Daily Static Quiz Prelims Practice 2027
- ARaja Sawant Singh
- BRaja Kripal Pal
- CRaja Sansar Chand
- DMaharana Sangram Singh
Kangra painting flourished under Raja Sansar Chand in the late 18th century, known for its delicate lines, lyrical Radha-Krishna themes and soft colours. Raja Sawant Singh was instead the patron of the Kishangarh school, Raja Kripal Pal was associated with Basohli painting, and Maharana Sangram Singh II was a patron of the Mewar school.
- The illustrated Hamzanama was produced at the court of Jahangir.
- The famous Bani Thani painting belongs to the Kishangarh school.
- AStatement 1 is correct but Statement 2 is incorrect.
- BStatement 2 is correct but Statement 1 is incorrect.
- CBoth statements are correct.
- DBoth statements are incorrect.
Statement 1 is incorrect — the Hamzanama was actually illustrated under Akbar, one of the earliest large projects of the Mughal atelier, supervised by Mir Sayyid Ali and Abdus Samad. Statement 2 is correct, since Bani Thani, painted by Nihal Chand under Raja Sawant Singh, is the signature work of the Kishangarh school, sometimes called the "Indian Mona Lisa."
- AUstad Mansur was renowned for his paintings of birds and animals at Jahangir's court.
- BBasohli painting is known for bold primary colours and strong facial profiles.
- CPala school paintings on palm-leaf manuscripts mainly illustrated Jain texts from Gujarat.
- DMughal painting began under Humayun with the Persian masters Mir Sayyid Ali and Abdus Samad.
Option (c) is incorrect — Pala school paintings (8th–12th century) actually came from Bengal and Bihar and illustrated Buddhist texts such as the Prajnaparamita; Jain palm-leaf paintings from Gujarat instead belong to the Western Indian (Apabhramsa) school. Options (a), (b), and (d) are all correct — Ustad Mansur was Jahangir's master of natural history painting, famous for his studies of birds, animals and flowers; Basohli painting is known for vivid colours, bold lines and large expressive eyes; and Humayun brought Mir Sayyid Ali and Abdus Samad from Persia, laying the foundation of Mughal painting.
- Assertion (A): Mughal painting under Jahangir shifted towards portraiture and realistic studies of nature.
- Reason (R): Jahangir established the imperial painting atelier at Fatehpur Sikri.
- ABoth A and R are correct, and R is the correct explanation of A.
- BBoth A and R are correct, but R is not the correct explanation of A.
- CA is correct, but R is incorrect.
- DA is incorrect, but R is correct.
Assertion A is correct — under Jahangir, the focus moved away from large narrative manuscripts towards portraits, court scenes and naturalistic studies of flora and fauna, reflecting his personal interest in nature. Reason R is incorrect — the imperial atelier was actually organised by Akbar, and Fatehpur Sikri was Akbar's capital, not Jahangir's.
- Kishangarh — Rajasthani
- Guler — Pahari
- Bundi — Rajasthani
- AOnly one
- BOnly two
- CAll three
- DNone
Pair 1 is correct — Kishangarh is a Rajasthani school, known for elongated eyes and idealised Radha-Krishna figures. Pair 2 is correct, since Guler is a Pahari school, regarded as a precursor of the Kangra style. Pair 3 is correct too — Bundi is a Rajasthani school from the Hadoti region, known for lush landscapes, rich colours and Ragamala themes.


