UPSC Static Quiz – Art and Culture : 14 August 2025

UPSC Static Quiz – Static Quiz – Art and Culture : 14 August 2025 We will post 5 questions daily on static topics mentioned in the UPSC civil services preliminary examination syllabus. Each week will focus on a specific topic from the syllabus, such as History of India and Indian National Movement, Indian and World Geography, and more.We are excited to bring you our daily UPSC Static Quiz, designed to help you prepare for the UPSC Civil Services Preliminary Examination. Each day, we will post 5 questions on static topics mentioned in the UPSC syllabus. This week, we are focusing on Indian and World Geography.

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• Question 1 of 5 1. Question Consider the following statements regarding the philosophical traditions of ancient India: In both Buddhist and Jaina philosophies, the karmic consequence of an action is primarily determined by the intention behind it. Jainism posits that karmic particles (pudgala) are material in nature and adhere to the soul (jiva), irrespective of the actor’s intent. Buddhism teaches that the path to liberation involves extreme asceticism to shed all accumulated karma, a view identical to that of Jainism. How many of the above statements are correct? (a) Only one (b) Only two (c) All three (d) None Correct Solution: A Statement 1 is incorrect. A crucial point of divergence between Buddhism and Jainism lies in their understanding of Karma. In Buddhism, intention (cetana) is paramount. An action, whether of body, speech, or mind, is considered Karma only if it is intentional. Unintentional acts do not generate the same karmic weight. In contrast, Jainism holds that any action, whether committed knowingly or unknowingly, has karmic repercussions because it can harm living beings and cause the influx of material karmic particles. Statement 2 is correct. Jainism has a unique materialistic conception of Karma. It views Karma not just as a principle of cause and effect but as subtle, material particles (karma-pudgala) that are drawn to the soul (jiva) by its actions of mind, speech, and body. These particles adhere to the soul, obscuring its innate purity and consciousness. This influx (asrava) occurs regardless of whether the action was intentional or accidental, which is why Jainism prescribes extreme caution in all activities to prevent harm to any living being, however minute. Statement 3 is incorrect. Jainism prescribes a path of rigorous and often extreme asceticism, including severe fasting (up to starving to death in the practice of sallekhana) to burn off accumulated karma. Buddhism, on the other hand, advocates the Middle Path (Majjhima Patipada). The Buddha, after practicing extreme austerities himself, rejected them as unproductive and taught a path that avoids the extremes of both sensual indulgence and severe self-mortification. Incorrect Solution: A Statement 1 is incorrect. A crucial point of divergence between Buddhism and Jainism lies in their understanding of Karma. In Buddhism, intention (cetana) is paramount. An action, whether of body, speech, or mind, is considered Karma only if it is intentional. Unintentional acts do not generate the same karmic weight. In contrast, Jainism holds that any action, whether committed knowingly or unknowingly, has karmic repercussions because it can harm living beings and cause the influx of material karmic particles. Statement 2 is correct. Jainism has a unique materialistic conception of Karma. It views Karma not just as a principle of cause and effect but as subtle, material particles (karma-pudgala) that are drawn to the soul (jiva) by its actions of mind, speech, and body. These particles adhere to the soul, obscuring its innate purity and consciousness. This influx (asrava) occurs regardless of whether the action was intentional or accidental, which is why Jainism prescribes extreme caution in all activities to prevent harm to any living being, however minute. Statement 3 is incorrect. Jainism prescribes a path of rigorous and often extreme asceticism, including severe fasting (up to starving to death in the practice of sallekhana) to burn off accumulated karma. Buddhism, on the other hand, advocates the Middle Path (Majjhima Patipada). The Buddha, after practicing extreme austerities himself, rejected them as unproductive and taught a path that avoids the extremes of both sensual indulgence and severe self-mortification.

#### 1. Question

Consider the following statements regarding the philosophical traditions of ancient India:

• In both Buddhist and Jaina philosophies, the karmic consequence of an action is primarily determined by the intention behind it.

• Jainism posits that karmic particles (pudgala) are material in nature and adhere to the soul (jiva), irrespective of the actor’s intent.

• Buddhism teaches that the path to liberation involves extreme asceticism to shed all accumulated karma, a view identical to that of Jainism.

How many of the above statements are correct?

• (a) Only one

• (b) Only two

• (c) All three

Solution: A

• Statement 1 is incorrect. A crucial point of divergence between Buddhism and Jainism lies in their understanding of Karma. In Buddhism, intention (cetana) is paramount. An action, whether of body, speech, or mind, is considered Karma only if it is intentional. Unintentional acts do not generate the same karmic weight. In contrast, Jainism holds that any action, whether committed knowingly or unknowingly, has karmic repercussions because it can harm living beings and cause the influx of material karmic particles.

• Statement 2 is correct. Jainism has a unique materialistic conception of Karma. It views Karma not just as a principle of cause and effect but as subtle, material particles (karma-pudgala) that are drawn to the soul (jiva) by its actions of mind, speech, and body. These particles adhere to the soul, obscuring its innate purity and consciousness. This influx (asrava) occurs regardless of whether the action was intentional or accidental, which is why Jainism prescribes extreme caution in all activities to prevent harm to any living being, however minute.

• Statement 3 is incorrect. Jainism prescribes a path of rigorous and often extreme asceticism, including severe fasting (up to starving to death in the practice of sallekhana) to burn off accumulated karma. Buddhism, on the other hand, advocates the Middle Path (Majjhima Patipada). The Buddha, after practicing extreme austerities himself, rejected them as unproductive and taught a path that avoids the extremes of both sensual indulgence and severe self-mortification.

Solution: A

• Question 2 of 5 2. Question Consider the following statements: Statement-I: Ashokan pillars, unlike their Achaemenid counterparts, are monolithic structures. Statement-II: The Mauryan state possessed advanced quarrying techniques and the logistical capacity to transport massive single blocks of stone over long distances. Which one of the following is correct in respect of the above statements? (a) Both Statement-I and Statement-II are correct and Statement-II is the correct explanation for Statement-I (b) Both Statement-I and Statement-II are correct and Statement-II is not the correct explanation for Statement-I (c) Statement-I is correct but Statement-II is incorrect (d) Statement-I is incorrect but Statement-II is correct Correct Solution: A Statement-I is correct. One of the most significant distinguishing features of Ashokan pillars is that they are monolithic, meaning each pillar shaft is carved from a single piece of stone. This is in stark contrast to the Achaemenid pillars of Persia, which were constructed in segments by stacking multiple stone drums or blocks one on top of the other. The Mauryan pillars were typically made of buff-coloured, fine-grained hard sandstone quarried at Chunar near Varanasi. The monolithic nature of these pillars, some of which are over 15 meters tall and weigh around 50 tons, represents a remarkable feat of engineering and craftsmanship. Statement-II is correct. The creation and erection of monolithic pillars across a vast empire would have been impossible without a highly organized state apparatus possessing sophisticated technology and logistical prowess. The Mauryan state demonstrated its capacity to quarry enormous, flawless blocks of sandstone, transport them hundreds of kilometres from the Chunar quarries to sites as far-flung as Delhi and Rampurva, and then raise and install them. This process required advanced knowledge of engineering for transportation (likely using river barges and massive carts) and erection. The uniformity in style and the characteristic Mauryan polish further suggest a centralized, highly skilled guild of craftsmen working under state patronage. Statement-II provides the correct and necessary explanation for Statement-I. Incorrect Solution: A Statement-I is correct. One of the most significant distinguishing features of Ashokan pillars is that they are monolithic, meaning each pillar shaft is carved from a single piece of stone. This is in stark contrast to the Achaemenid pillars of Persia, which were constructed in segments by stacking multiple stone drums or blocks one on top of the other. The Mauryan pillars were typically made of buff-coloured, fine-grained hard sandstone quarried at Chunar near Varanasi. The monolithic nature of these pillars, some of which are over 15 meters tall and weigh around 50 tons, represents a remarkable feat of engineering and craftsmanship. Statement-II is correct. The creation and erection of monolithic pillars across a vast empire would have been impossible without a highly organized state apparatus possessing sophisticated technology and logistical prowess. The Mauryan state demonstrated its capacity to quarry enormous, flawless blocks of sandstone, transport them hundreds of kilometres from the Chunar quarries to sites as far-flung as Delhi and Rampurva, and then raise and install them. This process required advanced knowledge of engineering for transportation (likely using river barges and massive carts) and erection. The uniformity in style and the characteristic Mauryan polish further suggest a centralized, highly skilled guild of craftsmen working under state patronage. Statement-II provides the correct and necessary explanation for Statement-I.

#### 2. Question

Consider the following statements:

Statement-I: Ashokan pillars, unlike their Achaemenid counterparts, are monolithic structures. Statement-II: The Mauryan state possessed advanced quarrying techniques and the logistical capacity to transport massive single blocks of stone over long distances.

Which one of the following is correct in respect of the above statements?

• (a) Both Statement-I and Statement-II are correct and Statement-II is the correct explanation for Statement-I

• (b) Both Statement-I and Statement-II are correct and Statement-II is not the correct explanation for Statement-I

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

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

Solution: A

• Statement-I is correct. One of the most significant distinguishing features of Ashokan pillars is that they are monolithic, meaning each pillar shaft is carved from a single piece of stone. This is in stark contrast to the

• Achaemenid pillars of Persia, which were constructed in segments by stacking multiple stone drums or blocks one on top of the other. The Mauryan pillars were typically made of buff-coloured, fine-grained hard sandstone quarried at Chunar near Varanasi. The monolithic nature of these pillars, some of which are over 15 meters tall and weigh around 50 tons, represents a remarkable feat of engineering and craftsmanship.

• Statement-II is correct. The creation and erection of monolithic pillars across a vast empire would have been impossible without a highly organized state apparatus possessing sophisticated technology and logistical prowess. The Mauryan state demonstrated its capacity to quarry enormous, flawless blocks of sandstone, transport them hundreds of kilometres from the Chunar quarries to sites as far-flung as Delhi and Rampurva, and then raise and install them. This process required advanced knowledge of engineering for transportation (likely using river barges and massive carts) and erection. The uniformity in style and the characteristic Mauryan polish further suggest a centralized, highly skilled guild of craftsmen working under state patronage.

• Statement-II provides the correct and necessary explanation for Statement-I.

Solution: A

• Statement-II provides the correct and necessary explanation for Statement-I.

• Question 3 of 5 3. Question With reference to the development of Mughal painting, consider the following statements regarding the reign of Jahangir: The practice of illustrating large-scale manuscripts like the Hamzanama was the primary focus of the imperial atelier. A marked shift towards naturalism is evident, with a particular emphasis on realistic depictions of flora and fauna. The art of portraiture reached its zenith, with artists developing the ability to capture the psychological character of the subject. European artistic influences, such as the use of single-point perspective and chiaroscuro, were completely rejected in favour of a purely Persian style. How many of the above statements are correct? (a) Only one (b) Only two (c) Only three (d) All four Correct Solution: B The reign of Jahangir (1605-1627) is widely considered the golden age of Mughal painting, characterized by a refinement of style and a shift in thematic focus. Statement 1 is incorrect. The illustration of large-scale, epic manuscripts was a hallmark of Akbar’s reign, not Jahangir’s. Projects like the Tuti-Nama and the monumental Hamzanama were characteristic of Akbar’s dynamic and narrative-driven artistic patronage. Under Jahangir, the focus shifted from illustrating lengthy narratives to creating exquisite individual paintings, often compiled into albums (muraqqas). The grand, collaborative workshop style of Akbar gave way to a more intimate and specialized approach. Statement 2 is correct. Jahangir was a passionate naturalist and connoisseur of art. He encouraged his artists to paint the world around them with scientific accuracy. This led to a remarkable degree of naturalism, particularly in the depiction of birds, animals, and flowers. Artists like Ustad Mansur excelled in this genre, creating works that are celebrated for their lifelike detail and botanical or zoological precision. This was a distinct departure from the more stylized representations of nature seen in earlier periods. Statement 3 is correct. Portraiture, which had been developing under Akbar, reached its pinnacle under Jahangir. He had a keen interest in the personalities of his court. His artists, such as Bishandas and Abul Hasan, moved beyond creating mere physical likenesses to capturing the psychological depth and character of their subjects. Jahangir himself claimed he could identify the work of any artist in his court by looking at a painting, which speaks to the high degree of individual style and mastery that was encouraged. Statement 4 is incorrect. Far from being rejected, European artistic influences were actively absorbed and adapted by Mughal painters during Jahangir’s reign. Through Jesuit missionaries and European traders, the Mughal court was exposed to European prints and paintings. Jahangiri artists skillfully incorporated elements like single-point perspective to create a sense of depth, and chiaroscuro (the use of light and shadow) to model figures more realistically. This synthesis of Persian formalism, Indian naturalism, and European techniques was a key feature of the mature Mughal style under Jahangir. Incorrect Solution: B The reign of Jahangir (1605-1627) is widely considered the golden age of Mughal painting, characterized by a refinement of style and a shift in thematic focus. Statement 1 is incorrect. The illustration of large-scale, epic manuscripts was a hallmark of Akbar’s reign, not Jahangir’s. Projects like the Tuti-Nama and the monumental Hamzanama were characteristic of Akbar’s dynamic and narrative-driven artistic patronage. Under Jahangir, the focus shifted from illustrating lengthy narratives to creating exquisite individual paintings, often compiled into albums (muraqqas). The grand, collaborative workshop style of Akbar gave way to a more intimate and specialized approach. Statement 2 is correct. Jahangir was a passionate naturalist and connoisseur of art. He encouraged his artists to paint the world around them with scientific accuracy. This led to a remarkable degree of naturalism, particularly in the depiction of birds, animals, and flowers. Artists like Ustad Mansur excelled in this genre, creating works that are celebrated for their lifelike detail and botanical or zoological precision. This was a distinct departure from the more stylized representations of nature seen in earlier periods. Statement 3 is correct. Portraiture, which had been developing under Akbar, reached its pinnacle under Jahangir. He had a keen interest in the personalities of his court. His artists, such as Bishandas and Abul Hasan, moved beyond creating mere physical likenesses to capturing the psychological depth and character of their subjects. Jahangir himself claimed he could identify the work of any artist in his court by looking at a painting, which speaks to the high degree of individual style and mastery that was encouraged. Statement 4 is incorrect. Far from being rejected, European artistic influences were actively absorbed and adapted by Mughal painters during Jahangir’s reign. Through Jesuit missionaries and European traders, the Mughal court was exposed to European prints and paintings. Jahangiri artists skillfully incorporated elements like single-point perspective to create a sense of depth, and chiaroscuro (the use of light and shadow) to model figures more realistically. This synthesis of Persian formalism, Indian naturalism, and European techniques was a key feature of the mature Mughal style under Jahangir.

#### 3. Question

With reference to the development of Mughal painting, consider the following statements regarding the reign of Jahangir:

• The practice of illustrating large-scale manuscripts like the Hamzanama was the primary focus of the imperial atelier.

• A marked shift towards naturalism is evident, with a particular emphasis on realistic depictions of flora and fauna.

• The art of portraiture reached its zenith, with artists developing the ability to capture the psychological character of the subject.

• European artistic influences, such as the use of single-point perspective and chiaroscuro, were completely rejected in favour of a purely Persian style.

How many of the above statements are correct?

• (a) Only one

• (b) Only two

• (c) Only three

• (d) All four

Solution: B

• The reign of Jahangir (1605-1627) is widely considered the golden age of Mughal painting, characterized by a refinement of style and a shift in thematic focus.

• Statement 1 is incorrect. The illustration of large-scale, epic manuscripts was a hallmark of Akbar’s reign, not Jahangir’s. Projects like the Tuti-Nama and the monumental Hamzanama were characteristic of Akbar’s dynamic and narrative-driven artistic patronage. Under Jahangir, the focus shifted from illustrating lengthy narratives to creating exquisite individual paintings, often compiled into albums (muraqqas). The grand, collaborative workshop style of Akbar gave way to a more intimate and specialized approach.

• Statement 2 is correct. Jahangir was a passionate naturalist and connoisseur of art. He encouraged his artists to paint the world around them with scientific accuracy. This led to a remarkable degree of naturalism, particularly in the depiction of birds, animals, and flowers. Artists like Ustad Mansur excelled in this genre, creating works that are celebrated for their lifelike detail and botanical or zoological precision. This was a distinct departure from the more stylized representations of nature seen in earlier periods.

• Statement 3 is correct. Portraiture, which had been developing under Akbar, reached its pinnacle under Jahangir. He had a keen interest in the personalities of his court. His artists, such as Bishandas and Abul Hasan, moved beyond creating mere physical likenesses to capturing the psychological depth and character of their subjects. Jahangir himself claimed he could identify the work of any artist in his court by looking at a painting, which speaks to the high degree of individual style and mastery that was encouraged.

• Statement 4 is incorrect. Far from being rejected, European artistic influences were actively absorbed and adapted by Mughal painters during Jahangir’s reign. Through Jesuit missionaries and European traders, the Mughal court was exposed to European prints and paintings. Jahangiri artists skillfully incorporated elements like single-point perspective to create a sense of depth, and chiaroscuro (the use of light and shadow) to model figures more realistically. This synthesis of Persian formalism, Indian naturalism, and European techniques was a key feature of the mature Mughal style under Jahangir.

Solution: B

• The reign of Jahangir (1605-1627) is widely considered the golden age of Mughal painting, characterized by a refinement of style and a shift in thematic focus.

• Question 4 of 5 4. Question Match the following architectural components of Dravidian temples with their correct descriptions: List-I (Component) List-II (Description) A. Vimana 1. An entrance gateway, often towering and ornate. B. Gopuram 2. The main tower, pyramidal in shape, built over the sanctum sanctorum. C. Mandapam 3. The ‘womb-chamber’ or the innermost sanctum housing the principal deity. D. Garbhagriha 4. A pillared hall or pavilion for public rituals and assemblies. Select the correct answer code: (a) A-2, B-4, C-1, D-3 (b) A-1, B-2, C-3, D-4 (c) A-2, B-1, C-4, D-3 (d) A-3, B-1, C-4, D-2 Correct Solution: C Vimana: The Vimana is the tower built directly over the garbhagriha (sanctum sanctorum). In the Dravidian style, the vimana is typically pyramidal in shape, rising in receding tiers (talas). A key feature of early Chola temples, like the Brihadeeswarar Temple at Thanjavur, is that the vimana is the tallest and most prominent structure in the entire complex, symbolizing the cosmic mountain Meru. This correctly matches with description 2. Gopuram: The Gopuram is the monumental, ornate entrance gateway to the temple complex. In later Dravidian architecture (e.g., under the Pandyas and Vijayanagara rulers), the gopurams often became much taller and more elaborate than the central vimana, dominating the temple’s skyline. They are typically rectangular in plan and topped with a barrel-vaulted roof called a shala. This correctly matches with description 1. Mandapam: A Mandapam is a pillared hall or pavilion preceding the garbhagriha. Temples can have multiple mandapams for various purposes, such as the mahamandapam (great hall), mukhamandapam (main hall), and ardhamandapam (vestibule). These halls are used for religious gatherings, dance performances, and other public rituals. This correctly matches with description 4. Garbhagriha: The Garbhagriha, literally meaning ‘womb-chamber’, is the innermost sanctum of the temple where the primary deity is enshrined. It is typically a small, dark, cubical chamber, symbolizing a cave and the primordial source of creation. Access is usually restricted to priests. This correctly matches with description 3. Incorrect Solution: C Vimana: The Vimana is the tower built directly over the garbhagriha (sanctum sanctorum). In the Dravidian style, the vimana is typically pyramidal in shape, rising in receding tiers (talas). A key feature of early Chola temples, like the Brihadeeswarar Temple at Thanjavur, is that the vimana is the tallest and most prominent structure in the entire complex, symbolizing the cosmic mountain Meru. This correctly matches with description 2. Gopuram: The Gopuram is the monumental, ornate entrance gateway to the temple complex. In later Dravidian architecture (e.g., under the Pandyas and Vijayanagara rulers), the gopurams often became much taller and more elaborate than the central vimana, dominating the temple’s skyline. They are typically rectangular in plan and topped with a barrel-vaulted roof called a shala. This correctly matches with description 1. Mandapam: A Mandapam is a pillared hall or pavilion preceding the garbhagriha. Temples can have multiple mandapams for various purposes, such as the mahamandapam (great hall), mukhamandapam (main hall), and ardhamandapam (vestibule). These halls are used for religious gatherings, dance performances, and other public rituals. This correctly matches with description 4. Garbhagriha: The Garbhagriha, literally meaning ‘womb-chamber’, is the innermost sanctum of the temple where the primary deity is enshrined. It is typically a small, dark, cubical chamber, symbolizing a cave and the primordial source of creation. Access is usually restricted to priests. This correctly matches with description 3.

#### 4. Question

Match the following architectural components of Dravidian temples with their correct descriptions:

List-I (Component) | List-II (Description)

A. Vimana | 1. An entrance gateway, often towering and ornate.

B. Gopuram | 2. The main tower, pyramidal in shape, built over the sanctum sanctorum.

C. Mandapam | 3. The ‘womb-chamber’ or the innermost sanctum housing the principal deity.

D. Garbhagriha | 4. A pillared hall or pavilion for public rituals and assemblies.

Select the correct answer code:

• (a) A-2, B-4, C-1, D-3

• (b) A-1, B-2, C-3, D-4

• (c) A-2, B-1, C-4, D-3

• (d) A-3, B-1, C-4, D-2

Solution: C

• Vimana: The Vimana is the tower built directly over the garbhagriha (sanctum sanctorum). In the Dravidian style, the vimana is typically pyramidal in shape, rising in receding tiers (talas). A key feature of early Chola temples, like the Brihadeeswarar Temple at Thanjavur, is that the vimana is the tallest and most prominent structure in the entire complex, symbolizing the cosmic mountain Meru. This correctly matches with description 2.

• Gopuram: The Gopuram is the monumental, ornate entrance gateway to the temple complex. In later Dravidian architecture (e.g., under the Pandyas and Vijayanagara rulers), the gopurams often became much taller and more elaborate than the central vimana, dominating the temple’s skyline. They are typically rectangular in plan and topped with a barrel-vaulted roof called a shala. This correctly matches with description 1.

• Mandapam: A Mandapam is a pillared hall or pavilion preceding the garbhagriha. Temples can have multiple mandapams for various purposes, such as the mahamandapam (great hall), mukhamandapam (main hall), and ardhamandapam (vestibule). These halls are used for religious gatherings, dance performances, and other public rituals. This correctly matches with description 4.

• Garbhagriha: The Garbhagriha, literally meaning ‘womb-chamber’, is the innermost sanctum of the temple where the primary deity is enshrined. It is typically a small, dark, cubical chamber, symbolizing a cave and the primordial source of creation. Access is usually restricted to priests. This correctly matches with description 3.

Solution: C

• Question 5 of 5 5. Question Consider the following statements: Statement I: The Madhyamaka school of Mahayana Buddhism, founded by Nagarjuna, posits that all phenomena are devoid of intrinsic existence or self-nature (svabhava). Statement II: The Yogacara school, in contrast, asserts that reality is ultimately ‘consciousness-only’ (vijnapti-matra), and external objects do not exist independently of the perceiving mind. Statement III: Both Madhyamaka and Yogacara schools are considered nihilistic as they deny the ultimate reality of the phenomenal world. Which one of the following is correct in respect of the above statements? (a) Both Statement II and Statement III are correct and both of them explain Statement I (b) Both Statement I and Statement II are correct but Statement III is incorrect (c) Only one of the Statements II and III is correct and that explains Statement I (d) Neither Statement II nor Statement III is correct Correct Solution: B Statement I is correct. The Madhyamaka (Middle Way) school, systematized by the philosopher Nagarjuna, is foundational to Mahayana thought. Its central doctrine is *Shunyata (emptiness). This doctrine asserts that all phenomena (dharmas) are empty of any independent, permanent, or intrinsic nature (svabhava). They exist only in a state of dependent origination (pratityasamutpada), meaning they arise in dependence on other factors. This emptiness is not a void but the very nature of reality as an interdependent web of relations. Statement II is correct. The Yogacara (Practice of Yoga) school, also known as Vijnanavada (Doctrine of Consciousness), offers a different metaphysical interpretation. It posits that the ultimate reality is consciousness-only (vijnapti-matra). According to Yogacara, what we perceive as an external world of objects is actually a projection of our own mind or consciousness. External objects have no independent existence apart from the consciousness that perceives them. This school focuses on the workings of the mind to explain the illusion of a subject-object duality. Statement III is incorrect. Neither school is truly nihilistic (believing in nothing). The Madhyamaka school is very careful to position its doctrine of emptiness as a ‘Middle Way’ between the extremes of eternalism (the belief that things have a permanent, real existence) and nihilism (the belief that nothing exists at all). Nagarjuna argued that to deny dependent origination is to fall into nihilism. Emptiness, for Madhyamaka, does not mean non-existence but the absence of intrinsic Similarly, the Yogacara school does not deny reality; it locates reality in consciousness. Both schools affirm a path to enlightenment and a moral framework, which would be meaningless in a purely nihilistic system. Incorrect Solution: B Statement I is correct. The Madhyamaka (Middle Way) school, systematized by the philosopher Nagarjuna, is foundational to Mahayana thought. Its central doctrine is Shunyata (emptiness). This doctrine asserts that all phenomena (dharmas) are empty of any independent, permanent, or intrinsic nature (svabhava). They exist only in a state of dependent origination (pratityasamutpada), meaning they arise in dependence on other factors. This emptiness is not a void but the very nature of reality as an interdependent web of relations. Statement II is correct. The Yogacara (Practice of Yoga) school, also known as Vijnanavada (Doctrine of Consciousness), offers a different metaphysical interpretation. It posits that the ultimate reality is consciousness-only (vijnapti-matra). According to Yogacara, what we perceive as an external world of objects is actually a projection of our own mind or consciousness. External objects have no independent existence apart from the consciousness that perceives them. This school focuses on the workings of the mind to explain the illusion of a subject-object duality. Statement III is incorrect. Neither school is truly nihilistic (believing in nothing). The Madhyamaka school is very careful to position its doctrine of emptiness as a ‘Middle Way’ between the extremes of eternalism (the belief that things have a permanent, real existence) and nihilism (the belief that nothing exists at all). Nagarjuna argued that to deny dependent origination is to fall into nihilism. Emptiness, for Madhyamaka, does not mean non-existence but the absence of intrinsic* Similarly, the Yogacara school does not deny reality; it locates reality in consciousness. Both schools affirm a path to enlightenment and a moral framework, which would be meaningless in a purely nihilistic system.

#### 5. Question

Consider the following statements:

Statement I: The Madhyamaka school of Mahayana Buddhism, founded by Nagarjuna, posits that all phenomena are devoid of intrinsic existence or self-nature (svabhava).

Statement II: The Yogacara school, in contrast, asserts that reality is ultimately ‘consciousness-only’ (vijnapti-matra), and external objects do not exist independently of the perceiving mind.

Statement III: Both Madhyamaka and Yogacara schools are considered nihilistic as they deny the ultimate reality of the phenomenal world.

Which one of the following is correct in respect of the above statements?

• (a) Both Statement II and Statement III are correct and both of them explain Statement I

• (b) Both Statement I and Statement II are correct but Statement III is incorrect

• (c) Only one of the Statements II and III is correct and that explains Statement I

• (d) Neither Statement II nor Statement III is correct

Solution: B

• Statement I is correct. The Madhyamaka (Middle Way) school, systematized by the philosopher Nagarjuna, is foundational to Mahayana thought. Its central doctrine is *Shunyata (emptiness). This doctrine asserts that all phenomena (dharmas) are empty of any independent, permanent, or intrinsic nature (svabhava). They exist only in a state of dependent origination (pratityasamutpada*), meaning they arise in dependence on other factors. This emptiness is not a void but the very nature of reality as an interdependent web of relations.

• Statement II is correct. The Yogacara (Practice of Yoga) school, also known as Vijnanavada (Doctrine of Consciousness), offers a different metaphysical interpretation. It posits that the ultimate reality is consciousness-only (vijnapti-matra). According to Yogacara, what we perceive as an external world of objects is actually a projection of our own mind or consciousness. External objects have no independent existence apart from the consciousness that perceives them. This school focuses on the workings of the mind to explain the illusion of a subject-object duality.

• Statement III is incorrect. Neither school is truly nihilistic (believing in nothing). The Madhyamaka school is very careful to position its doctrine of emptiness as a ‘Middle Way’ between the extremes of eternalism (the belief that things have a permanent, real existence) and nihilism (the belief that nothing exists at all). Nagarjuna argued that to deny dependent origination is to fall into nihilism. Emptiness, for Madhyamaka, does not mean non-existence but the absence of intrinsic Similarly, the Yogacara school does not deny reality; it locates reality in consciousness. Both schools affirm a path to enlightenment and a moral framework, which would be meaningless in a purely nihilistic system.

Solution: B

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