Architecture in Ancient India

21. Consider the following statements about Ajanta paintings : 1. The su

Consider the following statements about Ajanta paintings :

  • 1. The surface of the rock was coated with clay mixed with rice husk and gum and a coat of lime was applied over this.
  • 2. The outline drawing was done first on the lime coating and colours were added subsequently.

Which of the statements given above is/are correct ?

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1 only
2 only
Both 1 and 2
Neither 1 nor 2
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Both statements 1 and 2 are correct.
The Ajanta paintings primarily employed a technique similar to fresco-secco, involving elaborate surface preparation and detailed application of outlines and colours on a plastered surface.
1. The preparation of the rock surface at Ajanta involved applying a rough layer of clay mixed with fibrous material like rice husk or vegetable fibres, and a binding agent such as gum or molasses, followed by a thin layer of fine white lime plaster on top. This base provided a smooth surface for painting. So, statement 1 accurately describes the surface preparation process.
2. Artists first drew the outline of the figures and compositions on the prepared lime surface. Colours, derived from minerals and plants, were then applied within these outlines. The technique used was primarily tempera or fresco-secco, where colours are applied to dry or slightly damp plaster. So, statement 2 accurately describes the painting technique.

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22. The typical Nagara style Shikhara is visible in which one of the follo

The typical Nagara style Shikhara is visible in which one of the following temples?

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Brihadeshwara Temple, Thanjavur
Dashavatara Temple, Deogarh
Kailasanatha Temple, Ellora
Meenakshi Temple, Madurai
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The typical Nagara style Shikhara is visible in the Dashavatara Temple, Deogarh.
The Nagara style is a prominent style of North Indian Hindu temple architecture, characterized by a curvilinear tower (shikhara) over the sanctum sanctorum. The Dashavatara Temple at Deogarh (Uttar Pradesh), built in the Gupta period (around 5th-6th century CE), is considered one of the earliest and finest examples of a Nagara style temple with a Latina (simple curvilinear) shikhara. Brihadeshwara Temple (Tanjore) and Kailasanatha Temple (Ellora) are examples of Dravidian style architecture, characterized by tiered towers (vimanas). Meenakshi Temple (Madurai) is also built in the Dravidian style, particularly noted for its elaborate gopurams (gateway towers).
Indian temple architecture is broadly classified into Nagara (North Indian), Dravidian (South Indian), and Vesara (a hybrid style). The shape of the tower over the main shrine is a key distinguishing feature.

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23. Consider the following statements: 1. Ajanta paintings depict storie

Consider the following statements:

  • 1. Ajanta paintings depict stories from the Jatakas.
  • 2. Ajanta paintings depict scenes of court-life, processions, men and women at work, festivals, etc.

Which of the statements given above is/are correct?

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1 only
2 only
Both 1 and 2
Neither 1 nor 2
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The correct answer is (C) Both 1 and 2.
Statement 1 is correct. A significant portion of the Ajanta paintings are illustrations of the Jataka tales, which recount the previous lives of the Buddha in human and animal forms, depicting moral lessons.
Statement 2 is also correct. Besides the religious themes, the Ajanta paintings provide a rich panorama of the life of the people during the Gupta period and beyond. They depict various scenes of daily life, including court durbars, processions, hunting scenes, dancers, musicians, women applying makeup, and people of different social strata engaged in various activities, offering valuable historical and cultural insights.
The Ajanta Caves contain Buddhist rock-cut cave monuments dating from the 2nd century BCE to about 480 CE. The paintings are primarily from the Vakataka period (roughly 4th to 6th centuries CE). They are renowned for their artistic quality and their portrayal of religious narratives and contemporary life.

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24. Which of the following is/are the correct components of the “Lion Capi

Which of the following is/are the correct components of the “Lion Capital” at Sarnath ?

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  • 1. The shaft (stambha-yashti) or the tall tapering column
  • 2. An elliptical top part – the abacus, devoid of any carvings
  • 3. Overflowing inverted petals below the abacus

Select the answer using the code given below :

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1 only
1 and 3 only
2 and 3 only
1, 2 and 3
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Statement 1 refers to the shaft (stambha-yashti), which is the tall column on which the capital rests. While not strictly a component *of* the capital sculpture itself, it is the integral supporting structure commonly associated with the Sarnath Lion Capital pillar. In a broader sense, as the question asks for components *of* the “Lion Capital” structure, the shaft is a component.
Statement 2 is incorrect. The abacus (the circular part above the inverted lotus and below the lions) is round, not elliptical, and is richly carved with figures of animals (lion, elephant, bull, horse) separated by 24-spoke chakras (wheels), representing the Dharmachakra.
Statement 3 is correct. The overflowing inverted petals form the inverted lotus capital, which is a prominent feature below the abacus.
Given that statement 2 is incorrect, options C and D are eliminated. Since statement 3 is correct and there is no ‘3 only’ option, and statement 1 describes the necessary supporting structure which is inextricably linked to the capital, option B (1 and 3 only) is the most plausible answer, interpreting “Lion Capital” to encompass the main structural elements of the pillar and its crowning sculpture.
The Sarnath Lion Capital is a masterpiece of Ashokan sculpture and a national emblem of India.
It consists of an inverted lotus base, a drum/abacus carved with animals and chakras, four addorsed lions, and originally a Dharmachakra on top.
The four lions symbolize power, courage, confidence, and pride. The wheel (chakra) symbolizes the Dharma and movement. The animals on the abacus represent the four directions. The inverted lotus is a common Buddhist symbol representing purity and fertility.

25. In the decoration of Stupas, what does the term ‘Kinjalikini’ refer to

In the decoration of Stupas, what does the term ‘Kinjalikini’ refer to ?

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Creepers showing ornaments and textiles
Scarves and saris
Mango shaped pendants
A garland of thousand lotus flowers
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The term ‘Kinjalikini’ in the context of Buddhist art decoration, particularly on stupas or pillars, refers to a type of decorative motif featuring creepers or scrollwork. These creepers are often elaborate and may incorporate elements resembling ornaments or patterns found on textiles, adding richness to the sculptural surface. Option A best describes this decorative element.
Buddhist art utilizes a variety of symbolic and decorative motifs derived from nature (like creepers, lotuses, animals) and cultural elements (like jewellery, textiles).
These motifs serve both aesthetic purposes and often carry symbolic meanings within the Buddhist context.
Examples of Kinjalikini decoration can be found in the carvings on gateways (toranas) and railings (vedikas) of ancient stupas, adding intricate detail to the stone surfaces.

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26. In the Gandhara School of Art, initially blue schist and green phyllit

In the Gandhara School of Art, initially blue schist and green phyllite were used. When did stucco completely replace stone as main material used by Gandhara School sculptors?

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1st century CE
2nd century CE
3rd century CE
5th century CE
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The use of stucco in Gandhara art significantly increased over time, gradually replacing stone as the primary medium.
Initially, the Gandhara School primarily used blue schist and green phyllite. Stucco, being more malleable and cheaper, became popular later, allowing for finer details and faster production. Its complete dominance as the main material is typically placed around the 3rd century CE.
Stucco (a mixture of lime plaster, sand, and water) was applied over a clay or mud core. It was particularly suited for representing drapery and facial expressions. While stucco began appearing earlier, its widespread use leading to the decline of stone carving marks a distinct phase in Gandhara art. This shift coincided with the Kushan period and continued into later centuries.

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27. Which of the following statements about sculptures at Sanchi is/are co

Which of the following statements about sculptures at Sanchi is/are correct ?

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  • 1. In some sculptures there is representation of Shalabhanjika.
  • 2. The figure of Shalabhanjika is represented by a woman surrounded by lotuses and elephants.
  • 3. The Shalabhanjika motif was not directly inspired by Buddhist ideas.

Select the correct answer using the code given below :

1, 2 and 3
2 and 3 only
2 only
1 and 3 only
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Statements 1 and 3 are correct, while statement 2 is incorrect. Shalabhanjika figures, representing nature spirits (Yakshinis), are indeed found on the gateways (toranas) of the Sanchi Stupa (Statement 1). This motif pre-dates Buddhism and represents fertility and auspiciousness, adopted into Buddhist art for its symbolism rather than being directly inspired by core Buddhist doctrines (Statement 3). Statement 2 is incorrect as Shalabhanjika is typically depicted holding a tree branch, not necessarily surrounded by lotuses and elephants, although these motifs are present elsewhere in Sanchi sculptures.
The art at Sanchi incorporates various motifs, including nature spirits like Shalabhanjikas, reflecting the assimilation of popular beliefs and symbols into Buddhist art.
The Shalabhanjika motif is a common fertility symbol in ancient Indian art, appearing in different religious contexts. Her representation at Sanchi signifies the inclusion of auspicious, pre-Buddhist imagery within the Buddhist narrative and decorative scheme.

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28. Which one of the following is the common element between the Kailasana

Which one of the following is the common element between the Kailasanatha Temple at Ellora and the Shore Temple at Mamallapuram ?

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Both are examples of Nagara architecture
Both are carved out from solid rocks
Both are Gupta period temples
Both were built under the patronage of Pallava Kings
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This question is likely referring to the Kailasanatha Temple at Kanchipuram, not the more famous monolithic Kailasa Temple at Ellora. The Kailasanatha Temple at Kanchipuram and the Shore Temple at Mamallapuram were both significant temples built under the patronage of Pallava kings, specifically Narasimhavarman II (Rajasimha) in the late 7th and early 8th centuries CE.
Both the Kailasanatha Temple at Kanchipuram and the Shore Temple at Mamallapuram are prominent examples of structural temple architecture from the Pallava period.
The Kailasanatha Temple at Ellora is a magnificent monolithic rock-cut temple from the Rashtrakuta period (8th century CE), not the Pallava period. Assuming the question intends a valid comparison, it must refer to the Kanchipuram temple. Both temples are dedicated primarily to Shiva and showcase the advanced architectural skills under Pallava rule.

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