DAY – 37 : Insta 75 Days Revision Plan-2026 : ART & CULTURE

Answer: (c)

The evolution of Indian classical music—both Hindustani (North) and Carnatic (South)—is rooted in ancient spiritual texts and formal scientific treatises.

• Statement 1 is correct: The Samaveda is essentially the Veda of Chants or the Knowledge of Melodies. While the Rigveda contains the text of the hymns, the Samaveda provides the musical notation and instructions on how they should be chanted. These chants, known as Samagana, laid the melodic foundation for what would eventually evolve into the Raga system.
• Statement 2 is correct: The Natya Shastra, composed by Bharata Muni (dated between 200 BCE and 200 CE), is the most foundational text for Indian performing arts. It contains a sophisticated analysis of music, including the concept of Srutis (microtones or musical intervals). Bharata Muni identified 22 Srutis within an octave, providing the mathematical and theoretical framework that distinguishes Indian music from the 12-tone Western tempered scale.

Answer: (a)

Dhrupad is a major tradition in Hindustani classical music. The word is derived from Dhruva (fixed/steadfast) and Pada (verse), indicating a poetic form that is set to a fixed structure.

• Statement 1 is correct: Dhrupad is indeed the oldest surviving vocal genre of Hindustani music, tracing its roots back to the chanting of Saman chants and mentioned in ancient texts like the Natya Shastra. It reached its peak in the Mughal court of Emperor Akbar, with legendary singers like Tansen. It is considered a deeply meditative, austere, and spiritual form of music, historically performed as a form of worship in temples before moving to royal courts.
• Statement 2 is correct: Unlike the more ornate Khayal or Thumri, Dhrupad emphasizes the Alaap—a long, wordless, and slow introductory section that can last for more than half the performance. It focuses on the purity of the Swaras (notes) and the use of Meend (glides). It avoids fast, decorative melodic flourishes like Taans or Murkis, preferring a powerful and steady resonance.
• Statement 3 is incorrect: Dhrupad is a vocal and instrumental music genre, not a dance form. While it is associated with the North Indian tradition, the dance form that historically accompanied the music in the Kerala region (Kathakali) uses a different musical style called Sopanam Sangeetham.

Answer: (b)

The Sangeet Ratnakara (literally Ocean of Music and Dance) is arguably the most significant musical treatise of the medieval period. Written by Sarangadeva in the 13th century, it acts as the definitive bridge between the ancient and modern systems of Indian music.

• Sarangadeva worked in the court of King Singhana II of the Yadava Dynasty in Devagiri (modern-day Daulatabad, Maharashtra). Because of his location in the Deccan, he was uniquely positioned to document musical traditions from both North and South India.
• This text is the last major work that is respected and cited by both Hindustani and Carnatic traditions. Shortly after this period, the two systems began to diverge significantly.

Answer: (b)

The Bauls are a group of mystic minstrels from Bengal (encompassing West Bengal in India and Bangladesh). Their tradition is a unique fusion of elements from Sufism, Sahajiya Buddhism, and Vaishnavism.

• Philosophy of ‘Moner Manush’: The core of Baul philosophy is that the divine (God) does not reside in temples, mosques, or books, but within the human body. They refer to this inner divinity as the Man of the Heart (Moner Manush). Their songs are a spiritual quest to find and connect with this inner self.
• Non-Conformity: The word Baul is derived from the Sanskrit word Vatula (mad) or Vyakula (impatient/restless). They are mad for the divine and deliberately reject social norms, religious rituals, and caste hierarchies. This is why option (a) is incorrect; they are the opposite of courtly etiquette.
• Language and Form: Baul songs are composed in colloquial Bengali, not Sanskrit (making option d incorrect). The lyrics are often allegorical, using simple metaphors of daily life—like fishing, rowing a boat, or a bird in a cage—to explain complex spiritual truths.

Answer: (c)

Explanation

Bhasa is one of the earliest and most celebrated Indian playwrights in Sanskrit, predating even Kalidasa. His works were lost for centuries until a manuscript of 13 plays (the Bhasa Chakram) was discovered in 1912 by T. Ganapati Sastri.

• I. Svapnavasavadattam (The Dream of Vasavadatta): This is considered Bhasa’s masterpiece. It tells the story of King Udayana and his queen Vasavadatta.
• II. Pratijnayaugandharayanam (The Vows of Yaugandharayana): This is another famous play by Bhasa, acting as a prequel to Svapnavasavadattam, focusing on the political maneuvers of the minister Yaugandharayana.
• III. Abhijnanasakuntalam (The Recognition of Shakuntala): This is not written by Bhasa. It is the most famous work of Kalidasa.
• IV. Urubhangam (The Shattering of the Thigh): This is a unique Sanskrit play by Bhasa based on the Mahabharata. It is notable for being one of the few tragic plays in classical Sanskrit literature, depicting the death of Duryodhana.

Answer: (a)

Explanation

Ravana Chhaya is a unique and ancient form of shadow puppetry that is distinct from other Indian shadow puppet traditions due to its minimalist aesthetic and specific material construction.

• Statement 1 is correct: Ravana Chhaya is the traditional shadow puppetry of Odisha. The name literally translates to “The Shadow of Ravana,” though the plays typically narrate the story of Lord Rama (based on the Vichitra Ramayana).
• Statement 2 is correct: Unlike the shadow puppets of other states, Ravana Chhaya puppets are made from a single piece of deer skin and lack articulated (jointed) limbs. Because they have no moving joints, the puppeteer must rely on tilting and moving the entire puppet to create a sense of action and drama.
• Statement 3 is incorrect: This is the primary point of distinction for Ravana Chhaya. Unlike the large, translucent, and vividly coloured puppets of Andhra Pradesh (Tholu Bommalata), Ravana Chhaya puppets are small, opaque, and uncoloured. They do not have perforations for light to pass through; instead, they cast bold, dark, and solid shadows on the screen.

The performance is accompanied by traditional Odissi music and instruments like the Khanjani (tambourine) and Cymbals, with the narration typically being sung.

Answer: (b)

Explanation

India has a rich and diverse heritage of puppetry, which is broadly classified into four categories: String, Shadow, Rod, and Glove. Each region has adapted these techniques to suit local folklore and artistic sensibilities.

• Pair 1 is correctly matched: Kundhei is the traditional string puppetry of Odisha. These puppets are made of light wood and have more joints than the Rajasthani Kathputli, allowing for more versatile movements. They are typically dressed in costumes similar to those worn by actors in Jatra (traditional theatre).
• Pair 2 is correctly matched: Togalu Gombeyatta is the shadow puppetry tradition of Karnataka. The puppets are made of translucent leather and are noted for their varying sizes, which indicate the social status of the characters (e.g., kings and gods are larger than commoners).
• Pair 3 is incorrectly matched: Pavakoothu is a traditional Shadow puppetry form from Kerala. It is heavily influenced by the Kathakali dance drama, which is reflected in the elaborate headgears, facial paints, and costumes of the puppets. The plays usually depict themes from the Ramayana and Mahabharata.
  • In Pavakoothu, the rhythmic movements and the musical accompaniment (using instruments like the Chenda and Elathalam) closely mirror a miniature Kathakali performance.

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Answer: (c)

Explanation

Kathakali is a stylized classical dance-drama from Kerala that is renowned for its elaborate costumes, vivid makeup, and powerful storytelling based on the Indian epics.

• Statement 1 is correct: Kathakali is often described as a “Total Theatre” because it seamlessly integrates five forms of fine art: Literature (Sahithyam), Music (Sangeetham), Painting/Makeup (Chithram), Acting (Natyam), and Dance (Nritham). The makeup is highly symbolic; the Pacha (Green) face paint is used for Satvik (virtuous, noble, and divine) characters like Rama, Krishna, and the Pandavas.
• Statement 2 is correct: One of the most unique features of Kathakali is that the actors/dancers remain silent. They do not speak or sing. The story is narrated by vocalists in the background (Ponnani and Singidi), while the performers translate the lyrics into a visual language using a sophisticated system of 24 root Mudras (hand gestures) and highly developed facial expressions (Rasas).

Traditionally, Kathakali is performed in the open air or in temple premises (Koothambalams). The only source of light was traditionally a large oil lamp (Kalivilakku), which added a mystical aura to the performance.

Answer: (b)

Explanation

The Sangeet Natak Akademi, India’s national academy for music, dance, and drama, currently recognizes eight (and sometimes nine, including Chhau) dance forms as “Classical.” These forms are distinguished by their adherence to the principles of the Natyashastra and their deep historical and cultural roots.

• I. Mohiniyattam: Recognized as a classical dance from Kerala. It is characterized by its feminine grace (Lasya), swaying movements, and the distinctive white-and-gold Kasavu saree.
• II. Manipuri: Recognized as a classical dance from Manipur. It is known for its lyrical movements and focuses largely on the Raslila (the cosmic dance of Radha and Krishna).
• III. Sattriya: Recognized as a classical dance from Assam. It was introduced by the great Vaishnavite saint Srimanta Sankardev in the 15th century as a medium for propagating the Bhakti movement through Sattras (monasteries).
• IV. Garba: It is a traditional folk dance of Gujarat, primarily performed during the Navratri festival. While it is highly significant (and inscribed on the UNESCO Intangible Cultural Heritage list), it does not fall under the Sangeet Natak Akademi’s classical classification.

The Sangeet Natak Akademi recognizes 8 forms, the Ministry of Culture also includes Chhau (a semi-classical tribal dance from Eastern India) in its list, bringing their total to 9.

Answer: (c)

Explanation

Ancient India was a global hub for scientific and philosophical inquiry, with scholars making foundational contributions to physics, chemistry, and the cosmic sciences.

• Pair 1 is correctly matched: Kanada (also known as Uluka) founded the Vaisheshika school of Indian philosophy. In his work, the Vaisheshika Sutra, he proposed that all matter is composed of indivisible particles called Anu (atoms), centuries before similar theories appeared in Greek philosophy.
• Pair 2 is correctly matched: Nagarjuna (specifically the 8th-century alchemist, often distinguished from the earlier Buddhist philosopher) was a pioneer in Chemistry and metallurgy. His work, Rasaratnakara, serves as a seminal text on alchemy, detailing the transformation of base metals into gold, the extraction of metals, and the preparation of medicinal mercury.
• Pair 3 is correctly matched: Varahamihira was a renowned astronomer, astrologer and mathematician of 6th-century Ujjain and the author of works such as Brihat Samhita and Pancha-Siddhantika.
  • He was a master of Astronomy and Astrology. His monumental work, Brihat Samhita, is an encyclopedic text covering diverse subjects like planetary movements, eclipses, rainfall, agriculture, and even architecture. He also authored the Pancha-Siddhantika.

Hence, all three pairs are correctly matched.

Answer: (b)

Solution:

Let the rate be r%.

Amount after 2 years = 8,000
Amount after 4 years = 9,680

This means growth from year 2 to year 4 (i.e., over 2 years) is:
9,680 ÷ 8,000 = 1.21

So, for 2 years:
(1 + r/100)² = 1.21

Taking square root:
1 + r/100 = 1.1

Therefore,
r = 10%

Answer: (b)

Solution:

For 2 years, the difference between compound interest and simple interest is given by:
Difference = P × (r/100)²

Given:
Difference = 64
r = 8%

So:
64 = P × (8/100)²
64 = P × (64 / 10,000)

Multiply both sides by 10,000:
64 × 10,000 = 64P

640,000 = 64P

Divide by 64:
P = 10,000

Answer: (c)

Solution:

When interest is compounded half-yearly:

Annual rate = 10%
Half-yearly rate = 10/2 = 5%
Number of periods in 1 year = 2

Amount = 20,000 × (1 + 5/100)²
= 20,000 × (1.05)²
= 20,000 × 1.1025
= 22,050

Compound Interest = Amount – Principal
= 22,050 – 20,000
= 2,050

Answer: (a)

Solution:

Let the principal be P and rate be r% per annum.

Amount after 2 years = 16,000
Amount after 4 years = 25,600

25,600 ÷ 16,000 = (1 + r/100)² = 1.6

So, (1 + r/100)² = 1.6

Using amount after 2 years:
P × 1.6 = 16,000

P = 16,000 ÷ 1.6 = 10,000

Answer: (c)

Solution:

The passage highlights three key ideas:

• Economic policy has multiple goals (efficiency, equity, sustainability)
• These goals can conflict with each other
• Policymakers must balance them carefully

(a) Says “always mutually exclusive” → extreme statement → not supported
(b) Says redistribution necessarily reduces growth → too absolute → not stated
(c) Talks about trade-offs between competing objectives → exactly what passage implies
(d) Says market reforms are harmful → not stated

Thus, the passage assumes that policymaking involves balancing competing goals, meaning trade-offs are inevitable.