Q.1 Consider the following :
Tribes Place
1. Bhoksa Uttarakhand
2. Misting Sikkim
3. Gonds Madhya Pradesh
Select the correct answer using the codes given below :
A) 1 & 3
B) Only 2
C) 1 & 2
D) 1,2,3
Ans. A
Misting tribe is in Assam
Q.2 Which among the following is/are true with respect to the Bronze icon of Nataraja ?
1. The classical form of the depiction appears in stone reliefs by around the 6th-century
2. Torso movements are visible as the most common form of Shiva’s dance
3. It typically shows Shiva dancing holding Agni (fire) in his left back hand, the front hand in gajahasta or dandahasta
mudra
Select the correct answer using the codes given below :
A) Only 3
B) 2 & 3
C) Only 1
D) 1 & 3
Ans. D
Bronze icon of Nataraja
Affiliation Shiva
Symbols
Agni
Texts
Anshumadbhed agama
Uttarakamika agama
The classical form of the depiction appears in stone reliefs, as at the Ellora Caves and the Badami Caves, by around the 6th-century.[4][5]
Around the 10th century, it emerged in Tamil Nadu in its mature and best-known expression in Chola bronzes, of various heights typically less than four feet,[6] some over.[7]
The Nataraja reliefs have been identified in historic artwork from many parts of South Asia, in southeast Asia such as in Bali, Cambodia, and in central Asia
It typically shows Shiva dancing in one of the Natya Shastra poses, holding Agni (fire) in his left back hand, the front hand in gajahasta or dandahasta mudra, the front right hand with a wrapped snake that is in abhaya (fear not) mudra while pointing to a Sutratext, and the back hand holding a musical instrument usually a damaru.[6]
His body, fingers, ankles, neck, face, head, ear lobes and dress are shown decorated with symbolic items, which vary with historic period and region.[1][11]
He is surrounded by a ring of flames, standing on a lotus pedestal, lifting his left leg (or in rare cases, the right leg) and balancing over a demon shown as a dwarf (Apasmara[2] or Muyalaka) who symbolizes ignorance
The dance of Shiva in Tillai, the traditional name for Chidambaram, forms the motif for all the depictions of Shiva as Nataraja. He is also known as “Sabesan” which splits as “Sabayil aadum eesan” in Tamil which means “The Lord who dances on the dais”.
The two most common forms of Shiva’s dance are the Lasya (the gentle form of dance), associated with the creation of the world, and the Tandava (the violent and dangerous dance), associated with the destruction of weary worldviews – weary perspectives and lifestyles.
• The arch of fire emerges from two makara on each end, which are water creatures of water and part of Hindu mythologies.
•
• The upper right hand holds a small drum shaped like an hourglass that is called a ḍamaru in Sanskrit.[27][28] A specific hand gesture (mudra) called ḍamaru-hasta (Sanskrit for “ḍamaru-hand”) is used to hold the drum
•
• His legs are bent, which suggests an energetic dance.
• The second left hand points towards the raised foot which suggests the viewer to be active and dance despite the circumstances, or alternatively as a sign of upliftment and liberation.
•
• The face shows two eyes plus a slightly open third on the forehead, which symbolize the triune in Shaivism.
The Asanapat inscription also mentions a Shiva temple in the Saivacaryas kingdom.
Stone reliefs depicting the classical form of Nataraja are found in numerous cave temples of India, such as the Ellora Caves (Maharashtra), the Elephanta Caves, and the Badami Caves (Karnataka), by around the 6th-century
Nataraja is celebrated in 108 poses of Bharatanatyam, with Sanskrit inscriptions from Natya Shastra, at the Nataraja temple in Chidambaram, Tamil Nadu, India.
Q.3 With reference to the incarnation of the Buddhas what does ” Ruru Jataka ” signifies ?
A) It is the tale of the three friends who lived in a forest: an antelope, a woodpecker and a tortoise
B) It is the story of “The dumb Prince” that is also known as Muga Pakaya Jataka
C) In this jataka tale, the Buddha, in a previous incarnation as a monkey king, self-sacrifyinly offers his own body as a bridge by which his fellow monkeys can escape from a human king who is attacking them
D) is the story of how a past incarnation of the Buddha, incarnated as a golden deer, rescues a merchant from drowning in the river
Ans. D
Mahakapi Jataka : In this jataka tale, the Buddha, in a previous incarnation as a monkey king, self-sacrifyinly offers his own body as a bridge by which his fellow monkeys can escape from a human king who is attacking them.
Ruru Jataka :
The Ruru Jataka is the story of how a past incarnation of the Buddha, incarnated as a golden deer, rescues a merchant from drowning in the river (bottom of medallion).
Kurunga Miga Jataka :
This story is about three friends who lived in a forest: an antelope, a woodpecker and a tortoise.
Muga Pakaya Jataka/ Mugapakkha Jataka/ Temiya Jataka :
This is the story of “The dumb Prince”
Q.4 With reference to the ancient Pandu caves, consider the following statements:
1. These caves depicts the characters of the Pandavas of the Mahabharata epic
2. They are a significant group of Indian rock-cut architecture representing the Hinayana tradition.
3. These are a group of 22 caves carved between the 1st century BCE and the 3nd century CE
Select the correct answer using the codes given below :
A) 1 & 3
B) Only 2
C) 2 & 3
D) Only 3
Ans. B
Pandav Caves:
Pandu Caves or Trirashmi Leni, Leni being a Marathi word for caves), are a group of 24 caves carved between the 1st century BCE and the 3nd century CE, though additional sculptures were added up to about the 6th century, reflecting changes in Buddhist devotional practices.
They are a significant group of early examples of Indian rock-cut architecture initially representing the so-called Hinayana tradition.
Most of the caves are viharas except for Cave 18 which is a chaitya of the 1st century BCE
The location of the caves is a holy Buddhist site and is located about 8 km south of the center of Nashik (or Nasik), Maharashtra, India.
Their name has nothing to do with the characters Pandavas, characters in the Mahabharata epic.
FROM CAPF
Q.5 Which of the following was/were not related to the Buddha’s life ?
1. Kanthaka
2. Alara Kalama
3. Channa
4. Goshala Maskariputra
Which among the above statement(s) is/are correct ?
A) Only 1
B) Only 4
C) 1 & 2
D) 3 & 4
Ans.B
FROM CAPF
Q.6 With reference to the Wavell plan, consider the following provisions :
1. Under this plan India was granted dominion status
2. Indians would themselves draft the constitution
3. Position of secretary of state & viceroy would remain the same
4. Viceroy would retain the power of veto
Which among the above statement(s) is/are correct ?
A) 1,3,4
B) 2,3,4
C) Only 1 & 4
D) 1,2,3,4
Ans. D
These proposals were not to be applied to the Indian states
Q.7 Consider the following :
1. Ambubachi mela : Assam
2. Anthurium Festival : Manipur
3. Kut-Festival : Mizoram
Select the correct answer using the codes given below :
A) 2 & 3
B) Only 1
C) 1 & 3
D) 1 & 2
Ans. B
1. Ambubachi mela : Assam
2. Anthurium Festival : Mizoram
3. Kut-Festival : Manipur.
It is an autumn festival of the different tribes of Kuki-Chin-Mizo groups of Manipur.
Q.8 Consider the following :
1. Ambubachi mela : Assam
2. Anthurium Festival : Arunachal Pradesh
3. Kut festival : Mizoram
Select the correct answer using the codes given below :
A) 1 & 3
B) Only 1
C) 2 & 3
D) Only 3
Ans. B
Ambubachi mela : Assam
Anthurium Festival : Mizoram
Kut-Festival Of Kuki-Chin-Mizo:
It is an autumn festival of the different tribes of Kuki-Chin-Mizo groups of Manipur.
Q.9 Consider the following :
1. Hemis Gompa : Ladakh
2. Chhipla Jaat : Himachal Pradesh
3. Jhiri Mela : Jammu & Kashmir
Select the correct answer using the codes given below :
A) Only 1
B) 2 & 3
C) 1 & 3
D) 1,2,3
Ans. C
Some of the festivals celebrated in the Uttarakhand region are Basant Panchami, Bhitauli, Harela, Phool Dei, Batsavitri, Ganga Dusshera or Dasar, Dikar Puja, Olgia or Ghee Sankranti, Khatarua, Ghuian Ekadashi, Chhipla Jaat, Kandali, Janopunya, Kumaon Holi (including Khari Holi and Baithaki Holi) and Makar Sankranti.
The most commonly celebrated festivals in Kashmir are Lohri, Baisakhi, Bahu mela, the Jhiri mela, the Mansar food and craft mela, Chaitre Chaudash mela and the Purmandal mela.
Hemis Gompa, the largest and richest Buddhist monastery in Ladakh plays host to the popular yearly festival day called Hemis Festival.
Q.10 Which among the following is/are true with respect to the Lingayatism ?
1. Lingayatism was founded by the Basava in the 11th century
2. Lingayat scholars thrived in northern Karnataka during the centuries of rule by Vijayanagara Empire
3. The Lingayats buried their dead in the Dhyana mudra with their Ishta linga in their left hand.
Select the correct answer using the codes given below :
A) Only 1
B) 2 & 3
C) Only 2
D) 1 & 3
Ans. B
Lingayatism is a distinct Shaivite religious tradition in India. Its worship is centered on Hindu god Shiva as the universal god in the iconographic form of Ishtalinga. The adherents of this faith are known as Lingayats. Lingayatism was founded by the 12th-century philosopher and statesman Basava and spread by his followers, called Sharanas.[1] Lingayatism emphasizes qualified monism and bhakti (loving devotion) to Shiva, with philosophical foundations similar to those of the 11th–12th-century South Indian philosopher Ramanuja
The terms Lingayatism and Veerashaivism have been used synonymously, and Lingayats also referred to as Veerashaivas.[2][3][4]Lingayatism is considered a Hindu sect,[2][5] but some Lingayats have sought legal recognition as a religion distinct from Hinduism.[2][6]Lingayatism shares beliefs with Indian religions, such as about reincarnation, samsara and karma
Contemporary Lingayatism is influential in South India, especially in the state of Karnataka.[10] Today, Lingayats, along with Shaiva Siddhanta followers, Tirunelveli Saiva Pillai, Nadar, Naths, Pashupaths of Nepal, Kapalikas and others constitute the Shaiva population
The Lingayat iṣṭaliṅga is an oval-shaped emblem symbolising Parashiva, the absolute reality, and is worn on the body by a cord hung around the neck.
Basava is credited with founding Lingayatism and its secular practices.[2] He was a 12th-century Hindu philosopher, statesman, Kannada poet in the Shiva-focussed Bhakti movement and a social reformer during the reign of the Kalachuri-dynasty king Bijjala I in Karnataka, India
Basavanna spread social awareness through his poetry, popularly known as Vachanaas. Basavanna rejected gender or social discrimination, as well as some extant practices such as the wearing of sacred thread,[19] and replaced this with the ritual of wearing Ishtalinga necklace, with an image of the Shiva Liṅga
Lingayat scholars thrived in northern Karnataka during the centuries of rule by Vijayanagara Empire.[22] The Lingayats likely were a part of the reason why Vijayanagara succeeded in territorial expansion and in withstanding the Deccan Sultanate wars. The Lingayat text Sunya sampadane grew out of the scholarly discussions in a Anubhava Mantap, and according to Bill Aitken, these were “compiled at the Vijayanagara court during the reign of Praudha Deva Raya
Similarly, the scripture of Lingayatism Basava Purana was completed in 1369 during the reign of Vijayanagara ruler Bukka Raya I
Lingayat (Veerashaiva) thinkers rejected the custodial hold of Brahmins over the Vedas and the shastras, but they did not outright reject the Vedic knowledge.[29][30] The 13th-century Telugu Virashaiva poet Palkuriki Somanatha, author of Basava Purana – a scripture of Veerashaivas, for example asserted, “Virashaivism fully conformed to the Vedas and the shastras
Lingayatism teaches a path to an individual’s spiritual progress is viewed, and describes it as a six-stage Satsthalasiddhanta. This concept progressively evolves the individual starting with the phase of a devotee,
Shunya in a series of Kannada language texts is equated with the Virashaiva concept of the Supreme. In particular, the Shunya Sampadane texts present the ideas of Allama Prabhuin a form of dialogue, where shunya is that void and distinctions which a spiritual journey seeks to fill and eliminate. It is the described as state of union of one’s soul with the infinite Shiva, the state of blissful moksha.[3
This Lingayat concept is similar to shunya Brahma concept found in certain texts of Vaishnavism, particularly in Odiya, such as the poetic Panchasakhas. It explains the Nirguna Brahman idea of Vedanta, that is the eternal unchanging metaphysical reality as “personified void”.
However, both in Lingayatism and various flavors of Vaishnavism such as Mahima Dharma, the idea of Shunya is closer to the Hindu concept of metaphysical Brahman, rather than to the Śūnyatā concept of Buddhism.[35] However, there is some overlap, such as in the works of Bhima Bhoi.
The Lingayats always wear the Ishtalinga held with a necklace.[2] The Istalinga is made up of light gray slate stone coated with fine durable thick black paste of cow dung ashes mixed with some suitable oil to withstand wear and tear. Sometime it is made up of ashes mixed with clarified butter. The coating is called Kanti (covering)
The Lingayats bury their dead. The dead are buried in the Dhyana mudra (meditating position) with their Ishta linga in their left hand.
