TOPIC INFO (UGC NET)
TOPIC INFO – UGC NET (History)
SUB-TOPIC INFO – History (UNIT 3)
CONTENT TYPE – Solved PYQs
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Growth of Brahmanical Religions
UGC NET HISTORY – Solved PYQs (UNIT 3)
1. Carving of Naga-Shakha on door-jambs is a characteristic feature of the following regional styles of temple architecture? (DEC 2012)
I. Chandella
II. Pratihara
III. Solanki
IV. Paramara
Select the correct answer from the codes given below:
(1) I and III
(2) Only II
(3) I and IV
(4) III and IV
Answer: 2
The correct answer is (1) I and III.
The carving of Naga-shakha (serpent bands or naga motifs on door-jambs) is a distinctive decorative feature associated particularly with temple architecture of the Chandella and Solanki (Chaulukya) traditions. These motifs appear as part of elaborate door-frame ornamentation, symbolically guarding the entrance and enhancing the aesthetic richness of the temple.
The Chandella Dynasty, known for masterpieces like the Khajuraho Temples, developed highly ornate temple doorways where multiple bands (shakhas) including naga figures, floral designs, and divine imagery were carved in great detail. Similarly, the Solanki Dynasty (also called Chaulukyas) produced temples such as the Sun Temple Modhera, where richly decorated door-jambs with serpent motifs and intricate bands are a characteristic feature.
While the Pratihara Dynasty and Paramara Dynasty also contributed to temple architecture, the specific emphasis on Naga-shakha carvings on door-jambs is more strongly identified with Chandella and Solanki styles in standard art-historical classifications.
Therefore, the correct combination is I and III, corresponding to Option (1).
2. Match List I with List II and select the correct answer from the codes given below: (DEC 2012)
| List I | List II |
|---|---|
| A. Narasimhavarman-I | I. Rock-cut caves at Mamallapuram |
| B. Sembiyan Mahadevi | II. Agasteshivara temple at Anangapur |
| C. Lokamahadevi | III. Virupaksha temple at Pattadaka |
| D. Kulottunga-I | IV. Shiva temple at Chidambaram |
Codes:
(1) A-II, B-III, C-IV, D-I
(2) A-IV, B-I, C-II, D-III
(3) A-III, B-IV, C-I, D-II
(4) A-I, B-II, C-III, D-IV
Answer: 4
The correct answer is (4) A-I, B-II, C-III, D-IV.
Narasimhavarman I of the Pallava Dynasty is closely associated with the rock-cut caves and monolithic rathas at Mamallapuram (Mahabalipuram). He bore the title “Mamallan,” and the site flourished under his patronage, making A correctly matched with I.
Sembiyan Mahadevi, a prominent queen of the Chola Dynasty, was a great patron of temple construction and renovation. She is associated with temples like the Agasteshvara (Agasteshivara) temple at Anangapur, reflecting early Chola architectural patronage. Hence, B matches II.
Lokamahadevi, queen of Vikramaditya II of the Chalukya Dynasty, commissioned the famous Virupaksha temple at Pattadakal to commemorate her husband’s victory over the Pallavas. Therefore, C matches III.
Kulottunga I is associated with patronage and endowments to the Shiva temple at Chidambaram, an important religious center of the Cholas. Thus, D matches IV.
Therefore, the correct matching is A-I, B-II, C-III, D-IV, which corresponds to Option (4).
3. Given below are two statements, one is labelled as Assertion (A) and the other is labelled as Reason (R). (JUNE 2013)
Assertion (A): Pallava King Mahendra-Varman I built some of the finest rock-cut Hindu temples, including those at Mahabalipuram.
Reason (R): Mahendra-Varman I began life as a Jaina but was converted to Shaivism.
In the context of the above two statements, which one of the following is correct?
(1) Both (A) and (R) are true and (R) is the correct explanation of (A)
(2) Both (A) and (R) are true, but (R) is not the correct explanation of (A)
(3) (A) is true, but (R) is false
(4) (A) is false, but (R) is true
Answer: 2
The correct answer is (2) Both (A) and (R) are true, but (R) is not the correct explanation of (A).
The Assertion (A) is correct as Mahendravarman I (r. c. 600–630 CE) was a great pioneer of Pallava architecture, introducing the transition from perishable materials like wood and clay to permanent stone. He is credited with the “Mahendra-style” of rock-cut architecture, characterized by massive pillars and lack of excessive ornamentation. His famous Mandagapattu inscription proudly declares that he built a temple for Brahma, Vishnu, and Shiva without using timber, brick, or mortar. While the most famous monolithic “Rathas” of Mahabalipuram were primarily the work of his son, Narasimhavarman I (Mamalla), Mahendravarman I initiated the rock-cut movement and commissioned several cave temples in the region, including the early excavations at Mahabalipuram and the Trichy cave temple.
The Reason (R) is also historically accurate. According to tradition and hagiographical works like the Periyapuranam, Mahendravarman I was originally a follower of Jainism but was converted to Shaivism by the influence of the saint Appar (Tirunavukkarasar). Following his conversion, he became a fervent devotee of Shiva and constructed many Shaivite shrines, including the Satrumalla-pallava-isvara-griha. However, (R) does not serve as a logical “explanation” for (A). His religious conversion explains to whom the temples were dedicated, but it does not explain why he chose the rock-cut architectural style or his role as a pioneer of stone masonry. Many kings changed religions without initiating new architectural movements; his role as an architect was a result of his artistic temperament—he was famously titled “Vichitrachitta” (curious-minded)—rather than a direct consequence of his conversion from Jainism to Shaivism.
4. Which one of the below mentioned South Indian temples has wall-paintings? (DEC 2013)
(1) Kailashnath temple at Kanchipuram
(2) Virupaksha temple at Pattadakal
(3) Vijayalaya Cholishwara temple at Narttamalai
(4) Koranganatha temple at Srinivasanallur
Answer: 1
The correct answer is (1) Kailashnath temple at Kanchipuram.
The Kailashnath Temple at Kanchipuram, built by the Pallava King Narasimhavarman II (Rajasimha) in the early 8th century, is one of the earliest and most significant examples of structural stone architecture in South India. It is particularly renowned for harboring some of the best-preserved remnants of Pallava-era wall paintings. These murals are located within the small sub-shrines or cells that line the inner side of the compound wall (prakara) surrounding the main sanctum. The paintings primarily depict divine themes, including Somaskanda (Shiva with Parvati and child Skanda), and various manifestations of Shiva. The style is characterized by flowing lines and a sophisticated sense of volume, bearing a strong stylistic affinity to the late Ajanta traditions, and they serve as a critical link in the history of Indian mural painting between the classical and medieval periods.
While the other temples mentioned are architectural marvels, they are not primarily known for extant wall paintings from their original construction periods. The Virupaksha Temple at Pattadakal is a masterpiece of early Chalukyan architecture and was inspired by the Kailashnath temple’s design, but its fame rests on its intricate stone sculptures rather than murals. The Vijayalaya Cholishwara Temple at Narttamalai is an important early Chola structure, but it lacks the significant mural tradition found at Kanchipuram or later at the Brihadisvara Temple in Thanjavur. Similarly, the Koranganatha Temple at Srinivasanallur is celebrated as a quintessential example of middle Chola architecture for its proportions and stone carvings, but it does not contain a notable corpus of wall paintings. Therefore, the Kailashnath temple remains the definitive answer for its unique preservation of early medieval mural art.
5. Match List I with List II and select the correct answer from the codes given below: (DEC 2013)
| List I (Temple Style) | List II (Name of Temple) |
|---|---|
| A. Nagara | I. Temple at Paharpur |
| B. Dravida | II. Jain temple at Lakkundi |
| C. Chalukyan | III. Nilkantha Mahadev at Saunak |
| D. Exotic | IV. Kailashnath at Ellora |
Codes:
(1) A-II, B-III, C-I, D-IV
(2) A-III, B-IV, C-II, D-I
(3) A-IV, B-I, C-III, D-II
(4) A-I, B-II, C-IV, D-III
Answer: 2
The correct answer is (2) A-III, B-IV, C-II, D-I.
The Nagara style of temple architecture is characteristic of North India, marked by a curvilinear shikhara. The Nilkantha Mahadev Temple represents this northern Nagara tradition, so A matches with III. The Dravida style, which developed in South India under dynasties like the Pallavas and Cholas, is exemplified by monumental structures with pyramidal vimanas; the Kailasa Temple (often referred to as Kailashnath at Ellora), built by the Rashtrakutas, is a classic rock-cut representation of Dravidian architecture, so B matches with IV.
The Chalukyan style, also known as Vesara (a hybrid of Nagara and Dravida features), flourished in regions like Karnataka. The Jain Temple is a well-known example of this tradition with its intricate carvings and stylistic synthesis, so C matches with II. Finally, the “Exotic” category here refers to atypical or non-mainstream architectural forms; the Somapura Mahavihara (Temple at Paharpur) reflects a unique Buddhist monastic architectural plan distinct from standard Hindu temple styles, so D matches with I.