UPSC Static Quiz – Art and Culture : 16 February 2026

UPSC Static Quiz – Art and Culture : 16 February 2026 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: Statement-I: The Lepakshi murals are characterized by a stylistic decline in classical modeling. Statement-II: The Vijayanagara artists utilized a true fresco technique that allowed for greater naturalism and three-dimensionality. Statement-III: The murals at Lepakshi adopted a two-dimensional profile style with prominent black outlines and an absence of blue. 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 II and Statement III are correct but only one of them explains Statement I. (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: C Statement-I is correct. The murals of Lepakshi show a stylistic shift away from the classical modeling seen in earlier traditions such as Ajanta. Instead of rounded, volumetric figures with subtle shading, the figures appear flatter and more linear in treatment. Statement-II is incorrect. The Vijayanagara painters did not employ the true fresco (buon fresco) technique extensively. Instead, they generally used the fresco-secco method (painting on dry plaster). This method did not inherently promote greater naturalism or strong three-dimensional modeling. In fact, the Lepakshi murals display reduced modeling and less volumetric depth compared to earlier classical examples. Statement-III is correct. The Lepakshi murals are marked by a two-dimensional profile style, strong and prominent black outlines, decorative emphasis, and a noticeable absence of blue pigment. These stylistic traits explain the perceived decline in classical modeling referred to in Statement-I. Incorrect Solution: C Statement-I is correct. The murals of Lepakshi show a stylistic shift away from the classical modeling seen in earlier traditions such as Ajanta. Instead of rounded, volumetric figures with subtle shading, the figures appear flatter and more linear in treatment. Statement-II is incorrect. The Vijayanagara painters did not employ the true fresco (buon fresco) technique extensively. Instead, they generally used the fresco-secco method (painting on dry plaster). This method did not inherently promote greater naturalism or strong three-dimensional modeling. In fact, the Lepakshi murals display reduced modeling and less volumetric depth compared to earlier classical examples. Statement-III is correct. The Lepakshi murals are marked by a two-dimensional profile style, strong and prominent black outlines, decorative emphasis, and a noticeable absence of blue pigment. These stylistic traits explain the perceived decline in classical modeling referred to in Statement-I.

#### 1. Question

Consider the following statements:

Statement-I: The Lepakshi murals are characterized by a stylistic decline in classical modeling.

Statement-II: The Vijayanagara artists utilized a true fresco technique that allowed for greater naturalism and three-dimensionality.

Statement-III: The murals at Lepakshi adopted a two-dimensional profile style with prominent black outlines and an absence of blue.

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 II and Statement III are correct but only one of them explains Statement I.

• (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: C

• Statement-I is correct. The murals of Lepakshi show a stylistic shift away from the classical modeling seen in earlier traditions such as Ajanta. Instead of rounded, volumetric figures with subtle shading, the figures appear flatter and more linear in treatment.

• Statement-II is incorrect. The Vijayanagara painters did not employ the true fresco (buon fresco) technique extensively. Instead, they generally used the fresco-secco method (painting on dry plaster). This method did not inherently promote greater naturalism or strong three-dimensional modeling. In fact, the Lepakshi murals display reduced modeling and less volumetric depth compared to earlier classical examples.

Statement-III is correct. The Lepakshi murals are marked by a two-dimensional profile style, strong and prominent black outlines, decorative emphasis, and a noticeable absence of blue pigment. These stylistic traits explain the perceived decline in classical modeling referred to in Statement-I.

Solution: C

• Question 2 of 5 2. Question Match the following sites with their respective architectural schools: Site Architectural School Gaur A. Jaunpur School Mandu B. Bengal School Bijapur C. Malwa School Jaunpur D. Deccani/Bijapur School Select the correct answer using the code given below: (a) 1-B, 2-C, 3-D, 4-A (b) 1-A, 2-B, 3-C, 4-D (c) 1-C, 2-D, 3-A, 4-B (d) 1-D, 2-A, 3-B, 4-C Correct Solution: A Gaur (1-B) was a capital city and the epicenter of the Bengal School, home to monuments like the Qadam Rasul Mosque. Mandu (2-C) is the famous hilltop fortress-city that defines the Malwa School, known for the Jahaz Mahal and its advanced water systems. Bijapur (3-D) was the seat of the Adil Shahi dynasty, which produced the Deccani masterpiece, the Gol Gumbaz. Jaunpur (4-A) was the capital of the Sharqi dynasty, celebrated for the Atala Masjid and its unique propylon screens. Incorrect Solution: A Gaur (1-B) was a capital city and the epicenter of the Bengal School, home to monuments like the Qadam Rasul Mosque. Mandu (2-C) is the famous hilltop fortress-city that defines the Malwa School, known for the Jahaz Mahal and its advanced water systems. Bijapur (3-D) was the seat of the Adil Shahi dynasty, which produced the Deccani masterpiece, the Gol Gumbaz. Jaunpur (4-A) was the capital of the Sharqi dynasty, celebrated for the Atala Masjid and its unique propylon screens.

#### 2. Question

Match the following sites with their respective architectural schools:

Site | Architectural School

Gaur | A. Jaunpur School

Mandu | B. Bengal School

Bijapur | C. Malwa School

Jaunpur | D. Deccani/Bijapur School

Select the correct answer using the code given below:

• (a) 1-B, 2-C, 3-D, 4-A

• (b) 1-A, 2-B, 3-C, 4-D

• (c) 1-C, 2-D, 3-A, 4-B

• (d) 1-D, 2-A, 3-B, 4-C

Solution: A

• Gaur (1-B) was a capital city and the epicenter of the Bengal School, home to monuments like the Qadam Rasul Mosque.

• Mandu (2-C) is the famous hilltop fortress-city that defines the Malwa School, known for the Jahaz Mahal and its advanced water systems.

• Bijapur (3-D) was the seat of the Adil Shahi dynasty, which produced the Deccani masterpiece, the Gol Gumbaz.

• Jaunpur (4-A) was the capital of the Sharqi dynasty, celebrated for the Atala Masjid and its unique propylon screens.

Solution: A

• Gaur (1-B) was a capital city and the epicenter of the Bengal School, home to monuments like the Qadam Rasul Mosque.

• Mandu (2-C) is the famous hilltop fortress-city that defines the Malwa School, known for the Jahaz Mahal and its advanced water systems.

• Bijapur (3-D) was the seat of the Adil Shahi dynasty, which produced the Deccani masterpiece, the Gol Gumbaz.

• Jaunpur (4-A) was the capital of the Sharqi dynasty, celebrated for the Atala Masjid and its unique propylon screens.

• Question 3 of 5 3. Question With reference to Mughal Architecture, the term ‘Pietra Dura’ refers to: (a) The use of double domes to create an impressive external silhouette. (b) The method of constructing gardens in four quadrants with water channels. (c) The technique of inlaying semi-precious stones into polished marble to create floral patterns. (d) The process of using red sandstone to build massive defensive fortifications. Correct Solution: C The Mughal style is celebrated for its transition from the robust red sandstone of Akbar’s reign to the refined white marble and intricate decoration of Shah Jahan’s era. Pietra Dura (also known as Parchin Kari) is a decorative technique where precious and semi-precious stones—such as lapis lazuli, jade, crystal, and turquoise—are cut and fitted into precisely carved depressions in polished white marble to form intricate floral or geometric designs. While the use of stone inlay began modestly under Jahangir (notably in the tomb of Itimad-ud-Daulah), it reached its artistic zenith during the reign of Shah Jahan, with the Taj Mahal serving as the most iconic example of this mastery. This technique allowed Mughal architects to move away from traditional sculptural reliefs toward a more color-rich, jewel-like finish on the surfaces of their most grand monuments. Incorrect Solution: C The Mughal style is celebrated for its transition from the robust red sandstone of Akbar’s reign to the refined white marble and intricate decoration of Shah Jahan’s era. Pietra Dura (also known as Parchin Kari) is a decorative technique where precious and semi-precious stones—such as lapis lazuli, jade, crystal, and turquoise—are cut and fitted into precisely carved depressions in polished white marble to form intricate floral or geometric designs. While the use of stone inlay began modestly under Jahangir (notably in the tomb of Itimad-ud-Daulah), it reached its artistic zenith during the reign of Shah Jahan, with the Taj Mahal serving as the most iconic example of this mastery. This technique allowed Mughal architects to move away from traditional sculptural reliefs toward a more color-rich, jewel-like finish on the surfaces of their most grand monuments.

#### 3. Question

With reference to Mughal Architecture, the term ‘Pietra Dura’ refers to:

• (a) The use of double domes to create an impressive external silhouette.

• (b) The method of constructing gardens in four quadrants with water channels.

• (c) The technique of inlaying semi-precious stones into polished marble to create floral patterns.

• (d) The process of using red sandstone to build massive defensive fortifications.

Solution: C

• The Mughal style is celebrated for its transition from the robust red sandstone of Akbar’s reign to the refined white marble and intricate decoration of Shah Jahan’s era. Pietra Dura (also known as Parchin Kari) is a decorative technique where precious and semi-precious stones—such as lapis lazuli, jade, crystal, and turquoise—are cut and fitted into precisely carved depressions in polished white marble to form intricate floral or geometric designs.

• While the use of stone inlay began modestly under Jahangir (notably in the tomb of Itimad-ud-Daulah), it reached its artistic zenith during the reign of Shah Jahan, with the Taj Mahal serving as the most iconic example of this mastery. This technique allowed Mughal architects to move away from traditional sculptural reliefs toward a more color-rich, jewel-like finish on the surfaces of their most grand monuments.

Solution: C

• Question 4 of 5 4. Question The city of Mandu, the seat of the Malwa School of Architecture, is frequently cited as a prime example of “environmental adaptation.” Which feature supports this claim? (a) The use of white marble to reflect heat in the summer. (b) The integration of 'baulis' (artificial reservoirs) for water management and cooling. (c) The construction of narrow, tall minarets to catch high-altitude breezes. (d) The use of glass-covered courtyards to trap heat during the winter. Correct Solution: B The Malwa School (1405–1569 AD), centered in Dhar and Mandu, specialized in creating structures that were harmonious with the local plateau environment. Mandu, located on a hilltop, faced significant water challenges during the dry seasons. To counter this, architects integrated ‘baulis’ (artificial reservoirs) directly into the palace complexes, such as the Champa Baoli and those found in the Jahaz Mahal. These reservoirs served a dual purpose: they provided reliable water storage and acted as natural cooling systems through evaporation, which cooled the surrounding underground rooms (tehkhanas). Furthermore, the buildings featured large windows and stylized arches to ensure maximum ventilation, keeping the interiors airy and cool during the hot summer months. Unlike other regional styles, the Malwa architects did not use minarets, focusing instead on horizontal grandeur and functional terraces that allowed residents to enjoy the scenic landscape of the Malwa plateau. Incorrect Solution: B The Malwa School (1405–1569 AD), centered in Dhar and Mandu, specialized in creating structures that were harmonious with the local plateau environment. Mandu, located on a hilltop, faced significant water challenges during the dry seasons. To counter this, architects integrated ‘baulis’ (artificial reservoirs) directly into the palace complexes, such as the Champa Baoli and those found in the Jahaz Mahal. These reservoirs served a dual purpose: they provided reliable water storage and acted as natural cooling systems through evaporation, which cooled the surrounding underground rooms (tehkhanas). Furthermore, the buildings featured large windows and stylized arches to ensure maximum ventilation, keeping the interiors airy and cool during the hot summer months. Unlike other regional styles, the Malwa architects did not use minarets, focusing instead on horizontal grandeur and functional terraces that allowed residents to enjoy the scenic landscape of the Malwa plateau.

#### 4. Question

The city of Mandu, the seat of the Malwa School of Architecture, is frequently cited as a prime example of “environmental adaptation.” Which feature supports this claim?

• (a) The use of white marble to reflect heat in the summer.

• (b) The integration of 'baulis' (artificial reservoirs) for water management and cooling.

• (c) The construction of narrow, tall minarets to catch high-altitude breezes.

• (d) The use of glass-covered courtyards to trap heat during the winter.

Solution: B

• The Malwa School (1405–1569 AD), centered in Dhar and Mandu, specialized in creating structures that were harmonious with the local plateau environment. Mandu, located on a hilltop, faced significant water challenges during the dry seasons.

• To counter this, architects integrated ‘baulis’ (artificial reservoirs) directly into the palace complexes, such as the Champa Baoli and those found in the Jahaz Mahal. These reservoirs served a dual purpose: they provided reliable water storage and acted as natural cooling systems through evaporation, which cooled the surrounding underground rooms (tehkhanas).

• Furthermore, the buildings featured large windows and stylized arches to ensure maximum ventilation, keeping the interiors airy and cool during the hot summer months. Unlike other regional styles, the Malwa architects did not use minarets, focusing instead on horizontal grandeur and functional terraces that allowed residents to enjoy the scenic landscape of the Malwa plateau.

Solution: B

• Question 5 of 5 5. Question Consider the following statements: Statement-I: The Mughal school of painting completely avoided the depiction of individual portraits. Statement-II: Mughal emperors believed that depicting human figures was strictly forbidden under religious law. Statement-III: The Mughal style was essentially a primitive folk tradition that lacked technical refinement. 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 II and Statement III are correct but only one of them explains Statement I. (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: D Statement-I is incorrect. The Mughal school of painting is in fact renowned for its highly refined and realistic individual portraiture. Beginning particularly under emperors such as Akbar and reaching technical brilliance under Jahangir and Shah Jahan, Mughal ateliers produced extraordinarily detailed portraits of emperors, nobles, courtiers, and even foreign envoys. Individual likeness, psychological depth, and precise facial features were central characteristics of the Mughal style. Statement-II is incorrect. Although Islamic traditions include debates on figural representation, Mughal emperors did not strictly prohibit human depiction. On the contrary, they actively patronized miniature painting workshops. Emperors like Jahangir had a keen personal interest in painting and even evaluated artists based on their ability to capture realistic likeness. Statement-III is also incorrect. The Mughal style was not a primitive folk tradition. It was a highly sophisticated court art form that blended Persian miniature techniques with Indian artistic elements, showing advanced perspective, fine brushwork, controlled shading, and remarkable naturalism. Incorrect Solution: D Statement-I is incorrect. The Mughal school of painting is in fact renowned for its highly refined and realistic individual portraiture. Beginning particularly under emperors such as Akbar and reaching technical brilliance under Jahangir and Shah Jahan, Mughal ateliers produced extraordinarily detailed portraits of emperors, nobles, courtiers, and even foreign envoys. Individual likeness, psychological depth, and precise facial features were central characteristics of the Mughal style. Statement-II is incorrect. Although Islamic traditions include debates on figural representation, Mughal emperors did not strictly prohibit human depiction. On the contrary, they actively patronized miniature painting workshops. Emperors like Jahangir had a keen personal interest in painting and even evaluated artists based on their ability to capture realistic likeness. Statement-III is also incorrect. The Mughal style was not a primitive folk tradition. It was a highly sophisticated court art form that blended Persian miniature techniques with Indian artistic elements, showing advanced perspective, fine brushwork, controlled shading, and remarkable naturalism.

#### 5. Question

Consider the following statements:

Statement-I: The Mughal school of painting completely avoided the depiction of individual portraits.

Statement-II: Mughal emperors believed that depicting human figures was strictly forbidden under religious law.

Statement-III: The Mughal style was essentially a primitive folk tradition that lacked technical refinement.

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 II and Statement III are correct but only one of them explains Statement I.

• (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: D

• Statement-I is incorrect. The Mughal school of painting is in fact renowned for its highly refined and realistic individual portraiture. Beginning particularly under emperors such as Akbar and reaching technical brilliance under Jahangir and Shah Jahan, Mughal ateliers produced extraordinarily detailed portraits of emperors, nobles, courtiers, and even foreign envoys. Individual likeness, psychological depth, and precise facial features were central characteristics of the Mughal style.

• Statement-II is incorrect. Although Islamic traditions include debates on figural representation, Mughal emperors did not strictly prohibit human depiction. On the contrary, they actively patronized miniature painting workshops. Emperors like Jahangir had a keen personal interest in painting and even evaluated artists based on their ability to capture realistic likeness.

• Statement-III is also incorrect. The Mughal style was not a primitive folk tradition. It was a highly sophisticated court art form that blended Persian miniature techniques with Indian artistic elements, showing advanced perspective, fine brushwork, controlled shading, and remarkable naturalism.

Solution: D

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