UPSC Static Quiz – Art and Culture : 2 June 2025

UPSC Static Quiz – Art and Culture : 2 June 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 With reference to the Bhakti saint Kabir, consider the following statements: He was a staunch critic of religious orthodoxy, ritualism, and caste distinctions in both Hinduism and Islam. His compositions, known as dohas and sakhis, were mainly compiled in Sanskrit. He advocated for a direct, personal experience of God, often referred to as Nirguna Brahman. How many of the above statements is/are correct? a) Only one b) Only two (c) All three (d) None Correct Solution: b) Statement 1 is correct. Kabir (c. 15th century) was a prominent mystic poet and saint of the Bhakti movement, renowned for his uncompromising criticism of religious formalism, empty rituals, idolatry, and caste discrimination prevalent in both Hinduism and Islam. He emphasized the underlying unity of God, irrespective of religious labels. Statement 2 is incorrect. Kabir’s compositions, which include dohas (couplets), sakhis (witness poems), and padas (songs), were primarily composed in a vernacular Hindi, often a mixture of dialects like Awadhi, Braj, and Khari Boli, making them accessible to the common people. They were not mainly compiled in Sanskrit; in fact, his use of vernacular language was a key aspect of his popular appeal. His verses are compiled in works like the Bijak. Statement 3 is correct. Kabir was a proponent of Nirguna Bhakti, emphasizing devotion to an attributeless, formless God (Nirguna Brahman). He advocated for an inner, experiential path to realizing God, transcending external religious practices and intermediaries. Incorrect Solution: b) Statement 1 is correct. Kabir (c. 15th century) was a prominent mystic poet and saint of the Bhakti movement, renowned for his uncompromising criticism of religious formalism, empty rituals, idolatry, and caste discrimination prevalent in both Hinduism and Islam. He emphasized the underlying unity of God, irrespective of religious labels. Statement 2 is incorrect. Kabir’s compositions, which include dohas (couplets), sakhis (witness poems), and padas (songs), were primarily composed in a vernacular Hindi, often a mixture of dialects like Awadhi, Braj, and Khari Boli, making them accessible to the common people. They were not mainly compiled in Sanskrit; in fact, his use of vernacular language was a key aspect of his popular appeal. His verses are compiled in works like the Bijak. Statement 3 is correct. Kabir was a proponent of Nirguna Bhakti, emphasizing devotion to an attributeless, formless God (Nirguna Brahman). He advocated for an inner, experiential path to realizing God, transcending external religious practices and intermediaries.

#### 1. Question

With reference to the Bhakti saint Kabir, consider the following statements:

• He was a staunch critic of religious orthodoxy, ritualism, and caste distinctions in both Hinduism and Islam.

• His compositions, known as dohas and sakhis, were mainly compiled in Sanskrit.

• He advocated for a direct, personal experience of God, often referred to as Nirguna Brahman.

How many of the above statements is/are correct?

• a) Only one

• b) Only two

• (c) All three

Solution: b)

• Statement 1 is correct. Kabir (c. 15th century) was a prominent mystic poet and saint of the Bhakti movement, renowned for his uncompromising criticism of religious formalism, empty rituals, idolatry, and caste discrimination prevalent in both Hinduism and Islam. He emphasized the underlying unity of God, irrespective of religious labels.

• Statement 2 is incorrect. Kabir’s compositions, which include dohas (couplets), sakhis (witness poems), and padas (songs), were primarily composed in a vernacular Hindi, often a mixture of dialects like Awadhi, Braj, and Khari Boli, making them accessible to the common people. They were not mainly compiled in Sanskrit; in fact, his use of vernacular language was a key aspect of his popular appeal. His verses are compiled in works like the Bijak.

• Statement 3 is correct. Kabir was a proponent of Nirguna Bhakti, emphasizing devotion to an attributeless, formless God (Nirguna Brahman). He advocated for an inner, experiential path to realizing God, transcending external religious practices and intermediaries.

Solution: b)

• Question 2 of 5 2. Question Consider the following statements about the Ajanta caves: All the caves at Ajanta are viharas (monastic residential halls). The paintings in Ajanta predominantly depict Jataka tales and life events of Buddha. The technique used for the paintings is primarily true fresco (fresco-buono). How many of the above statements is/are correct? (a) Only one (b) Only two (c) All three (d) None Correct Solution: a) Statement 1 is incorrect. The Ajanta caves comprise both chaityas (prayer halls or sanctuaries) and viharas (monasteries or residential halls for monks). Chaityas are typically apsidal in plan with a stupa at the rear, while viharas are usually quadrangular with cells along the sides. Statement 2 is correct. The paintings at Ajanta are world-renowned and primarily depict Buddhist themes. These include numerous Jataka tales (stories of Buddha’s previous births), various events from the life of Gautama Buddha, and representations of Bodhisattvas. They provide a rich visual narrative of Buddhist legends and teachings. Statement 3 is incorrect. The painting technique used at Ajanta is predominantly tempera, also known as fresco-secco (dry fresco), not true fresco (fresco-buono). In the tempera technique, pigments are mixed with a binding medium and applied to a dry plaster surface. True fresco involves painting on wet lime plaster, where the pigments bind with the plaster as it dries. The Ajanta murals were executed on a prepared dry surface. Incorrect Solution: a) Statement 1 is incorrect. The Ajanta caves comprise both chaityas (prayer halls or sanctuaries) and viharas (monasteries or residential halls for monks). Chaityas are typically apsidal in plan with a stupa at the rear, while viharas are usually quadrangular with cells along the sides. Statement 2 is correct. The paintings at Ajanta are world-renowned and primarily depict Buddhist themes. These include numerous Jataka tales (stories of Buddha’s previous births), various events from the life of Gautama Buddha, and representations of Bodhisattvas. They provide a rich visual narrative of Buddhist legends and teachings. Statement 3 is incorrect. The painting technique used at Ajanta is predominantly tempera, also known as fresco-secco (dry fresco), not true fresco (fresco-buono). In the tempera technique, pigments are mixed with a binding medium and applied to a dry plaster surface. True fresco involves painting on wet lime plaster, where the pigments bind with the plaster as it dries. The Ajanta murals were executed on a prepared dry surface.

#### 2. Question

Consider the following statements about the Ajanta caves:

• All the caves at Ajanta are viharas (monastic residential halls).

• The paintings in Ajanta predominantly depict Jataka tales and life events of Buddha.

• The technique used for the paintings is primarily true fresco (fresco-buono).

How many of the above statements is/are correct?

• (a) Only one

• (b) Only two

• (c) All three

Solution: a)

• Statement 1 is incorrect. The Ajanta caves comprise both chaityas (prayer halls or sanctuaries) and viharas (monasteries or residential halls for monks). Chaityas are typically apsidal in plan with a stupa at the rear, while viharas are usually quadrangular with cells along the sides.

• Statement 2 is correct. The paintings at Ajanta are world-renowned and primarily depict Buddhist themes. These include numerous Jataka tales (stories of Buddha’s previous births), various events from the life of Gautama Buddha, and representations of Bodhisattvas. They provide a rich visual narrative of Buddhist legends and teachings.

• Statement 3 is incorrect. The painting technique used at Ajanta is predominantly tempera, also known as fresco-secco (dry fresco), not true fresco (fresco-buono). In the tempera technique, pigments are mixed with a binding medium and applied to a dry plaster surface. True fresco involves painting on wet lime plaster, where the pigments bind with the plaster as it dries. The Ajanta murals were executed on a prepared dry surface.

Solution: a)

• Question 3 of 5 3. Question Regarding the features of Mughal architecture, consider the following statements: The extensive use of red sandstone and white marble is a prominent characteristic. The concept of the ‘double dome’ was an indigenous innovation first introduced by the Mughals in India. Charbagh (four-quadrant garden) layouts were frequently integrated with tombs and palaces. How many of the above statements is/are correct? (a) Only one (b) Only two (c) All three (d) None Correct Solution: b) Statement 1 is correct. Mughal architecture is renowned for its extensive and skillful use of red sandstone, particularly in earlier structures, and white marble, which became increasingly prominent in later phases, especially under Shah Jahan (e.g., Taj Mahal, Moti Masjid). The combination of these materials often created a striking visual contrast. Statement 2 is incorrect. While the double dome (an inner dome for proportional interior space and an outer, taller dome for imposing exterior appearance) became a hallmark of mature Mughal architecture, it was not an indigenous innovation first introduced by them in India. The technique had Central Asian origins and was introduced into India by earlier Sultanate period builders, though the Mughals perfected its use and scale. For example, the tomb of Sikandar Lodi (1517-18) features a double dome. Statement 3 is correct. The Charbagh style of garden layout, a Persian concept involving a quadrilateral garden divided by walkways or flowing water into four smaller parts, was a significant feature of Mughal landscape architecture. These gardens were often associated with mausoleums (like Humayun’s Tomb and the Taj Mahal) and palaces, symbolizing paradise. Incorrect Solution: b) Statement 1 is correct. Mughal architecture is renowned for its extensive and skillful use of red sandstone, particularly in earlier structures, and white marble, which became increasingly prominent in later phases, especially under Shah Jahan (e.g., Taj Mahal, Moti Masjid). The combination of these materials often created a striking visual contrast. Statement 2 is incorrect. While the double dome (an inner dome for proportional interior space and an outer, taller dome for imposing exterior appearance) became a hallmark of mature Mughal architecture, it was not an indigenous innovation first introduced by them in India. The technique had Central Asian origins and was introduced into India by earlier Sultanate period builders, though the Mughals perfected its use and scale. For example, the tomb of Sikandar Lodi (1517-18) features a double dome. Statement 3 is correct. The Charbagh style of garden layout, a Persian concept involving a quadrilateral garden divided by walkways or flowing water into four smaller parts, was a significant feature of Mughal landscape architecture. These gardens were often associated with mausoleums (like Humayun’s Tomb and the Taj Mahal) and palaces, symbolizing paradise.

#### 3. Question

Regarding the features of Mughal architecture, consider the following statements:

• The extensive use of red sandstone and white marble is a prominent characteristic.

• The concept of the ‘double dome’ was an indigenous innovation first introduced by the Mughals in India.

• Charbagh (four-quadrant garden) layouts were frequently integrated with tombs and palaces.

How many of the above statements is/are correct?

• (a) Only one

• (b) Only two

• (c) All three

Solution: b)

• Statement 1 is correct. Mughal architecture is renowned for its extensive and skillful use of red sandstone, particularly in earlier structures, and white marble, which became increasingly prominent in later phases, especially under Shah Jahan (e.g., Taj Mahal, Moti Masjid). The combination of these materials often created a striking visual contrast.

• Statement 2 is incorrect. While the double dome (an inner dome for proportional interior space and an outer, taller dome for imposing exterior appearance) became a hallmark of mature Mughal architecture, it was not an indigenous innovation first introduced by them in India. The technique had Central Asian origins and was introduced into India by earlier Sultanate period builders, though the Mughals perfected its use and scale. For example, the tomb of Sikandar Lodi (1517-18) features a double dome.

• Statement 3 is correct. The Charbagh style of garden layout, a Persian concept involving a quadrilateral garden divided by walkways or flowing water into four smaller parts, was a significant feature of Mughal landscape architecture. These gardens were often associated with mausoleums (like Humayun’s Tomb and the Taj Mahal) and palaces, symbolizing paradise.

Solution: b)

• Question 4 of 5 4. Question With reference to the UNESCO list of Intangible Cultural Heritage from India, consider the following statements: Koodiyattam, Sanskrit theatre from Kerala, is the first Indian art form to be recognized. Chhau dance is recognized as a single homogenous tradition across all its regional variations. Yoga was inscribed on the list due to its global health benefits and spiritual significance. How many of the above statements is/are incorrect? (a) Only one (b) Only two (c) All three (d) None Correct Solution: a) Statement 1 is correct. Koodiyattam, the ancient Sanskrit theatre tradition from Kerala, holds the distinction of being the first Indian art form to be proclaimed a ‘Masterpiece of the Oral and Intangible Heritage of Humanity’ by UNESCO in 2001, which later became part of the Representative List of the Intangible Cultural Heritage of Humanity. Statement 2 is incorrect. Chhau dance was inscribed in 2010, and UNESCO recognizes its three distinct regional styles: the Seraikella Chhau of Jharkhand, the Mayurbhanj Chhau of Odisha, and the Purulia Chhau of West Bengal. While they share common roots, they have developed unique characteristics in terms of masks (used in Seraikella and Purulia, not Mayurbhanj), movements, and music. The recognition acknowledges this diversity. Statement 3 is correct. Yoga was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity in 2016. The inscription acknowledges yoga as a practice that harmonizes mind, body, and soul to promote mental, spiritual, and physical well-being. Its global appeal and contribution to health and holistic living were key factors. Incorrect Solution: a) Statement 1 is correct. Koodiyattam, the ancient Sanskrit theatre tradition from Kerala, holds the distinction of being the first Indian art form to be proclaimed a ‘Masterpiece of the Oral and Intangible Heritage of Humanity’ by UNESCO in 2001, which later became part of the Representative List of the Intangible Cultural Heritage of Humanity. Statement 2 is incorrect. Chhau dance was inscribed in 2010, and UNESCO recognizes its three distinct regional styles: the Seraikella Chhau of Jharkhand, the Mayurbhanj Chhau of Odisha, and the Purulia Chhau of West Bengal. While they share common roots, they have developed unique characteristics in terms of masks (used in Seraikella and Purulia, not Mayurbhanj), movements, and music. The recognition acknowledges this diversity. Statement 3 is correct. Yoga was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity in 2016. The inscription acknowledges yoga as a practice that harmonizes mind, body, and soul to promote mental, spiritual, and physical well-being. Its global appeal and contribution to health and holistic living were key factors.

#### 4. Question

With reference to the UNESCO list of Intangible Cultural Heritage from India, consider the following statements:

• Koodiyattam, Sanskrit theatre from Kerala, is the first Indian art form to be recognized.

• Chhau dance is recognized as a single homogenous tradition across all its regional variations.

• Yoga was inscribed on the list due to its global health benefits and spiritual significance.

How many of the above statements is/are incorrect?

• (a) Only one

• (b) Only two

• (c) All three

Solution: a)

• Statement 1 is correct. Koodiyattam, the ancient Sanskrit theatre tradition from Kerala, holds the distinction of being the first Indian art form to be proclaimed a ‘Masterpiece of the Oral and Intangible Heritage of Humanity’ by UNESCO in 2001, which later became part of the Representative List of the Intangible Cultural Heritage of Humanity.

• Statement 2 is incorrect. Chhau dance was inscribed in 2010, and UNESCO recognizes its three distinct regional styles: the Seraikella Chhau of Jharkhand, the Mayurbhanj Chhau of Odisha, and the Purulia Chhau of West Bengal. While they share common roots, they have developed unique characteristics in terms of masks (used in Seraikella and Purulia, not Mayurbhanj), movements, and music. The recognition acknowledges this diversity.

• Statement 3 is correct. Yoga was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity in 2016. The inscription acknowledges yoga as a practice that harmonizes mind, body, and soul to promote mental, spiritual, and physical well-being. Its global appeal and contribution to health and holistic living were key factors.

Solution: a)

• Question 5 of 5 5. Question Consider the following statements regarding various schools of Indian painting: The Kishangarh school is renowned for its distinctive portrayal of Bani Thani, characterized by elongated facial features and arched eyebrows. Pahari paintings primarily flourished in the Himalayan foothills and include styles like Basohli and Kangra. Tanjore paintings are notable for their use of vibrant colours, gold foil, and inlay work with glass beads or semi-precious stones. Madhubani paintings, originating from Bihar, traditionally use natural pigments and are characterized by complex geometric patterns and symbolic imagery. How many of the above statements are correct? (a) Only one (b) Only two (c) Only three (d) All four Correct Solution: d) The Kishangarh school of Rajasthani painting is famous for its idealized and devotional portrayal of Radha, often identified with the figure of Bani Thani. These paintings are characterized by elongated human figures, sharp facial features, arched eyebrows, and a lyrical, romantic quality. Pahari paintings refer to a collective of painting styles that developed in the independent states of the Himalayan foothills (pahari meaning ‘hilly’) between the 17th and 19th centuries. Prominent schools within this group include Basohli (known for its bold colours and vigour) and Kangra (celebrated for its lyrical delicacy and refined naturalism). Tanjore (Thanjavur) paintings, originating from Tamil Nadu, are classical South Indian paintings distinguished by their rich and vivid colours, gilded appearance due to the application of gold foil, and intricate inlay work using glass beads, pieces of mirrors, or semi-precious/precious stones to adorn the figures, especially deities. Madhubani paintings (or Mithila art) are a traditional folk-art style from the Mithila region of Bihar. They are traditionally created by women using natural pigments derived from plants and minerals, applied with fingers, twigs, brushes, nib-pens, and matchsticks. The paintings are characterized by eye-catching geometrical patterns, intricate line drawings, and symbolic representations of nature, deities, and social events. Incorrect Solution: d) The Kishangarh school of Rajasthani painting is famous for its idealized and devotional portrayal of Radha, often identified with the figure of Bani Thani. These paintings are characterized by elongated human figures, sharp facial features, arched eyebrows, and a lyrical, romantic quality. Pahari paintings refer to a collective of painting styles that developed in the independent states of the Himalayan foothills (pahari meaning ‘hilly’) between the 17th and 19th centuries. Prominent schools within this group include Basohli (known for its bold colours and vigour) and Kangra (celebrated for its lyrical delicacy and refined naturalism). Tanjore (Thanjavur) paintings, originating from Tamil Nadu, are classical South Indian paintings distinguished by their rich and vivid colours, gilded appearance due to the application of gold foil, and intricate inlay work using glass beads, pieces of mirrors, or semi-precious/precious stones to adorn the figures, especially deities. Madhubani paintings (or Mithila art) are a traditional folk-art style from the Mithila region of Bihar. They are traditionally created by women using natural pigments derived from plants and minerals, applied with fingers, twigs, brushes, nib-pens, and matchsticks. The paintings are characterized by eye-catching geometrical patterns, intricate line drawings, and symbolic representations of nature, deities, and social events.

#### 5. Question

Consider the following statements regarding various schools of Indian painting:

• The Kishangarh school is renowned for its distinctive portrayal of Bani Thani, characterized by elongated facial features and arched eyebrows.

• Pahari paintings primarily flourished in the Himalayan foothills and include styles like Basohli and Kangra.

• Tanjore paintings are notable for their use of vibrant colours, gold foil, and inlay work with glass beads or semi-precious stones.

• Madhubani paintings, originating from Bihar, traditionally use natural pigments and are characterized by complex geometric patterns and symbolic imagery.

How many of the above statements are correct?

• (a) Only one

• (b) Only two

• (c) Only three

• (d) All four

Solution: d)

• The Kishangarh school of Rajasthani painting is famous for its idealized and devotional portrayal of Radha, often identified with the figure of Bani Thani. These paintings are characterized by elongated human figures, sharp facial features, arched eyebrows, and a lyrical, romantic quality.

• Pahari paintings refer to a collective of painting styles that developed in the independent states of the Himalayan foothills (pahari meaning ‘hilly’) between the 17th and 19th centuries. Prominent schools within this group include Basohli (known for its bold colours and vigour) and Kangra (celebrated for its lyrical delicacy and refined naturalism).

• Tanjore (Thanjavur) paintings, originating from Tamil Nadu, are classical South Indian paintings distinguished by their rich and vivid colours, gilded appearance due to the application of gold foil, and intricate inlay work using glass beads, pieces of mirrors, or semi-precious/precious stones to adorn the figures, especially deities.

• Madhubani paintings (or Mithila art) are a traditional folk-art style from the Mithila region of Bihar. They are traditionally created by women using natural pigments derived from plants and minerals, applied with fingers, twigs, brushes, nib-pens, and matchsticks. The paintings are characterized by eye-catching geometrical patterns, intricate line drawings, and symbolic representations of nature, deities, and social events.

Solution: d)

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