UPSC Static Quiz – Art and Culture : 27 May 2026

Solution: A

• Statement-I is correct. The famous kriti “Nidhi chala sukhama?” in the raga Kalyani is a cornerstone of Tyagaraja’s philosophy. In this composition, he directly questions his own mind, asking whether material wealth (nidhi) can ever provide the supreme happiness (sukhama) that comes from the divine presence (sannidhi) of Lord Rama. This question encapsulates his core belief in the supremacy of spiritual wealth over material possessions and is a recurring theme throughout his work.
• Statement-II is correct. Tyagaraja’s biography is replete with instances of his rejection of worldly temptations. Most famously, he declined an invitation from the King of Thanjavur, Serfoji II, to become a court musician, viewing it as a distraction from his singular devotion to Lord Rama. For him, music was not a profession for material gain but a form of worship (nadopasana) and a path to spiritual liberation (moksha). His life exemplified the principle of renunciation (tyaga), which is even reflected in his name, Tyaga-raja (King of Renunciation).

Statement-II is the correct explanation for Statement-I.

Solution: D

• Statement a is incorrect. A Thaat (in Hindustani music) is a parent scale or mode, a collection of seven notes out of a possible twelve. A Thaat itself has no emotional character, no prescribed ascending/descending rules, and is not sung. It is merely a theoretical classification tool from which Ragas are derived. The description of a melodic framework with emotional character and specific structures applies to a Raga.
• Statement b is incorrect. A Tala is a rhythmic cycle or a pattern of beats, not a system of scales. The system of 72 parent scales is known as the Melakarta system, and it is specific to Carnatic music, not both traditions.
• Statement c is incorrect. A Shruti is a microtone, the smallest interval of pitch that the human ear can detect. Indian music theory recognizes 22 such shrutis within an octave. The description of a main melodic theme for improvisation refers to a Bandish (in Hindustani music) or the Pallavi of a Kriti (in Carnatic music).

Statement d is correct. A Raga is not just a scale; it is a sophisticated melodic concept. It uses a specific set of notes, has a defined path for ascent (aroha) and descent (avaroha), and includes characteristic phrases (pakad) and important notes (vadi, samvadi) that give it a distinct personality and emotional mood (rasa). This precise structure guides the musician’s improvisation.

Solution: A

• Statement 1 is correct. The origins of Kathak lie in the narrative tradition of Kathakars (story-tellers). Its thematic content was greatly enriched by the Bhakti movement, with the Radha-Krishna theme becoming central. Subsequently, the dance transitioned from temple courtyards to royal courts. It received patronage from both Hindu rulers and Mughal emperors, leading to a unique synthesis of Hindu and Muslim artistic sensibilities. Under Mughal influence, there was a greater stress on pure dance (nritta) and sensuous expression (bhava).

Statement 2 is incorrect. The Lucknow gharana, which flourished under the patronage of Nawab Wajid Ali Shah, is renowned for its strong accent on bhava, grace, and the expression of moods and emotions. Conversely, the Jaipur gharana is celebrated for its mastery of complex rhythms, footwork, and virtuosity, known as layakari. The Benaras gharana is another prominent school.

Solution: C

• Statement 1 is incorrect. In Kathakali’s makeup scheme (Aharya), Pacha (green) signifies divinity, nobility, and virtue. However, Kari (black) is used to represent evil, wickedness, and demonic characters. Royalty is often associated with a mix of colors, including red (Kathi).
• Statement 2 is correct. Traditionally, Kathakali was performed by an all-male troupe. The physically demanding nature of the training and performance led to men specializing in all roles, including the graceful portrayal of female characters (Lasya aspect). This tradition has been a defining feature of the art form for centuries.
• Statement 3 is correct. The language of the vocal music (Vachika) that accompanies Kathakali is predominantly Manipravalam. This literary style is a blend of the regional language, Malayalam, and the classical language, Sanskrit. This linguistic fusion allowed the art form to be accessible to local audiences while retaining a connection to pan-Indian epic traditions.

Statement 4 is correct. Kathakali’s vigorous and dynamic movements (Angika) are heavily influenced by the ancient martial arts of Kerala, most notably Kalaripayattu. The training regimen for a Kathakali artist includes rigorous physical conditioning, exercises, and body control techniques that have their roots in this martial tradition, giving the dance its characteristic power and energy.

Solution: B

• Manipuri (1) is deeply associated with the theme of Raslila (B), depicting the celestial dance of Radha and Krishna. It is characterized by its gentle, lyrical, and graceful movements, making the Lasya aspect predominant. The primary percussion instrument that accompanies Manipuri dance, especially in the Pung Cholom sequence, is the Pung (ii), a long-bodied drum. Thus, the correct combination is 1-B-ii.
• Odissi (2) is known for its fluid and sculpturesque quality. A defining posture of this dance form is the Tribhanga (C), a three-bend posture of the body at the neck, torso, and knees, which gives it a graceful, S-shaped curve. The primary percussion instrument providing the rhythmic foundation for Odissi is the Pakhawaj (i), a barrel-shaped, two-headed drum. Thus, the correct combination is 2-C-i.
• Chhau (3) is a semi-classical martial folk dance. Two of its three styles, Purulia and Saraikella, are distinguished by the use of intricate and elaborate masks (A) to portray mythological characters, animals, and abstract themes. The Mayurbhanj style of Chhau is the only one where masks are not worn. The powerful rhythm for this vigorous dance is often provided by large cylindrical drums like the Dhol (iii), along with other instruments like the Nagada and Shehnai. Thus, the correct combination is 3-A-iii.