Art and Culture

1. Who among the following directed the film ‘Subarnarekha’ made on the p

Who among the following directed the film ‘Subarnarekha’ made on the partition of India ?

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Satyajit Ray
Mrinal Sen
Bimal Roy
Ritwik Ghatak
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The film ‘Subarnarekha’ (1965) is a critically acclaimed Bengali film directed by Ritwik Ghatak. It is the third film in his trilogy dealing with the trauma of the Partition of India, following ‘Meghe Dhaka Tara’ (1960) and ‘Komal Gandhar’ (1961).
– Ritwik Ghatak was a prominent Indian filmmaker and scriptwriter, known for his socially relevant films often dealing with themes of Partition and displacement.
– ‘Subarnarekha’ is considered one of his masterpieces and a significant work in Indian cinema.
– The other directors listed (Satyajit Ray, Mrinal Sen, Bimal Roy) are also renowned figures in Indian cinema but are not the directors of ‘Subarnarekha’. Satyajit Ray directed the Apu Trilogy (‘Pather Panchali’, ‘Aparajito’, ‘Apur Sansar’), Mrinal Sen directed films like ‘Bhuvan Shome’ and ‘Akaler Sandhane’, and Bimal Roy directed films like ‘Do Bigha Zamin’ and ‘Devdas’.
The Partition of India had a profound impact on the social and cultural landscape, and it has been a recurring theme in Indian literature and cinema, explored by various artists including Ritwik Ghatak, who himself was a refugee.

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2. Who among the following in 1856 has taken the first detailed photograp

Who among the following in 1856 has taken the first detailed photographs of the archaeological remains at Hampi ?

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Colin Mackenzie
Alexander Greenlaw
John Marshall
J.F. Fleet
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Alexander Greenlaw, a British officer, is credited with taking the first detailed series of photographs of the archaeological remains at Hampi in 1856.
His albumen prints provide invaluable early visual documentation of the site before significant restoration or environmental changes occurred.
While Colin Mackenzie conducted the first comprehensive survey (producing maps and drawings) around 1800, Greenlaw’s work represents the dawn of photographic documentation at Hampi. John Marshall was a later Director-General of the ASI, involved in conservation in the early 20th century.

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3. The painter Mola Ram was associated with which one of the following st

The painter Mola Ram was associated with which one of the following styles of paintings?

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Bundi Paintings
Garhwal Paintings
Mewar Paintings
Kangra Paintings
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The correct option is B) Garhwal Paintings.
Mola Ram (1743–1833) was a renowned artist of the Garhwal School of painting. This school flourished in the Garhwal region of the Himalayas during the 18th and 19th centuries, developing from the Pahari painting tradition. Mola Ram is known for his exquisite miniature paintings, often depicting mythological themes, portraits, and scenes of daily life.
Bundi Paintings, Mewar Paintings, and Kangra Paintings are other distinct schools of Indian painting, primarily associated with Rajasthan (Bundi, Mewar) and the Punjab Hills (Kangra). Mola Ram’s work belongs specifically to the Garhwal branch of the Pahari school.

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4. With reference to the Indian History, Alexander Rea, A. H. Longhurst,

With reference to the Indian History, Alexander Rea, A. H. Longhurst, Robert Sewell, James Burgess and Walter Elliot were associated with

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archaeological excavations
establishment of English Press in Colonial India
establishment of Churches in Princely States
construction of railways in Colonial India
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All the individuals listed were prominent figures associated with archaeological excavations and studies in British India.
Alexander Rea, A. H. Longhurst, Robert Sewell, James Burgess, and Walter Elliot were all British scholars and administrators who made significant contributions to the field of archaeology, particularly in documenting, conserving, and excavating ancient sites across different parts of India during the colonial period.
James Burgess served as the Director General of the Archaeological Survey of India (ASI). Alexander Rea and A. H. Longhurst held positions like Superintendents within the ASI, focusing on regions like the Madras Presidency. Robert Sewell is well known for his historical works based on archaeological findings, notably on the Vijayanagara Empire. Walter Elliot was a civil servant who also contributed significantly to archaeology and epigraphy, especially in South India. Their work was foundational to the study of Indian history and art through its material remains.

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5. Which one of the following was `not` a feature of the art of painting

Which one of the following was `not` a feature of the art of painting in India in the 19th century?

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Art was being produced for the open market.
The artist (Shilpi) became distinct from the artisan (Karigar).
The technique of oil painting was developed.
The distinction between elite and popular art widened.
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The 19th century in India saw significant changes in art, largely due to colonial influence, the decline of traditional patronage, and the introduction of new techniques and markets.
A) Art was being produced for the open market: True. With the decline of royal and aristocratic patronage, artists increasingly catered to a wider market, including British residents and the Indian middle class (e.g., Kalighat paintings in Calcutta).
B) The artist (Shilpi) became distinct from the artisan (Karigar): True, or at least the distinction became more pronounced and redefined. The introduction of Western art education emphasizing ‘fine art’ created a hierarchy that separated artists trained in academic styles from traditional craftspeople or artisans.
C) The technique of oil painting was developed: This is incorrect. The technique of oil painting was developed in Europe centuries before the 19th century. In the 19th century, this technique was *introduced* and *popularized* in India, notably by artists like Raja Ravi Varma, but it was not *developed* in India during this period.
D) The distinction between elite and popular art widened: True. The patronage of Western academic art by the elite, contrasting with popular forms like Kalighat paintings catering to a mass urban market, led to a clearer and perhaps wider distinction between elite and popular art.
The statement that was NOT a feature of the art of painting in India in the 19th century is that oil painting was developed there.
The 19th century marked a transition in Indian art under colonial rule, involving shifts in patronage, introduction of Western techniques (like oil painting and perspective), and the emergence of new art schools and markets.
Notable art movements and styles of the 19th century include Company School paintings (hybrid style patronized by the British), Kalighat paintings, and the works of artists like Raja Ravi Varma who blended Indian themes with European techniques.

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6. Which one of the following artworks was hailed by Sister Nivedita as t

Which one of the following artworks was hailed by Sister Nivedita as the ‘first masterpiece of Indian art’?

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Bharat mata by Abanindranath Tagore
Arjuna and Subhadra by Raja Ravi Varma
Sita in Captivity in Lanka by Abanindranath Tagore
Sati by Nandalal Bose
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The correct answer is A) Bharat mata by Abanindranath Tagore.
Sister Nivedita, a disciple of Swami Vivekananda and a keen observer and promoter of Indian art, highly praised Abanindranath Tagore’s painting ‘Bharat Mata’. She saw it as the embodiment of the national spirit and hailed it as the ‘first masterpiece of Indian art’.
Abanindranath Tagore painted ‘Bharat Mata’ in 1905 during the Swadeshi movement. The painting depicts a saffron-clad woman as Bharat Mata (Mother India), holding symbolic objects like a book, sheaves of paddy, a rosary, and a piece of white cloth, representing Shiksha (education), Anna (food), Diksha (spiritual knowledge), and Vastra (clothing), respectively. It became an iconic image of the nationalist movement. Raja Ravi Varma’s works, while popular, were influenced by Western techniques and themes. Nandalal Bose was another prominent artist of the Bengal School, but ‘Bharat Mata’ by Abanindranath is specifically associated with Sister Nivedita’s famous praise.

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7. Why was the Sittar poetry of Tayayumanavar famous ?

Why was the Sittar poetry of Tayayumanavar famous ?

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The writings were nationalist compositions
The writings were romantic epics
The writings were devotional songs
The writings were protests against the caste system
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The correct answer is C) The writings were devotional songs. Tayayumanavar was a prominent Tamil spiritual philosopher and poet whose works are primarily celebrated for their devotional and philosophical depth, focusing on the nature of God and the path to spiritual liberation.
– Tayayumanavar (1705-1742) is considered one of the important figures in the Tamil Siddhar tradition.
– His poems are deeply philosophical and devotional, expressing the Advaita Vedanta philosophy mixed with Saiva Siddhanta.
– His works are widely read and sung as devotional hymns, emphasizing universalism and inner spiritual experience.
While the Siddhar tradition often involved critiques of societal norms including caste from a spiritual perspective, Tayayumanavar’s primary fame and the defining characteristic of his poetry are their devotional and philosophical nature, aimed at guiding seekers towards spiritual truth.

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8. Which of the following statements about Binodini Dasi, a pioneering fi

Which of the following statements about Binodini Dasi, a pioneering figure in Bengali theatre in the late 19th-early 20th century, is/are correct?

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  • 1. She was one of the prime movers behind the setting up of the Star Theatre (1883) in Calcutta.
  • 2. She serialized her autobiography Amar Katha (My Story) between 1910 and 1913.

Select the correct answer using the code given below.

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.
Both statements about Binodini Dasi are correct:
1. Binodini Dasi (Noti Binodini) was a pivotal figure in the development of Bengali theatre. She was indeed instrumental in the establishment of the Star Theatre in Calcutta in 1883. She contributed significantly to the fundraising efforts for the theatre.
2. Her autobiography is titled ‘Amar Katha’ (My Story). It was first serialized in the periodical ‘Probashi’ between 1910 and 1913 before being published as a book. It provides valuable insights into her life, career, and the theatre world of her time.
Binodini Dasi was a highly successful actress who pioneered realistic acting on the Bengali stage. She worked with famous theatre personalities like Girish Chandra Ghosh and fostered the growth of public theatres in Calcutta. Her autobiography is considered a significant work in Bengali literature and history.

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9. Which of the following statements about the Bengali literary epic, Meg

Which of the following statements about the Bengali literary epic, Meghnad Badh Kabya (1861), is / are correct ?

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  • 1. It was written by Michael Madhusudan Dutta
  • 2. It draws upon existing Hindu and Jain traditions of Ramayana
  • 3. It was translated into Assamese and Hindi

Select the correct answer using the code given below :

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1 only
2 and 3
1 and 2
1 and 3
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Let’s evaluate the statements about Michael Madhusudan Dutta’s *Meghnad Badh Kabya*:
1. It was written by Michael Madhusudan Dutta. This is correct. It is his magnum opus, published in 1861.
2. It draws upon existing Hindu and Jain traditions of Ramayana. This is incorrect. The epic is fundamentally based on Valmiki’s Hindu Ramayana, although Dutta reinterprets characters and events from a modern, humanist perspective, often showing sympathy for the ‘villainous’ characters like Ravana and Meghnad. It does not draw upon Jain traditions of the Ramayana, which have their own distinct narratives.
3. It was translated into Assamese and Hindi. This is correct. As a highly significant work of Bengali literature, it has been translated into several Indian languages, including Assamese and Hindi, making it accessible to a wider audience.

Based on the evaluation, statements 1 and 3 are correct, while statement 2 is incorrect.

– *Meghnad Badh Kabya* is a famous Bengali epic by Michael Madhusudan Dutta.
– It is based on the story of Ramayana but reinterprets it.
– The work has been translated into various Indian languages.
– *Meghnad Badh Kabya* is written in blank verse (unrhymed iambic pentameter), a style Dutta introduced to Bengali literature.
– The epic’s innovative style and unconventional portrayal of characters marked a significant shift in Bengali literary tradition.

10. Consider the following description of the Samadhi of a former Prime Mi

Consider the following description of the Samadhi of a former Prime Minister of India :
Central Samadhi platform comprises nine square black polished granite solid stone blocks, capped with a ‘Diya’ in the centre. The number nine holds significance and represents the navarasas, navaratnas and navagrahas. The placement of the nine-square Samadhi is in a circular lotus shaped pattern. The nine-square platform is accessed in four cardinal directions by pathways made in white composite tiles so that the floor does not get heated.
Identify the Samadhi :

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Shakti Sthal
Shantivan
Sadaiv Atal
Veer Bhumi
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The description corresponds to the Samadhi of former Prime Minister Atal Bihari Vajpayee, named Sadaiv Atal.
The architectural description, particularly the use of nine squares, the ‘Diya’ in the center, the reference to ‘nava’ concepts (navarasas, navaratnas, navagrahas), and the circular lotus pattern, are specific design elements incorporated in the Sadaiv Atal memorial. The number nine aligns with the birth date of Atal Bihari Vajpayee (25th December, summing to 9) and his being the 9th Prime Minister of India.
Sadaiv Atal is located near Raj Ghat in Delhi. Shakti Sthal is the memorial for Indira Gandhi, Shantivan for Jawaharlal Nehru, and Veer Bhumi for Rajiv Gandhi, each having distinct architectural characteristics.

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