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• Question 1 of 30 1. Question 1 points With reference to Odissi dance, consider the following: The Tribhanga posture, characterized by three distinct bends in the body, is an element exclusively found in Odissi and not shared by any other Indian classical dance form. The Mangalacharan, the invocatory piece, typically includes Bhumi Pranam (salutation to mother earth) and Trikhandi Pranam (salutation to God, Gurus, and the audience). The repertoire of Odissi extensively draws from the lyrical compositions of Jayadeva’s Gita Govinda, focusing solely on the theme of Radha-Krishna love. Which of the statements given above is/are correct? (a) 2 only (b) 1 and 3 only (c) 2 and 3 only (d) 1, 2 and 3 Correct Solution: A Statement 1 is incorrect. While the Tribhanga posture (three bends at the neck, torso, and knee) is a hallmark and highly characteristic feature of Odissi, giving it a fluid, sculpturesque quality, it is not exclusively found in Odissi. Variations or influences of this posture can be seen in other classical and traditional art forms, including temple sculptures across India which inspired many dance forms, and even in some aspects of Bharatanatyam or Mohiniyattam, though it’s most pronounced and central to Odissi’s identity. Statement 2 is correct. The Mangalacharan is indeed the traditional opening item in an Odissi recital. It involves an invocation, often starting with Manikya Veena (salutation to Saraswati), followed by Bhumi Pranam (obeisance to Mother Earth), and Trikhandi Pranam (a threefold salutation: to the Devas/God, to the Gurus, and to the learned audience/Rasikas). Statement 3 is incorrect. While Jayadeva’s Gita Govinda is a very significant source for Odissi’s repertoire, providing rich lyrical content for Abhinaya centered on the Radha-Krishna theme, the repertoire is not solely focused on this. Odissi also incorporates themes from Shaivism (Lord Shiva), Shaktism (Goddess Durga/Mahakali), and other Vaishnavite Puranic stories, including Dasavatar. Pieces like Moksha (liberation) are also integral. Incorrect Solution: A Statement 1 is incorrect. While the Tribhanga posture (three bends at the neck, torso, and knee) is a hallmark and highly characteristic feature of Odissi, giving it a fluid, sculpturesque quality, it is not exclusively found in Odissi. Variations or influences of this posture can be seen in other classical and traditional art forms, including temple sculptures across India which inspired many dance forms, and even in some aspects of Bharatanatyam or Mohiniyattam, though it’s most pronounced and central to Odissi’s identity. Statement 2 is correct. The Mangalacharan is indeed the traditional opening item in an Odissi recital. It involves an invocation, often starting with Manikya Veena (salutation to Saraswati), followed by Bhumi Pranam (obeisance to Mother Earth), and Trikhandi Pranam (a threefold salutation: to the Devas/God, to the Gurus, and to the learned audience/Rasikas). Statement 3 is incorrect. While Jayadeva’s Gita Govinda is a very significant source for Odissi’s repertoire, providing rich lyrical content for Abhinaya centered on the Radha-Krishna theme, the repertoire is not solely focused on this. Odissi also incorporates themes from Shaivism (Lord Shiva), Shaktism (Goddess Durga/Mahakali), and other Vaishnavite Puranic stories, including Dasavatar. Pieces like Moksha (liberation) are also integral.

#### 1. Question

With reference to Odissi dance, consider the following:

• The Tribhanga posture, characterized by three distinct bends in the body, is an element exclusively found in Odissi and not shared by any other Indian classical dance form.

• The Mangalacharan, the invocatory piece, typically includes Bhumi Pranam (salutation to mother earth) and Trikhandi Pranam (salutation to God, Gurus, and the audience).

• The repertoire of Odissi extensively draws from the lyrical compositions of Jayadeva’s Gita Govinda, focusing solely on the theme of Radha-Krishna love.

Which of the statements given above is/are correct?

• (a) 2 only

• (b) 1 and 3 only

• (c) 2 and 3 only

• (d) 1, 2 and 3

Solution: A

• Statement 1 is incorrect. While the Tribhanga posture (three bends at the neck, torso, and knee) is a hallmark and highly characteristic feature of Odissi, giving it a fluid, sculpturesque quality, it is not exclusively found in Odissi. Variations or influences of this posture can be seen in other classical and traditional art forms, including temple sculptures across India which inspired many dance forms, and even in some aspects of Bharatanatyam or Mohiniyattam, though it’s most pronounced and central to Odissi’s identity.

• Statement 2 is correct. The Mangalacharan is indeed the traditional opening item in an Odissi recital. It involves an invocation, often starting with Manikya Veena (salutation to Saraswati), followed by Bhumi Pranam (obeisance to Mother Earth), and Trikhandi Pranam (a threefold salutation: to the Devas/God, to the Gurus, and to the learned audience/Rasikas).

• Statement 3 is incorrect. While Jayadeva’s Gita Govinda is a very significant source for Odissi’s repertoire, providing rich lyrical content for Abhinaya centered on the Radha-Krishna theme, the repertoire is not solely focused on this. Odissi also incorporates themes from Shaivism (Lord Shiva), Shaktism (Goddess Durga/Mahakali), and other Vaishnavite Puranic stories, including Dasavatar. Pieces like Moksha (liberation) are also integral.

Solution: A

• Question 2 of 30 2. Question 1 points Consider the following pairs of traditional puppetry forms and their primary region of prevalence/origin: Ravanachhaya : Odisha Kathputli : Rajasthan Pavakoothu : Kerala Gombeyatta : Andhra Pradesh 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:C Pair 1 is correctly matched. Ravanachhaya is a traditional shadow puppetry form from Odisha, known for its lyrical grace and use of non-coloured puppets made of deerskin. Pair 2 is correctly matched. Kathputli is a well-known string puppetry tradition from Rajasthan, characterized by vibrant costumes and themes often drawn from Rajasthani legends and ballads. Pair 3 is correctly matched. Pavakoothu (also Pava Koothu or Pava Kathakali) is a traditional glove puppetry form from Kerala, which enacts stories from the Kathakali repertoire. Pair 4 is incorrectly matched. Gombeyatta (or Gombe-Aata) is a traditional string puppetry form from Karnataka, not Andhra Pradesh. Andhra Pradesh is famous for Tholu Bommalata (shadow puppetry) and Koyya Bommalata (string puppetry). Incorrect Solution:C Pair 1 is correctly matched. Ravanachhaya is a traditional shadow puppetry form from Odisha, known for its lyrical grace and use of non-coloured puppets made of deerskin. Pair 2 is correctly matched. Kathputli is a well-known string puppetry tradition from Rajasthan, characterized by vibrant costumes and themes often drawn from Rajasthani legends and ballads. Pair 3 is correctly matched. Pavakoothu (also Pava Koothu or Pava Kathakali) is a traditional glove puppetry form from Kerala, which enacts stories from the Kathakali repertoire. Pair 4 is incorrectly matched. Gombeyatta (or Gombe-Aata) is a traditional string puppetry form from Karnataka, not Andhra Pradesh. Andhra Pradesh is famous for Tholu Bommalata (shadow puppetry) and Koyya Bommalata (string puppetry).

#### 2. Question

Consider the following pairs of traditional puppetry forms and their primary region of prevalence/origin:

• Ravanachhaya : Odisha

• Kathputli : Rajasthan

• Pavakoothu : Kerala

• Gombeyatta : Andhra Pradesh

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:C

• Pair 1 is correctly matched. Ravanachhaya is a traditional shadow puppetry form from Odisha, known for its lyrical grace and use of non-coloured puppets made of deerskin.

• Pair 2 is correctly matched. Kathputli is a well-known string puppetry tradition from Rajasthan, characterized by vibrant costumes and themes often drawn from Rajasthani legends and ballads.

• Pair 3 is correctly matched. Pavakoothu (also Pava Koothu or Pava Kathakali) is a traditional glove puppetry form from Kerala, which enacts stories from the Kathakali repertoire.

• Pair 4 is incorrectly matched. Gombeyatta (or Gombe-Aata) is a traditional string puppetry form from Karnataka, not Andhra Pradesh. Andhra Pradesh is famous for Tholu Bommalata (shadow puppetry) and Koyya Bommalata (string puppetry).

Solution:C

• Pair 1 is correctly matched. Ravanachhaya is a traditional shadow puppetry form from Odisha, known for its lyrical grace and use of non-coloured puppets made of deerskin.

• Pair 2 is correctly matched. Kathputli is a well-known string puppetry tradition from Rajasthan, characterized by vibrant costumes and themes often drawn from Rajasthani legends and ballads.

• Pair 3 is correctly matched. Pavakoothu (also Pava Koothu or Pava Kathakali) is a traditional glove puppetry form from Kerala, which enacts stories from the Kathakali repertoire.

• Question 3 of 30 3. Question 1 points Which of the following statements most accurately captures a fundamental structural difference between Hindustani and Carnatic classical music systems? (a) Carnatic music primarily relies on pre-composed kritis which allow for improvisation only within specific sections like niraval and kalpanaswaram, whereas Hindustani music is predominantly improvisational around a bandish. (b) The concept of Gharana is central to the pedagogical and stylistic transmission of Carnatic music, while Hindustani music emphasizes individualistic interpretation devoid of lineage-based schools. (c) Carnatic music employs a fixed, non-variant set of 72 Melakarta ragas, whereas Hindustani music utilizes a fluid system of thaats which are subject to frequent reclassification and addition. (d) The use of gamakas (ornamentations) is a defining characteristic of Carnatic ragas, often being integral to the raga's identity, while Hindustani music uses meend (glides) but avoids intricate gamakas. Correct Solution: A Option (a) is the most accurate. In Carnatic music, the kriti (a composed devotional piece, typically with pallavi, anupallavi, and charanam) forms the backbone of a performance. Improvisation (manodharma sangeetam) occurs in sections like raga alapana (exposition of the raga without rhythm), niraval (improvising melodic variations on a line from the kriti), and kalpanaswaram (improvising solfa passages). In Hindustani music, while a bandish (composition, often a short couplet) serves as a melodic and rhythmic framework, a much larger portion of the performance is dedicated to improvisation and elaboration of the raga through alap, jor, jhala, bol-bant, taans, etc. The bandish itself is often a small part of the overall rendition. Option (b) is incorrect. The concept of Gharana (lineage-based schools with distinct styles) is a very prominent feature of Hindustani classical music. Carnatic music, while having distinct banis (styles) associated with great masters, does not have the same rigidly defined gharana system for pedagogy and stylistic identity as Hindustani music. Option (c) is incorrect. Carnatic music does have a highly systematized scheme of 72 Melakarta ragas (parent scales from which other janya ragas are derived). Hindustani music uses a system of 10 thaats (as classified by V.N. Bhatkhande), but this system is considered by some to be less exhaustive or comprehensive compared to the Melakarta system, and the classification and evolution of ragas in Hindustani music are more fluid and historically diverse. However, stating Melakarta ragas are “fixed, non-variant” is slightly too strong as new janya ragas can be conceived, but the parent scale system is indeed highly structured. The key difference is the improvisational emphasis. Option (d) is incorrect. Both systems use ornamentations. Gamakas are absolutely central to Carnatic music and are often what define the unique character of a raga. Hindustani music also heavily uses ornamentations, including meend (glides), kan-swar (grace notes), andolan (oscillation), and various types of gamaks, though the terminology and application might differ. It’s an oversimplification to say Hindustani music avoids intricate gamakas; they are integral, just perhaps stylistically different from Carnatic gamakas. Incorrect Solution: A Option (a) is the most accurate. In Carnatic music, the kriti (a composed devotional piece, typically with pallavi, anupallavi, and charanam) forms the backbone of a performance. Improvisation (manodharma sangeetam) occurs in sections like raga alapana (exposition of the raga without rhythm), niraval (improvising melodic variations on a line from the kriti), and kalpanaswaram (improvising solfa passages). In Hindustani music, while a bandish (composition, often a short couplet) serves as a melodic and rhythmic framework, a much larger portion of the performance is dedicated to improvisation and elaboration of the raga through alap, jor, jhala, bol-bant, taans, etc. The bandish itself is often a small part of the overall rendition. Option (b) is incorrect. The concept of Gharana (lineage-based schools with distinct styles) is a very prominent feature of Hindustani classical music. Carnatic music, while having distinct banis (styles) associated with great masters, does not have the same rigidly defined gharana system for pedagogy and stylistic identity as Hindustani music. Option (c) is incorrect. Carnatic music does have a highly systematized scheme of 72 Melakarta ragas (parent scales from which other janya ragas are derived). Hindustani music uses a system of 10 thaats (as classified by V.N. Bhatkhande), but this system is considered by some to be less exhaustive or comprehensive compared to the Melakarta system, and the classification and evolution of ragas in Hindustani music are more fluid and historically diverse. However, stating Melakarta ragas are “fixed, non-variant” is slightly too strong as new janya ragas can be conceived, but the parent scale system is indeed highly structured. The key difference is the improvisational emphasis. Option (d) is incorrect. Both systems use ornamentations. Gamakas are absolutely central to Carnatic music and are often what define the unique character of a raga. Hindustani music also heavily uses ornamentations, including meend (glides), kan-swar (grace notes), andolan (oscillation), and various types of gamaks, though the terminology and application might differ. It’s an oversimplification to say Hindustani music avoids intricate gamakas; they are integral, just perhaps stylistically different from Carnatic gamakas.

#### 3. Question

Which of the following statements most accurately captures a fundamental structural difference between Hindustani and Carnatic classical music systems?

• (a) Carnatic music primarily relies on pre-composed kritis which allow for improvisation only within specific sections like niraval and kalpanaswaram, whereas Hindustani music is predominantly improvisational around a bandish.

• (b) The concept of Gharana is central to the pedagogical and stylistic transmission of Carnatic music, while Hindustani music emphasizes individualistic interpretation devoid of lineage-based schools.

• (c) Carnatic music employs a fixed, non-variant set of 72 Melakarta ragas, whereas Hindustani music utilizes a fluid system of thaats which are subject to frequent reclassification and addition.

• (d) The use of gamakas (ornamentations) is a defining characteristic of Carnatic ragas, often being integral to the raga's identity, while Hindustani music uses meend (glides) but avoids intricate gamakas.

Solution: A

• Option (a) is the most accurate. In Carnatic music, the kriti (a composed devotional piece, typically with pallavi, anupallavi, and charanam) forms the backbone of a performance. Improvisation (manodharma sangeetam) occurs in sections like raga alapana (exposition of the raga without rhythm), niraval (improvising melodic variations on a line from the kriti), and kalpanaswaram (improvising solfa passages). In Hindustani music, while a bandish (composition, often a short couplet) serves as a melodic and rhythmic framework, a much larger portion of the performance is dedicated to improvisation and elaboration of the raga through alap, jor, jhala, bol-bant, taans, etc. The bandish itself is often a small part of the overall rendition.

• Option (b) is incorrect. The concept of Gharana (lineage-based schools with distinct styles) is a very prominent feature of Hindustani classical music. Carnatic music, while having distinct banis (styles) associated with great masters, does not have the same rigidly defined gharana system for pedagogy and stylistic identity as Hindustani music.

• Option (c) is incorrect. Carnatic music does have a highly systematized scheme of 72 Melakarta ragas (parent scales from which other janya ragas are derived). Hindustani music uses a system of 10 thaats (as classified by V.N. Bhatkhande), but this system is considered by some to be less exhaustive or comprehensive compared to the Melakarta system, and the classification and evolution of ragas in Hindustani music are more fluid and historically diverse. However, stating Melakarta ragas are “fixed, non-variant” is slightly too strong as new janya ragas can be conceived, but the parent scale system is indeed highly structured. The key difference is the improvisational emphasis.

• Option (d) is incorrect. Both systems use ornamentations. Gamakas are absolutely central to Carnatic music and are often what define the unique character of a raga. Hindustani music also heavily uses ornamentations, including meend (glides), kan-swar (grace notes), andolan (oscillation), and various types of gamaks, though the terminology and application might differ. It’s an oversimplification to say Hindustani music avoids intricate gamakas; they are integral, just perhaps stylistically different from Carnatic gamakas.

Solution: A

• Question 4 of 30 4. Question 1 points Consider the concept of Maya in Advaita Vedanta as propounded by Adi Shankaracharya. Which of the following assertions is most consistent with his philosophical position? (a) Maya is an independent, co-eternal reality alongside Brahman, responsible for the creation of the empirical world. (b) Maya is the illusory power of Brahman that makes the singular, attributeless Brahman appear as the manifold, differentiated world, but it is ultimately unreal (mithya) from the standpoint of absolute truth. (c) Maya represents the collective karmic impressions of individual souls, which project the phenomenal world as a real, albeit transient, experience. (d) Maya is a positive creative force of God (Ishvara), through which He wilfully manifests the diverse universe as a display of His divine play (lila). Correct Solution:B Option (a) is incorrect. Advaita Vedanta is strictly non-dualistic. Positing Maya as an independent, co-eternal reality alongside Brahman would introduce dualism, which Shankaracharya refutes. For Shankara, Brahman is the sole ultimate reality (Sat). Option (b) is correct. According to Shankaracharya, Maya is the inexplicable (anirvachaniya) power inherent in Brahman that veils the true nature of Brahman and projects the illusion of a manifold world of names and forms (nama-rupa). From the empirical standpoint (vyavaharika satta), the world appears real, but from the standpoint of absolute truth (paramarthika satta), Maya and its creation (the phenomenal world) are considered mithya (neither absolutely real nor absolutely unreal, but illusorily superimposed on Brahman). It is not a separate entity from Brahman but its inherent power of appearing as many. Option (c) is incorrect. While karma is a concept in Advaita, Maya is not equated with collective karmic impressions. Maya is a more fundamental cosmic principle of illusion that accounts for the very appearance of individual souls (jivas) and the world they experience, within which karma operates. Option (d) is incorrect. While the concept of Ishvara (saguna Brahman or Brahman with attributes, often equated with God) is part of Shankara’s framework at the empirical level, and Ishvara is considered the creator of the world through Maya, the emphasis in Advaita is that this creative aspect and the world itself are ultimately phenomenal and not absolutely real. Maya is fundamentally an “illusory” power. The term “positive creative force” can be misleading in the context of Advaita’s ultimate truth where Brahman alone is real. The idea of lila is present, but the unreality of the manifestation from the ultimate standpoint is key. Incorrect Solution:B Option (a) is incorrect. Advaita Vedanta is strictly non-dualistic. Positing Maya as an independent, co-eternal reality alongside Brahman would introduce dualism, which Shankaracharya refutes. For Shankara, Brahman is the sole ultimate reality (Sat). Option (b) is correct. According to Shankaracharya, Maya is the inexplicable (anirvachaniya) power inherent in Brahman that veils the true nature of Brahman and projects the illusion of a manifold world of names and forms (nama-rupa). From the empirical standpoint (vyavaharika satta), the world appears real, but from the standpoint of absolute truth (paramarthika satta), Maya and its creation (the phenomenal world) are considered mithya (neither absolutely real nor absolutely unreal, but illusorily superimposed on Brahman). It is not a separate entity from Brahman but its inherent power of appearing as many. Option (c) is incorrect. While karma is a concept in Advaita, Maya is not equated with collective karmic impressions. Maya is a more fundamental cosmic principle of illusion that accounts for the very appearance of individual souls (jivas) and the world they experience, within which karma operates. Option (d) is incorrect. While the concept of Ishvara (saguna Brahman or Brahman with attributes, often equated with God) is part of Shankara’s framework at the empirical level, and Ishvara is considered the creator of the world through Maya, the emphasis in Advaita is that this creative aspect and the world itself are ultimately phenomenal and not absolutely real. Maya is fundamentally an “illusory” power. The term “positive creative force” can be misleading in the context of Advaita’s ultimate truth where Brahman alone is real. The idea of lila is present, but the unreality of the manifestation from the ultimate standpoint is key.

#### 4. Question

Consider the concept of Maya in Advaita Vedanta as propounded by Adi Shankaracharya. Which of the following assertions is most consistent with his philosophical position?

• (a) Maya is an independent, co-eternal reality alongside Brahman, responsible for the creation of the empirical world.

• (b) Maya is the illusory power of Brahman that makes the singular, attributeless Brahman appear as the manifold, differentiated world, but it is ultimately unreal (mithya) from the standpoint of absolute truth.

• (c) Maya represents the collective karmic impressions of individual souls, which project the phenomenal world as a real, albeit transient, experience.

• (d) Maya is a positive creative force of God (Ishvara), through which He wilfully manifests the diverse universe as a display of His divine play (lila).

Solution:B

• Option (a) is incorrect. Advaita Vedanta is strictly non-dualistic. Positing Maya as an independent, co-eternal reality alongside Brahman would introduce dualism, which Shankaracharya refutes. For Shankara, Brahman is the sole ultimate reality (Sat).

• Option (b) is correct. According to Shankaracharya, Maya is the inexplicable (anirvachaniya) power inherent in Brahman that veils the true nature of Brahman and projects the illusion of a manifold world of names and forms (nama-rupa). From the empirical standpoint (vyavaharika satta), the world appears real, but from the standpoint of absolute truth (paramarthika satta), Maya and its creation (the phenomenal world) are considered mithya (neither absolutely real nor absolutely unreal, but illusorily superimposed on Brahman). It is not a separate entity from Brahman but its inherent power of appearing as many.

• Option (c) is incorrect. While karma is a concept in Advaita, Maya is not equated with collective karmic impressions. Maya is a more fundamental cosmic principle of illusion that accounts for the very appearance of individual souls (jivas) and the world they experience, within which karma operates.

• Option (d) is incorrect. While the concept of Ishvara (saguna Brahman or Brahman with attributes, often equated with God) is part of Shankara’s framework at the empirical level, and Ishvara is considered the creator of the world through Maya, the emphasis in Advaita is that this creative aspect and the world itself are ultimately phenomenal and not absolutely real. Maya is fundamentally an “illusory” power. The term “positive creative force” can be misleading in the context of Advaita’s ultimate truth where Brahman alone is real. The idea of lila is present, but the unreality of the manifestation from the ultimate standpoint is key.

Solution:B

• Question 5 of 30 5. Question 1 points Which of the following statements best encapsulates the Jaina philosophical doctrine of Anekantavada? (a) It asserts that reality is singular and unchanging, and all perceived multiplicity is an illusion. (b) It posits that truth and reality are complex and multi-faceted, and can only be understood from a multiplicity of perspectives, none of which is complete in itself. (c) It is an ethical doctrine emphasizing extreme non-violence (Ahimsa) towards all living beings, regardless of their size or form. (d) It describes the path to liberation through the three jewels of Right Faith, Right Knowledge, and Right Conduct, leading to the annihilation of karmic matter. Correct Solution: B Option (a) is incorrect. This description is more aligned with Advaita Vedanta’s view of Brahman, not Anekantavada. Jainism acknowledges the reality of multiple substances and their changing modes. Option (b) is correct. Anekantavada (literally, “non-one-sidedness” or “many-sidedness”) is a core epistemological and metaphysical doctrine of Jainism. It holds that ultimate truth and reality are complex, possessing infinite attributes and aspects. Human knowledge is always partial and conditioned by the specific viewpoint (naya) adopted. Therefore, no single perspective can capture the entirety of truth. To understand reality comprehensively, one must consider multiple viewpoints. This is often illustrated by the parable of the blind men and the elephant. Option (c) is incorrect. While Ahimsa is a cardinal ethical principle in Jainism (the foremost of the five great vows or Mahavratas), Anekantavada is a philosophical doctrine about the nature of reality and knowledge, not primarily an ethical teaching, though it fosters tolerance. Option (d) is incorrect. This describes the Triratna (Three Jewels) of Jainism, which constitute the path to liberation (Moksha). Anekantavada is a philosophical underpinning that informs Right Knowledge, but it is not synonymous with the entire path. Incorrect Solution: B Option (a) is incorrect. This description is more aligned with Advaita Vedanta’s view of Brahman, not Anekantavada. Jainism acknowledges the reality of multiple substances and their changing modes. Option (b) is correct. Anekantavada (literally, “non-one-sidedness” or “many-sidedness”) is a core epistemological and metaphysical doctrine of Jainism. It holds that ultimate truth and reality are complex, possessing infinite attributes and aspects. Human knowledge is always partial and conditioned by the specific viewpoint (naya) adopted. Therefore, no single perspective can capture the entirety of truth. To understand reality comprehensively, one must consider multiple viewpoints. This is often illustrated by the parable of the blind men and the elephant. Option (c) is incorrect. While Ahimsa is a cardinal ethical principle in Jainism (the foremost of the five great vows or Mahavratas), Anekantavada is a philosophical doctrine about the nature of reality and knowledge, not primarily an ethical teaching, though it fosters tolerance. Option (d) is incorrect. This describes the Triratna (Three Jewels) of Jainism, which constitute the path to liberation (Moksha). Anekantavada is a philosophical underpinning that informs Right Knowledge, but it is not synonymous with the entire path.

#### 5. Question

Which of the following statements best encapsulates the Jaina philosophical doctrine of Anekantavada?

• (a) It asserts that reality is singular and unchanging, and all perceived multiplicity is an illusion.

• (b) It posits that truth and reality are complex and multi-faceted, and can only be understood from a multiplicity of perspectives, none of which is complete in itself.

• (c) It is an ethical doctrine emphasizing extreme non-violence (Ahimsa) towards all living beings, regardless of their size or form.

• (d) It describes the path to liberation through the three jewels of Right Faith, Right Knowledge, and Right Conduct, leading to the annihilation of karmic matter.

Solution: B

• Option (a) is incorrect. This description is more aligned with Advaita Vedanta’s view of Brahman, not Anekantavada. Jainism acknowledges the reality of multiple substances and their changing modes.

• Option (b) is correct. Anekantavada (literally, “non-one-sidedness” or “many-sidedness”) is a core epistemological and metaphysical doctrine of Jainism. It holds that ultimate truth and reality are complex, possessing infinite attributes and aspects. Human knowledge is always partial and conditioned by the specific viewpoint (naya) adopted. Therefore, no single perspective can capture the entirety of truth. To understand reality comprehensively, one must consider multiple viewpoints. This is often illustrated by the parable of the blind men and the elephant.

• Option (c) is incorrect. While Ahimsa is a cardinal ethical principle in Jainism (the foremost of the five great vows or Mahavratas), Anekantavada is a philosophical doctrine about the nature of reality and knowledge, not primarily an ethical teaching, though it fosters tolerance.

• Option (d) is incorrect. This describes the Triratna (Three Jewels) of Jainism, which constitute the path to liberation (Moksha). Anekantavada is a philosophical underpinning that informs Right Knowledge, but it is not synonymous with the entire path.

Solution: B

• Question 6 of 30 6. Question 1 points The Natyashastra, attributed to Bharata Muni, is a foundational treatise on Indian performing arts. Which of the following statements about its scope and concepts is most accurate? It exclusively deals with the rules and techniques of classical Sanskrit drama, providing no insights into dance or music as independent art forms. The theory of Rasa elucidated in the Natyashastra is applicable only to dramatic performances and not to other art forms like painting or sculpture. It categorizes dramatic plots (Itivritta) into two primary types: Adhikarika (principal plot) and Prasannika (incidental plot). Which of the statements given above is/are correct? (a) 3 only (b) 1 and 2 only (c) 2 and 3 only (d) None Correct Solution: A Statement 1 is incorrect. The Natyashastra is a comprehensive treatise that covers a wide range of performing arts beyond just drama. It includes detailed discussions on stagecraft, acting (abhinaya), dance (nritta and nritya), music (vocal and instrumental, including concepts of swara, tala, raga – though rudimentary compared to later developments), costumes, make-up, and audience aesthetics. While drama is central, dance and music are integral components and are discussed extensively. Statement 2 is incorrect. The theory of Rasa (aesthetic sentiment or flavor evoked in the spectator) is a cornerstone of Indian aesthetics first systematically expounded in the Natyashastra. While its primary application in the text is to drama, the concept of Rasa has been widely adopted and applied across various Indian art forms, including dance, music, poetry, painting, and sculpture, to describe the emotional essence or experience conveyed by the artwork. Statement 3 is correct. The Natyashastra does discuss dramatic plot construction (Itivritta or Vastu). It identifies two main types of plots: Adhikarika (the principal plot concerning the main hero and his attainment of the principal objective) and Prasannika (or Prasangkika – incidental or episodic plots involving subordinate characters that contribute to the development of the main plot). Incorrect Solution: A Statement 1 is incorrect. The Natyashastra is a comprehensive treatise that covers a wide range of performing arts beyond just drama. It includes detailed discussions on stagecraft, acting (abhinaya), dance (nritta and nritya), music (vocal and instrumental, including concepts of swara, tala, raga – though rudimentary compared to later developments), costumes, make-up, and audience aesthetics. While drama is central, dance and music are integral components and are discussed extensively. Statement 2 is incorrect. The theory of Rasa (aesthetic sentiment or flavor evoked in the spectator) is a cornerstone of Indian aesthetics first systematically expounded in the Natyashastra. While its primary application in the text is to drama, the concept of Rasa has been widely adopted and applied across various Indian art forms, including dance, music, poetry, painting, and sculpture, to describe the emotional essence or experience conveyed by the artwork. Statement 3 is correct. The Natyashastra does discuss dramatic plot construction (Itivritta or Vastu). It identifies two main types of plots: Adhikarika (the principal plot concerning the main hero and his attainment of the principal objective) and Prasannika (or Prasangkika – incidental or episodic plots involving subordinate characters that contribute to the development of the main plot).

#### 6. Question

The Natyashastra, attributed to Bharata Muni, is a foundational treatise on Indian performing arts. Which of the following statements about its scope and concepts is most accurate?

• It exclusively deals with the rules and techniques of classical Sanskrit drama, providing no insights into dance or music as independent art forms.

• The theory of Rasa elucidated in the Natyashastra is applicable only to dramatic performances and not to other art forms like painting or sculpture.

• It categorizes dramatic plots (Itivritta) into two primary types: Adhikarika (principal plot) and Prasannika (incidental plot).

Which of the statements given above is/are correct?

• (a) 3 only

• (b) 1 and 2 only

• (c) 2 and 3 only

Solution: A

• Statement 1 is incorrect. The Natyashastra is a comprehensive treatise that covers a wide range of performing arts beyond just drama. It includes detailed discussions on stagecraft, acting (abhinaya), dance (nritta and nritya), music (vocal and instrumental, including concepts of swara, tala, raga – though rudimentary compared to later developments), costumes, make-up, and audience aesthetics. While drama is central, dance and music are integral components and are discussed extensively.

• Statement 2 is incorrect. The theory of Rasa (aesthetic sentiment or flavor evoked in the spectator) is a cornerstone of Indian aesthetics first systematically expounded in the Natyashastra. While its primary application in the text is to drama, the concept of Rasa has been widely adopted and applied across various Indian art forms, including dance, music, poetry, painting, and sculpture, to describe the emotional essence or experience conveyed by the artwork.

• Statement 3 is correct. The Natyashastra does discuss dramatic plot construction (Itivritta or Vastu). It identifies two main types of plots: Adhikarika (the principal plot concerning the main hero and his attainment of the principal objective) and Prasannika (or Prasangkika – incidental or episodic plots involving subordinate characters that contribute to the development of the main plot).

Solution: A

• Question 7 of 30 7. Question 1 points Consider the following statements regarding the Sangeet Natak Akademi: It is an autonomous body fully funded by the Ministry of Culture, Government of India, primarily responsible for the preservation and promotion of tangible heritage like ancient monuments. The Akademi awards fellowships (Akademi Ratna) and awards (Akademi Puraskar) to eminent artists, which are considered the highest national honors in the field of performing arts. It plays a significant role in fostering cultural exchange with other countries but has no mandate for supporting research or documentation in performing arts. Which of the statements given above is/are correct? (a) 2 only (b) 1 and 2 only (c) 2 and 3 only (d) 1, 2 and 3 Correct Solution: A Statement 1 is incorrect. The Sangeet Natak Akademi is indeed an autonomous body under the Ministry of Culture. However, its primary mandate is the preservation and promotion of the performing arts (music, dance, and drama – encompassing intangible heritage). The preservation of tangible heritage like ancient monuments is primarily the responsibility of the Archaeological Survey of India (ASI). Statement 2 is correct. The Sangeet Natak Akademi Fellowship (Akademi Ratna Sadasya) is the highest honour conferred by the Akademi on performing artists for their outstanding contribution, and it is indeed considered a very prestigious national recognition. The Sangeet Natak Akademi Awards (Akademi Puraskar) are also highly esteemed national honors given to a larger number of artists across various categories of performing arts. Statement 3 is incorrect. While the Akademi does engage in fostering international cultural exchange, it also has a significant mandate for supporting research, documentation, publication, and scholarship in the performing arts. It maintains archives, organizes seminars, and provides grants for research and documentation projects to preserve and propagate knowledge about Indian performing arts traditions. Incorrect Solution: A Statement 1 is incorrect. The Sangeet Natak Akademi is indeed an autonomous body under the Ministry of Culture. However, its primary mandate is the preservation and promotion of the performing arts (music, dance, and drama – encompassing intangible heritage). The preservation of tangible heritage like ancient monuments is primarily the responsibility of the Archaeological Survey of India (ASI). Statement 2 is correct. The Sangeet Natak Akademi Fellowship (Akademi Ratna Sadasya) is the highest honour conferred by the Akademi on performing artists for their outstanding contribution, and it is indeed considered a very prestigious national recognition. The Sangeet Natak Akademi Awards (Akademi Puraskar) are also highly esteemed national honors given to a larger number of artists across various categories of performing arts. Statement 3 is incorrect. While the Akademi does engage in fostering international cultural exchange, it also has a significant mandate for supporting research, documentation, publication, and scholarship in the performing arts. It maintains archives, organizes seminars, and provides grants for research and documentation projects to preserve and propagate knowledge about Indian performing arts traditions.

#### 7. Question

Consider the following statements regarding the Sangeet Natak Akademi:

• It is an autonomous body fully funded by the Ministry of Culture, Government of India, primarily responsible for the preservation and promotion of tangible heritage like ancient monuments.

• The Akademi awards fellowships (Akademi Ratna) and awards (Akademi Puraskar) to eminent artists, which are considered the highest national honors in the field of performing arts.

• It plays a significant role in fostering cultural exchange with other countries but has no mandate for supporting research or documentation in performing arts.

Which of the statements given above is/are correct?

• (a) 2 only

• (b) 1 and 2 only

• (c) 2 and 3 only

• (d) 1, 2 and 3

Solution: A

• Statement 1 is incorrect. The Sangeet Natak Akademi is indeed an autonomous body under the Ministry of Culture. However, its primary mandate is the preservation and promotion of the performing arts (music, dance, and drama – encompassing intangible heritage). The preservation of tangible heritage like ancient monuments is primarily the responsibility of the Archaeological Survey of India (ASI).

• Statement 2 is correct. The Sangeet Natak Akademi Fellowship (Akademi Ratna Sadasya) is the highest honour conferred by the Akademi on performing artists for their outstanding contribution, and it is indeed considered a very prestigious national recognition. The Sangeet Natak Akademi Awards (Akademi Puraskar) are also highly esteemed national honors given to a larger number of artists across various categories of performing arts.

• Statement 3 is incorrect. While the Akademi does engage in fostering international cultural exchange, it also has a significant mandate for supporting research, documentation, publication, and scholarship in the performing arts. It maintains archives, organizes seminars, and provides grants for research and documentation projects to preserve and propagate knowledge about Indian performing arts traditions.

Solution: A

• Question 8 of 30 8. Question 1 points Which of the following accurately describes “Ankia Naat,” a traditional performing art form? (a) A string puppetry tradition from Assam, primarily narrating episodes from the Ramayana. (b) A form of devotional musical theatre prevalent in Maharashtra, initiated by Sant Eknath. (c) A one-act play tradition from Assam, created by the Vaishnava saint Srimanta Sankardeva, usually performed in prayer halls (Namghars). (d) A ritualistic folk theatre of Odisha, involving mask dances and narration from Puranic texts. Correct Solution: C Option (a) is incorrect. While Assam has puppetry traditions (e.g., Putala Nach), Ankia Naat is a form of theatre. Option (b) is incorrect. Devotional musical theatre in Maharashtra includes forms like Bharud (associated with Sant Eknath) or Kirtan, but Ankia Naat is specific to Assam. Option (c) is correct. Ankia Naat refers to a genre of one-act plays that form a significant part of the Sattriya tradition of Assam. These plays were created and popularized by the 15th-16th century Vaishnava saint, scholar, and social reformer Srimanta Sankardeva and his disciple Madhavadeva. They are primarily devotional in nature, often depicting episodes from the Bhagavata Purana (especially Krishna’s life). Performances, known as Bhaona, typically take place in Namghars (congregational prayer halls) or sometimes in temporary arenas. They involve music, dance, elaborate costumes, and masks. Option (d) is incorrect. Ritualistic folk theatres of Odisha include forms like Chhau (though also found in other states), Dandanata, or Prahlad Nataka, which differ significantly from Ankia Naat in origin, style, and content. Incorrect Solution: C Option (a) is incorrect. While Assam has puppetry traditions (e.g., Putala Nach), Ankia Naat is a form of theatre. Option (b) is incorrect. Devotional musical theatre in Maharashtra includes forms like Bharud (associated with Sant Eknath) or Kirtan, but Ankia Naat is specific to Assam. Option (c) is correct. Ankia Naat refers to a genre of one-act plays that form a significant part of the Sattriya tradition of Assam. These plays were created and popularized by the 15th-16th century Vaishnava saint, scholar, and social reformer Srimanta Sankardeva and his disciple Madhavadeva. They are primarily devotional in nature, often depicting episodes from the Bhagavata Purana (especially Krishna’s life). Performances, known as Bhaona, typically take place in Namghars (congregational prayer halls) or sometimes in temporary arenas. They involve music, dance, elaborate costumes, and masks. Option (d) is incorrect. Ritualistic folk theatres of Odisha include forms like Chhau (though also found in other states), Dandanata, or Prahlad Nataka, which differ significantly from Ankia Naat in origin, style, and content.

#### 8. Question

Which of the following accurately describes “Ankia Naat,” a traditional performing art form?

• (a) A string puppetry tradition from Assam, primarily narrating episodes from the Ramayana.

• (b) A form of devotional musical theatre prevalent in Maharashtra, initiated by Sant Eknath.

• (c) A one-act play tradition from Assam, created by the Vaishnava saint Srimanta Sankardeva, usually performed in prayer halls (Namghars).

• (d) A ritualistic folk theatre of Odisha, involving mask dances and narration from Puranic texts.

Solution: C

• Option (a) is incorrect. While Assam has puppetry traditions (e.g., Putala Nach), Ankia Naat is a form of theatre.

• Option (b) is incorrect. Devotional musical theatre in Maharashtra includes forms like Bharud (associated with Sant Eknath) or Kirtan, but Ankia Naat is specific to Assam.

• Option (c) is correct. Ankia Naat refers to a genre of one-act plays that form a significant part of the Sattriya tradition of Assam. These plays were created and popularized by the 15th-16th century Vaishnava saint, scholar, and social reformer Srimanta Sankardeva and his disciple Madhavadeva. They are primarily devotional in nature, often depicting episodes from the Bhagavata Purana (especially Krishna’s life). Performances, known as Bhaona, typically take place in Namghars (congregational prayer halls) or sometimes in temporary arenas. They involve music, dance, elaborate costumes, and masks.

• Option (d) is incorrect. Ritualistic folk theatres of Odisha include forms like Chhau (though also found in other states), Dandanata, or Prahlad Nataka, which differ significantly from Ankia Naat in origin, style, and content.

Solution: C

• Option (a) is incorrect. While Assam has puppetry traditions (e.g., Putala Nach), Ankia Naat is a form of theatre.

• Option (b) is incorrect. Devotional musical theatre in Maharashtra includes forms like Bharud (associated with Sant Eknath) or Kirtan, but Ankia Naat is specific to Assam.

• Question 9 of 30 9. Question 1 points Consider the following pairs concerning Indian calendar systems: Saka Samvat : Commenced in 78 CE, adopted as the basis for the Indian national calendar. Vikrama Samvat : Believed to have been initiated by King Vikramaditya of Ujjain around 57 BCE, used in many parts of North and West India. Hijri Calendar : A purely solar calendar, its beginning marks the Prophet Muhammad’s migration from Mecca to Medina. How many of the above pairs are correctly matched? (a) Only one pair (b) Only two pairs (c) All three pairs (d) None of the pairs Correct Solution:B Pair 1 is correctly matched. The Saka Era (Saka Samvat) is generally accepted to have begun in 78 CE, often associated with the coronation of a Kushana ruler (Kanishka, though debated) or a Saka king. The Indian national calendar, adopted in 1957, is based on the Saka Era, with Chaitra as its first month. Pair 2 is correctly matched. The Vikrama Era (Vikrama Samvat) is traditionally believed to have been established by King Vikramaditya of Ujjain in 57 BCE (or sometimes 58 BCE or 56 BCE depending on the calculation method, particularly the start of Kartika vs Chaitra). It is widely used in various parts of North, West, and Central India for traditional, religious, and civil purposes. Pair 3 is incorrectly matched. The Hijri Calendar is a purely lunar calendar, not solar. Its starting point (1 AH) corresponds to 622 CE, marking the year of the Hijra (Prophet Muhammad’s migration from Mecca to Medina). Being lunar, its year is about 10-11 days shorter than a solar year, causing its months to drift through the seasons. Incorrect Solution:B Pair 1 is correctly matched. The Saka Era (Saka Samvat) is generally accepted to have begun in 78 CE, often associated with the coronation of a Kushana ruler (Kanishka, though debated) or a Saka king. The Indian national calendar, adopted in 1957, is based on the Saka Era, with Chaitra as its first month. Pair 2 is correctly matched. The Vikrama Era (Vikrama Samvat) is traditionally believed to have been established by King Vikramaditya of Ujjain in 57 BCE (or sometimes 58 BCE or 56 BCE depending on the calculation method, particularly the start of Kartika vs Chaitra). It is widely used in various parts of North, West, and Central India for traditional, religious, and civil purposes. Pair 3 is incorrectly matched. The Hijri Calendar is a purely lunar calendar, not solar. Its starting point (1 AH) corresponds to 622 CE, marking the year of the Hijra (Prophet Muhammad’s migration from Mecca to Medina). Being lunar, its year is about 10-11 days shorter than a solar year, causing its months to drift through the seasons.

#### 9. Question

Consider the following pairs concerning Indian calendar systems:

• Saka Samvat : Commenced in 78 CE, adopted as the basis for the Indian national calendar.

• Vikrama Samvat : Believed to have been initiated by King Vikramaditya of Ujjain around 57 BCE, used in many parts of North and West India.

• Hijri Calendar : A purely solar calendar, its beginning marks the Prophet Muhammad’s migration from Mecca to Medina.

How many of the above pairs are correctly matched?

• (a) Only one pair

• (b) Only two pairs

• (c) All three pairs

• (d) None of the pairs

Solution:B

Pair 1 is correctly matched. The Saka Era (Saka Samvat) is generally accepted to have begun in 78 CE, often associated with the coronation of a Kushana ruler (Kanishka, though debated) or a Saka king. The Indian national calendar, adopted in 1957, is based on the Saka Era, with Chaitra as its first month.

• Pair 2 is correctly matched. The Vikrama Era (Vikrama Samvat) is traditionally believed to have been established by King Vikramaditya of Ujjain in 57 BCE (or sometimes 58 BCE or 56 BCE depending on the calculation method, particularly the start of Kartika vs Chaitra). It is widely used in various parts of North, West, and Central India for traditional, religious, and civil purposes.

• Pair 3 is incorrectly matched. The Hijri Calendar is a purely lunar calendar, not solar. Its starting point (1 AH) corresponds to 622 CE, marking the year of the Hijra (Prophet Muhammad’s migration from Mecca to Medina). Being lunar, its year is about 10-11 days shorter than a solar year, causing its months to drift through the seasons.

Solution:B

• Question 10 of 30 10. Question 1 points With reference to ancient Indian scripts, which statement is most accurate regarding the Kharosthi script? (a) It was derived from the Brahmi script and was primarily used in South India for inscribing Buddhist texts. (b) It was written from left to right and served as the precursor to most modern North Indian scripts like Devanagari. (c) It was an Aramaic-derived script, written from right to left, and was predominantly used in the Gandhara region and North-Western India. (d) It was a pictographic script used by the Indus Valley Civilization, which remains undeciphered to this day. Correct Solution: C Option (a) is incorrect. Kharosthi was not derived from Brahmi; it has a distinct Semitic origin (Aramaic). Brahmi was used extensively for Buddhist texts across India, but Kharosthi’s usage was geographically more concentrated in the North-West. Option (b) is incorrect. Kharosthi was written from right to left, similar to Aramaic. Brahmi script, written from left to right, is the ancestor of most modern Indian scripts, including Devanagari. Option (c) is correct. The Kharosthi script is believed to have originated from the Aramaic script, which was used in the Achaemenid Empire. It was adapted for writing Prakrit languages (specifically Gandhari Prakrit) in North-Western India, including the Gandhara region (parts of modern-day Pakistan and Afghanistan), during the period from around the 3rd century BCE to the 3rd century CE. Its direction of writing is from right to left. Many edicts of Ashoka in the North-West were inscribed in Kharosthi. Option (d) is incorrect. The Indus Valley script is pictographic and undeciphered, but Kharosthi is a later, alphabetic/syllabic script with known origins and decipherment. Incorrect Solution: C Option (a) is incorrect. Kharosthi was not derived from Brahmi; it has a distinct Semitic origin (Aramaic). Brahmi was used extensively for Buddhist texts across India, but Kharosthi’s usage was geographically more concentrated in the North-West. Option (b) is incorrect. Kharosthi was written from right to left, similar to Aramaic. Brahmi script, written from left to right, is the ancestor of most modern Indian scripts, including Devanagari. Option (c) is correct. The Kharosthi script is believed to have originated from the Aramaic script, which was used in the Achaemenid Empire. It was adapted for writing Prakrit languages (specifically Gandhari Prakrit) in North-Western India, including the Gandhara region (parts of modern-day Pakistan and Afghanistan), during the period from around the 3rd century BCE to the 3rd century CE. Its direction of writing is from right to left. Many edicts of Ashoka in the North-West were inscribed in Kharosthi. Option (d) is incorrect. The Indus Valley script is pictographic and undeciphered, but Kharosthi is a later, alphabetic/syllabic script with known origins and decipherment.

#### 10. Question

With reference to ancient Indian scripts, which statement is most accurate regarding the Kharosthi script?

• (a) It was derived from the Brahmi script and was primarily used in South India for inscribing Buddhist texts.

• (b) It was written from left to right and served as the precursor to most modern North Indian scripts like Devanagari.

• (c) It was an Aramaic-derived script, written from right to left, and was predominantly used in the Gandhara region and North-Western India.

• (d) It was a pictographic script used by the Indus Valley Civilization, which remains undeciphered to this day.

Solution: C

• Option (a) is incorrect. Kharosthi was not derived from Brahmi; it has a distinct Semitic origin (Aramaic). Brahmi was used extensively for Buddhist texts across India, but Kharosthi’s usage was geographically more concentrated in the North-West.

• Option (b) is incorrect. Kharosthi was written from right to left, similar to Aramaic. Brahmi script, written from left to right, is the ancestor of most modern Indian scripts, including Devanagari.

• Option (c) is correct. The Kharosthi script is believed to have originated from the Aramaic script, which was used in the Achaemenid Empire. It was adapted for writing Prakrit languages (specifically Gandhari Prakrit) in North-Western India, including the Gandhara region (parts of modern-day Pakistan and Afghanistan), during the period from around the 3rd century BCE to the 3rd century CE. Its direction of writing is from right to left. Many edicts of Ashoka in the North-West were inscribed in Kharosthi.

• Option (d) is incorrect. The Indus Valley script is pictographic and undeciphered, but Kharosthi is a later, alphabetic/syllabic script with known origins and decipherment.

Solution: C

• Option (d) is incorrect. The Indus Valley script is pictographic and undeciphered, but Kharosthi is a later, alphabetic/syllabic script with known origins and decipherment.

• Question 11 of 30 11. Question 1 points Consider the following statements regarding Mudiyettu It is based on the mythological story of Vishnu and demons. It is performed drawing image or Kalam of the god on the temple floor in which the spirit of the deity is invoked. It is performed in theatres called Bhagavati Kavus, set up in villages along the banks of rivers. Which of the statements given above is/are correct ? (a) 1 and 2 only (b) 3 only (c) 1 only (d) 2 and 3 only Correct Solution : D Mudiyettu is the ritual dance drama from Kerala. It is based on the mythological tale of a battle between goddess Kali and demon Darika It is a community ritual in which the entire village participates. Hence statement 1 is incorrect After the summer crops have been harvested the villagers reach the temple in the early morning on an appointed day. Mudiyettu performers purify themselves through fasting and prayer. The performers then draw a huge image of goddess Kali called as Kalam on the temple floor with coloured powders wherein the spirit of the goddess is invoked ;this prepares the ground for the lively enactment to follow. Hence statement 2 is correct Mudiyettu is performed annually in Bhagavati kavus, the temple of the goddess in various villages along the rivers Periyar, Chalakkudy Puzha and Moovattupuzha. Hence statement 3 is correct. Incorrect Solution : D Mudiyettu is the ritual dance drama from Kerala. It is based on the mythological tale of a battle between goddess Kali and demon Darika It is a community ritual in which the entire village participates. Hence statement 1 is incorrect After the summer crops have been harvested the villagers reach the temple in the early morning on an appointed day. Mudiyettu performers purify themselves through fasting and prayer. The performers then draw a huge image of goddess Kali called as Kalam on the temple floor with coloured powders wherein the spirit of the goddess is invoked ;this prepares the ground for the lively enactment to follow. Hence statement 2 is correct Mudiyettu is performed annually in Bhagavati kavus, the temple of the goddess in various villages along the rivers Periyar, Chalakkudy Puzha and Moovattupuzha. Hence statement 3 is correct.

#### 11. Question

Consider the following statements regarding Mudiyettu

• It is based on the mythological story of Vishnu and demons.

• It is performed drawing image or Kalam of the god on the temple floor in which the spirit of the deity is invoked.

• It is performed in theatres called Bhagavati Kavus, set up in villages along the banks of rivers.

Which of the statements given above is/are correct ?

• (a) 1 and 2 only

• (b) 3 only

• (c) 1 only

• (d) 2 and 3 only

Solution : D

• Mudiyettu is the ritual dance drama from Kerala.

• It is based on the mythological tale of a battle between goddess Kali and demon Darika

• It is a community ritual in which the entire village participates.

Hence statement 1 is incorrect

• After the summer crops have been harvested the villagers reach the temple in the early morning on an appointed day.

• Mudiyettu performers purify themselves through fasting and prayer.

• The performers then draw a huge image of goddess Kali called as Kalam on the temple floor with coloured powders wherein the spirit of the goddess is invoked ;this prepares the ground for the lively enactment to follow.

Hence statement 2 is correct

• Mudiyettu is performed annually in Bhagavati kavus, the temple of the goddess in various villages along the rivers Periyar, Chalakkudy Puzha and Moovattupuzha.

Hence statement 3 is correct.

Solution : D

• Mudiyettu is the ritual dance drama from Kerala.

• It is based on the mythological tale of a battle between goddess Kali and demon Darika

• It is a community ritual in which the entire village participates.

Hence statement 1 is incorrect

• After the summer crops have been harvested the villagers reach the temple in the early morning on an appointed day.

• Mudiyettu performers purify themselves through fasting and prayer.

Hence statement 2 is correct

• Mudiyettu is performed annually in Bhagavati kavus, the temple of the goddess in various villages along the rivers Periyar, Chalakkudy Puzha and Moovattupuzha.

Hence statement 3 is correct.

• Question 12 of 30 12. Question 1 points Consider the following statements regarding Thathera Craft : It is an art form of Punjab in which brass and copper utensils are made for both daily use and religious purposes. The details of the craft is passed on by father to son and it defines kinship structure of the craftsmen. 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 Thatheras are metal workers. The craft of the Thatheras of Jandiala Guru constitutes traditional technique of manufacturing brass and copper utensils in Punjab. Utensils are made that are used for everyday life as well as religious purposes. The metals used copper, brass and certain alloys are believed to be beneficial for health. The process begins with procuring cooled cakes of metal that are flattened into thin plates and then hammered into curved shapes creating required bowls, plates, larger pots, huge cooking vessels and other artifacts. Heating the plates while hammering and carving them into different shapes require careful temperature control which is achieved by using tiny wood fired stoves buried in the earth Utensils are manually finished by polishing them with sand and tamarind juice The utensils are manufactured either for ritual or utilitarian purposes, both for individual and community use On special occasions such as wedding or at temples. The process is transmitted orally from Father to Son It is in listed in the UNESCO list of Intangible cultu Cultural Heritage Hence statements 1 and 2 are correct Incorrect Solution : C Thatheras are metal workers. The craft of the Thatheras of Jandiala Guru constitutes traditional technique of manufacturing brass and copper utensils in Punjab. Utensils are made that are used for everyday life as well as religious purposes. The metals used copper, brass and certain alloys are believed to be beneficial for health. The process begins with procuring cooled cakes of metal that are flattened into thin plates and then hammered into curved shapes creating required bowls, plates, larger pots, huge cooking vessels and other artifacts. Heating the plates while hammering and carving them into different shapes require careful temperature control which is achieved by using tiny wood fired stoves buried in the earth Utensils are manually finished by polishing them with sand and tamarind juice The utensils are manufactured either for ritual or utilitarian purposes, both for individual and community use On special occasions such as wedding or at temples. The process is transmitted orally from Father to Son It is in listed in the UNESCO list of Intangible cultu Cultural Heritage Hence statements 1 and 2 are correct

#### 12. Question

Consider the following statements regarding Thathera Craft :

• It is an art form of Punjab in which brass and copper utensils are made for both daily use and religious purposes.

• The details of the craft is passed on by father to son and it defines kinship structure of the craftsmen.

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

• Thatheras are metal workers.

• The craft of the Thatheras of Jandiala Guru constitutes traditional technique of manufacturing brass and copper utensils in Punjab.

• Utensils are made that are used for everyday life as well as religious purposes.

• The metals used copper, brass and certain alloys are believed to be beneficial for health.

• The process begins with procuring cooled cakes of metal that are flattened into thin plates and then hammered into curved shapes creating required bowls, plates, larger pots, huge cooking vessels and other artifacts.

• Heating the plates while hammering and carving them into different shapes require careful temperature control which is achieved by using tiny wood fired stoves buried in the earth

• Utensils are manually finished by polishing them with sand and tamarind juice

• The utensils are manufactured either for ritual or utilitarian purposes, both for individual and community use On special occasions such as wedding or at temples.

• The process is transmitted orally from Father to Son

• It is in listed in the UNESCO list of Intangible cultu Cultural Heritage

Hence statements 1 and 2 are correct

Solution : C

• Thatheras are metal workers.

• The craft of the Thatheras of Jandiala Guru constitutes traditional technique of manufacturing brass and copper utensils in Punjab.

• Utensils are made that are used for everyday life as well as religious purposes.

• The metals used copper, brass and certain alloys are believed to be beneficial for health.

• Heating the plates while hammering and carving them into different shapes require careful temperature control which is achieved by using tiny wood fired stoves buried in the earth

• Utensils are manually finished by polishing them with sand and tamarind juice

• The utensils are manufactured either for ritual or utilitarian purposes, both for individual and community use On special occasions such as wedding or at temples.

• The process is transmitted orally from Father to Son

• It is in listed in the UNESCO list of Intangible cultu Cultural Heritage

Hence statements 1 and 2 are correct

• Question 13 of 30 13. Question 1 points Consider the following statements regarding Chhau dance : It is a semi classical folk dance with elements of acrobatics and martial art. Chhau dancers from West Bengal and Jharkhand only wear elaborate masks and impersonate several characters from Puranas. The Chhau Mask from Purulia only is registered under geographical indications tag. How many of the statements given above is/are correct? (a) Only one (b) Only two (c) All three (d) None Correct Solution: C Chhau is a semi classical Indian dance with martial tribal and folk traditions having origin in Eastern India. It is a tradition from Eastern India , mainly the regions of Seraikella in Jharkhand, Purulia in West Bengal and Mayurbhanj in Odisha. The stories enacted by the dancers include those from Hindu epics- the Ramayana, the Mahabharata and the Puranas along with other literary sources. The dancers impersonates a God, animal, bird, hunter, rainbow, night or flower. He acts out a short theme and performs a series of vignettes at the annual Chaitra Parva festival in April. Chhau is a Masked dance ; but, in the form Chhau dance practiced in the Mayurbhanj district of Odisha, the actors do not wear mask but through deliberately Stiff and immobile faces, they give illusion of a mask. Chhau performances of West Bengal and Jharkhand are done using colourful masks. The Chhau Mask of Purulia in West Bengal is registered under geographical indications. Hence statements 1, 2 and 3 are correct Incorrect Solution: C Chhau is a semi classical Indian dance with martial tribal and folk traditions having origin in Eastern India. It is a tradition from Eastern India , mainly the regions of Seraikella in Jharkhand, Purulia in West Bengal and Mayurbhanj in Odisha. The stories enacted by the dancers include those from Hindu epics- the Ramayana, the Mahabharata and the Puranas along with other literary sources. The dancers impersonates a God, animal, bird, hunter, rainbow, night or flower. He acts out a short theme and performs a series of vignettes at the annual Chaitra Parva festival in April. Chhau is a Masked dance ; but, in the form Chhau dance practiced in the Mayurbhanj district of Odisha, the actors do not wear mask but through deliberately Stiff and immobile faces, they give illusion of a mask. Chhau performances of West Bengal and Jharkhand are done using colourful masks. The Chhau Mask of Purulia in West Bengal is registered under geographical indications. Hence statements 1, 2 and 3 are correct

#### 13. Question

Consider the following statements regarding Chhau dance :

• It is a semi classical folk dance with elements of acrobatics and martial art.

• Chhau dancers from West Bengal and Jharkhand only wear elaborate masks and impersonate several characters from Puranas.

• The Chhau Mask from Purulia only is registered under geographical indications tag.

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

• (a) Only one

• (b) Only two

• (c) All three

Solution: C

• Chhau is a semi classical Indian dance with martial tribal and folk traditions having origin in Eastern India.

• It is a tradition from Eastern India , mainly the regions of Seraikella in Jharkhand, Purulia in West Bengal and Mayurbhanj in Odisha.

• The stories enacted by the dancers include those from Hindu epics- the Ramayana, the Mahabharata and the Puranas along with other literary sources.

• The dancers impersonates a God, animal, bird, hunter, rainbow, night or flower.

• He acts out a short theme and performs a series of vignettes at the annual Chaitra Parva festival in April.

• Chhau is a Masked dance ; but, in the form Chhau dance practiced in the Mayurbhanj district of Odisha, the actors do not wear mask

• but through deliberately Stiff and immobile faces, they give illusion of a mask.

• Chhau performances of West Bengal and Jharkhand are done using colourful masks.

• The Chhau Mask of Purulia in West Bengal is registered under geographical indications.

Hence statements 1, 2 and 3 are correct