TT-1 (GS-1) (Ancient, Medieval, Art and Culture) SA

MAINS TEST
SERIES 2023
Ancient, Medieval, Art and

Culture
TEST NO.: TT-1(GS-1)
SAMPLE ANSWERS
►QUESTION TAGS FOR TESTS
 DEFINE - Give the precise meaning of
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details). Note: Width is more important than depth.
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clarity by giving relevant details (reasons, illustration, data, facts, examples, etc.)
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question
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question (or relationship if any between them)
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and cons or argue for and against. Authenticate by giving examples or support your argument (or
stand point) by giving evidence or reasons. Conclusion is necessary.
Please note:
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SAMPLE ANSWERS | QIP-MTS-23/TT-1(GS-1)
ANCIENT, MEDIEVAL, ART AND CULTURE
Question The Sample Answers have been constructed to train students about how to
No. write relevant and succinct answers in exam condition.
1. Advaita Vedanta arose as a philosophically robust response to the 10

era's confusion, integrating diverse thoughts and Hindu practices
into a philosophy based on the Vedic dictum of ‘One Truth, Many
Expositions’. Comment. (150 words)
 Introduction: Briefly describe Advaita Vedanta.

 Body: Mention key challenges (confusion) of the era, and give a brief account
of how Advaita Vedanta integrated diverse thoughts.
 Conclusion: Conclude by the significance of Advaita philosophy.
Shankracharya’s Advaita Vedanta is one of the six orthodox

philosophical systems of India. It suggests that we are all part of an
unchanging, monistic reality known as Brahman.
Paralysis of Hinduism by
practices of orthodoxy, ritualism
and formality.
New religions (Jainism

Prevalence of Caste Era's & Buddhism) distinct
discrimination. confusion from Mimamsa
Brahminism.
Esoteric disputes over

Sankhya dualism and
Charvaka materialism.
Response to the era's confusion:
 Revival of Hinduism: Hinduism had become paralysed because of

rigid rituals and practices at the time. It criticised ritually-oriented
Mīmāmsā school of Hinduism and established importance of monastic
life as sanctioned in Upanishads.
 Non-dualism: It states that there is no difference between Atman

(individual soul) and Brahman. Brahman is the only reality and
QIP-MTS-23/TT-1(GS-1)/RAU’S IAS TEST SERIES 1

everything else is mere appearance. It emphasised equality of all souls

and argued against caste-discrimination.
 Integration: Advaita Vedanta played a key role in integrating diverse

thoughts, and practices of various sects (Vaishnavism, Shaivism, and
Shaktism) into a philosophy.
 Panchayatana: Under this, the simultaneous worship of five deities

Ganesha, Surya, Vishnu, Shiva and Devi was followed. It argued that all
deities were different forms of one Brahman.
Thus, Adi Shankaracharya’s Advaita Vedanta made significant

contributions by bringing down differences among various sects and
reforming Vedanta tradition in Hinduism.

2. “India’s rich tradition of learning and education has been developed 10

right since the ancient times”. In the light of the above statement,
trace the evolution of the education system in ancient India.
(150 words)
 Introduction: Basic introduction to the education system in India.

 Body: Evolution of education system under various periods of ancient India.
 Conclusion: Write an appropriate conclusion.
India has a rich tradition of learning, handed over to generations either

orally or in writing. Continuous growth and development of education
systems can be seen from:
1. Indus Valley: Undeciphered written scripts as seen in seals etc.

suggest an educated population.
2. Pre-Vedic: Knowledge through oral traditions of Shruti-Smriti and

folklores.
3. Vedic Education:
 Manuscripts/ Vedas: Written knowledge in Palm leaves.
 Gurukul system: Introduction of formal education, Guru-shisya

tradition, boarding system, voluntary contribution ‘Guru Dakshina’.
 Vocational training- animal husbandry, agriculture.
 Variety of Education: Religious (Rigaveda), Music (Samaveda),

Warfare, Astrology, Medicine.
 Education to women: E.g., Gargi, Lopamudra.
4. Post-Vedic:
 Educational institutions: Taxila, Vikramshila, Nalanda. Foreigners’ in

India for education.
 New dimensions of education like Natyasashtra, Literature (drama),

Architecture.
 Temples propagated religious & spiritual knowledge.

 Patronage by Mauryas, Guptas for studies in Astronomy

(Bhaskarcharya), Medicine (Charaka), Grammar (Panini) etc.
 Deterioration of Education for women & lower castes.
 Development of Sangam literature and learning centres in

Southern India.
5. Buddhism: Monasteries and Viharas provided religious & secular

education.
6. Jainism: Chaitya, basadis and mathas were learning centres.
Thus, education system kept evolving to develop character, bring social

awareness, and take forward ancient culture.

3. Illustrate how various painting styles of India mimic the cultures and 10
traditions of their regions of origin. (150 words)
 Introduction: About Indian Paintings.

 Body: Various painting styles mimicking the culture and traditions of its
region of origin.
 Conclusion: Painting an important medium for depicting India's rich history
of artistic greatness.
Indian paintings have a long tradition and history in Indian art. The
paintings of different regions are unique as they have accommodated the
cultures and traditions of the regions of origin. This can be seen as:
 Rajasthani school of paintings had a deep influence of Mughal style

because of proximity of Rajput rulers to Mughal court. E.g., Dresses of
warriors painted after Mughal patterns.
 Pahari schools mainly flourished in Himalayan region, so has

depiction of natural beauty in form of valleys, waterfalls, grassland and
river falls.
 Mughal paintings were a unique blend of Indian, Persian and Islamic

styles. E.g., Paintings have Persian fables as well as themes from
Mahabharata, Ramayana.
 Srikalahasti style flourished around temples with Hindu patronage

and thus has an almost religious identity.
 Bengal school has predominant Indian nationalist themes as it was

the centre of nationalism during colonial times. E.g., Bharat Mata by
Abanindranath Tagore.
 Deccan-style paintings have assimilation of Persian paintings and

local art forms of the Vijayanagar kingdom.
 Santhal paintings have themes chosen from natural surroundings

and the daily activities of the tribe.
Hence, paintings became one of the most important mediums for

depicting India's rich history of artistic greatness.

4. Discuss why the Gupta Age was called the Golden Age of Sanskrit 10
literature. (150 words)
 Introduction: Mention the achievement of Gupta Empire emphasizing on

Sanskrit literature.
 Body: State achievements in Sanskrit literature during Gupta period.
 Conclusion: Prakrit literature also got patronage under Gupta rule.
The Gupta Empire, which ruled the Indian subcontinent from 320 to 550
AD, ushered in a golden age of Indian civilization. Due to their noted
achievements Sanskrit literature reached its zenith during this age.
The reason for this is as follows
 Official language: Gupta rulers made Sanskrit their official language,

widely used for literary and academic purposes.
 Patronage: It was the period of revival of Sanskrit as many works like

Vedas, Upanishads, Ramayana, Mahabharata, Puranas; Smritis were
compiled under the royal patronage.
 Scholar kings: Some kings such as Samudragupta, Chandragupta II

were scholars of Sanskrit.
 Used by poets: Kalidasa, the greatest poet and dramatist of the

Sanskrit language, also belonged primarily to this period. He wrote
poems (‘Kumarasambhava’ and ‘Raghuvamsha’); plays
(‘Malavikagnimitra’, ‘Vikramorvashiya’ and ‘Abhijnana Shakuntala’) etc.
 Use in inscriptions: Great inscriptions like the Allahabad inscription of

Harisena were created in Sanskrit.
 Use in coins: Gold coins had Sanskrit inscribed on it.
Under Gupta patronage, Sanskrit was even adopted by Buddhist scholars

of Mahayana cult and some Jain writers. However, Prakrit literature too
became popular under Gupta rule.

5. Music and dance spontaneity in expressing the entire garment of 10

human emotions and experiences has caused them to be inextricably
linked to the key life events and occasions in India. Illustrate.
(150 words)
 Introduction: Explain the essence of the statement given in the question.

 Body: Provide different examples of dance and music used in key events and
occasions.
 Conclusion: Music and dance enrich lives while keeping the traditions alive.
In India, dance and music are associated with the different stages of life.
From birth, marriage, death to harvest festivals, successful hunts, first
rains of monsoon, celebrations with music and dance have been an
integral part of Indian culture. However, these have some local and
regional variations. For example:
 In Punjab: Folk music such as Lohri and Maghi are sung to reflect
change of season.
 In Bundelkhand region: Women perform Jawara Dance (The Harvest

Dance) by balancing a basket full of the harvested crop on their head.
 In Madhya Pradesh: Bhagoria Dance is done as part of a unique

festival, which allows young men and women to elope.
 In Chattisgarh: Gaur Dance is done on the occasion of wedding.
 In Uttar Pradesh: Sohar folk music is sung to celebrate the birth of a

child. Rasiya, folk song, is sung to celebrate sacred love of Lord Krishna
and Radha.
 In Uttarakhand: Death is celebrated with Painsara (dance of death).
 In Maharashtra: Traditional Bhilari and Shetkari songs are sung to

welcome the rains.
In this manner, music and dance have been enriching Indian life, while
keeping the traditions alive.

6. Analyze the contribution of Sufism to the development of music in 10

medieval India. (150 words)
 Introduction: Briefly write about Sufism in medieval India.

 Body: Provide contributions of Sufi music to Indian music in medieval times.
 Conclusion: Write on the contemporary relevance of Sufi music.
Sufism is a mystical Islamic practice through which one seeks to find the
truth of divine love towards God. Sufism utilised dance and music forms
for expression.
Contributions of Sufism to music
 Through Ziyarat (annual pilgrimage): Mystical chants during

pilgrimage took music and dance to other parts of India.
 New singing forms: Qawwali is an innovation of Sufi music in India

(Hazrat Nizamuddin Auliya at Nizamuddin).
 New Hindustani music form: Many Hindustani forms developed

under Sufi music such as Khyal or Kafi style.
 Contribution by Shrines: Sama or performance of mystical music was

sung in Sufi shrines.
 New musical instruments: Tabla and Sitar are the main instrumental
contributions of Sufi music.
 Traditional contributions: Gharana, Riyaz, Jugalbandi, Ustaad and

many such other concepts are gifted by Sufism to Indian Music.
 External contribution: Sufi music brought elements of Persian

singing and dancing style to India.
 Social contribution: Sufi music opens to all people without caste or

class division.
 Local inspiration: It inspired folk music (e.g. Rajasthani music)
Today, Sufi music’s most popular styles are ‘Qawwali’ and ‘Kaafi’ and some
of the most famous works are by Rumi, Amir Khusro, Ghulam Farid and
Baba Bulleh Shah.

7. Discuss the features that have caused Ajanta and Ellora to be marked 10
as the zenith of cave architecture in India. (150 words)
 Introduction: Ajanta and Ellora caves as one of the finest examples of

ancient rock-cut caves in India.
 Body: Features that make them mark the zenith of cave architecture.
 Conclusion: Ajanta and Ellora caves designated as UNESCO World Heritage.
Ajanta and Ellora caves, located near Aurangabad in Maharashtra, are

considered to be one of the finest examples of ancient rock-cut caves.
The reasons are:
 They are adorned with beautiful sculptures, paintings, frescoes,

Buddhist monasteries and Hindu and Jain temples.
 Ellora showcases Buddhism, Hinduism and Jainism art and

architecture through the structures dating back to 600 - 1000 CE,
reflecting the religious harmony that prevailed in India in those times.
 Cave 16 of Ellora constitutes one of the most remarkable cave temples

- Kailasha temple which is the world's largest monolithic rock-cut in
the shape of a chariot.
 Ajanta caves portray fine paintings illustrating Lord Buddha's previous

lives and rebirth, representations from the Jataka tales and sculptures
depicting Buddhist deities.
 These rock-cut caves contain some of the best examples of ancient

Indian sculpture. Ellora’s Cave 10 - 'Vishvakarma cave' boasts a 15 -
foot statue of Buddha seated in a preaching pose.
As a result, Ajanta and Ellora caves have been designated as UNESCO

World Heritage Sites and are quite popular among travellers worldwide.

8. Art and architecture took a new direction during the Delhi Sultanate 10
period. Elaborate with suitable examples. (150 words)
 Introduction: Briefly highlight the nature of Indian art and architecture after
the advent of the Delhi Sultanate.
 Body: Enlist the most-striking elements of Sultanate art and architecture with
examples.
The Delhi Sultanate period is marked by the evolution and development

of Indo-Islamic Architecture.
The Architecture during the period can be categorised into two

categories- Imperial Style patronised by the rulers of Delhi and Provincial
style by local rulers.
The most striking elements of Sultanate art and architecture are:
 Combination of elements from Indian and Central Asian styles. E.g.,

intricately designed arches and domes using Hindu motifs too like
lotus, flower buds etc.
 Arch and dome method to replace a large number of pillars

supporting the roof, enabling construction of large halls with a clear
view.
 Prohibitions on anthropomorphic representations and use of

geometrical shapes, floral motifs, calligraphy for decoration. E.g.,
Qutub Minar
 Use of red sandstone; mortar as cementing agent by Khilji dynasty.

E.g., Alai Darwaza, Siri Fort.
 Use of grey sandstone; Battar style of construction characterised by

sloping walls to strengthen buildings by Tughlaqs. E.g., Cities of
Tughlaqabaad, Ferozabaad.
 Introduction of double domes, octagonal domes by Lodi dynasty.

E.g., Lodi gardens.
Thus, the new architectural style brought about a remarkable change in

the architectural practices of the subcontinent.

9. The Sangam literature offers a window into the aspects of the 10

ancient Tamil culture, secular and religious beliefs, and the people.
Elaborate. (150 words)
 Introduction: Describe the Sangam literature in brief.

 Body: Highlight the various aspects of Tamil culture such as culture, religion,
secular topics, society etc. mentioning some important Sangam literature
texts.
Sangam literature is the earliest text in Tamil, produced between 300BC

and 300AD. It is the main source for documentation of ancient history of
Tamilakam region. This is reflected as:
 Ancient Tamil culture: 33 surviving poems of Paripaatal in Eight

Anthologies group mention temples and shrines, cultural festivals
(Magh Mela), architectural practices and musical arts. The mention of
"merciful men of Benares” cites interaction between northern city and
Sangam poets.
 Secular topics with diverse aspects such as government, war, trade,

commerce, and administration are mentioned.
E.g., Pattinappalai poem in Ten Idylls group describes Chola capital,

king Karikal, life in harbour city, ships and merchandise for seafaring
trade.
Pathinenkilkanakku - 18 works about ethics and morals. Tolkappiyam -

text on Tamil grammar. Silappathikaram - love story.
 Religious themes are found. E.g., Paripaatal praises Hindu gods

Vishnu, Shiva, Durga and Murugan. Buddhists and Jains Monasteries
are mentioned in Pattinappalai.
 People: Ainkurunuru poem has the earliest mentions of "pigtail of

Brahmin boys". Pattinappalai mentions dance troupes, bards and
artists. The poems describe the effects of war on loved ones and
households.
Hence, Sangam literature paints an everyday picture of ancient

Tamilakam.

10. Krishnadevaraya was a scholar and a patron of many languages. 10

Many regional language literature reached their zenith during his
period. Discuss. (150 words)
 Introduction: Briefly describe Krishnadevaraya of the Vijayanagara Empire.

 Body: Highlight his contributions and patronage to literature and languages
with the help of a few examples.
 Conclusion: His reign was a prolific period for Indian and regional
languages.
Krishnadevaraya was an Indian emperor of the Vijayanagara Empire who

ruled from 1509 to 1529 AD. He was an accomplished scholar in multiple
languages including Tulu, Kannada, Telugu, and Sanskrit.
His contributions to literature and languages can be described as below:
 He authored Amukta Malyada (in Telugu), Jambavati Kalyana (in

Sanskrit) and Krishnadevaraya Dinachari (in Kannada).
 His reign was called the golden period of Telugu literature. His court
consisted of Ashtadiggajas, the 8 greatest of the great Telugu poets,
including, Allasani Peddana, Nandi Thimmana, Madayyagari Mallana,
Tenali Rama Krishna etc. who were the pillars of his literary assembly.
 He was a liberal patron of literature and extended his patronage to

Kannada poets (Mallanarya, Timmanna Kavi), Tamil Poets (Haridasa),
and Sanskrit (Vyasathirtha) alike.
 His period is known as Prabandha Period owing to the quality of the

prabandha literature (legendary biographical narratives) produced.
 His rule saw developments in grammar, biography, poetry, medicine

and music.
Thus, Krishnadevaraya’s reign was one of the most prolific periods for
various Indian and regional languages, earning him the title ‘Abhinava
Bhoja’.

11. Discuss the significance of international recognition in the promotion 15

of archaeological sites and traditional crafts in India. (250 words)
 Introduction: Mention any site/ craft which gained international recognition

recently.
 Body: Write about the significance of international recognition. Divided into
two parts i.e.; Archaeological sites and traditional crafts.
 Conclusion: Conclude by mentioning the importance of international
recognition.
Recently, Dholavira, an Indus Valley civilization site and Ramappa temple,

Telangana were internationally recognised as world heritage sites.
Pochampally known for the Pochampally Ikat saree was selected as one
of the Best Tourism Villages by United Nations World Tourism
Organisation (UNWTO).
Significance of International recognition of Archaeological sites
 Brings awareness: International recognition brings sights much-

needed national and international attention and increases tourism to
the sight.
 Boosts conservation efforts: Greater awareness leads to a general

rise in the level of national/state protection and conservation given to
heritage properties.
 Brings financial assistance: It helps countries receive financial

assistance and expert advice from the World Heritage Committees to
help support preservation activities.
 Enhances protection: The inscribed site also gains protection under

Geneva Convention against destruction during war.
 Brings Employment: The Archaeological site acts as a growth centre

and promotes employment among local youth which in turn prevents
migration to urban areas. .
Significance of International recognition of Traditional crafts
 Platform for marketing of goods: As it helps art gets new national

and international patrons.

 Revival of traditional craft: By igniting youth interest in the

traditional industry.
 Socio-economic development: The craft sector is a source of main

supplementary income for seasonal agricultural workers.
 Women empowerment: Most handicraft industries are large arenas

of women's employment.
These kinds of recognition are key to not only safeguarding our crafts and
historical sites but also to helping India find a place in the world's top
creative arts destination.

12. Though sculpture is the Indian art par excellence, it is in architecture 15

that the national genius has shown its most unquestionable
originality. Discuss. (250 words)
 Introduction: Briefly mention that the aesthetic presence of sculptures and

architecture enriches the heritage of India.
 Body:
o Highlight the excellence of Indian sculptures with some examples.
o Present examples to explain various dimensions of originality of Indian
architecture.
India has a long tradition of artistic excellence which finds aesthetic

expression in its sculptures and architecture.
Indian sculptures exemplify artistic excellence and were used mainly as

religious art to illustrate principles of Hinduism, Buddhism, and Jainism.
The excellence of Indian sculptures is reflected in:
 Harappan sculptures like dancing girl, steatite figure of bearded man.
 Nataraja of Chola dynasty, Lion capital of Mauryan era, massive

granite carvings of Mahabalipuram.
 Buddha statues in Gandhara, Mathura and Amaravati school of art.
 Gomateshwara statue Shravanabelagola.
However, the most significant aspect was that unlike the free-standing
structures found in Greco-Roman art, sculptures in India were carved in
temple pillars, walls of caves, entrance gates etc. This was the primary
contributor to originality of Indian architecture.
Unique elements of Indian architecture can be seen from:
 Harappan sites used burnt bricks as early as 2500 BC.
 Massive rock-cut structures carved into temples and caves. E.g.,

Kailash temple, Ellora, Ajanta, Elephanta, Badami caves.
 Regional variations in temple architecture. Nagara, Dravida and Vesara

styles were primary styles, with sub-variations in these styles too. E.g.,
Panchayatna syle, Kalinga style within Nagara style.

 Blend of indigenous and foreign elements due to external invasions

and intellectual transfer. E.g., Sikh architecture, Lutyens buildings.
 Non-distinct religious segregation. E.g., Mathura school had influence

of Hinduism, Buddhism and Jainism
 Use of natural colour sourced from organic dyes and from metals like
copper, iron etc.
 Highly-embellished colourful sculptures engraved in temple gopurams,

walls, and pillars. E.g., Meenakshi temple Tamil Nadu, Carvings at
Sanchi Stupa.
 Presence of erotic structures. E.g., Khajuraho temple
Hence, it can be said that Indian Architecture along with its unique,
timeless components is the work of genius and perhaps its greatest
artistic glory.

13. Although various foreign races and cultures have exercised some 15
influence on the Indian art forms, the main aesthetic currents
remain predominantly Indian, deeply rooted in religion. Elaborate
with suitable examples. (250 words)
 Introduction: Briefly mention that India has seen an influx of various foreign
races and cultures adding influence on Indian art forms.
 Body:
o Highlight the elements of foreign influence found in Indian art forms,
with examples.
o Present examples to showcase that major art forms in India evolved in
indigenous style, with elements of religion.
Indian civilization presents a rich and diversified art and architectural

tradition. This is a result of amalgamation of indigenous style with foreign
elements of arts which found their way into India through external
invasions and intellectual interactions.
Elements of foreign influence found in Indian art forms can be seen

as in:
 Hellenistic influence on Indian art. E.g., Gandhara School of art
 Medieval period saw the synthesis of Persian and indigenous styles of

architecture. E.g., Mughal architecture, tombs, mosques
 European colonists- Portuguese, Dutch, Danish, French, British

brought forms of European architecture - Neoclassical, Romanesque,
Gothic and Renaissance. E.g., St. Francis Church Cochin
Despite the foreign influence, religion has always been a major propeller
of architectural creations and artistic activity in India. The indigenous
elements are reflected in the major art forms as mentioned below-
Temple and cave architecture:
 Harappan architecture: The ‘Great Bath’ in Mohenjo-Daro for

ritualistic bathing.

 Hindu architecture: Unique temple architecture styles with regional

variations like Nagara, Dravida, Vesara. E.g., Remarkable rock-cut
temples of Kailash, Sun temple Konark. Temples with elaborated
sculptures, carved pillars, pillared halls, etc. E.g., Khajuraho temple
 Buddhist architecture: Buddhist Stupas were built at places where

Buddha’s remains were preserved. Monasteries (viharas), Chaityas,
cave architecture, sculptures were directly associated with the
teachings of the religion. E.g., Ajanta and Ellora caves Maharashtra,
Udayagiri cave Orissa
 Jain architecture: Jain Temples at Mount Abu, Gomateshwara temple

etc.
Aesthetic indigenous art forms on religious lines:
 Schools of Sculptures: Mathura, Amravati developed indigenously

centred religiously, predominantly Buddhism.
 Folk arts: Madhubani, Pattachitra, Kalamkari, Thangka paintings.
 Mural paintings: Ajanta, Ellora, Bagh, Sittanavasal cave paintings.
The diversity of Indian art forms shows continuity and adaptability with
times, which is a synthesis of indigenous and external influences giving it
a unique characteristic.

14. The art, architecture and temples, imaginatively designed during the 15
Rashtrakuta dynasty, significantly contributed to Deccan's
architectural heritage. Elaborate. (250 words)
 Introduction: Mention few contributions of Rashtrakutas like Kailasanath

Temple, Elephanta Caves.
 Body: Divide the answer into three parts: arts, architecture and temples.
Give relevant examples.
 Conclusion: Conclude by mentioning the importance of their contribution to
art and architecture.
Rashtrakuta Dynasty ruled large parts of Indian subcontinent between 6

- 10th century. During this time, they made significant contributions to the
Deccan's architectural heritage.
Art:
 Originality: The art did not have any foreign influence as the sculptors
were from South India and Deccan.
 Sculptural Similarities: The sculptures in Ellora and Elephanta have

close similarities.
 Religious narrative art: Sculptures of Hindu deities as well as

narrative scenes can be found on the walls.
Architecture:
 Multi-storeyed: The temples were Multi-storied. For example, the

Kailasanatha Temple has three stories.
 Megalithic: The rock cut art which started at the time of Ashoka
reached its pinnacle during the reign of Rashtrakutas and were carved
out of huge rocks.
 Wooden Finish: The Vishwakarma cave in Ellora is carved in such a

way to give the look of wooden beams.
 Dravidian style: Reached its zenith during their period. The

Kailasanatha temple was built along the same lines as the Virupaksha
temple, including Vimanas, Gopurams , mandapas and Garbhagriha.

Temples:
 Multi-Religions: Though they were followers of Vedic religion, they

also patronised Jainism and Buddhism. E.g., Construction of Jain
Narayana temple.
 Multiple-forms of same deity: Single god is represented in multiple

forms like the Dashavatara Cave represents ten forms of Hindu Deity
Vishnu. The Elephanta caves has dozen of large images of Shiva.
 High Base: Temples built by Rashtrakuta are built on high base. For
example, the Kailasanatha temple is built on a lofty base.
The Rashtrakutas were instrumental in establishing an aesthetic

architectural form now known as the Karnata Dravida style.

15. “India is a land of many martial arts forms, yet in everyday life we 15
see an increasing prominence of foreign martial arts forms, like
karate, taekwondo and kung fu”. In the light of the above statement,
discuss the significance and means of safeguarding the indigenous
martial arts heritage of India. (250 words)
 Introduction: Can begin by mentioning current development related four

indigenous Games inclusion in Khelo India Youth Games 2021.
 Body: Divide the answer into two parts: Need and means of safeguarding
Indigenous Martial Art.
 Conclusion: Conclude by mentioning the importance of their contribution to
the cultural heritage of India.
India is a land of many indigenous martial arts forms like Kalaripayattu,

Silambam, Gatka, Thang-ta, Lathi Khela etc. However, the art forms are
losing their popularity, due to the increasing prominence of foreign art
forms.
To safeguard the art forms, the Sports Ministry has inducted four art
forms: Kalaripayattu of Kerala, Mallakhamb of Central India, Gatka of
Punjab and Thang-ta of Manipur into the Khelo India Youth Games.
Significance of safeguarding indigenous martial art
 Revival: It will help in building awareness about native martial arts

and revive youth interest in them.
 Tourism: It will help in the promotion of cultural tourism and

generation of employment for the practitioners of such arts.
 Health: Native sports have their own system of medicine which can
building a strong culture of health and fitness in India. E.g.,
Kalaripayattu’s system of medicine based on Ayurveda.
 Security: Native arts like Thang-ta can help the military, especially in
guerilla warfare and close combat in the thick forest of Northeast.
 Cultural Diplomacy: It may help India in promoting soft power

through cross-cultural collaboration.

Means of safeguarding Indigenous Martial Art
 Media: Movies and social media can act as conduit to increase the
popularity among masses.
 Government Support: Government support and access to timely

financial resources will help in safeguarding native martial arts.
 Global exposure: The government, NGOs and respective state

governments shall take steps to popularize them along the lines of
Yoga.
 Policy measure: A comprehensive policy has to be in place at national

and state levels for its revival.
The need of the hour is to popularize native martial arts from being
merely a cultural festival showpiece into a national-level popular art form.

16. Discuss how the display of women in ancient Indian art throws light 15
on the gender perspective during the era. (250 words)
 Introduction: Mention about the depiction of women in ancient Indian art

and the present status of women.
 Body: Write about paradox in ancient art from a gender perspective, citing
appropriate examples.
 Conclusion: Conclude by mentioning present status and need for social
equality or quotes like Sabka Saath Sabka Vikas.
Gender studies have a very important role to play in history. Artists

through the ages have mirrored the social status of women in their art.
Ancient Indian art from the perspective of gender reflects women in

positive light:
 Equal status: The Ellora and Elephanta caves sculpture tells us that
Parvati is equally important when it comes to consultation on various
matters.
 Politics: Women often enjoyed prominent roles in politics and

administration, the Nanaghat inscription records Nayanika’s prowess.
 Economic independence: Khajuraho complex of Lakshmana temple

sculptures represents women as economically independent.
 Education: The sculpture of Shasana Sundari, seen writing Shasanas,

shows that women had access to Education.
However, during the Later-Vedic period, situation reversed and

women saw growing discrimination against them as reflected in the
following:
 Social Evils: The practice of child marriages, denial of education,

during the periods of Gupta was detrimental to the status of women.
E.g.: The first epigraphical evidence of sati is found in an inscription at
Eran.
 Objectification: In ancient sculptures are depicted in such a way that

the male sculptures are seen as symbols of male vanity, whereas the

Female depiction in all art forms, is mostly seen from an erotic

perspective.
 Gender-specific roles: The women were confined to gender-specific

roles like reproduction and taking care of children and elderly. Ajanta
Painting depicts women to be a nurturer and a homemaker.
Society needs to promote and respect one's talent irrespective of gender

bias coupled with relevant government policies and bureaucracy.

17. “Architecture is a living history that speaks the volume of its time”. 15
In the light of the above statement, trace the evolution of
architecture during various eras of Indian history. (250 words)
 Introduction: Over time architecture evolved due to a combination of needs,

imagination, availability of resources etc.
 Body: Mention how architecture evolved during different phases of history,
citing examples.
Architecture began as soon as the early cavemen began to build their own
shelters to live in. Over time it evolved and new architecture emerged as a
combination of needs, imagination, capacities of the builders and
capabilities of the workers.
 Ancient Era: Architecture was done from a social point of view
o Harappan Period - Constructed mainly three types of buildings-

dwelling houses, pillared halls and public baths.
o Vedic Period - Architecture development involved building of

houses, gurukuls and hermitages using wood, bamboo and reeds.
o Post-Vedic Period - Buddhism and Jainism helped in the

development of early architectural style in terms of stupas, viharas
and chaityas.
o Early Historic Period - Material prosperity and a new religious

consciousness during Maurya, Gupta, Pallavas and Cholas led to
emergence of wide architectural spectra - Cave architecture, rock-
cut temples like Kailash temple, Ashokan Pillar, Sanchi stupa,
statues of Buddha and free-standing Hindu temples.
 Medieval Era: Architecture was done with the aim of glorification of

kings and their kingdom; while every-day needs of common man were
neglected.
o Delhi Sultanate introduced new engineering features like domes,

arches and minarets.

o Mughals introduced Persian styles in architectural pieces such as

Bulund Darwaza, Humayun tomb and Taj Mahal.
 British Era: Elementary modern building construction and planning

was introduced into India.
o They aimed to house their organizations, their people and

whatever was necessary to control an empire as big as India.
o They also left the basic problems well alone.
 Post-Independence Era: In place of religion or royal concern,

buildings and cities suited to our socio-economic, cultural and climatic
circumstances have emerged.
Today, this Architecture holds key to the understanding of the cultural

diversity of any part of India as it is influenced by cultural traditions.

18. Discuss how the Kushan art has shown the facets of various religions 15
in ancient India. (250 words)
 Introduction: Provide a brief background of Kushan Art.

 Body: Divide the answer into different religion-specific arts of the Kushan
period. Also, quote some examples and features.
 Conclusion: Kushan period saw secular art and its deeper development
across the Indian Sub-continent.
Kushan’s patronage of art and learning marked the beginning of a cultural

renaissance which reached its peak under the Guptas. They had an open-
minded policy towards religious trends which can be illustrated as
follows:
Buddhist Art:
 Kushan period saw the blossoming of two major schools of Buddhist

sculptures, which are Mathura and Gandhara.
 Mathura school shows railings of stupas and statues representing

divinities of the Buddhist pantheon (Buddha, Bodhisattva) sculpted in
red sandstone.
 Gandhara images carved in a mica-schist stone illustrate events of the

Buddha’s past lives (jataka) and last existence.
 Blending of Greco-Roman Buddhist style.
 Statues of Bodhisattvas display strong Hellenistic features.
 It is in Buddhist art that the impact of the art of the Kushan period is
best observed.
 Important centres: Gandhara, Jalalabad, Bamiyan in Afghanistan,

Peshawar were more realistic than those found in India.
Brahmanical Art:
 Representations of Shiva, Vishnu or Skanda Kartikeya, during the

Kushan period in both Gandhara and Mathura styles.
 Lord Shiva is depicted as a three-headed and four-armed divinity with

a third central eye.

 Iconography of Brahminic gods was emerging and being formulated.
Jain Art:
 The stylistic analysis of the architecture of Kankalitila and statue of

Parsvanatha.
 Tirthankaras facing the cardinal directions (sarvatobhadrika) were

firstly carved in Kushana’s rule.
Contemporary Art Scholars:
 Asvaghosa the greatest Buddha philosopher of the time adorned the

court of Kanishka.
 Vasumita was the greatest exponent of Mahayana Buddhism in

Kanishka’s court.
Such examples prove that the Kushan period saw secular art and its
deeper development across the Indian Sub-continent. This was further
expanded by Gupta rulers later.

19. “Every tribe has a distinctive worldview, consisting of beliefs, values 15

and emotions etc.” In the light of the above statement, provide a
brief summary of the indigenous tribal faiths prevailing in the North-
East region of India. Discuss the threats being posed to these
indigenous faith systems. (250 words)
 Introduction: North-East India has different faith and religious practices

differing from the majority of India.
 Body: Mention the different faiths being practised in different NE states.
Cover multiple states to be comprehensive.
 Conclusion: Mention measures taken by government and non-
governmental initiatives specifically for NE states.
North-Eastern states have different faith and religious practices. These

differ from the prevailing and majority religion within India. The
indigenous faiths in North-East India are:
 The Adi tribe in Arunachal Pradesh worship ‘Donyi-Polo’ which means

the sun-moon god, whom they believe observes every minor
development and upholds the truth in the world.
 The Meitieis in Manipur worship ‘Sanamahi’, the Sun God. Manipuri

ancestors worshipped a supreme deity known as ‘Lainingthou Soralel’,
and people still follow that practice. ‘Umang Lais’, the ethnic deities,
are worshipped in sacred groves.
 In Nagaland, The Rongmei and Zeliang Nagas believe in U-

kepenuopfü, the Supreme One who is creator of everything.
 The Khasi religion in Meghalaya primarily believed in a supreme

creator known as ‘U Blei Nongthaw’ and several nature deities of
water, mountains, etc.
 In Assam, Bathou is a faith of the Bodo community. While, Heraka

is a faith of the Zeme Naga community.
There are several measures being undertaken to protect and preserve the
indigenous faith. These are:

 The Assam government had recently initiated measures to protect its

indigenous faiths that are endangered from conversion to mainstream
religions.
 The Seng Khasi is a cultural and religious organisation that was

formed in 1899 by the indigenous Niam Khasis of the Khasi religion in
Meghalaya.
 Donyi-Poloism is a movement that is followed by the Tibeto-Burman

tribes of India’s North-East and surrounding countries for protection of
their indigenous faiths.
The Government of India can undertake several measures for protection

for indigenous faiths. It can be accomplished by protecting their religious
scripts. Supporting local groups that propagate faith practices to the
younger generation.

20. India has one of the finest textile traditions in the world with respect 15
to dyeing and weaving. Illustrate. (250 words)
 Introduction: About India’s textile traditions

 Body: Mention different dyeing and weaving tradiitions.
 Conclusion: Summarize
Indian textile dating 5000 years back to Indus Valley Civilisation. Over the
years of civilization, has layered and enriched by nuances of migratory
weavers, foreign invasions and religious influences.
Dyeing
India’s expertise in vegetable dye dating back to ancient times can be

witnessed in:
 Bandhani, a resist dyeing technique in which pre-determined areas

on the fabric are tied tightly with thread to protect them from the
colour, followed by dyeing and removal of threads to reveal an
interesting pattern on fabric. Example:
o Bandhani of Gujrat
o Bandhej of Rajasthan
o Lehariya of Rajasthan
 ikat, a yarn resist technique wherein the yarns are tie-dyed, and on
weaving a pattern is created on the surface of the fabric. An ikat textile
can be identified from the typical hazy patterning on fabric due to the
resist dyeing of the yarns prior to weaving. Example:
o Patola of gujarat
o Bandhas of odisha
o Ikat textiles of andhra Pradesh: Telia rumal and Pochampalli
Weaving
Right from freedom movement under Gandhi’s leadership hand spinning

and hand weaving has gained prominence in terms of Khadi. As
witnessed across India in:

 Saris
o Banaras Brocades from Varanasi
o Kota Doria from Rajasthan
o Baluchari, Jamdani from West Benga
o Paithani from Aurangabad
o Kanjeevaram from Kanchipuram in Tamil Nadu
o Chanderi, Maheshwari from Madhya Pradesh
 Shawls
o Kani and sozni shawl of Kashmir
o Kinnauri shawls from Kullu & Kinnaur
These are some of the most famous and unique dying and weaving from
India that have been developed over time and their production has been
passed on through generations.

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MAINS TEST

Ancient, Medieval, Art and

TEST NO.: TT-1(GS-1)

 Give examples/ data wherever required to authenticate your arguments.

1. Advaita Vedanta arose as a philosophically robust response to the 10

 Introduction: Briefly describe Advaita Vedanta.

Shankracharya’s Advaita Vedanta is one of the six orthodox

New religions (Jainism

Esoteric disputes over

Response to the era's confusion:

 Revival of Hinduism: Hinduism had become paralysed because of

 Non-dualism: It states that there is no difference between Atman

QIP-MTS-23/TT-1(GS-1)/RAU’S IAS TEST SERIES 1

everything else is mere appearance. It emphasised equality of all souls

 Integration: Advaita Vedanta played a key role in integrating diverse

 Panchayatana: Under this, the simultaneous worship of five deities

Thus, Adi Shankaracharya’s Advaita Vedanta made significant

QIP-MTS-23/TT-1(GS-1)/RAU’S IAS TEST SERIES 2

2. “India’s rich tradition of learning and education has been developed 10

 Introduction: Basic introduction to the education system in India.

India has a rich tradition of learning, handed over to generations either

1. Indus Valley: Undeciphered written scripts as seen in seals etc.

2. Pre-Vedic: Knowledge through oral traditions of Shruti-Smriti and

 Manuscripts/ Vedas: Written knowledge in Palm leaves.

 Gurukul system: Introduction of formal education, Guru-shisya

 Vocational training- animal husbandry, agriculture.

 Variety of Education: Religious (Rigaveda), Music (Samaveda),

 Education to women: E.g., Gargi, Lopamudra.

 Educational institutions: Taxila, Vikramshila, Nalanda. Foreigners’ in

 New dimensions of education like Natyasashtra, Literature (drama),

 Temples propagated religious & spiritual knowledge.

QIP-MTS-23/TT-1(GS-1)/RAU’S IAS TEST SERIES 3

 Patronage by Mauryas, Guptas for studies in Astronomy

 Deterioration of Education for women & lower castes.

 Development of Sangam literature and learning centres in

5. Buddhism: Monasteries and Viharas provided religious & secular

6. Jainism: Chaitya, basadis and mathas were learning centres.

Thus, education system kept evolving to develop character, bring social

QIP-MTS-23/TT-1(GS-1)/RAU’S IAS TEST SERIES 4

 Introduction: About Indian Paintings.

 Rajasthani school of paintings had a deep influence of Mughal style

 Pahari schools mainly flourished in Himalayan region, so has

 Mughal paintings were a unique blend of Indian, Persian and Islamic

 Srikalahasti style flourished around temples with Hindu patronage

 Bengal school has predominant Indian nationalist themes as it was

 Deccan-style paintings have assimilation of Persian paintings and

 Santhal paintings have themes chosen from natural surroundings

Hence, paintings became one of the most important mediums for

QIP-MTS-23/TT-1(GS-1)/RAU’S IAS TEST SERIES 5

 Introduction: Mention the achievement of Gupta Empire emphasizing on

The reason for this is as follows

 Official language: Gupta rulers made Sanskrit their official language,

 Patronage: It was the period of revival of Sanskrit as many works like

 Scholar kings: Some kings such as Samudragupta, Chandragupta II

 Used by poets: Kalidasa, the greatest poet and dramatist of the

 Use in inscriptions: Great inscriptions like the Allahabad inscription of

 Use in coins: Gold coins had Sanskrit inscribed on it.

Under Gupta patronage, Sanskrit was even adopted by Buddhist scholars

QIP-MTS-23/TT-1(GS-1)/RAU’S IAS TEST SERIES 6

5. Music and dance spontaneity in expressing the entire garment of 10

 Introduction: Explain the essence of the statement given in the question.

 In Bundelkhand region: Women perform Jawara Dance (The Harvest

 In Madhya Pradesh: Bhagoria Dance is done as part of a unique