 = 21 hence, correct answer is option (c) 21

• Total below Priya = 33+22-21 = 34

• Girls below her = 14-1 =13

• Boys below = 34-13 = 21 hence, correct answer is option (c) 21

Solution:

• Total girls = 9 (top) +14 (bottom) -1 = 22

• Total students = (5 parts=22 girls)→ 3 parts boys = (22/2)×3 = 33

• Boys below Priya: Total below Priya = 33+22-21 = 34 Girls below her = 14-1 =13 Boys below = 34-13 = 21 hence, correct answer is option (c) 21