UPSC Static Quiz – Art and Culture : 19 August 2025
Kartavya Desk Staff
UPSC Static Quiz – Static Quiz – Art and Culture : 19 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. The Natya Shastra speaks of masks and their use in theatre. There is no evidence of the use of masks in the Indus Valley civilisation. Terracotta masks dating back to the fourth century have been excavated in eastern India. How many of the above statements are incorrect? a) Only one b) Only two c) All three d) None Correct Solution: A Statement 2 is incorrect. Mask use has a long history in India. Excavations have revealed small hollow masks dating back to the Indus Valley Civilisation. In fact, in Bihar, a terracotta mask of the fourth century has also been excavated. The Natya Shastra speaks of masks and their use in theatre. Here it is mentioned that masks can be made of ground paddy husks applied to cloth. Mask making in Assam was initiated by Mahapurush Sankaradeva, the 15th Century saint, who introduced them in Ankia Bhaona, a traditional form of drama. Since then Sattras of Assam set up by Sankaradeva and his disciples, Samaguri Sattra and Khatpar Sattra, is taking it forward. Incorrect Solution: A Statement 2 is incorrect. Mask use has a long history in India. Excavations have revealed small hollow masks dating back to the Indus Valley Civilisation. In fact, in Bihar, a terracotta mask of the fourth century has also been excavated. The Natya Shastra speaks of masks and their use in theatre. Here it is mentioned that masks can be made of ground paddy husks applied to cloth. Mask making in Assam was initiated by Mahapurush Sankaradeva, the 15th Century saint, who introduced them in Ankia Bhaona, a traditional form of drama. Since then Sattras of Assam set up by Sankaradeva and his disciples, Samaguri Sattra and Khatpar Sattra, is taking it forward.
#### 1. Question
Consider the following statements.
• The Natya Shastra speaks of masks and their use in theatre.
• There is no evidence of the use of masks in the Indus Valley civilisation.
• Terracotta masks dating back to the fourth century have been excavated in eastern India.
How many of the above statements are incorrect?
• a) Only one
• b) Only two
• c) All three
Solution: A
Statement 2 is incorrect.
Mask use has a long history in India. Excavations have revealed small hollow masks dating back to the Indus Valley Civilisation. In fact, in Bihar, a terracotta mask of the fourth century has also been excavated.
The Natya Shastra speaks of masks and their use in theatre. Here it is mentioned that masks can be made of ground paddy husks applied to cloth.
Mask making in Assam was initiated by Mahapurush Sankaradeva, the 15th Century saint, who introduced them in Ankia Bhaona, a traditional form of drama. Since then Sattras of Assam set up by Sankaradeva and his disciples, Samaguri Sattra and Khatpar Sattra, is taking it forward.
Solution: A
Statement 2 is incorrect.
Mask use has a long history in India. Excavations have revealed small hollow masks dating back to the Indus Valley Civilisation. In fact, in Bihar, a terracotta mask of the fourth century has also been excavated.
The Natya Shastra speaks of masks and their use in theatre. Here it is mentioned that masks can be made of ground paddy husks applied to cloth.
Mask making in Assam was initiated by Mahapurush Sankaradeva, the 15th Century saint, who introduced them in Ankia Bhaona, a traditional form of drama. Since then Sattras of Assam set up by Sankaradeva and his disciples, Samaguri Sattra and Khatpar Sattra, is taking it forward.
• Question 2 of 5 2. Question Consider the following statements. Tholu bommalata is a shadow puppet theatre tradition practised in Andhra Pradesh. The epic Mahabharata mentions about puppet traditions. Leather puppets are not used in India for religious reasons. How many of the above statements are correct? a) Only one b) Only two c) All three d) None Correct Solution: B Statement 3 is incorrect. The best-known leather puppets in our country are those used in the Tholu Bomalatta of Andhra Pradesh. Its performers are part of a group of wandering entertainers and peddlers who pass through villages during the course of a year and offer to sing ballads, tell fortunes, sell amulets, perform acrobatics, charm snakes, weave fishnets, tattoo local people and mend pots. Tholu bommalata literally means “the dance of leather puppets” (tholu – “leather” and bommalata – “puppet dance”). Leather puppets are made out of the hides of goat, deer and buffalo. The puppeteers comprise some of the various entertainers who perform all night and usually re-enact various stories from Hindu epics such as the Ramayana and Mahabharata. The origins of these puppets can be traced back to about 2000 BCE, as they are mentioned in the Mahabharata. Incorrect Solution: B Statement 3 is incorrect. The best-known leather puppets in our country are those used in the Tholu Bomalatta of Andhra Pradesh. Its performers are part of a group of wandering entertainers and peddlers who pass through villages during the course of a year and offer to sing ballads, tell fortunes, sell amulets, perform acrobatics, charm snakes, weave fishnets, tattoo local people and mend pots. Tholu bommalata literally means “the dance of leather puppets” (tholu – “leather” and bommalata – “puppet dance”). Leather puppets are made out of the hides of goat, deer and buffalo. The puppeteers comprise some of the various entertainers who perform all night and usually re-enact various stories from Hindu epics such as the Ramayana and Mahabharata. The origins of these puppets can be traced back to about 2000 BCE, as they are mentioned in the Mahabharata.
#### 2. Question
Consider the following statements.
• Tholu bommalata is a shadow puppet theatre tradition practised in Andhra Pradesh.
• The epic Mahabharata mentions about puppet traditions.
• Leather puppets are not used in India for religious reasons.
How many of the above statements are correct?
• a) Only one
• b) Only two
• c) All three
Solution: B
Statement 3 is incorrect.
The best-known leather puppets in our country are those used in the Tholu Bomalatta of Andhra Pradesh. Its performers are part of a group of wandering entertainers and peddlers who pass through villages during the course of a year and offer to sing ballads, tell fortunes, sell amulets, perform acrobatics, charm snakes, weave fishnets, tattoo local people and mend pots.
Tholu bommalata literally means “the dance of leather puppets” (tholu – “leather” and bommalata – “puppet dance”). Leather puppets are made out of the hides of goat, deer and buffalo.
The puppeteers comprise some of the various entertainers who perform all night and usually re-enact various stories from Hindu epics such as the Ramayana and Mahabharata.
The origins of these puppets can be traced back to about 2000 BCE, as they are mentioned in the Mahabharata.
Solution: B
Statement 3 is incorrect.
The best-known leather puppets in our country are those used in the Tholu Bomalatta of Andhra Pradesh. Its performers are part of a group of wandering entertainers and peddlers who pass through villages during the course of a year and offer to sing ballads, tell fortunes, sell amulets, perform acrobatics, charm snakes, weave fishnets, tattoo local people and mend pots.
Tholu bommalata literally means “the dance of leather puppets” (tholu – “leather” and bommalata – “puppet dance”). Leather puppets are made out of the hides of goat, deer and buffalo.
The puppeteers comprise some of the various entertainers who perform all night and usually re-enact various stories from Hindu epics such as the Ramayana and Mahabharata.
The origins of these puppets can be traced back to about 2000 BCE, as they are mentioned in the Mahabharata.
• Question 3 of 5 3. Question Consider the following pairs. Folk theatre: Region 1. Tamasha Maharashtra 2. Bhavai Bengal 3. Yakshagana Kerala 4. Nautanki Uttar Pradesh How many of the above pairs are correct? a) Only one b) Only two c) Only three d) All four Correct Solution: B Options 1 and 4 are correct. Theatre: It is a great form for story-telling in which one or more actors using the skills of dancing, acting, singing, talking, miming and theatre crafts like masks, make-up and costumes create a story world for us. Every corner of India has its own unique form of folk theatre — the lively Nautanki of Uttar Pradesh which often draws on romantic Persian literature for its themes; raw vigour and bawdy humour characterise the Tamasha of Maharashtra or the Bhavai of Gujarat; the blood and thunder of the Jatra melodramas of Bengal which are in great demand during Puja (Dussehra) festivities: or the dance-drama form of Yakshagana from Karnataka, to name just a few. Incorrect Solution: B Options 1 and 4 are correct. Theatre: It is a great form for story-telling in which one or more actors using the skills of dancing, acting, singing, talking, miming and theatre crafts like masks, make-up and costumes create a story world for us. Every corner of India has its own unique form of folk theatre — the lively Nautanki of Uttar Pradesh which often draws on romantic Persian literature for its themes; raw vigour and bawdy humour characterise the Tamasha of Maharashtra or the Bhavai of Gujarat; the blood and thunder of the Jatra melodramas of Bengal which are in great demand during Puja (Dussehra) festivities: or the dance-drama form of Yakshagana from Karnataka, to name just a few.
#### 3. Question
Consider the following pairs.
Folk theatre: | Region
- 1.Tamasha | Maharashtra
- 2.Bhavai | Bengal
- 3.Yakshagana | Kerala
- 4.Nautanki | Uttar Pradesh
How many of the above pairs are correct?
• a) Only one
• b) Only two
• c) Only three
• d) All four
Solution: B
Options 1 and 4 are correct.
Theatre: It is a great form for story-telling in which one or more actors using the skills of dancing, acting, singing, talking, miming and theatre crafts like masks, make-up and costumes create a story world for us. Every corner of India has its own unique form of folk theatre — the lively Nautanki of Uttar Pradesh which often draws on romantic Persian literature for its themes; raw vigour and bawdy humour characterise the Tamasha of Maharashtra or the Bhavai of Gujarat; the blood and thunder of the Jatra melodramas of Bengal which are in great demand during Puja (Dussehra) festivities: or the dance-drama form of Yakshagana from Karnataka, to name just a few.
Solution: B
Options 1 and 4 are correct.
Theatre: It is a great form for story-telling in which one or more actors using the skills of dancing, acting, singing, talking, miming and theatre crafts like masks, make-up and costumes create a story world for us. Every corner of India has its own unique form of folk theatre — the lively Nautanki of Uttar Pradesh which often draws on romantic Persian literature for its themes; raw vigour and bawdy humour characterise the Tamasha of Maharashtra or the Bhavai of Gujarat; the blood and thunder of the Jatra melodramas of Bengal which are in great demand during Puja (Dussehra) festivities: or the dance-drama form of Yakshagana from Karnataka, to name just a few.
• Question 4 of 5 4. Question Which of following are reasons for decline of Sanskrit theatre in India? Rigid orthodoxy restricted the creative space. It was increasingly confined to the religious sphere and among the Brahmins. Advent of Muslim rulers. How many of the above statements are incorrect? (a) Only one (b) Only two (c) All three (d) None Correct Solution: D The reasons for decline of Sanskrit theatre include: As Sanskrit dramatists began to diverge towards poetry, the lyrical writings started gaining popularity over the dramatic works. The rigid orthodoxy of the Sanskrit theatre restricted the creative space of new playwrights who turned to other forms. As Sanskrit became more and more embellished, it lost popularity among the masses. It was increasingly confined to the religious sphere and among the Brahmins, while other languages such as Pali and Prakrit took its place. With the advent of Muslim rulers, Sanskrit theatre took a definite backseat, as dance and music gained patronage. Incorrect Solution: D The reasons for decline of Sanskrit theatre include: As Sanskrit dramatists began to diverge towards poetry, the lyrical writings started gaining popularity over the dramatic works. The rigid orthodoxy of the Sanskrit theatre restricted the creative space of new playwrights who turned to other forms. As Sanskrit became more and more embellished, it lost popularity among the masses. It was increasingly confined to the religious sphere and among the Brahmins, while other languages such as Pali and Prakrit took its place. With the advent of Muslim rulers, Sanskrit theatre took a definite backseat, as dance and music gained patronage.
#### 4. Question
Which of following are reasons for decline of Sanskrit theatre in India?
• Rigid orthodoxy restricted the creative space.
• It was increasingly confined to the religious sphere and among the Brahmins.
• Advent of Muslim rulers.
How many of the above statements are incorrect?
• (a) Only one
• (b) Only two
• (c) All three
Solution: D
The reasons for decline of Sanskrit theatre include:
• As Sanskrit dramatists began to diverge towards poetry, the lyrical writings started gaining popularity over the dramatic works.
• The rigid orthodoxy of the Sanskrit theatre restricted the creative space of new playwrights who turned to other forms.
• As Sanskrit became more and more embellished, it lost popularity among the masses. It was increasingly confined to the religious sphere and among the Brahmins, while other languages such as Pali and Prakrit took its place.
• With the advent of Muslim rulers, Sanskrit theatre took a definite backseat, as dance and music gained patronage.
Solution: D
The reasons for decline of Sanskrit theatre include:
• As Sanskrit dramatists began to diverge towards poetry, the lyrical writings started gaining popularity over the dramatic works.
• The rigid orthodoxy of the Sanskrit theatre restricted the creative space of new playwrights who turned to other forms.
• As Sanskrit became more and more embellished, it lost popularity among the masses. It was increasingly confined to the religious sphere and among the Brahmins, while other languages such as Pali and Prakrit took its place.
• With the advent of Muslim rulers, Sanskrit theatre took a definite backseat, as dance and music gained patronage.
• Question 5 of 5 5. Question Dhamsa, dhol and chamak are associated with which of the following dance forms of India? a) Rasleela b) Dumhal c) Bideshiya d) Chhau Correct Solution: D Accompanied by the huge dhamsa drums and two energetic dhol players who provoke and encourage the dancers, the Chhau dancer makes lightning body movements known as chamak. Chhau dance is a tradition from eastern India that enacts episodes from epics including the Mahabharata and Ramayana, local folklore and abstract themes. Its three distinct styles hail from the regions of Seraikella, Purulia and Mayurbhanj, the first two using masks. Chhau dance is intimately connected to regional festivals, notably the spring festival Chaitra Parva. Its origin is traceable to indigenous forms of dance and martial practices. Incorrect Solution: D Accompanied by the huge dhamsa drums and two energetic dhol players who provoke and encourage the dancers, the Chhau dancer makes lightning body movements known as chamak. Chhau dance is a tradition from eastern India that enacts episodes from epics including the Mahabharata and Ramayana, local folklore and abstract themes. Its three distinct styles hail from the regions of Seraikella, Purulia and Mayurbhanj, the first two using masks. Chhau dance is intimately connected to regional festivals, notably the spring festival Chaitra Parva. Its origin is traceable to indigenous forms of dance and martial practices.
#### 5. Question
Dhamsa, dhol and chamak are associated with which of the following dance forms of India?
• a) Rasleela
• c) Bideshiya
Solution: D
Accompanied by the huge dhamsa drums and two energetic dhol players who provoke and encourage the dancers, the Chhau dancer makes lightning body movements known as chamak.
Chhau dance is a tradition from eastern India that enacts episodes from epics including the Mahabharata and Ramayana, local folklore and abstract themes. Its three distinct styles hail from the regions of Seraikella, Purulia and Mayurbhanj, the first two using masks. Chhau dance is intimately connected to regional festivals, notably the spring festival Chaitra Parva. Its origin is traceable to indigenous forms of dance and martial practices.
Solution: D
Accompanied by the huge dhamsa drums and two energetic dhol players who provoke and encourage the dancers, the Chhau dancer makes lightning body movements known as chamak.
Chhau dance is a tradition from eastern India that enacts episodes from epics including the Mahabharata and Ramayana, local folklore and abstract themes. Its three distinct styles hail from the regions of Seraikella, Purulia and Mayurbhanj, the first two using masks. Chhau dance is intimately connected to regional festivals, notably the spring festival Chaitra Parva. Its origin is traceable to indigenous forms of dance and martial practices.
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