UPSC Static Quiz – Art and Culture : 8 June 2025

UPSC Static Quiz – Art and Culture : 8 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 various forms of Indian puppetry, consider the following statements: Kathputli of Rajasthan is a form of string puppetry where puppets are manipulated by strings attached to their limbs. Pavakoothu from Kerala is a traditional glove puppet play, with puppets adorned similarly to Kathakali characters. Ravanachhaya of Odisha is a type of rod puppet theatre known for its large, brightly painted figures. Yampuri of Bihar is a shadow puppet tradition depicting scenes from the Ramayana and Mahabharata. How many of the above statements are correct? (a) Only one (b) Only two (c) Only three (d) All four Correct Solution: b) Statement 1 is correct. Kathputli, originating from Rajasthan, is a well-known form of string puppetry. The puppets are typically made of wood and colourfully dressed, and their movements are controlled by strings manipulated by the puppeteer. Statement 2 is correct. Pavakoothu is a traditional glove puppet play from Kerala. The puppets are highly decorated, and their costumes and makeup often resemble those of characters in the classical dance-drama form of Kathakali. Statement 3 is incorrect. Ravanachhaya, from Odisha, is a form of shadow puppetry, not rod puppetry. It uses puppets made of deer skin, which are manipulated to cast coloured shadows on a screen. It is one of the oldest forms of shadow theatre in India. Rod puppets, like Putul Nach of West Bengal or Yampuri of Bihar, are manipulated using rods. Statement 4 is incorrect. Yampuri, from Bihar, is a form of rod puppetry, not shadow puppetry. These puppets are made of wood and are manipulated by rods from below. Shadow puppetry involves casting shadows of flat puppets on a screen (e.g., Tholu Bommalata of Andhra Pradesh, Togalu Gombeyaata of Karnataka). Incorrect Solution: b) Statement 1 is correct. Kathputli, originating from Rajasthan, is a well-known form of string puppetry. The puppets are typically made of wood and colourfully dressed, and their movements are controlled by strings manipulated by the puppeteer. Statement 2 is correct. Pavakoothu is a traditional glove puppet play from Kerala. The puppets are highly decorated, and their costumes and makeup often resemble those of characters in the classical dance-drama form of Kathakali. Statement 3 is incorrect. Ravanachhaya, from Odisha, is a form of shadow puppetry, not rod puppetry. It uses puppets made of deer skin, which are manipulated to cast coloured shadows on a screen. It is one of the oldest forms of shadow theatre in India. Rod puppets, like Putul Nach of West Bengal or Yampuri of Bihar, are manipulated using rods. Statement 4 is incorrect. Yampuri, from Bihar, is a form of rod puppetry, not shadow puppetry. These puppets are made of wood and are manipulated by rods from below. Shadow puppetry involves casting shadows of flat puppets on a screen (e.g., Tholu Bommalata of Andhra Pradesh, Togalu Gombeyaata of Karnataka).

#### 1. Question

With reference to various forms of Indian puppetry, consider the following statements:

• Kathputli of Rajasthan is a form of string puppetry where puppets are manipulated by strings attached to their limbs.

• Pavakoothu from Kerala is a traditional glove puppet play, with puppets adorned similarly to Kathakali characters.

• Ravanachhaya of Odisha is a type of rod puppet theatre known for its large, brightly painted figures.

• Yampuri of Bihar is a shadow puppet tradition depicting scenes from the Ramayana and Mahabharata.

How many of the above statements are correct?

• (a) Only one

• (b) Only two

• (c) Only three

• (d) All four

Solution: b)

• Statement 1 is correct. Kathputli, originating from Rajasthan, is a well-known form of string puppetry. The puppets are typically made of wood and colourfully dressed, and their movements are controlled by strings manipulated by the puppeteer.

• Statement 2 is correct. Pavakoothu is a traditional glove puppet play from Kerala. The puppets are highly decorated, and their costumes and makeup often resemble those of characters in the classical dance-drama form of Kathakali.

• Statement 3 is incorrect. Ravanachhaya, from Odisha, is a form of shadow puppetry, not rod puppetry. It uses puppets made of deer skin, which are manipulated to cast coloured shadows on a screen. It is one of the oldest forms of shadow theatre in India. Rod puppets, like Putul Nach of West Bengal or Yampuri of Bihar, are manipulated using rods.

• Statement 4 is incorrect. Yampuri, from Bihar, is a form of rod puppetry, not shadow puppetry. These puppets are made of wood and are manipulated by rods from below. Shadow puppetry involves casting shadows of flat puppets on a screen (e.g., Tholu Bommalata of Andhra Pradesh, Togalu Gombeyaata of Karnataka).

Solution: b)

• Question 2 of 5 2. Question Consider the following statements about different Buddhist Councils: The First Buddhist Council was convened immediately after the Mahaparinirvana of Buddha, under the patronage of King Ajatashatru, to compile the Dhamma and Vinaya. The Second Buddhist Council, held at Vaishali, primarily addressed disputes regarding the Vinaya Pitaka, leading to the first major schism in the Sangha into Sthaviravadins and Mahasanghikas. The Third Buddhist Council was presided over by Moggaliputta Tissa during the reign of Ashoka, and its main objective was to refute heretical views and purify the Sangha. How many of the above statements are correct? (a) Only one (b) Only two (c) All three (d) None Correct Solution: c) The First Buddhist Council was held shortly after Buddha’s Mahaparinirvana (death) at Rajagriha (modern Rajgir), under the patronage of King Ajatashatru of Magadha and presided over by Mahakashyapa. Its primary purpose was to compile and preserve the Buddha’s teachings (Dhamma) and monastic rules (Vinaya). The Second Buddhist Council took place at Vaishali, about a century after the first. It was convened to settle disputes over certain monastic practices (Vinaya). The disagreements led to a significant schism in the Sangha, dividing it into the Sthaviravadins (Theravadins – Elders) and the Mahasanghikas (Great Community). The Third Buddhist Council was held at Pataliputra under the patronage of Emperor Ashoka and was presided over by Moggaliputta Tissa. Its main aim was to address the growing number of heretical sects and differing interpretations of the Dhamma, thereby purifying the Sangha and codifying the Tripitaka. The Kathavatthu, a refutation of heretical views, is said to have been compiled here. Incorrect Solution: c) The First Buddhist Council was held shortly after Buddha’s Mahaparinirvana (death) at Rajagriha (modern Rajgir), under the patronage of King Ajatashatru of Magadha and presided over by Mahakashyapa. Its primary purpose was to compile and preserve the Buddha’s teachings (Dhamma) and monastic rules (Vinaya). The Second Buddhist Council took place at Vaishali, about a century after the first. It was convened to settle disputes over certain monastic practices (Vinaya). The disagreements led to a significant schism in the Sangha, dividing it into the Sthaviravadins (Theravadins – Elders) and the Mahasanghikas (Great Community). The Third Buddhist Council was held at Pataliputra under the patronage of Emperor Ashoka and was presided over by Moggaliputta Tissa. Its main aim was to address the growing number of heretical sects and differing interpretations of the Dhamma, thereby purifying the Sangha and codifying the Tripitaka. The Kathavatthu, a refutation of heretical views, is said to have been compiled here.

#### 2. Question

Consider the following statements about different Buddhist Councils:

• The First Buddhist Council was convened immediately after the Mahaparinirvana of Buddha, under the patronage of King Ajatashatru, to compile the Dhamma and Vinaya.

• The Second Buddhist Council, held at Vaishali, primarily addressed disputes regarding the Vinaya Pitaka, leading to the first major schism in the Sangha into Sthaviravadins and Mahasanghikas.

• The Third Buddhist Council was presided over by Moggaliputta Tissa during the reign of Ashoka, and its main objective was to refute heretical views and purify the Sangha.

How many of the above statements are correct?

• (a) Only one

• (b) Only two

• (c) All three

Solution: c)

• The First Buddhist Council was held shortly after Buddha’s Mahaparinirvana (death) at Rajagriha (modern Rajgir), under the patronage of King Ajatashatru of Magadha and presided over by Mahakashyapa. Its primary purpose was to compile and preserve the Buddha’s teachings (Dhamma) and monastic rules (Vinaya).

• The Second Buddhist Council took place at Vaishali, about a century after the first. It was convened to settle disputes over certain monastic practices (Vinaya). The disagreements led to a significant schism in the Sangha, dividing it into the Sthaviravadins (Theravadins – Elders) and the Mahasanghikas (Great Community).

• The Third Buddhist Council was held at Pataliputra under the patronage of Emperor Ashoka and was presided over by Moggaliputta Tissa. Its main aim was to address the growing number of heretical sects and differing interpretations of the Dhamma, thereby purifying the Sangha and codifying the Tripitaka. The Kathavatthu, a refutation of heretical views, is said to have been compiled here.

Solution: c)

• Question 3 of 5 3. Question With regard to the development of Indo-Islamic architecture, consider the following statements: The use of arches and domes was a prominent feature introduced by Islamic rulers, replacing the traditional Indian trabeate (pillar and beam) system. Calligraphy and intricate geometric patterns (arabesque) were extensively used for decoration, as Islam generally discourages anthropomorphic representations in religious art. The Qutb Minar complex in Delhi showcases the earliest examples of true arch and dome construction in India by the Delhi Sultanate. Pietra dura, an inlay technique using semi-precious stones, was a decorative feature primarily associated with the architecture of the Deccan Sultanates. How many of the above statements are correct? (a) Only one (b) Only two (c) Only three (d) All four Correct Solution: c) Statement 1 is correct. Indo-Islamic architecture is characterized by the introduction and widespread use of the arcuate system, employing arches, domes, and vaults. This was a significant departure from the indigenous Indian trabeate system, which relied on pillars and beams. This structural innovation allowed for larger, more open interior spaces. Statement 2 is correct. Due to the aniconic nature of religious art in Islam, which generally discourages the depiction of human and animal figures in sacred contexts, Indo-Islamic architecture relied heavily on non-figural decorative elements. These included calligraphy (verses from the Quran), intricate geometric patterns (arabesque), and stylized floral motifs. Statement 3 is correct. The Qutb Minar complex in Delhi, particularly structures like the Alai Darwaza (built by Alauddin Khilji) and the tomb of Iltutmish, demonstrates some of the earliest and significant uses of the true arch and dome construction techniques by the Delhi Sultanate in India, marking a transition from earlier, more tentative forms. Statement 4 is incorrect. While the Deccan Sultanates had rich decorative traditions, the pietra dura technique (inlaying intricate patterns of highly polished coloured semi-precious stones into marble) is most famously and extensively associated with Mughal architecture, particularly during the reign of Shah Jahan (e.g., the Taj Mahal, Itmad-ud-Daulah’s tomb). It was a hallmark of imperial Mughal opulence. Incorrect Solution: c) Statement 1 is correct. Indo-Islamic architecture is characterized by the introduction and widespread use of the arcuate system, employing arches, domes, and vaults. This was a significant departure from the indigenous Indian trabeate system, which relied on pillars and beams. This structural innovation allowed for larger, more open interior spaces. Statement 2 is correct. Due to the aniconic nature of religious art in Islam, which generally discourages the depiction of human and animal figures in sacred contexts, Indo-Islamic architecture relied heavily on non-figural decorative elements. These included calligraphy (verses from the Quran), intricate geometric patterns (arabesque), and stylized floral motifs. Statement 3 is correct. The Qutb Minar complex in Delhi, particularly structures like the Alai Darwaza (built by Alauddin Khilji) and the tomb of Iltutmish, demonstrates some of the earliest and significant uses of the true arch and dome construction techniques by the Delhi Sultanate in India, marking a transition from earlier, more tentative forms. Statement 4 is incorrect. While the Deccan Sultanates had rich decorative traditions, the pietra dura technique (inlaying intricate patterns of highly polished coloured semi-precious stones into marble) is most famously and extensively associated with Mughal architecture, particularly during the reign of Shah Jahan (e.g., the Taj Mahal, Itmad-ud-Daulah’s tomb). It was a hallmark of imperial Mughal opulence.

#### 3. Question

With regard to the development of Indo-Islamic architecture, consider the following statements:

• The use of arches and domes was a prominent feature introduced by Islamic rulers, replacing the traditional Indian trabeate (pillar and beam) system.

• Calligraphy and intricate geometric patterns (arabesque) were extensively used for decoration, as Islam generally discourages anthropomorphic representations in religious art.

• The Qutb Minar complex in Delhi showcases the earliest examples of true arch and dome construction in India by the Delhi Sultanate.

• Pietra dura, an inlay technique using semi-precious stones, was a decorative feature primarily associated with the architecture of the Deccan Sultanates.

How many of the above statements are correct?

• (a) Only one

• (b) Only two

• (c) Only three

• (d) All four

Solution: c)

• Statement 1 is correct. Indo-Islamic architecture is characterized by the introduction and widespread use of the arcuate system, employing arches, domes, and vaults. This was a significant departure from the indigenous Indian trabeate system, which relied on pillars and beams. This structural innovation allowed for larger, more open interior spaces.

• Statement 2 is correct. Due to the aniconic nature of religious art in Islam, which generally discourages the depiction of human and animal figures in sacred contexts, Indo-Islamic architecture relied heavily on non-figural decorative elements. These included calligraphy (verses from the Quran), intricate geometric patterns (arabesque), and stylized floral motifs.

• Statement 3 is correct. The Qutb Minar complex in Delhi, particularly structures like the Alai Darwaza (built by Alauddin Khilji) and the tomb of Iltutmish, demonstrates some of the earliest and significant uses of the true arch and dome construction techniques by the Delhi Sultanate in India, marking a transition from earlier, more tentative forms.

• Statement 4 is incorrect. While the Deccan Sultanates had rich decorative traditions, the pietra dura technique (inlaying intricate patterns of highly polished coloured semi-precious stones into marble) is most famously and extensively associated with Mughal architecture, particularly during the reign of Shah Jahan (e.g., the Taj Mahal, Itmad-ud-Daulah’s tomb). It was a hallmark of imperial Mughal opulence.

Solution: c)

• Question 4 of 5 4. Question Consider the following statements regarding various aspects of Indian classical music: The concept of ‘Raga’ in Indian classical music refers to a melodic framework characterized by a specific series of notes, mood, and time of day for performance. ‘Tala’ provides the rhythmic structure to a musical composition, organized through a cycle of beats. Hindustani classical music is primarily prevalent in North India, while Carnatic classical music is dominant in South India. The ‘Gharana’ system, representing distinct stylistic schools, is mainly a unique feature of Carnatic music. How many of the above statements are correct? (a) Only one (b) Only two (c) Only three (d) All four Correct Solution: c) Statement 1 is correct. A ‘Raga’ is the cornerstone of Indian classical music. It is a melodic framework or mode defined by a specific sequence of notes (swaras), characteristic phrases (pakad), an associated mood or emotion (rasa), and often a prescribed time of day or season for its performance. Statement 2 is correct. ‘Tala’ refers to the rhythmic organization in Indian classical music. It is a cyclical pattern of beats (matras) that provides the metrical structure for a composition and its improvisation. Different Talas have varying numbers of beats and accent patterns. Statement 3 is correct. Indian classical music has two major traditions: Hindustani classical music, which is predominantly practiced in North India, and Carnatic classical music, which is primarily found in the southern states of India (Tamil Nadu, Kerala, Andhra Pradesh, Telangana, and Karnataka). Statement 4 is incorrect. The ‘Gharana’ system is a prominent feature of Hindustani classical music, not Carnatic music. A Gharana represents a lineage or school of musicians adhering to a particular stylistic tradition, often named after a place or a founding figure. While Carnatic music has distinct styles and schools (banis), the term ‘Gharana’ with its specific connotations of lineage and guru-shishya parampara is more characteristic of the Hindustani tradition. Incorrect Solution: c) Statement 1 is correct. A ‘Raga’ is the cornerstone of Indian classical music. It is a melodic framework or mode defined by a specific sequence of notes (swaras), characteristic phrases (pakad), an associated mood or emotion (rasa), and often a prescribed time of day or season for its performance. Statement 2 is correct. ‘Tala’ refers to the rhythmic organization in Indian classical music. It is a cyclical pattern of beats (matras) that provides the metrical structure for a composition and its improvisation. Different Talas have varying numbers of beats and accent patterns. Statement 3 is correct. Indian classical music has two major traditions: Hindustani classical music, which is predominantly practiced in North India, and Carnatic classical music, which is primarily found in the southern states of India (Tamil Nadu, Kerala, Andhra Pradesh, Telangana, and Karnataka). Statement 4 is incorrect. The ‘Gharana’ system is a prominent feature of Hindustani classical music, not Carnatic music. A Gharana represents a lineage or school of musicians adhering to a particular stylistic tradition, often named after a place or a founding figure. While Carnatic music has distinct styles and schools (banis), the term ‘Gharana’ with its specific connotations of lineage and guru-shishya parampara is more characteristic of the Hindustani tradition.

#### 4. Question

Consider the following statements regarding various aspects of Indian classical music:

• The concept of ‘Raga’ in Indian classical music refers to a melodic framework characterized by a specific series of notes, mood, and time of day for performance.

• ‘Tala’ provides the rhythmic structure to a musical composition, organized through a cycle of beats.

• Hindustani classical music is primarily prevalent in North India, while Carnatic classical music is dominant in South India.

• The ‘Gharana’ system, representing distinct stylistic schools, is mainly a unique feature of Carnatic music.

How many of the above statements are correct?

• (a) Only one

• (b) Only two

• (c) Only three

• (d) All four

Solution: c)

• Statement 1 is correct. A ‘Raga’ is the cornerstone of Indian classical music. It is a melodic framework or mode defined by a specific sequence of notes (swaras), characteristic phrases (pakad), an associated mood or emotion (rasa), and often a prescribed time of day or season for its performance.

• Statement 2 is correct. ‘Tala’ refers to the rhythmic organization in Indian classical music. It is a cyclical pattern of beats (matras) that provides the metrical structure for a composition and its improvisation. Different Talas have varying numbers of beats and accent patterns.

• Statement 3 is correct. Indian classical music has two major traditions: Hindustani classical music, which is predominantly practiced in North India, and Carnatic classical music, which is primarily found in the southern states of India (Tamil Nadu, Kerala, Andhra Pradesh, Telangana, and Karnataka).

• Statement 4 is incorrect. The ‘Gharana’ system is a prominent feature of Hindustani classical music, not Carnatic music. A Gharana represents a lineage or school of musicians adhering to a particular stylistic tradition, often named after a place or a founding figure. While Carnatic music has distinct styles and schools (banis), the term ‘Gharana’ with its specific connotations of lineage and guru-shishya parampara is more characteristic of the Hindustani tradition.

Solution: c)

• Question 5 of 5 5. Question Consider the following statements regarding the Elephanta Caves: The caves are predominantly Buddhist in dedication, featuring numerous stupas and viharas. The most prominent sculpture, Trimurti, represents the trinity of Brahma, Vishnu, and Agni. The caves were primarily constructed during the Mauryan period under the patronage of Emperor Ashoka. How many of the above statements is/are correct? (a) Only one (b) Only two (c) All three (c) All three Correct Solution: d) Statement 1 is incorrect. The Elephanta Caves, located on Elephanta Island near Mumbai, are predominantly Shaivite (Hindu) caves, dedicated to Lord Shiva. While there are a few Buddhist stupas on the island (Hilltop Stupas), the main cave complex is renowned for its magnificent Hindu sculptures. Statement 2 is incorrect. The iconic Trimurti sculpture at Elephanta represents Lord Shiva in his three aspects: Sadyojata (creator), Vamadeva (preserver/maintainer), and Aghora (destroyer). It does not represent Brahma, Vishnu, and Agni. This colossal three-faced bust is a masterpiece of Indian rock-cut art. Statement 3 is incorrect. The Elephanta Caves are generally dated to have been constructed between the 5th and 8th centuries CE, with patronage attributed to various dynasties, most likely the Kalachuris or later the Rashtrakutas. This is significantly later than the Mauryan period (c. 322 – 185 BCE) and the reign of Emperor Ashoka. Incorrect Solution: d) Statement 1 is incorrect. The Elephanta Caves, located on Elephanta Island near Mumbai, are predominantly Shaivite (Hindu) caves, dedicated to Lord Shiva. While there are a few Buddhist stupas on the island (Hilltop Stupas), the main cave complex is renowned for its magnificent Hindu sculptures. Statement 2 is incorrect. The iconic Trimurti sculpture at Elephanta represents Lord Shiva in his three aspects: Sadyojata (creator), Vamadeva (preserver/maintainer), and Aghora (destroyer). It does not represent Brahma, Vishnu, and Agni. This colossal three-faced bust is a masterpiece of Indian rock-cut art. Statement 3 is incorrect. The Elephanta Caves are generally dated to have been constructed between the 5th and 8th centuries CE, with patronage attributed to various dynasties, most likely the Kalachuris or later the Rashtrakutas. This is significantly later than the Mauryan period (c. 322 – 185 BCE) and the reign of Emperor Ashoka.

#### 5. Question

Consider the following statements regarding the Elephanta Caves:

• The caves are predominantly Buddhist in dedication, featuring numerous stupas and viharas.

• The most prominent sculpture, Trimurti, represents the trinity of Brahma, Vishnu, and Agni.

• The caves were primarily constructed during the Mauryan period under the patronage of Emperor Ashoka.

How many of the above statements is/are correct?

• (a) Only one

• (b) Only two

• (c) All three

Solution: d)

• Statement 1 is incorrect. The Elephanta Caves, located on Elephanta Island near Mumbai, are predominantly Shaivite (Hindu) caves, dedicated to Lord Shiva. While there are a few Buddhist stupas on the island (Hilltop Stupas), the main cave complex is renowned for its magnificent Hindu sculptures.

• Statement 2 is incorrect. The iconic Trimurti sculpture at Elephanta represents Lord Shiva in his three aspects: Sadyojata (creator), Vamadeva (preserver/maintainer), and Aghora (destroyer). It does not represent Brahma, Vishnu, and Agni. This colossal three-faced bust is a masterpiece of Indian rock-cut art.

• Statement 3 is incorrect. The Elephanta Caves are generally dated to have been constructed between the 5th and 8th centuries CE, with patronage attributed to various dynasties, most likely the Kalachuris or later the Rashtrakutas. This is significantly later than the Mauryan period (c. 322 – 185 BCE) and the reign of Emperor Ashoka.

Solution: d)

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